BoxOffice Pro - February 2010

The Business of Movies February 2010 | $6.95
®
BOXOFFICE.com
Benicio
del Toro
howls at the
moon in
Universal’s
THE
INSIDE GIANTS OF EXHIBITION: OUR ANNUAL RANKING OF THE TOP 50
EXHIBITOR TRIBUTE: RAVE MOTION PICTURES HITS THE 10 YEAR MARK
NATO’S GOVERNMENT RELATIONS PROGRAM: ARE YOU ON BOARD?
The Official Magazine of NATO

Sony 4K. Now playing.
The industry is moving to 4K, and the clear leader is Sony. Theaters have chosen
Sony 4K digital cinema projection systems for over 11,000 screens, and counting.
Studios continue to support 4K with more and more releases. And audiences
love Sony 4K and notice the quality difference over 2K, even on small screens.*
Sony 4K also projects 3D without triple-flash artifacts. Where do you turn for
proven, deliverable 4K? Only Sony.
click: sony.com/4K to schedule a product demonstration
Introducing Sony’s latest
4K Projector: the SRX-R320.
*Parker Marketing Research, March 2009. A total of 157 respondents viewed clips and still images in 2K and 4K on a 20-foot screen but were neither told of the
difference nor that the study was conducted by Sony. They used handheld key pads to quantitatively provide feedback without interacting with one another.
© 2009 Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited.
Features and specifications are subject to change without notice. Sony and the Sony logo are trademarks of Sony.

FEB2010 VOL. 146 NO. 2
25 GIANTS OF EXHIBITION >
Our annual ranking of the top 50 motion picture exhibitors
41 EXHIBITOR TRIBUTE > WORTH RAVING ABOUT
As anybody who works in exhibition knows, running just one successful
movie theater is difficult. Not only do you have to set yourself apart from the
competition to entice patrons, but once you’ve enticed them you have to
make sure they stick around by providing excellent service. RAVE MOTION
PICTURES knows how to both attract patrons and make sure they keep coming
back for more.
50 BIG PICTURE >
THE WOLFMAN
Wolf Army: Blockbuster director
Joe Johnston bites into his first
R-rated thriller—with help from
Gene Simmons … Green side of
the moon: The sky is dark, but
your theater’s full of life … The
Boeastmaster: Anthony Hopkins
devours the Universal classic
DEPARTMENTS
4 PEANUT GALLERY
The Question: Who was your first movie star
crush?
6 EXECUTIVE SUITE
NATO’s government relations program:
Shouldn’t you be a part of it?
8 PERSPECTIVE
The Long Tail and the Underpants Gnome:
Does the trendy new economic theory work in
the movie business?
10 SHOW BUSINESS
The little things: A great trip to the movies is
all about the details
12 FRONT LINE AWARD
CLINTON MCCLUNG
14 FRONT OFFICE AWARD
MATTHEW MEYER
20 TIMECODE
Werewolf? There wolf: Even a man who is
pure in heart and says his prayers by night,
may become a wolf when the wolfbane
blooms and the autumn moon is bright … or
so Universal would have you believe.
70 MARKETPLACE
72 CLASSIFIEDS
®
THE SLATE
BOXOFFICE MEDIA
PUBLISHER
Peter Cane
CREATIVE DIRECTOR
Kenneth James Bacon
the business of movies the business of movies ®
62 ON THE HORIZON
Kick-Ass: And taking names … Wall Street
2: Money Never Sleeps: Greed never dies …
The Back-Up Plan: Baby mama drama
64 COMING ATTRACTIONS
From Paris With Love: Parlez-vous danger? …
Frozen: Just when you thought it was safe to
go back on the ski lift … Dear John: Postcards
from the edge … My Name is Khan: Life is
like a box of chakras … Percy Jackson & The
Olympians: The Lightning Thief: Who’s your
daddy? … Valentine’s Day: Right in the kisser
… The Good Guy: Before Gordon Gekko, meet
Tommy Fielding … Happy Tears: For crying
out loud, dad
66 QUICKTAKES
Capsule reviews of films soon to be in release.
Complete reviews of these and other films can
be found at BOXOFFICE.com
68 BOOKING GUIDE
Booking information for nearly 150 upcoming
theatrical releases from majors, mini-majors and
independent distributors
BOXOFFICE MAGAZINE
EDITOR
Amy Nicholson
CONTRIBUTING EDITOR
Sara Schieron
INDUSTRY CONTRIBUTORS
Patrick Corcoran
John Fithian
CONTRIBUTING WRITERS
Tim Cogshell
Barbara Goslawski
Ray Greene
Pam Grady
Pete Hammond
Cole Hornaday
Wade Major
John P. McCarthy
Richard Mowe
Ed Scheid
PRODUCTION ASSISTANT
Ally Bacon
BOXOFFICE.COM
EDITOR
Phil Contrino
CONTRIBUTING WRITERS
Tyler Foster
Joe Galm
Daniel Garris
Katherine Guiney
Mark Keizer
Matthew Nestel
Steve Ramos
Cathleen Rountree
Steve Simels
Christian Toto
EDITORIAL INTERNS
Matt McKeehen
Katelyn Dato
Kirsten Acuna
ADVERTISING
DIRECTOR OF ADVERTISING
Ben Rosenstein
230 Park Ave., Ste. 1000
New York, NY 10169
212-627-7000 tel
703-229-6457 fax
ben@boxoffice.com
CIRCULATION INQUIRIES
Kable Media Services
800-877-5207
boxofficemagazine@emailcustomerservice.com
EDITORIAL
9107 Wilshire Blvd., Ste. 450
Beverly Hills, CA 90210
310-876-9090 tel
212-627-7007 fax
MARKETING
Jonathan Margolis
the michael alan group
michael-alan.com
2
Boxoffi ce · The Business of Movies December 2008

