BoxOffice® Pro - May 2012

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MAY 2012 

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The Official Magazine of the National Association of Theatre Owners

© 2012 Christie Digital Systems USA, Inc. All rights reserved. 

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MAY 

2012 

VOL. 148 NO. 5 

4 THE PULSE 

What’s the buzz? WebWatch has got 

you covered 

8 INDUSTRY BRIEFS 

The latest news from the exhibition 

industry 

12 EXECUTIVE SUITE 

WELCOME TO CINEMACON 

2012: Greetings from NATO President 

John Fithian 

16 LAW & ORDER 

THE BUSTIN’ PERPS CHEAT 

SHEET: What to do when a thief is 

recording in your theater 

24 FIRST PERSON 

THE POWER OF HELLO— 

A fantastic—and free—tip for 

connecting to your customers 

28 HISTORY LESSON 

CHARLES DICKENS: THE MAN 

WHO PUT THE “PIP” IN PIPA— 

”This is like déjà vu all over again” 

32 10 QUESTIONS 

DR. MAN-NANG CHONG— 

The CEO of GDC Technology updates 

us on Asia’s digital rollout 

38 SECRET WEAPON 

READY FOR COMBAT— 

Meet the Muvico manager with a gift 

for handling customer complaints 

42 THEATER REPORT 

NOW THAT’S A FACELIFT— 

Digitization revitalizes a century-old 

theater 

46 MARQUEE AWARD 

THE CURIOUS CASE OF THE 

PRYTANIA THEATER—How does 

a 98-year-old theaterkeep getting more 

and more modern 

54 WORLD CINEMA 

THE GROWING WORLD OF 

INDIAN CINEMA—Bridging the gap 

between Bollywood and Hollywood 

58 SNACK TIME 

CONCESSION PROGRESSION— 

The state of the popcorn industry 

68 CINEMACON EVENTS 

Your complete session and screening 

schedule—with some golf, parties and 

awards thrown in 

74 NEW PRODUCTS 

A few dozen products announcements 

from the leading exhibition vendors. 

84 DARK SHADOWS 

SOMETHING WEIRD THIS WAY 

COMES—Plus interviews with stars 

and CinemaCon award winners Chloë 

Grace Moritz and Michelle Pfeiffer 

94 BATTLESHIP 

FULL STEAM AHEAD—Battleship 

sails into the summer. Interviews with 

director Peter Berg and star Brooklyn 

Decker 

104 COMING SOON 

Capsules of 12 films coming your way 

this month 

108 ON THE HORIZON 

Spider-Man is coming to town and he’s 

bringing the Dark Knight with him 

112 UNDER THE RADAR 

INDIE CINEMA’S NEW 

CROSSROADS—Getting small and 

mighty movies into theaters 

114 BOOK IT! 

Showcasing self-distributed titles 

116 BOOKING GUIDE 

Your complete guide to 150 upcoming 

films 

122 AD INDEX 

124 CLASSIFIEDS 

BOXOFFICE MEDIA 

CEO/PUBLISHER 

Peter Cane 

CREATIVE DIRECTOR 

Kenneth James Bacon 

BOXOFFICE MAGAZINE 

EDITOR 

Amy Nicholson 

CONTRIBUTING EDITOR 

Sara Maria Vizcarrondo 

INDUSTRY CONTRIBUTORS 

David Binet 

Brigitte Buehlman 

Jeffrey Eisentraut 

John Fithian 

GRAPHIC DESIGNER 

Kevin O’Conner 

PRODUCTION ASSISTANT 

Ally Bacon 

BOXOFFICE.COM / BOXOFFICEMAGAZINE.COM 

EDITOR 

Phil Contrino 

FORUMS EDITOR 

Shawn Robbins 

CONTRIBUTING WRITERS 

Alex Edghill 

David Ehrlich 

Annlee Ellingson 

Kate Erbland 

Joe Galm 

Daniel Garris 

Todd Gilchrist 

Ray Greene 

Pete Hammond 

Inkoo Kang 

Mark Keizer 

Ross A. Lincoln 

Mark Olsen 

Vadim Rizov 

James Rocchi 

Nick Schager 

Drew Tewksbury 

Sterling Wong 

EDITORIAL INTERNS 

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2 BOXOFFICE PRO MAY 2012

GENEVA CONVENTION 

SEPTEMBER 18–20, 2012 

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Plans are underway for Geneva Convention 2012, which will 

once again take place at the luxurious Grand Geneva Resort & 

Spa on Wisconsin’s beautiful Lake Geneva on September 18- 

20, 2012. The annual confab will kick off with the Variety Club 

Golf Classic on Tuesday at noon with the Geneva Idol competition 

taking place that evening—the winner will take home 

$500 cash. Amid the several days of trade shows, screenings 

and seminars, The Geneva Convention will induct new members 

into the Midwest Exhibitor Hall of Fame, honor the Vendor of 

the Year and Distributor of the Year, and present the Boxoffice 

Blue Ribbon Award to the most successful film of the year: 

Warner Bros.’ Harry Potter and the Deathly Hallows: Part II. 

Geneva Convention proceeds support Will Rogers Motion Picture 

Pioneer Foundation and Variety—The Children’s Charity. 

BOXOFFICE’s WebWatch Data 

Your customers are buzzing on the Internet about which movies they want to 

see—and which ones they don’t. Use our new subscription service to predict 

Hollywood’s hits and misses before they hit your theater. 

Facebook & Twitter Tracking 

Follow our daily tracking of activity on these two wildly popular social media 

sites. 

Reviews 

Will Snow White and the Huntsman prove Kristen Stewart has a career beyond 

Twilight?. 

News-Reeling? 

Let Boxoffice.com and BoxofficeMagazine.com digest all the reports and 

rumors for you! Check our sites daily for breaking industry news. 

BOXOFFICE PRO (ISSN 0006-8527) is published Monthly for $59.95 per year by Boxoffice Media, LLC, 9107 Wilshire Blvd, Suite 450, 

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THE 

PULSE 

MEN IN BLACK III 6% 

DARK SHADOWS 18% 

THE DICTATOR 15% 

BATTLESHIP 20% 

MARVEL’S THE AVENGERS 41% 

BUZZ PIE 

BOXOFFICE’s patented WebWatch technology sifts 

through all the web chatter to rank which upcoming 

movies are generating the most buzz. Of May’s monster 

releases, Marvel’s The Avengers is dominating the 

conversation with 41 percent of all online opinions— 

more than twice the amount of every other blockbuster 

GOOD BUZZ: BAD BUZZ 

Not only can WebWatch measure the amount of online talk 

about a movie, it can also sort the strongly positive opinions 

from the strongly negative. Calculate and reorder May's major 

movies by the ratio of good to bad buzz and the lineup looks 

like this: Marvel's The Avengers is still tops, but Men in Black 

III has vaulted up to the number two spot. It may have fewer 

fans chattering about it, but those who are clearly can't wait to 

see Will Smith and Tommy Lee Jones battle aliens. 

that month. Battleship and Dark Shadows are holding 

their own, but the big surprise is that The Dictator is 

trouncing Men in Black III in social media talk. Is Sacha 

Baron Cohen just that savvy at stirring up buzz, or 

does Columbia need to take a look at Men in Black III’s 

marketing strategy? 

GOOD VIBRATIONS 

What’s ahead for summer 2012 and beyond? Here are the top 

five unreleased films spurring the most online buzz. The Host, 

Twilight author Stephenie Meyer’s follow-up to her insanely 

popular franchise, is firmly on the charts even though it 

won’t be released for 11 more months. Looks like Open Road 

Films—AMC and Regal’s bold distribution 

experiment—is going to get its own 

taste of the Meyer magic. 

MARVEL'S THE AVENGERS 13:1 

MEN IN BLACK III 9:1 

BATTLESHIP 6:1 

DARK SHADOWS 6:1 

THE DICTATOR 4:1 

1 TOTAL RECALL >> > 

2 PROMETHEUS 

3 THE HOST 

4 SNOW WHITE AND THE HUNTSMAN 

5 THE DARK KNIGHT RISES 


Innovation with no end in sight. 

Sony provides more end-to-end solutions for exhibitors than any other manufacturer. As the 

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choose the company that offers innovation with no end in sight – Sony. 

Visit CinemaCon Booth #2711 to see our innovation in action. 

Visit sony.com/digitalcinema to make an appointment. 

© 2012 Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Features and specifi cations are subject to change without notice. 

Sony, Sony Digital Cinema, their respective logos and the Sony make.believe logo are trademarks of Sony.

©2012 QSC Audio Products, LLC. All rights reserved. QSC and the QSC logo are registered trademarks of QSC Audio Products, LLC 

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INDUSTRY 

BRIEFS 

Warner Bros. Pictures and 

Legendary Pictures are 

reteaming with Todd Phillips for 

The Hangover Part III, slated 

for release on May 24, 2013. 

Bradley Cooper, Ed Helms and 

Zach Galifianakis will reprise 

the roles of Phil, Stu and Alan. 

Said Phillips, “I’m so excited to 

embark on another Hangover 

film with Bradley, Ed and Zach. 

We’re going to surprise a lot of 

people with the final chapter we 

have planned. It will be a fitting 

conclusion to our three-part 

opera of mayhem, despair and 

bad decisions.” 

CINEDIGM ENTERTAINMENT GROUP AND 

ENTERTAINMENT DISTRIBUTOR NEW VIDEO 

have jointly acquired the U.S. distribution 

rights to Citadel, Ciarán Foy’s Irish-set horror 

film whose world premiere recently won 

the Midnighter Audience Award at the 2012 

SXSW Film Festival. Cinedigm’s theatrical 

distribution will commence this fall, with New 

Video’s rollout across on-demand, digital and 

DVD/Blu-ray beginning in early 2013. Citadel 

is the first scripted acquisition under the recently 

announced partnership between Cinedigm 

and New Video to acquire and distribute independent 

films theatrically in North America 

and across on-demand and digital platforms 

and DVD/Blu-ray. “Citadel is a disturbing, 

powerful and altogether original psychological 

horror film,” said Bob Fiorella, COO of 

Cinedigm Entertainment Group. “Garnering 

remarkable reviews for first-time writer/director 

Ciarán Foy, we believe Citadel is poised to find 

a wide U.S. audience and we are unbelievably 

proud to make it the first scripted acquisition 

in our new joint venture.” 

THE MPAA’S ANNUAL THEATRICAL MAR- 

KET STATISTICS REPORT FOR 2011 has 

shown that global box office receipts for all 

films released around the world reached $32.6 

billion—an increase of three percent over 

2010—due to ongoing growth of box office 

in international markets. Each international 

region experienced box office growth in 2011, 

with the Chinese box office growing by 35 

percent, by far the largest growth in major 

markets. “These numbers underscore the 

impact of movies on the global economy and 

the vitality of the film-watching experience 

around the world,” said former Senator Chris 

Dodd, chairman and CEO of the MPAA. 

“The bottom line is clear: people in all countries 

still go to the movies, and a trip to the 

local cinema remains one of the most affordable 

entertainment options for consumers.” 

Meanwhile, the U.S. and Canada box office 

market finished at $10.2 billion, down four 

percent compared to 2010, but up six percent 

from two years ago. Lacking an Avatar-league 

success, 3D box office was down $400 million 

in 2011 in comparison to 2010, while 2D box 

office remained consistent. Cinema ticket sales 

continue to be fueled by repeated visits by 

frequent moviegoers, i.e., those who go to the 

movies once a month or more. Frequent moviegoers 

represent only 10 percent of the population 

but purchased half of all tickets sold in 

2011. Globally, cinema screens increased by 

three percent in 2011 with just over half of 

the world’s screens now digital. 

CHRISTIE ANNOUNCED that the four-screen 

Sierra Cinemas in Grass Valley, CA, is the latest 

among the many regional and local exhibitors 

to make the move into the 21st century 

of entertainment by installing DLP Cinema 

projectors from Christie. Sierra Cinemas has 

been in the business of creating exceptional 

movie experiences for customers since Mike 

and Barbara Getz opened their first theater in 

1989. “We appreciate the flexibility built into 

their projectors, the ease in using the menus, 

and settings that can be adjusted quickly and 

easily,” said Michael LaMarca, general manager 

of Sierra Cinemas. “We selected Christie 

for three very different cinemas, because they 

represented our interests and were willing to 

work with us. Now that we have the whole kit 

and caboodle, we feel pretty confident going 

forward.” 

CINEMARK HAS COMPLETED its U.S. digital 

cinema conversion across 3,400 screens with 

custom MIT integrated bases in only 18 

months. In addition to supplying custom 

bases to Cinemark, MIT also performed integration 

services pre-configuring the servers, 

automations, switches and interface cabling 

for the full circuit deployment, delivering and 

converting every single screen on time and in 

full. “We requested a very aggressive deployment 

schedule right from the start, and MIT 

hit each and every deadline,” said Damian 

Wardle, VP of worldwide theatre technology 

and presentation at Cinemark. “We are 

thrilled to join with Cinemark in celebrating 

their outstanding accomplishment of becoming 

100 percent digital,” added Tom Lipiec, 

vice president of sales and customer service 

for MIT. “As they continue their working 

worldwide expansion and conversion to digital 

cinema, we will continue to provide our high 

level of integration services, technical support 

and custom products to Cinemark.” 

CARMIKE CINEMAS HAS LAUNCHED a new 

relationship with Entertainment Properties 

Trust (NYSE: EPR), a real estate investment 

trust that specializes in the entertainment, 

education and recreation markets, for a buildto-suit 

arrangement to construct a new 13-plex 

theatre in the Champaign, IL market. The 

Carmike 13 will be built at the same location 

as the Beverly 18 and will feature seating for 

more than 2,800 guests. The plans include an 

auditorium featuring Carmike’s state-of-the-art 

“BIGD” DIGITAL Experience, and all theaters 

will be equipped with stadium-style seating, 

comfortable high-back rocking luxury seats, 

retractable armrests and cup holders. The entertainment 

complex will also contain wall-to-wall 

screens, DLP digital projection and digital 

sound, an upscale lobby, multiple concession 

areas featuring Coca-Cola Freestyle drink 

centers, and one-stop ticketing and concessions 

stations. Patrons will be able to purchase their 

tickets and concessions in the same line, allowing 

them to quickly proceed to their comfort- 


INDUSTRY BRIEFS 

able seats. Carmike’s Beverly 18 will continue 

to serve the Champaign area during development 

of the new entertainment complex. Said 

Carmike President and CEO David Passman, 

“We are very pleased to forge this new relationship 

with the Entertainment Properties Trust 

team for our recently announced Carmike 13 

entertainment complex in Champaign, IL. 

Carmike is transitioning to a growth mode, 

focused on further expanding our circuit and 

geographical footprint in both existing and new 

markets. We are also actively seeking accretive 

acquisition opportunities.” 

FANDANGO HAS LAUNCHED a new collaboration 

with Yahoo! to make Fandango the 

online and mobile movie ticketer for Yahoo! 

Movies, with more than 30 million U.S. users. 

As a result, millions of moviegoers will receive 

increased access to Fandango’s comprehensive 

ticketing capabilities for nearly 20,000 screens 

across the country. Yahoo! users will be able 

to get Fandango showtimes and ticketing opportunities 

on their mobile devices and tablets 

as well. “We are excited about this relationship 

with Yahoo!, which helps deliver consumer 

benefits to an even broader audience, giving 

moviegoers more convenient options to buy 

tickets and find up-to-the-minute movie information 

anywhere, anytime,” said Rick Butler, 

executive vice president and general manager 

of Fandango. “Moviegoers on Yahoo! will now 

have access to Fandango’s many innovations, 

including the paperless Mobile Ticket program 

and reserved seating at a growing number of 

locations.” 

QSC IS UNDERWAY with its planned series 

of global Cinema Training Seminars. The first 

event at the company’s offices in Hong Kong 

covered such topics such as General Cinema 

Design and Product Applications, Guidelines 

for Cinema Installation, System Equalization 

and the specifics of QSC Digital Cinema 

Processors. “This first Cinema Training Seminar 

at the QSC Hong Kong Office was very well 

attended by our dealers as well as technical 

heads of many cinema chains, with especially 

good participation from India,” said Sushil 

John, country head for QSC. “This training 

was of great benefit to the attendees and will 

help ensure that QSC advanced cinema solutions 

and performance standards will continue 

to deliver a gratifying audio experience for 

cinemagoers in the future.” Future training 

seminars are planned, with the next upcoming 

Cinema Training scheduled for June 16th in 

Barcelona, Spain, one day before the Cinema 

Europe Convention. For more information 

contact cinema@qscaudio.com. 

THE FIRST COMMERCIAL INSTALLATION 

OF QUBE CINEMA’S SINGLE-SERVER 4K 

3D SYSTEM has been completed at the 

Houston Museum of Natural Science. Using 

a single Qube XP-I server, the new configuration 

streams 4K image data to two Barco 

4K projectors each with its own Qube Xi 

4K Integrated Media Block. “Giant screen 

theaters have been anticipating 4K 3D for 

years. We’re very pleased to have partnered 

with Qube to finally make it happen,” said 

Derek Threinen, vice president, business development 

at D3D Cinema, which designed 

and integrated the new theater system. “The 

Houston Museum of Natural Science is one 

of the most prestigious giant-screen venues 

in the world. To see full 4K content on the 

giant screen at HMNS is an important milestone 

for the industry.” 

IMAX CORPORATION AND THE WALT 

DISNEY STUDIOS WILL DIGITALLY REMAS- 

TER Tim Burton’s stop-motion animated film 

Frankenweenie into the immersive IMAX 

3D format to be released in IMAX digital 

theaters worldwide day-and-date on Oct. 5, 

2012. The fi lm marks the first black-andwhite 

Hollywood feature and first stopmotion 

animated movie to be presented in 

IMAX. The fi lm is a remake of the live-action 

short directed by Tim Burton in 1984 and 

features the voices of Catherine O’Hara, 

Martin Short and Winona Ryder. “IMAX has 

a long-standing relationship with Tim Burton, 

whose unique artistic vision and brilliant 

storytelling has captured the imagination 

of audiences around the world,” said Greg 

Foster, chairman and president of IMAX 

Filmed Entertainment. “We’re excited to add 

Frankenweenie as the second Tim Burton feature 

in our 2012 film slate, providing IMAX 

audiences a distinctive new way to experience 

animation.” 

VISTA ENTERTAINMENT SOLUTIONS, a 

global software developer with a specialty 

in simplifying ticketing and concessions, 

was presented with the International Business 

Award at the New Zealand Trade and 

Enterprise business awards in Auckland. The 

awards celebrate New Zealand companies 

that have excelled in exports, job creation 

and the development of new skills and technologies. 

Vista Entertainment Solutions Ltd. 

has offi ces in Auckland, London, Los Angeles 

and Shanghai, and has installed its software 

in more than 2000 cinemas across 200 

customers in more than 50 countries. Said 

CEO Murray Holdaway, “It’s a great win for 

us! We believe we’re the best in the world at 

what we do, but this is another pat on the 

back to let us know that both nationally and 

internationally, we’re at the top of our game 

and climbing.” 


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EXECUTIVE 

SUITE 

by John Fithian 

President and CEO 

National 

Association of 

Theatre Owners 

This 

special 

edition of 

Boxoffice 

Magazine comes 

to you at the outset of NATO’s second annual 

CinemaCon—the largest and most important 

global gathering of the motion picture 

exhibition industry. The members and staff of 

the National Association of Theatre Owners 

are thrilled to produce this exciting event. 

Our annual gathering in Las Vegas offers the 

opportunity for members to gather and discuss 

the current issues of the day, examine the latest 

in technologies and concessions offerings, see 

exciting upcoming product from our partners 

in distribution, and network, network, network. 

In this space I hope to accomplish two 

goals: to give our readers a small taste of what 

CinemaCon 2012 

has in store and to 

briefly highlight 

our assessment of 

the most important 

issues that will be 

discussed during 

the convention. 

In 2011, we had a great experience at our 

first CinemaCon. Indeed, we thought we might 

have set the bar too high with the inaugural 

excitement. We anticipated slightly lower support 

for the second event—and I am pleased to 

report that our assumption was very wrong. For 

the 2012 show, the trade floor completely sold 

out. We added additional ballroom space for 

more booths and that sold out too. We wish we 

could accommodate the remaining companies 

on our waiting list. As for registrations, we 

track those every week, and as of late March, 

registrations were running neck and neck with 

last year. Support from our many wonderful 

sponsors continues, and our members are supplying 

squadrons of volunteers. 

Programming at the 2011 show also set a 

strong precedent, with good studio support, 

historic educational events like the directors 

panel and the frame-rate demonstration, and 

wonderful parties with the support of our partners, 

particularly Coca-Cola. I never dreamed 

that 2012 programming could be better—but 

it is. For the first time in more than a decade, 

all six major studios are supporting the show 

Greetings from NATO President John Fithian 

WELCOME TO CINEMACON 2012 

For the first time in more than a decade, all 

six major studios are supporting the show 

with product and programming. 

with product and programming. The educational 

programming has expanded with great 

panels and a first-ever convention demonstration 

of laser cinema projection. The famous 

filmmaker panel returns this year, and of course 

we have a strong contingent of stars throughout 

the week and during the final-night award ceremonies. 

Oh—and the parties will be great too! 

We made some rookie mistakes during the 

2011 show, particularly with some logistical 

issues in the huge Caesars hotel, casino and 

Colosseum. In response to those concerns, 

the CinemaCon team has hired additional 

professional help to provide guidance on the 

casino level of the hotel, where traffic patterns 

can be a bit confusing. In addition, there will 

be more signage and directional markers. We 

know more what to expect in our second year 

and have planned accordingly. Everyone at CinemaCon 

and NATO welcomes comments and 

suggestions, so please keep those coming. 

Before turning to the substantive issues 

of the convention, I want to thank Mitch 

Neuhauser, Matt Pollock and Matt Shapiro 

for their tireless efforts bringing this wonderful 

event together. And of course that team 

is supported by energetic volunteer NATO 

members. Our member task force is led by Phil 

Harris of Signature Theatres, and Bill Stembler 

of the Georgia Theatre Company and also 

includes support from Byron Berkley (Foothills 

Entertainment), Rob Del Moro (Regal), John 

McDonald (AMC) and Tim Warner (Cinemark). 

The industry owes a debt of gratitude 

to these active leaders. 

As for the substantive issues likely to dominate 

the dialogue in Vegas, there are several. 

First, I want to dispel a nasty rumor propelled 

by some observers in the press that the movie 

exhibition business is dying. Nothing could be 

further from the truth. To be certain, it is true 

that domestic box office receipts were down 

3.7 percent last year. Our critics blamed the 

decline on home entertainment, video games, 

ticket prices and a host of reasons other than 

the movies themselves. But the first quarter 

of 2012 has brought tremendous growth with 

nothing changed other than the movies. We’ve 

had a greater mix of movies with appeal to 

diverse audiences, and as this column goes to 

print, The Hunger Games has reaped the third 

biggest opening weekend of all time behind 

Harry Potter and the Deathly Hallows: Part II 

and The Dark Knight—an astounding $152.5 

million debut made all the more amazing as a 

March release without even a sequel paving its 

way. And something tells me the summer will 

be strong too. Our studio partners certainly are 

demonstrating their confidence in the upcoming 

movie slate at CinemaCon. 

At the same time, our industry enjoys an 

improved environment on the once contentious 

issue of release windows. During 2011, the 

industry engaged in a public food fight where 

some leading distributors unilaterally launched 

a dangerous experiment with “premium” 

video-on-demand. Exhibitors and the creative 

community responded aggressively, and the 

experiment failed. As we come together in Las 

Vegas, I am very pleased that distributors and 

exhibitors are working together again to find 

ways to grow the business as partners. 

And it’s that spirit of partnership that has 

enabled such tremendous progress over the 

past year in the transition from film to digital 

technologies. As I write 

this column in late 

March, the industry has 

installed digital technologies 

in more than 

27,000 domestic auditoriums—a 

full two-thirds 

of the total marketplace. 

The international transition has exploded as 

well. The broad adoption of digital cinema will 

enable growth in 3D receipts, greater diversity 

of movie slates and more alternative content. 

It would be difficult to overstate the historical 

achievement of the digital transition—exhibitors, 

studios and technology companies came 

together to craft uniform technical standards 

and to develop shared-cost business models. 

Exhibitors are improving the moviegoing 

experience with other innovations such as new 

large-screen formats, mobile technology applications 

and premium food and drink options. 

And the image on the screen will continue to 

improve as our members enable higher frame 

rates in time for The Hobbit this December. 

Throughout the week at CinemaCon, the 

creativity and innovation of our industry will 

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LAW & 

ORDER 

What to do when a thief is recording in your theater 

MOVIE THEFT 101 

Movie theft. Piracy. Content protection. What does it all mean? When someone enters a theater with any 

type of recording device—camcorder, phone, voice recorder, etc.—and intentionally records or photographs 

any portion of the video or audio track of a movie, that person is engaging in theft. NATO calls it “movie 

theft,” the studios and MPAA refer to it as “content protection,” and the general public knows it as “piracy.” 

Regardless of name, the bottom line is it’s stealing. 

NATO and MPAA encourage all theater companies to adopt a zero tolerance policy that prohibits the video or 

audio recording of any portion of a movie, including the taking of still photographs. 

NATO has worked closely with the MPAA, its member companies and other industry organizations to pass 

anti-camcord legislation. Federal legislation was passed in the U.S. in 2005, in Canada in 2007, and additional 

anti-camcord laws are in place in 41 states plus Washington, D.C., and Puerto Rico. 

NATO and MPAA strongly encourage each theater complex to keep a copy of its state’s statute on hand. If 

there is a camcording incident in your theater and the police are called, having a copy of the law will help as we 

have found that the majority of police officers are unaware that camcording is against the law. 

Please do not forget to post anti-camcord signage (poster, notice, etc.) in each complex to serve as notice to 

the patron, as a point of reference for the police, and to meet the Take Action Reward Program requirement. 

by Brigitte Buehlman 

Deputy Director of 

Industry Affairs 

National Association of 

Theatre Owners 

WHAT NATO IS DOING TO HELP YOU BUST PERPS 

Combating movie theft is one of our industry’s top priorities. NATO is pleased to announce that we have 

produced a 15-second movie theft PSA, which will premiere at CinemaCon and will be made available to all 

domestic operators to play as part of their preshow. If you are interested in playing this PSA, please contact 

me at bgb@natoca.com or (818) 506-1778. And NATO and its regional units have partnered to bring 

our members an interactive, cost-free seminar series focusing on the issue in cities/regions considered to be 

camcord source hotspots. We traveled to Orlando, Washington, D.C., Dallas and Albuquerque and invited 

representatives from exhibition, distribution, the MPAA and local law enforcement to discuss how theater 

owners and employees can best deal with camcording incidents in their theaters. If you were unable to attend 

any of the four seminars, fret not. Turn to page 18 for a summary of what you missed >>> 


LAW & ORDER 

POLICE ACADEMY: HOW TO TALK TO COPS 

A theater employee spots someone recording video and/or audio of 

a movie. What now? NATO encourages every theater employee to 

follow his or her company’s policies when it comes to movie theft. 

If the company does not have a specific plan for this situation, we 

suggest the employee follow the Best Practices guide/Take Action 

program and call the police. Again, follow your company’s policy, 

but we encourage you to not approach the “perp”—wait for the 

police to arrive and let them handle the situation. 

Okay, the police are here. Now what? Keep in mind that a camcording 

incident may not be a high priority for the officer, so be 

polite, concise and specific: 

“I observed [the perp] camcording a movie in theater X. As you 

probably know, camcording is illegal—here is a copy of our 

state and federal law. May I show you where they are sitting so 

you can escort them out of the theater and check their [device] 

for the content?” 

When the officer fi nds the audio/video content, he will either ask 

[the perp] to delete the footage or confi scate the device as evidence. 

Ask him to write a report and be sure to get a copy of the report/ 

case number. The manager may then opt to issue a trespass warning 

to [the perp], depending on the company’s policies. 

Remember, the majority of police officers do not know that camcording 

is illegal. Our industry must focus on reaching out to 

law enforcement agencies in order to educate them about this 

important issue. NATO members operate movie theaters in 

practically every county in North America. We encourage you 

to interact with your local police precincts and educate them on 

this issue. 

TIPS ON HOW TO REACH OUT TO LOCAL LAW ENFORCEMENT 

Many theaters employ off-duty officers. Use them as a resource. Ask 

how you can reach out to their department(s) and/or precinct(s). 

Many police departments have officers who are assigned to patrol the 

business community. Reach out to them; get to know them. 

Officers spend a lot of time writing reports in their patrol cars, which 

can get uncomfortable, especially in the hot summer or cold winter 

months. Invite them into your cool, comfortable theaters (maybe offer 

them a soda) and let them write their reports in your break room 

or manager’s office. Not only will this generate goodwill, but having a 

cops in your theater on a regular basis will surely discourage any bad 

behavior from your patrons. 

Police precincts have weekly briefings with their officers. Ask if they 

would include the issue of camcording in theaters in one of their 

meetings. 

Ask your local precinct if they would be willing to hang one of our 

anti-camcord posters in their break room. 

WHY SHOULD EXHIBITION CARE? 

BECAUSE MOVIE THEFT IS BAD FOR BUSINESS 

Movie theft hurts exhibition’s relationship with distribution. 

Camcording is responsible for supplying 90 percent of newly 

released content to bootleggers. 

Movie theft damages an exhibitor’s reputation. 

A studio might not want to play its film if you can’t protect it—or 

at least try to. 

Movie theft results in lost jobs and income opportunities. 

The movie industry is an economic engine that creates jobs and 

contributes to the economies of countries that produce movies. 

Movie theft hurts economies everywhere movies are sold, exhibited 

or broadcast. Camcorder theft can drive out legitimate jobs of 

theater owners and their employees. 

Movie theft means fewer movies. 

Making a movie is an expensive, risky venture, and fewer movies 

will be made if movie theft robs those who invest in making movies. 

If fewer movies are made because of movie theft, we will all be 

adversely affected. 

Movie thieves (“perps”) are bad dudes. 

Profits from this illicit activity often go to organized criminal networks 

and gangs. 

(continued on page 20) 


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LAW & ORDER 

WHAT CAN EXHIBITION DO TO FIGHT MOVIE THEFT? 

Educate employees: NATO and MPAA have created several tools 

that theater owners can use to educate their employees. 

FightFilmTheft.org provides facts on camcording, information 

about the Take Action Reward Program (which awards $500 to theater 

employees who successfully stop an in-theater recording) and a 

list of state and federal camcording statutes. 

NATOonline.org/piracy has a Members Only section where you 

will find the MPAA’s Best Practices guide, contact information for 

the MPAA’s regional representatives and a list of state and federal 

camcording statutes. 

The MPAA’s 24/7 anti-camcording hotline (800-371-9884) provides 

exhibitors with assistance during a camcording incident and 

has investigators on call who will help. Reporting an incident to the 

MPAA hotline is a requirement of the Take Action program. 

Adopt Best Practices: If your company does not have a policy on 

movie theft, NATO recommends that you follow the steps outlined 

in the MPAA’s Best Practices document, which can be found in the 

Members Only section of the NATO website. 

Share information: NATO sends out a weekly “Camcord Source 

Report” to exhibition executives. If a theater listed on the report 

operates in the same city/area as you do, there is a chance that the 

camcord thief will hit your theater next. If you have a movie theft 

incident in your theater, give your colleagues at neighboring complexes 

a heads-up—even if they work for another theater company. 

Remember: When it comes to movie theft, there are no competitors, 

only partners. 

The number of camcords sourced to North America has dropped 

dramatically over the last few years due to the programs and policies 

listed above. However, we must remain vigilant. The U.S. and 

Canada are the “poster children” for thwarting movie thieves. International 

exhibitors and distributors are now working to pass anticamcord 

laws in countries known as source “hot spots,” lobbying 

local governments to enforce the laws and implementing incentive 

programs similar to Take Action for theater employees. 

HISTORICALLY 

SYMPATHETIC 

THANK YOU TO CBS FILMS, 

DISNEY, FOX, PARAMOUNT, SONY, 

SUMMIT (NOW LIONSGATE), UNIVER- 

SAL AND WARNER BROS., FOR SUP- 

PORTING THIS SEMINAR SERIES WITH 

“POP QUIZ” PRIZES FOR OUR ATTEND- 

EES. IT’S AMAZING HOW A T-SHIRT 

AND A DVD WILL KEEP SOMEONE 

FROM FALLING ASLEEP DURING 

A FOUR-HOUR SEMINAR 

ON MOVIE THEFT! 


