BoxOffice® Pro - November 2010

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MOVIE RATINGS: AN APPEAL FOR REASON AND A REASON TO APPEAL
The Official Magazine of NATO

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NOV 2010 VOL. 146 NO. 11
26 Tribute > Tom Stephenson
A TOAST TO TOM: Congratulations to the RAVE President and CEO
32 Growth Strategies
DEPARTMENTS
4 Industry Briefs
Roundup of the latest announcements
from the world of exhibition
10 Executive Suite
What a difference 10 years makes: How
NATO helped the industry go digital
By John Fithian
14 Running Numbers
An appeal to reason and a reason to
appeal: Hypocrasy, hyperbole and the
movie ratings system
By Patrick Corcoran
18 Timecode
The importance of being frank:
More blunt talk from your pals, the
exhibitors
By Kenneth James Bacon
80 Classifieds
BY PHIL CONTRINO
X MARKS THE SPOT: Get friendly with Foursquare / TWEET IT ON: Be Mr.
Popularity / MAKING FACES: Three exhibitors weigh in on the social networking
behemoth
46 Big Picture > Tron: Legacy BY AMY NICHOLSON
EXCLUSIVE INTERVIEW ENTER THE GRID > Director Joseph Kosinski
EXCLUSIVE INTERVIEW ENERGY DRINK > Actor Michael Sheen
PROMOTION LIGHT UP THE NIGHT > Make your Tron box office bright
AWARDS
20 Front Line
Mark Dworkin, Langley, WA
22 Front Office
Toby Leonard, Nashville, TN
24 Marquee Award
B&B Theatres Wildwood 10 with
Marquee suites, Wildwood, MO
THE SLATE
58 On the Horizon
The Green Hornet / The Dilemma / The
Mechanic
62 Coming Attractions
For Colored Girls / Morning Glory /
Skyline / Unstoppable / The Next Three
Days / Burlesque / Faster / The King’s
Speech / Love and Other Drugs / The
Nutcracker 3D / Tangled
66 Book It!
Flash reviews and recommendations of
films that should be on your radar
74 Booking Guide
Nearly 150 films that you can book
right now, complete with contact info,
film formats, audio formats and more
BOXOFFICE MEDIA
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CREATIVE DIRECTOR
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BOXOFFICE MAGAZINE
EDITOR
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2 BOXOFFICE NOVEMBER 2010

STOPPRESS
Some things in life are just unambiguously good, and The Geneva Convention most
certainly qualifies for inclusion in this category. We’ll have full coverage in our next
issue, but I wanted to immediately acknowledge and thank the good folks of NATO
of Wisconsin and Upper Michigan for their tremendous efforts on behalf of the industry
and some very worthwhile causes. There were plenty of opportunities to learn, inform and
network, as well as some outstanding parties. But the real spirit of the show, and the people
who run it, was on display when checks representing all of the show’s proceeds were given
out to numerous charitable organizations. Co-Chairmen John Scaletta and George Rouman,
plus Barb Mangold and the entire Marcus team, deserve all of our thanks for showing us
how it can and should be done.
Now it’s time to pack my bags again for ShowEast. I hope to see you there.
peter@boxoffice.com
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NOVEMBER 2010 BOXOFFICE 3

INDUSTRY BRIEFS
PENDING REGULATORY
APPROVAL, SHAMROCK
CAPITAL WILL BE THE
MAJORITY OWNER OF
SCREENVISION, and Carmike
Cinemas will own 20 percent
of the New York-based cinema
advertising company. U.K.
broadcaster ITV sold its entire
interest and Technicolor—
which will continue to provide
Screenvision with digital film
processing and distribution
services—is retaining a small
stake. Shamrock paid a reported
$80 million. As part of the deal,
Carmike will extend its advertising
agreement with Screenvision for
30 years and Screenvision will pay
Carmike $30 million in January
The Screenvision cinema ad
network is comprised of over
15,000 screens in 2,500 venues
covering all 50 states and 93
percent of DMAs nationwide.
Its affiliate agreements give it
access to over 150 theater circuits
through 10 of the top 15 exhibitor
companies, and it has over 4,000
advertising clients.
Last year, total cinema ad
revenues grew 2 percent from
$571.5 million in 2008 to $584
million in 2009, a modest gain,
but impressive compared to steep
drops elsewhere in advertising.
This isn’t the first foray into the
media business for Shamrock
Capital, which created its Growth
Fund II to focus exclusively
on media, entertainment and
communications investments.
Their prior cinema investment was
Real D, which went public earlier
this year.
CINEDIGM DIGITAL CINEMA
CORP. HAS ANNOUNCED
that Cobb Theatres will add
170 screens at 14 sites to
Cinedigm’s Phase 2 digital cinema
deployment program. Cobb—a
member of NATO’s Cinema
Buying Group (CBG)—is using
Cinedigm’s exhibitor self-financing
agreement. “We are thrilled to
have Cinedigm help us complete
this transition to digital,” said
Cobb COO Jeremy Welman.
“Innovative entertainment is a
family tradition at Cobb. Our
guests will benefit immediately.
And we will benefit as well; the
digital transition will allow us
to operate our screens with far
more efficiency and programming
choices.”
“With their long-time
commitment to their guests and
their creativity in always finding
new ways to provide the best
entertainment experience in their
theatres, Cobb is another ideal
exhibitor partner for Cinedigm,”
said Chuck Goldwater, President,
Cinedigm’s Media Services Group.
“We are eager to begin working
with the Cobb team to help
them take full advantage of the
operational and the programming
applications of the Cinedigm
digital cinema platform.”
Cinedigm’s Phase 2 plan will
bring up to 10,000 additional
screens to the global roster of fully
digital theaters. Cinedigm has now
signed 43 exhibitors representing
more than 5,600 screens to date,
including 15 CBG members and
just over 650 CBG screens.
FRANK THEATRES AND EN-
TERTAINMENT CENTERS HAS
ANNOUNCED the winter 2011
opening of the Inlet Square 12 in
Murrells Inlet, South Carolina on
a former Regal site that closed in
January. The theatre will feature
wall-to-wall curved screens, all
digital sound, Sony 4K digital projection
with six 3D screens, leather
high-back rocker seats with flip up
armrests, a Starlight Café offering
beer and wine, and 16 high-tech
Brunswick bowling lanes.
Frank Theatres is also planning
new theatres for Delray, FL;
Cary, NC; Holly Springs, NC; and
Ranson, WV. Frank Entertainment
operates more than 200 screens
along the east coast, including the
Rivertown Theaters in Conway.
(continued on page 6)
4 BOXOFFICE NOVEMBER 2010

When it comes to 4K, all eyes are on Sony.
While others are just realizing the benefi ts of 4K, Sony has become the undisputed leader
in 4K technology. We’ve installed thousands of projection systems worldwide, delivering
stunning Sony 4K. And lifelike 3D. But we’re not stopping there. We also provide digital
signage for concessions, box offi ce and lobbies, plus exciting alternative content, digital
surveillance, a network operations center, nationwide support, and fl exible fi nancing.
The advantages of Sony 4K are clear. Now let’s talk about the bigger picture.
Visit sony.com/4K to set up a meeting.
© 2010 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, make.believe and their respective logos are trademarks of Sony.

INDUSTRY BRIEFS
CHRISTIE’S DIGITAL CINEMA
PROJECTORS, including the
new generation Solaria Series
4K-ready DLP Cinema projectors,
screened a record number of
digital titles at the 35th Toronto
International Film Festival in
September. Celebrating 10 years
as projection sponsor for the
festival, Christie has played a key
role in the festival’s growing use
of digital projection technology to
accurately reflect the innovative
works of a new generation of
filmmakers.
Since its founding in 1976, TIFF
has gained a global reputation
as a launching pad for the
best international, Hollywood
and Canadian cinema. Its
exceptional record for nurturing
major new talent has helped
it gain worldwide acclaim as
the most important film festival
after Cannes. From a modest
audience of 35,000 in its first year,
attendance has grown to more
than 500,000, with a program
this year that includes 1,285
screenings of 336 titles from
64 countries around the world.
Nearly half of all titles this year will
be screened digitally.
“It’s an honor to be part of the
outstanding tradition of innovation
and creative vision that is TIFF,”
said Gerry Remers, president and
chief operating officer, Christie
Digital Systems Canada, Inc. “As
the recognized leader in digital
cinema projection technology,
Christie is pleased to provide our
expertise and superior projection
solutions to help TIFF introduce
brilliant and memorable films to a
global audience.”
KIM LUECK HAS BEEN NAMED
CHIEF INFORMATION TECH-
NOLOGY OFFICER FOR MAR-
CUS THEATRES. In her new role,
she will assume responsibility for
the division’s technology strategy
and implementation. Lueck joined
Marcus Theatres in 1997 as IT
manager, and later served as IT
director for the Baymont and KFC
divisions. In 1999, she received the
Marcus Theatres “Spotlight on Excellence”
award for her leadership
role in implementing the division’s
first phone ticketing sales system,
print-at-home ticketing and data
warehouse capabilities.
Lueck played a key role in the
overnight technology conversions
for the company’s acquisitions of
Cinema Entertainment Corporation
in 2007 and the Douglas
Theatre Company in 2008. Lueck
has also chaired the Advisory
Board of Radiant Systems, an
entertainment industry technology
provider, for the past six years.
She participates on several NATO
committees and volunteers with
organizations including Variety,
COA Youth & Family Centers, the
Multiple Scoliosis Society, The
Gathering, United Performing Arts
Fund (UPAF) and the United Way.
She also serves on the United Way
Emerging Leaders Council.
MICHAEL KOHLER HAS BEEN
NAMED SENIOR COUNSEL FOR
THE MARCUS CORPORATION.
In his new role, Kohler will
represent the company’s theater
and hotel divisions before
federal and state administrative
agencies throughout the country
in all areas of employment law.
Kohler will also be responsible
for counseling and training the
company’s managers and human
resource directors on labor and
employment law related issues,
assist in union negotiations and
represent the company in labor
arbitrations.
Prior to joining The Marcus
Corporation, Kohler was an associate
at Foley & Lardner, LLP
in Milwaukee. Kohler received a
dual bachelor’s degree in business
administration and history from
Marquette University in 1996 and
obtained his law degree from the
University of Illinois in 2000. In
addition to his work at The Marcus
Corporation, he teaches as an
adjunct professor at Marquette
University’s College of Business
and frequently provides lectures
on employment and labor law
topics to classes and professional
groups. He also serves as a member
of the Board of Directors for
the Great Lakes Hemophilia Foundation
as well as the Association
of Corporate Counsel – Wisconsin
Chapter.
THE SALAH M. HASSANEIN
VARIETY BOYS AND GIRLS
CLUB OF QUEENS WILL
HONOR LINDA DITRINCO,
Executive Vice President/General
Sales Manager of Focus Features,
as the recipient of its 59th Annual
Humanitarian Award. Proceeds
from this annual fundraiser will
benefit the Salah M. Hassanein
Variety Boys and Girls Club
of Queens, a recreational and
educational facility located in
Astoria, Queens.
As Executive Vice President/
General Sales Manager of Focus
Features, Linda has planned
and managed the distribution of
such Academy Award-winning
films as Lost in Translation,
Eternal Sunshine of the Spotless
Mind, The Motorcycle Diaries,
Atonement, The Pianist, The
Constant Gardener, Milk, and
Brokeback Mountain, which
won three Oscars including Best
Director for Ang Lee. The latter is
Focus’ top-grossing film to date.
6 BOXOFFICE NOVEMBER 2010

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PEANUT GALLERY
WATCH OUT
BEHIND YOU!
We ask: “Who’s the best
movie villain of all time?”
“Charles Bronson. I did a film called
Vengeance and we took inspiration from
Charles Bronson’s Death Wish series.
His family gets killed and he becomes a
vigilante—that’s the part I play. I love
Charlie. I did two movies with him: Death
Wish 4 and Forbidden Subjects. I like good/bad
guys, guys that are bad but play good guys.
I hate to see Ricky Schroeder play a bad guy.
There’s bad guys and then there’s bad guys.”
Danny Trejo
Actor, Machete
“I really like the Grinch. I’ve always enjoyed
that story and all of its facets—it’s got a
great tone and it feels so good to see him get
redeemed at the end. His teeth! That smile!
That evil grin!”
Walt Dohrn
Voice of Rumpelstiltskin, Shrek Forever After
“Has to be the Joker. Heath Ledger’s, of
course. He’s one of the best actors of all
time—he just became the part.”
Tim Smith
Vice President, Business Development and
Planning, Digital Cinema Solutions Group,
Sony Electronics.
“Scorpio in Dirty Harry. I’m a big Dirty
Harry fan and I think he’s the quintessential
loopy killer. In that kind of role, Andrew
Robinson’s performance has never been
better. One of the reasons I think Dirty Harry
is the best cop film ever is that Robinson is
so memorable as the Scorpio killer. Clint
BADDER THAN ME?
Machete’s Danny Trejo
Eastwood has iconic moments, but so does
Scorpio. Even in the last scene of the film
where they face off, his look when he’s got
the plaster on his nose, he’s this giggling
loon. That school bus scene where he’s
singing “Row, Row, Row Your Boat,” to the
kids and making them cry! He’s the ultimate
movie villain.”
Edgar Wright
Director, Scott Pilgrim vs. the World
“I’m all about the villain from Despicable Me.
Not the Steve Carell villain but his villain—
the geeky, sweat-shirted, potbellied geek.
That’s the biggest Silicon Valley inside joke
ever. Steve Carell looks like a traditional bad
guy, but it turns out that the actual bad guy
is a guy with an iPod who always wants to
show off his new device. I thought that was
really funny.”
Michele Martell
COO, Cinedigm
“I love Ian McShane in Sexy Beast. One,
because I worked with him on Deadwood.
There, he’s a person you hate to love. But in
Sexy Beast, he has these cold, cold eyes. He
says very little, but he’s pure menance—
and handsome and debonair as well, even
though he could kill you in a second.”
Davis Guggenheim
Director, Waiting for Superman
“Gene Hackman in lots of things. In
Unforgiven he’s a great villain—believable
and really frightening. I like villains who
don’t think of themselves as villains. People
who play with the idea of a bad guy, who
push the boundaries of villainy. I don’t live
in a world of black and whites, so I don’t
want my movies to have them.”
Michael Sheen
Actor, Tron
8 BOXOFFICE NOVEMBER 2010

V I S I T
w w w . B o x o f f i c e M a g a z i n e . c o m
NOVEMBER 2010 BOXOFFICE 9

EXECUTIVE SUITE
JOHN
FITHIAN
NATO
President
and Chief
Executive
Officer
WHAT A DIFFERENCE TEN YEARS MAKES
How NATO helped the industry go digital
At the dawn of the new millennium, exhibition saw its future: digital cinema. But the transition hasn’t been
fast—or easy. NATO has spent the last ten years proving, perfecting and pushing for the new technology, hosting
summits and helping theater owners keep pace with the conversion. At the same time, advances in cameras
and Internet speed have made movie theft a multimillion dollar crime and NATO’s public enemy #1. And with the rise
of VOD and Netflix and the collapse of the DVD market has come a new struggle over release windows. Here are our
most significant achievements of this fast and furious decade.
December 12, 2001
Global Exhibition Makes Digital Declaration
In an unprecedented demonstration of worldwide unity,
cinema trade associations from 18 countries and four
different continents released a statement calling for the
immediate development of global technical standards for
digital cinema. The declaration included a list of prerequisite
technical standards. Most of those demands were
incorporated into the DCI Specification and SMPTE standards
and have been implemented in current technologies.
May 10, 2002
Studio Leaders and NATO Board Hold First Joint
Meeting on Digital Cinema
Five studio executive representatives of the NewCo (later
DCI) digital cinema joint venture met with the NATO
Board of Directors to outline goals and to invite exhibition’s
input and cooperation. The meeting marked the beginning
of a long cooperative process that would include
the DCI technical specification, the SMPTE standards and,
ultimately, the VPF business model.
2004
NATO and MPAA Launch Anti-camcorder Reward
Policy and Training Materials
NATO and the MPAA stepped up their fight against
movie theft by developing training materials for theater
employees and launching a program to reward employees
who thwart the use of recording devices in cinemas. The
reward program continues today and has awarded over
$100,000 to NATO member employees.
June 2004
NATO and Other Groups Begin Annual Ratings
Awareness Month
After giving testimony before the Federal Trade Commission
on the various voluntary ratings systems used in the
entertainment industries, NATO and four other trade associations
formed the Coalition of Entertainment Trade Associations
(CERTA) and inaugurated June 2004 as the first
annual “Entertainment Ratings and Labeling Awareness
Month” (ERLAM). NATO developed a checklist of steps
for members to consider and distributed educational materials.
This annual event continues today.
2002
Cinema Buying Group Formed
Led by members of NATO’s Independent Theater Owners
Committee, the association formed the Cinema Buying
Group to enable smaller exhibitors to combine their buying
power to obtain discounts on a broad range of cinema
equipment and supplies. In 2006, the CBG would expand
its efforts to become the most significant vehicle for independent
operators in the U.S. and Canada to undertake
the transition from film to digital technologies.
March 26, 2003
NATO Holds Important Member Meetings with
Homeland Security
The Department of Homeland Security and leading NATO
members met in Washington, D.C. to discuss security issues
in theaters. A subsequent “white paper” on the topic
was distributed to all members and is still relevant today.
2004 - 2007
NATO Lobbies Successfully to Avoid Legal Requirements
on Smoking in Movies
Members of the U.S. House and Senate convened hearings
and held meetings to discuss the issue of smoking
in movies. Various state attorneys general also suggested
the possibility of litigation. NATO and our members successfully
worked with Congress and the AGs to avoid any
legal requirements.
November 2004
NATO Windows Tracking Service Expanded
For many years, the NATO staff compiled a quarterly
report that tracked all major studio features’ home video
release and announcement dates in comparison to the
theatrical release date. With guidance from members,
the report was expanded to provide results by grossing
category and to describe in further detail the averages
and trends. NATO also expanded the use of the reports in
active discussions with studio executives.
November 18, 2004
NATO Board Adopts Resolution on Digital Cinema
After extensive deliberations, a unanimous NATO Board
adopted a resolution describing exhibition’s fundamental
objectives regarding the transition to digital cinema. The
resolution addressed quality, technical standards, security
and operational control, financing and rollout. In the subsequent
six years, most of the goals set forth in the resolution
have been accomplished.
2004 – 2008
NATO Comments on DOJ Proposed ADA Regulations
In the continuing, long process of developing revised regulations
under the ADA on important issues including wheelchair
seating, the DOJ proposed regulations twice and
each time, NATO submitted comprehensive comments.
(continued on page 12)
10 BOXOFFICE NOVEMBER 2010