STOPPRESS
BIG DEALS
As we went to press, AMC Entertainment
announced that it had reached an
agreement to buy Kerasotes Showplace
Theatres. This followed on the heels
of an announcement by Rave Motion
Pictures that it was buying as many as
35 theaters from National Amusements.
Congratulations to all on deals well
done.
Here at BOXOFFICE, we’ve got out own big deal to crow about. For the first time
since going online more than 15 years ago, BOXOFFICE.com served up 1,000,000
pageviews in the past month. That’s an increase of nearly 500% over an 18 month
period. The reason for this remarkable achievement can be summed up in two
words: Phil Contrino. Thanks, Phil, and thanks to the entire BOXOFFICE team.
Insurance
Services
for the
Theatre
Industry
When it comes to BOXOFFICE.com, however, you ain’t seen nothing yet. We’ve got
a very exciting announcement on the horizon. Stay tuned …
peter@boxoffice.com
To read this issue of BOXOFFICE online, go to
boxoffice.com/gogreen/ and type in this access code: PS826457
IN FEBRUARY AT BOXOFFICE.COM
REVIEWS
Will its star-studded cast make Valentine’s Day a new rom-com
classic? Can Columbia’s Cop Out connect director Kevin Smith
to a larger-than-cult audience? Check out our reviews section to
learn our take on all of February’s flicks.
WEEKLY ANTICIPATION INDEX
Each week BOXOFFICE analyzes the financial prospects of the
most promising upcoming releases. Be ahead of the curve:
Read what we have to say.
THE BOXOFFICE REPORT
Sign up for our email newsletter and receive detailed scoops
behind the stories on BOXOFFICE.com plus news alerts for film
reviews and other breaking stories.
EXCLUSIVE INTERVIEWS
BOXOFFICE talks to the creative talent behind films you need on
your radar.
NEWS-REELING?
Let BOXOFFICE.com digest all the reports and rumors for you!
Check our site daily for breaking industry news.
Boxoffice (ISSN 0006-8527). Published monthly by BOXOFFICE Media, LLC, 230 Park Avenue, Ste. 1000,
New York, NY 10169. Subscriptions: U.S. $59.95 per year; Canada and Mexico $89.95; overseas $125
airmail. Periodical postage paid at Los Angeles, CA, and additional mailing offices. © 2010 BOXOFFICE
Media LP. All rights reserved. Reproduction in whole or in part without permission is prohibited.
MOC
Insurance
Services
THEATRE INSURANCE
SPECIALISTS
800 951 0600
San Francisco
www.mocins.com
license #0589960

PEANUTGALLERY
THE QUESTION
WHO WAS YOUR FIRST MOVIE STAR CRUSH?
Saoirse Ronan
Actress
The Lovely Bones
He’s not really a Hollywood
guy, but Zack in Saved by
the Bell. He was my first
crush. I was quite young,
actually. They used to
replay it on Nickelodeon
and I had a bit of a fancy for
him. I used to pretend I was
Kelly. He was my dream
guy. Not really the person
I would go for now, but he
was cool and he was the
bad boy, so I liked him.
Jon Landau
Producer, Avatar
My wife. I met my wife on a movie. She
worked in film—she wasn’t in front of the
screen. A beautiful accountant, and now we
have two sons.
Jason Hall
General Manager
Moolah Theatre & Lounge
St. Louis MO
Winona Ryder … Three words: “Beetlejuice,
Beetlejuice, Beetlejuice.” Winona may not be
on anybody else’s list, but I must admit I certainly
had a fleeting crush on that gal in the
late ’80s and early ’90s. She lost my heart
sometime in the mid-’90s … but regained it
in 2001 when she got busted for shoplifting.
(How hot is that?)
Skip Huston
Head Honcho
Huston’s Avon Theatre 3
Decatur, IL
For me it was always Natalie Wood. There
was just “something” about her (apart
from the obvious, that is). I really felt if I
could just meet her, I could win her away
from those mutts Robert Wagner or Warren
Beatty. If she had not died tragically in 1981,
she would be 70 now, and I would probably
still think about wooing her away! I’m betting
I could’ve got it done too!
Jordan Revay
Server, Cinebarre
Mountlake Terrace, Wash.
Heath Ledger. I was standing in front of the
Abercrombie in downtown Seattle and it
was right after 10 Things I Hate About You and
he walked right in front of me and my jaw
dropped to the floor. We made eye contact
and then he went around the corner and all
of a sudden I lost him. I started chasing after
him, but my best friend pulled me back. And
that was that. And then I screamed at her.”
Kerry Condon
Actress, The Last Station
Bizarrely when I was 12, I used to fancy Tommy
Lee Jones. Totally weird—he was like my
dad’s age. The Fugitive, I think that’s when my
hormones were kicking on. It only lasted a
week. But then Leonardo DiCaprio. I saw him
in the Chateau Marmont when I was 18. I’d
just signed with an agent here and he came
over and asked to bum one of my cigarettes.
Oh my god. I don’t know what mess came out
of my mouth, but it sounded like ‘Yes.’
Louis Leterrier
Director, Clash of the Titans
My father [François Leterrier] is a director.
And when I was a kid, he was shooting a
movie called Goodbye, Emmanuelle—a kind
of erotic movie. I was surrounded by naked
girls all the time, so I think these were my
first crushes. My friends were very, very jealous.
And I made lots of friends at that time.
4 Boxoffi ce · The Business of Movies Jordan Revay
February 2010

EXECUTIVESUITE
JOHN FITHIAN > NATO president and chief executive officer
NATO’s government relations program
Shouldn’t you be a part of it?
The National Association of Theatre
Owners provides many important services
for our members. Under the direction
of our Executive Board of Directors, the top
five priorities of the association are:
1 Working to preserve the theatrical release
window
2 Fighting to prevent movie theft
3 Promoting a fair and standardized transition
from film to digital cinema
4 Partnering with the MPAA to oversee
the voluntary movie rating system
5 Representing the interests of exhibitors
before the legislative and administrative
branches of the federal government.
The fifth priority, a general category of
work that involves many distinct initiatives,
probably constitutes the highest common
goal of most national trade associations.
With the high profile of the first four
priorities for cinema operators, however,
NATO’s government relations program may
not garner the attention it deserves. Now
that the Obama Administration’s regulatory
apparatus has been fully assembled—and
as the 111th Congress begins its second
session—it is a perfect time to take stock
of some of the most important issues for
exhibitors.
If you are a NATO member, most of these
issues may be familiar to you. As you skim
over them, I ask you to assess the possible
impact of these initiatives on your
own business, and then ask yourself if
you will answer the call the next time
NATO asks for your help in grassroots sroots
contacts with your representatives in
Washington. If you are not a NATO
member, I also ask you to assess the
impact of these initiatives on your
business and then ask yourself why
you haven’t joined the association. on.
And if you need more information
on any of these topics, please
contact Todd Halstead, Deputy
Director of Government Affairs at
NATO.
Credit Card Processing Fees
Over the past decade, the method of
payment at motion picture theaters has
changed dramatically as our patrons have
migrated in large numbers from cash
transactions to credit and debit cards.
With those changes, the annual fees U.S.
exhibitors pay to process card transactions
(primarily the so-called “interchange fee”)
have grown to well over $100 million. And
the rate U.S. companies pay for card transactions
grossly exceeds the rate charged in
many other developed countries.
Several years ago, NATO joined with similarly-situated
retailers to launch a government
relations campaign to bring pressure
to lower these fees. Recently, Washington
has begun to pay attention. We are optimistic
that government pressure will result in
lower fees in the near future. In November,
the Government Accountability Office
(GAO) released a report that found that
legislation in Congress to regulate credit
card interchange fees would result in lower
prices for consumers. The report stemmed
from the 2009 Credit Card Accountability,
Responsibility, and Disclosure Act, which
directed the GAO to review (1) how the fees
merchants pay have changed over time and
the factors affecting the competitiveness of
the credit card market; (2) how credit card
competition has affected consumers; (3) the
benefits and costs to merchants of accepting
cards and their ability to negotiate those
costs; and (4) the potential impact of various
options intended to lower merchant
costs.
NATO and our partners in the Merchants
Payments Coalition will continue to work
with lawmakers to address our concerns in
2010. Legislation has been introduced in
the House of Representatives (H.R. 2382 and
H.R. 2695) and the Senate (S. 1212) to address
the issue, and congressional hearings
have begun.
Gift Card Regulation
The credit card fee initiatives provide an
example of NATO’s active representation
and lobbying role. The trade association
also serves a tracking and reporting function
on policy proposals that may not rise
to the level of lobbying, but about which
cinema operators should be made aware.
Another provision of the 2009 credit card
legislation typifies NATO’s additional function.
Enacted last year, this law directs the
Federal Reserve Board to implement regulations
governing the gift card market. Currently,
the Board is finalizing proposed rules
that would restrict the fees and expiration
dates that may apply to gift cards. The proposed
rules would prohibit dormancy, inactivity,
and service fees on gift cards unless:
(1) there has been at least one year of inactivity
on the certificate or card; (2) no more
than one such fee is charged per month; and
(3) the consumer is given clear and conspicuous
disclosures about the fees. Expiration
dates for funds underlying gift cards must
be at least five years after the date of issuance,
or five years after the date when funds
were last loaded. NATO will continue to
track the development of
these rules and their various
exclusions, and will
provide information to
our members.
Hazardous Working
Conditions
In addition to tracking
the development
of proposed legislation
and regulations that
might affect exhibitors,
NATO and our
members also track
the enforcement
6 Boxoffi ce · The Business of Movies February 2010