THE MPAA IS OUR FRIEND 

The MPAA and its regional investigators are great partners 

of exhibition in our fi ght against movie thieves. Get to 

know the MPAA’s regional investigator in your area—contact 

information can be found on the Members Only page of 

NATOonline.org. 

If you have a camcording incident in your theater, call the 

MPAA hotline straightaway (800-371-9884). The MPAA will 

help you through the situation and will even liaise with local 

police when they arrive. 

NEXT STEPS 

NATO and our members are committed to fi ghting movie 

theft in North America and abroad. While we do not currently 

have any future movie theft seminars planned, we will host one 

if a city or region becomes a camcord source hotspot. 

If you have any questions or would like to learn more about 

this issue, please feel free to contact me at bgb@natoca.com or 

818-506-1778. 

SIDE NOTE 

NATO would like to give special thanks to the following 

people and companies for their fervent support of our 

seminar series: 

• Lisa Morris (AMC) 

• Baltimore [Maryland] County Police Department 

• Dan Myers (Cinemark) 

• Jeremy Welman and Guy Austin (Cobb) 

• U.S. Department of Homeland Security 

• Lakeland [Florida] Police Department 

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• Doug Murdoch (Mid-Atlantic NATO) 

• Byron Berkley and Rein Rabakukk (NATO of 

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• Al Perry and Chris Lewert (Paramount) 

• Valencia [New Mexico] County Sheriff’s Office 

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FIRST 

PERSON 

A fantastic—and free— 

tip for connecting to your customers 

The common perception among the 

general public is that moviegoing 

is too expensive. Most think tickets 

are too costly and that concession 

prices are so outrageous they deserve to devise 

ingenious ways to sneak in their snacks. As a 

theater owner, it is up to me to overcome this 

perception and create a moviegoing experience 

worth the price I must charge to 

survive. I need to create a moviegoing 

habit—or, if you prefer, a 

routine. 

I could list off the things 

I do to attract and retain my 

customer base. Many of them 

you are already doing every day 

at your theaters. I could also 

come up with a list of the things 

I don’t do for the same reason. 

But in this column, I want to 

talk about the change in our 

operation that I believe has had 

the most important—and, even 

better, no-cost—impact. The 

preshow announcement. 

Every year, my family and 

I go to CinemaCon. Usually 

we fly to Los Angeles first and 

spend a couple of days touring 

the theaters in Southern California 

to see the latest trends and 

ideas in action. Several years ago, we attended 

the ArcLight Hollywood and had the pleasure 

of having our movie introduced by a staff member 

who greeted the room just before the lights 

dimmed. We were impressed enough to bring 

the idea home and implement it immediately. 

Now at my four theaters in Illinois and 

Iowa, we start each showing with a genuine 

welcome and introduce ourselves by name. 

We remind them which movie is showing in 

that auditorium (in case they might be in the 

wrong one!), announce the running time and 

by Jeffrey Eisentraut 

EISENTRAUT THEATRES 

do some quick marketing for the next movie 

coming up by asking them to pay particular 

attention to the preview they’ll be seeing. We 

assure them that we will be monitoring the 

auditorium throughout the movie and encourage 

them to find us with any problems they 

might have. Most importantly, we personally 

remind them to turn off their cell phones 

and advise them of our no-tolerance policy 

for talkers—the audience usually responds to 

that with an impromptu “Thank you.” When 

we close with our sincere thanks for choosing 

our theater, it is nearly always rewarded with 

applause. 

Here is what we learned from doing this. 

Customers love the personal touch of an announcement. 

It’s like they are a guest in your 

home, which makes them feel special. Most 

customers ignore (and mock) the on-screen reminders 

prior to the show—how seriously can 

you take a “No talking!” warning that follows 

dancing hot dogs? But personal announcements 

have proven very effective in preventing 

cell-phone usage during the movie, plus they 

help create an interest in attending the next 

feature coming to the theater. And they can 

also be a lot of fun! We’ve become known for 

singing “Happy Birthday” or congratulating 

any other special occasion, and 

sometimes we’ll have a trivia 

contest and give away movie 

swag. 

True, it’s impossible to make 

announcements 100 percent of 

the time. If we are late starting 

the movie, we know it could agitate 

the more impatient people 

in the audience. But on those 

occasions, I will always have 

someone come up to me after 

the movie and express their disappointment 

that we didn’t have 

the chance to say hello. It’s become 

so popular at our theaters 

that I find myself wanting to 

volunteer to make an announcement 

when I visit the theaters of 

my friendly competitors. 

Several weeks ago, I was in 

Los Angeles and caught a movie 

at Grauman’s Chinese Theatre. 

It was all I could do to stay in my seat when I 

was so eager to stand up, welcome the audience 

and remind them they’re sitting in chairs once 

graced by Hollywood legends like Clark Gable 

and Cary Grant. 

I probably would have been arrested. But 

celebrating Clark Gable’s keister—what a way 

to earn a mug shot. 

Jeffrey Eisentraut is the founder and owner 

of Eisentraut Theatres. He can be reached 

at jeff@bestmoviedeal.com. 


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HISTORY 

LESSON 

“This is like déjà vu all over again.” —Yogi Berra 

CHARLES DICKENS: 

THE MAN WHO PUT THE 

“PIP” IN PIPA 

(FRET NOT READERS, THIS ARTICLE DOESN’T REQUIRE 

YOU TO REMEMBER YOUR ENGLISH LITERATURE CLASSES 

FROM HIGH SCHOOL) 

by David E. Binet 

Deputy Director of 

Membership for NATO 

The Hunger Games roared to a huge 

opening in March, making it yet 

another successful film adaptation of 

a popular literary series. Personally, 

I didn’t know a thing about the books before the 

movie was announced. But that doesn’t mean that 

I live under a rock—though it does mean that I can’t use the condescending 

hipster adage that I liked it before it became popular. Thank god for 

that. 

Now that The Hunger Games has gone mega-global (congratulations 

Lionsgate!), it joins the pantheon of wildly-popular-book-series-thatmade-wildly-popular-and-successful-movie 

franchises. In 2011, Harry 

Potter and the Deathly Hallows: Part II dominated a strong summer slate 

and pushed that franchise into the stratosphere. Not to be forgotten is 

my mother’s favorite vampire series of all time: Twilight. Her cunning use 

of emotional blackmail introduced me to these movies in 2010 and to 

several devoted teenage girls who watched five screenings a week. I can’t 

judge too harshly, since I saw the Star Wars rereleases several times during 

college. Touché. 

However, before these book titles became money-making behemoths 

at the box office, people who still knew how to read foamed at the 

mouth to get their hands on the next printed copy. Long lines of eager 

caffeine-induced fans waited until midnight outside bookstores (remember 

those?) for the latest release in J.K. Rowling’s series. That consumer 

insatiability quickly led to movie deals and thusly to cinema success, and 

even more thusly to a surefire excuse for any dude to ask a girl out to the 

movies. Gentlemen, it’s like shooting fish in a barrel. Don’t mess this up. 

Of course, high demand usually begets a black market, and content 

creators have been fighting this battle since Gutenberg printed the 

Bible. Stephenie Meyer, the Twilight scribe, halted her plans for a new 

book when a draft copy leaked on the Internet (thank you, Mom, for 

the detailed description of that). And pirated copies of Harry Potter had 

more illegal hits than the New Orleans Saints on Brett Favre. 

It got so bad that members of Congress passed legislation such as the 

Digital Millennium Copyright Act to stop online theft of copyrighted 

material. These laws exist in the United States to block websites that offer 

music, movies and other media illegally. We’re all very aware of the 

recent legislation known familiarly as SOPA and PIPA, which targeted 

websites based in foreign countries. Their purpose mirrored the domestic 

laws: Shut down any website that offers copyrighted material for free. 

Makes sense, right? It’s pretty easy to watch a pirated movie on the Internet 

these days, especially from offshore websites. At one of the Movie Theft 

seminars my colleague Brigitte Buehlman discusses in this issue, a studio 

representative openly demonstrated that anyone can go on Google and 

watch an illegally downloaded movie in six clicks of the mouse. Amazing. 

After some misguided campaigning by a few Silicon Valley companies, 

SOPA and PIPA were shelved indefinitely thanks to, ironically, an 

online petition. They will likely return after some good ol’ back hallway 

conversations on Capitol Hill but not during this current session. 

However, as I mentioned earlier, this problem has been around for a long 

time. In fact, I came across a similar issue while working on “A Christmas 

Carol” at Ford’s Theatre. Yes, that Ford’s Theatre where a certain fictional 

vampire hunter met his actual and tragic demise. (Unfamiliar? That 

wildly-popular-book-made-potentially-wildly-popular-movie arrives in 

theaters June 22nd.) 

Charles Dickens, as you probably recall from those high school English 

literature classes, was the star of his time (for the record, “his time” 

was 1812-1870). His books were read by everyone everywhere—and this 

was before even the early social networking of telephones, televisions 

and even telegraphs. It was hard to find someone who didn’t know about 

Dickens’ work without looking under the aforementioned rock. He had 

the world, it seemed, waiting with bated breath for the next installment 

of Oliver Twist or A Tale of Two Cities. He was his era’s version of Lost, 

only without the random polar bear attacks. Again, demand was high, 

and some saw an opportunity to cash in illegally. 

Almost immediately after publication, Dickens’ works were pirated— 

and by “pirated,” I mean almost literally: someone would grab a copy in 

England, hop aboard a ship, sail the Atlantic for two weeks and deliver it 

to publishers in the United States. Other than Jack Sparrow, how more 

pirate can you get? American readers devoured these stories as soon as 



ON THE HORIZON 

they could, and these Jack Sparrow-ed copies made it that much easier. 

Ironically, this also made Dickens the most popular writer in the United 

States, which was still struggling to establish its own literary identity. 

So how much did Dickens earn from his unmatched popularity in 

the United States? Practically nothing. Once the pirated copy landed in 

the United States, newspaper publishers would reprint the serials at their 

printing houses and then sell them for much cheaper than the legitimate 

bound copies. Because there was no international copyright law in the 

United States, Dickens had no legal recourse on American soil. So what 

did he do? What any good Englishman would do: he went on holiday to 

the United States. 

On two separate occasions, Dickens visited the United States. The 

first was in 1842 at the age of 30. Upon his arrival, Americans greeted 

him like Ted Nugent at an NRA rally in Montana. It was a classic American 

hero’s welcome for the British writer. Dickens took advantage of this 

opportunity to broach the issue of an international copyright law, one of 

the main purposes for his visit. It was a case of good intentions, bad idea. 

His arguments mostly fell on deaf ears—why pay an American author 

when you could steal from a really good British one for free? Some 

Americans even turned sour toward Dickens, arguing he’d betrayed their 

adulation by demanding compensation for his literary creations. (I know, 

what a jackass!) He sailed home bitter and disillusioned about America 

and then immediately wrote 

two scathing works on his 

Upon his 

arrival, Americans 

greeted [Dickens] 

like Ted Nugent at 

an NRA rally in 

Montana. It was 

a classic American 

hero’s welcome for the 

British writer. 

trip entitled American Notes 

and Martin Chuzzlewit. 

Neither was flattering toward 

the United States. Yet 

despite an initial negative 

reaction, Americans eventually 

got over it and began 

to love Dickens again. Let’s 

face it: the man was great at 

what he did. This must have 

been why we were so eager 

to forgive Mark McGwire. 

Dickens, never daunted 

by a political challenge, 

made a second trip to 

America in 1867 even as 

he battled numerous health 

issues. You’d be sick too if you had to live in London during the mid- 

19th century. And once again, he lobbied for an international copyright 

law, which, strangely, still hadn’t been passed in 25 years. Gotta love 

American politics. But in our defense, we just went through a bloody 

Civil War, so our minds were clearly elsewhere. In the end, Dickens 

couldn’t muster enough legislative support and traveled back to England 

where he died in June of 1870. However, this story does have a happy 

Hollywood ending. 

The U.S. Congress eventually did something to protect the works 

of writers and artists. The International Copyright Act of 1891 (aka the 

Chace Act after Sen. Jonathan Chace of Rhode Island) extended protection 

to foreign copyright holders from select countries (i.e., countries 

that weren’t trying to torpedo our ships). The law was also important 

for American creators since they were more likely to have international 

copyright protection in countries that were offered the same protection 

by the United States. In short, everyone agreed to play nice, and those 

in the creative community finally got protection under the law. This 

is the ultimate goal of SOPA and PIPA: to allow the U.S. government 

to protect the rights of the creative community whose works are being 

distributed illegally through foreign-based websites. It doesn’t thwart 

creativity—it preserves it. In the end, Charles Dickens’ efforts should 

prove prophetic again. 


10 

QUESTIONS 

DR. MAN-NANG 

CHONG 

The founder and CEO of GDC Technology updates 

us on Asia’s digital rollout and says what he 

thinks the industry needs to be talking about at 

CinemaCon 2012 

by Amy Nicholson 

DR. MAN- 

NANG CHONG 

TAKES THE 

STAGE AT 

CINEASIA 

their box office with the China Film Group. 

There is no reason that they could not go digital, 

although many of them prefer to buy the 

equipment themselves. 

And when that happens, what do you predict 

theaters that don’t convert will do—is 

there enough of a revival, second-run audience 

in Asia for them to stay in business? 

There are very few second-run theaters in Asia. 

I cannot say how many are there in Japan and 

Korea, but I think there are some second-runs 

in Hong Kong, Singapore, Taiwan—but very 

few as compared to America and Europe. I 

think the second-run cinemas will need more 

digital than the first-run cinemas because the 

second-run cinemas have a shorter shelf life so 

they would need to release many more films a 

year than a first-run cinema. I’m not sure how 

many movie fans there are who would choose 

to go analog. Maybe they would be a fan 

who really enjoys watching movies in analog, 

but I’m not sure there’s a cult of that here 

that would pay a premium to watch a film in 

analog, even if the analog is very high quality. It 

will be a niche eventually. 

We hear that digital is growing fast in Asia, 

but what are the regional differences you 

see between China, Japan, Korea, Hong 

Kong and Singapore? 

My favorite topic is China because the market 

has grown from strength to strength. China 

has reached almost 10,000 screens now, and 

almost 9,000 of them are digital. I believe they 

added more than 3,000 screens just last year 

and another 2,000-plus the year before. All 

their new screens are fully digital and the new 

Chinese films are all digital, so the cinema has 

no other options but to adopt digital. This is 

a big leap over more developed countries like 

Japan, which still makes analog movies and has 

film projectors. And China loves 3D, so that is 

a huge catalyst to going digital. 

What can the American industry learn from 

the success—or occasional missteps— 

you’ve seen as the Asian industry has 

adopted digital? 

I think Asia has a lot to learn from America and 

not the other way around. Because parts of Asia 

are less developed, they don’t have the problems 

of disposing film projectors or trying to convince 

people to invest in digital projectors. 

GDC just sold its 10,000th digital server. 

How soon do you think the digital conversion 

of Asia will reach a tipping point 

where most major studios will only release 

digital prints? 

In Hong Kong, one of the major studios has 

already declared that they will only release films 

in digitial, and I believe many more will follow 

suit for the fact that Hong Kong is almost 100 

percent digital—it’s 95 percent digital right 

now. In China, there have been many releases 

available in digital only, and the Chinese government 

actually also provides subsidies, as 

well as offering a VPF-equivalent managed by 

China Film Group where the cinema actually 

has a choice to go digital by paying a share of 

In December, you partnered with imm 

Sound to distribute its 3D sound system in 

Asia. What interests you about that innovation, 

and how have audiences reacted to 

your first installation at the Wanda Cinema 

in Tianjin? 

Our movie mission has always been to bring 

a premium experience to moviegoers. We 

were the first to introduce 3D into Hong 

Kong and China in the early years, and the 

response was very good. 3D sound is really at 

its infancy stage, but we were motivated by 

the fact that we could bring something new 

to an audience and see whether they like it 

and if they’re willing to pay a small premium 

over traditional 5.1 or 7.1 cinemas. The 

demos have been quite compelling. There was 

a clip where we were in a jungle and I could 

really feel the raindrops coming down from 

the sky—it was almost like they were hitting 

you. There was another clip where stones were 

thrown from left to right and front to back in 

a fight and it was very realistic. Getting people 

more involved in movies really attracts me, 

and we want to promote the technology to 

the audience. This is still needing the studios 

to provide product with 3D sound. Without 

content, it will be difficult to get the ball rolling 

in cinemas. 

Last year, Sex and Zen 3D sold very well in 

Hong Kong. What do you think audiences 

are looking for in 3D, and is that a success 

that can be repeated? 

Because Sex and Zen 3D wasn’t released in 

China [it was banned for its extreme nudity], 

the box office in Hong Kong was so strong 


10 QUESTIONS 

because many Chinese tourists came across 

the border to watch the movie. It appealed not 

just to men but also women moviegoers. They 

booked some of the cinema times for women 

only. They were quite curious to see what it was 

like in 3D. I have not seen it myself—maybe 

on Blu-ray. They’re making another sequel to be 

released next year, I believe. 

China has made 3D movies before, but the 

quality was appalling, so we didn’t get good box 

office. There was a local movie last year, The Flying 

Swords of Dragon Gate, the first locally made 

really good 3D movie, and the box office has 

been overwhelming. Jet Li is the actor and the 

director Hark Tsui is famous and I believe had 

a film at the Cannes Film Festival a couple of 

years ago. It’s the first 3D movie China has released 

that I believe is comparable to Hollywood 

standards. And the story is a remake of a very 

popular movie I remember watching as a kid. 

It made $70 million dollars in China alone—it 

was really big. I believe it’s even still screening in 

some parts. It will have a long shelf life. 

Which 3D movie are you most looking forward 

to in 2012? 

Men in Black and Spider-Man would be very interesting 

in 3D. I enjoyed watching the previous 

Men in Blacks. Spider-Man will be a challenging 

one because there’s a lot of fast action, so I 

wonder how good it will be. 

What do you think are the most important 

topics the industry needs to be talking 

about at CinemaCon this April? 

I believe the digital conversion is almost done 

for most countries, so the next big question is 

what can one do with digital cinema? This is 

just the beginning of digital cinema, I believe. 

3D has proven a successful catalyst by improving 

revenues, so what will be the next application 

that can make the cinema great? I believe 

3D sound is one of the possibilities. There 

have been a lot of cinemas experimenting with 

large-screen formats. This is made possible by 

dual projectors, and then there’s laser projectors, 

which will make projectors brighter. Perhaps 

we can reduce the cost of 3D and have more 

consistency. And the next topic which interests 

me a lot is alternative content in cinemas. 

Alternative content hasn’t been really successful 

other then the Met opera and, in some countries, 

the ballet. Beyond that, nothing has really 

happened yet. There’s concerts and sports, but 

no constant revenue coming into cinemas from 

alternative content. 

Your restoration process, Revival, was 

used to preserve Casablanca. With digital 

3D reissues like Titanic and The Lion King 

becoming a new trend, what are some 

classic films you’d like to see restored and 

converted to 3D? 

I think a Hitchcock series would be my favorite. 

I’m not sure whether the 3D would make any 

difference—I’m just a big fan of Hitchcock. I 

enjoy watching Rear Window again and again. 

Classic movies like Frankenstein maybe, or 

Stephen King. But if Hitchcock was rereleased, 

I’m sure I would bring my family to see Vertigo 

in 3D—my daughter is a big fan of 3D. Young 

people like to watch 3D. For me, watching a 

restored 2D rerelease with enhanced sound 

would be great. 

Two years ago, you joked that the stress 

of the industry had turned your hair 70 

percent gray. How is it today? 

Last year was the most challenging yet—we 

became DCI-compliant. I think the whole 

company was under a lot of pressure to deliver 

it, and we’re so pleased that all ten of our servers 

passed. I’m feeling a lot better now. I have 

more time to explore different countries. I’m 

about to fly to India, and we just installed the 

first multiplex in Cambodia, in Phnom Penh. 

We installed the first three-screen multiplex—I 

didn’t realize Cambodia didn’t have cinemas yet? 

I hope I have more time to spend in developing 

countries like Myanmar, Papua New Guinea, 

and see how digital cinema can improve their 

lives. As for my hair, I don’t think I can reverse 

it now. It’s probably 75 percent gray after the 

DCI compliance. 

34 BOXOFFICE PRO MAAY 2012

SECRET 

WEAPON 

by Inkoo Kang 

Meet the Muvico manager with a gift for handling 

customer complaints 

What got you into the movie/theater industry? 

Honestly, I went to the Muvico Theater in Orlando and thought it 

was a beautiful theater, so I decided to apply for a job. And here I 

am ten years later. 

Before joining Muvico Theaters, you were a member of the United 

States Armed Forces. What were your rank and responsibilities 

there, and how has your military experience influenced your managerial 

or organizational style? 

I was an Army Specialist and a combat medic. I was deployed for 

OEF/OIF (Operation Enduring Freedom/Operation Iraqi Freedom) 

with the 841st Engineer Battalion. My responsibilities were to make 

sure that the approximately 80 to 100 soldiers under my care were 

taken care of medically by providing any emergency care if needed. 

My experience in the military has a big influence on my job because 

I dealt with an enormous amount of people who are so different in 

their own way. You have to be organized in the military—that could 

mean the difference between a smooth mission and someone not 

making it back. 

How do you stay organized at your job now? 

Make a plan. Plan ahead for the busy times and even for the not busy 

times. Disorganization is a result 

of being reactive instead of proac- 

tive. 

What’s an average day for you? 

There is no average day at a movie theater because something differ- 

ent is always happening—this is why I love this industry so much. 

An average day for me when I open the theater involves making 

sure that we have a game plan for the day, planning for our busy 

times and ensuring that all the equipment is in working order and 

that everyone shows up for work. When I close out for the day, I 

again make sure that all of the crew members showed up for work, 

replace the crew that did not show up, ensure that the concession 

stand is stocked and ready to go 

for the rest of the night, and inter- 

act with our patrons to resolve any issues that may have come up. 


PARBATIE “MINTY” REGIS 

Operations Manager 

Muvico Parisian 20 and IMAX 

West Palm Beach, FL 

RESPONSIBILITIES 

Resolving customer complaints, handling 

special events, and managing concessions— 

“We all know how important the concession 

stand is in any movie theater.” 


SECRET WEAPON 

What was your most successful moment 

of the past year? 

Raising our upsell percentage by 

almost 20 percent and bringing our 

theater—which was almost last in the 

company—to second place. I did this, 

of course, with the help of the best 

management team and our hardworking 

crew. 

Who was a key mentor for you and 

why? 

I have two people that had a great influence 

on my career. These people are 

Jodi Pine—my first managing director 

and a very independent, strong and 

wonderful person—and Mike Stover, 

my current managing director/regional 

director. He is very good at handling 

multiple tasks, and he has taught me a 

lot about organization and preparation. 

According to Mike Stover, you are 

excellent at motivating employees 

and resolving conflicts. How are you 

so great with people? Any advice 

you can share? 

I think that I am a very positive person and a 

great listener. My advice is if you take the time 

to listen to anyone who has an issue, it will 

make them feel better. And, of course, as long 

“There is no 

average day in 

a movie theater 

because something 

different is always 

happening…” 

as the action taken is positive, everyone will be 

happy. 

How do you convince customers to host 

their special events at Muvico Theaters? 

I make sure that they have a great time 

checking out the facilities that are available to 

them by walking them around and showing 

off the things that make our location stand 

out, such as our theater’s Parisian theme. To 

keep special-events customers happy, we go 

the extra mile, arrive early for their event, be 

personally involved and not pass the job off to 

someone else. 

What’s your favorite movie 

and why? 

Independence Day is my favorite movie because 

it has everything: a hostile takeover, aliens, 

fighter jets, Will Smith, lots of fireworks, 

everyone coming together all over the world to 

fight for their right to live. And did I mention 

Will Smith? 

What’s your favorite concession stand 

snack? 

Buncha Crunch and popcorn mixed. It tastes 

awesome and has a nice fl avor. 

What do you think of being nicknamed 

Muvico Theater’s Secret Weapon? 

It was defi nitely a surprise, and it is a great 

honor to be thought of in this way. 

Who’s your theater’s Secret Weapon? Nominate 

him or her at inkoo@boxoffice.com 


THEATER 

REPORT 

by Annlee Ellingson 

Presentation and personal service 

at a reasonable price—these are 

the founding principles upon 

which Robert Wiesenmayer has 

successfully operated the Wapa Theatre in his 

hometown of Wapakoneta, Ohio, for nearly 

a quarter-century. An attorney by trade, he 

Digitization revitalizes a century-old cinema 

NOW THAT’S A FACELIFT 

purchased the old live performance venue 

back in 1988 for both practical and nostalgic 

reasons. Built in 1904, the three-story movie 

house with its iconic Native American-themed 

enamel marquee provided him both room to 

expand his burgeoning full-service family law 

firm (his daughter and son both practice with 

him) and the opportunity to preserve a piece of 

the town’s history. And as of last December, he 

has brought the theater into the digital age. 

Over the years, Wiesenmayer has weathered 

industry developments that have put many 

of his fellow small-town exhibitors out of 

business, including the arrival of home video 

and the rise of multiplex cinemas. In 2007, he 

collaborated with Pete Suter, a movie theater 

operator from nearby Bluffton, to manage and 



THEATER REPORT 

revive the Wapa with a family-friendly model. 

“For less than $20, a family of four could come to a movie and be 

entertained,” Wiesenmayer says. “They could buy a ticket and they could 

get some pop and popcorn, and for less than 20 bucks they could enjoy 

a movie.” 

Suter also cleaned up the theater, revamped the concessions and 

launched the Wapa’s online presence to bring the 550-seat theater into 

THE SNACKS 

ARE READY 

THE ART IS 

LOCAL 

AND THE 

WAPA IS 

READY FOR 

BUSINESS 

the 21st century. Attendance went up. But after the 50-mile roundtrip 

commute proved too burdensome for Suter, Wiesenmayer went about 

looking for another theater manager with this heads-up from Suter: “The 

industry is thinking of going to go to digital, and somebody’s going to 

have a big expense to convert this.” 

With no takers, Wiesenmayer bought back the theater business himself 

in 2010, investing in the facilities and investigating how to upgrade 

the Wapa’s picture and sound to digital. In October 2011, he pulled the 

trigger, selecting Christie’s VPF plan and NOC monitoring services. 

“I knew [the VPF deal] was only going to run so long, and I knew 

that if I wanted to maximize what it had to offer me, I needed to get into 

it early,” he says, citing Christie’s “wider range of financing options and 

greater control” as deciding factors for his cost-conscious single-screen 

operation. 

Entertainment Supply and Technologies (ES&T) installed the 

Christie Solaria Series CP2220 projector and Xenolite lamps, replacing 

equipment that dated back decades. 

“Originally the Wapa had an old—I think it was a Simplex XL, which 

brand new was from like the ’40s,” says Bruce Schneiter, vice president 

of technical services for ES&T, who oversaw the theater’s conversion and 

installation. “It was ancient. They had a newer lamphouse—I think their 

lamphouse was from maybe like the early ’70s. We took all that out, put 

in the digital and the new sound system.” 

As with converting any old movie house, there were challenges: The 

Wapa’s projection booth is situated 30 feet above the auditorium floor, 

requiring the new projector to be installed at a steep angle (“Fortunately, 

with digital projectors you can shape the picture that hits the screen 

so it’s a square like it should be,” Schneiter says), and the installation 

required 100 feet of rewiring. 

“Part of the challenge was figuring out the original speaker wires,” 

adds Schneiter. “Trying to figure out where they went and how they got 

to the stage and what was what once we got down there—some of the 

stuff that was there was so old that the insulation was starting to crumble 

off of it.” 

The key to a successful digital conversion, Schneiter says, is reconnaissance. 

“Make sure someone goes and takes a look at the place before 

they order equipment. [Wiesenmayer] had to do a lot of electrical 

work before we got there. I think he had to put in a new breaker panel. 

They had to put circuits in for a new dimmer. We were able to tell what 

he needs, particularly to run that projector, and they were able to get it 

done.” 

The result has been a rousing success. The first time the Wapa fired 

up its brand-new state-of-the-art digital projector, the theater sold out. 

Attendance has once again picked up, and the town of 10,000 has responded 

to Wiesenmayer’s investment with awards recognizing the movie 

house’s contributions to its downtown revitalization and development. 

The Wapa did raise its prices—a family of four can no longer get tickets 

and concessions for $20, but they still can for $30. 

“We put it in the paper and on the Internet that we were going to 

have to raise our prices if we were going to move into the digital age and 

stay open and still get first-run films,” Wiesenmayer says. “Everybody 

said, ‘That’s not a problem at all. Go ahead and do it!’ And so we did it 

and it was just received outstandingly. Everybody was onboard—everybody 

was happy.” 

Wiesenmayer’s commitment to community is at the heart of how he 

runs his business, including his decision to convert the Wapa to digital. 

“It’s all a matter of stewardship,” he explains. “The dollars and cents 

alone isn’t the reward or isn’t the purpose. … But to make it work, you 

have to have what people want. They want that clear picture. They want 

that surround sound. They want a nice place to go watch it. And they 

want affordable prices. 

“You put it all together and then it does more than just for me. It 

helps my community, it helps the traffic downtown, and the people can 

be proud and happy to tell people they’re from Wapakoneta.” 


MARQUEE 

AWARD 

In David Fincher’s 2008 film, 

The Curious Case of Benjamin 

Button (adapted from the novella 

by F. Scott Fitzgerald), Benjamin 

Button of New Orleans continues 

The 

Curious 

Case 

of the 

Prytania 

Theatre 

How does a 

98-year-old theater 

keep getting more 

and more modern? 

by Ross Melnick 

to grow older while paradoxically 

appearing younger and younger. 

It’s also a fitting description of 

New Orleans’ venerable Prytania 

Theatre, which at 98 years old 

shows few signs of aging. And 

much like when CGI turns star 

Brad Pitt into a baby, the Prytania 

has also benefited from digital 

enhancements. 

But the recent aesthetic and 

technological upgrades to the 

theater comprise only one part of 

its appeal. More than any other 

element, it’s the Brunet family’s 

operation of the theater—led by 

the 91-year-old Rene Brunet and 

his son Robert—that sustains the 

loyalty of audiences. Today, as the 

Prytania approaches exhibition’s 

rare centennial anniversary, it 

has become one of New Orleans’ 

better-known cultural landmarks, 

a key venue for moviegoers 

and distributors, and the only 

remaining single-screen movie 

theater in the state of Louisiana. 



MARQUEE AWARD 

Located in New Orleans’ Uptown neighborhood, the Prytania 

was built on the site of an earlier air-dome, or openair 

theater, which handed out the first rain checks in the 

motion picture industry when the city’s notorious weather 

descended upon spectators. Built by United Theatres in 1914, the 

Prytania was operated continuously until 1968 when a concurrent projectionist 

union strike and renovation closed the theater. A subsequent 

fire delayed its reopening for months. The theater finally relaunched in 

1969 but struggled during the 1970s under United Theatres and then 

Trans-Lux. Landmark Theatres took over in the ’80s and operated the 

theater until 1996, when the Brunets renovated and reopened the 300- 

seat, single-screen movie house. 

RENE 

BRUNET, 

RIGHT, AND 

HIS SECOND-IN- 

COMMAND (AND 

SON) ROBERT 

The Brunet family has been operating theaters throughout New 

Orleans for a century. Rene’s father was born into the business in 1921 

when his parents were already exhibiting films at classic—and longsince 

demolished—theaters like the Imperial. “I literally grew up in 

the theater business,” says Rene. “As a child, I used to go to the theater 

with my father almost every night. I more or less learned to read 

looking at the titles on the silent pictures.” Brunet worked behind the 

scenes until his father passed away suddenly in 1946. At the age of 25, 

Rene took over the Imperial and continued to operate many singlescreen 

theaters throughout the city in the half-century between 1946 

and the takeover of the Prytania in 1996, including the Joy and the 

famous Loew’s State on Canal Street, which was converted into a live 

theater in 1989. 