EXECUTIVE SUITE (continued from page 10)
Summer 2005
NATO and other Groups Form Coalition
to Lower Credit and Debit Card
Processing Fees
With the support of Executive Committee
members, NATO joined the Merchants Payment
Coalition, a growing group of trade
associations and companies working to
lower credit and debit card fees through
legislation, regulation and litigation.
2005
Congress and States Enact Legislation
Outlawing Recording Devices in Theaters
After several years of intense lobbying by
members of NATO and the MPAA, Congress
finally approved legislation outlawing
the use of recording devices in motion picture
theaters. The new law included important
immunity language sought by NATO to
protect theater operators who act reasonably
to detain suspected movie thieves. The
MPAA and NATO committed to publicize
the new law through the display of posters
in movie theater lobbies. Meanwhile,
NATO and its affiliated state units continued
to lobby for similar laws at the state level.
Thirty-two such laws were approved by the
summer of 2005. Also during 2005, the
MPAA and NATO begin to provide detailed
camcorder tracking information to theater
operators around the country. This tracking
service expanded to Europe in 2009.
February 2006
NATO Releases Digital Cinema Technical
Requirements
With the active involvement of a task force
of members, NATO built on its resolution
of 2004 by issuing detailed technical requirements.
While the DCI specification addressed
distribution and security, the NATO
requirements focused on issues within the
theater environment. The requirements were
then updated in 2007 and again in 2009.
February 21 and March 14, 2007
NATO Holds Captioning Technology
Demonstrations
Led by NATO member Randy Smith, NATO
held two demonstrations of new captioning
technologies from various companies. The
demonstrations suggested that coming digital
cinema technologies would expand the
capacity to provide greater movie access to
deaf and hard of hearing patrons.
March 2007
NATO and MPAA Form Joint Task Force
on Movie Theft
Convening for the first time, the new NATO-
MPAA Movie Theft Task Force discussed
best practices and innovations to improve
the collective fight against movie theft in
the U.S. and Canada. Increased coordination
between studios, theater operators and
law enforcement is one key priority. In later
years, NATO helped take the task force concept
to Europe and Mexico.
2008
Digital Cinema Advances
Virtual print fee agreements began to
be signed, implementing the demand of
NATO’s 2004 resolution that the studios
must subsidize the transition. NATO held a
series of equipment vendor education sessions
to explain the industry’s technical requirements.
NATO’s CBG conducted an RFP
and selected an integrator.
2008
NATO and InterSociety Address
Environmental Issues
NATO joined with our partners in the Inter-
Society to form an environmental committee
to recommend industry actions that could
be taken to green industry practices. The
committee’s first success, backed by a resolution
of the NATO board, was to develop
a comprehensive film trailer recycling program.
Next, the NATO board and the committee
successfully advocated for 3D glasses
recycling and reuse.
May – June, 2008
Congress Enacts Credit Card Expiration
Date Amendment Backed by NATO
NATO joined a coalition of retail groups and
launched a grass roots lobbying campaign in
support of legislation to amend the Fair and
Accurate Credit Transactions Act to make
clear that a business that electronically printed
an expiration date on a credit or debit
card receipt cannot be found in violation
of the law as long as the receipt truncated
the card number. Several NATO members
had been sued under the original law for
substantial damages and the amendment
effectively stopped those suits.
May 2009
NATO and MPAA Announce Trailer
Targeting Guidance System
In partnership with the MPAA, NATO staff
began to compile and maintains a chart of
MPAA’s trailer target approvals for trailers
using the green “Appropriate Audiences”
tag. The information is maintained on the
members-only section of NATO’s website.
2009 – 2010
NATO and Coalition Oppose Union Card
Check Legislation
In February 2009, NATO’s Executive Committee
voted to strongly oppose the Employee
Free Choice Act (EFCA) which would
eliminate secret ballot union elections,
increase penalties on employers and require
forced mediation of disputes. Since then,
NATO has initiated several grass roots campaigns
and joined with other organizations
in opposition to the legislation. The legislation
is still pending in Congress.
2009 – 2010
NATO and Allies Successfully Oppose
Federal Beverage Tax Proposal
To pay for health care reform legislation, the
Senate Finance Committee considered a
federal excise tax on sugar-sweetened beverages,
including fountain sodas. Allied with
restaurant groups and other organizations,
NATO launched grass roots campaigns,
undertook direct lobbying activities and supported
a targeted media campaign in opposition
to the proposal. The final health care
legislation included no such tax.
2009 – 2010
NATO and Allies Lobby to Reduce
Employer Mandates in Health Care Bill
After defeat of the beverage tax became
clear, NATO shifted its health care lobbying
to address employer mandates and affordability
issues. Under the direction of the
Executive Board, NATO’s primary focus was
on issues with unique impact on exhibition,
such as part-time worker requirements and
insurance coverage under parents’ plans
for younger workers. In the end, NATO
and our allies were successful on those two
specific issues, even though a modified
employer mandate was included in the final
legislation.
June 14, 2010
NATO Board Adopts Resolution on VOD
Windows
With the FCC’s approval of selectable output
control technology, cable company and
studio executives began to speculate publicly
about the introduction of a premium VOD
window. NATO’s Board responded with a
strong statement which was published in the
trades and distributed to the studios.
Many currently pending issues will no
doubt make a subsequent list. And I have
no doubt that some NATO members might
even challenge the list I have produced as
being incomplete. But hopefully the exercise
has helped remind us all how important
a strong and unified membership association
can be.
Thank you for permitting me to go on this
journey with you.
12 BOXOFFICE NOVEMBER 2010

RUNNING NUMBERS
PATRICK
CORCORAN
NATO
Director of
Media &
Research
California
Operations
Chief
AN APPEAL TO
REASON AND
REASONS TO
APPEAL
Hypocrisy, hyperbole and the movie
ratings system
From time to time, the movie ratings system comes
under attack for rating a film more stringently than
the filmmaker would like. This is understandable.
A film’s rating can have a real impact on its commercial
prospects—as has been widely noted, PG-13 seems to be
the commercial sweet spot for mainstream film, perhaps
because of the Goldilocks Rule: Not too hot, not too cold,
but just right. This does not mean, of course, that an R-rated
film cannot do huge box office, nor does it foretell lower
numbers for a film rated G or PG. It simply seems to be
the case that the most successful films congregate around
content that the majority of the audience finds neither
too intense nor too mild. In other words, movies with the
broadest appeal do better.
And speaking of appeal, the ratings process came under
fire again this past summer for ratings given to two
documentaries. The Tillman Story, the history and death of
NFL player and Army Ranger Pat Tillman, was rated R for
language. A Film Unfinished, uncovered propaganda footage
from the Warsaw Ghetto, was rated R for “disturbing
images of Holocaust atrocities, including graphic nudity.”
Both films appealed their ratings and both relied, in part,
on similar arguments—at least in public.
Adam Yauch, founder of Oscilloscope Laboratories
founder and distributor of A Film Unfinished, said in a statement,
“This is too important of a historical document to
ban from classrooms. I understand that the MPAA wants
to protect children’s eyes from things that are too overwhelming,
but they’ve really gone too far this time. It’s
bullshit.” Amusingly, industry website The Wrap printed
his statement with the “bullshit” redacted.
Jay Fernandez, in The Hollywood Reporter, inveighed
against the rating with a bravura performance of muddled
thinking:
camp into a parlor game, and crassly and superficially violent
Hollywood movies get stamped with PG-13 ratings week in
week out, simply reinforces the notion that America is committed
to raising more generations of fantasists with skewed moral
compasses.
He suggests, as numerous commentators have suggested
before him, that because something is real, it should
have a rating as unrestrictive—perhaps less restrictive?—
as the “superficially violent.” He reaches, as most such
complainants do, for a moral or aesthetic judgment of the
film as the basis for the film’s rating rather than the plainly
stated reason: the film’s content. This is the logic of a censor.
He then calls for it to be seen by younger viewers “in
concert with parents and educators.” We agree! And there
is nothing in the R rating that prevents that from happening.
The producers of The Tillman Story also reached for the
movie’s redeeming values as a reason for overturning the
R rating.
“Of course there is excessive language,” producer John
Battsek stated in a press release. “This is a film that follows
a truly exemplary family torn apart by the death of their
loved one and the barrage of government deceit they encountered
in their pursuit of the honest truth. We should
be looking at this film as a way to show our younger generation
the power of true family values and the sometimes
unfortunate failings of our government.”
Tillman director Amir Bar-Lev also weighed in. “The
language in this film is not gratuitous. I think this is how
many people would react when faced with the unthinkable.
Giving this film an R rating prevents young people
from seeing this film, the very people who should be exposed
to a great American like Pat Tillman.”
Harvey Weinstein, whose Weinstein Co. is the film’s
distributor, is never one to shy away from free publicity
and said, “This is one of the most important films I’ve distributed
in my career, and I want my teenage daughter and
the nation’s young adults to be able to watch Pat’s story.
We need to learn from this story, and limiting who can see
it is not the answer.”
Where to begin? Battsek, at least, is honest about the
level of language in the movie, but falls back upon the
irrelevant position that his movie should have a less
restrictive rating because it is important. As noted in the
Classification and Ratings Administration’s (CARA) rules:
(I)t highlights, yet again, a ludicrous hypocrisy that the
MPAA insists on enforcing.
The Holocaust offers a uniquely grim history that simply cannot
be depicted without exposing viewers to its full horror. Those
that dance at the periphery of a colossally important event that
some dangerous cranks very publicly continue to deny do more
damage to audiences than those that point the camera directly
into its terrifying maw. In any case, younger viewers—in concert
with parents and educators—deserve the right to see it.
That the outrageously disingenuous Life Is Beautiful can
tease viewers with a PG-13 scenario that turned life in a labor
The Rating Board does not determine the content that may be included
in motion pictures by filmmakers, nor does it evaluate the
quality or social value of motion pictures. By issuing a rating,
it seeks to inform parents of the level of certain content in a motion
picture (violence, sex, drugs, language, thematic material,
adult activities, etc.) that parents may deem inappropriate for
viewing by their children. It is not CARA’s purpose to prescribe
socially-appropriate values or to suggest any evolution of the
values held by American parents, but instead to reflect the current
values of the majority of American parents, so that parents
benefit from and feel fairly informed by the ratings system.
(continued on page 12)
14 BOXOFFICE NOVEMBER 2010

RUNNING NUMBERS (continued from page 14)
Bar-Lev and Weinstein trot out a simple
untruth—that the R rating prevents anyone
from seeing a movie. If Harvey Weinstein
wants his daughter to see The Tillman Story,
he can take her, and movie theaters will
happily admit them both. What the R rating
does is ensure that parents have the ability
to have a say over what movies their children
are watching—and not just the 15 year
olds, but the 10 and 12 year olds, too.
A Film Unfinished’s director Yael Hersonski
suggested in the New York Post that
parental supervision is exactly what she is
trying to avoid: “I wish I had had a chance
to see such films as a teenager, and I think
high school teachers should have the opportunity
to decide whether to use it in their
classes.”
This was in reference to some school districts’
policies regarding R-rated films. Some
bar all R-rated films from classrooms; others
require parental permission slips. Hersonski
was comfortable with teachers making decisions
about the film, but apparently not parents.
This was, regardless, none of the rating
system’s business.
The actual substance of the appeals was
more serious, with both films in their public
statements citing precedent for a less restrictive
rating. The Tillman Story noted the prior
case of Gunner Palace (2004), which also
appealed an R rating for language and was
successful, despite far exceeding the only
ratings rule that has a numeric trigger. The
late MPAA Chairman Jack Valenti and NATO
President John Fithian took the extraordinary
step of issuing a statement alerting
parents that the language in the movie far
exceeded content seen in any previous PG-
13 film. Clearly, as precedent, Gunner Palace
is the Bush v. Gore of the movie world—good
for one time only.
A Film Unfinished referenced the Steven
Spielberg-produced The Last Days from 1998,
which also included nudity. Both films were
unsuccessful in their appeals and A Film
Unfinished’s producer chose to release the
film unrated.
As a member of the Ratings Appeals
Board (although I did not participate in any
of the appeals referenced here), I would
like to expand a bit on what the Board is,
does and doesn’t do. First, and most importantly,
the Board is not monolithic. I have
voted to overturn and uphold ratings and
been in the majority and minority in both.
I suspect, but do not know—as the ballots
are secret—that that is also the experience
of most of the Board.
Precedent is considered, but is not binding.
One film may have, superficially, the
same content, but how that content is presented
is often crucial. Critics of the ratings
system often point to its seeming inconsistency
as a sign of hypocrisy and dysfunction.
At the Appeals Board level, at least, it is
my experience that it is serious engagement
with a film’s content that brings about the
biggest variation in ratings for what may
seem, in broad outline, as similar content.
We don’t care what the filmmaker took
out. What matters is what was left in.
Finally, what I find of concern in a film
as a parent will probably be different than
what you may find of concern. On the Appeals
Board, it is our job to determine if the
rating given to a film would be seen, in the
judgment of most parents, as clearly erroneous.
It is not to substitute our own judgment
of the film. This requires, as does the initial
rating, an act of imagination, of putting
yourself in the place of people (300 million
of them) who may be very unlike you.
This is the thing that film makers and
media critics seem incapable of comprehending:
that the audience they are addressing
may be very unlike themselves.
16 BOXOFFICE NOVEMBER 2010

TIMECODE
KENNETH
JAMES
BACON
Creative
Director,
BOXOFFICE
Media
THE IMPORTANCE OF BEING FRANK
More blunt talk from your pals, taken from the pages of BOXOFFICE
The Bowery Boys Meet the Monsters
“… as good as usual series entry …
but competing with them on the front
room “squint and flicker screen” is a
job that spreading them out real wide
doesn’t seem to help …”
—Bob Walker
Uintah Theatre / Fruita, CO
April 2, 1955
Hansel and Gretel
“… too much witch! …”
—Walt and Ida Breitling
Comfrey Theatre / Comfrey, MN
April 30, 1955
Pillow Talk
“…one little seven year old saw this
three times. A few days later his
mother was talking to him about something
he had done wrong. The little
boy replied, ‘Don’t take your bedroom
problems out on me.’ …”
—Harry Hawkinson
Orpheum Theatre / Marietta, MN
July 25, 1960
Two Gals and a Guy
“…This is just the kind of stuff that is
keeping people sitting by their TV sets
… no story, no acting, nothing …”
—Lloyd Hutchins
Center Theatre / Kensett, AR
Jan 10, 1953
Big Jim McLain
“…John Wayne will bring them in, but
will be most disappointed when they
come out. Filmed in Hawaii—in about
two days, it looks like …”
—Dan Guest
Tower Theatre / Wichita Falls, TX
Jan 24, 1953
Nighttime in Nevada
“…This picture didn’t have a chance
to do business as on Friday night the
official opening of a $140,000 skating
rink cleaned out our crowd for two
days.…”
—H. J. McFall
Lyric Theatre / Russell, Manitoba
Feb. 4, 1950
Satan Never Sleeps
“…I should have let him sleep.…”
—Terry Axley
New Theatre / England, AR
Nov. 25, 1963
Hans Christian Anderson
“…I did have some walkouts among
the western, action boys. Too much
ballet for them…”
—Frank E. Sabin
Majestic Theatre / Eureka, MT
Oct. 15, 1955
It Came From Outer Space
“…This is an unreal bit of film fare, but
your colored balcony will love it…”
—W. S. Funk
Star Theatre / St. Stephen, SC
Nov. 12, 1955
Dragnet
“…talk, talk, talk was all he did…”
—Bob Walker
Uintah Theatre / Fruita, CO
Dec. 10, 1955
18 BOXOFFICE NOVEMBER 2010

FRONT LINE AWARD
Mark Dworkin
Projectionist
The Clyde Theatre
Langley, WA
Nominated By
Lynn Willeford
Owner
VIEWFINDER
Filmmaker and projectionist is
no island castaway
by Cole Hornaday
Langley, Washington rests at the northwestern
tip of Whidbey Island, just a
20-minute ferry ride across the Puget
Sound from the northern Seattle suburbs.
Nearly 40 miles long and 15 miles wide,
you can stand flat-footed in any one of the
island’s green meadows hemmed-in by
robust pine groves and, save for the sound
of distant breakers, be utterly oblivious
that you were surrounded by saltwater. On
the surface, the tiny Langley community
may read like a quaint little coastal New
England township, but it owes its heart and
soul to the Age of Aquarius.
“A lot of the people still on the island
used to be the hippies,” says Clyde Theatre’s
Lynn Willeford, who owns and operates
the theater with her husband Blake.
“Many of our businesses started out as very
informal things. Work parties and babysitting
each other’s kids evolved into what are
now community institutions and non-profits
like the South Whidbey Children’s Center
and the Island Theatre, the Whidbey
Children’s Theatre, the Friends of Friends
Medical Support Fund and the Hearts and
Hammers Home Repair Fund.”
Clyde projectionist Mark Dworkin fit
in well with these flower children. Coming
ashore in 1973, the bushy-haired political
radical stayed true to his ideals. A
self-taught videographer, Dworkin would
eventually find his calling in documentary
filmmaking. In 1987, he and partner
Melissa Young started the Moving Images
Video Project to release a broad spectrum of
socially conscious documentaries on subjects
ranging from AIDS and labor rights to
child care and sustainable living.
“We are a 501 (c)(3) recognized nonprofit
organization,” says Dworkin. “We
have a board of directors that meets quarterly.
Directors come to the meetings with
ideas for a new project or share ideas for
films in progress. To be legitimate, the
board has to approve a project—and as is
often the case, the board members will offer
good ideas about making improvements
or why a project may not be a good idea for
us.”
Unlike so many of the ideals once upheld
by their fellow Baby Boomers, the
Moving Images Video Project artistic collective
has remained steadfast in its political
vision. Among their accolades, they’ve
been awarded three CINE Golden Eagles,
Golden and Silver Apple Awards from the
National Educational Media Network, two
Bronze Awards from the Columbus Film
Festival and the Silver Award at the Chicago
International Film Festival.
Moving Images’ principal audience is
public television and the educational market,
meaning it’s left to its own resources
when it comes to covering production
costs. “Fund-raising is what you do most
of the time,” says Dworkin. “It’s remarkably
difficult. I got into this work before
Ronald Reagan became president. At that
time there was grant money out there from
the government and from foundations way
beyond what’s available today. We’ve seen a
real change in our country.” Moving Images
found a key ally in Pennsylvania’s Bullfrog
Films, a large publisher of independently
produced environmental films, who helps
defray the additional cost of distribution.
When not traveling to Central America
to shoot his latest documentary on social
injustice, Dworkin maintains his twonight-a-week
vigil as the Clyde’s projectionist.
Dworkin loves working the Clyde’s
35mm projector (and the cinema’s digital
capabilities are ideal for screening Moving
Images films available only on DVD.)
“I know the Clyde better than any other
movie theater in the world,” says Dworkin.
“Blake and Lynn are very communityminded
people. They’ve done lots of things
in the community independent of the theater
and they really want the theater to be
something that appeals to the community
as a whole. From the beginning they didn’t
say, ‘We’ll only show the movies we think
are the good movies.’ They’ve always said,
‘This is your movie theater.’”
“Mark’s whole heart is based on social
justice,” says Lynn. “One reason he has
stayed with the Clyde so long is because
our mission in the community aligns with
his personal values. He cares about the same
things we care about, and it’s been a perfect
fit all these years.”
BOXOFFICE is looking for winners—theater employees you consider to be genuine role models making a significant, positive impact on your theater operations. Monthly winners of the
BOXOFFICE Front Line Award receive a $50 Gap Gift Card! To nominate a theater employee send a brief 100- to 200-word nominating essay to cole@boxoffice.com. Be sure to put ‘Front
Line Nomination’ in the subject line.
20 BOXOFFICE NOVEMBER 2010