patterns of existing laws. For example, the
Department of Labor has a nationwide
initiative underway to reduce workplace
injuries among minors under the Fair Labor
Standards Act (FLSA). In meetings with
Department representatives, NATO was
informed that movie theaters are prime targets
for investigations because they employ
a high percentage of workers under the age
of 21. Compactor and baler operation is the
most common youth employment safety
violation found by its investigators. NATO
recently produced a report for its members
on the specific requirements and restrictions
on such operations, and the signage
that may be required to avoid violations.
Health Care Reform, Beverage Taxes and
Menu Labeling
Unless you’ve avoided all national news
for the past six months, you know that
Congress is considering significant reforms
of the nation’s health care system. But unless
you are a NATO member who has paid
attention, you may not know the many different
aspects of this debate that could impact
exhibition—and the protective efforts
NATO has taken on your behalf.
As Congress began to debate health care
reform in mid-2009, the Senate Finance
Committee considered a significant tax on
sugar-sweetened beverages as one possible
funding mechanism. NATO quickly joined
the Americans Against Food Taxes Coalition
and set to work to defeat the proposal.
Six months later, after an aggressive advertising
campaign from our coalition, and
extensive grassroots lobbying (including
hundreds and hundreds of contacts from
NATO members), Congress is finalizing
health care legislation that includes no
such taxes.
NATO also targeted a lobbying campaign
on the “menu labeling” provisions in the
legislation. In the end, both the House and
Senate bills included a provision that would
preempt state and local laws on the subject,
and would restrict the requirements to
the largest companies. The legislation will
require the posting of calorie information
on menu boards at “restaurants and similar
retail food establishments” with 20 or more
locations. NATO members have been provided
with more detail on this provision,
and we will continue to track the implementing
regulations.
Of course, the broader health care requirements
in the legislation will also affect cinema
operators, as they will all employers.
As I write this column in late December,
legislation has passed the Senate which is
much less onerous on employers than the
House-passed bill. I hope that by the time
you read this, most of the Senate provisions
will have prevailed in the conference debate
between the two bodies.
NATO supported many changes in the
Senate debate over the House-passed legislation.
For example, the House bill requires
most employers to provide insurance to
most employees, including part-time workers.
The Senate bill would impose only
partial costs on employers for only fulltime
(not part-time) workers. The Senate
bill also provides greater tax incentives to
make health insurance more affordable for
small businesses. The bill also would exempt
movie theaters and other businesses
with 50 or fewer employees from any employer
responsibility. NATO members have
received—and will continue to receive—
much more detailed information about this
important legislation and its impact on
their business.
Paid Leave
The Obama Administration and many
Democrats in Congress seek legislation to
require employers to offer paid sick leave to
their employees under certain circumstances.
The spread of the H1N1 virus has added
energy to their cause. NATO opposes paid
leave requirements and has joined a coalition
to lobby the pending legislation.
The Theatrical Release Window and the
Selectable Output Control Waiver Petition
The MPAA filed a petition with the Federal
Communications Commission (FCC) in
June of 2008 that raised serious issues about
movie release patterns to the home. The
issue involves the MPAA studio members’
desire to use “Selectable Output Control” to
protect movies from being transferred between
home electronic video devices, in an
effort to deter movie theft. NATO filed careful
reply comments to raise our concerns
about the release model as contemplated,
without taking issue on the need to prevent
movie theft. NATO also successfully sought
congressional contacts to the FCC to raise
our concerns, and to slow down the petition
process long enough to engage our studio
partners in dialogue about their intentions.
Our main concern—which remains
unanswered—is that the studios have not
explained the release model they intend to
employ. Should the FCC grant them authority
to use SOC, we want to know exactly
how early they intend to distribute movies
to the home. Without that explanation,
we have little choice but to continue to oppose
the petition. To discuss our concerns,
NATO’s executive staff held meetings at
the FCC during November and December.
Given the FCC’s limited jurisdiction on the
technical issue of the SOC waiver request,
the Commission appears reluctant to articulate
any rules on the release windows. As
such, the regulatory outcome is likely to be
unfavorable to exhibition. Nonetheless, our
regulatory delaying tactics, combined with
NATO members’ strong position on the
windows issue in the marketplace, have led
to recent signs that some studios want to
engage in reasonable conversations with exhibitors
regarding their windows policies.
Union Organizing and the “Employee Free
Choice Act”
The “Employee Free Choice Act” would
allow a union to be certified if a simple
majority of employees at a workplace sign
authorization cards—thereby eliminating
secret ballot elections—and would
mandate federal arbitration if business and
labor could not reach agreement on terms
demanded by the union. NATO’s members
joined several other industries and trade
organizations in a massive grassroots blitz
that many pundits cite as derailing the card
check aspect of the EFCA. However, the bill
is very much alive. Democratic senators
are seeking compromises on EFCA that include:
(1) establishing finite time windows
for secret ballot elections to take place; (2)
establishing a mail-in ballot process by
which the federal government could monitor
and certify elections (known as postcard
check), thereby preventing employer
“interference”; and (3) the proposal of “last,
best offer” negotiations, where a federally
appointed arbitrator would choose between
an employer’s offer and a union’s offer in
setting the terms of a contract. Now that
Senate Democrats have demonstrated their
unity with 60 votes (including two independents)
on health care reform, they will
likely turn back to union issues early in
2010.
Space constraints limit the ability to
discuss every NATO government relations
effort here, but it is also worth noting that
in 2010, NATO will again be working with
the Department of Justice on their proposed
regulations under the Americans with Disabilities
Act, and with the Federal Trade
Commission on their ongoing investigation
of violence in entertainment and voluntary
rating systems. With these and many other
issues pending in Washington, shouldn’t
you be involved with your industry’s trade
association?
February 2010
Boxoffi ce · The Business of Movies
7