In 1978 at the age of 15, Rene’s own son Robert joined the family 

business and has worked side-by-side with his father ever since. Rene 

now affectionately refers to him as his “number one assistant.” And 

now Robert’s son—Rene’s grandson and the great-grandson of that first 

founder—also works at the Prytania. “At almost any given time, you 

can find three generations of Brunets here,” says Robert. “It truly is a 

family neighborhood theater.” 

The Brunets share their love of film and exhibition with their audiences. 

On any given day, Rene Brunet—even at 91—can be found 

in the lobby, greeting patrons and collecting information for future 

bookings. “I have a very personal relationship with the people who 

come to the theater,” says Rene. “I spend as much time in 

the lobby of the theater as I possibly can—it’s my pleasure 

to entertain the people and to answer their questions so I 

know what type of pictures people want to see here at the 

Prytania, and those are the pictures that I play.” The theater 

is located near both Tulane University and Loyola 

University, and the theater has always catered, describes 

Rene, to audiences in the “very uptown, sophisticated 

part of the city. We do enjoy business from a lot of the 

students from colleges and the general uptown trade.” 

In addition to first-run Hollywood product like The 

Hunger Games, the Prytania has found great success 

showing crossover art-house films like The King’s Speech 

and The Artist. To further cater to the collegiate market, 

the Prytania also mixes in classic films and midnight 

screenings. “It’s very difficult to run a single-screen 

theater because the film distributors more or less lean 

towards the theater circuits that can offer them hundreds 

of bookings where I can only offer them one screen,” says 

Rene. “But fortunately, I’ve built a reputation of doing 

a good job on my one screen.” Adds Robert, the Prytania 

is “all about the presentation—it’s all about showmanship.” 

Unlike more regimented multiplexes, the Brunets wait until 

customers have filtered out of the lobby and into their seats before 

starting the show. “We hold movies five, ten minutes sometimes 

until everyone gets seated.” And their efforts to cultivate customer 

loyalty through these kinds of small but significant details are appreciated. 

“It can be challenging to program this theater sometimes,” 

says Robert, “but, knock on wood, we have the support of 

the community in New Orleans. People appreciate it.” 

In 2005, Hurricane Katrina rattled the city’s infrastructure and 

psyche. The Uptown area was one of the few that did not flood, but 

the strength of the hurricane caused significant roof damage to the 

Prytania. And whether it was the wind or residents seeking shelter 

from the storm, several doors blew or were forced open, making the 

interior vulnerable to wind and water damage. After the storm, the 

city was without electricity or water for a month, and, according to 

Robert Brunet, the situation “took a huge toll on everything.” Still, 

even in its rather beleaguered state, the theater rallied to reopen a 

month later to show the 35mm prints it had on hand before the 

48 

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MARQUEE AWARD 

MARQUEE AWARD 

SANDRA 

BULLOCK AT 

THE PREMIERE 

OF THE BLIND 

SIDE, HELD AT 

THE PRYTANIA 

A 

YOUNGER 

RENE BRUNET 

AND HIS FATHER 

RENE BRUNET SR., 

THE FOUNDER OF 

THE FAMILY 

BUSINESS 

hurricane—Wedding Crashers, Pulp Fiction and 

Brothers Grimm—to the emergency workers 

helping restore the city. 

As New Orleans returned to some semblance 

of normalcy, the Prytania decided to 

renovate the theater in order to make it first 

class and state-of-the-art. It spent a price tag 

of $800,000 to replace the roof, drapes, seats 

and carpets, as well as make numerous structural 

changes to the lobby, including a new 

coffee bar. A new Sony 4K digital projector 

was installed along with a brand-new sound 

processor and speaker system that, when necessary, 

can be “crazy loud,” says Robert. “Most 

theaters can’t do what we do with sound 

because it would interfere with the auditorium 

next to it, whereas we only have one.” 

These aesthetic and technological upgrades 

have “drastically paid off for us,” adds Robert, 

“because we raised the bar in New Orleans. 

People love coming here.” And the theater’s 

post-Katrina grosses drew the attention of its 

competitors and encouraged other cinemas 

to convert to digital. “I don’t want to brag,” 

says Robert, but with the booming sound 

and digital projection on the theater’s 36-foot 

screen, “we’re told our picture is almost second 

to none.” 

The Prytania’s owner is already eyeballing 

new 8K projectors and hopes to be the first in 

the South to install one. “Our goal is to keep 

the Prytania Theatre—which is going to be 

100 years old soon—the most modern, stateof-the-art 

theater. We want to make sure our 

sound and our video—our presentation—is 

amazing.” 

As for the century to come, says Robert, 

“Let’s hope that somebody at Boxoffice will 

be talking to a fifth- or a sixth-generation 

Brunet operating the single-screen Prytania 

Theatre.” For now, Rene continues to hold 

court in the lobby while Robert helps run the 

show. “I don’t consider it work,” says Rene, 

now in his eighth active decade in the exhibition 

business. “I just am there as part of my 

life and pleasure—it’s the job of a lifetime for 

me.” 


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EVERY MONTH IN 

BOXOFFICE PRO 

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Boxoffice blows the reader away from 

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app … The app is loaded with movie 

assets, from trailers of the latest releases to nostalgic images 

and even full video streams of classic films past … Twitter 

feeds from editors and show biz and arguments over films by 

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know how to make the most of everyone’s favorite topic – film 

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48 times per year. Only on the iPad 

Oh—and it’s free. Yeah, that’s right—it’s free.

WORLD 

CINEMA 

THE GROWING WORLD 

OF INDIAN CINEMA 

BRIDGING THE GAP BETWEEN BOLLYWOOD 

AND HOLLYWOOD by Phil Contrino 

My obsession with India’s 

film culture started when 

I began to see its residents 

spending a lot of time on our 

Facebook page and website. 

I soon started to follow Facebook 

pages devoted to Indian 

movie stars, upcoming Bollywood 

films and Bollywood 

news, and it really hit home 

that film fans in India are just 

as obsessive as film fans in the 

States. Case in point: when 

Indian megastar Shah Rukh 

Khan (or “SRK”) posts even a 

casual thought about his kids, 

he draws literally thousands 

of “likes”—a level of interest 

you only see here with Brad 

Pitt. And, of course, when a 

Bollywood film releases a new 

trailer, fans are quick to either 

heap praise on it or ruthlessly 

tear it apart. 

Before my own obsession with Bollywood, my major impression of 

it was Slumdog Millionaire. Needless to say, I had catching up to do. 

Since then I’ve dug in and watched tons of films—especially those of 

SRK—in order to see what all the fuss is about. It quickly became clear 

that Indian filmmakers are striving to achieve the same level of production 

quality that American audiences take for granted, and they’re succeeding. 

I was genuinely impressed by both the universal nature of the 

storytelling and the technical prowess on display—a smart American 

cinematographer could really learn a thing or two from their Indian 

counterparts. 

Giving the keynote address at the 2012 FICCI Frames convention 

in Mumbai, MPAA chairman and CEO Chris Dodd highlighted a few 

staggering facts about India’s film industry: 

3.3 billion movie tickets are sold each year 

The industry contributes an estimated $645 million a year to 

the Indian economy 

1.8 million jobs are supported by the industry 

Cinema has the power to unite. Great films deal in emotions that 

transcend race, religion and country of origin. There are few things 

that millions upon millions of people in this world can say that they 

have in common, but one of them is that they’ve seen Avatar. 

In July 2012, the Cinema India Expo will bring together members 

of our community from around the world to build on the potential of 

Indian cinema by creating a bridge between America and India. Much 

like America, India is currently facing the challenge of converting to 

digital cinema. The transition has become necessary because not only 

the industry but the consumers demand it. 

“In the last two years, the box office has been reporting a growth of 

more than 20 percent, and that’s thanks to digital cinema,” says Anil 

continued on page 56 



WORLD CINEMA > INDIA 

Chopra, managing director 

of Cinema India Expo. 

“Now if you go to a theater 

in India, the fact that it 

is a digital screen is very 

boldly displayed outside 

the theater and even inside 

when you buy the tickets. 

That is to communicate to 

the buyer that they will be 

having a flawless experience 

watching the movie. The 

upper-middle-class youth 

makes a conscious decision 

to see a film in digital.” 

In this aggressive move 

to embrace digital cinema, 

Indian filmmakers are 

realizing the possibilities of 

3D are wide-ranging. At 

first, 3D might not seem 

like a natural fit in a culture 

where musicals and romances are still the biggest 

ticket-sellers. But India could in fact help 

American studios expand their own ideas about 

the technology. 

“In India, there’s a sentiment that it’s not 

necessary to have spaceships and aliens to have 

3D,” says Chopra. “Exposure to 3D is going 

from metros to the smaller towns. More and 

more of the population is seeing 3D with each 

passing release.” Famous Indian filmmaker 

Vikram Bhatt is currently developing 

two films—Dangerous Ishq and 

Raaz 3—for the 3D format. 

Other notable 3D projects 

in India include Joker and 

Sher Khan by Salman Khan 

and Sohail Khan. And 

Ra.One [yes, the period is 

on purpose], a 3D sci-fi flick 

starring SRK, gained a respectable 

following in North 

America after its release by 

Eros Films earned it a 

ATTENDEES 

OF CINEMA 

INDIA EXPO 2011 

AWAIT A SPEECH 

BY LEGENDARY 

DP VILMOS 

ZSIGMOND 

$1.6 million theatrical haul. 

It’s fascinating to compare the evolution 

of India’s film industry with the changes we’re 

seeing—or once saw—at home. “The multiplex 

revolution came to India only eight or nine 

years ago,” says Chopra. “For the first time in 

India, we have malls that are exploding across 

the country and hosting multiplexes. When 

this economy spreads to the 1,000-plus cities 

in India, the growth of screens is going to con- 

tinue on a sharp incline for the next four 

to five years.” The industry will have 

to work very hard to keep up with 

that demand for quality content. 

While Indian cinema certainly 

has plenty of unique voices, the 

impact of American films 

is not to be ignored. The 

union of major Indian 

production houses with 

American companies such 

as Fox and Viacom has led 

to increased sophistication, 

higher standards and shrewd 

crossovers. Not only did 

blockbusters like the Pirates of 

the Caribbean films connect in 

a big way with Indian crowds, 

but Mission: Impossible – Ghost 

Protocol cannily featured Bollywood 

star Anil Kapoor in a 

supporting role. 

“Indian audiences are getting 

extremely comfortable with 

Hollywood films,” says Manoj 

Madhavan, exhibition director 

for Cinema India Expo. “We are 

seeing a lot of marketing by U.S. 

distributors, and the number of 

U.S. films released in India has 

increased each year. This can 

be attributed to more Englishspeaking 

residents, the growth of 

multiplexes and exposure to the 

Internet.” 

2012 is poised to be a big 

year for film relations between 

India and America. The opportunities are 

endless as both countries move toward a digital 

future. Says Chopra, “The American industry 

should open their minds and eyes and see that 

there’s tremendous growth and potential.” 

THE 2012 CINEMA INDIA EXPO 

WILL TAKE PLACE ON JULY 23 & 

24, 2012, AT THE RENAISSANCE 

MUMBAI CONVENTION CENTRE 

HOTEL IN MUMBAI. 

ANIL 

CHOPRA 

(LEFT) AND 

RANJIT THAKUR 

(RIGHT) WORK 

HARD TO MAKE 

THE EVENT A 

SUCCESS 


SNACK 

TIME 

The State of the Popcorn Industry 

CONCESSION PROGRESSION 

by Annlee Ellingson 

Since 1885, C. CRETORS & COMPANY has designed and manufactured the popcorn 

poppers that are at the center of movie theater concessions. The company’s 

125th anniversary party in 2010 was really a celebration of the birth of the concessions 

industry itself, as Charles Cretors’ creation of a multi-snack cart for the 1893 

Columbian Exposition marked the introduction of one of the world’s first concession 

stands. And at CinemaCon, Shelly Olesen, Cretors’ vice president of sales and marketing, 

will be honored with the 2012 Bert Nathan Memorial Award, which recognizes 

leadership and significant accomplishment in theater concessions. BOXOFFICE 

recently chatted with company president Andrew Cretors and his father, CEO Charlie 

Cretors, about popcorn trends, environmentally friendly concessions developments 

and what’s kept them in business for one and a quarter centuries. 

One of the things that’s notable about Cretors 

is that you’ve stuck to the basics—popcorn, 

nacho cheese, hot dogs. Why has that 

been a smart business model for Cretors? 

Charlie Cretors: My dad and I were both 

engineers, and we built things that worked. To 

a certain extent, we weren’t businessmen who 

went out to create and grow businesses. We 

kind of built a better mousetrap and people 

came to our door, but we didn’t build rattraps. 

We built our mousetraps, and we did pretty 

good with them. And now it’s beginning to be 

a necessity to start expanding. But I think the 

basics are do what you do well and focus on it. 

I did not try to grow the business. Some people 

will say that’s a fault, but it was my nature, so 

that’s what I did, and I’d say that’s how at least 

for the last 50 or 60 years—going back to my 

dad, going back to the ’40s after the war—that’s 

the way he ran it too. 

You said that you 

“built a better mouse- 

trap.” What makes a better mousetrap? 

Charlie: Our popcorn machines were the main 

focus, and that was 

really the only thing we 

did up until I came to the company in about 

1970 when I brought in the industrial popcorn 

machines, which were the big ones. Today, 

those machines go 

up to 5,000 pounds an hour. 

They’re huge industrial machines. But again, it 

was always focused 

on popcorn. Our industrial 

sales guy sells a lot 

of machinery that goes into 

continuous fluidized-bed ovens, and they’re 

used for lots of different cereals and snacks, but 

my focus was just on popcorn machines. 

It’s only recently, the last 10 years, when 

salespeople have come to me and said, 

“We need this, we need that.” And 

then I focused my attention on that. 

I’m more 

an engineer than I am a 

businessman. I can build an awful lot 

of different things, and if salespeople 

brought in new ideas, then suddenly 

we would move into a new market 

because I’d develop the machines and 

they did the sales. 

CHARLIE 

CRETORS 

AND HIS 

SIGNATURE 

CORN 

It seems like that model served 

you well, at least up to a cer- 

tain point. 

Charlie: Yes, it made us very solid 

and stable, but it didn’t give us a 

huge amount of growth. 

Are there plans for expansion into other 

areas? 

Andrew Cretors: Yeah, and that’s kind of I 


SNACK TIME 

think where I’m going. The history of our sales 

channels has always been through dealers, and 

so where the dealers were out there supplying 

the supplies to the local theater chain or PTA, 

part of the puzzle we fit then was really just 

the machines—we really weren’t interested in 

competing with our dealers. In fact, we relied 

on them to place our equipment as well as 

to service the equipment. A lot of that has 

changed, though, over the past 10 to 15 years 

when the theater chains really started to grow 

and nationalize and centralize their purchasing. 

A lot of the dealers that we used to rely on 

have gone away. So as a theater chain buys up 

the local five-plex and then the purchasing gets 

centralized, the theater chain begins to realize 

some purchasing power and economies of scale. 

Now, I’m going direct to the corn growers and 

direct to the paper bag people—the local dealers 

didn’t have that kind of power, so the local 

dealers went away. We do still have some very 

good dealers and we still support them, but a lot 

of the theater chains have required that we work 

directly with them, and we do. We’re beginning 

to realize the value of the one-stop shop. 

Charlie: I’ll add that the dealer model is still 

fairly strong in Europe and internationally 

because you don’t have the developed monster 

theater chains. You end up doing the dealer 

model, and he’s doing the missionary work out 

there selling machinery, whereas that doesn’t 

happen so much in the United States. Everybody 

knows about popcorn. 

You have international business then to 

those dealers? 

Andrew: Oh yeah. Oh yeah. 

But domestically, the waning of the dealer 

model has forced you to change how you 

operate some parts of your business. 

Andrew: Right. We’re working now on looking 

at opportunities where we can grow our supply 

business. The history of the company had a 

strong supply business—when my grandfather 

was running the business, he actually had two 

businesses: one was Cretors, which was the 

equipment side, then he had a supply distribution 

business on the other side. 

Charlie: Iroquois Popcorn. 

Andrew: And then through family generations 

and succession, my dad ended up with Cretors, 

and my uncle ended up with Iroquois. And 

now I’m at a point where I’m trying to pull that 

back in, because I know for a fact that we’ve lost 

equipment sales due to the lack of the supplies. 

Supplies meaning popcorn— 

Andrew: Yeah, it could be corn, oil, packaging, 

cotton candy sugar—really any of the consumables. 

You mentioned earlier a one-stop shop. 

Your customers want to go to a place 

where they can get not only the machines, 

but the snacks and packaging. 

Andrew: Yeah, and I think that’s been one of 

the learning curves we’ve had with the advent 

of Costcos and the Sam’s Clubs of the world. 

Any Joe can go out and buy a single 50-pound 

bag of corn and his oil and his bags at Sam’s 

Club for the local PTA, and I think there will 

always be people that will do that. But there are 

customers that we sell to on a regular basis that 

could benefit from our ability to pull something 

else of stock and stuff the rest of the container 

with consumable products. So that’s the direction 

I’m looking in going. 

Movie theaters are getting a little fancier 

and selling pizza and hot foods and other 

upscale snacks. Any plans to go beyond 

popcorn? 

Andrew: Not at this point. Our expansion right 

now is surrounding our existing machines with 

the supplies that go with them. And maybe 

once we get that done, maybe we’ll look into 

broadening even further. 

You have recently introduced a new line of 

carmelizers. With Cretors being in business 

for 127 years, what have you noticed about 

audiences’ popcorn habits? Are they interested 

in more flavors? 

Charlie: I can speak to that because I lived 

through it. One of the most interesting 

things I ever had in our plant on Racine 

Avenue about ’75 or ’78, some people 

were in and they said, “Well, you’re 

brand-new to the caramel corn machinery 

business.” I said, “Not really. My 

father patented this caramel corn machine 

in 1963,” which at that point was almost 15 

years prior. r. And I happened to have one of 

our old catalogs that I was sorting through. 

And I said, “This is the caramel corn 

systems we made in the ’30s.” 

What happens pens is caramel 

corn goes up and down, up 

and down. At one time we 

sold mixes that were like 

the Baskin-Robbins 31 

flavors. We had all sorts 

of flavors and mixes. 

The reality was that 

people bought about 

two or three kinds 

of sweet mixes and 

only one or two 

savory mixes, and 

then gradually that 

market disappeared 

because 

the custom shops 

got away from it. 

It seems like a 10- 

or 15-year cycle, 

and right now it 

seems to be picking up—it’s been very solid 

with the caramel corn. 

Now, is that different internationally versus 

domestically? I was recently in Thailand and 

they served three or four different kinds of 

flavored corn 

Andrew: I know UltraStar Cinemas in California, 

they make their own real caramel corn 

using our equipment, and it’s gone over very 

well. Kernel Season’s stumbled on the idea that 

theater popcorn can be a lot more than just a 

butter flavor, and he really created a neat idea 

to season the popcorn in a variety of different 

ways, and he’s been really quite successful. You 

always know you’re onto a good thing when 

people copy you, because just like we’ve had 

people copy our equipment, he has people who 

are copying his idea. But popcorn is just one 

of those things that’s a great base to start with, 

and it allows people to be creative in seasoning 

it to their taste. Even in the soft drink industry, 

you’re seeing kids get their cup and then they 

get to fill it on their own. Me, I just fill my cup 

with Diet Coke. But these kids, they’ll hit each 

one of the fountain heads on there and taste and 

see what they came up with. And I think that’s 

just kind of what people 

are looking to do: try 

and personalize it 

for themselves. I 

think the popcorn 

seasonings play 

well into that. 

We’re starting to 

see calorie counts 

on the menuboards 

at theaters, and 

you’ve recently 

promoted 

the 

COMPANY 

PRESIDENT 

ANDREW 

CRETORS 

60 BOXOFFICE FI EPR 

PRO MAY 2012

SNACK TIME 

OriginatAir popper. How is Cretors addressing 

that concern? 

Andrew: The theater industry has seen at least 

a couple of instances where you see this push 

for healthier snacks at concession stands, but 

it never sticks. And some of these guys have 

warehouses of fruit cups that are about to go 

out of date because they get the mandate from 

corporate that says, “We must offer this,” and 

they offer it, and people aren’t buying it. So 

I think the moviegoing public recognize that 

it’s a treat. If you eat a bucket of popcorn a 

day, is it going to be good for you? It depends 

on a lot of things. But I think most people go 

to the movie theaters looking for something 

that tastes good, something that they know 

isn’t as healthy as a plate of broccoli. But the 

OriginatAir at least gives the theaters the option 

that they can offer to their customers a 

healthier snack. 

So you’re finding that theaters are buying 

the OriginatAir as an option, not as a 

replacement for their current equipment. 

Andrew: Right. 

Environmentally friendly technology is also 

trending at the moment. Tell us about your 

“Green Your Machine” (GYM) refurbishment 

program. 

Andrew: Part of what makes or has made 

our machines a better mousetrap is just that 

they hold up so well. Through the late ’90s, 

a lot of theater chains were growing and we 

were putting out loads and loads of machines. 

Here we are 15, 20 years down the road, and 

a lot of those machines are still in service but 

needing some rework. So we had started a 

program where we would estimate the cost to 

repair a machine—and a lot of times, we can 

do the estimate remotely if they send detailed 

pictures—and then if they wanted to move 

forward, they would send it in, and we would 

conduct the refurbishment. Really what we’re 

doing is tearing the whole machine down and 

repairing certain doors and things if they’re 

dinged up but still functioned. But they just 

mainly wanted the popper case to look better, 

get the kettle all cleaned up, and obviously we 

would replace worn electrical items. Just as a 

matter of course, we’d replace the thermostats 

because as a safety device, it’s important to 

make sure those are functioning properly. So 

we’ll do that for about half the price of a new 

machine. We had an interesting story where 

the head of a theater chain saw one of our 

refurbished machines in his warehouse and 

went to question the purchasing people saying 

he didn’t authorize the purchase of new equipment—and 

that’s when he learned that it was 

actually one of our factory-refurbished units. 

That, to us, is a great compliment at the level 

of work that we do for our refurbishment. 

But ironically, that refurbishment program 

… in 1893 when my 

great-grandfather took 

a little popcorn machine 

to the Columbia 

Exposition, this was 

one of the first instances 

of a mobile concession 

stand. Until then, 

you had street vendors 

that sold waffles or 

sold ice cream. They all 

sold one thing, but the 

Cretors popcorn wagon 

sold peanuts and popcorn 

and a couple of 

other little things that 

they could put in there. 

This was a mobile concession 

stand, and this 

was how our birthday 

party—if you want to 

call it that—morphed 

into the concession 

industry. 

got stopped short when we introduced our 

Mach 5 popcorn machine because the Mach 5 

machine was the next generation to our Diplomat, 

which was the mainstay movie theater 

machine for many, many years. 

Charlie: Yeah, I had done all the design work 

into it, and if it ain’t broke don’t fix it. But the 

reality is it needed breaking, so we started out 

with a brand-new clean piece of paper. The 

Mach 5 was a true clean-sheet-of-paper job 

and brought the cost down, maintained all 

of the functions of the reliability of strength 

in the Diplomat, but it brought us into a 

price competition situation, which is what we 

needed to do. 

Andrew: But like I said, with the refurbishment 

program you could get your machine refurbished 

for about half the price. So somebody 

with the old Diplomat, they’re looking at the 

refurbishment price and then they’re looking at 

the price of a brand-new Mach 5, and it wasn’t 

that much more. Our customers were actually 

upselling themselves to the Mach 5, and so we 

scaled back the refurbishment, which is the 

most green you can get. I mean, you’re recycling 

a whole machine without smashing it into a box 

and melting it down. 

Are you seeing other ways that theaters 

can “green” their operations? 

Andrew: Yeah—I’ve talked to theater operators 

who are looking at everything right down to 

electrical consumption, so we’re being challenged 

to find more efficient electrical means of 

popping corn. 

Charlie: Shelly Olesen and I were out visiting 

customers, and we walked into a theater and 

realized that the popper kettle was turned on. 

And the manager said, “Oh, yeah, when we 

walk in the door, we turn the kettle on.” That’s 

the first thing they do in the morning, and 

the last thing they do in the evening is turn it 

off. Well, that’s five kilowatts. That’s a lot of 

electricity. And in addition to that, which the 

theater manager wasn’t aware of, that in an 

effort to control costs, the engineering departments 

within the theater chain had ordered an 

interlock in the machine so that the exhaust 

fan above the hood didn’t go on until the 

kettle was on. So there’s this guy, turning on 

the kettle, using electricity to keep the kettle 

hot all day long and running the exhaust fan 

all day whether he needs it or not. That kind 

of thought process led to the development of 

something we call “One Pop,” so that when the 

operators pop the corn in the kettle, when the 

kettle’s done, it turns itself off—and of course 

this in turn would turn off the exhaust fans 

and anything else that is interlocked with the 

machines. 

Andrew: And that’s a patented feature that’s 

available on all of our machines, everything 

from the home-size machine. For the fancy 

home theater they put a lot of money into, this 


One Pop feature is a great safety feature because 

it will shut itself off and possibly prevent a fire. 

Charlie: It’s like a toaster. It toasts the bread 

and it’s off. 

You mentioned Shelly Olesen, and I want 

to congratulate the whole company for her 

receiving the Bert Nathan Memorial Award 

this year. 

Charlie: We’re very pleased. I am particularly. 

You should be. And I was just really interested 

to see that your 125th anniversary 

was tied into a philanthropic cause, and you 

raised $35,000 for the Chicago Arts Partnerships 

in Education. Why was it important 

that that celebration of your company also 

give back to your community? 

Andrew: That’s really what any responsible entity 

should be doing, be it a for-profit company 

to even nonprofit organizations. I think it’s important 

to give back to the community because, 

quite frankly, if it weren’t for the people going 

to the movie theaters and buying the popcorn, 

we’d probably be doing something different. 

We’ve got an amazing legacy of 127 years, and I 

think every once in awhile, it’s important to step 

back, reflect, and do what you can to give back 

and show thanks. 

Charlie: The city of Chicago, people talk about 

how expensive it is, but we have benefited from 

an awful lot of grant money in our company 

mainly directed at education of our people and 

education of students. And we will get students 

in and grants of the city are paying for the students’ 

time and giving them a job to do. Well, 

we give them real work. We don’t put them at 

the front desk and say, “Answer the phone.” We 

give them things to do—everything from the 

factory to the office—and as a consequence, 

we have found a number of first-class, real 

good employees out of those programs. And 

so it’s nice to be able to go the other way for a 

change. 

Have you started planning your 150th anniversary 

celebration? 

Charlie: I don’t think I’ll be around. I’m 70 

years old. Andrew will deal with that. 

Andrew: It’s funny, the organization that we 

benefited is called CAPE, which is Chicago Arts 

Partnerships in Education. They were so excited 

and pleased with the results of that event that 

they wanted us to celebrate our 126th anniversary. 

We haven’t started planning it for sure, but 

I think it’s going to be a tough show to improve 

upon. 

Charlie: When I start talking about the original 

wagons and things, 1885 was peanut roasters, 

but in 1893 when my great-grandfather 

took a little popcorn machine to the Columbia 

Exposition, this was one of the first instances 

of a mobile concession stand. Until then, you 

had street vendors that sold waffles or sold ice 

cream. They all sold one thing, but the Cretors 

popcorn wagon sold peanuts and popcorn and a 

couple of other little things that they could put 

in there. This was a mobile concession stand, 

and this was how our birthday party—if you 

want to call it that—morphed into the concession 

industry. The concession industry began 

from the popcorn and the peanuts and all of 

these other things coming together from a single 

vendor, whereas before it was never a single 

vendor: it was always this guy, this guy and that 

guy. We brought it into one place. So, yes, it 

was our birthday party, but it was also the whole 

concession industry’s birthday party. 

Do you have any advice for concessionaires 

looking to stay in the business as long as 

you have? 

Charlie: I don’t do that kind of stuff. [Laughs] 

Deliver a good product at a good price, and 

you’re going to stay in business. As long as you 

have people walking past seeing what you’re doing. 

If you’re at the end of a dead-end street and 

nobody sees you, you can have the best thing in 

the world and you’re not going to sell it. But if 

you’re in the right place with the right product, 

you’re going to do fine. Provide a service that 

people like, and they’re going to do it for you. 

Be honest and straightforward. 

MARCH 2012 BOXOFFICE PRO 63

RELEASE CALENDAR 


05.04.12 Disney Marvel’s The Avengers 

05.25.12 Sony Men in Black 3 

06.01.12 Radius-TWC Piranha 3DD 

06.08.12 DreamWorks Madagascar 3 

06.08.12 Fox Prometheus 

01.11.13 Paramount 

Hansel and Gretel: 

Witch Hunters 

06.22.12 Disney Brave 

01.18.13 Disney Monsters, Inc. 

06.22.12 20th Century Fox 

Abraham Lincoln: 

Vampire Hunter 

01.25.13 

Sony/Screen 

Gems 

Battle of the Year: The 

Dream Team 

07.03.12 Sony/Columbia The Amazing Spider-Man 

07.13.12 20th Century Fox Ice Age: Continental Drift 

07.27.12 Summit Step Up 4 

08.17.12 Focus Features ParaNorman 

08.31.12 

UTV 

Communications 

Joker 

09.14.12 Disney Finding Nemo 3D 

09.14.12 

Sony / Screen 

Gems 

Resident Evil: Retribution 

09.21.11 N/A Dredd 

09.21.12 Sony Hotel Transylvania 

10.05.12 Disney Frankenweenie 

11.02.12 Disney Wreck-It Ralph 

11.21.12 

Paramount/ 

DreamWorks 

Rise of the Guardians 

11.21.12 Warner Bros. Gravity 

11.21.12 Universal 47 Ronin 

12.14.12 Warner Bros. 

The Hobbit: 

An Unexpected Journey 

12.21.12 20th Century Fox Life of Pi 

02.14.13 

Weinstein 

Company 

Escape From Planet Earth 

03.08.13 Disney Oz: The Great and Powerful 

03.22.13 Warner Bros. Jack the Giant Killer 

03.22.13 

Paramount/ 

DreamWorks 

The Croods 

05.10.13 Warner Bros. Pacific Rim 

05.17.13 Paramount Untitled Star Trek Sequel 

05.24.13 Fox Leafmen 

06.21.13 Disney Monsters University 

07.12.13 Warner Bros. Pacific Rim 

07.19.13 Universal Jurassic Park 

07.31.12 Sony/Columbia The Smurfs 2 

08.02.13 Warner Bros. 300: Battle of Artemisia 

09.13.13 Disney The Little Mermaid 

10.04.13 Disney Untitled Henry Selick Film 

10.11.13 Fox Walking With Dinosaurs 

11.08.13 

Paramount/ 

DreamWorks 

Me and My Shadow 

11.27.13 Disney Frozen 

12.21.12 Paramount 

Cirque du Soleil: 

Worlds Away 

12.13.13 Disney 

The Hobbit: 

There and Back Again 

12.25.12 Warner Bros. 

01.04.13 

Alliance Films, 

Lionsgate 

2013 

The Great 

Gatsby 

The Texas Chainsaw 

Massacre 3D 

12/20/13 Sony/Columbia 

2014 

Cloudy 2: Revenge of the 

Leftovers 

05.02.14 Sony The Amazing Spider-Man 2 

05.30.14 Disney Disney/Pixar Untitled Film

MORE EVENTS ON PAGE 70 

INTERNATIONAL DAY / MONDAY, APRIL 23 

7:30 AM – 7:00 PM 

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INTERNATIONAL DAY BREAKFAST (Palace Ballrooms I and II-Emperors Level) 

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KEYNOTE ADDRESSES: Veronika Kwan Vandenberg, President, Distribution, Warner Bros. Pictures International / Tim Richards, CEO, Vue Entertainment 

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CUSTOMER RELATIONSHIP MANAGEMENT (CRM): DRIVING INCREMENTAL BOX OFFICE 

MODERATOR: Mark de Quervain, Sales and Marketing Director, Vue Entertainment 

PRESENTERS: David Andreadakis, Director, Decision Sciences, US, Aimia / Sarah Lewthwaite, Vice President, Marketing, Cineplex Entertainment / 

Sara Hoogendorn, General Manager, Marketing, Hoyts Corporation 

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MODERATOR: Mark Christiansen, Executive Vice President, Worldwide Operations, Paramount Pictures 

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MODERATOR: David Hancock, Senior Analyst, Head of Film and Cinema, IHS Screen Digest 

TOPICS AND PRESENTATIONS: “The Value Proposition for Alternative Content to the Exhibitor,” Rob Arthur, Managing Director, Apollo Cinemas 

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THE EXCITEMENT AND CHALLENGES OF THE INTERNATIONAL MARKET IN THE 21ST CENTURY 

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a Philips Lighting expert close at hand to offer 

help and advice. So Philips Lighting can provide 

the ultimate support network for cinema lighting 

from the opening titles to the final credits. 