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FRONT OFFICE AWARD
IT’S DOCTOBER IN NASHVILLE
Neshona: The Price of Freedom is just one of several documentaries Leonard has booked for October
Toby Leonard
Program Director
Belcourt Theatre
Nashville, TN
Nominated By
Stephanie Silverman
Managing Director
SOUTHERN
EXPOSURE
Programmer gets people
talking
by Cole Hornaday
Knowing your market is a good
thing, especially when you’re helping
decide which movies will be
available to them on the big screen. Toby
Leonard has a home-grown advantage:
“He’s a Nashville native, which is a really
unusual thing,” says Belcourt Theatre
Managing Director Stephanie Silverman.
“Nashville is a city of transplants. Toby’s a
rare beast: a genuine native boy.”
Leonard has been a vital member of the
Belcourt Theatre staff since 1999, when a
group of concerned citizens rallied to revive
the vacant movie house and return it
to prominence in the community.
Opened in 1925, The Belcourt (then
known as the Hillsboro Theatre) was the
home of the Grand Ole Opry from 1934 to
1936, when the icon of American music
graduated from broadcasting out of the
tiny WSM-AM studio to an auditorium
teeming with enthusiastic country music
fans. Ultimately the world-famous music
program found permanent residence at the
Ryman Auditorium, but those two years
etched the Belcourt Theatre into Nashville
music history—a legacy Leonard’s reclaiming.
“Initially I was just as an evening manager,
but I slowly started to assume more
responsibilities once we started to add live
music events,” says Leonard. The Belcourt
Theatre became a flashpoint for Nashville’s
celebration of cultural diversity. “We
started becoming a place where local organizations
could facilitate events—anything
from film premieres to fundraisers for area
non-profits to live theater.”
In 2002 when the Belcourt’s relationship
with its current film booker ended,
Leonard stepped up to the plate. As the
Belcourt’s newly appointed programmer,
Leonard found himself focusing both on
booking films that will attract an audience
and movies that reach out to all corners
of the Nashville community. Describes
Leonard, “We keep a steady run of first runs
while also doing some more limited engagements
of smaller films, plus a regular
repertory program with at least one classic
film playing in 35 millimeter film every
weekend in addition to cult and midnight
movies every weekend.”
“One of the gifts he brings to the theater
is a real sense of the community,” says Silverman.
“Not just because he’s a native, but
because he understands what—in a contemporary
way—is going on in our own
town. I think that’s the magic of art house
programming and what makes it different
from commercial theater programming. It
speaks directly to its community in a much
more conversational way—there’s a real
back and forth.”
According to Silverman, Leonard’s
successes with programming and panel
discussions grow from his roots in the community:
“All of that stuff comes from really
living here and working in the town that
you’re programming for. He has a real gift
for balancing content.”
For Silverman and the Belcourt staff,
Leonard embodies the ideal of Nashville
cultural eclecticism. Consider the wave of
documentaries he’s booked for the month
of “Doctober,” from the Civil Rights Movement
(Neshoba: The Price of Freedom) to the
life of painter Jean-Michel Basquiat (The
Radiant Child). And his curiosity reaches
outside the walls of his theater as Leonard
wields the stand-up bass as a member of
the Ballhog! bluegrass band and works
hand in hand with Harmony Korine and
Drag City Records to distribute the Gummo
filmmaker’s latest mondo bizarro Trash
Humpers.
“When made well, films have the ability
to speak completely for themselves,”
says Leonard, dodging praise for his smart
programming. “But I’m a native of the city
so I’d like to think I know the city pretty
well.”
22 BOXOFFICE NOVEMBER 2010

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MARQUEE AWARD
B&B Theatres Wildwood
10 with Marquee Suites
Wildwood, MO
BREAKING
GROUND
B&B’s changing face
by Cole Hornaday
B&B Theatres District Manager John
Cumins and Manager Paul Farnsworth
are like two giddy teenagers
with the keys to a sports car. They’ve just
returned from their daily walk-through of
the new Wildwood 10 with Marquee Suites
in Wildwood, Missouri and the thrill in
their voices is infectious.
Built from the ground up, the fresh B&B
facility stands on the site of a former downtown
Wildwood savings and loan. With its
grand opening on October 1, Wildwood 10
became the family-run chain’s fifth all-digital
theater and brought their digital screen
count up to 62.
Designed by J. Price Architecture of Kansas
City, the unique custom facade shows
off a new face for the company’s evolving
vision. “Wildwood represents what we hope
will become our standard front design,” says
B&B Director of Planning and Strategic Development
Dennis McIntire. “There is going
to be an Art Deco spire and some vertical
signage. We fell in love with the Wildwood
design and a portion of that design has become
something of a signature on all of our
buildings moving forward.”
Before the tower became a centerpiece of
the redesign, it was tested in the field. “We
have a theater in Oklahoma City on which
we did a remodeling and a retrofitting and
added the tower to the front,” says McIntire.
“It was kind of neat that we could see the
tower done before Wildwood broke ground
so we could make some adjustments as we
went along.”
The Wildwood interior also features a
mural of stylized classic Hollywood. Conceived
and painted by B&B Assistant Marketing
and Graphic Designer Jesse Baker,
the mural was still on the drawing board at
the time of this interview. No worries, McIntire
is confident in Baker’s skills and excited
to see the completed work. “A lot of times
we give him a general idea of what we want
and let him run with it,” says McIntire, “and
he always does phenomenal work.”
Another design twist new to B&B is the
introduction of booth-less auditoriums. “As
photo: Jillian Farnsworth
you know, the traditional booth is a hallway
above your main hallway,” says McIntire.
“What we have at Wildwood is projector
platforms. There is a control room downstairs
that feeds everything. Think of it like
a meeting space where a digital projector is
hung from the ceiling. We looked at a couple
of different ceiling hanging models and
we felt that we wanted to get the machine
out of the auditorium, so we created these
platforms.”
And to make sure they don’t miss out on
any big ticket dollars, Wildwood will come
complete with 3D capabilities.
With this new facility, B&B enters
the cinema-lounge market by debuting
Marquee Suites, two over-21 auditoriums
designed with separate lobby entrances. To
justify the Marquee Suites’ upcharge, Cumins
and Farnsworth have added extended
menu choices, plush leather reclining
seats and a full bar, not to mention Christie
digital projection, and Dolby 7.1 surround
sound.
Though all involved are pleased with
the progress of the new facility, Farnsworth
says he suffered low-grade stage fright until
those first customers pass through the Wildwood
lobby doors. “With any new opening,
especially on the operations side, there’s
always going to be some jitters, obviously,”
says Farnsworth. “The Marquee Suites is
obviously new for us. But we’ve done the
schooling and we know what’s going on and
we’ve done all the groundwork for it. We’re
confident. It’s just the jitters, that’s all.”
After an exhausting career fair where
250 people were interviewed for 35 positions,
Cumins and Farnsworth say they’ve
gotten a good sense of their new community.
“There is certainly a sense of expectation
and anticipation that is personally
exciting for me as a B&B employee,” says
Farnsworth. “There is a sense of pride here
as far as the town is concerned. Everything
is very well kept, very well groomed. It’s a
community that likes to be involved in how
things look, how things appear, and that’s
an important thing to implement into our
work—making sure we carry on the traditions
they’ve established in the community
and incorporate them into the B&B culture.”
“But overall I’m excited,” says Farnsworth
“It’s been a long time coming. We’ve
watched this from the ground up and it’s
nice to finally no longer be looking at pictures
or drawings or renderings—we’re actually
seeing these things come together.”
24 BOXOFFICE NOVEMBER 2010

The Closed Captioning System for
Hearing Impaired Patrons
CCS
CLOSED
CAPTIONING
SYSTEM
The USL Closed Captioning System (CCS) is designed to enhance the hearing impaired cinema patron’s
movie-going experience. A single infrared emitter broadcasts closed caption text and two channels of audio
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(VI-N). The use of IR instead of radio frequency transmission eliminates interference between adjacent
auditoriums.
Two types of private display units are available: The "Seat Mount" display that clips to the arm rest and an
"Eyewear/glasses" display. Each unit contains custom optics which display the caption as a virtual image far
enough from the viewer to avoid the need to refocus between the caption and the movie screen.
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A Toast to Tom
Congratulations for the RAVE President and CEO
by Phil Contrino
BOXOFFICE salutes TOM STEPHENSON, ShowEast’s Career
Achievement winner. And here are a few more industry leaders
adding to the applause:
“There are very few people I have met who have combined
Tom Stephenson’s innate understanding of what really
works in this business with the drive and personality to effect
change. I salute a great example of what this industry needs,
and I congratulate a good friend!” — Bud Mayo, Chairman
and CEO, Digital Cinema Destinations Corporation
“I met Tom within days of his first steps into the world of
exhibition with his acquisition of the Trans-Texas circuit. The
buzz in Dallas at the time was, ‘Who is this guy and where
did he come from?’ Well, clearly it did not take long to get
those answers and see the amazing impact Tom would have
on our industry! From that small beginning, he has gone on
to build the fifth largest domestic circuit and has always been
at the forefront of innovation. From the creation of RAVE, as
both the first all-stadium and 100 percent digital circuit, to
one of the earliest proponents of 3D, Tom is always looking
ahead and not behind. As important as that all is, it is his
ability to listen that may be his greatest attribute! To Tom,
and to another of our great long talks on “where this is all
headed!” — Rusty Gautier II, VP Southern Division Manager,
20th Century Fox
“Back in the Chicken Little days
when we were first starting
the 3D world, Tom was the
absolute first guy to say “yes”
to putting in a system and join-
ing us in the race
for 3D, and
it was the beginning of an
unbelievably good
friendship. He’s
a
really strong
family man,
and he runs
a
really good
circuit” —
Chuck Viane,
President of
Distribution,
Walt Disney
Studios Motion
Pictures
MAN OF THE HOUR
RAVE’S Tom Stephenson has plenty to smile
about
26 BOXOFFICE O
NOVEMBER 2010

RELEASE CALENDAR
2010
10.15.10 Paramount, MTV Jackass 3D
10.29.10 Lionsgate Saw 3D
11.05.10 DreamWorks Megamind
11.19.10 Warner Bros.
Harry Potter and the
Deathly Hallows (Part 1)
11.24.10 Disney Tangled
11.24.10 Freestyle The Nutcracker in 3D
12.10.10 20th Century Fox
The Chronicles of Narnia:
The Voyage of the Dawn
Treader
12.17.10 Disney TRON Legacy
12.17.10 Warner Bros. Yogi Bear
2011
01.14.11 Sony The Green Hornet
02.04.11 Universal Sanctum
02.11.11 Summit Drive Angry
02.11.11 Miramax Gnomeo and Juliet
02.11.11 Paramount
Untitled Justin Bieber
Project
03.11.11 Disney Mars Needs Moms!
03.25.11 Warnr Bros. Sucker Punch
04.08.11 20th Century Fox Rio
05.06.11 Paramount Thor
05.13.11 Screen Gems Priest
05.20.11 Disney
05.26.11
Paramount
(DreamWorks)
Pirates of the Caribbean:
On Stranger Tides
Kung Fu Panda:
The Kaboom of Doom
06.17.11 Warner Bros. Green Lantern
06.24.11 Disney Cars 2
07.01.11
Paramount
(DreamWorks)
Transformers 3
TBA Lionsgate Norm of the North
07.15.11 Warner Bros.
07.22.11 Paramount
Harry Potter and the
Deathly Hallows (Part II)
Captain America:
The First Avenger
08.03.11 Sony The Smurfs
08.19.11 The Weinstein Company
Spy Kids 4:
All the Time in the World
Lionsgate’s Saw 3D opens Oct. 29, 2010
08.26.11 New Line Final Destination 5
09.16.11 Warner Bros. Dolphin Tale
09.23.11 New Line
Journey 2:
The Mysterious Island
10.07.11 DreamWorks Fright Night
10.14.11 Summit The Three Musketeers
10.21.11 Warner Bros. Contagion
11.04.11 DreamWorks Puss in Boots
11.11.11 Universal Immortals
11.18.11 Warner Bros. Happy Feet 2
11.23.11 Sony Arthur Christmas
12.09.11 Sony Hugo Cabret
12.16.11 20th Century Fox
12.23.11 Paramount
2012
Alvin and the Chipmunks:
Chip-Wrecked
The Adventures of Tintin:
The Secret of the Unicorn
01.20.12 Screen Gems Underworld 4
02.17.12 Sony Ghost Rider 2
03.02.12 Universal Dr. Seuss’ The Lorax
03.09.12 Disney Frankenweenie
03.30.12 DreamWorks The Croods
05.18.12 DreamWorks Madagascar 3
05.25.12 Sony Men in Black 3
06.08.12 Disney John Carter of Mars
06.15.12 Disney Brave
07.13.12 20th Century Fox Ice Age: Continental Drift
09.21.12 Sony Hotel Transylvania
11.02.12 Disney Monsters Inc. 2
11.21.12
Paramount
(DreamWorks)
2013
The Guardians
(working title)
03.22.12 Disney Reboot Ralph

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BOXOFFICE REPORT
X MARKS THE
SPOT
Get friendly with
Foursquare
by Amy Nicholson
Chances are you’re
on Foursquare
even if you didn’t
know it. Fans of the
geotagging—or location
tracking—application
are addicted to announcing
where they are in a
steady stream of check-ins at
restarants, stores and, yes, movie
theaters. And if they’ve visited you,
they’ve probably added you to their
matrix, filling in your name and
location for all to see.
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Here’s how it works: Users download Foursquare
onto their smart phones. Next, they add
their friends to set up their social network.
From there, users pull up a list of nearby locations
they can find their current spot—say,
North Park Mall—and choose to declare their
whereabouts, even adding a description like,
“Sale at Best Buy—checking out the new laptops.”
Why do users love to broadcast their location?
Let’s leave that to the social theorists.
What’s important is how to make that public
sharing work for you.
Foursquare’s business page is crammed
with tips for owners and managers who want
to maximize geotagging’s rewards. Go there
yourself and create or claim ownership of your
location and set up your account. Once there,
you can see how many Foursquare users have
checked into your theater, and who are your
best customers. You can even see a histogram of
check-ins, a count of unique visitors, your malehandmade
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32 BOXOFFICE NOVEMBER 2010

GROWTH STRATEGIES (continued from page 32)
female split and the percent of users who also connect and share
their Foursquare use with Twitter and Facebook (an offered option
for extra-extraverts).
Knowledge is power. And you can use that knowledge to encourage
repeat customers. Foursquare knows its future rests in playing
well with businesses, and they’ve got ideas to help boost your traffic.
Their first brainstorm was to award “Mayorship” to the user with
the most check-ins at a location. Mayorship is public knowledge—
as of today, the Mayor of the hip, high-traffic Arclight in Los Angeles
(9858 check-ins) goes by the nom de plume KounterKlockwise.
Anyone hoping to unseat him had better get to the theater, and to
sharpen the competition, businesses can offer rewards to patrons
who can prove their Mayorship by showing off their mobile phone.
May I suggest a free popcorn so large they’ll bring a friend to share?
Foursquare also keeps tally of the number of times a user has
visited your theater. You can dangle carrots that encourage repeat
visits—say, a free soda for every five visits. Forget punchcards—this
is the easy, paperless way to reward your loyal fans.
TWEET IT ON
Be Mr. Popularity
by Amy Nicholson
Consider the chain letter. Forgive it for cluttering up your
inbox with lawyer jokes and appreciate the exponential elegance
of the verbal virus that in 1888 swarmed its inventor,
the Bishop of Bedford, with 16,000 responses.
Email made chain letters easy. Twitter has made them useful.
A few retweets can multiply a message for hundreds—if not thousands—of
eyes.
We know that Twitter is good for making a connection to your
community: sharing links, making jokes, sending trailers for this
weekend’s new releases. Followers can use it to directly ask questions
or give feedback, and a fast and friendly response can win over
the disgruntled and solidify ties to your fans.
That’s the person-to-person approach. But once exhibitors have
mastered that, it’s time to think big. Retweeting—a user reposting
your tweet for their readers—is the largest leap forward in spreading
a message since Morse code. How fast can Twitter fly? Last summer,
Cinedigm used it to announce on July 6 th that they’d be broadcasting
the Michael Jackson memorial on July 7 th . Within hours, theaters
across the country had sold out the house.
And that was last year. In July of 2009, users sent just over 10
million tweets a day. As Boxoffice goes to print, that number has
climbed to 90 million.
How can you harness that power? By using Twitter’s users to
advertise your name. Scheme up ways to promote them tweeting,
retweeting and promoting your name, say a free soda for the first
five people who announce what movie they’re seeing at your theater
that night. Declare that anyone who tweets their weekend cinema
plan gets a high five from an usher. Heck, concoct a contest—Worst
imaginary sequels, ie: Overboard 2: Back on the Boat—and announce
that the most retweeted entry will get four movie passes for the
weekend. Think funny, fast and convenient and get Twitterers to
spread the message that you’re the coolest theater in town.
MAKING FACES
Three exhibitors weigh in on the social
networking behemoth
by Phil Contrino
I’m sure most of you reading this are still counting receipts from
the The Social Network. Now, it’s time to start collecting receipts
because of a social network. These three plugged-in exhibitors
can help you do just that.
HOW LONG DID IT TAKE YOU TO “GET THE HANG OF”
FACEBOOK?
Russ Collins, executive director, Michigan Theater (Ann Arbor,
MI): It didn’t take long to get the hang of the Facebook, but we put
younger, social network-savvy staff people in charge of creating and
growing our Facebook presence. The work, however, is constant be-
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34 BOXOFFICE NOVEMBER 2010

GROWTH STRATEGIES (continued from page 34)
cause whenever there are changes—which
Facebook seems to do a lot—you have to
get the hang of it. Little things mainly, but if
you’re not using the jargon correctly then it
might be confusing to people who want to
follow you because your message isn’t that
clear. We spent a lot of time saying “Become
a Fan of the Michigan Theater on Facebook!”
only to turn around and have Facebook do
away with the “Become A Fan” part. Now
people “Like” your page. It seems silly but it
was confusing for people at first.
Rick Cohen, owner, Transit Drive-In
(Lockport, NY): Not more than a few days.
It’s a very user-friendly site, it’s easy to navigate
and figure out.
Chase Taylor, vice president, Continental
Cinemas (Troy, AL): Facebook is incredibly
easy to use. Even taking out an ad only
took about 15 minutes.
HOW DOES YOUR THEATER DEL-
EGATE POSTING RESPONSIBILITIES?
HOW DO YOU DECIDE WHEN AND
HOW OFTEN TO POST SOMETHING?
Collins: Off the bat, we decided that it
would be best for one person to be in charge.
While other people have access to the page
in an administrator capacity just in case, we
think it’s really important for the voice to be
consistent.
When it comes to how often we post, it
was more trial and error. We had to look at
when people were responding and “liking”
things. So after looking at it, we picked a
three times daily method: AM, noon and
PM. And then we had to look at who was
taking the information at those times. So
like I said, trial and error. You want to make
sure that the message is hitting the intended
audience at the right time.
People also don’t want to be beat over the
head with lots of information, so we try to
keep our posts to an individual film or live
event and not three to four things that we
want to talk about. It just doesn’t seem to
work for us.
Cohen: As the owner of a small company
with one location, I handle all the advertising
and PR responsibilities myself. I try to
post status updates a few times each day, or
whenever something inspires me to update.
Sometimes it can be as trivial as a lyric from
a song I’m listening to, just to perk up some
attention. Right now, my status update says:
“Filling out an interview questionnaire from
Boxoffice Magazine.”
IN WHAT WAYS DO YOU INTERACT
DIRECTLY WITH YOUR CUSTOMERS
ON FACEBOOK?
Collins: We like to have content, either
information we find online like articles and
trailers, or marketing information we produce
in-house. We use contests to get people
talking and thinking about a film or event.
For example: We had some The Secret Of Kells
posters autographed by the directors sent to
us and we gave them away on Facebook. We
would mention the contest and let people
enter by leaving a comment. After a week
the marketing team picked winners from
the 100-plus comments and we sent them
the posters. People loved it!
We also try and connect programming
with things people might be interested in
but not know a lot about. This was very use-
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36 BOXOFFICE NOVEMBER 2010