PERSPECTIVE
PATRICK CORCORAN > NATO Director of Media & Research / California operations chief
The Long Tail and the Underpants Gnome
Does the trendy new economic theory work for the movie business?
Sometime in 2004, former Wired editor
Chris Anderson discovered the Grand
Unified Theory of Everything for the new
age of digital commerce. Turned into a
book two years later, The Long Tail hit on
a very simple, very elegant way forward
in the treacherous new world of Internet
distribution.
The idea is this: Given storage and
distribution costs approaching zero–and
nearly unlimited access to customers—
online retailers could maximize revenues by
expanding inventory. As customer choices
diversify, a greater and greater percentage of
revenue will move away from the head (the
hits) toward The Long Tail.
Needless to say, a formula like that
was exciting—revolutionary, even—to
those with a large investment in
digital commerce, philosophers of
disintermediation and decentralization,
and anyone who has never run a business.
In short, it is nonsense.
It brings to mind South Park’s classic
“Gnomes” episode that parodied every
internet business plan ever written:
PHASE ONE
COLLECT UNDERPANTS
PHASE TWO
?
PHASE THREE
PROFIT
shows that user recommendations coalesce
around hits (meaning hits in terms of
Netflix rentals, not necessarily top renters
elsewhere) even more intensely than the
old 80/20 rule of thumb (80 percent of the
revenue from 20 percent of product). Using
user recommendation data as a stand-in
for popularity, the Wharton study found
that the top 20 percent of Netflix rentals
increased in demand share from 86.6
percent in 2000 to 90.08 percent in 2005.
Also telling: as Netflix’s catalog grew—
and the number of movies with user
ratings more than doubled between 2002
and 2005—the number of movies without
any rating at all multiplied more than
six times from 6,082 to 37,232. The raw
number of films without a rating was more
than double the number of films with one.
We’ve gone through similar enthusiasms
in the movie theater business. Does anyone
remember the excitement that followed
the initial multiplex boom? At last, there
would be the opportunity to program
independent films right alongside the
blockbusters and the audience would
simply expand. Those 12, 16, 22 screens
would have to be filled and as a bonus,
FILMS
RELEASED
TOP 20% GROSS
(in billions)
share among the bottom 80 percent?
Again, no. In 1990, the bottom 80 percent
of films accumulated $1.12 billion; in
2008, the bottom 80 percent corralled $665
million—barely half. And 2008’s smaller
revenue was shared among 160 more films.
Why should this be so? Why is The
Long Tail even less of a factor in the movie
theater business?
Cost of distribution to theaters may
get cheaper, and the number of screens
available for distribution may grow, but
for the theater owner, that space has a
high inventory cost. Unlike a shelf in
a warehouse, a showtime needs to be
maximized—the highest number of seats
must be sold—because you can’t get that
time back once it has passed and the costs
are fixed.
So instead of thinking outside the
blockbuster, multiplexing meant that
blockbusters—and more than one!—could
(and do) play on two, three, five screens
in a single multiplex. The rule of the hit
has become more imperative than ever;
one of the big movie industry stories of
2009 has been the collapse of independent
distribution in the theatrical marketplace.
TOTAL GROSS
(in billions)
TOP 20%
SHARE
1990 410 $3.904 $5.02 77.6%
2008 610 $9.015 $9.78 92.1%
To be fair, The Long Tail also
highlights the importance of customer
recommendation engines, long leaned on
by Netflix and Amazon, to bring obscure
titles to the attention of customers. Netflix
considers its recommendation engine so
critical that it offered a $1 million prize
to the developer who could improve its
current system’s error rate by 10 percent.
And Netflix seems to be the poster
child for The Long Tail. According to
one 2006 study, 70-80 percent of Netflix’s
rentals originate from the back catalog,
not new releases. But a Wharton School
of Business study (http://opim.wharton.
upenn.edu/~netessin/TanNetessine.pdf)
theaters could diversify their audience.
And for a while, that seemed to happen.
The number of movies released by U.S.
distributors rose from 410 in 1990 to 610
in 2008. The percentage of those released
by MPAA members (the major studios)
declined from a high of 49 percent in 2002
to 26.5 percent in 2008.
So the inventory expanded, the variety of
films on offer to moviegoers broadened and
The Long Tail was vindicated, right?
No. In 1990, the top 20 percent of films
by gross accounted for 77.6 percent of the
annual box office. In 2008 that number was
92.1 percent. But surely, the pie expanded
and in absolute dollars, there was more to
The rollout of digital projection and
distribution has long been expected to
change this dynamic. But will it really?
Much of the decade-long process of bringing
digital cinema to market has hinged on two
things: a stable, interoperative, standardsbased
technology that was as good as 35
millimeter film, and a business model that
makes sense for exhibition. The technology
is here and to many eyes it has surpassed
film-based projection. The business model is
taking longer.
Since distributors were widely
understood to be the prime financial
beneficiaries of the lowered distribution
costs that accompany digital cinema, much
8 Boxoffi ce · The Business of Movies February 2010