To find out more about Philips cinema lighting solutions please visit www.philips.com/lighting/entertainment

CINEMACON EVENTS SCHEDULE 

MONDAY, APRIL 23 

6:30 AM – 7:00 AM 

2012 AL LAPIDUS MEMORIAL GOLF TOURNAMENT Anthem Country Club (Buses Depart) 

7:30 AM – 7:00 PM 


10:00 AM – 5:00 PM 


SPONSORS: Allure Global Solutions / EFA Partners – Entertainment Financial Advisors 

3:30 PM – 5:30 PM 

THE DISNEY INSTITUTEʼS APPROACH TO EMPLOYEE ENGAGEMENT 

FACILITATOR: Bruce Kimbrell, Site Leader, Disney Institute 

Does a customer remember a product or a person? When our founder determined that 

people remember people, he had hit upon an essential business truth that led to immediate 

and sustained success. At Disney Parks, the mission of small teams is aligned 

with the mission of the larger organizational culture to create a seamless experience. 

We believe that in any business, an organizationʼs human resource culture is central to 

long-term success. 

The Disney corporate culture is the cornerstone of its people management processes 

and is the philosophy underlying all business decisions. This program explores the 

culture and principles behind the highly successful Disney method of engagement 

of our people. You learn to adapt techniques used to communicate and care for your 

employees in order to sustain a supportive and interactive organizational culture. 

6:30 PM – 8:30 PM 

GALA OPENING NIGHT EVENT OF CINEMACON 2012 (The Colosseum-Casino Level) 

Welcome to CinemaCon 2012, a special program featuring an exclusive sneak preview 

of select upcoming releases presented by Paramount Pictures and DreamWorks Animation 

(complete with stars, filmmakers, surprises and more!) 

8:30 PM 

OPENING NIGHT DINNER RECEPTION AND PARTY (Octavius Ballroom-Promenade Level) 

When the excitement in the theater concludes, the fun will just be beginning as Paramount 

Pictures, in conjunction with Christie, Dolby Laboratories and IMAX Corporation, 

will be hosting the Opening Night Dinner Reception of CinemaCon 2012. 

SPONSORS: Christie / Dolby Laboratories / IMAX Corporation 


AL LAPIDUS 

MEMORIAL 

GOLF TOURNAMENT 

ANTHEM COUNTRY CLUB 

Monday, April 23, 2012 

TUESDAY, APRIL 24 

7:00 AM – 6:00 PM 


7:45 AM – 9:15 AM 

ALL-INDUSTRY BREAKFAST (Palace Ballrooms-Emperors Level) 

SPONSORS: Ballantyne Strong Inc. / Reynolds & Reynolds Inc. 

SPECIAL KEYNOTE ADDRESS: THE DARK SIDE OF THE INTERNET 

SPEAKER: Frederick Huntsberry, Chief Operating Officer, Paramount Pictures 

AWARD PRESENTATIONS 

BERT NATHAN MEMORIAL AWARD – Shelly Olesen, VP of Sales & Marketing of C. Cretors 

& Company 

KEN MASON INTERSOCIETY AWARD – Jerry Pierce, Chairman, InterSocietyʼs Digital 

Cinema Forum and Former Senior Vice President, Universal Pictures 

9:30 AM – 11:15 AM 

THE STATE OF THE INDUSTRY: PAST, PRESENT AND FUTURE (The Colosseum-Casino Level) 

SPECIAL REMARKS AND MAJOR STUDIO PRESENTATION 

Please Join Warner Bros. Pictures for a sneak peek at its 2012 films. 

Jeff Robinov, President, Warner Bros. Pictures Group 

Dan Fellman, President, Domestic Distribution, Warner Bros. Pictures 

Veronika Kwan Vandenberg, President, International Distribution, Warner Bros. Pictures 

DLP CINEMA PRESENTS 

A Salute to the Top-Grossing Films of 2011—a special MasterImage 3D presentation 

INDUSTRY ADDRESSES 

SPEAKERS: Senator Chris Dodd, Chairman & CEO, MPAA / John Fithian, President and 

CEO, NATO 

2012 NATO MARQUEE AWARD PRESENTATION 

Ted Pedas, President, Circle Theatres Management 

INDUSTRY RECOGNITION 

Jack Panzeca (ICTA ) and John Evans Jr. (NAC) 

10:00 AM – 4:00 PM 



11:00 AM – 4:00 PM 

CINEMACON TRADE SHOW AND CORPORATE SUITES 

Lunch will be served from 12:30pm – 2:00pm 

SPONSORS: Sony Digital Cinema Solutions / The Coca-Cola Company 

3:45 PM – 5:45 PM 

WALT DISNEY STUDIOS MOTION PICTURES AND THEIR PARTNERS AT DREAMWORKS STU- 

DIOS, MARVEL ENTERTAINMENT AND PIXAR INVITE YOU TO AN EXCLUSIVE PRESENTATION 

HIGHLIGHTING THE SUMMER OF 2012 AND BEYOND. (The Colosseum-Casino Level) 

5:45 PM – 6:00 PM 

INTERMISSION AND REFRESHMENT BREAK (The Colosseum-Casino Level) 

6:00 PM – 8:00 PM 

SPECIAL FEATURE SCREENING FROM WALT DISNEY STUDIOS MOTION PICTURES 

(The Colosseum-Casino Level) 

8:15 PM 

POST-SCREENING DINNER RECEPTION AND PARTY (Octavius Ballroom-Promenade Level) 

MORE EVENTS ON PAGE 72 


CINEMACON EVENTS SCHEDULE 

WEDNESDAY, APRIL 25 

7:00 AM – 6:00 PM 


8:00 AM – 8:45 AM 

CONTINENTAL BREAKFAST (The Colosseum-Casino Level) 

SPONSOR: Doremi Cinema 

8:45 AM – 10:15 AM 

SPECIAL TECHNICAL DEMONSTRATIONS: PRESERVING THE QUALITY AND INTEGRITY OF 

THE SCREEN IMAGE (The Colosseum-Casino Level) 

LASER LIGHT TECHNOLOGY: THE NEW FRONTIER IN SCREEN BRIGHTNESS 

MODERATOR: Todd Hoddick, Vice President, Entertainment Division, NA, Barco 

PANEL MEMBERS (TO DATE): John McDonald, Chairman, NATO Technology Committee 

and Executive Vice President, U.S. Operations, AMC Theatres / Pete Lude, Senior 

Vice President, Solutions Engineering, Sony Digital Cinema Solutions / Michael Esch, 

Senior Director, Entertainment Solutions Product Development, Christie / Jim Reisteter, 

General Manager, Digital Cinema Division, NEC Display Solutions of America 

PIRATE EYE AND THE FIGHT AGAINST MOVIE THEFT 

MODERATOR: Brian Dunn, Chief Executive Officer, Pirate Eye 

9:00 AM – 5:00 PM 


10:00 AM – 4:00 PM 

“ADMIT ONE” HOSPITALITY LOUNGE 


10:45 AM – 12:15 PM - WEDNESDAY MORNING SEMINAR SERIES 

AN INDUSTRY THINK TANK: MEETING THE EXPECTATIONS OF TODAYʼS SAVVY MOVIEGOER 

MODERATOR: Anne Thompson, Editor-in-Chief of “Thompson on Hollywood” at Indiewire 

PANEL MEMBERS (TO DATE): Jeff Blake, Vice Chairman, Sony Pictures Entertainment / 

Amy Miles, CEO, Regal Entertainment Group / Tim League, Founder and CEO, Alamo 

Drafthouse / Greg Foster, Chairman and President, IMAX Entertainment 

PRIORITIZING CONCESSIONS IN THE NEW DIGITAL ENVIRONMENT (Palace Ballroom II) 

MODERATOR: Anita Watts, President, Cinema Solutions 

PANELISTS: Damon Rubio, EVP, Operations, UltraStar Cinemas / Jeffrey Benson, 

CEO, Cinery Cinemas / Arthur Seago, VP, Santikos Theatres / Larry Etter, VP, Theatre 

Services, Malco Theatres / Bruce Proctor, ECM, President, Proctor Companies / Craig 

Chapin, CEO, Allure Global Solutions 

12:45 PM – 2:30 PM 

FRANKLY SPEAKING: THE WORLD OF FILMMAKING TODAY, TOMORROW AND BEYOND 

MODERATOR: Todd McCarthy, Chief Film Critic, the Hollywood Reporter 

DISTINGUISHED PANEL OF FILMMAKERS (TO DATE): Ang Lee / Martin Scorsese 

SPONSORS: Barco / RealD 

4:30 PM – 5:30 PM 

SONY PICTURES ENTERTAINMENT PRE-EVENT COCKTAIL RECEPTION AT THE COLOSSEUM 

5:45 PM – 6:45 PM 

SONY PICTURES ENTERTAINMENT PRESENTATION HIGHLIGHTING ITS 2012 SLATE 

7:45 PM 

2012 PIONEER OF THE YEAR DINNER (Octavius Ballroom-Promenade Level) 

The Will Rogers Motion Picture Pioneers Foundation proudly bestows its 2012 “Pioneer 

of the Year” Award to Jeffrey Katzenberg, Chairman, DreamWorks Animation 

THURSDAY, APRIL 26 

7:00 AM – 6:00 PM 


8:45 AM – 10:10 AM - THURSDAY MORNING SEMINAR SERIES 

CONNECTING WITH TODAYʼS MOVIEGOING AUDIENCE: A PANEL DISCUSSION ON SOCIAL 

NETWORKING AND MARKETING IN THE DIGITAL AGE (Palace Ballroom II) 

MODERATOR: Peter Cane, CEO, Boxoffice Media LLC 

PANEL MEMBERS (TO DATE): Kevin Shepela, Vice President, Business Development, 

Fandango / Stephen Colanero, Executive Vice President and Chief Marketing Officer, 

AMC Theatres / Nicolas Gonda, Co-founder and CEO, Tugg Inc. / T.J. Marchetti, Senior 

Vice President of Digital Marketing, Walt Disney Studios Motion Pictures, Alexander 

Hartman, Co-founder and Senior Vice President, Rightstrade.com 

EXHIBITORS SPEAK OUT: AN INDUSTRY PANEL DISCUSSION (Palace Ballroom II) 

INTRODUCTION: Joe Demeo, Director of Sales, Digital Cinema North America, Barco Inc. 

MODERATOR: Mike Archer, Vice President, Digital Cinema, Doremi 

PANEL MEMBERS (TO DATE): Terrell Mayton, Director of Marketing, Carmike Cinemas 

/ Dan McGrath, Chief Operating Officer, Cineplex Entertainment / Dan Huerta, Vice 

President, Digital Systems and New Technology, AMC Theatres / Tina Loucks, Digital 

Services Specialist, Rave Cinemas 

LIGHT LEVELS: OPTIMIZING SCREENS AND LAMPS 

MODERATOR: Bobby Pinkston, Principal, BWP & Associates 

PANEL MEMBERS (TO DATE): Andrew Robinson, CEO, Harkness Screens / Paul Ratliff, 

Product Manager, Osram 

9:00 AM – 12:30 PM 


10:00 AM – 3:00 PM 



10:30 AM – 12:00 PM 

TWENTIETH CENTURY FOX INVITES YOU TO A SPECIAL PRESENTATION HIGHLIGHTING ITS 

2012 RELEASE SCHEDULE (The Colosseum-Casino Level) 

12:30 PM – 2:15 PM 

LUNCHEON PROGRAM (Octavius Ballroom-Promenade Level) 

2:30 PM – 4:30 PM 

UNIVERSAL PICTURES INVITES YOU TO AN EXCLUSIVE PRODUCT PRESENTATION HIGH- 

LIGHTING THE SUMMER OF 2012 AND BEYOND (The Colosseum-Casino Level) 

7:30 PM – 9:00 PM 

CINEMACON BIG SCREEN ACHIEVEMENT AWARDS 

EMCEE: Billy Bush, Access Hollywood 

AWARD PRESENTATIONS: Breakthrough Performer of the Year / Female Star of Tomorrow 

/ Rising Star of 2012 / Male Star of the Year / Female Star of the Year / Director 

of the Year / Comedy Star of the Year / Male Star of Tomorrow / Lifetime Achievement 

Award / CinemaCon “Hall of Fame” Award / Fandango Fan Choice Award 

9:00 PM 

GALA FINAL NIGHT POOLSIDE PARTY AND RECEPTION 

SPONSOR: The Coca-Cola Company 

SPECIAL SURPRISE ENTERTAINMENT (Caesars Palace Pool of the Gods) 

SPONSORS: RealD / Fandango 


Ballantyne Strong Inc. 

Strong’s new Library 

Management System 

(LMS) offers industry-wide 

compatibility with theater 

management software. 

Strong provides reliable 

LMS systems for all cinema 

complexes from one to 

30 screens, including 

those operating under 

virtual print fee programs. 

Assembled with quality 

components, factory-configured 

for easy installation 

and supported by Strong’s 

7/24/365 hotline and network 

operations center, the 

LMS offers reliability, performance and value. 

Ballantyne Strong Inc. 

Mailing Address: 4350 McKinley St., 

Omaha, NE 68112 

Phone: (402) 453-4444 

Fax: (402) 453-7238 

francois.godfrey@btn-inc.com 

www.strong-world.com 

BOOTH 2411 

Bass Industries Inc. 

Bass Industries 

introduces the Candy 

Showcase, a lockable 

display case with 

perimeter illumination, 

a reflective interior and 

glass shelving that can 

match any style poster 

case. The unit holds up 

to 63 boxes and bags 

of candy and can be 

wall-mounted between 

poster cases or mounted 

to or integrated into 

the concession stand. 

It is also available as a 

freestanding display, 

single or double face. Use the Candy Showcase 

to increase sales at the concession stand or sell 

directly from the showcase in the theater lobby. 

Bass Industries Inc. 

Mailing Address: 3485 NW 65 St., Miami, 

FL 33147 

Phone: (305) 751-2716 

Fax: (305) 756-6165 

rmb@bassind.com 

www.bassind.com 

BOOTH 914 

C. Cretors & Company 

The Cretors 

Hot Dog Grill 

36 includes 

a patented 

center drive 

shaft design, 

ensuring a long motor life. Dual heat zones 

cook and warm meat products simultaneously. 

The grill’s stainless-steel cooking surface with 

internal aluminum plate evenly heats meat. 

Safe temperature maintenance is ensured by 

two digital temperature controllers with clear, 

accurate readings. A unique “heat-and-hold” 

feature allows the user to reduce heat during 

off-peak hours. 

C. Cretors & Company 

Mailing Address: 3243 N. California Ave., 

Chicago, IL 60618 

Phone: (773) 588-1690 

Fax: (773) 588-7141 

solesen@cretors.com 

www.cretors.com 

BOOTH 413 

Cinedigm Digital 

Cinema Corp. 

Cinedigm’s Theatre Command Center with 

Enterprise head office is the most automated 

and efficient theater management system on 

the market. The software offers the power to 

control all screens from one computer, monitor 

in real time all shows and equipment, easily 

automate trailer scheduling in minutes, access 

Cinedigm’s powerful VPF engine and more. 

Cinedigm Digital Cinema Corp. 

Mailing Address: 55 Madison Ave, Ste. 

300, Morristown, NJ 07960 

Phone: (973) 290-0080 

Fax: (973) 290-0081 

jcalcaterra@cinedigm.com 

www.cinedigm.com 

BOOTH 2116 

Datasat Digital 

Entertainment Inc. 

Datasat Digital Entertainment introduces 

its new 8 Channel Expansion Card. When 

used with an AP20 Audio Processor, the card 

increases the total number of output channels 

from 16 to 24. The card will be offered as an 

optional extra and is compatible with AP20s 

existing in the field with the H355 DSP Board. 

An AP20 with the standard 16-channel output 

covers all scenarios for 5.1 and 7.1 sound 

formats. With the 8 Channel Expansion Card, 

the additional outputs allow for biamping and 

triamping systems greater than 7.1. 

Datasat Digital Entertainment Inc. 

Mailing Address: 96331 Topanga Canyon 

Pl., Chatsworth, CA 91311 

Phone: (818) 531-0579 

Fax: (818) 401-4329 

heather.brehmer@datasatdigital.com 

www.datasatdigital.com 

BOOTH 2017 

Dolby Laboratories 

Dolby Atmos is a new audio platform that 

marries today’s familiar channel-based mixing 

methods with the versatility of dynamic audioobject-based 

mixing. The combination of these 

different approaches increases flexibility and 

provides a new level of control over placement 

and movement of sounds within a theater environment. 

Dolby Atmos works with the same 

tools currently favored by sound designers and 

mixers while mixing specified playback rules to 

intelligently generate legacy 5.1 and 7.1 channel 

mixes to help save time. All of the audio 

essence and artistic intent is embedded within a 

single DCP, which can be faithfully rendered at 

playback time independent of channel count or 

speaker locations. 

Meanwhile, the latest addition to the Dolby 

Digital Cinema family of products, the Dolby 

Screen Server DSS220 with Integrated Media 

Block (IMB) pairs with a DLP Cinema Series 

2 projector and is capable of playing 2K and 

4K content as well as high-frame-rate 3D (both 

48 and 60 fps). Gigabit Ethernet connectivity 

gives customers maximum flexibility for infrastructure 

and booth design while Dolby’s user 

interface eases theater management. 

Dolby Laboratories 

Mailing Address: 100 Potrero Ave., San 

Francisco, CA 94103 


NEW PRODUCTS 

Phone: (415) 558-0200 

Fax: (415) 863-1373 

wt@dolby.com 

www.dolby.com 

BOOTH 2311 

Doremi Cinema 

Doremi Cinema’s LE100 is a live broadcast 

receiver with recording capability. Live content 

can be recorded and saved as a digital cinema 

package (DCP). The live broadcast is received 

through Ethernet. The multicast stream and 

transport stream are unwrapped and repackaged 

as an MXP-Interop DCP ready for 

playback. The LE100 provides live content 

recording and playback, an SNMP for remote 

monitoring and a web client interface for 

control and setup. 

Doremi Cinema 

Mailing Address: 1020 Chestnut St., Burbank, 

CA 91506 

Phone: (818) 562-1101 

Fax: (818) 562-1109 

sam@doremilabs.com 

www.doremilabs.com 

BOOTH 2515 

Embedded Processor 

Design Inc. 

interior walls of cinemas. Designed as part of 

the fabric acoustic wall treatments, the lighted 

graphic displays completely disappear when 

the house lights go down and the movie starts. 

in-VISIBLE acoustic displays come in sizes 

up to 2 meters by 2.75 meters and integrate 

seamlessly into the theater environment for 

new opportunities in advertising, branding and 

promotion or to enhance ambiance, design and 

decoration. 

Eomac in-VISIBLE Inc. 

Mailing Address: 10 Perdue Ct., Caledon, 

ON L7C 3M6 Canada 

Phone: (905) 970-8059 

Fax: (905) 970-8067 

yeliz.ozmisir@eomac.com 

www.eomac.com/in-VISIBLE 

BOOTH M9 

GDC Technology 

up actual 

film strips 

or custom 

advertising 

strips. Perfect 

for commercial 

theater 

lobbies and 

hallways, this item is available in three powdercoated 

colors—black, silver and chrome—and 

comes with or without LED bulbs. The 

Tri-Reel Coffee Table utilizes three authentic 

35mm Goldberg film reels mounted on a threeleg 

table support and topped with 3/8-inch 

thick, round tempered glass. This product is 

available in two sizes: 48-inch round with three 

18 ½-inch aluminum flange reels powdercoated 

chrome on a black base and 42-inch 

round with three 15-inch raw cast aluminum 

reels on a black base. All products are available 

in custom colors to match theater themes. 

Goldberg Brothers 

Mailing Address: 8000 East 40 Ave., Denver, 

CO 80207 

Phone: (303) 321-1099 

Fax: (303) 388-0749 

john@goldbergbrothers.com 

www.goldbergbrothers.com 

BOOTH 2000 

Golden Link Inc. 

Reduce operating costs with Embedded Processor 

Design’s PlexCall Butler. With this device, 

patrons place their concession orders from their 

seats, and food runners deliver their food and 

drinks to their seats or the Butler pages them to 

let them know their orders are ready. Silent and 

dimly backlit, the Butler prevents distractions 

in the theater, and menu selections are updated 

wirelessly from the PlexCall PC. 

Embedded Processor Design Inc. 

Mailing Address: 1301 Sand Hill Rd., Bldg. 

300, Enka, NC 28728 

Phone: (828) 251-1501 

Fax: (828) 251-1965 

cpollak@epdesignsinc.com 

www.plexcall.com 

BOOTH 404 

Eomac in-VISIBLE Inc. 

Eomac in-VISIBLE introduces a unique concept 

in illuminated graphic display units for the 

The new SX-3000 Standalone Integrated Media 

Block (IMB) from GDC Technology has been 

designed to lower maintenance and operation 

costs while supporting higher-frame-rate content 

in 2D and 3D and all image resolutions 

from SD to 4K. Designed to meet FIPS140 

and DCI compliance, this unit safeguards 

your investment while supporting alternative 

content, including 2D and 3D live streaming. 

Moreover, no retraining is needed, as it uses 

a user interface identical to the original IMB 

servers. 

GDC Technology 

Mailing Address: 21155 Whitfield Pl., Ste. 

207, Sterling, VA 20165 

Phone: (877) 337-0868 

Fax: (571) 313-0468 

connie.wong@gdc-tech.com 

www.gdc-tech.com 

BOOTH 2219 

Goldberg Brothers 

Goldberg Brothers continues to add new products 

to its line of theater décor. The 32-inch 

70mm Reel Hanging Light has four downwardfacing 

lights plus an outer film edge that lights 

Golden Link has launched its newest kids 

program called My Size Surprise Pack. 

Recently tested at Clearview Cinemas and 

Malco Theatres, the program increased sales 

up to 50 percent compared to standard kids 

combo sets. My Size comes with Golden 

Link’s signature cup toppers, with initial 

programs planned for Madagascar 3: Europe’s 

Most Wanted and Disney/Pixar’s Brave during 

the summer season. Simple, efficient and 

cost-effective, the program will come with a 

full array of promotional support to increase 

concession sales and profits. 

Golden Link Inc. 

Mailing Address: 23 Horton Rd., Washingtonville, 

NY 10992 

Phone: (845) 497-7067 

Fax: (845) 497-7167 

jwaaland@goldenlinkinc.com 

www.goldenlinknorthamerica.com 

BOOTH 319 


A winning combination. 

Choose PCI for your food packaging needs and you’re choosing a real winner. We combine great 

service with a top range of stock and custom design packaging – including leakproof popcorn bags, 

foil bags, 2 and 4 cup drink holders, pizza boxes and a wide range of food trays. 

Choose the best in food packaging. Simply call PCI on 314-329-9700 

or email info@packagingconceptsinc.com 

greener, cleaner 

packaging concepts 


Eco Select ® is a trademark 

of Wausau Paper Mills, Inc.

NEW PRODUCTS 

GXM 

GXM’s X- 

Mirror 3D 

is a quality, 

reliable, highperformance 

digital 3D 

solution that 

delivers a highdefinition 

display compatible with all kinds of 

digital cinema projectors and existing polarized 

glasses. The device minimizes ghosting by optimizing 

the 3D filter drive, the cooling system is 

compatible with 6 kw high-capacitance lamps, 

and the user-oriented design is simple to install. 

GXM 

Mailing Address: 404 Woori Venture Town 

II 3ga Youngdeungpo-gu, Seoul, 150700 

Korea 

Phone: 82-2-514-3500 

Fax: 82-2-2068-0450 

lucia@gxminc.com 

www.gxminc.com 

BOOTH M10 

Harkness Screens 

The Digital Screen Checker 

from Harkness screens is a lowcost 

handheld digital cinema 

luminance meter for accurately 

measuring screen brightness, 

expressed in foot-lamberts. Measure 

screen brightness during 

lamp installation and periodic 

readings to confirm DCI screen 

compliance. Ensure screen consistency throughout 

the cinema. Measure screen brightness 

with a range of 0 fL to 30 fL. And gain instant 

accurate readings for both 2D and 3D (through 

the eyewear) screens. This device is easy to use 

with simple optical screen alignment viewers, a 

mounting tripod and a 3D lens holder. 

Harkness Screens 

Mailing Address: 10 Harkness Blvd., Fredericksburg, 

VA 22401 

Phone: 540-370-1590 

Fax: 540-370-1592 

r.mitchell@harkness-screens.com 

www.harkness-screens.com 

BOOTH 2415 

Hytex Industries Inc. 

Hytex Industries announces new innovative 

designs for acoustical wall-covering. Acoustical 

Renaissance consists of more than five 

new contemporary and traditional patterns in 

any standard HytexRib color. The fibers are 

made from Eco-fi fiber—100 percent postconsumerables 

(plastic drinking bottles). They 

will carry the antimicrobial Fosshield, a natural 

silver and copper antimicrobial technology that 

inhibits the growth of bacteria, mold, mildew 

and fungus. This collection also passes the most 

stringent tests for fire and durability. 

Hytex Industries Inc. 

Mailing Address: 58 York Ave., Randolph, 

MA 02368 

Phone: (781) 963-4400 

Fax: (781) 986-5956 

rjrhytex@aol.com 

www.hytex.com 

BOOTH 629 

imm Sound 

The imm 3D Sound Processor provides an immersive 

3D sound experience when screening 

movies produced with imm technology as well 

as alternative content. All imm sound processors 

include imm 3D Upmix technology that 

generates immersive sound from stereo, 5.1 

and 7.1 sources in real time. Imm’s proprietary 

ultranarrow-band equalization technology 

efficiently lines up your listening room, providing 

a permanent state-of-the-art optimization 

of your sound reproduction system. The imm 

3DSP incorporates an adaptive audio layout 

ability, permitting any standard multichannel 

format to be programmed for an automatic 

remapping of channels adapted to a specific 

imm sound theater audio layout. 

In addition, imm’s Immersive Audio Workstaion 

(IAW) is a postproduction tool for film 

mixing in immersive 3D sound. It seamlessly 

communicates with ProTools and is the 

power behind imm’s channel-free technology. 

Equipped with an intuitive tactile interface, 

it allows the placement and motion of sounds 

around the audience with the touch of a 

finger and the easy, intuitive modification of 

sound properties like size or proximity. The 

IAW is also capable of mixing and manipulating 

immersive 3D sound recordings from the 

shooting stage. 

imm Sound 

Mailing Address: Diagonal 177, Barcelona, 

08018 Spain 

Phone: 34-934-853-880 

Fax: 34-933-093-188 

alex.artigas@immsound.com 

www.immsound.com 

BOOTH 2119 

Impact Signs & Graphics 


introduces Epic Impact 

Video Walls, indoor-outdoor 

animated video walls 

with sound. These displays 

are available in unlimited 

sizes with multiple light 

sources and computercontrolled 

DMX animation. 


Mailing Address: 2236 South 3270 West, 

Salt Lake City, UT 84119 

Phone: (801) 972-5101 

Fax: (801) 972-2530 

brian@impact-signs.com 

www.impact-signs.com 

BOOTH 2703 

iStarUSA Group 

The WS Cabinet 

series is iStarUSA’s 

newest innovation 

in audio/video data 

storage. Optimized 

for office, small/ 

medium business 

and professional 

studio environments, 

the 4U, 

7U, 10U, 14U 

and 20U space supports any combination of 

standard rack-mount equipment in a compact 

form, offering ease of maintenance and flexibility 

for different IT applications. The sleek and 

compact design makes it suitable for customers 

looking for IT solutions in a dynamic office 

environment. The WS series cabinet is built 

with high-quality steel structures with vented 

doors and is completely lockable from the front 

and back. This stylish and secure 19-inch rackmount 

cabinet is designed to store your content 

more safely, easily and sleekly than ever before. 

iStarUSA Group 

Mailing Address: 727 Phillips Dr., City of 

Industry, CA 91748 

Phone: (626) 303-8885 

Fax: (626) 301-0588 

aaron@istarusa.com 

www.istarusa.com 

BOOTH 1030 

Kernel Season’s 

Kernel Season’s is launching 

four new flavors at 

CinemaCon: Bacon Cheddar, 

Buffalo Wing, Milk 

Chocolate Caramel and 

Pizza. As with all Kernel 

Season’s flavors, the new 

additions are all natural 

and gluten free, contain no 

MSG and have zero grams 

of fat per serving. 

Kernel Season’s 

Mailing Address: 2401 E. 

Devon Ave., Elk Grove 

Village, IL 60007 

Phone: (773) 292-4567 

Fax: (773) 326-0869 

krystal@kernelseasons.com 

www.kernelseasons.com 

BOOTH 821 


NEW PRODUCTS 

Lancer Corporation 

Lancer introduces 

an inexpensive 

solution to freshen 

up existing beverage 

dispensers 

with the release of 

the Premier Cinema 

Cover. Made 

of durable, eyecatching 

bright red 

resin, this product 

modernizes 

plain-looking beverage dispensers. This easy-toinstall 

solution is a snap to secure and creates 

memorable impressions with its classic Italian 

design and prominent advertising panel that 

is simple to update. Add value to your existing 

beverage dispensing investment and create fresh 

impressions for your brand with the Premier 

Cinema Cover. 

Lancer Corporation 

Mailing Address: 6655 Lancer Blvd., San 

Antonio, TX 78219 

Phone: (210) 310-7052 

Fax: (210) 310-7242 

tsuch@lancercorp.com 

www.lancercorp.com 

BOOTH 2322 

Mars Chocolate North 

America 

M&Ms Peanut 

Butter Chocolate 

Candies are colorful, 

candy-coated 

milk chocolate 

treats full of 

creamy peanut 

butter. Now available in theater-box size. 

Mars Chocolate North America 

Mailing Address: 800 High St., Hackettstown, 

NJ 07840 

Phone: (908) 813-4598 

Fax: (908) 319-2771 

steve.allen@effem.com 

www.mars.com 

BOOTH 701 

NCM Media 

Networks 

NCM Media Networks has 

added a new feature, Cinema- 

Sync, to its Movie Night Out 

app. With the introduction of 

CinemaSync, Movie Night Out 

is the premier second-screen 

movie app, using image and 

audio recognition technology to sync with 

everything in the theater environment. From 

movie posters and concessions to NCM’s First- 

Look preshow, CinemaSync delivers extended 

content and deals directly to iPhone and Android 

devices. And when the trailers and feature 

film begin, the app switches to “movie mode,” 

dimming the screen and reminding moviegoers 

to silence their cell phones and enjoy the show. 

NCM Media Networks 

Mailing Address: 9110 E. Nichols Ave., 

Ste. 200 Centennial, CO 80112 

Phone: (303) 792-3600 

Fax: (303) 792-8800 

customerservice@ncm.com 

www.ncm.com 

Omniterm Data 

Technology 

Omniterm introduces the Omni Omega, its 

next generation of point-ofsale 

touchscreen terminals. 

Die-cast aluminum housing 

and a fan-less design meet 

industrial specifications, 

making it well suited for 

harsh working environments. 

New features include a brighter 450-nit 

15-inch LED screen that consumes less energy 

than a standard LCD. A flexible I/O panel allows 

for connectivity to various peripherals and 

interfaces. The hard drive can be easily accessed 

for maintenance and system upgrades, and the 

power adapter and cables are hidden in the 

base, allowing for better counter management. 

Omniterm Data Technology 

Mailing Address: 2785 Skymark Ave., Unit 

11, Mississauga, ON L4W 4Y3 Canada 

Phone: (905) 629-4757 

Fax: (905) 629-8590 

info@omniterm.com 

www.omniterm.com 

BOOTH 625 

Osram Sylvania 

Osram Sylvania’s 

new Kreios GI LED 

image projector is 

an ideal solution 

for any application 

needing spotlighting 

image projection. With easily interchangeable 

standard-size E and do-it-yourself gobos, brand 

names and logos can be projected at points-ofsale. 