GROWTH STRATEGIES (continued from page 36)
ful when we presented a restored Metropolis
with live musical accompaniment. We were
able to post a link to a trailer for the film
and we also posted information about the
how important the restoration of old films
can be. That allowed us to promote the film
and provide valuable educational content to
interested individuals.
Cohen: I respond to all of the messages and
comments that our guests leave on our Facebook
page. The comments are usually questions
or compliments from our fans.
Taylor: Customers like to leave questions
and comments on our page, and we also ask
questions to our customers. We do trivia
sometimes for free passes or free concessions,
and we also ask customers what they
thought about a movie. The best thing about
Facebook is that you can advertise to your
customers instantly and get the word out
about a special or a midnight show immediately.
DO YOU EVER CONDUCT POLLS ON
FACEBOOK TO GAUGE INTEREST IN A
PARTICULAR FILM BEFORE DECIDING
TO BOOK IT?
Collins: Not often, but once or twice just to
see what people are thinking. The audience
wants to interact with us, so we do our best
to give them that. Even though we don’t
conduct polls regularly, we find that people
leave suggestions or comments all the time
on Facebook, which provides us a lot of feedback
and opportunities to interact with our
customers.
Cohen: Not really. I do talk about upcoming
films and promote the trailers, but I
wouldn’t use Facebook to tell me which
movies to play or not to play.
Taylor: We have not tried that before, but
we do pay attention to what movies someone
might ask about on our pages.
HAS POSTING INFORMATION ON
FACEBOOK LED YOU TO LIGHTEN
YOUR TRADITIONAL MEDIA (NEWS-
PAPERS, TV, RADIO) ADVERTISING
SPENDS?
Collins: No, but we are not in a television
dominated advertising market. For us, Facebook
ends up being just another area avenue
of marketing, but it’s free! Facebook can enhance
your marketing outreach. Just today
we announced a special movie event and
before that information was sent to e-mails,
it was posted on Facebook.
Cohen: We have backed off on some of our
newspaper and radio spending since the
advancement of Facebook.
Taylor: Definitely. With Facebook you can
immediately advertise to your customers on
their phones or computers. We just recently
removed all print advertising from all of our
theaters.
WHAT PIECE OF ADVICE WOULD YOU
GIVE TO EXHIBITORS WHO HAVE
YET UTILIZE—OR EVEN JOIN—FACE-
BOOK?
Collins: Do it! It’s fun—but it does take
dedicated effort. You get to connect with the
audience more than with an ad in a paper.
Also, customers like to see you on Facebook.
There are a few “We love the Michigan Theater”
Facebook pages that people have created.
These sites were created by fans without
our input and don’t get used much because
we seem to get the message out there with
our own Facebook site, but we love that fact
that fans have expressed their love for our
business on Facebook!
Cohen: Your customers are on Facebook.
If you don’t try to reach them there, then
someone else will. Besides, I really enjoy
being more interactive with my customer
base, and it’s a cost effective way to build up
customer loyalty.
Taylor: Do it! At this moment, there is no
better way to communicate with your customers—if
for nothing else, think about
how valuable it would be to have your
customers read your name daily. Just think
about that!
VISIT OUR ROUNDTABLE
PARTICIPANTS ON FACEBOOK:
www.facebook.com/transitdrivein
www.facebook.com/pages/Troy-AL/
Continental-Cinema-5/35577919989
www.facebook.com/michigantheater
www.facebook.com/boxoffice
38 BOXOFFICE NOVEMBER 2010

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TRON: LEGACY
In 1982, Tron took audiences to the future when
a programmer named Kevin Flynn (Jeff Bridges)
entered his own design. Only nine percent of
Americans owned computers, so this world
of programs and hard drives and connectivity
was beyond imagination. Today, it’s real. Tron:
Legacy is both the story of Kevin, his son Sam
(Garrett Hedlund) and the 1s and 0s that divided
their family, and the story of our modern world’s
sudden, complete and heedless devotion
to technology. Tron’s universe is
bigger, faster and more relevant than
ever. But what is the legacy we’ve
inherited? And—more immediately—
how amazing is it going to look on
the big screen in 3D? BOXOFFICE
talks to director Joseph Kosinski
and star Michael Sheen about
their pixelated brave new
world.
READY FOR ACTION
Jeff Bridges has spent two
decades trapped in the
machine
46 BOXOFFICE NOVEMBER 2010

NIGHT LIFE
Shooting a scene in Michael Sheen’s night club
ENTER THE
GRID
Joseph Kosinski guards
the line between games
and movies
by Amy Nicholson
You’re fairly unique among directors
because you’re also an engineer
and an architect. How has
that shaped your style while making
this, your first film?
My favorite directors come from
other disciplines. Michelangelo Antonioni
was an architect before he
was a director. Stanley Kubrick was
a photographer, Ridley Scott was
an illustrator. I’m glad I didn’t come
up the film school route because
it’s good to have another perspective
and influences outside the film
business—for a movie like Tron,
especially, because you’re talking
about a world where everything
needs to be designed. There’s no location
on planet earth where you can
shoot a scene for this movie once the
actors are inside the world of Tron.
Everything has to be designed and
built, either physically as a set or
virtually. If you don’t love architecture,
this would not be a fun movie
to work on. For me with my design
background, it was an amazing opportunity
to create a world where
the architecture, the vehicles and
the characters had to seem like they
came out of the mind of one man:
Kevin Flynn.
What did the first Tron mean to
you?
It looked like nothing else I’d ever
seen. The lights, the design—it was
a completely unique vision. I hadn’t
seen Tron in a long time when Sean
Bailey first asked me my thoughts on
WARRIOR WOMAN
Olivia Wilda as freedom
fighter Quorra
NOVEMBER 2010 BOXOFFICE 47

TRON: LEGACY
COME HERE OFTEN?
Olivia Wilde, Joseph Kosinski and
Jeff Bridges on the set of Tron:
Legacy
the movie, but I remembered my impression of it as a child, and
that’s a good and powerful thing. And I wanted Tron: Legacy to give
audiences the same feeling today.
Tell me about a moment working on the film where you were
struck by what you’d put together?
Every day—even now as a new shot comes in—it’s so fulfilling to finally
see something I’ve been describing for three years. On a movie
like this, so much of it at the beginning is trying to explain, trying
to portray, trying to sway. To describe to the audience and the actors
this world and this mood. It’s so nice now that the movie is nearing
completion to be able to show people what I’ve been promising for
such a long time. For me, some of the most profound moments I can
think of while shooting were when I walked on to the set of the Safe
House for the first time. That’s the house where Kevin Flynn lives
in a cave outside the city, and that’s a room that I sketched out on a
notepad a couple years ago for the VFX test. To be able to build that
room in its entirety and walk on the set with Jeff Bridges and show
him Kevin Flynn’s home and spend some time with him in there
before we started rolling was amazing. We literally walked into
something I had thought up years before and had only seen pictures
of in a computer. It was a Tron-like experience to walk onto a full set
like that—it felt like you were in that world.
You came onto the scene by directing ad campaigns for Gears
of War and Halo. Is the line between video games and movies
getting thinner?
I think the sophistication of video games over the last few years
has made them more cinematic and more photo-realistic. I’ve had
the opportunity to work on a couple great video game spots that
are more about telling a story than showing off great features. I approached
them as if I was making a tiny film. However, for a while
people kept talking about this idea that video games will replace
movies, and I just don’t think that’s ever going to happen. There’s no
replacement for seeing something through the eyes of a director. I
love going to the movies and sitting back and seeing their vision as
opposed to navigating it myself. I don’t feel like one will ever replace
the other, but they’ll continue to push each other to win audiences
and I think that’s a good thing.
The original Tron prophesied our world of computers decades
before it existed. This Tron is for audiences who are living in
that world. But if you had to make a movie that foretold our
future, where do you think the relationship between humans
and computers is headed?
It’s hard to imagine how you could create a movie now that was so
ahead of its time. Tron’s concept was clearly 15 years ahead of the
world. E.T. was a big hit, but we’ve never met an alien. Blade Runner
was a critical hit, yet we’re not dealing with cyborgs. However, the
world of Tron came true: everyone’s a User now. That’s a profound
thing to see how true Steven Lisberger’s [creator and director of
the 1982 film] vision has become. I think now, all we can do in our
film is talk about the idea that technology can be a very good thing
(continued on page 54)
48 BOXOFFICE NOVEMBER 2010

TRON: LEGACY
Vehicle designer
Daniel Simon
gives you a tour
of the new Tron:
Legacy light
cycle
We’re so sleek with our design—it’s so quiet,
not like a normal science fiction movie
with gadgets and flingy things. We’re so
sleek that sometimes we have to break the
surface, say with glass, and show an engine
spinning to give the director something to
play with. We put the engine behind glass
so that when the bike stops, we see the
engine stop.
It’s a
hub-less wheel
because that’s such a
visual key to making something
look more futuristic because it’s so
hard to achieve in a real world. When
you have spokes, you see how fast the
wheels are turning. When you don’t have
spokes, it looks like it would float. It really
exists—there are some show cars that
have wheels like this—but it’s still not
appropriate for everyday use because if
you have to hold a wheel in place on
the outside just by physics, it’s difficult,
expensive, and would
probably break really
fast.
If you were to put a black box in Tron’s
black environment, it would disappear. We
used the light lines to show the features.
There are certain parts where you angle
the plastic in so you know the reflection is
going to hit it. You get a nice read.
We had to design the bottom of the bike
because there are so many action shots
where it banks and you can see it from the
bottom. Most movie vehicles, you don’t
have to take care of that. That’s why I
wrapped this shell around. I even designed
some light lines on the bottom of the bike
that I know will look good in the reflection
on the street. You put the reflection on the
ground into your design and play with that.
ENTER THE GRID (continued from page 52)
How fast would the bike go? This is real
world physics, so it would probably go
as fast as the fastest real bike would go.
We want to be realistic—we don’t want
to come up with crazy numbers.
If you look from the top, the original Tron
bike has a wide front barrel and a narrow
back tire. We’re doing that here, too, as
a reference to the first one—we’re trying
to get visual keys from every single thing
we can find.
and a very bad thing—the importance of
understanding the balance of technology
in our lives and how important it is to keep
perspective and focus on the things that are
really important: those human relationships.
If anything, our film warns of the dangers of
succumbing too much to technology. I think
that’s the future: us continuing to need balance
in a world that’s becoming more and
more digital.
If you were a program on your computer,
what program would you be?
I don’t think there is a program that does as
many things as I’m interested in. How could
I pick music over art? Hopefully a program
that’s more creative—I’d never want to be a
spreadsheet.
What’s the latest on The Black Hole and
Oblivion, two films you’re putting together
with Disney?
The latest is that both are in development
right now. I’m excited about both and I’ve
got two incredible writers working on each.
50 BOXOFFICE NOVEMBER 2010

We’ve covered the back of the rider
because we want to show the energy from
the disc—which is so iconic—to the bike.
Those light lines wrap into the helmet and
blend the rider to the bike.
It was hard to balance on, to be honest,
because it’s such an unusual position. We
don’t know how practical it would be in the
real world because you put a lot of pressure
on your chest. But it looks awesome
on film and that’s what we’re here for.
The slot is the emitter where the light wall
comes out—it has its own power source
and you can turn it on and off. For the images
where you see the inside, we created
some circuit board-style connectors that
feed the emitter in the back and create
that enormous, powerful wall of light.
Syd Mead [original designer] came up with
this position because apparently, it’s more
aerodynamic and aggressive—plus it’s so
distinct.
The wheels are completely closed. In the
front, they’re open because when Joe films
Garrett on the bike, you need to see some
movement of the tire. If you look from the
front, there’s a big cutout—as a designer,
you have to accommodate what the director
envisions for the shot.
I’m a
big car nerd getting
paid for designing
stuff that doesn’t really have to
work—but the big challenge is to
make people believe that it works. For
me, the making-of-Tron book was almost
inspirational as the movie itself. They
didn’t have the technology to do everything
that the artists wanted to back then,
but you can see it in their artwork. The
challenge is that it’s almost more creature
design than feature design. It’s
got a face—and you can’t cheat
because there’s a real rider on
it who has bones and
legs.
Joe asked how the gears would work
because he thought he’d have some
close-up shots of his foot. The foot packs
are almost true functionality. Nothing is a
weird liquid. Joe wanted this to look like
a real world. Metal and paint and leather
and rubber.
I’ve got Travis Beacham [Clash of the Titans]
on Black Hole and William Monahan on
Oblivion—Monahan won the Oscar for The
Departed. He’s so enthusiastic and just understands
that it’s an opportunity to make a really
character-driven science fiction film.
Talk about making films for a kid who’s
had a cell phone since five. How does a
director make a kid put down technology
and use his imagination?
I think you’ve got to make a movie that engages
their mind and not just their eyes. You’ve
got to make films that ask interesting questions—and
not necessarily answer them. 2001
is one of my favorites. There’s no better ending
to a movie than that one. I’m trying to make a
movie that inspired me the way the original
Tron did when I was a kid—something unique,
something different, something that they
can relate to, which is why we’ve pushed the
father-son story at the heart of this film. No one
understands what it’s like to get scanned into a
computer, but everyone understands the desire
to connect with your dad or your mom. That’s
what this movie is about. That’s the core. And
all the visuals and the technology is simply in
support of the storytelling. I think if we focus
on the story, we’ll make better movies and kids
will come out thinking about things differently.
That’s the goal.
Is there an arcade game from the ‘80s
you’d love to see remade as a movie?
I really loved Spy Hunter. I think there’s even
a script out there—not necessarily that I’d
want to make it, but I’d want to go see it.
NOVEMBER 2010 BOXOFFICE 51

TRON: LEGACY
PROMOTION
LIGHT UP THE NIGHT
Make your Tron box office bright
by Amy Nicholson
Buying a ticket to the world of Tron is like traveling to a
different planet—and the theater is the launching pad.
Make your patrons feel like your theater is worth the trip.
For your first midnight screening and late nights on
opening weekend, set the mood by lining your lobby and
hallway with blacklights. It’s a cheap way to transplant
your multiplex to the grid—no decorations necessary.
Give your ushers a blacklight flashlight and a stick of UV
facepaint and your theater will be the talk of Twitter.
Even your concession stand can have a special glow
with glow-in-the-dark drink lids and straws. They’re dim
enough not to distract from the movie, instead, their cool
hue matches the movie and extends the killer production
design from the screen to your seats. Offer them at a
normal price or as a Tron special, and they’ll make your
theater feel like part of the magic.
A NEW HERO
Garrett Hedlund plays Sam Flynn,
a daredevil who finds his father
insideide the matrix
On the way out, hand patrons glow-in-the-dark bracelets
and they’ll carry Tron—and your theater’s name—with
them for the rest of the night. Shop online now and
snatch up low prices on glowing gear: 13 cents for a
bracelet, 19 cents for a drink lid and 35 cents for a straw.
That’s pennies to make audiences think of your theater
as the place to see a sci-fi blockbuster—fan boy goodwill
that they won’t soon forget.
LIGHT LINES
The iconic suits were trimmed
with glowing polymers
52 BOXOFFICE NOVEMBER 2010

TRON: LEGACY
MIX MASTER
Michael Sheen buddies up to Sam
ENERGY DRINK
Michael Sheen on playing
Castor, the bar owner
plugged into Tron’s grid
by Amy Nicholson
You were 11 when the original Tron
came out—what do you remember?
I really remember it. I went to a cinema
in the next town from me called Neath.
My uncle Russell took me. It was an
afternoon—a weekday afternoon, so it
must have been during the holidays. I
always find it quite exciting to see a movie
in the afternoon. Something more magical
about it.
You walk out into the sun after,
and where you’ve been seems more
abnormal.
Exactly. I remember coming out after and
I’d literally never seen anything like it.
It did everything that you want a film to
do when you’re that age: just take you to
another world and completely transform
your world when you come back to it.
Coming out of the cinema, the world was
different. The world was changed. That
has a huge affect on a kid, so I’ve always
had a strong relationship to Tron and
I’ve watched it many, many times since.
Obviously, it doesn’t have the same impact
as it had when I was 11, but nevertheless,
I still have a huge affection for it and I
still think the look of it, the design of it, is
amazing and still stands up now. If I could
time travel from today and go back to that
cinema and tell myself, “In 28 years time,
you’re going to be in the sequel,” it’d just be
amazing. It feels that way now. There’s still
the 11 year old in me who can’t believe I’ve
been drawn into the computer world just
like Jeff Bridges was in the first one.
Was the 11-year-old you into video
games?
Video games at that point were literally
Pong. It’s hard to convince of now—things
have changed so much. I remember my
neighbor saying, “Come in—I’ve got an
Atari. You’re going to be blown away by
this!” And I sat down and I thought, “This.
Is. Wow.” I’d never seen anything like
this before. There were two white dots
knocking another white dot around on
the screen. This is the future. This is crazy.
My brain’s going to explode. And then my
mum worked at a company called Dragon,
which was a Welsh computer company.
They had a thing called the Dragon 64, and
she brought it home so I could play games
on it. They were a little bit more advanced
then Pong, and then in a few years,
everything changed. We had Donkey Kong
and Super Mario. But when they made
this film, there must have better games
around—they just hadn’t come to Wales.
I heard they were playing Battlezone on
the set of the first Tron film, but that hadn’t
reached me.
Your scenes take place in a nightclub,
so you got to walk onto an actual set.
Most of the actors just had to be on blue
screen the whole time, whereas I had a
massive set with thousands of extras. It
was a different experience for me—it
was more like a regular film or a theater
where you’ve got big sets. I didn’t have to
do any acting in a room on my own. It was
amazing to be a part of the Tron world that
was recognizable and nostalgic, but yet it
wasn’t the old Tron—this is new Tron. So
there was a bit of a mind meld.
Tell me about the creation of your
character Castor. He’s inspired a bit by
David Bowie, but he’s a program that
was developed in the ‘80s at the height
(continued on page 59)
54 BOXOFFICE NOVEMBER 2010

TRON: LEGACY
of Poison and glam metal. Did you consider making him
more like Bret Michaels?
There’s a real enjoyment in one scene in the film where Garrett
switches on all these old arcade games and Journey starts
playing. You’re like, “Aw, this is great!” That’s when the film
came out. But my character’s all about surviving through
assimilation. The idea of going down a strict ‘80s route didn’t
really apply. What I liked about the idea of Bowie is that he’s
someone who has constantly adapted and assimilated. He takes
what’s around him at the time and changes to survive. He
plays with the idea of persona and personality and identity, all
things that this character touches on. It was Bowie himself, the
psychological Bowie, that was important—the look just goes
along with that.
So if Castor had been a girl, the actress could have been
inspired by Madonna.
Maybe, yeah. But Ziggy’s also gender-ambiguous—he’s an
alien. I like that he’s masculine and feminine. If he was a girl, I’d
still play Ziggy.
Castor is a nightclub owner trying to worm his way to more
power in the Tron world. And he’s well-positioned: the guy
who runs the bar knows everyone and everything.
He’s literally plugged into the grid. People come to him for
information because in this place, power is information. He needs
to know what’s going on at all times, so he has these Sirens gather
information for him and bring it back. All the different stratas of
the world come to the nightclub, so he’s keeping his finger in lots
of pies at the same time. That’s his power—and everyone needs
him in some way. But he has to play a delicate game of making
sure that he doesn’t make too many enemies in high places.
Your dad was a Jack Nicholson impersonator. What advice
did he give you about creating a character?
My dad is a look-a-like rather than an impersonator, which
is more to do with genetic freakage-ness than any kind of
actual performing talent. He’s fairly limited when it comes to
that area. But what he has is commitment. I think I’ve got the
ability to commit to a character fully, and that comes from
what he does.
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56 BOXOFFICE NOVEMBER 2010