of the industry negotiations surrounding
digital cinema revolved around a viable
way to involve the studios in financing the
industry-wide rollout. The development of
the Virtual Print Fee and introduction of
the third-party integrator have answered
that question. We stand on the cusp of
the revolution. The surprising success of
digital 3D has made the case for conversion
even more compelling.
But what else can digital do for
movie theaters in a business sense?
Does the introduction of lower cost
digital distribution into the multiplex
environment mean a renaissance for
independent film?
The short answer is: I don’t know.
The longer answer is complex, and bears
examining.
One of the great obstacles for independent
films in the theatrical marketplace has been
the high cost of prints and advertising. A
small print run can cost a distributor in the
range of $1,500 per print to strike and ship.
That is one reason why independent films
continue to rely on an almost retro platform
release model that depends on concentrated,
more adventurous potential audiences in a
handful of major markets like New York, Los
Angeles or San Francisco to gain buzz and
positive reviews. A strong enough showing
can justify the striking of additional prints
(or a riskier plan to widen the release
regardless of reception) to a larger number
of markets.
In the digital cinema world, one can
imagine a print cost roughly one-tenth
that of a film print ($100 for the hard drive,
$50 for shipping—not precise numbers
but good enough for our purposes here).
This makes it possible to be in ten times
as many theaters for the same cost as one.
Independent film crisis solved!
As expensive as it is to distribute in
the film world, for any distributor, the
greatest expense after making the film
itself is marketing. This is no less true
in the independent world. While digital
distribution may make it possible to get your
movie in 500 locations for the same expense
as 50 locations in a film world—getting
that movie known in ten, twenty or thirty
markets is going to cost the distributor ten,
twenty or thirty times as much. A $1 million
marketing budget to cover a three city release
is hurdle enough; expansion will drive that
cost higher and the $1,350 per print saved to
go to ten more theaters ($13,500) won’t make
much of a difference.
Here’s the snap of that Long Tail: The
same considerations that have always
driven your film buying decisions will
continue to drive your digital film buying
decisions. Is there an audience for this
movie? Is there marketing support? And
what else can I be playing?
February 2010
Boxoffi ce · The Business of Movies
9

SHOWBUSINESS
PHIL CONTRINO > editor, BOXOFFICE.com
MANAGERS WANTED
COUPLES
RETREAT
comes to
Blu-ray
hi def & DVD
February 9
Great Escape Theatres, one of
the fastest growing movie theater
operators in the country, is
currently looking for qualified
GENERAL MANAGER and
SENIOR MANAGER applicants.
Founded in 1997 Great
Escape currently operates 24
locations throughout the East,
South and Midwestern United
States with 2 additional locations
slated to open in 2010. Management
positions offer opportunities
for dynamic career growth
and advancement. Applicants
must have verifiable experience
managing multiple staff members
and working within budget
guidelines. Skills should include
excellent communication, leadership,
organization and time
planning. Salary potential up
to $50K+ with additional benefits
including Health Benefits,
Paid Vacation, Bonus Program
and 401K program. Please send
resumes to adixon@alianceent.
com. EOE.
The little things
A great trip to the movies is all about the details
I
’m now in my second year of writing this
column and I sincerely hope that you’ve
all enjoyed reading it as much as I’ve enjoyed
writing it. Positive feedback from readers
means a great deal to me, whether it’s
exhibitors saying my February 2009 column
inspired them to start a Facebook page or
the approval for my article on movie theaters
that keep old films in their programming.
I’m confident that 2010 is going to be
a great year for the exhibition industry, and
I look forward to sharing with you the many
different ways our readers brainstorm to
reach their audiences.
This month, I’m focusing on the things
that always make my experience at the
movies more enjoyable. It’s a big part of my
job to watch hundreds of movies in theaters.
With all due respect to other professional
film journalists who like private press
screening rooms, I always prefer to catch a
movie with my friends or family at a packed
house on a Friday night. A big part of my job
is predicting a film’s performance at the box
office and I can’t gauge that by sitting in a
room with a bunch of Manhattan-based media
types. It’s important to see how people
who forked over their hard-earned money
react to what’s on the screen.
Still, when we do something over and over
again, it’s easy to forget the little pleasures. I
try to remind myself of those tons of details
that add up to an enjoyable theater experience.
So without further ado, here’s my list of
the little things that count:
The perfect combination of trailers
It’s no secret that we at Boxoffice are big
supporters of the digital transition—and
one of digital’s many advantages is that it
makes it easier for exhibitors to line up the
most appropriate trailers. With a few clicks
of the mouse, many theaters are now able to
perfectly match the trailers to their feature
film. I love going to the movies and seeing
four or five trailers in the same vein as my
chosen film. It always makes for a more cohesive
experience.
Being liberal with the butter
10
My sincere gratitude to all of the theater
employees who have ever indulged my request
for “extra butter.” Any true exhibition
worker can confirm that there’s a science to
executing this request. It’s not simply about
splashing on a couple extra squirts once
you’ve filled the bag. First, you have to scoop
up just half a bag of popcorn. Next, add an
indulgent amount of that glorious, golden
liquid. To finish, you pile on the rest of the
kernels and then generously add a heap
more to the top. This ensures that when I
reach the bottom of the bag, so has my butter.
Every mouthful of popcorn is perfection.
While I’ve figured out the method to optimize
my popcorn, I’ve yet to calculate the
perfect measurement of cheese to bless each
nacho while timing it to run out just when
the last chip is gone. Rest assured, we have a
team of scientists working around the clock
on this crucial question.
The marquee with plastic letters
The digital signage industry is merging
with the exhibition industry in a big way
and I’m more than happy about it. Now
theaters have the ability to deliver information
to their patrons with more efficiency.
Yet part of me will always treasure a theater
that has to use a ladder to put up plastic
letters on their marquee. My local arthouse
still has one—and so does my local Carmike.
Yes, often letters are missing or interesting
abbreviations pressed into service, but those
imperfections are just part of the mystique.
A knowledgable staff
Granted, as a movie-obsessed trailer fiend
I never need to ask a ticket taker whether a
movie is appropriate for children or if I’m
making the best decision for the night, but
it’s always reassuring to hear a theater employee
tell a family with small children that
they are better off seeing The Princess and
the Frog over Avatar or that It’s Complicated
is a better date movie than Precious: Based on
the Novel “Push” by Sapphire. It’s always important
to remember that most people don’t
follow the industry as closely as we do—
and that we have the ability to give them
the best possible experience.
Share the little things that always make
your movie theater experience better. I’d
love to include them in this space. You can
send them to phil@boxoffice.com.
Boxoffi ce · The Business of Movies February 2010

The POS Software Sensation.
A dynamic software package that culminates three decades of theatre
automation experience.
Developed utilizing a .NET platform, Integra provides a modular approach
to enterprise management with truly sensational features.
Managing your theatre has never been easier.
POS Enterprise Software
Innovative POS Solutions
905-629-4757 omniterm.com
February 2010 Boxoffi ce · The Business of Movies 11