Using high-powered, long-life, energyefficient 

LEDs, the Kreios GI has a dedicated 

optical system that delivers a sharp image with 

extremely homogenous light distribution across 

the entire image. Compact and lightweight, it’s 

easy to install on walls, ceilings and floors, and 

its low heat output enables passive cooling and 

silent operation. 

Osram Sylvania 

Mailing Address: 100 Endicott St., Danvers, 

MA 01923 

Phone: (978) 777-1900 

Fax: (978) 750-2108 

allison.bodwell@sylvania.com 

www.sylvania.com 

BOOTH 312 

Packaging Concepts Inc. 

Packaging 

Concepts once 

again expands 

its ever-growing 

line of concessions 

packaging 

with a new line of 

two-compartment plastic trays. These trays are 

perfect for nachos or any hot food item that is 

served with a dipping sauce. 

Packaging Concepts Inc. 

Mailing Address: 9832 Evergreen Industrial 

Dr., Saint Louis, MO 63123 

Phone: (314) 329-9700 

Fax: (314) 487-2666 

bcb@packagingconceptsinc.com 


BOOTH 824 

Proctor Companies 

Proctor Companies, 

a leader 

in design/ 

build foodand-beverage 

solutions, continues 

to add 

to its product 

line, supplying concession equipment, food and 

beverage equipment, and now quality furniture 

and small wares. 

Proctor Companies 

Mailing Address: 10497 Centennial Rd., 

Littleton, CO 80127 

Phone: (303) 973-8989 

Fax: (303) 973-8884 

bproctor@proctorco.com 

www.proctorco.com 

BOOTH 306 

QSC Audio Products 

QSC Audio Products will introduce the DXP 

Digital Expansion Processor at CinemaCon 

2012. The DXP works with the existing DCP 

200 and 300 cinema processors to create a 

powerful networked audio solution for cinema. 

The DXP is a 1U rack-mount DSP processor 

that connects to the DCPs via CobraNet, 

which routes digital audio and control information 

over Ethernet so the DXP can be mounted 

near loudspeakers if desired, eliminating the 

need for long and expensive speaker cables and 

conduit. The DCP/DXP combination is ideal 

for multichannel audio systems with up to 16 

inputs. 

QSC Audio Products 

Mailing Address: 1675 MacArthur Blvd., 

Costa Mesa, CA 92626 

Phone: (714) 754-6175 

Fax: (714) 754-6174 

jairo_skeen@qscaudio.com 

www.qscaudio.com 

BOOTH 613 


Bringing to cinemas worldwide 

the best immersive 3D sound since 2010 

 


Visit us at CinemaCon booth #2119, Augustus Ballroom

NEW PRODUCTS 

Quest Cinema Products 

Quest Cinema 

Products 

announces 

the newest 

additions to 

its product 

line: the 

Quest Cinema 

105, 155 

and 205 Dual 

Dehumidifiers. 

Like the 

Quest Plug- 

N-Play dehumidifiers, 

the Duals require no installation. 

And like all Quest Cinema Climate Control 

Dehumidifiers, they exceed Energy Star ratings. 

Their superior efficiency ranks them the most 

energy-efficient large-capacity dehumidifiers 

on the market today. The industry-leading efficiency 

of the Quest Cinema Duals can translate 

into hundreds of dollars of savings a year (more 

than $700 per unit in most cases). 

Quest Cinema Products 

Mailing Address: 4201 Lien Rd., Madison, 

WI 53704 

Phone: (866) 933-7486 

Fax: (608) 222-1447 

khosli@thermastor.com 

www.questcinema.com 

BOOTH 927 

Radiant Systems 

The Reel Time 

dashboard and 

custom reporting 

solution 

from Radiant 

Systems (now 

a part of NCR) 

takes the complexity 

out of 

analyzing data 

and gives cinema 

operators 

the information they need to make decisions on 

demand—whether they’re at home, in the office 

or at the theater. Integrated with NCR’s cinema 

applications, Reel Time provides a dashboard 

view of current and historical data for theater 

operations including ticket and concession sales, 

attendance, feature gross and total revenue. 

Compatible with Windows, iOS and Android 

operating systems, Reel Time can be installed on 

mobile devices, tablets and PC computers for 

use in any environment. 

Radiant Systems 

Mailing Address: 3925 Brookside Pkwy., 

Alpharetta, GA 30022 

Phone: (770) 576-7188 

rebecca.scholl@radiantsystems.com 

www.radiantsystems.com 

BOOTH 807 

Retriever Software Inc. 

Retriever Software has developed programs 

around its versatile event scheduler to maximize 

the strength of a robust film lineup. Create a 

film schedule on Retriever’s point-of-sale system, 

and your ticketing stations, digital library 

management system, theater signage, theater 

website, Internet ticketing page, newspaper 

schedule, on-screen advertising partners and 

even your newsletters synchronize automatically 

with current showtimes. 

Retriever Software Inc. 

Mailing Address: 2525 South Broadway, 

Denver, CO 80210 

Phone: (888) 988-4470 

Fax: (720) 212-0197 

phil@retrieversoftwareinc.com 

www.retrieversoftwareinc.com 

BOOTH 829 

Taste of Nature Inc. 

Ice Age: Continental Drift Sour Gummies from 

Taste of Nature Inc. will start shipping to 

exhibitors in May 2012 in 3.1-ounce theater 

boxes. In addition, Ice Age: Continental Drift 

Fruit Gummies will also be delivered in May in 

0.9-ounce sizes for theater kid packs. The treats 

are adorned with graphics from the upcoming 

Ice Age: Continental Drift, which arrives in 

theater on July 13. 

Taste of Nature has also unveiled new 

theater kid packs of its signature Cookie Dough 

Bites. The 0.75-ounce packages of delicious 

egg-free chocolate-chip cookie dough are a 

perfect size for children and can even be used as 

a popcorn topping for those who enjoy a sweetand-salty 

taste. 

Taste of Nature Inc. 

Mailing Address: 2828 Donald Douglas 

Loop N, Ste. A, Santa Monica, CA 90405 

Phone: (310) 396-4433 

Fax: (310) 396-4432 

s.samet@candyasap.com 

www.candyasap.com 

BOOTH 909 

Tai Ping Carpets 

Tai Ping Carpets introduces Zingara, inspired 

by the Bohemian lifestyle associated with 

Romany traditions and culture. The Zingara 

line of carpeting is the fourth anthology in a 

series of hospitality collections from 1956 by 

Tai Ping. 

Tai Ping Carpets 

Mailing Address: 715 Curtis Parkway SE, 

Calhoun, GA 30701 

Phone: (706) 625-8905 

Fax: (706) 625-8719 

monicaparker@taipingcarpets.com 

www.taipingcarpets.com 

BOOTH 2410 

TicketNew 

The TicketNew Box Office Suite, a comprehensive 

theater management system used by more 

than 400 theaters worldwide, is flexible and 

user friendly. The software is customer friendly, 

offering offline, online and mobile formats 

and integrating concessions, parking and seat 

segmentation. Efficient and intelligent inventory 

management streamlines programming and 

scheduling based on real-time data. Administration 

support strengthens back-office operations 

including the generation of real-time reports. 

And the web-based application ensures speed, 

ease of deployment and compatibility with Windows, 

Mac, Linux/Unix and mobile platforms. 

TicketNew 

Mailing Address: 2474 Tapestry Way, 

Pleasanton, CA 94566 

Phone: (512) 215-4924 

info@orbgen.com 

www.ticketnew.com 

BOOTH M15 


Congratulations to 

Jeffrey Katzenberg 

Will Rogers 

Motion Picture Pioneers Foundation 

2012 Pioneer of the Year 

for your commitment to the community 

and the motion picture industry. 

© 2012 Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited. 

Sony, Sony Digital Cinema, Sony Digital Cinema 4K, “make.believe” and their respective logos are trademarks of Sony.

COVER 

STORY 

SOMETHING 

WEIRD THIS WAY 

COMES 

PREPARE FOR SCARES— 

DARK SHADOWS RETURNS 


Vampires. Werewolves. Witches. Zombies. 

Grave robbers. Ghosts. The spooky 

soap opera Dark Shadows crammed 

everything into its five-year run, and now 

this whimsically macabre reboot must do in two 

hours what the original did in 1,225 episodes. But if 

any director is up for the challenge, it’s Tim Burton. 

A fan of the series since he was 8 years old, it’s 

been his passion to bring Dark Shadows to the big 

screen. The result is the weirdest, wildest flick of the 

summer. In the words of ingenue Victoria Winters, 

prepare to meet these unusual people “who tonight 

are still only shadows in my mind, but who will soon 

fill the days and nights of my tomorrows.” 


JOHNNY 

DEPP AS 

THE VAMPIRE 

BARNABAS 

COLLINS 

Exclusive Interviews: 

Chloë Moretz: CinemaCon Star of Tomorrow >> 

Michelle Pfeiffer: Dangerous Beauty >> 


COVER STORY > DARK SHADOWS 

CHLOË 

MORETZ 

PLAYED A 

VAMPIRE—NOW 

SHE JUST HAS 

TO LIVE WITH 

ONE 

ALL HAIL CINEMACON’S 

FEMALE STAR OF TOMORROW 

Chloë Moretz on why she loves acting her age—but not acting like herself 

At 12, Chloë Moretz caused a national stir when she 

played Kick-Ass’ Hit-Girl, a possibly brainwashed child 

assassin who chalks up 41 kills in the flick’s 117-minute 

running time. (Though, this being America, most people 

were less upset by the blood then they were by her 

use of the C-word.) But everyone could agree on one 

thing: Chloë Moretz was a bold, tough young actress to 

watch. And along with her new role in Tim Burton’s Dark 

Shadows, she’s being crowned CinemaCon’s Female 

Star of Tomorrow. Though the truth is, Chloë Moretz is 

already the star of today—and if her roles in Kick-Ass, 

(500) Days of Summer, Let Me In and Hugo have yet to 

convince you, with the eight major movies she has coming 

out between now and the end of 2013, rest assured 

it’s just a matter of time. 

This version of Dark Shadows ages down your character Carolyn 

a lot. How does that change the family dynamic? 

In the TV show, Carolyn was a lot different than who Carolyn is in the 

movie. But I think it’s fun to have a young girl who’s a 1970s hippie 

and she’s just, “Free love!” It’s really interesting because she brings this 

kind of youth to the dynamic of the family, this different outlook on 

life. I have some really interesting stuff that when people see the movie, 

they’re definitely going to freak out. 

Carolyn is from the ’70s. In Hugo, you played a girl from the ’30s, 

and Abby from Let Me In is this ancient vampire from who knows 

how long ago. Where do you start in creating a young person 

from a different era? 

Being a 15, 16-year-old girl in the 21st century is so different than 

being a young girl in the 1930s or the 1970s. I just try to strip away 

my modern instincts on life. I love being able to play someone else and 

not playing someone from recent times because, to me, people were so 

much more idealistic than they are nowadays. I feel like from a young 

age, now you’re much more jaded. But in the 1930s, a young girl like 

Isabelle was so naïve and happy because she knew life through books. 

Carolyn in Dark Shadows is actually a bit more jaded, but she’s more 

into “Just feel the earth!”—it’s much more interesting than being on 

your phone all the time texting. 

It’s true. Carolyn’s from the early ’70s, an era when young people 


thought they really were creating a new 

way of living. 

Exactly—she thinks she’s bringing her oldschool 

family into the new world. “This is 

what is acceptable now.” I guess it’s still happening 

nowadays, but she’s just a really funny 

character—she’s definitely a character. 

THIS OLD 

THING? JUST 

A CENTURY-OLD 

PORTRAIT OF 

MYSELF 

Did you listen to the music of the ‘70s to 

get inside her head? 

Of course! I listened to The Carpenters, Simon 

and Garfunkel, so many amazing artists. 

My mom was actually 14 in 1972, which is 

when the movie takes place, so she told me 

what she went through at that exact time. I 

was just able to talk to Michelle Pfeiffer or my 

mom because they were the same age. What 

they were listening to, what they were doing 

at that time—I could grab off of them. I was 

pretty lucky to have that. 

Does that mean there’s a little bit of Michelle 

and your mom in your character? 

Definitely. There’s definitely a bit of both of 

them. And because Michelle plays my mom 

in the movie, I tried to pull little things out of 

her and put them into who Carolyn is. 

Was a Tim Burton set what you expected 

from seeing his movies? 

Honestly, I didn’t know what to expect when 

I was going into it. I was like, “I wonder if 

everyone’s really cool?” You never really know 

how everyone is going to be on a movie, but 

literally the minute I walked in, everyone 

welcomed me with open arms. They were all 

so, so, so nice. And the most normal people 

were Johnny Depp and Tim Burton, which 

you would never expect. You’d think they’d 

be eccentric, in the corner, kind of weird, but 

no—they’re just normal guys doing what they 

love. 

Is there a past Burton film that you would 

have loved to have been in at the time? 

Of course—Beetlejuice or Edward Scissorhands. 

Any of those. They’re some of my favorite 

movies of all time. And this movie is really a 

lot like Edward Scissorhands and Beetlejuice 

because the original Dark Shadows was so 

close to him. Johnny and Tim grew up with it, 

so it’s special to them, and I think that’s why 

this movie is so special: they feel they need to 

do it the right way. 

But for your generation—who has 

probably never heard of Dark Shadows 

before—what do you think is going to lure 

them to see the film? 

I think just the fact that it’s a Tim Burton and 

Johnny Depp movie. That’s an automatic: “I 

have to go see this.” But I think it’s really that 

in the commercials, Tim is straddling this fine 

line of camp and drama. He perfectly goes 



A 

TEENAGE 

DREAM TO BE 

ON THE SET WITH 

TIM BURTON AND 

A ’70S TIGER 

BEAT 

through these stages where you’re laughing, 

and then you’re really scared, and then you’re 

laughing again but you don’t know why you’re 

laughing because you’re kind of scared. It’s 

this amazing roller coaster of all these feelings, 

and at the same time, you’ll be crying because 

you’re like, “Oh my gosh, I’m feeling so much 

at one time.” That’s what’s special about Tim 

is he breaks down the movie and puts every 

piece together, and he’s so hands-on with his 

actors. He’s more hands-on than anyone I’ve 

ever worked with. 

The original show was famous for shooting 

scenes in one take. If Tim had gone that 

way to make the film really capture that 

offbeat tone, would you have been game 

for the risk? 

That’d be really fun. It’s definitely a modernday 

movie where there’s tons of different takes 

in one scene, but I’d love to do a movie like 

that. It’d be like doing a play. It’d be kind of 

scary, but definitely interesting to try to tackle. 

Sometimes, you’ll mess up a line and be like, 

“Line!” and you’ll have to cut and do it again. 

It’s hard when you’re working with stunts and 

stunt people where you have to shade in that 

they’re doing the stunt. In the TV show, they 

didn’t have crazy stunts, so it was a little different 

than doing this type of movie. There’s 

definitely some really cool stunts that actors 

are not allowed to do. You could do it in one 

take, but it’d have to be more like a drama. 

Are you still able to do all the stunts you 

learned from Kick-Ass? You’ve been busy 

with so many other types of films, have 

you been able to keep up with the physical 

training too? 

Definitely. I love doing my own stunts. Every 

film I do where there’s a stunt, I always go 

straight to the director and go, “Look. I 

was trained for a very long time when I was 

younger and I know how to do a stunt, and I 

know how to do it the right way, and I know 

how to not get hurt.” I tell them I want to do 

most of my stunts—as long as it’s cleared by 

insurance and it’s safe. Sometimes, they’ll be 

like, “Insurance will not cover it—you cannot 

do this, we can’t put you in that danger.” But 

in this movie, I do 90 percent of my stunts. 

There’s two different stunts that I don’t do, but 

then I have this amazing stunt that I worked 

with my stunt girl on—she’s so good. 

Congratulations on just landing the lead in 

Carrie. What is it about the role that you 

find fascinating? 

Thanks! It’s an amazing role, and I’m so excited 

to get in there and try to tackle it and see what I 

can change up. It’s already been done, and there’s 

already been the amazing, amazing, amazing 

Sissy Spacek version of it, but what I really want 

to do is spice it up and take a more modern, 

younger approach to it because I am going 

through what Carrie is going through. She’s 

figuring out who she is, and I just really want to 

get in there and see what I can do, feel it out. 

You’ve been able to pick interesting 

characters, but I feel like most films written 

with parts for kids make the children 

way too innocent. Do you think that adults 

forget what being a kid is like? 

That’s one of the reasons I really wanted to 

do Carrie, actually, is there’s something really 

special about getting the age perfect on 

a character. When you pass a a certain age, 

you have to try and remember what it was 

like living though that age. When you are 

that age, you’re living through it so it’s fresh 

and it’s there and you know exactly how you 

would react. If you’re going to get into a 

heated conversation, as an older person, you’re 

going to be really defending yourself. But as a 

younger person, if you’re talking to someone 

you really, really respect, you’re going to allow 

their words to affect you somewhat before you 

end up defending yourself in the end. So it’s 

a different spectrum. It’s very slight and it’s 

not even bad or good—it just makes it fresher 

when you’ve got that vulnerability. It’s like 

cornering a dog. The dog’s going to be scared, 

but once you corner the dog too much, it’s 

going to bite you. 

Is there an actress whose career you’d 


love to model yours after? 

I take inspiration from a lot of different 

people and kind of compile it into one thing. 

I really love Audrey Hepburn, Meryl Streep, 

Natalie Portman and Grace Kelly. 

What are the types of roles you’ve turned 

down because you didn’t think they were 

right for the career path you want to be 

on? 

There are definitely a lot of girl-meets-boy, boy 

and girl fall out of love, and then they get back 

together. There’s nothing wrong with it at all, 

it’s just that I love really deep and interesting 

projects that are nothing like me. I love getting 

roles that are so different from me as Chloë, 

because I feel automatically that if I do a role 

that’s just like me in the movie for five months 

of my life, I’m going to get bored because I’m 

almost playing myself, which is what I do every 

day. I want to play something that’s going to 

excite me when I go to work. I want to feel, 

“I’m so excited to do this scene. I’m so excited 

to express these emotions that normal people 

really can’t.” And if you’re having a bad day, 

you have this emotional outlet to direct all our 

feelings to and therapeutically and healthily let 

them go. I love playing dark characters. 

In your upcoming Emily the Strange, 

there’s two identical characters: the dark 

and depressing Emily, and then Molly, 

who’s super over-the-top girly, something 

you rarely get to play. Will you get to play 

both? 

We’re still getting the script together, but 

yeah, I’d play both characters. It should be 

really interesting. But Molly’s so girly, she’s 

almost like a sociopath. She’ll be fun. 

What do you think the deal is with tabloids 

watching over young actresses and 

hoping they don’t mess up but at the 

same time hoping they do? Boys don’t get 

that same scrutiny. 

I have conversations with other actresses all 

the time about that. They don’t try to pit 

young boys against each other like, “Who 

wore it best?!” They aren’t like, “Who wore 

the Dolce suit better?!” No one does that with 

boys. But with girls, for some reason, they 

love the drama in it. It’s their high school 

ways coming out. I’m really good friends with 

Abigail Breslin. She’s a little bit older than me 

and we’d always known each other, but we 

became really good friends a little bit ago. It’s 

funny how they’re always like, “So-and-so and 

So-and-so battling it out!” No! That’s not the 

way it is. 

You have four older brothers. When work 

gets overwhelming, are they good at teasing 

you and cutting the tension? 

I’m always kept down to earth by my brothers 

and my mom. They’re always keeping me in 

my place and showing me that this is a privilege. 

I’m incredibly blessed to be able to do all 

of this, and that’s the way we have to look at 

it. A lot of people will get in over their heads 

and start realizing how much press they’re 

getting. They start reading the comments, 

and what my mom has always said is, “If you 

believe the good, then you’re going to believe 

the bad.” So I try to just keep on my path and 

we follow our instincts, which is definitely a 

gamble, but it’s what I love doing so it’s worth 

it. 

What would you be doing if you weren’t 

acting? 

If I wasn’t an actor, I’d probably be a normal 

girl. But I think I would definitely be a part 

of this industry in some way. When I’m older, 

it’d be producing or directing or writing— 

which I still want to do if I’m not successful as 

an actor, which I pray I am. 

MICHELLE PFEIFFER ON HER 

20-YEAR REUNION WITH THE 

DIRECTOR WHO TRANSFORMED 

HER INTO SELINA KYLE 

MAY 


BOXOFFICE OFFI 

PRO 

89


DANGEROUS 

BEAUTY 

MICHELLE 

PFEIFFER 

GETS GOTHIC 

“Sickos never scare me—at least they’re 

I’M READY 

FOR MY 

CLOSE-UP, MR. 

BURTON 

committed,” purred Michelle Pfeiffer 

as Catwoman in 1992’s Batman Returns. 

She meant it: after Pfeiffer hung 

up the whip, she continued to seek out 

quirky, complicated and sometimes 

sinister roles, playing everything from 

a perfectly coiffed racist in Hairspray 

to a deadly poisoner in White Oleander. 

Despite breaking the record for 

the number of times she’s been awarded 

People’s Most Beautiful list (six times in 

the ’90s alone,) Pfeiffer made a point of 

only choosing parts where she could be 

more than a pretty face. And exactly 20 

years after she ran roughshod over Bruce 

Wayne, Pfeiffer has partnered back up 

with Tim Burton for the goofily goth 

Dark Shadows, in which she holds court 

as grande dame Elizabeth Collins Stoddard. 

Was it just like slipping back into 

old times? Says Pfeiffer: it was better. 


THE 

FAMILY 

DYNAMIC GETS 

TWISTED WHEN 

A LONG-LOST 

RELATIVE DRINKS 

BLOOD 

You were really young when the original 

Dark Shadows was on the air. Did your 

parents let you watch it? 

They probably should have been paying more 

attention. My mother was probably cooking 

dinner and my father was probably in his office. 

By the standards of the time, it might have 

been considered pretty racy—certainly not by 

today’s standards—but there were vampires and 

a lot of sexual undercurrents and it was spooky 

and scary, and I loved anything scary. Couldn’t 

get enough of that. 

What was your first reaction when Tim 

Burton came to you and asked if you’d be 

game to take it to the big screen? 

I was thrilled, but the truth is I approached 

him. And I don’t normally do that—it’s not 

something I’m very comfortable with—and 

in fact, I probably wouldn’t have done it if 

I didn’t already know him. But I happened 

to be working with a mutual friend of ours 

when I found out that Tim and Johnny were 

developing this, and that mutual friend kept 

encouraging me to call him, and one day I 

did. There wasn’t even a script yet. And then 

a long time went by—at least a year—and 

I honestly never thought it would even 

happen. You never know with these things, 

let alone that we were shooting in England 

where there’s all these rules about how many 

European actors you hire versus American 

actors. 

Where did you start in making this character 

that Joan Bennett created your own? 

One of the things that made it so exciting 

working on this film was that there was discovery 

every day. Finding that some scenes are 

played more seriously, some are more campy, 

and you never knew from day to day, scene to 

scene, what tone you were going for. Sometimes 

even within a scene, it would change. It 

made every day really interesting. 

You had to balance comedy with the macabre. 

And it has to be grounded in some sort of reality, 

even though we are talking about vampires. 

You can’t completely lose—well, I was about 

to say you can’t completely lose credibility, but 

then again, maybe you can. The beauty of it is 

that audiences now know well enough that you 

have to take a leap of faith. Certainly with Tim, 

the public knows what his films are like. Which 

is obviously part of the fun of watching his 

films. It’s also part of the thrill of working with 

him. It’s not like you don’t know this filmmaker 

and you’re like, “Whoa! What was that?!” It’s 

like, “Here we go!” 

Audiences know what to expect. 

Or they know they don’t know what to expect. 

Dark Shadows is as much about its posh, insular 

New England world as it is about the 

vampires—and that’s what your character 

really represents. 

Tim said from the get-go that he really felt that 

ultimately the movie was about family and the 

strength of the family bond. I think that will 

come through. 

His decision to update the period just a 

little less than 10 years—from the mid-’60s 

to 1972—really changes the background 

and the environment of the world. 

I love this period, I’m so happy that he chose it. 

It’s such a cool period, but it’s also such a fun 

period to poke fun of. 

Do you get nervous before you see one of 

your own films? 

I do—I actually don’t enjoy seeing my films. 

You know, I never saw—and it’s a first for 

me—but I didn’t see New Year’s Eve. It came 

out over the holidays, and I just didn’t get to 

see it. And there’s something really nice about 

not seeing it because I’m so hard on myself. But 

I’m so looking forward to Dark Shadows—I 

got really excited just watching the trailer. Like 

everyone else, I saw it online and it was just so 

good. When you’re shooting a film, if you aren’t 

in every scene there’s just so much you aren’t 

privy to. Even the ones you’re in, they’re adding 

special effects and it’s so much about the 

editing and the music, so just to see it all come 

together, I can’t wait. I’ll just close my eyes and 

plug my ears when I come on-screen. 

(continued next page) 



Is there any film of yours that you’re okay 

watching? 

No, because it’s not about the film, it’s just 

about me. No. But I guess the ones that I’m 

in the least, I’d feel the most comfortable. So I 

really should have seen New Year’s Eve. 

It’s been 20 years since the last film you 

did with Tim Burton: Batman Returns. Did it 

feel like that much time had gone by? 

I just have this overall feeling of Batman 

Returns—I actually don’t remember it that 

well—so I just remember that it was a lot of 

hard work. The best kind of hard work. And this 

was the same, only I’m older now and not that I 

wasn’t appreciative before—because I was—but 

again, it’s Tim Burton giving me the opportunity 

to play a childhood fantasy. Catwoman was a 

dream come true, and I relished every moment 

of it, and here I am now in Dark Shadows 

amongst the vampires. Among everything else 

that Tim brings to the table is all the people, all 

the talent, that he surrounds himself with and 

that gravitates to him. In every department, everywhere 

you look, it’s just so exciting to see that 

level of work coming from everyone who walks 

onto the set—or even who doesn’t walk onto the 

set but works behind the scenes. He’s intense, 

but he’s a lot of fun to work with. On this one, 

we just had this almost telepathic kind of communication 

about the tone of the movie. It was 

kind of weird and hilarious, and we laughed a 

lot. I watched the old Dark Shadows show every 

morning in the makeup trailer. It took everybody 

a while to get ready and usually I get really 

impatient with that whole process, but this was 

so fun because we were all completely addicted 

to Dark Shadows. 

I’ve felt so sorry for every actress who’s 

been cast as Catwoman after you—fans 

have been so hard on them. Did you feel 

that same scrutiny when you first took on 

the part? 

There wasn’t all this hideous blogging on the 

Internet. There may have been a lot of criticism, 

but I just wasn’t aware of it. And now, it’s just 

in your face. Anybody can just say the most 

hateful things, and then anybody can jump on 

the bandwagon. Also, because I was the first 

person to do it in a movie setting— 

and it had been a long time since 

the TV show—the old Catwomen 

weren’t really 

fresh in people’s 

minds. But 

MEOW! 

WHY ARE 

FANS ALWAYS 

SQUABBLING ABOUT 

WHO SHOULD PLAY 

CATWOMAN? 

people definitely have their favorites, and I’m 

not a lot of people’s favorite. I think people have 

been unfair about it to the people who have been 

passed the torch, the Catwoman torch. 

I’m imagining that torch. 

The whip—it’d be the Catwoman whip. 

I was surprised to realize that this is your 

first film with Johnny Depp. 

I know! I’ve just been such a huge fan for so 

long, so long. He’s so much fun to work with 

and you never know what to expect. He didn’t 

disappoint. 

That clique of Tim Burton, Johnny Depp 

and Helena Bonham Carter is always working 

together. Was it hard to be the new 

person coming into that circle? 

Everybody was coming in and out, so everybody 

was having to feel like they were restarting 

again. Except for Johnny—he was there all the 

time because he’s in every frame just about. 

Some of my most tedious days of shooting were 

those family scenes around the table because all 

the actors were there, except for Eva Green of 

course, and it takes forever because you have to 

shoot everyone’s coverage so you’re doing things 

for the 150th time. But everyone was so funny 

and so entertaining that we just laughed a lot. 

Your next film, People Like Us, is directed 

by Alex Kurtzman. He’s written some of 

the biggest movies of the last several summers—Star 

Trek, Transformers—but this 

is his first time at the helm. How was his 

learning curve as a director? 

He’s a really good director. It’s a real character 

piece, and he’s great with actors. He loves actors; 

he’s great with story; he’s just tireless. He’s 

really, really good. I play Chris Pine’s mom, and 

the movie, again, is about family. Initially, it’s 

about the tearing apart of a family, and then it’s 

about it coming 

back together 

and accepting 

each other 

warts and all. 

There are no 

perfect relationships; there is no perfect family—we’re 

all dysfunctional to a degree. And 

that’s liberating because then you can begin to 

have real connections with people. 

Do you see a family resemblance between 

you and Chris? 

Maybe a little? We’re both fair. Do we look alike? 

You both have those light blue eyes. 

We have eyes. 

And noses and ears. 

Noses and ears! Exactly. 

Especially in the last ten years, you’ve been 

playing more fun villains than romantic 

heroines. Talk about your choices. 

There’s a kind of freedom in taking on those 

kinds of parts where the movie isn’t really 

resting on your shoulders, or on whether or 

not you’re romantic or sexy and pleasing to the 

audience, or whether that audience is with you 

and rooting for you. That can color your performance. 

For me, the best actors are the ones 

who don’t care about that even when they’re the 

lead in the film, but it’s not always easy to pull 

that off. I’m actually enjoying the work more 

than ever—it’s been kind of liberating. 

Is there a beauty trap in Hollywood where 

your first decade in the business, you had 

to be careful to pick a wide variety of roles 

to make sure you would continue to be 

offered a wide variety of roles and not just 

be hemmed into playing romantic leads? 

I think in the beginning, it took a lot of patience 

and there was a lot of waiting in between 

parts. I’ve always just looked for parts that I 

thought were interesting. I was never very calculated 

about things, which I probably maybe 

should have been more so. But I think it really 

came about as being always on the lookout for 

any opportunity that I could find that allowed 

me to play a part where beauty wasn’t important. 

In fact, I had to play against that, and a 

lot of those parts came in unusual ways. A lot 

of them came in TV in the beginning. 

You’ve turned down a lot of roles that 

other actresses would kill for, but you 

don’t strike me as someone who would 

have regrets about that. 

People turn down things for different reasons, 

and it’s not always because you don’t want to do 

something. I’ve turned down things that I really, 

really, wanted to do … but I wanted to do 

something else more. And sometimes it’s a life 

choice. So, yeah, I don’t have many regrets. Of 

course, it isn’t easy when you go on to see that 

movie become a big blockbuster and you see 

the actress get an Academy Award. But you go, 

“You know, I know I made the right choice.” 

So it’s true: I don’t have any regrets. 


SUMMER 

TENTPOLE 

FULL 

STEAM 

AHEAD 

BATTLESHIP SAILS 

INTO SUMMER 


Even kids know that Battleship is a board 

game that commands respect. You’re not just 

passively rolling dice to slide around on Chutes 

and Ladders—you’re using strategy, deduction 

and psychology to destroy your enemy. It’s tailormade 

for an at-sea suspense flick, and after the success 

of Transformers, it was a natural fit for the next 

Hasbro movie once rough-and-tumble G.I. Joe had his 

turn. Still, where those adaptations had the benefit of 

having actual characters, for Battleship, the original game is 

just a blue board with a pile of nameless red and blue pegs. 

What to expect when Battleship sets sail on May 18th? We ask 

director Peter Berg and his star Brooklyn Decker. 


YOU SUNK MY TOP-OF-THE-LINE 

AEGIS CLASS DESTROYER! 