ON THE HORIZON
I’VE GOT THIS
Seth Rogen and Jay Chou take action
THE GREEN HORNET
THE STING
DISTRIBUTOR Columbia CAST Seth Rogen, Cameron Diaz, Jay Chou, Christoph Waltz, Tom
Wilkinson, Edward James Olmos DIRECTOR Michel Gondry SCREENWRITERS Seth Rogen,
Evan Goldberg PRODUCER Neal H. Moritz GENRE Action/3D RATING TBD RUNNING TIME TBD
RELEASE DATE January 14, 2011
> Seth Rogen has been devoted to getting the classic crime-fighter on
the big screen for the first time since the ‘40s film serial that made the
newspaper man-turned-vigilante a star. Rogen wrote a script (with
longtime Superbad partner Evan Goldberg), found a director and even
lost 40 pounds for the role. That’s the commitment it took to put together
a project that’s languished in development hell for two decades.
(At varying times, names attached included George Clooney, Nicolas
Cage, Jake Gyllenhaal, Jet Li and Jason Scott Lee.)
Finally, The Green Hornet is ready for the world. But is the world
ready for him? To boost interest in one of the longest—if least
known—comic book heroes, Columbia has stormed two ComicCons
to show off the Hornet’s special gifts, which include the killer muscle
car Black Beauty and Taiwanese megastar Jay Chou, who takes over
the Kato role that launched Bruce Lee’s Hollywood career.
But the most interesting x-factor is director Michel Gondry, an
art house darling whose 2004 Eternal Sunshine of the Spotless Mind
ranked #1 on several best-of-the-decade lists. Gondry’s known for
his precious, handmade sets—this is his first big blockbuster with a
rumored $90 million budget. When Rogen pitched him to the studio,
he cautioned, ‘You have to convince them they’re not gonna show up
on set one day and everything is gonna be made out of cardboard.’ But
Gondry’s also the inventor of “bullet-time,” the inventive slow-motion
camerawork ganked for a little film called The Matrix. If he can bring
that fresh magic to the flagging superhero genre, they just might have
a hit.
THE DILEMMA
TO SPEAK, OR NOT TO SPEAK?
DISTRIBUTOR Universal Pictures CAST Vince Vaughn, Kevin James, Winona Ryder, Jennifer
Connelly, Channing Tatum, Queen Latifah DIRECTOR Ron Howard SCREENWRITER Allan Loeb
PRODUCERS Brian Grazer, Vince Vaughn GENRE Comedy/Romance RATING TBD RUNNING TIME
TBD RELEASE DATE January 14, 2011
> Ron Howard has spent the last decade directing prestige pictures
(Frost/Nixon, Cinderella Man) and pop blockbusters (The DaVinci Code,
Angels & Demons), but returns to his rom com roots with a flick where
Vince Vaughn discovers that his best friend and business partner Kevin
James is being cuckolded by wife Winona Ryder. Is silence golden?
Would you want to hear your missus was making out with go-to beef-
WHADDYA KNOW?
Tell me what you want, what you really really want
58 BOXOFFICE NOVEMBER 2010

Congratulates
TOM STEPHENSON
recipient of the Show “E” Award
TODD VRADENBURG
recipient of the Salah M. Hassanein
Humanitarian Award
BRANDEN MILLER
recipient of the Al Shapiro
Distinguished Service Award

ON THE HORIZON
I’LL LEARN YOU A LESSON
Jason Statham as the tutoring hitman
cake Channing Tatum?
Written by Allan Loeb of 21 and Wall
Street: Money Never Sleeps, the tangled love
comedy was originally called Cheaters, then
softened to What You Don’t Know. Finally
pared down to The Dilemma, it poses that
most essential of all advice column questions:
what price honesty?
Universal’s made a mint off of Howard’s
archeological thrillers and should put muscle
behind marketing his latest flick. Still, the
bar is high for his return to romance—audiences
who loved Splash might not embrace
anything less. But Kevin James could be the
ace in his pocket. The cuddly comedian’s
last three films made good and fans of I Now
Pronounce You Chuck and Larry ($120 million),
Paul Blart: Mall Cop ($146.3 million) and
Grown Ups ($161.4 million) could open up a
new audience base for the A Beautiful Mind
director.
THE MECHANIC
YOU BREAK IT, YOU BUY IT
DISTRIBUTOR CBS Films CAST Jason Statham, Ben Foster,
Donald Sutherland DIRECTOR Simon West SCREENWRITER
Karl Gajdusek PRODUCERS Robert Chartoff, William Chartoff,
Rob Cowan, Marcy Drogin, Avi Lerner, John Thompson,
David Winkler, Irwin Winkler GENRE Action/Drama RAT-
ING TBD RUNNING TIME TBD RELEASE DATE January 28, 2011
> Forget Daniel Craig. Right now, the two
toughest blondes in the business are Transporter
star Jason Statham and Ben Foster
(Pandorum, 3:10 to Yuma), the wiry, rabid actor
who radiates anarchy. Still, they’ve got some
big shoes to fill in this remake of the 1972
Charles Bronson thriller about a assassin who
mentors the son (Airwolf’s Jan-Michael Vincent)
of his latest victim.
The bloody original has been pointed to
as a rare example of an existentialist action
film; in one scene, Vincent’s hardline hitman
stands over a girl who’s just slashed her
wrists and says, “If you don’t care about your
life, why should I?” (What empathy were you
expecting in a film with the tagline: “He has
more than a dozen ways to kill. And they all
work.”)
With Simon West (Con Air) behind the
lens, this update should be more fists and
less philosophy. Yet Statham and Foster are
the thinking man’s brutes. Foster’s slight
build pushes him to be manic and nasty, and
Statham’s popcorn hits like Crank comment
on—and even reclaim—the tough guy genre.
CBS Films is looking for a homerun with
their fourth release, and they’ve at least got a
shot at stealing third.
60 BOXOFFICE NOVEMEBR 2010

HERE TO SEE A MAN
ABOUT A DOG
Robert Downey Jr. and Zack
Galifianakis sit and stay
COMING SOON
DUE DATE
GREAT EXPECTATIONS
DISTRIBUTOR Warner Bros. CAST Robert Downey Jr., Zach Galifianakis, Michelle Monaghan, Jamie Foxx, RZA DIRECTOR Todd Phillips SCREENWRITERS Alan R. Cohen, Alan Freedland, Adam Sztykiel
PRODUCERS Daniel Goldberg, Todd Phillips GENRE Comedy RATING R for language, drug use and sexual content. RUNNING TIME 100 min. RELEASE DATE November 5, 2010
> It’s been 18 months since Todd Phillips detonated The Hangover—a long time for audiences awaiting the next comedy smash. In
this spin on Planes, Trains and Automobiles, Robert Downey Jr. must cross the country by land in time for the birth of his firstborn,
except along for the ride is bearded oddity Zach Galifianakis, re-teaming with the comedy director who made him a household name.
FOR COLORED GIRLS
PRECIOUS MOMENTS
DISTRIBUTOR Lionsgate CAST Thandie Newton, Janet Jackson,
Whoopi Goldberg, Phylicia Rashad, Jurnee Smollett,
Kimberly Elise, Kerry Washington, Loretta Devine, Macy
Gray, Isaiah Mustafa DIRECTOR Tyler Perry SCREENWRITER
Tyler Perry PRODUCERS Roger M. Bobb, Paul Hall, Tyler Perry
GENRE Drama RATING TBD RUNNING TIME TBD RELEASE DATE
November 5, 2010
> Last year, Lionsgate scored an art house
coup with Precious: Based on the Novel “Push”
by Sapphire, the small Sundance flick it
shepherded to $62.8 million at the box office
and six Academy Award nominations. For
their next long-winded prestige picture—
based on the 1975 play For Colored Girls Who
Have Considered Suicide When the Rainbow is
Enuf—the studio’s hoping that Tyler Perry
at the helm and leading ladies Janet Jackson
and Whoopi Goldberg onscreen will give
them a two-fer.
MORNING GLORY
RISE AND WHINE
DISTRIBUTOR Paramount CAST Rachel McAdams, Harrison
Ford, Diane Keaton, Patrick Wilson, Jeff Goldblum
DIRECTOR Roger Michell SCREENWRITER Aline Brosh
McKenna PRODUCERS J.J. Abrams, Bryan Burk GENRE
Comedy RATING PG-13 for some sexual content including
dialogue, language and brief drug references. RUNNING
TIME TBD RELEASE DATE November 12, 2010
> Hate mornings? Chatty infotrash shows
like Daybreak are a good reason to. But when
young producer Rachel McAdams is hired
to revitalize the talk show, airhead star
Diane Keaton starts a war with new hire and
veteran newscaster Harrison Ford. Written
by Aline Brosh McKenna of the office
nightmare The Devil Wears Prada, Morning
Glory aims to update the screwball working
girl comedy.
SKYLINE
LOOK OUT ABOVE!
DISTRIBUTOR Universal CAST Donald Faison, Eric Balfour,
David Zayas, Scottie Thompson, Brittney Daniel DIRECTORS
Greg Strause, Colin Strause SCREENWRITERS Joshua
Cordes, Liam O’Donnell PRODUCERS Kristian James
Andresen, Liam O’Donnell, Colin Strause, Greg Strause
GENRE Sci-fi/Thriller RATING TBD RUNNING TIME TBD RELEASE
DATE November 12, 2010
> Brothers Greg and Colin Strause made
their names designing wild special effects
for 300, Fantastic Four and even scenes in
Avatar. (James Cameron hired the prodigies
to make the iceberg in Titanic before
they were of legal drinking age.) Their
first time at the reins, the Brothers Strause
cranked out Alien vs. Predator: Requiem,
a critical flop but a commercial success,
with $128.8 million in grosses, mostly
from abroad. And if the rest of the planet
wants to see their new LA vs. Aliens sci-fi
thriller, they could be Hollywood’s next
splashy duo.
UNSTOPPABLE
I THINK I CAN, I THINK I CAN
DISTRIBUTOR 20th Century Fox CAST Denzel Washington,
Chris Pine, Rosario Dawson DIRECTOR Tony Scott SCREEN-
WRITER Mark Bomback PRODUCERS Eric McLeod, Mimi
Rogers, Tony Scott, Julie Yorn, Alex Young GENRE Action/
Drama/Thriller RATING PG-13 for sequences of action and
peril, and some language. RUNNING TIME TBD RELEASE DATE
November 12, 2010
> The definition of insanity is repeating the
same thing and expecting a different result.
Director Tony Scott is out to prove he’s
not crazy for following up last summer’s
disappointing The Taking of Pelham 123 with
another speeding train thriller starring Denzel
Washington. This time, Star Trek’s Chris
Pine is aboard to help save the day when a
unmanned locomotive carrying poisonous
gas terrorizes their city.
THE NEXT THREE
DAYS
OR THE NEXT 20 YEARS
DISTRIBUTOR Lionsgate CAST Russell Crowe, Elizabeth Banks,
Liam Neeson, RZA, Brian Dennehy, Olivia Wilde, Lennie
James, Aisha Hinds, Daniel Stern DIRECTOR Paul Haggis
SCREENWRITER Paul Haggis PRODUCERS Olivier Delbosc,
Paul Haggis, Marc Missonnier, Michael Nozik GENRE
Drama/Thriller RATING PG-13 for violence, drug material,
language, some sexuality and thematic elements. RUNNING
TIME TBD RELEASE DATE November 19, 2010
> Elizabeth Banks is in jail for murder and
both she and mild-mannered husband Russell
(continued on page 64)
62 BOXOFFICE NOVEMEBR 2010

COMING SOON
SING IT, SISTER
Christina Aguilera in Burlesque
(continued from page 62)
Crowe don’t think she’ll survive her sentence. Convinced of her innocence,
he turns to ex-convict Liam Neeson to plot her escape in Paul
Haggis’ (Crash) high-octane remake of the French drama Anything for Her.
BURLESQUE
GONNA GET FLIRTY
DISTRIBUTOR Screen Gems CAST Christina Aguilera, Cher, Stanley Tucci, Kristen Bell, Cam
Gigandet, Alan Cumming, Eric Dane DIRECTOR Steven Antin SCREENWRITERS Steven Antin,
Susannah Grant PRODUCER Donald De Line GENRE Musical/Drama RATING TBD RUNNING TIME
TBD RELEASE DATE November 24, 2010
> Pop tart Christina Aguilera is famous for naughty music videos.
Now, she’s starring in a feature length one playing an ambitious singer
shakin’ it to make it in Hollywood. Cher returns from retirement as
the club owner and diva who teaches the ingénue her killer moves.
FASTER
A ROLLING ROCK TAKES NO PUNCHES
DISTRIBUTOR CBS Films CAST Dwayne Johnson, Billy Bob Thornton, Moon Bloodgood, Carla
Guigino DIRECTOR George Tillman Jr. SCREENWRITER Joe Gayton, Tony Gayton PRODUCERS
Tony Gayton, Liz Glotzer, Martin Shafer, Robert Teitel GENRE Action/Drama RATING R for
strong violence, some drug use and language. RUNNING TIME TBD RELEASE DATE November
24, 2010
> Dwayne “The Rock” Johnson just got sprung from the joint and boy,
is he mad. Ten years ago, he lost everything in a bank heist gone wrong,
and he’s out to find who double-crossed him and got his brother killed.
Close on his heels are cop Billy Bob Thornton and serial killer Oliver
Jackson-Cohen, who’s marked Johnson as his next victim.
THE KING’S SPEECH
AND THE FUTURE QUEEN’S ENGLISH
DISTRIBUTOR The Weinstein Co. CAST Colin Firth, Geoffrey Rush, Helena Bonham Carter,
Jennifer Ehle, Guy Pearce, Derek Jacobi, Timothy Spall, Michael Gambon DIRECTOR Tom
Hooper SCREENWRITER David Seidler PRODUCERS Iain Canning, Emile Sherman, Gareth Unwin
GENRE Drama RATING R for some language. RUNNING TIME TBD RELEASE DATE November 24,
2010
> In 1936, England faced three challenges: Nazi Germany, the abdication
of King Edward and his younger brother George’s stammer.
Adolph Hitler could fire off a speech—newly crowned King George
VI (Colin Firth) was a wet wimp. Enter daughter Elizabeth (Helena
Bonham Carter) and speech teacher Geoffrey Rush to help him fire
up the masses in the Weinsteins’ feel-good Oscar contender.
LOVE AND OTHER DRUGS
HOPELESSLY ADDICTED TO YOU
DISTRIBUTOR 20th Century Fox CAST Jake Gyllenhaal, Anne Hathaway, Judy Greer, Josh
Gad DIRECTOR Ed Zwick SCREENWRITER Charles Randolph PRODUCERS Pieter Jan Brugge,
Marshall Herskovitz, Charles Randolph, Scott Stuber, Edward Zwick GENRE Drama/Romance
RATING R for strong sexual content, nudity, pervasive language, and some drug material.
RUNNING TIME TBD RELEASE DATE November 24, 2010
> Pharmaceutical rep Jake Gylllenhaal needs Viagra to boost his sales
figures—he doesn’t need it for his new lady Anne Hathaway, an independent
beauty battling Parkinson’s. Director Edward Zwick (Legends
of the Fall, Defiance) is hooked on romantic dramas, but this is his first
film since 1986’s About Last Night…to get a comedy injection.
THE NUTCRACKER 3d
NUTS TO YOU
DISTRIBUTOR Freestyle Releasing CAST Elle Fanning, Nathan Lane, Charlie Rowe, John Turturro,
Frances de la Tour DIRECTOR Andrei Konchalovsky SCREENWRITER Andrei Konchalovsky
PRODUCERS Andrei Konchalovsky, Paul Lowin GENRE Fantasy/Family/3D RATING TBD RUNNING
TIME 110 min. RELEASE DATE November 24, 2010
> Tchaikovsky’s holiday hit isn’t all Sugar Plum Fairies—there’s
also a wicked battle to defeat the Rat King who turned a young
prince into a walnut opener. Rumor has it A Christmas Carol’s Robert
Zemeckis is developing a rotoscoped Nutcracker for New Line, but
before he does, Russian director Andrei Konchalovsky takes a crack
at it with this shiny adaptation starring Elle Fanning, Nathan Lane
and some boy-pleasing rodent warfare.
TANGLED
ALL TIED UP
DISTRIBUTOR Walt Disney Pictures CAST Mandy Moore, Zachary Levi DIRECTORS Byron Howard,
Nathan Greno SCREENWRITER Dan Fogelman PRODUCER Roy Conli GENRE Adventure/Fantasy/
Family/3D RATING TBD RUNNING TIME TBD RELEASE DATE November 24, 2010
> Disney’s 50th feature cartoon has crowned 3D’s perfect princess:
Rapunzel, whose long blonde hair whips the screen. Locked in a tower
by a witch posing as her mother, today’s Rapunzel is a bold beauty
with mommy issues—and the handsome schemer who climbs up her
braid provides her (and us) with some telegenic therapy.
64 BOXOFFICE NOVEMEBR 2010

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BOOK IT!
HISTORY REPEATS
Nuremberg director Budd Schulberg would
later be infamous for naming names to HUAC
and channeling that frustration into his script
for On the Waterfront
Nuremberg: Its Lesson For Today
Nürnberg und seine Lehre
Post-war justice
DIRECTOR/SCREENWRITER Stuart Schulberg PRODUCERS Stuart
Schulberg, Pare Lorentz GENRE Documentary; English-,
German-, Russian- and French-languages, subtitled RATING
Unrated RUNNING TIME 80 min.
John P. McCarthy says … A piece of benign
propaganda and a cogent primer on
the criminality of Nazi Germany, the 1948
documentary Nuremberg: Its Lesson for Today
was never released in the United States. The
2009 Schulberg/Waletzky restoration, under
review here, is a tribute to the tenacity of
the original filmmakers as well as to the
speed and eloquence with which the Allies
brought nearly two-dozen high-ranking
defendants to justice during the first Nuremberg
tribunal. Screened as a sidebar at the
New York Film Festival and slotted for a
one-week run at Film Forum, the restored
Nuremberg cries out for the widest possible
dissemination.
CONTACT
Jeff Lipsky, 718-392-2783
jeff@lipsky.net
The Anchorage
Shed habits, go native
CAST Ulla Edström, Marcus Harrling, Elin Hamrèn, Bengt
Ohlsso DIRECTORS/PRODUCERS C.W. Winter, Anders Edströ
SCREENWRITER C.W. Winter GENRE Drama; Swedishlanguage,
subtitled RATING Unrated RUNNING TIME 87 min
Matthew Nestel says … In The Anchorage,
helmers C.W. Winter and Anders Edström
muse on human habits and the reluctance
we have to shed routine. Their film shadows
a yeo[wo]man’s day-to-day existence in the
Swedish wilderness, where solitude and isolation
are the surest things around. Their camera
is either plunked down like a flashlight or
abandoned like a discarded Coca Cola bottle.
So much life passes in front of it incrementally:
every tree that falls, every leaf dropped
in the forest just… happens. In this sensitized
environment, the flick of a light switch feels
like a nuclear bomb. The Anchorage played at
New York’s Anthology Archives, and could be
a boon in art film circles if marketed to experiment,
curious crowds. Outdoorsy communities
could find solace in a film so indebted to
the native landscape.
CONTACT
Adam Sekuler / Northwest Film Forum
mail@thecolonial.info / 206-329-2629
The Autobiography of Nicolae
Ceausescu
Contextual Communist kitsch
DIRECTOR/SCREENWRITER Andrei Ujica PRODUCERS Velvet
Moraru GENRE Documentary RATING Unrated RUNNING TIME
180 min.
Vadim Rizov says … Essential viewing for
fans of the recent Romanian New Wave,
Andrei Ujica’s closing document in his trilogy
on the end of Eastern bloc communism
follows 1992’s Videograms of a Revolution
and 1995’s Out of the Present, which together
reexamined 1989’s bloody changeover and
a Soviet astronaut stuck on MIR while the
USSR was dissolving. Ceausescu is much bigger
picture, cut down from over 1,000 hours
of video recordings of the Romanian dictator
that begin with his 1965 rise to power
and end around the time of the coup. It’s an
immersive, deliberately myopic portrait.
Commercial prospects for a three-hour assemblage
of state visits, press conferences
and speeches are a hard sell to crowds beyond
doc-lovers and news hounds, however,
selling to Romanian film fans who made
big names of small films like The Death of
Mr. Lazarescu and 12:08 East of Bucharest, is
a wise bet, as that passionate community of
film buffs should see this documentary if at
all possible.
CONTACT
Bobby Gaunescu / bobby@mandragora.ro
Etienne!
Incisive nostalgia
CAST Richard Vallejos, Caveh Zahedi, Courtney Halverson,
David Chien, Megan Harvey DIRECTOR/SCREENWRITER Jeff
Mizushima PRODUCERS Giacun Caduff, Joel Moore, Kurt
Schemper GENRE Drama RATING Unrated RUNNING TIME 88
min.
Sara Maria Vizcarrondo says … This deeply
lovable ode to ‘70s dramas looks at the
love of a hipster for his terminally ill pocket
hamster, resulting in a film that’s more adorable
than you can imagine. A picaresque
jaunt through the California Bay Area, the
story begins when Richard (Richard Vallejos)
learns his hamster, Etienne, has cancer
and must be put down. He leaves work to
spend as much time as they can together
before his pet’s little life ends. Like classic
children’s film The Red Balloon, it’s perfectly
suited for kids old enough to handle the ma-
66 BOXOFFICE NOVEMBER 2010