WINNER
FRONT LINE AWARD
CLINTON MCCLUNG > PROGRAMMER
CENTRAL CINEMA
SEATTLE, WASH.
Nominated by Kevin Spitzer, owners
Fan favorite
Making a repeat viewing a one-of-a-kind experience
Clinton McClung is a big man, sandyhaired
and cherubic, a gentle mash-up
of Paul Giamatti and Plan 9 from Outer Space
star Tor Johnson—the latter he’s role-played
many times with glee. McClung’s career has
been as unpredictable as that of the Swedish
wrestler turned b-movie actor but the arc
has always curved back to the movies.
“I’ve worked in movie theaters since I was
about 17,” says McClung. “I saw Fast Times
at Ridgemont High and thought the kid at the
movie theater was the cool kid in the movie.
I wanted to be that kid. He’s dorky and he
totally gets spurned by Jennifer Jason Leigh,
but ultimately he’s the cool kid.”
A native of Denver, Colo., McClung first
worked at Landmark Theatres. After a
brief stint in film school at the University
of Colorado, he relocated to Boston and
was hired at Brookline’s old Art Deco-era
arthouse, the Coolidge Corner Theatre.
“It showed mostly art films but it also
had midnight movies,” recalls McClung.
“I really, really, really enjoyed working
there.” To promote
their midnight
movies, Coolidge
management
encouraged
McClung to get
creative. “I brought
in artist friends
of mine to do live
shows and cabarets.
We even did a
midnight play. They
were original works,
but I always tried to
add a film element.”
Whether it was
nouveau burlesque
or skits based on
Plan 9 From Outer
Space (giddily
casting himself
400-lb inspector),
McClung revelled in the collaboration.
He was even the principle organizer for a
nationwide sing-a-long tour based around
the Buffy the Vampire Slayer musical
episode, “Once More With Feeling”—a
fan-favorite event that continues to gain
momentum.
But after seven years of helping the
Coolidge to build a following with his
unique programming, he quit. “We were
becoming really, really, really successful,”
says McClung, “I felt like I’d reached the
cap of what I’d wanted to do there and was
looking for the next step.”
McClung explored careers from film
production to distribution, but life kept
drawing him back to programming, an area
where his unique vision was finding greater
footing.
Ultimately, McClung landed in Seattle
where he met metal sculptor and theater
owner, Kevin Spitzer. Inspired by cinemaeateries
like McMenamins brew pubs
and the Alamo Drafthouse, Spitzer had
converted his airy warehouse studio into a
one-screen venue with a working kitchen
and bar. But after four years, Central Cinema
was still struggling to find its audience.
To build an audience, one must study
their audience. Notes McClung, “We are the
generation who grew up with VHS; we grew
up watching the movies that we loved over
and over again.” McClung has had great
success with 1980s fare—a diverse party
that includes the Almost Human, Madonna
on Film series (a tribute to the pop star’s
infamously bad acting career) and a highly
successful Lost Boys Quote-A-Long wherein
the audience is supplied screen titles to
share in each priceless quip, quote and song
lyric and a goodie bag of props to “enhance”
the viewing experience.
Talking film with McClung becomes a
hyper-kinetic brainstorming session as he
hurls ideas on everything from designing
a Charlie and the Chocolate Factory Smell-A-
Long (blueberry pies could be wafted under
the audience noses and chocolate propelled
with an air cannon) to wiring seats for a
screening of William Castle’s The Tingler.
McClung might share a pinch of Castle’s
genetic code.
“I started thinking outside the box,”
says McClung. “What are the movies that
everybody has already seen a billion times
but would still love to see on the big screen
with a group of people? And what would
make it a little different, a little more
interactive, what would make it unique, a
one-of-a-kind only experience? We can show
anything on video: we can show your short
films, we can show YouTube videos, we can
do whatever we want—what would you like
to do?”
Spitzer is thrilled with the magic and
chaos McClung has wrought at Central
Cinema. “Clinton has been doing the
stuff that I’d been trying to do but found
impossible. You can’t make enough time in
your life when you run a whole theater. It’s
enough keeping movies on the screen and
getting the fliers done. We’ve been making
great progress in getting noticed and there
are fun things going on here.”
“When I find something special, my
instinct is to always share it with everybody
else and make him or her a fan,” says
McClung. “I find that little gold nugget
and shout: ‘Look everybody—look what I
found!’”
—Cole Hornaday
Monthly winners of the BOXOFFICE Front Line Award receive a $50 Gap Gift Card! Nominate your employees and co-workers today! Email cole@boxoffice.
com for details. BOXOFFICE is looking for winners—theater employees you consider to be genuine role models making a significant, positive impact on your theater
operations. To nominate a theater employee for the monthly BOXOFFICE Front Line Award, send a brief 100– to 200-word nominating essay to cole@boxoffice.com.
Be sure to put ‘Front Line Nomination’ in the subject line.
12
Boxoffi ce · The Business of Movies February 2010

WINNER
FRONT OFFICE AWARD
MATTHEW MEYER > MANAGER
METRO 4
SANTA BARBARA, CA
Nominated by Tracy Fisher, assistant manager, Plaza de Oro Theatre
Think global, lead local
Manager balances school, life, work
Matt Meyer downplays his entry into
exhibition. “I was 17 when I got my
first job with Metropolitan Theatres,” says
Meyer. “It was the first job I’d ever had. One
of my friends worked at the theater and kept
telling me to apply. He’d say, ‘I really like
this job—you should apply, you should apply!’”
Meyer wasn’t optimistic. His earlier efforts
to find a job ran into dead ends. But he
submitted his application that December. “I
think they were actually trying to get a few
more people just for the holiday rush. They
called me up right away and I got hired.”
Though green and unseasoned, Meyer
quickly demonstrated his raw talents, reliability
and punctuality to Metropolitan
Fiesta 5 management. A high school senior,
Meyer had set his sights on Global and International
studies at City College in Santa
Barbara. Two years later he transferred
to University of California-Santa Barbara
(UCSB) and graduated with his Bachelors of
Arts in 2009. He continued making time for
the movie theater. That period was one of
dizzying productivity for Meyer. “I was floor
staff and then I was a supervisor and then
assistant manager,” says Meyer, “and then
when a nearby theater, the Metro 4, opened
up a management position, I applied.”
Metropolitan Theatres is a close-knit family
of cinemas. Though the last five years
saw Meyer migrate through several facilities
as he pursued his education, he felt stable.
“Instead of one 20-plex, we have eight or
nine theaters in the area,” says Meyer. “With
nine different theaters and nine different
managers, we all know each other, have regular
managers’ meetings and borrow staff
from each other when we need help.” Meyer
feels this team unity helped alleviate the
burden of working and studying full time.
“I found myself growing with these people.
It’s not like you’re by yourself and isolated.
There are a lot of people and there are a lot
of good people—it’s a positive environment
to work in.”
“I honestly don’t know how he did it,” says
Plaza de Oro assistant manager, Tracy Fisher.
“He was manager, working full time and
going through college. I’m doing that right
now and I really don’t understand how he
could have done that working 40-50 hour
weeks and going to school five days a week.”
Fisher believes Meyer endured thanks to his
personal discipline. “I’m really bad about
procrastinating,” says Fisher, “but he always
managed to do everything on time. I learned
from him not to put things off—this job can
be pretty challenging at times just because
of the hours. We get out so late a lot of the
time that it’s hard to get up and go to school
the next morning or finish your homework.
So that was always really difficult. Time
management with any job is kind of hard to
master, but he did it well.”
Both Meyer and Fisher credit the flexibility
of the work culture of Metropolitan
Theatres for making their intense lifestyles
tolerable. “We’ve been really fortunate,”
says Fisher, “if I had a test or something, our
managers would usually be able to accommodate
us so that we could study or work
on papers.”
“What impresses me most about Matt is
how consistent he has proven to be over the
years,” says Fisher. “He really surpasses a lot
of the competition, which is pretty incredible.
He’s so smart and I think that he could
do anything he wanted to, really. If he does
want to pursue his career with the company,
I think that he could definitely work in the
home office at some point. He definitely has
the knowledge and the skills for that.”
Meyer’s education in Global and International
Studies has taught him to view his
life and career in a greater scope. “It’s interesting
because you read about how the box
office is, now more than ever, global—it’s
worldwide and movies are grossing more
and more overseas, as opposed to in the past
when a large majority of their gross was
North America.” Meyer says he now sees
how exhibition contributes to the greater
workings of global economy. “There are all
kinds of little things that relate back and
forth between the job and the field that I
have studied—even though on the surface,
they don’t look like they are totally related.”
For now, time is on Meyer’s side. “I’m not
100 percent certain where I see myself going.
Now that I’ve graduated from school, a
part of me wants to stay with the theaters
and just see where that takes me.” For the
first time in years, he has the leisure time to
process and reflect. “It’s nice to enjoy my job
a little bit more.”
—Cole Hornaday
BOXOFFICE is looking for winners—managers, operators and executives you believe to be the real stars, exhibition professionals making a
significant, positive impact on operations, employees and the bottom line. To nominate a front office star for the monthly BOXOFFICE Front Office
Award, send a brief 100– to 200-word nominating essay to cole@boxoffice.com. Be sure to put ‘Front Office Nomination’ in the subject line.
14 Boxoffi ce · The Business of Movies February 2010