BATTLESHIP DIRECTOR PETER BERG ON BLENDING NAVAL ACCURACY, INTERPLANETARY SCI- 

ENCE AND A 100-YEAR-OLD STRATEGY GAME INTO ONE BIG SUMMER FLICK 

PETER 

BERG SETS 

UP THE 

SCENE 

There’s no formula for a Peter Berg movie—how could there be when his credits include Friday 

Night Lights, The Kingdom and Hancock? But there is a pattern. Berg is the thinking man’s macho 

moviemaker, and while his films look like they’re made of testosterone, his intelligence and craft 

lure in a much broader swath of film lovers than you’d expect from, say, an action-comedy starring 

The Rock and American Pie’s Seann William Scott. Yet, I’ve personally met several girlie girls—and 

also tea-drinking boys—who cite The Rundown as one of their 

favorite flicks, and now building off the massive cross- 

generational, 

trans-American, red- and blue-state suc- 

cess of his TV show Friday Night Lights, Berg is back 

on the big screen for his first feature in four years, a 

popcorn flick that has its roots in Hasbro but aspires 

to be something much, much smarter. 

Battleship is a game with a bunch of red and white pegs. 

Where do you start in translating that visually to a screen? 

Battleship is a game with five different naval warships fighting five 

different naval warships in a confined space. I would start with that. 

As a long-standing student of the Navy—and my father was a naval 

historian—I’ve always had a major amount of respect for navies and 

naval warfare. It’s something I’ve been interested in my whole career. 

I’ve tried to do several films about Naval warfare, starting with a film 

about John Paul Jones, who was the founder of the American Navy. 

Have you heard of him? 

I have—my uncle was in the Navy. 

So ask your uncle what an awesome story John Paul Jones would be. I 

tried to do that, then Master and Commander came along and knocked 

that one out. I tried to do a movie based on the book The Heart of 

the Sea. It’s the story of Essex, a whaling ship out of Nantucket which 

sunk and was the inspiration for Moby Dick. That one ended in cannibalism, 

and studios weren’t interested in that. I tried to do a movie 

about the Indianapolis, which is the battleship that carried the two 

atomic bombs that were dropped on Japan. It was sunk, and the crew 

were all eaten by sharks. That was tough to get going, since everyone 

is dying and being eaten by sharks. So I’ve been frustrated wanting 

to do a naval warfare film, and then after the success of Transformers, 

Iron Man and Avatar, I started to look at these big super movies and I 

kind of wanted to do one. I thought about Battleship as a brand. The 

idea of, “Okay, we’ve got five Navy ships fighting other ships in a 

contained environment.” I thought, “I bet you could create a story 

around that.” It proved to be true, and it proved to be one of the 

more enjoyable and creative challenges in my career. 

I heard you had actual Navy crewman with you on set. 

It’s true. We had a very good relationship with the Department 

of Defense. We shot on aircraft carriers and destroyers. We had 

a lot of active Naval personnel who were on breaks coming over 

and working with us. We shot on Pearl Harbor. We shot on Japanese 

destroyers. We had a great relationship with the Navy. 


APRIL L20 


BOXOFFICE OFFI 

FI 

PRO 95

SUMMER TENTPOLE > BATTLESHIP 

BERG 

REUNITES WITH 

FRIDAY NIGHT 

LIGHTS’ TAYLOR 

KITSCH 

Where did the idea come from to have this battle fought at Pearl 

Harbor? 

It’s not “Let’s fight it at Pearl Harbor,” per se. It’s fought in the Hawaiian 

Islands. I thought of that for a variety of different reasons, one being that it’s 

a great contained area for a fight. And Pearl Harbor houses the most famous 

battleship of all time, the Missouri. I wanted to see if I could find a way of 

bringing the Missouri into the movie, so Hawaii was the logical place. 

So it sounds like you wanted to make a Naval film with a lot of 

fidelity to the work they do. At the same time, you also have to 

turn this into a blockbuster that incorporates aliens. How do you 

balance that? 

I do believe that the kind of films that are defining my generation of 

filmmakers are these big super films that have an extraordinary global 

impact. They’re seen by 15-year-old kids in South Korea and 80-year-old 

grandparents in Portugal and everywhere in between. There is an element 

of fun and spectacle and of escapism to these films. I wanted to do 

that, and I didn’t feel that I wanted to do that in a Naval war film where 

America fought China and we had sailors dying the way the real sailors 

die at sea, which is incredibly violent. People burn to death. People get 

ripped limb from limb. They get decapitated. They get eaten by sharks. 

It’s very violent, and I didn’t want that. I was thinking about a way to 

get a incredible villain into the film, or an incredible opponent. I found 

this documentary that Stephen Hawking did about aliens and about 

the Goldilocks planets. We’ve identified several planets that have similar 

environments to ours. Not only us, but other countries are sending signals—high 

frequency signals—to these planets, the goal being to inform 

them, that, “Hey, we’re Earth. Here we are—come and visit us.” Stephen 

Hawking came out and said, “That’s a horrible idea. If we do succeed at 

making contact, the chances of it being peaceful and copacetic are virtually 

nonexistent. We should just shut up and keep quiet.” That provided 

me with the inspiration to bring aliens in. 

You did a lot of scientific consultations during the making of this 

film with the Science & Entertainment Exchange. What kinds of 

stuff did you talk about with them? 

Mostly a lot about Goldilocks planets. What they are and how they operate. 

Scientists in the know and astrologists in the know believe there is no 

question there’s life out there. If you want to have some sort of rational 

method of trying to make contact with that life, you identify with these 

planets. I’m not a big fan of alien films where there’s just suddenly a 

massive generic invasion and we have no idea why or what the scope or 

capabilities of the aliens are. I like the idea in Battleship of taking our 

time to really explain how it is that we had this contact. Understanding 

what the contact is and what the aliens are. It’s not just these random giant 

spaceships the size of New York City hovering over our planet killing 

everything in sight. 

You also make a point of showing the war from the aliens’ perspective. 

How do you pull that off? 

It was important to me to try and create aliens that felt somewhat 

familiar to us. They come from a planet that is similar to ours. They have 

similar respiratory systems, neurological systems. They have emotions. 

They clearly act in a way that’s rational; they have specific agendas. They 

don’t fight unless attacked. We spent a lot of time trying to create a real 

pathology and look for these aliens so they were more than generic killing 

machines. 

It sounds like you already knew a lot about military strategy, partly 

because of your father. Was there anything you learned while putting 

the film together or any kind of theories you leaned on more 

than others in terms of how this warfare would go? 

Having access to newest ships in our Navy, the Aegis Class Destroyers, 

was really educational for me. They’ve never been filmed, and I 

think very few people even understand what they are. They’re 500- 

foot ships with up to 450 people crewing them. They are extremely 

complicated, magnificent, technological accomplishments. The men 

and women that run them are really, really smart. These ships are 

capable of attacking threats with incredible precision from very long 

distances. Being able to go on these ships and recreate them, build 

them, and use them as a big set piece for our film was awesome and a 

new experience for me. 


When you’re adapting a board game for the 

screen, how important is“fan-boy fidelity.” 

Did you feel you had a wide open slate? 

For me, the big challenge is I’m aware that 

there is a segment of our fan-boy population 

that has been skeptical about Battleship. They 

have voiced their opinions that Battleship 

doesn’t lend itself to the most logical film 

interpretation. I’ve noted those comments and 

I think part of the competitor in me is taking 

pride in finding ways to hopefully, artfully 

reference the board game in a way that is additive 

to the story and feels kind of fun. Certainly 

nothing that encourages anyone to roll their 

eyes. If you look at some of our trailers, it’s 

pretty obvious that the ordnance that the aliens 

use look somewhat like the pegs in the game. 

They behave similarly, although much more 

violently. There are several other references to 

the game throughout the movie. 

One thing I find interesting about your 

career is that you’ve kind of done every 

single role in Hollywood. You were a P.A., 

actor, producer— 

Stuntman, grip, electrician, driver, craft-service 

guy, clean up the coffee/spilled the coffee guy. 

Everything. 

So on set, you can tell everyone specifically 

how to do their job. 

I’m pretty good at knowing when people are 

bull-s--tting me and when they’re not. I have 

a good understanding of what everyone’s job 

is. In all seriousness, I love making films and 

telling stories. I love writing and directing. I 

also have a real appreciation for how hard it is 

for the crews on sets. How much pressure it 

puts on them and their families. It’s not unlike 

military service. Especially now when so few 

films are made in Los Angeles, film crews have 

to leave their lives and their kids and spend 

nine or ten months away from their kids. They 

miss graduations, birthdays and holidays. It’s 

brutal. I have a lot of respect for the sacrifices 

film crews make. I try to do whatever I can to 

help alleviate the pressures that I know exist. 

I’ve never heard it compared to military life 

before, but I think you’ve got a point. 

It’s actually even harder in a sense. If you are in 

the military, you have a three-and-half-month 

deployment, than a year off, and you’re paid for 

all of it. You know generally when your deployment 

is going to be. There is a very established 

system. I’m not saying it’s easy—it’s not easy— 

but there is an established system to help you 

and your families get through it. In the film 

business, a film crew has to take whatever job 

is available. They have no idea where they 

are going to go, no idea when they are going 

to be back, and when they’re not working, 

they’re not getting paid. There is no support 

system in place with the film unions to help 

the kids whose father or mother aren’t there for 

birthdays. It’s not an easy life. I’m really aware 

of that. The experiences I had on film crews 

certainly help my understanding of that. 

I think it was incredibly smart casting to 

put Rihanna in this film. How did that idea 

come about? 

I love finding new faces and casting new faces. 

One of my favorite casting times was with the 

television series Friday Night Lights. We took 

completely unknown actors literally right off the 

bus and found what we thought were talented 

actors, like Taylor Kitsch and Jesse Plemons. 

I’m talking about young actors—obviously Kyle 

Chandler has been around. I like that. I like to 

mix fresh faces with more established faces. We 

had this role—it’s not a lead role, but part of the 

ensemble—of a tough female sailor. I had been a 

fan of Rihanna for awhile. She did an interview 

with Diane Sawyer after the Chris Brown incident 

and she struck me as this very intelligent, 

poised women. I added that up with the persona 

I got from her videos, and I thought, “I bet this 

girl can perform—I bet she’s an actress.” She’s 

smart. She’s clearly got a lot of charisma. She’s 

not shy, and those are all important qualities 

for an actor. You’ve got be aggressive and not be 

afraid to take chances. Intelligence doesn’t hurt, 

PETER PETER 

When he saw 

“ 

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and she has a lot of that. I met with her, and she 

came into the office in flip-flops and jeans. We 

had a long talk about her desire about getting in 

the business. She then auditioned for a couple of 

hours, improvised a lot, read different roles. She 

read Liam Neeson’s character and Taylor Kitsch’s 

character. I was trying to get a sense of how 

adventurous she was as an actress, and she was 

very. When I told her I wanted her to do it, she 

said, “Okay, but don’t treat me special—make me 

work,” and I said, “You got it.” She showed up to 

work and really did a great job. To anyone who 

is surprised that Rihanna is acting, there is a long 

list of musicians that have acted successfully. My 

first experience was Frank Sinatra in Manchurian 

Candidate, and he won an Oscar in From Here 

to Eternity. There’s Mick Jagger or David Bowie 

or Mariah Carey or Lenny Kravitz or Whitney 

Houston or Tim McGraw, who I had great success 

with in Friday Night Lights and The Kingdom. 

Musicians make great actors, and that’s just the 

way it is. 

YOU 

LOOKING AT 

ME? BROOKLYN 

DECKER ON THE 

SET 

That’s true: They’ve got to act while they’re 

singing, otherwise the song won’t resonate. 

Yes. Rihanna did a wonderful job in Battleship. 

There is no star treatment given to her, 

and none asked for. She is a great team player 

and great girl. I would work with her again in 

a second. 

How closely was the studio watching John 

Carter to see if they were going to get a 

bump from Taylor Kitsch’s role? 

I don’t think the studio was really counting 

on anything. Obviously, John Carter was a 

disappointment financially, and there are a lot 

of reasons that went into that. Taylor did a 

great job in the movie, and nobody’s associated 

the results of John Carter with Taylor. He 

did a wonderful job. We all watch each others’ 

films, and as snarky as people in our business 

can be, we’re not that big of a community. 

We are financially interconnected. So nobody 

wants to see anyone fail, especially on a film 

that’s that expensive. We are our own movie, 

we fully plan on having our own experience—and 

hopefully a successful one—but 

that has very little do with any other film’s 

performance. 

Are you aware that there is a big cult 

of people who’d like to see a Rundown 

sequel? 

I know. I’m working on it. I believe that all 

those people are going to be really happy with 

Battleship. Battleship is more me, a return to the 

tone of The Rundown. Which I love—I love 

that film. It was a fun action romp. Big-ass fun 

romp. Battleship has got that tone. It’s meant to 

be a film for everyone: it takes itself seriously 

at times, other times it wants people to have 

a good, old-fashioned popcorn romp at the 

movie theater. That’s what we intended to do. 

WHEN 

ALIENS 

ATTACK 

TOUGH BEAUTY 

BROOKLYN DECKER WILL BE 

AT THE FRONT LINES 

98 BOXOFFICE PRO APRIL 2012

You've heard this story before: 

A gorgeous girl moves 

to New York City and strikes 

it big as a model. Music 

videos, advertisements, Cosmopolitan, 

and then the kicker: six straight 

years in the Sports Illustrated Swimsuit 

Issue and even a career-making shot on 

the cover in 2010. But where Brooklyn 

Decker's story takes a turn is that even at 

22, she knew she wanted more. That year, 

just after marrying her tennis pro husband 

Andy Roddick, she parlayed her new 

fame into a guest appearance on three 

sitcoms. Sure, she played a bikini model, 

but she knew it was her start. Two years 

later, she had her first big role as Adam 

Sandler's girlfriend in Just Go With It, and 

this summer, Brooklyn Decker is proving 

she's here for the long haul with two very 

different roles in two very different films: 

the alien action-adventure Battleship and 

the quirky romantic comedy What 

to Expect When You're Expecting. 

At an age when most models 

are still squabbling over the next 

lipstick supermodel gig, Decker is 

determined to show the industry 

she's a beauty with staying power 

and a serious work ethic—and that 

she really is a girl who would grab 

a gun and fight an alien invasion 


 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

APRIL 2012 BOXOFFICE PRO 99


Peter Berg really wanted to make sure you 

could handle the physicality of the movie. 

What was your audition like? 

I auditioned for the movie four times before 

I even got to meet Pete. In my last audition 

with him, he said to me, “If you want this 

part, I want to see snot bubbles bbles coming from 

your nose. You're freaking out, there's aliens 

attacking your boyfriend—I want you crying, 

I want snot coming from your nose, 

and if you can do all that, you get 

the movie.” I was like, “Okay, 

I've got to do this.” And I 

don't know what came over 

me, but snot was dripping 

from my nose, tears were 

coming from my eyes, I 

was screaming, he had 

his hand over my mouth, 

it was very chaotic. And 

then by the end of it, he 

was like, “Cool, thanks. 

See you soon.” I was like, 

“Okay...?” Three weeks later, he 

called and offered me the part. 

Somehow, the snot bubbles are 

what got me on Battleship. 

That seems like it'd be harder 

to do than it sounds—you're u're 

fighting natural human vanity. 

HE MAKES ME 

LAUGH. WITH 

ADAM SANDLER 

IN JUST GO WITH 

IT. 

I know! I feel like I'm a new actor. The whole 

emotional, crying, freaking-out thing is new 

to me and something that I have to work on. 

I don't know if it's because I had auditioned 

so many times, but I was just like, “Screw 

it—I have to go 

for it.” Plus, we're shooting in 

Hawaii. We're shooting with guns and doing a 

lot of stunts, shooting long days. It's incredible, 

but it's definitely 

hard work. I think he needed 

a team player who wasn't going to have to go 

to her trailer every five minutes. He wanted 

somebody who could get beat up a 

little bit, and I think somehow 

snot bubbles proved I could do 

all that. 

You were an athlete all 

through high school. How 

physical did the shoot get? 

We were shooting in the 

mountains, first of all, so there was 

a lot of hiking. Surprisingly, the 

conditions got a little tricky with 

mudslides and rainstorms. You were 

outside and quite literally in the 

trenches all day. I love hiking, I love 

kayaking, so it felt very natural for 

me to 

be in that kind of environ- 

ment. 

That part didn't feel like a 

stretch. But the part where I really 

had to 

train was the gun training, 

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the car stunt training, all of the physical acting 

and training that it takes to make something 

like that work in a scene. And my character is a 

physical therapist, so I had to learn a lot about 

therapy, specifically for people who had lost 

limbs. 

Is it true that Peter hid in the bushes and 

fired a machine gun just to frighten you? 

Yup, it is. One of the things I love most about 

Pete is he's an actor's director. He will do 

anything it takes to get an emotion from an 

actor, and he knew that I was new, so he would 

constantly do things to keep me on my toes. If 

that meant blasting Pearl Jam in the speakers 

or firing off a machine gun in the bushes, he 

will do what it takes to get what he needs. He's 

willing to completely throw himself on the line 

and make a fool of himself to make sure he 

gets you where he wants you, and I think that's 

why actors trust him so much and love working 

with him because he's fun, exciting and a little 

bit nutty. 

You play Taylor Kitsch's girlfriend, but 

Battleship is much more of an action movie 

than a romance. Were you disappointed 

you didn't have more romantic scenes with 

him? 

Oh, goodness! That's such a tricky question. 

No—I mean, at the end of the day, it is a 

summer popcorn movie and we're certainly 

not remaking The Notebook by any means. You 

want to feel the love story between my character 

Sam and Taylor's Hopper because you want 

Hopper to get home to her by the end of the 

movie. Taylor and I had a few scenes, and that 

was plenty for the movie. 

Most of your scenes are instead with a 

real-life veteran who actually lost his legs. 

Tell me about working with him and the 

dynamic between your characters? 

His name is Colonel Greg Gadson, and he 

lost both of his legs in Iraq in 2007, and he 

plays that character in the movie. What I love 

about Greg is he's a former football player and 

a huge guy who's incredibly powerful—again, 

an active colonel—and he's coming into this 

movie with this predicament where he's making 

a movie with this scrawny little actress—me— 

who's only on her second movie. It was weird 

and kind of vulnerable. We had to get to know 

each other in this scenario where the two of 

us felt like newbies. He and I really became 

friends—we were just texting today, actually— 

and we developed this really big bond because 

he wasn't used to feeling vulnerable and we 

really depended on each other to get stuff out 

of the scene. We got close fast, and he was very 

open about his injury and the whole process 

of coming back from Iraq and the phases that 

he went through recovering. And that helped 

me so much because that's exactly what my 

character is going through: she's trying to help 

this guy recover from his injury. Working with 

Greg was really one of the most rewarding parts 

of the whole moviemaking process for me. 

Do you believe in life on other planets? 

I do. I'm not saying they're big aliens with 

machine-gun hands—they're not our aliens, I 

don't think—but we have like, what, two percent 

of the entire universe actually discovered, 

and to think that we're the only planet with 

life feels a bit naïve. I think it's fun to imagine 

there's something else out there. Again, not 

something deadly that's trying to attack us, but 

it's kind of childlike and fun to imagine there's 

another Earth out there, another world—it's 

intriguing. 

If they were the aliens with the machine 

guns, though, you do strike me as the type 

of girl who would fight back. 

I do? Thank you! Because I would. It's funny 

because Rihanna and I didn't get to spend a lot 

of time together, but both of us have these jobs 

where you're made-up and have pretty little 

dresses on all the time. It's a very glamorous 

job, but I think at the root of it, her and I are 

both really big tomboys who like to get our 

hands dirty. So, yeah, if this were to happen on 

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Earth, I'd be right there. I'd be shooting guns, 

I'd be fighting—I love that kind of stuff and I 

feel like that's truly me. 

And now you've gotten to practice, so 

you'd be a step ahead of everyone else. 

Exactly! I already know what they're going to 

do and what kind of weapons to use. 

Your next film is What to Expect When 

You're Expecting where you have this May- 

December romance with Dennis Quaid. 

How different is that role? 

My character is so annoying. You want to hate 

her. She's the annoyingly perfect character who 

goes through pregnancy just perfectly. She's 

this kind of redneck trophy wife, but she was so 

much fun to play. I fell into her so easily because 

I grew up in North Carolina, so it was like, “I 

know this woman.” And Dennis and I have this 

really heightened, ridiculous, over-the-top relationship 

and we just went for it. We were like, 

“Let's be gross, let's be disgusting, let's have fun, 

let's push the boundaries,” and he and I just had 

a blast filming it. It's really different from Battleship, 

but I hope it'll bring a couple laughs. 

Your first few roles, you were cast as a 

model. But now you're getting more interesting 

parts. What was that process like to 

get filmmakers to see you as more than a 

model? 

Every role that I've gotten, I've had to audition 

for several times. Nothing's ever been offered to 

me. It’s all about proving to the filmmakers that 

I can do it. I think most people I've worked 

with will tell you that I'm incredibly hardworking, 

and I get that I'm a new actor and 

have a lot to improve on—I'm still learning a 

ton—but I think the biggest thing has just been 

putting in the work. I've been studying now for 

quite a while, and it's definitely going to take a 

while for me to earn these roles, but if people 

give me a chance, that's all I can ask for. And 

I think people are seeing that “Okay, she can 

work, she can do this.” So hopefully I'll still be 

employed after this comes out. 

Do you have advice for the Sports Illustrated 

2012 cover girl Kate Upton for her 

move into acting? 

She's already got The Three Stooges coming out. 

She's only 18, and she's kicking so much butt. 

I think she's doing just fine. 

What's a classic film role that you wish 

you could have played? 

I really love Jenny from Forrest Gump. 

Or Penny Lane in Almost Famous, 

because she's this hippie bohemian. But 

if you look at Jenny ny from Forrest Gump, 

you meet her as a child, and then she 

goes through all this teenage angst. 

Then she has this issue with 

her father, then she grows 

into this peace-loving 

hippie, then she grows 

into a druggie, and 

BROOKLYN 

then she grows 

DESCRIBES HER 

into a sweet, 

WHAT TO EXPECT 

loving mother. 

CHARACTER AS 

She's like four 

“ANNOYINGLY 

characters in 

PERFECT.” 

one role, and I 

feel like that's 

what acting is 

for—to do all 

this evolving. 

102 BOXOFFICE PRO APRIL 2012

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COMING 

SOON 

by Sara Maria Vizcarrondo 

CHRIS POWER 

TIMES TWO: 

HEMSWORTH AND 

EVANS 

MARVEL’S 

THE 

AVENGERS 

SUPERFRIENDS SAVE THE 

WORLD 

When comic book readers got 

bored by their superheroes, 

comic writers smashed a bunch 

of names together and called 

it a league. Here, led by dono-wrong 

writer/director Joss 

Whedon, we meet Nick Fury 

(Samuel L. Jackson), hired by the 

government to recruit engineering 

marvel Iron Man (Robert 

Downey Jr.), science experiment 

Hulk (Mark Ruffalo), Nordic 

god Thor (Chris Hemsworth) 

and hotties Hawkeye (Jeremy 

Renner) and Black Widow (Scarlett 

Johansson) to save the world 

from Loki (Tom Hiddleston) and 

his Transformer-styled mayhem 

machines. 

DISTRIBUTOR Disney CAST Scarlett Johansson, 

Chris Evans, Robert Downey 

Jr., Gwyneth Paltrow, Paul Bettany, 

Stellan Skarsgard, Don Cheadle, 

Samuel L. Jackson, Mark Ruffalo, 

Lou Ferrigno, Jeremy Renner, Chris 

Hemsworth, Tom Hiddleston, Cobie 

Smulders DIRECTOR Joss Whedon 

SCREENWRITER Joss Whedon PRODUCER 

Kevin Feige GENRE Action RATING TBD 

RUNNING TIME TBD RELEASE DATE May 

4, 2012 

OH, 

GOODIE—JUDI 

DENCH HAS 

ARRIVED 

THE BEST EXOTIC 

MARIGOLD HOTEL 

NOW, VOYAGERS 

>> Seven U.K. residents head to India to 

spend their golden years in a fabulously 

marketed resort, only to learn too quickly 

that the Third World is an adventure with discomforts 

and their romantically named resort 

just a dust bucket with an overambitious 

tween playing innkeeper. The cast couldn’t 

be more esteemed, and the comedy couldn’t 

be drier, with aged and attractive singles 

coupling and dying in equal measure. Most 

of these Brits remember when England called 

India a colony—I hope that comes up over 

the breakfast table. 

DISTRIBUTOR Fox Searchlight CAST Judi Dench, 

Bill Nighy, Tom Wilkinson, Maggie Smith, Dev 

Patel DIRECTOR John Madden SCREENWRITER 

Ol Parker PRODUCER Graham Broadbent, 

Peter Czernin GENRE Comedy, Drama RATING 

PG-13 for sexual content and language. RUN- 

NING TIME 124 min. RELEASE DATE May 4 ltd. 

MEETING EVIL 

LUKE, I AM YOUR COMEBACK 

>> Most of us haven’t seen Luke Wilson (aka 

the brunette Wilson) since those ill-advised 

phone commercials a year or so ago. Here, he 

plays a down-on-his-luck family man who loses 

his job, house and car on the same day, only to 

be “rescued” by Samuel L. Jackson. (Consider 

him here the not-so-super Nick Frost.) Sam’s 

got plans that aren’t on the up-and-up and can’t 

be explained to the cops without incrimination. 

If anyone looks like he’s guilty of being 

in the wrong place at the wrong time, it’s this 

ex-AT&T spokesman who still looks perfectly 

hapless in the interrogation room. 

DISTRIBUTOR Magnolia CAST Samuel L. Jackson, 

Leslie Bibb, Luke Wilson DIRECTOR Chris 

Fisher SCREENWRITER Chris Fisher PRODUCER 

Brad Krevoy, Mike Callaghan, Justin Bursch 

GENRE Suspense RATING R for violent content 

and language. RUNNING TIME 89 min. RELEASE 

DATE May 4 ltd. 

FIRST POSITION 

DANCE MACHINES 

>> The Youth America Grand Prix is the biggest 

ballet contest in the States, with young dancers 

competing from various parts of the country 

for prestige and the attention of ballet company 

recruiters both national and international. This 


is half So You Think You Can Dance? and half 

Ballet Russes, a concoction which might lure 

more adults than aspiring ballerinas to the theater 

but will still provide joy to anyone who’s 

ever tried to make The Nutcracker an annual 

tradition. 

DISTRIBUTOR Sundance Selects DIRECTOR/ 

PRODUCER Bess Kargman GENRE Documentary 

RATING TBD RUNNING TIME 95 min. RELEASE 

DATE May 4 NY 

THE PERFECT FAMILY 

CAN YOU EXORCISE YOUR KIDS? 

>> Kathleen Turner isn’t Mrs. Robinson anymore. 

Here she’s a faithful wife and mother so 

prominent in the community they nominate 

her for the Catholic Woman of the Year Award. 

And then her son is caught cheating on his wife 

and her daughter comes out as a lesbian—kids 

ruin everything. The cast in this is pretty hilarious, 

with famously gay Richard Chamberlain 

playing the priest presiding over the award and 

Sharon Lawrence (NYPD Blue) as the holierthan-thou 

competitor for the Catholic crown. 

DISTRIBUTOR Variance CAST Kathleen Turner, 

Michael McGrady, Richard Chamberlain, 

Elizabeth Peña, Jason Ritter, Emily Deschanel 

DIRECTOR Anne Renton SCREENWRITER Paula 

Goldberg, Claire V. Riley PRODUCER Jennifer 

PRAISED BE! 

KATHLEEN 

TURNER IN THE 

PERFECT FAMILY 

Dubin, Cora Olson GENRE Satire RATING R for 

violence and terror. RUNNING TIME 84 min. 

RELEASE DATE May 4 NY, May 11 LA 

THE SAMARITAN 

RISKY BUSINESS 

>> Samuel L. Jackson proves the only thing 

harder to escape than prison is the lifestyle 

that got you there. When he’s paroled and 

decides to go straight, his past associates finds 

ways to drag him back into the fold. When 

he meets Ruth Negga, a pretty girl with the 

potential to keep him out of trouble, his old 

colleagues come along with offers that will let 

him spoil her with luxury, even if it’s not on 

the up-and-up. A guy will try lots of things 

to keep a girl—and going legit isn’t always on 

the list. 

DISTRIBUTOR IFC Films CAST Samuel L. Jackson, 

Tom Wilkinson, Luke Kirby, Ruth Negga 

DIRECTOR David Weaver SCREENWRITER Elan 

Mastai, David Weaver PRODUCER Suzanne 

Cheriton, Andras Hamori, Tony Wosk GENRE 

Thriller RATING TBD RUNNING TIME 93 min. 

RELEASE DATE May 4 NY/LA 

WHERE DO WE GO NOW? 

ET MAINTENANT, ON VA OÙ? 

PROSTITUTES FOR PEACE? 

>> Nadine Labaki made a splash in 2007 with 

Caramel, a story of modern Beirut that revealed 

a lot about the so-called battle of the sexes. In 

a small village that’s half Christian and half 


COMING SOON 

Muslim, the men are fighting like cats and 

dogs. So their women hire a handful of pretty 

ladies to distract their men while they steal the 

town’s weapons and bury them underground. 

It’s a great catch-22: The guys can get mad their 

wives stole their guns, but they did it while 

they were flouting their marriage vows. Let’s get 

ready to rumble. 

DISTRIBUTOR Sony Pictures Classics CAST 

Claude Moussawbaa, Layla Hakim, Antoinette 

El-Noufaily DIRECTOR Nadine Labaki SCREEN- 

WRITER Nadine Labaki, Jihad Hojeily PRODUC- 

ER Anne-Dominique Toussaint GENRE Drama; 

Arabic- and French-languages, subtitled RAT- 

ING PG-13 for thematic drug material, some 

sensuality and violent images. RUNNING TIME 

110 min. RELEASE DATE May 11 NY/LA 

FREIDA OF THE 

D’URBERVILLES IN 

TRISHNA 

GIRL IN PROGRESS 

THE TAMING OF THE TWEEN 

>> Post-vixen Eva Mendes plays an overcommitted 

single mom in Seattle. Too often left to 

her devices, Mendes’ daughter Ansiedad grew 

up quickly, but not quickly enough for Ansiedad’s 

taste. Either empowered or misguided, 

Ansiedad uses the coming-of-age stories she’s 

reading at school as a template for her own 

high-speed maturation. She’ll get out of her 

tweens one way or another—but she’s determined 

to hit adulthood using the expressway. 

DISTRIBUTOR Lionsgate CAST Matthew Mo- 

dine, Eva Mendes, Patricia Arquette, Eugenio 

Derbez, Russell Peters, Cierra Ramirez DIREC- 

TOR Patricia Riggen SCREENWRITER Hiram 

Martinez PRODUCER John Fiedler, Benjamin 

Odell GENRE Dramedy RATING PG-13 for 

mature thematic elements, sexual content 

including crude references, and drinking—all 

involving teens. RUNNING TIME 90 min. RELEASE 

DATE May 11, 2012 

TRISHNA 

LOVE IN THE TIME OF CHASTITY 

>> An update of Thomas Hardy’s Tess of the 

d’Urbervilles is relocated by writer/director 

Michael Winterbottom to India, a nation with 

stricter moral codes. The story of a free-think- 

ing Tess, who becomes a “maiden no more” 

and suffers 

for her loves no longer makes sense 

when millions of people in the West watch 

The Bachelorette, but in 2007, Richard Gere 

caused an international crisis by publicly kiss- 

ing the cheek of Bollywood star Shilpa Shetty. 

(In Mumbai, he was burned in effigy—seri- 

ously.) Featuring an original score that’s both 

traditional 

Indian song and modern sounds, 

this dance-heavy tragic romance is an arthouse 

favorite in the making. 

DISTRIBUTOR IFC Films CAST Riz Ahmed, Freida 

Pinto, Kalki Koechlin DIRECTOR/SCREENWRITER 

Michael Winterbottom PRODUCER Sunil Bohra, 

Melissa Parmenter, Michael Winterbottom 

GENRE Drama RATING TBD RUNNING TIME 117 

min. RELEASE DATE May 18 NY 

MAGGIE 

GYLLENHAAL 

AND HER 

FAVORITE DOC, 

HUGH DANCY 

HYSTERIA 

DO YOU NEED A PRESCRIPTION FOR THAT? 

This romantic comedy charts the messy path of the young doctor who invented the 

vibrator. Boy, was the Victorian Era conflicted—it was a time when doctors both 

denied the existence of female pleasure and prescribed heroin for coughs. At a loss for 

a job, one young doctor was hired on to manually relieve women of their “hysteria.” 