CLEAN UP CREW
Sequestro’s heroes track kidnappers in Sao
Paolo
cabre pretext and adults who remember the
‘60s/’70s aesthetic director Jeff Mizushima
imitates throughout.
CONTACT
Giacun Caduff / info@jabpix.com
Biker Fox
What a character
DIRECTOR Jeremy Lamberton PRODUCER Todd Lincoln
GENRE Documentary RATING Unrated RUNNING TIME 90
min.
Sara Maria Vizcarrondo says … A documentary
partially financed by its subject,
Biker Fox resembles edgily comic docs like
Chicken Ranch or Grey Gardens, films that
make the privilege of being a protagonist
and subject who thinks they’re a king for
a day seem fraught and exploitative to the
audience. A salesman of used muscle cars
parts in Tulsa, Oklahoma, Biker Fox recently
discovered the benefits of a vegetarian lifestyle
and daily exercise, ie: riding his BMX
around town. With camera work so inexpert
and behavior so absurd you can’t classify
this as a serious documentary or a mockumentary
(inadvertently, it can’t help but
be both), part of the joy of this film is how
impossible it is to put it in a box. Built for
fame on the cult circuit, word of mouth and
person-to-person circulation could make it a
phenomenon.
CONTACT
Jeremy Lamberton
jeremy@jeremylamberton.com
Honeymoons
Medeni Mesec
Balkan couples seek new beginnings
CAST Nebojsa Milovanovic, Jelena Trkulja, Jozef Shiroka,
Mirela Naska, Lazar Ristovksi, Petar Bozovic, Bujar
Lako DIRECTOR Goran Paskaljevic SCREENWRITERS Goran
Paskaljevic, Genc Permeti PRODUCERS Goran Paskaljevic,
Ilir Butka, Nikolaj Divanovic GENRE Drama; in Serbo-
Croatian-, Albanian- and Italian-language, subtitled RATING
Unrated RUNNING TIME 95 min.
John P. McCarthy says … Two young
couples from the strife-torn Balkans want
to emigrate to Western Europe in Goran
Paskaljevic’s resonant Honeymoons, the first
co-production between Albania and Serbia.
While remaining lively and topical, Paskaljevic
imbues his parallel tales with the
wry classicism of an age-old fable. First hitting
the States at a weeklong run at MoMA,
it’s a filmmaker’s master class and a tutorial
on cooperation in a region where national
borders and historical animosities usually
prevent artistic and political flowering.
CONTACT
NOVA FILM International
Goran Paskaljevic / +33 68 88 96 183
paskaljevic@gmail.com
Sequestro
Kidnapping
An Oscar doc contender
DIRECTOR Jorge Wolney Atalla SCREENWRITER Jorge Wolney
Atalla, Caio Cavechini PRODUCERS Jorge Wolney Atalla,
Alexandre Moreira Leite GENRE Documentary; Portugueselanguage,
subtitled RATING Unrated. RUNNING TIME 94 min.
RELEASE DATE September 10 LA
Wade Major says … Certain to be one of
the top contenders for the Best Documentary
Feature Academy Award, Brazilian
filmmaker Jorge W. Atalla’s Sequestro (Kidnapping)
scores yet another coup for Brazilian
documentary filmmaking, exceeding
even the potent emotional impact of 2002’s
breakthrough Bus 174. Four years in the
making, this powerful look at Brazil’s kidnapping
epidemic and the resourceful Sao
Paulo anti-kidnapping unit out to exterminate
it, deserves to enjoy a long and healthy
theatrical life, assuming that distributors
Yukon Filmworks and Midmix Entertainment
are able to hold enough screens long
enough for word of mouth to take root, or
revive it when nominations are announced
CONTACT
Yukon Filmworks, Jorge W. Atalla
+ 55 11 8114.7770 cell
+ 55 11 3359.2550 office
jwatalla@gmail.com
Monsters
Who knew aliens were so romantic?
DISTRIBUTOR Magnet Releasing CAST Whitney Able,
Scoot McNairy DIRECTOR/SCREENWRITER Gareth Edwards
PRODUCER Allan Niblo, James Richardson GENRE Horror/
Sci-Fi RATING R for language RUNNING TIME 94 min. RELEASE
DATE October 29, 2010
Pam Grady says … At some point in the
not too distant future—or maybe it’s the
recent past—American xenophobia about
the Mexican border isn’t concerned with
migrant laborers or drug cartels, but fear of
extraterrestrials. Comparisons to 2009’s District
9 and its tale of E.T. apartheid are inevitable,
and it is certainly easy to read political
commentary in the central couple’s flight
north and the ugly border wall that makes
NOVEMBER 2010 BOXOFFICE 67

BOOK IT!
TRAPPED
James Franco as the pinned hiker in 127 Hours
an appearance late in Gareth Edwards’ debut
feature. But though the title suggests this is
a creature feature, love story trumps sci-fi in
this genre hybrid. This efficient, low-budget
drama is geared toward the arthouse crowd,
but genre buffs will want to get a look at its
titular monsters.
127 Hours
Canyon country
DISTRIBUTOR Fox Searchlight Pictures CAST James Franco,
Amber Tamblyn, Kate Mara, Treat Williams, Kate Burton,
Clémence Poésy DIRECTOR Danny Boyle SCREENWRITERS
Danny Boyle, Simon Beaufoy PRODUCERS Christian Colson,
Danny Boyle, John Smithson GENRE Drama RATING R for
language and some disturbing violent content/bloody
images. RUNNING TIME 95 min. RELEASE DATE November 5,
2010
Pete Hammond says … Just two years
after his surprise box office smash, Oscarwinning
Slumdog Millionaire director Danny
Boyle takes a different tack, adapting canyoneer
Aron Ralston’s harrowing true-life
account of the 127 hours he spent trapped in
a narrow cave. With a tour-de-force performance
from James Franco and an imaginative
shooting style that relies on two cameras
and inventive angles, what could have
been static and deadly dull comes blazingly
to life in this powerful and compelling story
of one man’s will to survive. A youthful,
adventurous audience is most likely to turn
this into a sizable hit. Though it’s doubtful it
will reach Slumdog heights, Fox Searchlight
won’t be complaining. Boyle’s on to something
fresh here.
Fair Game
Exposing Valerie Plame
DISTRIBUTOR Summit Entertainment CAST Sean Penn,
Naomi Watts, David Andrews, Ty Burrell, Bruce McGill
DIRECTOR Doug Liman SCREENWRITERS Jez Butterworth,
John-Henry Butterworth PRODUCERS William Pohlad, Jerry
Zucker, Janet Zucker, Jez Butterworth, Doug Liman, Akiva
Goldsman GENRE Drama RATING TBD RUNNING TIME 106
min. RELEASE DATE November 5 ltd., November 12 Exp.
Pete Hammond says … After directing
big crowd pleasers like The Bourne Identity
and Mr. and Mrs. Smith, Doug Liman takes a
180 degree turn in the politically explosive
thriller, Fair Game. The film is based on the
real life scandal of CIA operative Valerie
Plame. Bush Administration officials leaked
the agent’s identity to a prominent D.C. columnist
in retaliation for a New York Times
article her Ambassador husband wrote
disputing the existence of weapons of mass
destruction in Iraq. With first-rate performances
from Sean Penn and Naomi Watts
and a compelling script, this suspenseful,
taut drama should keep audiences nailed
to their seats when it’s released this fall.
Debuting in competition at the Cannes Film
Festival, a respectable box office haul, critical
support and awards talk should make
this an exception to the recent weak track
record for fact-based political dramas like
State Of Play.
Red Hill
Where heroes still ride horses
DISTRIBUTOR Strand Releasing CAST Ryan Kwanten, Tommy
Lewis, Steve Bisley, Claire van der Boom, Christopher
Davis, Jim Daly DIRECTOR/SCREENWRITER Patrick Hughes
PRODUCERS Al Clark, Patrick Hughes GENRE Western RATING
R for strong bloody violence, and language. RUNNING TIME
95 min. RELEASE DATE November 5 ltd.
Sara Maria Vizcarrondo says … A western
set in a nearly vacant town in the
Australian Outback, Red Hill is a treatise
on honor and masculinity in a modern
(if largely deserted) rural town. Budding
Aussie actor Ryan Kwanten (The Legend
of the Guardians: Owls of Ga’hoole) stars as
Shane Cooper, a city cop who takes a job
in the country to comfort the anxieties of
his pregnant wife. The escape of a convict,
an aborigine associated with the town’s
tenuously designated nature preserve, sets
the local police on high alert...but they
conspicuously refuse backup. Red Hill asks
what it means to be a man (as opposed to a
monster). Still, the film has a commercial
sensibility that makes it accessible and
espouses values that are a welcome throwback
to the genre, thus making it a fetching
find for its distributor and a great option
68 BOXOFFICE NOVEMBER 2010

TRON / Coke ® movie tie-in ad
from the June 1982 issue of BOXOFFICE
CLASSIC AD

BOOK IT!
STRIKE ONE
Sally Hawkins as a labor organizer in Made in
Dagenham
for theaters who’ve found traffic with the
recent spate of Outback noirs.
Made in Dagenham
Lucky strike
DISTRIBUTOR Sony Classics CAST Sally Hawkins, Bob Hoskins,
Geraldine James, Jaime Winstone, Daniel Mays, Rupert
Graves, Rosamund Pike, Richard Schiff DIRECTOR Nigel
Cole SCREENWRITER Billy Ivory PRODUCER Elizabeth Karlsen,
Stephen Woolley GENRE Drama RATING R for language
and brief sexuality. RUNNING TIME 113 min RELEASE DATE
November 19 NY/LA
wonderful job, a lovely family and a shiny
Porsche in the garage. When corporate
downsizing leaves him and co-workers
Phil Woodward (Chris Cooper) and Gene
McClary (Tommy Lee Jones) jobless, the
three men are forced to redefine their
SHIVER ME, TORONTO
Four flicks that shook up TIFF
lives. ER veteran and television mainstay
John Wells makes his big screen writing/
directing debut with this timely, sardonic
and at times harrowing drama which
should benefit from positive word of
mouth.
Pam Grady says … Nigel Cole’s drama
about the 1968 female British autoworkers’
strike for equal pay follows the template set
down by Norma Rae, North Country, Matewan
and even The Pajama Game. But what it
lacks in originality it makes up for with an
irresistible underdog story, atmosphere and
a terrific cast led by Happy Go Lucky’s Sally
Hawkins. Sony Classics is positioning it
for awards season competition. At the very
least, fans of character, Brit and political
dramas should make this modest charmer a
winner at the arthouse.
The Company Men
Now hiring?
DISTRIBUTOR The Weinstein Company CAST Ben Affleck,
Chris Cooper, Kevin Costner, Tommy Lee Jones,
Rosemarie DeWitt, Maria Bello, Craig T. Nelson DIRECTOR/
SCREENWRITER John Wells PRODUCERS John Wells, Claire
Rudnick Polstein, Paula Weinstein GENRE Drama RATING
TBD RUNNING TIME 113 min. RELEASE DATE October 22 NY/
LA, October 29 Exp., November 5 Exp.
The Ward
John Carpenter’s back, but it’s not his best
DISTRIBUTOR TBA CAST Amber Heard, Mamie Gummer,
Danielle Panabaker, Jared Harris, Lyndsy Fonseca DIRECTOR
John Carpenter SCREENWRITERS Michael Rasmussen, Shawn
Rasmussen PRODUCERS Peter Block, Doug Mankoff, Mike
Marcus, Andrew Spaulding RATING Unrated RUNNING TIME
86 min. RELEASE DATE TBD
Steve Ramos says … Martin Scorsese’s
Shutter Island reopened the asylum as a
successful setting for thrillers, but veteran
fright filmmaker John Carpenter fails to
make good use of his creepy hospital locale
for his first movie in nine years. The Ward
lacks the action of his pulp classic Assault
on Precinct 13 or the scares of his chillers
Halloween and Prince of Darkness. Carpenter
usually thrives on modestly budgeted
films, but this one comes off as an amateur-
Richard Mowe says … Films have
punctured the American Dream before,
but rarely so devastatingly as The Company
Men. Bobby Walker (Ben Affleck) has a
QUIET TIME
Amber Heard shivers in The Ward
70 BOXOFFICE NOVEMBER 2010

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BIG BUSINESS
Little films make a killing at the Toronto International Film Festival
BOOK IT!
What a different a year makes.
Last year, the Toronto International
Film Festival announced
six sales. This year, they racked
up over 20. Indie films—especially genre
flicks—are back and distributors are ready
to bet real cash that they’ll find an audience.
Remember these names: the black
comedies Super, Peep World, Dirty Girl,
Submarine, Rare Exports: A Christmas Tale
and Everything Must Go, the Will Farrell
flick inspired by a Raymond Carver short
story that sold for $6 million. The thrillers
I Saw the Devil, A Horrible Way to Die,
Megan is Missing, Insidious and Incendies.
The prestige dramas Beautiful Boy, Rabbit
Hole, Meek’s Cutoff and Beginners. Even
Robert Redford successfully unloaded
his Abraham Lincoln assassination flick
Conspirator, choosing not to debut it at his
own festival because that’d be “too selfserving.”
“We are very pleased to see Toronto
playing a role in the turnaround in the
sales climate,” said co-director Cameron
Bailey. And they’ve got plenty of company.
Eighty films screened at the festival and
over a quarter won distribution with
heavy-lifters like The Weinstein Co. and
IFC scooping up three films each.
The rest of TIFF 2010 will be remembered
for its anticipated gems and pleasant
surprises. Award winners Black Swan,
Of Gods and Men, Barney’s Version, and
Cannes’ Palm d’Or champion Uncle Boonmee
Who Can Recall His Past Lives led the
pack. John Sayles’ Amigo, a drama about
the war in the Philippines, stood out as a
powerful and memorable film that showcases
the Lone Star filmmaker at his best.
Even Clint Eastwood breezed into town—
his first visit in 20 years—to present a
single screening of his latest contender,
Hereafter, a supernatural twister set in the
wreckage of a tsunami.
But the loudest applause went to
People’s Choice winner The King’s Speech,
a witty, pedigreed British dramedy about
King George VI overcoming his stammer
on the eve of World War II. Overnight,
the film’s buzz quadrupled. Joked Bill
Maher that weekend on his HBO show,
“New Rule: If they’re going to make a
historical epic full of British actors in
period costumes about Queen Elizabeth
helping her father get over his speech
impediment, why bother having the Oscars
at all? You win. Unless someone in
America is making a movie where Meryl
Streep teaches Anne Frank how to box,
we give up.”
— Barbara Goslawski
ish misstep due to unoriginal storytelling
from fledgling screenwriters Michael and
Shawn Rasmussen.
Super
Rainn Wilson is a hero unlike any other
DISTRIBUTOR IFC Films CAST Rainn Wilson, Ellen Page, Liv
Tyler, Kevin Bacon, Gregg Henry, Michael Rooker, Nathan
Fillion DIRECTOR/SCREENWRITER James Gunn PRODUCERS
Miranda Bailey, Ted Hope GENRE Comedy RATING: Unrated
RUNNING TIME 96 min. RELEASE DATE TBD
Steve Ramos says … Average guy Rainn
Wilson snaps when his wife Liv Tyler leaves
him for smooth talking drug dealer Kevin
Bacon. Frank’s life as a grill cook looks
bleak, but when a mysterious, costumed
hero called The Holy Avenger (Nathan
Fillion) appears and brings with him the
“Finger of God,” Frank is inspired to don
a red “Crimson Bolt” costume and fight
crime with a large pipe wrench. The tale of
a makeshift superhero may seem redundant
after the Michael Rapaport vehicle Special,
the Woody Harrelson dramedy Defendor
and the action/comedy Kick-Ass, but writer/
director James Gunn adopts the best parts of
each and the blend of dark comedy, brutal
violence and Frank’s emotional journey
made Super, TIFF’s first sale after world
premiering to an enthusiastic Midnight
Madness crowd. Guaranteed to please genre
fans and win critical praise for Wilson’s
standout performance, Super looks to be a
specialty hit with the potential to become
one of IFC Films’ top performers when it
plays specialty theaters.
Meek’s Cutoff
Today’s Days of Heaven
DISTRIBUTOR Oscilloscope Pictures CAST Michelle Williams,
Bruce Greenwod, Will Patton, Zoe Kazan, Paul Dano,
Shirley Henderson DIRECTOR Kelly Reichardt SCREENWRITER
Jon Raymond PRODUCERS Elizabeth Cuthrell, Neil Kopp,
Anish Savjani, David Urrutia GENRE Western RUNNING TIME
104 min. RATING Unrated RELEASE DATE TBD
Steve Ramos says … Indie filmmaker Kelly
Reichardt steadily gains more admirers
as home video audiences discover River of
Grass (1994), Old Joy (2006) and Wendy and
Lucy (2009). Reuniting with screenwriter
Jon Raymond and Wendy and Lucy star
Michelle Williams, Reichardt’s anticipated
latest feature is a Western period drama
receiving lots of attention within the
independent film community. Epic in scope
and featuring powerful lead performances
by Williams and indie darlings Zoe
Kazan (Revolutionary Road) and Paul Dano
(Little Miss Sunshine, There Will Be Blood),
Reichardt does justice to the myth of the
wagon train settlers’ mythos and makes a
Western every bit as beautiful and poetic
as Terrence Malick’s Days of Heaven (and
thankfully, a bit more energetic). Purchased
by Oscilloscope Laboratories after its North
American premiere, Meek’s Cutoff will
outperform Wendy and Lucy and continue
to build awareness for the masterful
filmmaker.
72 BOXOFFICE NOVEMBER 2010

Bunraku
A unique gem
CAST Josh Hartnett, Woody Harrelson, Gackt, Kevin McKidd, Ron Perlman, Demi Moore,
Emily Kaiho DIRECTOR/SCRIPTWRITER Guy Moshe PRODUCERS Ram Bergman, Keith Calder,
Nava Levin, Jessica Wu GENRE Action/Drama/Fantasy RUNNING TIME 118 min. RATING Unrated
RELEASE DATE TBD
Steve Ramos says … Josh Hartnett’s big action movies like Black
Hawk Down and 30 Days of Night make his role as the main attraction
in Guy Moshe’s action/fantasy Bunraku seem logical. In the film’s
opening action number, a violent clash led by a villainous character
in rose-tinted glasses (Kevin McKidd) pits zoot-suited thugs against
a gang of Cossacks. The artistry behind Moshe’s unique hybrid is the
film’s true star. Bunraku defies categorization by combining martial
arts, Westerns and comic books into an elaborate, fantasy world that’s
one part Wild West and two parts Dr. Seuss. Yet Moshe makes artful
use of his risk-taking and the result is a film that appeals to every segment
of the fantasy audience. Available for sale from Snoot Entertainment,
Bunraku is the rare independent genre movie with crossover
appeal thanks to leads Hartnett, Woody Harrelson, Grey’s Anatomy’s
star Kevin McKidd and fan favorite Ron Perlman. (And Japanese pop
star Gackt guarantees the film a strong Asian fan base.) The film’s origins
in the ancient Japanese puppetry art of Bunruku will also attract
the interest of the design and visual art communities.
CONTACT
I’m Global / 8322 Beverly Blvd., Ste. 300, Los Angeles, CA 90048
info@imglobalfilm.com 310-777-3590
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NOVEMBER 2010 BOXOFFICE 73