WINNER
MARQUEE AWARD > TAMPA THEATRE / TAMPA, FLA.
COMMUNITY
CHEST
TAMPA TREASURES ITS TAMPA THEATRE
In the 1920s, the silent movie house was the pinnacle
of popular entertainment technology. When worldrenowned
theater architect John Eberson set pen
to drawing board to rough out early Tampa Theatre
designs, he couldn’t have foreseen that his sketches
would become a treasure.
By Cole Hornaday
photo: Gordon Myhre
16 Boxoffi ce · The Business of Movies

FIRST LADY OF THE AMERICAN THEATRE
Tampa crowds turn out to see Helen Hayes
repeat her Broadway performance as Maggie
Wylie in 1934’s What Every Women Knows. The
experience of making the film so distressed
Hayes that she left Hollywood for 20 years
BLONDELLE’S BOYS
Only a choice few made through Blondelle
Gladney’s usher screening process
CREATURE FEATURE
Adding another dimension to a sold
out screening of 1955’s Revenge of the
Creature in 3D, a local artist posed in his
hand-made creature suit alongside giddy
patrons
Opened in 1926, the 1,446-seat silent
movie house shares those signature
Eberson design elements made famous in his
over 500 structures—100 of them
theaters—
from New York to Australia. The
Romanian
architect loved to pair Art Deco with hints
of Italian Renaissance, Byzantine, Span-
ish, Greek and Baroque design, yet Tampa
Theatre is not without its unique
touches of
“Florida Mediterranean.” Its interior design
evokes the atmosphere of a nighttime
courtyard adorned with stuffed parrots,
fountains inlaid with tropical flowers
and a host of stone gargoyles.
Tara Schroeder has been
Tampa
Theatre’s Director of Programming
and Public Relations for 17 years. A
former employee of
the League
of Historic American
Theatres,
Schroeder’s
job with
Tampa
Theatre is a
dream come
true.
“Tampa
Theatre is
one
of the
most beloved
places in our
community,”
says Schroeder.
“The architecture
is very
warm
and
exciting. It’s
not flashy, it’s not gilded—there are no chandeliers,
it’s a very organic style.”
Even with nearly two decades pacing the
aisles, Schroeder regularly discovers something
new. “I’ll be running through and I’ll
notice some quirky little detail out of the
corner of my eye that’s just fascinating.”
Like many movie houses of old, Tampa
Theatre kept its footing through the early
half of the century, but with the late ’60s economic
shift, audiences began to drift away to
the new Tampa suburbs. Downtown Tampa
businesses tried to weather that storm, but
developers sought to pave over a greater part
of the old business district for parking lots
and skyscrapers. Were it not for the community’s
intervention, Tampa Theatre would
have washed away with the tide.
In 1973, a city committee cut a deal with
the Tampa Theatre’s owners. The City of
Tampa assumed responsibility for the theater’s
leases. Then Mayor Bill Poe and City
Councilman Lee Duncan rallied a grass roots
following and, by a slim four-to-three city
council vote, convinced the city to rescue the
theater. From then on, the Arts Council of
Hillsborough County took charge of Tampa
Theatre’s programming and special events.
By 1978, the Tampa was an early poster child
for the salvation for endangered theaters.
The bright moments of Tampa Theatre’s
history would splash its proscenium in more
colors than a rainbow. It would take a novel
to do justice to the theater’s rich history.
But when many speak of Tampa Theatre’s
January ary
2010
0
photo: Radko Keleman
Boxoffi ce · The Business of Movies 17

WINNER
MARQUEE AWARD > TAMPA THEATRE / TAMPA, FLA.
photo: John Mazello
MAN OF A THOUSAND FACES
Accompanied by Tampa Theatre’s Mighty Wurlitzer
Organ and orchestra, crowds thrill to a screening of
Universal’s 1925 silent Lon Chaney classic
past, they never overlook Blondelle Gladney.
Gladney was the cinema’s cashier from 1926
to 1971—45 years!—and her presence went
far beyond punching tickets and counting
change. (She referred to herself as “Miss
Tampa Theatre.”)
“Anyone who was anyone didn’t get past
her,” says Schroeder. “She was under orders
from the management to take a good look
at any young men who wanted to be ushers.
They had to give her their job applications. If
she thought they were cute, she would pass
them along—if not, she would throw their
application in the garbage.” For decades, the
young women of Tampa attended the theater
for visual stimulation both on and off the
silver screen.
Tampa Theatre has become a place of mental
stimulation, too, as a self-perpetuating
art space that hosts hundreds of arts-related
events each year.
One successful outlet for learning is the
Lets Make Movies digital filmmaking summer
camp. “I heard about this program at the
University of South Florida College of Education
where they train their education majors
how to use technology in the classroom,”
says Schroeder. “Instead of making the book
report on George Washington, students produce
an iMovie, touching that whole visual/
literacy issue and how students’ perceptions
are changing.” Schroeder successfully
pitched an expansion of the program to USF,
and for eight years students have learned
the ins and outs of filmmaking. Within the
venerable walls of the old movie house, a
new generation gets the chance to develop,
produce and screen their own work.
There is offscreen artistry at Tampa Theatre
as well. In 2001, Schroeder learned
of the Cintas Corporation Best Restroom
Award and decided to go for the gold. The
manufacturer of restroom supplies and work
uniforms annually awards businesses with
lavatories of exceptional hygiene and unprecedented
style. “I sent out press releases
asking every one to vote us number one…
because no wants to be number two.”
Truth be told, Tampa Theatre’s restrooms
are in a class of their own. “You’ll often hear
cackling coming out of the ladies room,” says
Schroeder. “That’s because there are four
stalls in the ladies room with wooden doors,
and in the fourth stall is a half-size toilet for
the kids, it stands about ten inches off the
floor—I often refer to it as ‘the thigh exerciser.’”
Sadly, Tampa Theatre’s restrooms only
made number seven on Cintas’ list—indeed,
far preferable to being number two.
In 2006, Tampa Theatre Restoration Society
member Catherine Sanders contacted
18
Boxoffi ce · The Business of Movies February 2010