After months of carpal tunnel, he devises a mechanical way to outsource his hand 

gestures. An industry is born. 

DISTRIBUTOR Sony Pictures Classics CAST Maggie Gyllenhaal, Jonathan Pryce, Rupert 

Everett, Gemma Jones, Hugh Dancy, Anna Chancellor, Felicity Jones DIRECTOR Tanya 

Wexler SCREENWRITER Jonah Lisa Dyer, Stephen Dyer PRODUCER Sarah Curtis, Judy 

Cairo, Tracey Becker GENRE Comedy RATING R for sexual content. RUNNING TIME 100 

min. RELEASE DATE May 18 NY/LA 

106 

BOXOFFICE PRO MAY 2012

MOONRISE KINGDOM 

CREW CUTS AND CAMPING 

>> Wes Anderson’s films are so identifiable and 

unique that people began yelling “auteur” before 

he had five features to his name. But at this point 

in his career, people are looking for a new phase 

and there’s no promise Moonrise Kingdom can 

offer it, though leaping back to a 1950s setting is 

promising. Action hero Bruce Willis plays the militant 

summer camp counselor, and when one meek 

camper goes AWOL to be with the girl he loves, 

the camp, campers and town must mobilize to find 

and castigate the boy whose romantic streak isn’t 

fit for their regimented world. With Anderson fave 

Bill Murray. 

DISTRIBUTOR Focus Features 

CAST Bruce Willis, Edward 

Norton, Bill Murray, Bob 

Balaban, Frances McDormand, 

Tilda Swinton, Harvey 

Keitel, Jason Schwartzman, 

Kara Hayward, Jared Gilman 

DIRECTOR Wes Anderson 

SCREENWRITER Wes 

Anderson, Roman Coppola 

PRODUCER Scott Rudin, Wes 

Anderson, Jeremy Dawson, 

Steven M. Rales GENRE 

Comedy RATING PG-13 for 

sexual content and smoking. 

RUNNING TIME TBD RELEASE 

DATE May 25 NY/LA 

THE SUMMER 

CAMP SQUAD 

OF MOONRISE 

KINGDOM 

CHERNOBYL 

DIARIES 

A FATE WORSE THAN 

RADIATION 

>> There’s joy in punishment 

in this horror movie where six 

young tourists hire an extreme 

tour guide to show them 

around the city destroyed 

by the Chernobyl disaster in 

1986. Their gallivanting in 

Pripyat is semi-sacrilegious, 

and we’ll be a little glad it ends 

badly for the gang when it 

turns out the abandoned town 

isn’t so abandoned—and whatever’s 

still alive just sabotaged 

their return home. Produced 

by Paranormal Activity’s Oren 

Peli. 

DISTRIBUTOR Warner Bros. 

CAST Jesse McCartney, 

Jonathan Sadowski, Olivia 

Dudley DIRECTOR Bradley 

Parker SCREENWRITER Shane 

Van Dyke, Carey Van Dyke 

PRODUCER Oren Peli, Brian 

Witten GENRE Horror RATING 

TBD RUNNING TIME 90 min. 

RELEASE DATE May 25, 2012 

ads.indd 1 

12/20/11 11:00 AM 


ON THE 

HORIZON 


ANDREW 

GARFIELD IS THE 

NEW, ER, FACE OF 

SPIDER-MAN 

THE AMAZING 

SPIDER-MAN 

TIME TO SLIP INTO THE STRETCHY SUIT 

>> Peter Parker may seem small, but this franchise 

is enormous. Sony opted to stop development on 

Spider-Man 4 in the interest of an all-out reboot 

with the same basic characters, largely different 

production crew, a different premise and a story 

that doesn’t even recognize the reddish, fuzzy 

memory of Mary Jane. New problems, new girlfriend—this 

one is Emma Stone’s Gwen Stacy. In 

this Spider-Man, Peter Parker, played by English 

art-house darling (and relative anti-action hero) 

Andrew Garfield (Lions for Lambs, Boy A) learns 

his long-lost father worked in a lab with a partner 

named Connors (an iffy and accent-free Rhys Ifans). 

Their experiment was meant to improve lives, 

but it somehow turned Connors into The Lizard— 

imagine a werewolf with scales. Connors’ reptilian 

alter ego begins to pursue Spider-Man, while 

the local police, headed by Gwen’s father (Denis 

Leary), ironically turn the unitard-clad hero into 

Gotham’s Most Wanted. The involvement of Marc 

Webb, director of the upbeat-yet-emo (500) Days 

of Summer, suggests this Spider-Man will pluck 

some male heartstrings. In tune with that, the 

men in production approached their roles with an 

intimacy; Ifans insisted on donning his CGI suit 

for the portion of his role requiring him to “be” a 

nine-foot-tall lizard, and Garfield confessed that 

the first time he put on the Spidey gear, he cried 

and tried to imagine “a better actor in the suit.” 

Whatever your thought on the franchise, its apparent 

worth to audiences can’t be overstated, which 

makes it a high-demand tentpole set to open in the 

heart of this blockbuster summer. 

DISTRIBUTOR Sony/Columbia CAST Andrew Garfield, Emma Stone, 

Rhys Ifans, Martin Sheen, Sally Field, Deni Leary, Irrfan Khan DIREC- 

TOR Marc Webb SCREENWRITER James Vanderbilt, Alvin Sargent, 

Steve Kloves PRODUCER Avi Arad, Todd Black, Laura Ziskin, Matt 

Tolmach GENRE Action/Adventure RATING TBA RUNNING TIME TBA 

RELEASE DATE May 3, 2012 


TM 

MARK 

WAHLBERG AND 

HIS TERRIBLE 

CHILDHOOD TOY 

TED 

A VERY DIFFERENT TOY FROM THE MAKER OF TV’S FAMILY GUY 

>> Seth MacFarlane makes media at the cross-section of manly and 

immature—his juvenile humor is testosterone-heavy but subverts those 

things men call sacred. Take Family Guy, the cartoon that notoriously 

once put Jesus in jail. After making his mark on TV, MacFarlane makes 

his directorial debut which stars Mark Wahlberg as John, a slacker with 

the aggression of a grown-up and the habits of a high school freshman. As 

a child, he wished his favorite teddy bear would come to life. It did, and 

even into his adulthood, his living, breathing, swearing, belching bear still 

accompanies him, cracking jokes when things get too real and generally 

impeding his owner’s maturation. But one thing or another turns boys 

to men, and here it’s Lori (Mila Kunis), a hottie worth growing up for. 

And so John has to choose—as so many men do—between his toys and 

future. Imagine Toy Story 3 with bad language, Drop Dead Fred with more 

anger, or Harvey with a bear. MacFarlane voices Ted the bear, intimating 

his own sympathies about the situation and where he may be in John’s arc. 

People have been waiting for MacFarlane’s feature debut for a while. His 

track record in TV with The Cleveland Show, American Dad and the even 

more popular Family Guy only prove his biting sensibility is a hit with 

audiences. While this film will have a strange time battling the serious 

live-action-figure/superheroes for box office dollars, it’s certainly going to 

posit a unique option for audiences questioning what stage of growing up 

they face now. 

DISTRIBUTOR Universal Pictures CAST Mark Wahlberg, Mila Kunis, Laura 

Vandervoort, Giovanni Ribisi, Seth MacFarlane, Joel McHale, Patrick 

Warburton DIRECTOR Seth MacFarlane SCREENWRITERS Seth MacFarlane, 

Alec Sulkin, Wellesley Wild PRODUCER John Jacobs, Scott Stuber, Seth 

MacFarlane, Wellesley Wild, Tim Bevan GENRE Comedy RATING TBD (but 

most definitely R) RUNNING TIME TBD RELEASE DATE July 13, 2012 

 

 

 

 


ON THE HORIZON 

THEY KEEP 

THE STREETS 

SAFE—MAYBE 

NEIGHBORHOOD 

WATCH 

ALIENS IN AMERICA 

>> Like America’s answer to the runaway British hit Attack 

the Block, Neighborhood Watch merges domestic interests and 

intergalactic action in search of intelligent comedy on Earth. 

Ben Stiller, Vince Vaughn, Jonah Hill and Richard Ayoade hold 

a neighborhood watch group as a cover for their hangouts—it’s a 

way to escape their families, bond and decompress. But as Stiller 

tolerates Vaughn’s maniacal urge to uncover the intentions of his 

daughter’s suitors and looks suspiciously at the neighborhood’s 

“creepy” resident, they uncover an alien plot to take over the 

world. Hill hardly seems old enough to be a harried husband, 

but his role in the film can’t help but inspire fond recollections 

of Superbad or even the underappreciated The Sitter, both films 

that featured Hill in a suburb surrounded by swarming lights. 

He could just as soon think those tractor beams mean “House 

party!” and the involvement of Superbad cowriter Seth Rogen is 

but another reason for fond memories. Doug Jones is slated to 

play an alien, but I’m hoping to see Rogen step into some E.T. 

garb himself, since his recent turns as Paul and Bob (Monsters 

vs. Aliens) made those slimy oddballs seem so cuddly. Hill and 

Rogen have almost made a brand of absurd tales about male 

friendship. Let’s see if it those bonds can tolerate (ahem) “probing” 

intimations. 

DISTRIBUTOR 20th Century Fox CAST Ben Stiller, Vince Vaughn, 

Jonah Hill, Richard Ayoade, Rosemarie DeWitt, Will Forte, 

Doug Jones DIRECTOR Akiva Schaffer SCREENWRITER Seth Rogen, 

Evan Goldberg PRODUCER Shawn Levy GENRE Comedy/Sci Fi 

RATING TBD RUNNING TIME TBD RELEASE DATE July 27, 2012 

Emagine Uses Vista 

www.vistaUSA.com 


TM 

THE DARK 

KNIGHT RISES 

THIS GUY HAS MORE LIVES THAN CATWOMAN 

>> Though they make millions of dollars, word has it director Christopher 

Nolan wants to end his Batman series with a grand finale that hits the right 

note. So he and brother Jonathan Nolan plus collaborator David S. Goyer 

(Dark City, Batman Begins) built a story inspired by three different comic 

series in the Batman lexicon (Knightfall, The Dark Knight Returns and No 

Man’s Land) that, between them, introduce two new villains and allow the 

(comic) book to close on Batman…for as long as Hollywood will allow. It’d 

be a surprise if Hollywood finally did knock retire the bat—even if the story 

is determined to do it. We enter as Batman assumes the crimes committed by 

Harvey Dent after his death, thus making Dent a hero and Batman the city’s 

biggest enemy. After Batman lives almost a decade in exile, Bane (played by 

Tom Hardy) begins terrorizing the town and provoking Batman’s return to 

defend Gotham. Though Hardy was a big draw in the blogosphere, the biggest 

news began when pictures of Anne Hathaway in her catsuit were leaked. Hathaway 

reportedly studied Catwoman inspiration Hedy Lamarr to get the actress’ 

languid pauses, and her extensive training should be evident, even if everyone’s 

really paying attention to those black leather pants or the goofy, Scottish Fold 

ears. Great attention was put into the fighting styles of the baddies: Selina Kyle 

fights with aloofness while Bane is a bone-crusher. Nolan’s flights of calculated 

visual fancy have become a great lure to his fans and the narrative complexity, 

however cold, is the reason audiences still have faith that whatever way this 

Knight falls, they’ll leave the theater thrilled. 

DISTRIBUTOR Warner Bros. CAST Christian Bale, Michael Caine, Gary Oldman, 

Tom Hardy, Anne Hathaway, Marion Cotillard, Joseph Gordon-Levitt, Morgan 

Freeman DIRECTOR Christopher Nolan SCREENWRITER Christopher Nolan, 

Jonathan Nolan PRODUCER Christopher Nolan, Charles Roven, Emma Thomas 

GENRE Action RATING TBD RUNNING TIME TBD RELEASE DATE July 20, 2012 

MEET BANE, 

TOM HARDY’S 

SCARIEST 

INCARNATION 

YET 

 

 

 

 

 

 

 

 


UNDER THE 

RADAR 

INDIE 

CINEMA’S NEW 

CROSSROADS 

Making sense of a moment in 

which there’s almost too many 

options for getting a small but 

mighty movie into theaters 


JOSHUA 

LEONARD IN 

THE LIE 

The film distribution game is usually 

seen as the survival of the fittest: If 

your film is good enough, a distributor 

will pick it up. But that 

equation has gotten harder now that there are 

more new films produced annually than you 

could even watch in a year, most by first-time 

filmmakers and all of them vying for space in 

a film festival system that chucks the luckiest 

into rotation (to say nothing about films that 

don’t reach festival audiences). Whatever happened 

to the breakout indies—the stuff that 

fueled the dreams of emerging artists and lined 

the box office of edgy arthouses? “Indie,” as 

an industry, has gotten bigger. And to support 

it, distribution has had to evolve a new set of 

arms. 

Think back to 1999, when the Weinsteins 

discovered the low-budget horror flick The 

Blair Witch Project, which would later take the 

summer box office by storm and inadvertently 

spawn two generations of found-footage horror. 

That film was made independently and 

purchased by a major that handled all booking 

and P&A so that all operations could flow out 

of one nexus of control. Thirteen years later, 

Joshua Leonard, one of the stars of Blair Witch 

(it was his teeth in that hankie), brought his 

directorial debut The Lie to Sundance, the 

same fest that started his career, and found an 

altogether different indie industry. 

When a film hits the festival circuit, its 

acceptance often leads to a chain of acceptances, 

enrolling the film into an informal 

traveling club. A great but unknown indie 

flick tends to start at regional fests and then 

ascend to nationals and—hopefully—internationals. 

Or conversely, benediction by one 

major fest can get the rest of the festival circuit 

wheedling for their chance to screen the film. 

Those fortunate enough to be swept into this 

whirlwind often get exposure they need to find 

the right distributor for their picture. As for 

the rest, they’ve got fewer options, and the first 

one starts with trying to catch the eye of any 

distributor willing to watch their movie. 

According to Marc Mauceri, VP of First 

Run Features, “There’s a million films made 

every year, and a fraction of them are damn 

good and gain the attention of distributors.” 

Mauceri describes his company “like a smaller 

Sony Classics or IFC. Our contemporaries are 

Zeitgeist or Kino Lorber.” A traditional allrights 

distributor, First Run only takes between 

15 and 20 theatrical films a year, with maybe 

40 reaching home-viewing platforms. They’re 

one of many conventional distributors who buy 

films and take care of their marketing and publicity, 

prints and advertising, and ancillary sales 

on VOD, digital, on-demand and DVD. 

How do these boutique distributors sort 

through the flood of films and decide which to 

snatch and sell? David Fenkel of Oscilloscope 

Pictures—the distribution label of Beastie 

Boy Adam Yauch—says, “We’re not going to 

sell you anything we don’t believe in personally, 

and when a filmmaker is signed with us, 

they sign up for Oscilloscope treatment. We 

had six Oscar nominations in our first year of 

business.” 

Adds Mauceri, “For the most part, First 

Run works with filmmakers closely, but we’re 

the ones responsible for executing marketing 

and publicity. We would never lay that at the 

feet of the filmmakers. Firstly, I wouldn’t trust 

them to do it, and second they come with us 

because they don’t want this full-time job. 

That’s what they’re signing on with us for.” 

Marketing and publicity are major undertakings 

at Colorado’s House Lights Media. 

According to co-founder Steve Roberts, House 

Light’s goal is “Comprehensive grassroots 

marketing campaigning. We use traditional 

print but also bars and clubs, filmmaker and 

director Q&A at the venue or via Skype, and 

social media and the other media available.” 

It sounds fairly guerrilla—and fairly exhausting—but 

as House Lights co-founder Sandy 

Moore insists, “We’re putting a lot of our heart 

and soul into getting these films out there so 

we want to believe in what we’re selling. We 

don’t want to be the used car salesmen of our 

field.” Interrupts Roberts, “Not that there’s 

anything wrong with car salesmen.” 

PMK*BNC, a New York marketing agency, 

offers distribution services but isn’t interested 

in building a library. Instead, it considers 

itself an “outsourced marketing department 

with distribution services,” says head Marian 

Koltai-Levine. “We’re not acquiring 

anything—the filmmakers put up their own 

P&A, so it’s all under one umbrella. It’s a good 

service integrated with marketing publicity. 

We can book theaters and do collections.” Do 

the filmmakers do well? “Generally, I think 

it’s very fair,” says Koltai-Levine. “It satisfies 

a lot of other needs—qualifying for awards 

like Oscars or Indie Spirits—and it satisfies 

the filmmakers’ feelings that their film needs 

a theatrical run, particularly those filmmakers 

who already have ancillary sales in place.” 

The flip side of what PMK*BNC offers are 

the deals in motion at the Cinema Conservancy, 

a nonprofit that only recently added 

releasing to its catalogue of services. “The goal 

of Cinema Conservancy is to do anything 

to support audiences and increase exposures 

of American indie films,” says Conservancy 

Director Jake Perlin. “We’re not interested in 

profiting; we’re interested in supporting—we 

pick projects based on their significance and 

we figure out the best ways to get them in 


TM 

front of audiences.” The Conservancy is currently 

representing a short called The Meaning 

of Robots, which played Sundance, SXSW 

and New Directors/New Films in New York. 

“Right now, we’re just giving it out because 

we want the film to be seen and we feel it 

wouldn’t reach audiences otherwise.” 

Sounds like a passion project for filmmakers 

who’ve embraced that they’ll always be in 

debt. But the last project the Conservatory 

used its nonprofit funding for was Another 

Earth, which then managed to catch the eye 

of Fox Searchlight and become the studio’s 

fifth-highest-grossing picture of 2011. Not 

only did it put writer and star Brit Marling on 

the map, it also put her on the cover of Vogue 

Magazine’s New Hollywood issue. 

Yet according to the smaller, for-profit distributors 

like House Lights Media, getting bigger 

names in the mix presents a problem. Says 

Roberts, “Fox Searchlight and Sony Classics 

releasing ‘independent’ movies with significant 

star appeal means the true indie art houses are 

less likely to take a risk on something that may 

be a great story and good production, but no 

stars.” He has a point: Fox Searchlight’s biggest 

draws last year were The Descendants, starring 

George Clooney, and Tree of Life, starring Brad 

Pitt and Sean Penn. 

Which brings us back to Leonard’s dark 

comedy, The Lie. Based on a story by T. Coraghessan 

Boyle (Road to Wellville) The Lie stars 

indie faces like Jane Adams (Wonder Boys), 

Jess Weixler (Teeth) and Alia Shawkat (TV’s 

Arrested Development), but despite the quality 

and cast of the film, Leonard chose to selfdistribute 

with a twist, breaking the distribution 

into chunks he could manage if he also 

worked with a service provider. 

The going trend in self-distribution is compartmentalization: 

One company handles the 

marketing, another takes the P&A, another 

takes DVD, and a fourth handles VOD/ondemand. 

Sound confusing? It can be. Says 

Orly Ravid of the Film Collaborative, “What 

I saw was an industry that monetized secrecy, 

and we’re trying to monetize transparency. The 

industry has a lot of secret, extraneous middlemen, 

and monetizing transparency empowers 

the filmmaker so that it’s more sustainable for 

the creator and the investor.” 

The Film Collaborative’s services to filmmakers 

start with education. Its website houses 

a “distripedia” of links and information, 

plus blogs and a tool called the Distributor 

Report Card. “It’s like Yelp for distributors,” 

says Ravid. Soon, the Film Collaborative will 

also offer legal advice and services. “In most 

of our situations, filmmakers do some selfdistribution 

and a hybrid deal. It’s not ‘Down 

with the industry!’—it’s finding a way that 

makes sense for everyone involved. Of course, 

the distributor gets his due fee—but “due” is 

the important word. The deal shouldn’t be deleterious 

and never-ending.” Though the Film 

Collaborative’s angle is service, its nonprofit 

status means it, too, has to be picky about 

which films and filmmakers it helps. Reputation 

is key. 

As VOD has become an increasingly common 

option for indie films, is the theatrical 

run still important? According to Sandro 

Fiorin, VP of FiGa Films, while “theatrical is 

a vanity in many ways,” smart small distributors 

still angle for at least a one-week run in a 

big city art house. “The film will get reviewed, 

and if it’s well received, the phone doesn’t stop 

ringing. For us, it’s a huge deal.” The warm reception 

of a critic is worth “more than money 

can buy. It makes every little theater around 

want it.” 

Adds Fiorin, while the indie world is at 

an unusual crossroads where there’s almost 

too much product and too many options, the 

key to the business is still incredibly simple: 

“The only thing we can rely on is our legacy of 

quality. That’s the excitement: being the ones 

who were lucky and smart enough to be there 

at the right moment and to be responsible for 

bringing films into the market. It’s been said 

people will watch whatever they want for free. 

Am I gonna stop sleeping well because of that? 

No. There’s a different type of audience who 

wants to feel and see and hear the film with 

everything they do—and that audience doesn’t 

want to see it on YouTube.” 

A 3D Picture That Wows! 

Spectral TM 

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For more information visit: www.harkness‐screens.com/ad13 


BOOK 

IT! 

The main interest of Book It! is indies without distribution but 

with the power to sell tickets—films so singular and evocative 

that while art house distributors are fumbling for their come-on 

line, you can make your approach and book these films right out 

of the pages of BOXOFFICE. 

This month we’re showcasing self-distributed film titles that come 

out of the festivals and get people talking. Go with something 

unusual and aggressive and give it a short run. 

HAUTE ART HOUSE 

IS THERE ROOM FOR HIGH END ART HOUSE IN AMERICAN 

THEATERS? THESE SELF-DISTRIBUTORS SAY: “YES.” 

FILM BOOKING CONTACT GENRE AUDIENCE 

ALMAYERʼS 

FOLLY 

LA FOLIE 

ALMAYER 

THE 

ANCHORAGE 

Molly Lynch 

molly@selfpictures.net 

Adam Sekuler 

mail@thecolonial.info 

Drama 

Drama; 

Swedishlanguage, 

subtitled 

If you like the 

thought behind 

madness 

If you think the 

woods are full of 

chaos 

AT ELLENʼS 

AGE 

IM ALTER VON 

ELLEN 

info@matchfactory.de 

Drama; 

Frenchlanguage, 

subtitled 

If you believe 

middle age is met 

with loyalty (but 

also expect the 

worst) 

ON THE ICE 

A POTBOILER SET IN THE SNOW 

>> In icy Barrow, Alaska, the tight-knit community tackles the cold with 

warmth. Friends Qalli, Aivaaq and James are more brothers than friends, 

but when they go seal hunting, an argument leads to an accidental murder. 

The surviving two boys are at a loss as to how to keep the truth from 

their family, which includes a heap of honorary uncles and aunts. In such 

sensitive territory, the suspense cuts many ways—we’re at once afraid the 

kids have destroyed their futures and equally upended over their betrayal 

to the community. 

CONTACT Marian Koltai marian.koltai@pmkbnc.com CAST Adamina Kerr, 

AUDREY THE 

TRAINWRECK 

CALIFORNIA 

COMPANY 

TOWN 

Frank V. Ross 

fvross2@gmail.com 

Lee Anne Schmitt 

leeanneschmitt@gmail. 

com 

Drama 

Documentary 

If you know 

deep down, the 

working class 

doesnʼt look like 

it used to 

If you believe 

dreams are meant 

to be broken 

Josiah Patkotak, Frank Qutuq Irelan, Teddy Kyle Smith DIRECTOR/SCREEN- 

WRITER Andrew Okpeaha MacLean PRODUCERS Lynette Howell, Marco 

Londoner, Zhana Londoner, Cara Marcous GENRE Suspense RATING R for 

language, some drug content and violence. RUNNING TIME 96 min. 

CANARY 

Alejandro Adams 

AlejandroAdams@gmail. 

com 

Suspense 

If Peter Watkins 

freaks you out 

HONEYMOONS 

MEDENI MESEC 

Goran Paskaljevic, 

paskaljevic@gmail.com 

Drama; 

Serbian- and 

Albanianlanguages, 

subtitled 

If you feel Europe 

East and Europe 

West seem 

like irrelevant 

distinctions 

ALL IN: THE POKER MOVIE 

A GREAT DOC—NO BLUFFING 

>> Produced by the guy behind Book It! success stories Kati with an I 

and Fake It So Real—both of which leapt from our pages to distribution 

deals—All In: The Poker Movie is the star-studded valentine to the 

game of kings. Bravo’s Celebrity Poker Showdown made rock stars out 

of regular-joe players ballsy enough to risk it all against movie stars and 

athletes known for their nerves of steel. Poker’s green table has absorbed 

blood, sweat and tears, and this movie’s an homage to that icon and all 

the glamour it can’t help emitting. 

CONTACT Susan Bedusa susa@4throwfilms.com CAST Mike Sexton, Kenny 

Rogers, Ira Glass and many more DIRECTOR Douglas Tirola PRODUCERS 

Susan Bedusa, Douglas Tirola, Robert Greene GENRE Documentary RUN- 

NING TIME 100 min. 

LITTLE SOLDIER 

LILLE SOLDAT 

REDLAND 

KIDNAPPING 

SEQUESTRO 

Susan Wendt 

+45 6029 8466 

Magdalena Zyzak, 

zyzakmagdalena@ 

gmail.com 

Jorge W. Atalla 

jwatalla@gmail.com 

Suspense; 

Danishlanguage, 

subtitled 

Drama 

Documentary; 

Portugueselanguage, 

subtitled 

If you think our 

social fabric could 

use some dry 

cleaning 

If you can feel the 

Great Depression 

in every dusty 

drama 

If you fear the 

security of home 

is fleeting 


BOOKING GUIDE 

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS 

CBS FILMS LAUREN DOUGLAS / 310-575-7052 / LAUREN.DOUGLAS@CBS.COM 

7500 Fri, 8/31/12 WIDE Leslie Bibb, Amy Smart Takashi Shimizu NR Thr 

THE WORDS Fri, 9/21/12 WIDE Bradley Cooper, Olivia Wilde Brian Klugman, Lee Sternthal NR Dra/Rom 

SEVEN PSYCHOPATHS Fri, 11/2/12 LTD. Colin Farrell, Woody Harrelson Martin McDonagh NR Act/Com 

GAMBIT Fri, 1/11/13 WIDE Colin Firth, Cameron Diaz Michael Hoffman NR romantic comedy 

DISNEY 818-560-1000 / ASK FOR DISTRIBUTION 

THE AVENGERS Fri, 5/4/12 WIDE Robert Downey Jr., Don Cheadle Joss Whedon NR Act/Adv Digital 3D/Quad/ IMAX 

BRAVE Fri, 6/22/12 WIDE Emma Thompson, Kelly Macdonald Mark Andrews, Brenda Chapman NR Ani/Fam Digital 3D 

PEOPLE LIKE US Fri, 6/29/12 WIDE Chris Pine, Elizabeth Banks Alex Kurtzman PG-13 drama 

THE ODD LIFE OF TIMOTHY GREEN Wed, 8/15/12 WIDE Jennifer Garner, Joel Edgerton Peter Hedges PG Com/Dra/Fam Quad 

FINDING NEMO Fri, 9/14/12 WIDE Alexander Gould, Albert Brooks Andrew Stanton, Lee Unkrich G Ani/Fam 3D/Quad 

FRANKENWEENIE Fri, 10/5/12 WIDE Catherine OʼHara, Winona Ryder Tim Burton NR Ani/Com/Hor Digital 3D/Quad 

WRECK-IT RALPH Fri, 11/2/12 WIDE Jane Lynch, John C. Reilly Rich Moore NR Ani/Fam 3D/Quad 

MONSTERS, INC. Fri, 1/18/13 WIDE Billy Crystal, John Goodman David Silverman, Pete Docter G Ani/fam 3D/Quad 

OZ: THE GREAT AND POWERFUL Fri, 3/8/13 WIDE Mila Kunis, James Franco Sam Raimi NR Adv 3D/Quad 

IRON MAN 3 Fri, 5/3/13 WIDE Robert Downey Jr. Shane Black NR Act/Adv Quad 

FILMDISTRICT DEBORAH JOHNSON / 646-380-4497 / DJOHNSON@FILMDISTRICT.COM 

PLAYING THE FIELD Tue, 12/25/12 WIDE Gerard Butler, Jessica Biel Gabriele Muccino NR Rom/Com 

RED DAWN Fri, 11/2/12 WIDE Josh Peck, Chris Hemsworth Dan Bradley NR Act 

PARKER Fri, 1/25/13 WIDE Jason Statham, Jennifer Lopez Taylor Hackford NR Act/Cri/Thr 

FOCUS FEATURES CHRISTOPHER USTASZEWSKI / 818-777-3071 

MOONRISE KINGDOM Fri, 5/25/12 EXCL NY/LA Bruce Willis, Edward Norton Wes Anderson PG-13 Dra/Com Flat/DTS, Dolby SRD 

SEEKING A FRIEND FOR THE END OF THE WORLD Fri, 6/22/12 WIDE Keira Knightley, Steve Carell Lorene Scafaria R Com/Dra Scope/DTS, Dolby SRD 

PARANORMAN Fri, 8/17/12 WIDE Casey Affleck, Anna Kendrick Chris Butler, Sam Fell NR Com/Ani 3D/DTS/Dolby SRD 

ANNA KARENINA Fri, 11/9/12 EXCL NY/LA Keira Knightley, Jude Law Joe Wright NR Dra 

HYDE PARK ON HUDSON Fri, 12/7/12 EXCL NY/LA Bill Murray, Laura Linney Roger Michell R Dra Scope/DTS, Dolby SRD 

FOX 310-369-1000 / 212-556-2400 

PROMETHEUS Fri, 6/8/12 WIDE Noomi Rapace, Michael Fassbender Ridley Scott NR Act/Hor/Dra 3D/IMAX 

ABRAHAM LINCOLN: VAMPIRE HUNTER Fri, 6/22/12 WIDE Benjamin Walker, Rufus Sewell Timur Bekmambetov NR Act/Adv 3D 

ICE AGE: CONTINENTAL DRIFT Fri, 7/13/12 WIDE Ray Romano, Queen Latifah Steve Martino, Mike Thurmeier NR Ani/Com 3D 

NEIGHBORHOOD WATCH Fri, 7/27/12 WIDE Ben Stiller, Vince Vaughn Akiva Schaffer NR Com 

DIARY OF A WIMPY KID: DOG DAYS Fri, 8/3/12 WIDE Zachary Gordon, Devon Bostick David Bowers NR Com/Fam 

WONʼT BACK DOWN Fri, 9/28/12 WIDE Maggie Gyllenhaal, Viola Davis Daniel Barnz PG Dra 

TAKEN 2 Fri, 10/5/12 WIDE Liam Neeson, Maggie Grace Olivier Megaton NR Act/Thr/Dra 

OF MEN AND MAVERICKS Fri, 10/26/12 WIDE Gerard Butler, Elisabeth Shue Curtis Hanson NR Dra 

PARENTAL GUIDANCE Wed, 11/21/12 WIDE Bette Midler, Billy Crystal Andy Fickman NR Com 

LIFE OF PI Fri, 12/21/12 WIDE Gerard Depardieu, Irrfan Khan Ang Lee NR Adv/Dra 3D 

BROKEN CITY Fri, 1/18/13 WIDE Mark Wahlberg, Russell Crowe Allen Hughes NR Cri/Dra/Thr 

A GOOD DAY TO DIE HARD Thu, 2/14/13 WIDE Bruce Willis John Moore NR Act 

PERCY JACKSON: SEA OF MONSTERS Wed, 3/27/13 WIDE Logan Lerman, Alexandra Daddario Thor Freudenthal NR Adv/Act/Dra 

FOX SEARCHLIGHT 212-556-2400 

THE BEST EXOTIC MARIGOLD HOTEL Fri, 5/4/12 LTD. Tom Wilkinson, Judi Dench John Madden PG-13 Com/Dra 

LOLA VERSUS Fri, 6/8/12 LTD. Joel Kinnaman, Bill Pullman Daryl Wein R Com 

BEASTS OF THE SOUTHERN WILD Wed, 6/27/12 LTD. Quvenzhane Wallis, Dwight Henry Benh Zeitlin PG-13 Dra 

LIONSGATE 310-449-9200 

WHAT TO EXPECT WHEN YOUʼRE EXPECTING Fri, 5/18/12 WIDE Cameron Diaz, Rob Huebel Kirk Jones NR Rom/Com Scope/Quad 