BOOKING GUIDE
Action = Act Arthouse = Art Documentary = Doc Family = Fam Horror = Hor
Adventure = Adv Biography = Bio Drama = Dra Fantasy = Fan Kids = Kids
Animated = Ani Comedy = Com Epic = Epic Foreign Language = FL Lesbian, gay, bisexual, transgend. = LGBT
FILM RELEASE DATE STARS DIRECTOR(S) RATING GENRE RT FORMAT
CBS FILMS Lauren Douglas / 310 575 7052 / lauren.douglas@cbs.com
FASTER Wed, 11/24/10 Dwayne Johnson, Salma Hayek George Tillman Jr. R Act/Dra
THE MECHANIC Fri, 1/28/11 Jason Statham, Ben Foster Simon West NR Act/Cri/Dra 100 Scope
BEASTLY Fri, 3/18/11 Neil Patrick Harris, Vanessa Hudgens Daniel Barnz PG-13 Fan/Hor/Rom
DISNEY 818 560 1000 / ask for Distribution / 212 536 6400
TANGLED Wed, 11/24/10 Kristin Chenoweth, Mandy Moore Glen Keane/Dean Wellins NR Ani/Com/Fam/Mus Digital 3D/Dolby Dig/DTS/SDDS
THE TEMPEST
Fri, 12/10/10 EXCL.
12/17/10 LTD.
Alfred Molina, Russell Brand Julie Taymor PG-13 Dra/Rom Quad
TRON: LEGACY Fri, 12/17/10 Michael Sheen, Jeff Bridges Joseph Kosinski NR 3D/Act/SF
Digital 3D/IMAX/Quad/Dolby Dig/
DTS/SDDS
I AM NUMBER FOUR Fri, 2/18/11 Alex Pettyfer, Timothy Olyphant D.J Caruso NR Act/SF Quad
MARS NEEDS MOMS! Fri, 3/11/11 Seth Green, Joan Cusack Simon Wells NR Ani/CGI Digital 3D/IMAX/Quad
AFRICAN CATS Fri, 4/22/11 Alastair Fothergill/Keith Scholey NR Doc Quad
PROM Fri, 4/29/11 Danielle Campbell, Aimee Teegarden Joe Nussbaum NR Com Quad
PIRATES OF THE CARIBBEAN: ON STRANGER TIDES Fri, 5/20/11 Johnny Depp, Astrid Bergès-Frisbe Rob Marshall NR Act/Adv Digital 3D/IMAX/Quad
CARS 2 Fri, 6/24/11 Brad Lewis/John Lasseter NR Com/Fam Digital 3D/IMAX
WINNIE THE POOH Fri, 7/15/11 Craig Gerguson, Jim Cummings Stephen J. Anderson/Don Hall NR Ani/Fam Quad
WAR HORSE Wed, 8/10/11 Benedict Cumberbatch, Emily Watson Steven Spielberg NR Adv/Dra Quad
FRIGHT NIGHT Fri, 10/7/11 Anton Yelchin, Christopher Mintz-Plasse Craig Gillespie NR Com/Hor Digital 3D
FOCUS Christopher Ustaszewski / 818 777 3071
SOMEWHERE
Wed, 12/22/10
EXCL. NY/LA
Stephen Dorff, Elle Fanning Sofi a Coppola R Com/Dra 98 DTS/Dolby SRD/Flat
THE EAGLE Fri, 2/25/11 Channing Tatum, Jamie Bell Kevin Macdonald PG-13 Dra DTS/Dolby SRD/Scope
JANE EYRE Fri, 3/11/11 LTD. Mia Wasikowska, Michael Fassbender Cary Fukunaga NR Rom/Dra Dolby SRD/Flat
HANNA Fri, 4/8/11 Cate Blanchett, Saoirse Ronan Joe Wright NR Adv/Thr DTS/Dolby SRD/Scope
FOX 310 369 1000 / 212 556 2400
UNSTOPPABLE Fri, 11/12/10 Denzel Washington, Chris Pine Tony Scott NR Act/Dra/Thr Scope
LOVE AND OTHER DRUGS Wed, 11/24/10 Jake Gyllenhaal, Anne Hathaway Edward Zwick R Dra Flat
THE CHRONICLES OF NARNIA:
THE VOYAGE OF THE DAWN TREADER
Fri, 12/10/10 Ben Barnes, Skandar Keynes Michael Apted NR Adv/Fam/Fan 3D/Scope/Quad
GULLIVER’S TRAVELS Wed, 12/22/10 Emily Blunt, Jason Segel Rob Letterman NR Com 3D/Scope
MONTE CARLO Fri, 2/11/11 Selena Gomez, Leighton Meester Thomas Bezucha NR Rom/Com
BIG MOMMAS: LIKE FATHER, LIKE SON Fri, 2/18/11 Martin Lawrence, Brandon T. Jackson John Whitesell NR Com
DIARY OF A WIMPY KID 2: RODRICK RULES Fri, 3/25/11 Rachael Harris, Steve Zahn David Bowers NR Com/Fam
RIO Fri, 4/8/11 Anne Hathaway, Jesse Eisenberg Carlos Saldanha NR Ani/CGI 3D
WATER FOR ELEPHANTS Fri, 4/15/11 Reese Witherspoon, Robert Pattinson Francis Lawrence NR Dra
WHAT’S YOUR NUMBER? Fri, 4/29/11 Anna Faris, Chris Evans Mary Mylod NR Com
X-MEN: FIRST CLASS Fri, 6/3/11 James McAvoy, Michael Fassbender Matthew Vaughn NR Act/SF/Thr
RISE OF THE APES Fri, 6/24/11 James Franco, Freida Pinto Rupert Wyatt NR Adv/Act/SF
THE SITTER Fri, 7/15/11 Jonah Hill, Ari Graynor David Gordon Green NR Com
FOX SEARCHLIGHT 310 369 1000
127 HOURS Fri, 11/5/10 LTD. James Franco, Lizzy Caplan Danny Boyle R Dra 95
BLACK SWAN Wed, 12/1/10 LTD. Natalie Portman, Mila Kunis Darren Aronofsky R Dra/Thr 106
CONVICTION Fri, 10/15/10 LTD. Sam Rockwell, Hillary Swank Tony Goldwyn R Dra/Bio Flat
FREESTYLE RELEASING 310 456 2332
I WANT YOUR MONEY Fri, 10/15/10 Ray Griggs PG Doc 92 Dolby SRD/Flat
WILD TARGET
Fri, 10/29/10 EXCL. NY/LA
11/12/10, 11/26/10 EXP.
Bill Nighy, Emily Blunt Jonathan Lynn PG-13 Com/Thr 98
THE NUTCRACKER Wed, 11/24/10 LTD. Elle Fanning, Nathan Lane Andrey Konchalovskiy NR Adv/Fam 120 3D/Scope
LIONSGATE 310 449 9200
SAW 3D Fri, 10/29/10 Cary Elwes, Tobin Bell Kevin Greutert R Hor 3D/Quad
FOR COLORED GIRLS WHO HAVE CONSIDERED
SUICIDE WHEN THE RAINBOW IS ENUF
Fri, 11/5/10 Janet Jackson, Oprah Winfrey Tyler Perry NR Dra 120
THE NEXT THREE DAYS Fri, 11/19/10 Russell Crowe, Elizabeth Banks Paul Haggis NR Cri/Rom/Dra 122
RABBIT HOLE
Fri, 12/17/10 LTD. Exp
12/25, 1/14
Aaron Eckhart, Nicole Kidman John Cameron Mitchell Dra 92 Flat
FROM PRADA TO NADA Fri, 1/28/11 LTD. Camilla Belle, Alexa Vega Angel Garcia PG-13 Rom/Com 107 DTS/Dolby SRD/Flat
THE LINCOLN LAWYER Fri, 3/18/11 Matthew McConaughey, Marisa Tomei Brad Furman NR Cri/Dra
TYLER PERRY’S MADEA’S BIG HAPPY FAMILY Fri, 4/22/11 Tyler Perry, Loretta Devine Tyler Perry NR Com
ONE FOR THE MONEY Fri, 7/8/11 Katherine Heigl, John Leguizamo Julie Ann Robinson NR Act/Rom/Com
WARRIOR Fri, 10/7/11 Tom Hardy, Nick Nolte Gavin O’Connor NR Act/Dra Scope
MIRAMAX 323 822 4100 / 917 606 5500
THE DEBT Wed, 12/29/10 Sam Worthington, Helen Mirren John Madden R Dra/Thr Dolby Dig/DTS/SDDS
DON’T BE AFRAID OF THE DARK Fri, 1/21/11 Katie Holmes, Guy Pearce Troy Nixey R Hor/Thr Dolby Dig/DTS/SDDS
GNOMEO AND JULIET Fri, 2/11/11 Emily Blunt, James McAvoy Kelly Asbury NR Ani/Fam/Com 3D
PARAMOUNT 323 956 5575
JACKASS 3-D Fri, 10/15/10 Johnny Knoxville, Steve-O Jeff Tremaine R Doc/Act/Com 95 3D/Scope/Quad
PARANORMAL ACTIVITY 2 Fri, 10/22/10 Katie Featherston Tod Williams NR Hor
MEGAMIND Fri, 11/5/10 Brad Pitt, Will Ferrell Tom McGrath NR Ani/Fam 3D
MORNING GLORY Fri, 11/12/10 Rachel McAdams, Harrison Ford Roger Michell NR Com
THE FIGHTER
Fri, 12/10/10 LTD.
12/17 WIDE
Christian Bale, Amy Adams David O. Russell NR Dra
TRUE GRIT Sat, 12/25/10 Matt Damon, Jeff Bridges Ethan & Joel Coen NR Dra/West
UNTITLED ASHTON KUTCHER/NATALIE PORTMAN Fri, 1/21/11 Ashton Kutcher, Natalie Portman Ivan Reitman NR Rom/Com
JUSTIN BIEBER 3D MOVIE Fri, 2/11/11 Justin Bieber Jon Chu NR Mus 3D
RANGO Fri, 3/4/11 Johnny Depp, Abigail Breslin Gore Verbinski NR Ani/Act/Adv
FOOTLOOSE Fri, 4/1/11 Julianne Hough, Chace Crawford Craig Brewer PG-13 Com/Dra/Mus
THOR Fri, 5/6/11 Chris Hemsworth, Anthony Hopkins Kenneth Branagh NR Act/Adv
KUNG FU PANDA: THE KABOOM OF DOOM Thu, 5/26/11 Jack Black, Dustin Hoffman Jennifer Yuh Helson NR Ani/Com/Fam/Act Digital 3D
TRANSFORMERS 3 Fri, 7/1/11 Shia LaBeouf, Megan Fox Michael Bay NR Act
THE FIRST AVENGER: CAPTAIN AMERICA Fri, 7/22/11 Chris Evans, Stanley Tucci Joe Johnston NR Act/Adv/Fant
SONY 310 280 8000 / 212833 8500
BURLESQUE Wed, 11/24/10 Cher, Christina Aguilera Steve Antin NR Dra Dolby Dig/DTS/SDDS
74 BOXOFFICE NOVEMBER 2010

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NOVEMBER 2010 BOXOFFICE 75

BOOKING GUIDE
Live Action = LA Performance = Per Science Fiction = SF Suspense = Sus Urban = Urban
Martial Arts = MA Political = Poli Stop-Motion Animation = SMAni 3D = 3D War = War
Mystery = Mys Romance = Rom Sports = Spr Thriller = Thr Western = Wes
FILM RELEASE DATE STARS DIRECTOR(S) RATING GENRE RT FORMAT
SONY 310 280 8000 / 212833 8500
THE TOURIST Fri, 12/10/10 Angelina Jolie, Johnny Depp
Florian Henckel
von Donnersmarck
NR
Dra/Sus
HOW DO YOU KNOW Fri, 12/17/10 Jack Nicholson, Paul Rudd James L. Brooks NR Dra/Com Dolby Dig
COUNTRY STRONG
Wed, 12/22/10 LTD.
1/7/11 EXP.
Gwyneth Paltrow, Tim McGraw Shana Feste NR Dra
THE GREEN HORNET Fri, 1/14/11 Seth Rogen, Christophe Waltz Michel Gondry NR Act/Adv 3D/Dolby Dig
RESTLESS Fri, 1/28/11 Mia Wasikowska, Schuyler Fisk Gus Van Sant NR Dra
THE ROOMMATE Fri, 2/4/11 Cam Gigandet, Leighton Meester Christian E. Christiansen NR Cri/Mys Scope
JUST GO WITH IT Fri, 2/11/11 Adam Sandler, Jennifer Aniston Dennis Dugan NR Rom/Com
BATTLE: LOS ANGELES Fri, 3/11/11 Michelle Rodriguez, Aaron Eckhart Jonathan Liebesman NR Act/SF Dolby Dig/DTS/SDDS
BAD TEACHER Fri, 4/1/11 Cameron Diaz, Jason Segel Jake Kasdan NR Com Dolby Dig/DTS/SDDS
BORN TO BE A STAR Fri, 4/22/11 Christina Ricci, Stephen Dorff Tom Brady NR Com
BEAUTIFUL GIRL Fri, 3/11/11 NR Sus
JUMPING THE BROOM Fri, 5/6/11 Paula Patton, Tasha Smith Salim Akil NR Rom
PRIEST Fri, 5/13/11 Paul Bettany, Maggie Q Scott Charles Stewart NR Adv/Hor 3D
THE ZOOKEEPER Fri, 7/8/11 Kevin James, Rosario Dawson Frank Coraci NR Com
FRIENDS WITH BENEFITS Fri, 7/22/11 Mila Kunis, Emma Stone Will Gluck NR Com
SMURFS Wed, 8/3/11 John Lithgow, Julia Sweeney Colin Brady NR Ani/Fam 3D
21 JUMP STREET Fri, 8/5/11 Chris Miller/Phil Lord NR Act/Cri/Dra
30 MINUTES OR LESS Fri, 8/12/11 Danny McBride, Aziz Ansari Ruben Fleischer NR Adv/Com
COLOMBIANA Fri, 9/2/11 Zoe Saldana, Michael Vartan Olivier Megaton NR Act/Adv/Dra/Thr
STRAW DOGS Fri, 9/16/11 Alexander Skarsgard, James Marsden Rod Lurie NR Dra
ANONYMOUS Fri, 9/23/11 Xavier Samuel, Rhys Ifans Roland Emmerich NR Dra
COURAGEOUS Fri, 9/30/11 LTD. Alex Kendrick, Kevin Downes Alex Kendrick NR Dra
SONY PICTURES CLASSICS 212 833 8851
MADE IN DAGENHAM Fri, 11/19/10 EXCL. NY/LA Rosamund Pike, Miranda Richardson Nigel Cole R Dra 113 Dolby SRD/Flat
THE ILLUSIONIST Sat, 12/25/10 EXCL. NY/LA Jean-Claude Donda, Edith Rankin Sylvain Chomet PG Dra/Ani 113 Dolby SRD/Scope
ANOTHER YEAR Wed, 12/29/10 EXCL. NY/LA Jim Broadbent, Lesley Manville Mike Leigh PG-13 Com/Dra 129 Dolby SRD/Scope
SUMMIT 310 309 8400
RED Fri, 10/15/10 Mary-Louise Parker, Morgan Freeman Robert Schwentke PG-13 Act/Com Dolby Dig/DTS
FAIR GAME
Fri, 11/5/10 LTD. 11/12/10,
11/19/10 EXP.
Sean Penn, Naomi Watts Doug Liman PG-13 Act/Thr 104 Dolby Dig/DTS/SDDS
DRIVE ANGRY 3D Fri, 2/11/11 Nicolas Cage, Amber Heard Patrick Lussier NR Thr 3D
SOURCE CODE Fri, 4/15/11 Jake Gyllenhaal, Vera Farmiga Duncan Jones NR Dra/SF
THE DARKEST HOUR Fri, 8/5/11 Emile Hirsch, Olivia Thirlby Chris Gorak NR SF/Thr 3D
UNIVERSAL 818 777 1000 / 212 445 3800
SKYLINE Fri, 11/12/10 Eric Balfour, Brittany Daniel Colin Strause/Greg Strause NR Thr Quad/Dolby Dig/DTS/SDDS
LITTLE FOCKERS Wed, 12/22/10 Robert De Niro, Ben Stiller Paul Weitz NR Com Dolby Dig
THE DILEMMA Fri, 1/14/11 Vince Vaughn, Kevin James Ron Howard NR Com Quad
SANCTUM Fri, 2/4/11 Richard Roxburgh, Alice Parkinson Alister Grierson NR Adv/Dra/Thr 3D
DREAM HOUSE Fri, 2/18/11 Daniel Craig, Rachel Weisz Jim Sheridan NR Thr Quad
THE ADJUSTMENT BUREAU Fri, 3/4/11 Matt Damon, Emily Blunt Geogre Nolfi NR Rom/SF 99 Quad/Flat
PAUL Fri, 3/18/11 Seth Rogen, Jane Lynch Greg Mottola NR Com/SF Quad
HOP Fri, 4/1/11 Russell Brand, James Marsden Tim Hill NR CGI/Act/Com
YOUR HIGHNESS Fri, 4/8/11 James Franco, Natalie Portman David Gordon Green R Com/Fan/Adv
THE THING Fri, 4/29/11 Mary Elizabeth Winstead, Joel Edgerton Matthijs Van Heijningen Jr. NR Hor/Mys/SF Quad
BRIDESMAID Fri, 5/13/11 Kristen Wiig, Rose Byrne Paul Feig NR Com Quad
FAST FIVE Fri, 6/10/11 Vin Diesel, Paul Walker Justin Lin NR Act/Cri/Dra Quad
COWBOYS & ALIENS Fri, 7/29/11 Oliva Wilde, Daniel Craig Jon Favreau NR Ani/Act/Fan Quad/Dolby Dig/DTS/SDDS
THE CHANGE-UP Fri, 8/5/11 Jason Bateman, Ryan Reynolds David Dobkin NR Com Quad
WARNER BROS. 818 954 6000 / 212 484 8000
HEREAFTER Fri, 10/22/10 Matt Damon, Cecile De France Clint Eastwood PG-13 Thr 123 Quad
DUE DATE Fri, 11/5/10 Robert Downey, Jr., Zach Galifi anakis Todd Phillips R Com Quad
HARRY POTTER AND THE DEATHLY HALLOWS:
PART 1
Fri, 11/19/10 Daniel Radcliffe, Emma Watson David Yates NR Adv/Dra/Fan 3D/IMAX/Scope
YOGI BEAR Fri, 12/17/10 Dan Aykroyd, Justin Timberlake Eric Brevig NR Ani/Adv 3D/Quad
UNKNOWN WHITE MALE Fri, 1/7/11 Liam Neeson, January Jones Jaume Collet-Serra NR Dra/Thr Quad
THE RITE Fri, 1/28/11 Anthony Hopkins, Colin O’Donoghue Mikael Håfström NR Dra Quad
HALL PASS Fri, 2/25/11 Owen Wilson, Jason Sudeikis Peter & Bobby Farrelly NR Com Quad
RED RIDING HOOD Fri, 3/11/11 Amanda Seyfried, Max Irons Catherine Hardwicke NR Thr Quad
SUCKER PUNCH Fri, 3/25/11 Vanessa Hudgens, Emily Browning Zack Snyder NR Act/Fan/Thr 3D/IMAX
BORN TO BE WILD Fri, 4/8/11 NR IMAX/Quad
CRAZY, STUPID, LOVE Fri, 4/22/11 Steve Carell, Ryan Gosling Glenn Ficarra/John Requa NR Com
THE HANGOVER 2 Thu, 5/26/11 Bradley Cooper, Ed Helms Todd Phillips NR Com Quad
SOMETHING BORROWED Fri, 6/10/11 Kate Hudson, Ginnifer Goodwin Luke Greenfi eld R Com/Dra Quad
GREEN LANTERN Fri, 6/17/11 Ryan Reynolds, Mark Strong Martin Campbel NR Act 3D
HARRY POTTER AND THE DEATHLY HALLOWS:
PART 2
Fri, 7/15/11 Alan Rickman, Daniel Radcliffe David Yates NR Adv/Fan/Dra 3D/IMAX
HORRIBLE BOSSES Fri, 7/29/11 Jason Bateman, Jennifer Aniston Seth Gordon NR Com Quad
FINAL DESTINATION 5 Fri, 8/26/11 Emma Bell, David Koechner Steven Quale NR Hor/Sus 3D/Quad
THE APPARITION Fri, 9/9/11 Ashley Greene, Sebastian Stan Todd Lincoln NR Hor Quad
DOLPHIN’S TALE Fri, 9/16/11 Morgan Freeman, Ashley Judd Charles Martin Smith NR Dra 3D/Quad
JOURNEY 2: THE MYSTERIOUS ISLAND Fri, 9/23/11 Dwayne Johnson, Michael Caine Brad Peyton NR Act/Adv 3D/IMAX/Quad
WEINSTEIN CO. / DIMENSION 646 862 3400
THE COMPANY MEN
Fri, 10/22/10 EXCL. NY/LA
10/29/10, 11/5/10 EXP.
Ben Affl eck, Tommy Lee Jones John Wells NR Com/Dra 109 Dolby Dig/DTS/SDDS
THE KING’S SPEECH Wed, 11/24/10 LTD. Colin Firth, Geoffrey Rush Tom Hooper NR His/Dra
MIRAL Fri, 12/3/10 LTD. Hiam Abbass, Freida Pinto Julian Schnabel NR Dra
BLUE VALENTINE Fri, 12/31/10 LTD. Ryan Gosling, Michelle Williams Derek Cianfrance NR Rom/Dra
SCREAM 4 Fri, 4/15/11 Neve Campbell, David Arquette Wes Craven NR Hor/Sus Dolby Dig/DTS/SDDS
SPY KIDS 4: ALL THE TIME IN THE WORLD Fri, 8/19/11 Jessica Alba, Joel McHale Robert Rodriguez NR Act/Adv 3D
76 BOXOFFICE NOVEMBER 2010

AD INDEX
BARCO
Media & Entertainment Division
11101 Trade Center Dr.
Rancho Cordova 95670, CA
916-859-2500
sales.digitalcinema.us@barco.com
www.barco.com
PG 7
CHRISTIE DIGITAL
SYSTEMS
10550 Camden Dr.
Cypress, CA 90630
Craig Sholder
714-236-8610
craig.sholder@christiedigital.com
www.christiedigital.com
PG 40–41
CINEDIGM
55 Madison Ave., Ste. 300
Morristown, NJ 07960
Suzanne Tregenza Moore
973-290-0080
info@accessitx.com
www.cinedigm.com
PG 11
CINEMA CONCEPTS
2030 Powers Ferry Rd., Ste. 214
Atlanta, GA 30339
Stewart Harnell
770-956-7460
stewart@cinemaconcepts.com
www.cinemaconcepts.com
PG 13
CON AGRA FOODS
77 France Ave. S, Ste. 200
Edina, MN 55435
952-896-5659
www.conagrafoods.com
PG 23
CROSSPOINT FABRICS
P.O. Box 2128
Mail Drop DY-02
Dalton, GA
Steve Magel
706-879-4055
steve.magel@shawinc.com
www.crosspointfabrics.com
PG 73
DATASAT DIGITAL
9631 Topanga Canyon Place
Chatsworth, CA 91311
818-531-0003
www.datasatdigital.com
PG 13, 89
D-BOX TECHNOLOGIES
2172 de la Province
Longueuil, QC
J4G 1R7 CANADA
888-442-3269 ext. 225
www.d-box.com
PG 28–29
DOLBY LABORATORIES
100 Potrero Ave.
San Francisco, CA 94103
Christie Ventura / 415-558-2200
cah@dolby.com
www.dolby.com
PG 27, 30
DOLPHIN SEATING
313 Remuda St.
Clovis, NM 88101
575-762-6468
www.dolphinseating.com
PG 4
EFA PARTNERS
260 Madison Ave., 8th Fl.
New York, NY 10016
www.EFApartners.com
PG 19
FRANKLIN DESIGNS
208 Industrial Dr.
Ridgeland, MS 39157
601-853-9005
franklindesigns@aol.com
www.franklindesigns.com
PG 57
GDC TECHNOLOGY LLC
3500 W Olive Ave. Suite 940
Burbank, CA 91505
818-972-4370
www.gdc-tech.com
PG 49
GLASSFORM
P.O. Box 776
Batavia, IL 60510
Cyndi Gardner
800-995-8322
glassform@aol.com
PG 9
HARKNESS SCREENS
Unit A, Norton Road
Stevenage, Herts
SG1 2BB
United Kingdom
+44 1438 725200
sales@harkness-screens.com
www.harkness-screens.com
PG 73, 75
HURLEY SCREEN
110 Industry Ln.
P.O. Box 296
Forest Hill, MD 21050
Gorman W. White
410-879-3022
info@hurleyscreen.com
www.hurleyscreen.com
PG 38
IRWIN SEATING
3251 Fruit Ridge N.W.
Grand Rapids, MI 49544
Bruce Cohen / 866-574-7400
sales@irwinseating.com
www.irwinseating.com
PG 55
KERNEL SEASONS
1958 N. Western Ave.
Chicago, IL 60647
Krystal LaReese-Gaul
773-292-4576
info@kernelseasons.com
www.kernelseasons.com
PG 37
MASTERIMAGE 3D
4111 W. Alameda Ave., Ste. 312
Burbank, CA 91505, USA
818-558-7900
www. masterimage3d.com
PG 45
MEYER SOUND
2832 San Pablo Ave.
Berkeley, CA 94702
510-486-1166
sales@meyersound.com
www.meyersound.com
PG 17
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 35
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
MOVIEGOERS
movie-goer-rights.org
PG 80
NATIONAL TICKET COMPANY
P.O. Box 547
Shamokin, PA 17872
Ginger Seidel
ticket@nationalticket.com
www.nationalticket.com
PG 78
NEC CORPORATION OF AMERICA
6535 North State Highway 161
Irving, Texas 75039
www.necam.com
PG 33
OSRAM SYLVANIA
100 Endicott St.
Danvers, MA 01923
978-750-2419
Christine Buckley
christine.buckley@sylvania.com
PG 39
PACKAGING CONCEPTS, INC.
9832 Evergreen Industrial Dr.
St. Louis, MO 63123
John Irace / 314-329-9700
jji@packagingconceptsinc.com
www.packagingconceptsinc.com
PG 21
PARAMOUNT
5555 Melrose Ave.
Los Angeles, CA 90038
Jody Timmerman
323-956-5000
www.paramount.com
PG 42
PETER’S PRETZELS
30290 U.S. Hwy. 72
Hollywood, AL 35752
800-239-2143
info@gwproducts.com
www.gwproducts.com
PG 32
PHILIPS LIGHTING
200 Clarendon St.
Boston, MA 02116
Dina Munchback
617-449-4127
www.philips.com
PG 71
PREFERRED POPCORN
1132 9th Road
Chapman, NE 68827
308-986-2526
www.preferredpopcorn.com
PG 8
PROCTOR COMPANIES
10497 Centennial Rd.
Littleton, CO 80127-4218
Bruce Proctor
303-973-8989
sales@proctorco.com
www.proctorco.com
PG 16
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 77
QUBE DIGITAL CINEMA
4640 Lankershim Blvd., Ste. 601
North Hollywood, CA 91602
818-392-8155
info@qubecinema.com
www.qubecinema.com
PG 15
QSC
1665 MacArthur Blvd.
Costa Mesa, CA 92626
Francois Godfrey
714-754-6175
francois_godfrey@qscaudio.com
www.qscaudio.com
PG 65
READY THEATRE SYSTEMS
4 Hartford Blvd.
Hartford, MI 49057
Mary Snyder
865-212-9703x114
sales@rts-solutions.com
www.rts-solutions.com.com
PG 119
RETRIEVER SOFTWARE
7040 Avenida Encinas
Ste. 104-363
Carlsbad, CA 92011
760-929-2101
www.retrieversoftware.com
PG 36
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 6
RICOS PRODUCTS
621 S. Flores
San Antonio, TX 78204
210-222-1415
info@ricos.com
www.ricos.com
PG 63
SCHULT INDUSTRIES
900 N.W. Hunter Dr.
Blue Springs, MO 64015
800-783-8998
sales@schult.com
www.schult.com
PG 26
SCREENVISION
1411 Broadway 33rd Fl.
New York, NY 10018
Darryl Schaffer
212-497-0480
www.screenvision.com
PG 59
SENSIBLE CINEMA SOFTWARE
7216 Sutton Pl.
Fairview, TN 37062
Rusty Gordon / 615-799-6366
rusty@sensiblecinema.com
www.sensiblecinema.com
PG 80
SONY ELECTRONICS
One Sony Dr.
Park Ridge, NJ 07656
201-476-8603
www.sony.com/professional
PG 5
SPECO
Systems & Products Engineering Co.
709 North 6th Street
Kansas City, KS 66101
800-633-5913
www.speco-usa.com
PG 60
STERIFAB
NOBLE PINE PRODUCTS COMPANY
PO Box 41
Yonkers, NY 10710-0041
800-359-4913
www.sterifab.com
PG 56
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 61
TRI-STATE THEATRE SUPPLY CO.
3157 Norbrook Drive
Memphis, Tennessee 38116
800-733-8249
www.tristatetheatre.com
PG 80
TECHNICOLOR DIGITAL
Brett Fellman
(818) 260-4907
Brett.Fellman@technicolor.com
www.technicolordigitalcinema.com
PG 1
TEXAS DIGITAL
400 Technology Pkwy.
College Station, TX 77845
Romney Stewart
979-446-0173
www.txdigital.comh
PG 34
TEXAS INSTRUMENTS
12500 TI Boulevard
Dallas, TX 75243
www.dlp.com
PG 53
THEATRE SERVICE
& SUPPLY
PO Box 471,
South San Francisco, CA 94083-0471
415-467-5800
www.theatreservice.com
PG 23
USL
181 Bonetti Dr.
San Luis Obispo, CA 93401
805-549-0161
usl@uslinc.com
www.uslinc.com
PG 25
VISTA ENTERTAINMENT
SOLUTIONS LTD.
P.O. Box 8279
Symonds Street
Auckland, New Zealand
Meika Kikkert
011-649-357-3600
info@vista.co.nz
www.vista.co.nz
PG 9
WEST WORLD
MEDIA
63 Copps Hill Rd.
Ridgefield, CT 06877
Brett West
888-737-2812
www.westworldmedia.com
PG 77
WHITE CASTLE
555 West Goodale St.
Columbus, OH 43215
Timothy Carroll
614-559-2453
carrollt@whitecastle.com
www.whitecastle.com
PG 18
WILL ROGERS
INSTITUTE
10045 Riverside Drive,
Third Floor
Toluca Lake, CA 91602
877-957-7575
www.wrinstitute.org
PG 78
78 BOXOFFICE NOVEMBER 2010

Somewhere...
deep below the restless subduction zone at the
eastern edge of Puget Sound, in the shadow
of the volcanic Cascade Range, there exists
hidden beneath a slippery zone of Lawton clay
a hatchway hewn from the ancient timbers of
the now threatened Whitebark Pine.
As truth became legend, and legend became
myth, the stories of what lay hidden for nearly
a century remained unchanged. The stoic,
unbending believers of these tales—scholars,
philosophers and kings—are now, finally,
being rewarded for their resolute and steadfast
faith in the veracity of what lies beneath.
Using techniques first described by
Muckleshoot tribal elders at a potlatch nearly
100 years ago, stout-hearted adventurers and
treasure seekers recently uncovered evidence
of a vast network of tunnels and caverns
behind this portal, hundreds of meters below
a farmer’s field. At long last, the gateway to
the catacombs has been breached to reveal…
A big pile of magazines. About 3000 of them.
film history at your fingertips
www.BoxOfficeMagazine.com

CLASSIFIED ADS
LP!
improve
movie-goer
experiences
and the industry,
HE
go to
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moviegoerrights
DRIVE-IN CONSTRUCTION
DRIVE-IN SCREEN TOWERS since 1945. Selby Products
Inc., P.O. Box 267, Richfield, OH 44286. Phone:
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EQUIPMENT FOR SALE
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BOX OFFICE TICKETING AND CONCESSIONS
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Complete ticketing and concessions systems starting at
$2,975. Call Jason: 800-434-3098; www.sosticketing.
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WWW.CINEMACONSULTANTSINTERNATIONAL.
COM. New and used projection and sound equipment,
theater seating, drapes, wall panels, FM transmitters,
popcorn poppers, concessions counters, xenon lamps,
booth supplies, cleaning supplies, more. Call Cinema
Consultants and Services International. Phone: 412-
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CY YOUNG IND. INC. still has the best prices for replacement
seat covers, out-of-order chair covers, cupholder
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DOLPHIN SEATING At www.dolphinseating.com Find
today’s best available new seating deals 575-762-6468
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TWO CENTURY PROJECTORS, complete with base,
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EQUIPMENT WANTED
OLD MARQUEE LETTERS WANTED Do you have the
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condition. Plastic, metal, large, small, dirty, cracked,
painted, good or bad. Please call 800-545-8956 or write
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MOVIE POSTERS WANTED: Collector paying TOP $$$
for movie posters, lobby cards, film stills, press books and
memorabilia. All sizes, any condition. Free appraisals!
CASH paid immediately! Ralph DeLuca, 157 Park Ave.,
Madison, NJ 07940; phone: 800-392-4050; email: ralph@
ralphdeluca.com; www.ralphdeluca.com.
POSTERS & FILMS WANTED: Cash available for movie
posters and films (trailers, features, cartoons, etc.). Call
Tony 903-790-1930 or email postersandfilms@aol.com.
OLDER STEREO EQUIPMENT AND SPEAKERS, old
microphones, old theater sound systems and old vacuum
tubes. Phone Tim: 616-791-0867.
COLLECTOR WANTS TO BUY: We pay top money for
any 1920-1980 theater equipment. We’ll buy all theaterrelated
equipment, working or dead. We remove and
pick up anywhere in the U.S. or Canada. Amplifiers,
FOR SALE
3-screen theatre in Marshall,
MO. Owner will carry back
some financing. Contact
Dennis 816-407-7469
speakers, horns, drivers, woofers, tubes, transformers; Western
Electric, RCA, Altec, JBL, Jensen, Simplex & more. We’ll
remove installed 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.
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.
AASA IS ASTER AUDITORIUM SEATING & AUDIO. We
buy and sell good used theater equipment. We provide
dismantling services using our trucks and well-equipped,
professional crew anywhere in the United States. Please visit
our website, www.asterseating.com, or call 1-888-409-1414.
FOR SALE
First run movie theater. Vibrant Vermont college town.
Vaudeville stage, 3 screens, 298 seats, renovated. $850,000.
802-999-9077.
FOR SALE Independent owned & operated, eight-screen,
all stadium-seating theater complex located in suburban
Chicago. Completely renovated in 2004. Seating capacity
for 1,774 people within a 48,000-square-foot sqft building
on 5.32 acres. Preliminary site plan approval for expansion
of additional screens. Proximate to national/regional retail
and dining. Strong ticket and concession revenues. Excellent
business or investment opportunity. Contact Kevin Jonas
at 305-631-6303 for details.
FIVE-PLEX, FULLY EQUIPPED AND OPERATIONAL:
$735,000, land, bldg., equip., NW Wisconsin. Priced
$50,000 below appraised value. 715-550-9601.
FIVE-PLEX THEATER FOR SALE in the beautiful Florida
Keys. Business established in 1974 with no competition
within 40 miles. Completely renovated five years ago. Call
Sam: 305-394-0315.
THEATER FOR RENT 1,500 seating capacity. No hanging
balconies. Largest single screen in Chicagoland. Over
500,000 potential patrons, serving NW side of Chicago and
suburbs. Contact dkms72@hotmail.com.
THEATERS FOR SALE Three screens (370 seats), North
Florida. First-run, no competition 60 miles. Additional large
multipurpose room (75 seats), with HD projector on 13.5-by-
7-foot screen for birthday parties, conferences, receptions
and café. Contact 850-371-0028.
HELP WANTED
GENERAL MANAGER IN TRAINING AT CARMIKE CIN-
EMAS All applicants must have prior managerial experience
in restaurant or theater, must be available to relocate,
no bankruptcy in past 7 years, pass a criminal/credit check.
This position requires working all holidays and weekends.
Salary position ($24K/yr start) with benefits. Email resumes
to tbauer@carmike.com, no phone calls or faxes. EOE.
PARTNER AND/OR EXPERIENCED GM NEEDED for
ground floor opportunity in Arizona. New and popular
“Brew and View” concept in outstanding area. Contact Stadiumtheatres@aol.com
GREAT ESCAPE THEATRES is a regional motion picture
exhibition company with 24 individual locations that
include 275 screens throughout the Midwestern United
States. Founded in 1997, Great Escape is one of the fastest-growing
movie theater operators in the country. We are
currently seeking a motivated individual to fill our position
as the chief financial officer or vice president of finance and
accounting. Please send resumes to amccart@alianceent.
com.
STORYTELLER THEATRES (TRANS-LUX THEATRES) have
management positions open in Los Lunas, Taos and Espanola,
NM. Prior management experience required. Salary
commensurate with experience. Send resumes to 2209
Miguel Chavez Rd. BLDG A Santa Fe, NM 87505 or email to
info@storytellertheatres.com.
SERVICES
DULL FLAT PICTURE? RESTORE YOUR XENON REFLEC-
TORS! 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.
FROM DIRT TO OPENING DAY. 20-plus years of theater
experience with the know-how to get you going. 630-417-
9792.
SEATING
AGGRANDIZE YOUR THEATer, auditorium, church or
school with quality used seating. We carry all makes of used
seats as well as some new seats. Seat parts are also available.
Please visit our website, www.asterseating.com, or call
888-409-1414.
ALLSTATE SEATING specializes in refurbishing, complete
painting, molded foam, tailor-made 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.
DOLPHIN SEATING At www.dolphinseating.com, find today’s
best available new seating deals: 575-762-6468 Sales
Office.
THEATERS WANTED
WE’LL MANAGE YOUR THEATER OR SMALL CHAIN
FOR YOU. Industry veterans and current exhibitors with 40-
plus years’ experience. Will manage every aspect of operations
and maximize all profits for you. Call John LaCaze at
801-532-3300.
WELL-CAPITALIZED, PRIVATELY HELD, TOP 50 THE-
ATER CHAIN is looking to expand via theater acquisitions.
We seek profitable, first-run theater complexes with 6 to 14
screens located anywhere in the USA. Please call Mike at
320-203-1003 ext.105 or email: acquisitions@uecmovies.
com
80 BOXOFFICE NOVEMBER 2010

SOUND DEFINED.
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improved impulse response via Dirac
Live® room optimization technology for
complete sonic transparency.
Harvested from the vineyards of
audio innovation and aged in the barrels
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for over 16 years, the AP20 Audio
Processor has refined the delicate art
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versatility by way of its mature architecture.
AP20 Audio Processor Features:
(per channel)
(per channel)
DATASAT DIGITAL ENTERTAINMENT | 818.531.0003 | WWW.DATASATDIGITAL.COM
9631 TOPANGA CANYON PLACE | CHATSWORTH, CA 91311