THE MARRIAGE COUNSELOR Fri, 7/27/12 WIDE Jurnee Smollett, Lance Gross Tyler Perry NR Dra 

THE EXPENDABLES 2 Fri, 8/17/12 WIDE Jason Statham, Bruce Willis Simon West NR Act 

THE POSSESSION Fri, 8/31/12 WIDE Jeffrey Dean Morgan, Kyra Sedgwick Ole Bornedal R Hor/Sus 

DREDD Fri, 9/21/12 WIDE Karl Urban, Olivia Thirlby Pete Travis NR Act 3D 

THE BIG WEDDING Fri, 10/19/12 WIDE Robert De Niro, Susan Sarandon Justin Zackham NR Rom / Com 

TEXAS CHAINSAW MASSACRE 3D Fri, 1/4/13 WIDE Alexandra Daddario, Tania Raymonde John Luessenhop NR Hor 3D 

THE LAST STAND Fri, 1/18/13 WIDE Arnold Schwarzenegger Kim Jee-woon NR Act 

I, FRANKENSTEIN Fri, 2/22/13 WIDE Aaron Eckhart Stuart Beattie NR Act/Hor 

WE THE PEEPLES Fri, 3/29/13 WIDE Craig Robinson, Kerry Washington Tina Gordon Chism NR Com 

OPEN ROAD FILMS 310-696-7575 

OUTRUN Fri, 8/24/12 WIDE Dax Shepard, Kristen Bell Dax Shepard, David Palmer NR Com 

END OF WATCH Fri, 9/28/12 LTD. Jake Gyllenhaal, Anna Kendrick David Ayer NR Cri 

THE HOST Fri, 3/29/13 WIDE Saoirse Ronan Andrew Niccol NR SF/SP 

PARAMOUNT 323-956-5000 / 212-373-7000 

THE DICTATOR Fri, 5/11/12 WIDE Sacha Baron Cohen, Anna Faris Larry Charles NR Com 

MADAGASCAR 3: EUROPEʼS MOST WANTED Fri, 6/8/12 WIDE Ben Stiller, Cedric the Entertainer Eric Darnell NR Ani/CGI 3D 

G.I. JOE: RETALIATION Fri, 6/29/12 WIDE Channing Tatum, Lee Byung-hun Jon Chu NR Act/Adv/SF 

PARANORMAL ACTIVITY 4 Fri, 10/19/12 WIDE NR 

FUN SIZE Fri, 10/26/12 WIDE Josh Pence, Victoria Justice Jason Schwartz NR Com 

THE GUILT TRIP Fri, 11/2/12 WIDE Seth Rogen, Barbra Streisand Anne Fletcher NR Com 

RISE OF THE GUARDIANS Fri, 11/21/12 WIDE Chris Pine, Hugh Jackman Peter Ramsey NR Ani 3D 

ONE SHOT Fri, 12/21/12 WIDE Tom Cruise, Rosamund Pike Christopher McQuarrie NR Dra/Cri 

CIRQUE DU SOLEIL: WORLDS AWAY Fri, 12/21/12 WIDE NR Doc 3D 

HANSEL AND GRETEL: WITCH HUNTERS Fri, 1/11/13 WIDE Jeremy Renner, Gemma Arterton Tommy Wirkola NR Act/Com 3D 

THE CROODS Fri, 3/22/13 WIDE Nicolas Cage, Ryan Reynolds Chris Sanders, Kirk De Micco NR Ani/Adv/Com/CGI 3D 

UNTITLED STAR TREK SEQUEL Tue, 5/7/13 WIDE Chris Pine, Zachary Quinto J.J. Abrams NR Act/Adv/SF 

PARAMOUNT VANTAGE 323-956-5000 / 212-373-7000 

NOT FADE AWAY Fri, 10/19/12 WIDE James Gandolfini, Christopher McDonald David Chase R Dra 


RELATIVITY MARA BUXBAUM: 323-822-4800 / RELATIVITY@ID-PR.COM 

HOUSE AT THE END OF THE STREET Fri, 9/21/12 WIDE Jennifer Lawrence, Elisabeth Shue Mark Tonderai PG-13 Hor 

HUNTER KILLER Fri, 12/21/12 WIDE Gerard Butler, Sam Worthington Antoine Fuqua NR Act/Thr 

SAFE HAVEN Fri, 2/8/13 WIDE NR Rom 

SONY 212-833-8500 

MEN IN BLACK III Fri, 5/25/12 WIDE Will Smith, Tommy Lee Jones Barry Sonnenfeld NR SF/Act/Com 3D 

THATʼS MY BOY Fri, 6/15/12 WIDE Adam Sandler, Andy Samberg Sean Anders NR Com 

THE AMAZING SPIDER-MAN Tue, 7/3/12 WIDE Andrew Garfield, Emma Stone Marc Webb NR Act/Adv 3D/IMAX/Quad 

TOTAL RECALL Fri, 8/3/12 WIDE Colin Farrell, Bryan Cranston Len Wiseman NR Act 

HOPE SPRINGS Fri, 8/10/12 WIDE Meryl Streep, Tommy Lee Jones David Frankel NR Com/Dra 

SPARKLE Fri, 8/17/12 WIDE Derek Luke, Mike Epps Salim Akil NR Dra/Mus Quad 

PREMIUM RUSH Fri, 8/24/12 WIDE Joseph Gordon-Levitt, Jamie Chung David Koepp NR Act/Thr 

RESIDENT EVIL: RETRIBUTION Fri, 9/14/12 WIDE Milla Jovovich NR Act/Adv 3D 

HOTEL TRANSYLVANIA Fri, 9/21/12 WIDE Adam Sandler, Steve Buscemi Genndy Tartakovsky NR Ani 3D 

LOOPER Fri, 9/28/12 WIDE Joseph Gordon Levitt, Emily Blunt Rian Johnson NR SF/Act 

HERE COMES THE BOOM Fri, 10/12/12 WIDE Kevin James, Salma Hayek Frank Coraci NR Com 

SKYFALL Fri, 11/9/12 WIDE Daniel Craig, Judi Dench Sam Mendes NR Act/Adv/Thr 

ZERO DARK THIRTY Fri, 12/19/12 WIDE Chris Pratt, Jessica Chastain Kathryn Bigelow NR Act/Thr 

BATTLE OF THE YEAR: THE DREAM TEAM Fri, 1/25/13 WIDE Sawandi Wilson Benson Lee NR 3D 

ELYSIUM Fri, 3/1/13 WIDE Matt Damon, Jodie Foster Neill Blomkamp NR Dra/SF 

CAPTAIN PHILLIPS Fri, 3/22/13 WIDE Tom Hanks Paul Greengrass NR Bio/Dra 

THE EVIL DEAD Fri, 4/12/13 WIDE Jane Levy, Jessica Lucas Fede Alvarez NR 

MOMMY AND ME Fri, 5/10/13 WIDE Meryl Streep, Tina Fey Stanley Tucci NR Com 

SINGULARITY Fri, 5/17/13 WIDE Josh Hartnett, Neve Campbell Roland Joffe NR Act/Adv/Rom 

SONY PICTURES CLASSICS TOM PRASSIS / 212-833-4981 

WHERE DO WE GO NOW? Fri, 5/11/12 EXCL NY/LA Claude Moussawbaa Nadine Labaki NR Com/Dra 

HYSTERIA Fri, 5/18/12 EXCL NY/LA Maggie Gyllenhaal, Hugh Dancy Tanya Wexler NR Com/Rom 

TO ROME WITH LOVE Fri, 6/22/12 EXCL NY/LA Alec Baldwin, Ellen Page Woody Allen NR Com 

NEIL YOUNG JOURNEYS Fri, 6/29/12 EXCL NY/LA Neil Young Jonathan Demme NR Doc 

SEARCHING FOR SUGAR MAN Fri, 7/27/12 EXCL NY/LA Malik Bendjelloul NR Doc 

SUMMIT 310-309-8400 

STEP UP: REVOLUTION Fri, 7/27/12 WIDE Kathryn McCormick, Ryan Guzman Scott Speer NR Dra/Mus/Rom 3D 

THE COLD LIGHT OF DAY Fri, 9/7/12 WIDE Bruce Willis, Henry Cavill Mabrouk El Mechri NR Act 

ALEX CROSS Fri, 10/26/12 WIDE Tyler Perry, Matthew Fox Rob Cohen NR Cri/mystery/Thr 

THE TWILIGHT SAGA: BREAKING DAWN—PART 2 Fri, 11/16/12 WIDE Kristen Stewart, Robert Pattinson Bill Condon NR Thr/Rom 

NOW YOU SEE ME Fri, 1/18/13 WIDE Jesse Eisenberg, Isla Fisher Louis Leterrier NR Thr 

WARM BODIES Fri, 2/1/12 WIDE Nicholas Hoult, Teresa Palmer Jonathan Levine NR Dra/Hor/Rom 

ENDERʼS GAME Fri, 3/15/13 WIDE Asa Butterfield, Harrison Ford Gavin Hood NR SF 

UNIVERSAL 818-777-1000 

BATTLESHIP Fri, 5/18/12 WIDE Liam Neeson, Rihanna Peter Berg NR Act/War 

SNOW WHITE AND THE HUNTSMAN Fri, 6/1/12 WIDE Kristen Stewart, Charlize Theron Rupert Sanders NR Adv Quad 

SAVAGES Fri, 7/6/12 WIDE Benicio Del Toro, John Travolta Oliver Stone NR Cri/Dra/Thr 

TED Fri, 7/13/12 WIDE Mila Kunis, Mark Wahlberg Seth MacFarlane NR Com Quad 

THE BOURNE LEGACY Fri, 8/3/12 WIDE Jeremy Renner, Rachel Weisz Tony Gilroy NR Act Quad 

47 RONIN Wed, 11/21/12 WIDE Keanu Reeves, Hiroyuki Sanada Carl Rinsch NR Act/Dra 3D/Quad 

LES MISERABLES Fri, 12/14/12 WIDE Hugh Jackman, Russell Crowe Tom Hooper NR Dra/Mus 

THIS IS 40 Fri, 12/21/12 WIDE Megan Fox, Leslie Mann Judd Apatow NR Com Quad 

OBLIVION Fri, 4/26/13 WIDE Tom Cruise Joseph Kosinski NR Act/SF 

WARNER BROS. 818-977-1850 

DARK SHADOWS Fri, 5/11/12 WIDE Johnny Depp, Michelle Pfeiffer Tim Burton NR Dra/Hor/Mys IMAX/Quad 

CHERNOBYL DIARIES Fri, 5/25/12 WIDE Jesse McCartney, Jonathan Sadowski Bradley Parker NR Hor Quad 

ROCK OF AGES Fri, 6/15/12 WIDE Tom Cruise, Julianne Hough Adam Shankman NR Mus Scope/Quad 

MAGIC MIKE Fri, 6/29/12 WIDE Channing Tatum, Alex Pettyfer Steven Soderbergh NR Com Quad 

THE DARK KNIGHT RISES Fri, 7/20/12 WIDE Christian Bale, Tom Hardy Christopher Nolan NR Act/Thr IMAX/Scope/Quad 

THE APPARITION Fri, 8/24/12 WIDE Ashley Greene, Sebastian Stan Todd Lincoln PG-13 Hor Quad 

THE CAMPAIGN Fri, 8/10/12 WIDE Will Ferrell, Zach Galifianakis Jay Roach NR Thr 

ARGO Fri, 9/14/12 WIDE Ben Affleck, Alan Arkin Ben Affleck NR Dra Quad 

THE GANGSTER SQUAD Fri, 10/12/12 WIDE Sean Penn, Ryan Gosling Ruben Fleischer NR Cri/Dra Quad 

GRAVITY Wed, 11/21/12 WIDE George Clooney, Sandra Bullock Alfonso Cuaron NR SF/Thr 3D/IMAX 

THE HOBBIT: AN UNEXPECTED JOURNEY Fri, 12/14/12 WIDE Orlando Bloom, Ian McKellan Peter Jackson NR Adv/Fan 3D/IMAX 

THE GREAT GATSBY Tue, 12/25/12 WIDE Leonardo DiCaprio, Tobey Maguire Baz Luhrmann NR Dra/Rom 3D/Quad 

BEAUTIFUL CREATURES Fri, 2/1/13 WIDE Emma Thompson, Viola Davis Richard LaGravenese NR Dra 3D/IMAX/Scope/Quad 

JACK THE GIANT KILLER Fri, 3/22/13 WIDE Nicholas Hoult, Stanley Tucci Bryan Singer NR Adv/Fan 3D 

WEINSTEIN CO./DIMENSION 646-862-3400 

THE INTOUCHABLES Fri, 5/25/12 EXCL. NY/LA Francois Cluzet, Omar Sy Eric Toledano, Olivier Nakache NR Com/Dra Flat/Dolby SRD 

PIRANHA 3DD Fri, 6/1/12 WIDE Danielle Panabaker, Ving Rhames John Gulager NR Hor 3D 

EASY MONEY Fri, 7/27/12 EXCL. NY/LA Joel Kinnaman, Matias Padin Varela Daniel Espinosa R Cri/Dra/Thr Scope/Dolby SRD 

LAWLESS Fri, 8/31/12 WIDE Tom Hardy, Jessica Chastain John Hillcoat NR Cri/Dra 

BUTTER Fri, 10/5/12 WIDE Olivia Wilde, Hugh Jackman Jim Field Smith R Com Scope 

KILLING THEM SOFTLY Fri, 9/21/12 WIDE Brad Pitt, Ray Liotta Andrew Dominik NR Cri/Thr 

THE SILVER LININGS PLAYBOOK Wed, 11/21/12 WIDE Jennifer Lawrence, Robert De Niro David O. Russell NR Com 

DJANGO UNCHAINED Tue, 12/25/12 WIDE Joseph Gordon-Levitt, Leonardo DiCaprio Quentin Tarantino NR West/Dra 

SCARY MOVIE 5 Fri, 1/11/13 WIDE Regina Hall David Zucker NR Com 

ESCAPE FROM PLANET EARTH Thu, 2/14/13 WIDE Jessica Alba, Sarah Jessica Parker Callan Brunker NR 3D/Ani/Com 


DENZEL 

WASHINGTON AND 

RYAN REYNOLDS 

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ON BLU-RAY COMBO 

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704.332.0900 

edificeinc.com 


Vintage 

Theater Sound 

Systems & 

Vintage Audio 

INCLUDING 

Gear 

McIntosh 

tube electronics and 

solid state 

Marantz 

tube electronics 

Western Electric 

amps and loudspeakers 

Altec 

electronics, speakers, 

drivers and horns 

JBL 

speakers and electronics 

Electro Voice 

speakers 

RCA 

amps, speakers, etc. 

CARDINAL SOUND & MOTION 

PICTURE SYSTEMS 

6330 Howard Ln. 

Elkridge, MD 21075 

Cathy Rockman 

410-796-5300 

cardinal@cardinalsound.com 

www.cardinalsound.com 

PG 121 

CHRISTIE DIGITAL SYSTEMS 

10550 Camden Dr. 

Cypress, CA 90630 

Craig Sholder / 714-236-8610 

craig.sholder@christiedigital.com 

www.christiedigital.com 

Inside front cover 

CINEDIGM 

55 Madison Ave., Ste. 300 

Morristown, NJ 07960 

ALSO LOOKING FOR LOTS OF OLD … 

Vacuum Tubes 

RCA, TUNGSOL, WESTERN ELECTRIC, SYLVANIA, ETC. 

Radios 

ZENITH, MARCONI, WESTERN ELECTRIC, ETC. 

Microphones 

RCA, EV, WESTERN ELECTRIC, ETC. 

Related Electronic Parts 

TRANSFORMERS, CAPACITORS, ETC. 

WE WILL PICK UP AND PAY CASH 

If you have anything in these or related areas, 

please call us at 

616 791 0867 

Suzanne Tregenza Moore 

973-290-0080 

info@accessitx.com 

www.cinedigm.com 

PG 67 

CINEMA CONCEPTS 

2030 Powers Ferry Rd., Ste. 214 

Atlanta, GA 30339 

Stewart Harnell 

770-956-7460 

stewart@cinemaconcepts.com 

www.cinemaconcepts.com 

PG 25 

THE COCA-COLA COMPANY 

P.O. Box 1734 

Atlanta, GA 30301, USA 

1 800 GET COKE 

PG 1 

C. CRETORS & COMPANY 

3243 N. California Ave. 


773-588-1690 

800-228-1885 

www.cretors.com 

PG 31, 59 

DATASAT DIGITAL 

9631 Topanga Canyon Place 

Chatsworth, CA 91311 

818-531-0003 

www.datasatdigital.com 

PG 61 

DOLBY LABORATORIES 

100 Potrero Ave. 

San Francisco, CA 94103 

Christie Ventura / 415-558-2200 

cah@dolby.com 

www.dolby.com 

PG 51, 66 

DOLPHIN SEATING 

313 Remuda St. 

Clovis, NM 88101 

575-762-6468 

www.dolphinseating.com 

PG 105 

DOREMI LABS 

1020 Chestnut St. 

Burbank, CA 91506 

818-562-1101 

www.doremicinema.com 

PG 47 

EDIFICE 

1401 W. Morehead St. 

Charlotte, NC 28208 

Scott Fandel 704-332-0900 

sfandel@edifice.com 

www.edificeinc.com 

PG 118 

ENPAR AUDIO 

Stetson Snell 

505-807-2154 

505-615-2913 

stetsonsnell@enparaudio.com 

PG 107 

ENTERTAINMENT SUPPLY & 

TECHNOLOGIES, LLC 

4971 Van Dyke Road 

Lutz, FL 33558 

813-960-1646 

www.ensutec.com 

PG 103 

EOMAC CINEMA 

10 Perdue Ct, 

Caledon, ON, Canada 

L7C 3M6 

1-866-925-5797 

eomac@eomac.com 

www.eomac.com 

PG 118 

FANDANGO 

12200 West Olympic Blvd, 

Ste. 400 

Los Angeles, CA 90064 

Robert.Macias@Fandango.com 

PG 26 

FRANKLIN DESIGNS 

208 Industrial Dr. 

Ridgeland, MS 39157 

601-853-9005 

franklindesigns@aol.com 

www.franklindesigns.com 

PG 41 

GDC TECHNOLOGY LLC 

3500 W Olive Ave. Suite 940 

Burbank, CA 91505 

818-972-4370 

www.gdc-tech.com 

PG 29 

GENEVA CONVENTION 

W168 N8936 Appleton Ave. 

Menomonee Falls, WI 53051 

262-532-0017 

nato@natoofwiup.org 

www.natoofwiup.org 

PG 65 

GLASSFORM 

P.O. Box 776 

Batavia, IL 60510 

Cyndi Gardner 

800-995-8322 

glassform@aol.com 

PG 102 

GOLD MEDAL PRODUCTS 

10700 Medallion Dr. 

Cincinnati, OH 45241-4807 

Erin Meyer / 513-769-7676 

info@gmpopcorn.com 

www.gmpopcorn.com 

PG 14 

THE GLUE FACTORY 

www.thegluefactory.ca 

PG 93 

HARKNESS SCREENS 

Unit A, Norton Road 

Stevenage, Herts 

SG1 2BB 

United Kingdom 

+44 1438 725200 

sales@harkness-screens.com 

www.harkness-screens.com 

PG 109, 111, 113 

HURLEY SCREEN 

110 Industry Ln. 

P.O. Box 296 

Forest Hill, MD 21050 

Gorman W. White 

410-879-3022 

Renovation & Restoration 

Food & Entertainment 


info@hurleyscreen.com 

www.hurleyscreen.com 

PG 10 

IMM SOUND 

Diagonal 177 

08018 Barcelona, Spain 

+34 934 853 880 

info@immsound.com 


PG 81 

IRWIN SEATING 

3251 Fruit Ridge N.W. 

Grand Rapids, MI 49544 

Bruce Cohen / 866-574-7400 

sales@irwinseating.com 

www.irwinseating.com 

PG 23 

KERNEL SEASONS 

1958 N. Western Ave. 


Krystal LaReese-Gaul 

773-292-4576 

info@kernelseasons.com 

www.kernelseasons.com 

PG 89 

MAROEVICH, O’SHEA & 

COUGHLAN 

44 Montgomery St., 17th Fl. 

San Francisco, CA 94104 

Steve Elkins / 800-951-0600 

selkins@maroevich.com 

www.mocins.com 

PG 3 

MARS, INCORPORATED 

100 International Drive 

Mount Olive, NJ 07828 

www.mars.com 

PG 39 

MASTERIMAGE 3D 

4111 W. Alameda Ave. Suite 312 

Burbank, CA 91505, USA 

818-558-7900 

www. masterimage3d.com 

PG 57 

MEDIA MOTION 

2832 San Pablo Ave. 

Berkeley, CA 94702 

510-486-1166 

sales@meyersound.com 

www.meyersound.com 

PG 34 

METROPOLITAN THEATRES 

8727 West 3rd St, 3rd Floor 


310-858-2800 

info@metrotheatres.com 

www.metrotheatres.com 

PG 124 

MEYER SOUND 

2832 San Pablo Ave. 

Berkeley, CA 94702 

510-486-1166 

sales@meyersound.com 

www.meyersound.com 

PG 19 

MOBILIARIO S.A. DE C.V. 

Calle Del Sol #3 Col./ 

San Rafael Champa 

Naucalpan de Juarez 

53660 Mexico 

5255-5300-0620 

Claudia Gonzalez 

877-847-2127 

mobisa@netra.net 

www.mobiliarioseating.com 

PG 33 

MOVING IMAGE 

TECHNOLOGIES 

17760 Newhope St. 

Fountain, Valley, CA 92708 

714-751-7998 

www.movingimagetech.com 

PG 71, 73 

NATIONAL CINEMEDIA, LLC 

9110 E. Nichols Ave., Ste. 200 

Centennial, CO 80112-3405 

877-59-FATHOM 

info@ncmfathom.com 

www.ncm.com 

PG 15 

NORTH AMERICAN 

BANKCARD 

250 Stephenson Hwy 

Troy, MI, 48083 

800-227-1298 

corpaccounts@nabancard.com 

www.nabancard.com 

PG 22 

ODELL’S 

8543 White Fir St. #D-1 

Reno, NV 89523 

Arthur Anderson / 775-323-8688 

odells@popntop.com 

www.popntop.com 

PG 97 

OPACKI AUDIO 

616-791-0867 

PG 122 

OMNITERM DATA 

TECHNOLOGY 

2785 Skymark Ave., Unit 11 

Mississauga, ON L4W 4Y3 

Greg Coman / 905-629-4757 

gregcoman@omniterm.com 

www.omniterm.com 

PG 40 

OSRAM SYLVANIA 

100 Endicott St. 

Danvers, MA 01923 

978-750-2419 

Christine Buckley 

christine.buckley@sylvania.com 

PG 100 

PACKAGING CONCEPTS, INC. 

9832 Evergreen Industrial Dr. 

St. Louis, MO 63123 

John Irace / 314-329-9700 

jji@packagingconceptsinc.com 


PG 21, 77 

PARADIGM DESIGN 

550 3 Mile Rd., NW, Ste. B 


616-785-5656 

www. paradigmae.com 

PG 122, 123 

PARAMOUNT 

5555 Melrose Ave. 


Jody Timmerman 

323-956-5000 

www.paramount.com 

PG 75 

PETER’S PRETZELS 

Great Western Products 

30290 U.S. Hwy. 72 

Hollywood, AL 35752 

800-239-2143 

info@gwproducts.com 

www.gwproducts.com 

PG 49 

PHILIPS LIGHTING 

200 Clarendon St. 

Boston, MA 02116 

Dina Munchback 

617-449-4127 

www.philips.com 

PG 69 

PROCTOR COMPANIES 

10497 Centennial Rd. 

Littleton, CO 80127-4218 

Bruce Proctor 

303-973-8989 

sales@proctorco.com 


PG 101 

PRODUCED BY CONFERENCE 

chris.dehaan@42west.net 

PG 115 

PROMOTION IN MOTION 

3 Reuten Dr., P.O. Box 558 

Closter, NJ 07624 

Felicia Bompane 

201-784-5800 

mail@promotioninmotion.com 

www.promotioninmotion.com 

PG 43 

QUARTZ LAMPS INC. 

4424 Aicholtz Rd. 

Cincinnati, OH 45245 

888-557-7195 

www.qlistore.com 

PG 124 

QSC 

1665 MacArthur Blvd. 

Costa Mesa, CA 92626 

Francois Godfrey 

714-754-6175 

francois_godfrey@qscaudio.com 

www.qscaudio.com 

PG 6, 7 

QUBE CINEMA, INC. 

4640 Lankershim Blvd., Ste. 601 

North Hollywood, CA 91602-1844 

818-392-8155 

nigel@qubecinema.com 

www.qubecinema.com 

PG 17 

QUEST CINEMA 

866-933-7486 

www.questcinema.com 

PG 120 

READY THEATRE SYSTEMS 

4 Hartford Blvd. 

Hartford, MI 49057 

Mary Snyder 

865-212-9703x114 

sales@rts-solutions.com 

www.rts-solutions.com.com 

PG 118 

RETRIEVER SOFTWARE 

7040 Avenida Encinas 

Ste. 104-363 

Carlsbad, CA 92011 

760-929-2101 

www.retrieversoftware.com 

PG 14 

REYNOLDS & REYNOLDS 

300 Walnut St., Ste. 200 

Des Moines, IA 50309-2244 

Darlene Fischer / 515-243-1724 

info@reynolds-reynolds.com 

www.reynolds-reynolds.com 

PG 45 

RICOS PRODUCTS 

621 S. Flores 

San Antonio, TX 78204 

210-222-1415 

info@ricos.com 

www.ricos.com 

INSIDE BACK COVER 

SCREENVISION 

1411 Broadway 33rd Fl. 

New York, NY 10018 

Darryl Schaffer 

212-497-0480 

www.screenvision.com 

BACK COVER 

SENSIBLE CINEMA 

SOFTWARE 

7216 Sutton Pl. 

Fairview, TN 37062 

Rusty Gordon / 615-799-6366 

rusty@sensiblecinema.com 

www.sensiblecinema.com 

PG 124 

SONIC EQUIPMENT 

COMPANY 

900 W Miller Rd. 

Iola,KS 66749 

00-365-5701 

www.sonicequipment.com 

COVER, PG 9 

SONY ELECTRONICS 

One Sony Dr. 

Park Ridge, NJ 07656 

201-476-8603 

www.sony.com/professional 

PG 5, 83 

STADIUM SAVERS 

550 3 Mile Rd. N.W. 


William Brunner 

616-785-5598 

www.stadiumsavers.com 

PG 99 

STRONG CINEMA PRODUCTS 

(Division of Ballantyne Inc.) 

4350 McKinley St. 

Omaha, NE 68112 

Ray Boegner 

402-453-4444 

ray.boegner@btn-inc.com 

www.ballantyne-omaha.com 

PG 35 

TECHNICOLOR DIGITAL 

Brett Fellman 

(818) 260-4907 

Brett.Fellman@technicolor.com 

www.technicolordigitalcinema. 

com 

PG 13 

TEXAS INSTRUMENTS 

12500 TI Boulevard 

Dallas, TX 75243 

www.dlp.com 

PG 27 

TK ARCHITECTS 

106 W 11th St., Ste. 1900 

Kansas City, MO 64105 

816-842-7552 

tkapo@tkarch.com 

www.tkarch.com 

PG 119 

USHIO AMERICA, INC. 

5440 Cerritos Ave. 

Cypress, CA 90630 

800-838-7446 

www.ushio.com 

PG 30 

USL 

181 Bonetti Dr. 

San Luis Obispo, CA 93401 

805-549-0161 

usl@uslinc.com 

www.uslinc.com 

PG 79 

VARIETY CLUBS 



www.usvariety.org 

PG 64 

VIP CINEMA SEATING 

PO Box 3668 

Tupelo, MS 38803 

662-841-5866 

www. vipcinemaseating.com 

PG 11 

VISTA ENTERTAINMENT 

SOLUTIONS LTD. 

P.O. Box 8279, Symonds Street 

Auckland, New Zealand 

011-649-357-3600 

info@vista.co.nz 

www.vista.co.nz 

PG 110 

WHITE CASTLE 

555 West Goodale St. 

Columbus, OH 43215 

Timothy Carroll 

614-559-2453 

carrollt@whitecastle.com 

www.whitecastle.com 

PG 63 

WILL ROGERS INSTITUTE 

10045 Riverside Drive, Third Floor 

Toluca Lake, CA 91602 

877-957-7575 

www.wrinstitute.org 

PG 36, 37 

 

 

 


★ IMPROVE PROFITABILITY, GUEST EXPERIENCE, AND OPERATING STANDARDS ★ 

equipment if it’s in a closing location. We 

buy projection and equipment too. Call today: 

773-339-9035; cinema-tech.com; email 

ILG821@aol.com. 

ASTER AUDITORIUM SEATING & AUDIO. 

We offer the best pricing on good used projection 

and sound equipment. Large quantities 

available. Please visit our website, www. 

asterseating.com, or call 1-888-409-1414. 

SEEKING THEATRE MANAGEMENT OPPORTUNITIES AND ACQUISITIONS 

CONTACT: DALE DAVISON, 310-858-2843, ddavison@metrotheatres.com 

Brilliant Lighting Solutions 

for a Brighter Future! 

DRIVE-IN CONSTRUCTION 

DRIVE-IN SCREEN TOWERS since 1945. Selby 

Products Inc., P.O. Box 267, Richfield, OH 

44286. Phone: 330-659-6631. 

EQUIPMENT WANTED 

AMERICAN ENTERTAINMENT PRODUCTS 

LLC is buying projectors, processors, amplifiers, 

speakers, seating, platters. If you are closing, 

remodeling or have excess equipment in 

your warehouse and want to turn equipment 

into cash, please call 866-653-2834 or email 

aep30@comcast.net. Need to move quickly 

to close a location and dismantle equipment? 

We come to you with trucks, crew and equipment, 

no job too small or too large. Call today 

for a quotation: 866-653-2834. Vintage equipment 

wanted also! Old speakers like Western 

Electric and Altec, horns, cabinets, woofers, 

etc. and any tube audio equipment, Call or 

email: aep30@comcast.net. 

COLLECTOR WANTS TO BUY: We pay top 

money for any 1920-1980 theater equipment. 

We’ll buy all theater-related equipment, working 

or dead. We remove and pick up anywhere 

in the U.S. or Canada. Amplifiers, speakers, 

horns, drivers, woofers, tubes, transformers; 

Western Electric, RCA, Altec, JBL, Jensen, 

Simplex and more. We’ll remove installed 

FOR SALE 

BARCO 3D/DIGITAL EQUIPMENT FOR 

SALE: Purchase for $55K. Equipment list 

provided upon request. Contact seller at 

mschwartz@pennprolaw.com. 

SERVICES 

DULL FLAT PICTURE? RESTORE YOUR XE- 

NON REFLECTORS! Ultraflat repolishes and 

recoats xenon reflectors. Many reflectors available 

for immediate exchange. (ORC, Strong, 

Christie, Xetron, others!) Ultraflat, 20306 Sherman 

Way, Winnetka, CA 91306; 818-884-0184. 

ALLSTATE SEATING specializes in refurbishing, 

complete painting, molded foam, tailormade 

seat covers, installations and removals. 

Please call for pricing and spare parts for all 

types of theater seating. Boston, Mass.; 617- 

770-1112; fax: 617-770-1140. 

THEATER SPACE FOR LEASE 

AN 8,400 SQ. FT. SPACE containing two 

movie theaters is available for lease in Frankfort, 

KY, at a very reasonable lease rate. It 

would be perfect for the new concept of eating 

in the theater. The theaters are located in 

the middle of a major shopping center. The 

center owners would prefer an operating movie 

theater rather than convert the space into 

retail use. Contact Alexa at 859-221-9921 or 

email her at alexarkelley@gmail.com for more 

information. 

“UNRELENTING” 

“CAPTIVATING” 

“HOLD ON TIGHT” 

“IT’S A TRUE CALL OF THE WILD” 

TWO-DISC 

COMBO PACK: 

BLU-RAY / DVD 

DIGITAL COPY 

ULTRAVIOLET 

MAY 15TH

BoxOffice® Pro - May 2012

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