producers of the
DIY Network reality
program DIY to the
Rescue. Her proposal:
renovating the
theater’s well-worn
dressing rooms.
Schroeder admits, to
her chagrin, “There
were times artists
would come in and
take a look at our
dressing rooms and
say, ‘Okay, we’ll just get dressed in the tour
bus.’ I would have, too.”
DIY was very interested in filming the
project, but scheduling conflicts arose at the
network and it looked like the project would
be put on indefinite hold. The dedication
of certain board members convinced them
otherwise. “We have an amazing Tampa Theatre
Foundation Board,” says Schroeder, “and
board member Beth Bernitt works at the
LOWER MEZZANINE
Designed by John Eberson and built in 1926, it was
chosen by LIFE as one of “America’s 21 Wonders”
photo: Radko Keleman
Beck Group, an international developer and
construction company.” Bernitt convinced
the Beck Group to project manage and hire
on their own legion of subcontractors to
help. “In total, I think nearly 26 companies
donated upwards of $200,000 worth of labor
and materials.” When DIY returned to pick
up their initial shooting schedule, producers
were so impressed with the Tampa Theatre’s
resourcefulness, one episode morphed into a
ETERNAL NIGHT
Tampa Theatre’s auditorium is made to mimic a
Mediterranean courtyard at night
two-part DIY special
event.
“The thing about
Tampa Theatre is
its history,” says
Schroeder, “and
it’s this legacy that
makes Tampa Theatre
an important
part of our community.”
The Tampa
community feels a
deep sense of stewardship
for the theater that their grassroots
pressure helped to preserve—and shepherd
into the new century. “Tampa Theatre is
relevant today. We had 1,300 school kids
come in here yesterday to see a show and
they could care less whether it was built in
1926—they’re starting their relationship
with Tampa Theatre today. For an historic
place, it’s very much alive—it’s thriving and
it’s relevant.”
A DIMENSION OF SIGHT AND SOUND
Just another sold out screening at Tampa Theatre
photo: Radko Keleman
February 2010 Boxoffi ce · The Business of Movies 19

TIMECODE
KENNETH JAMES BACON > creative director, BOXOFFICE Media
Even a man who is pure in
heart and says his prayers
by night may become a wolf
when the wolfbane blooms
and the autumn moon
is bright.
Or so
Universal would
have you believe.
CHANEY’S SON SIGNED > NEWS FROM BOXOFFICE > 02.11.32
Hollywood—Radio Pictures has signed Creighton Chaney as a stock player. Chaney is the son of the late Lon Cheney. [note: Creighton became Lon Jr. in 1935]
20
Boxoffi ce · The Business of Movies February 2010

With the upcoming release of Joe
Johnston’s big-budget remake
of the Universal classic The Wolf
Man, I decided to descend into
the dank darkness of the BOXOFFICE Vault
and snoop around among the stacks of dusty
volumes in search of werewolfish clippings
and art from our glorious past (Happy 90th
to us!). Actually, I sent my P.A., Ally, down
there while I sat before a cozy fire with my
pipe, slippers and first edition of Manly Tales
of Roguish Adverture.
Hearing gunshots, I immediately continued
to sit by the fire. Howls and grunts and a
fiendish cry indicated that staying put would
be my best course of action as I knew Ally
was equipped with garlic, a wooden stake
and silver bullets, or at least a full can of
Coor’s. That girl can throw.
Longtime readers of this column—both of
you—know that the BOXOFFICE Vault is located
in Washington State, home to Edward,
Bella and Taylor Swift’s ex-boyfriend whose
name escapes me at the moment. (You know,
the New Moon teenage werewolf dude). So,
I’m in prime werewolf territory.
Ally soon returned with the material
presented in this edition of Timecode and
the still-beating heart of my evil twin brother,
Frederick, who had taken refuge in the Vault
after an unpleasant episode at a recent bowling
tournament in the Carpathian mountains.
I had forgotten that Frederick was a
werewolf—I mean, I totally spaced—and was
somewhat disappointed in Ally for dispatching
my dear werewolf brother without so
much as a heads up. One less for dinner, I
guess.
Being a fan of the werewolf genre, my favorite
is John Landis’ An American Werewolf
in London and, in particular, its spectacular
daylight transformation scene which earned
Rick Baker his first of six Academy Awards
for Best Makeup. That same year, The Howling
was released, featuring a far more grisly
man-to-beast metamorphosis designed by
Baker protégé Rob Bottin (see page 60 for
our classic ad).
Baker has stated in interviews that the
challenge in turning Benicio del Toro into
a werewolf for The Wolfman was that the
physical difference between del Toro and a
wolf isn’t a hell of a lot. Drop a pair of teeth
in and you’re just about there.
So, flip the page for some werewolfy goodness.
THE BEST
The Werewolf 1913
The Werewolf of London 1935
The Wolf Man 1941
The Curse of the Werewolf 1961
An American Werewolf in London
1981
The Howling 1981
The Company of Wolves 1984
Wolf 1994
Bad Moon 1996
Dog Soldiers 2002
Underworld 2003
The Twilight Saga: New Moon
2010
CLASSICREVIEW MAY 4, 1935
WEREWOLF OF LONDON
A first class chiller on the Jekyll and Hyde pattern that should satisfy the average movie
fan one hundred percent. Yarn concerns a pair of botanists, one, a werewolf, contaminates
the other while searching for a flower said to contain the necessary ingredients to
cure both the physical and psychopathic condition. Each tries to outwit the other in securing
the blooms brought to life by artificial moonlight rays as a prevention through
the injection of its juices against the transference to werewolfery. Murders and complications
follow until the husband, about to kill his wife, is shot by her boyhood sweetheart
and begs forgiveness as he returns to his natural state. Exceptional photography
and expert direction by Stuart Walker. With Henry Hull, Warner Oland, Valerie Hobson
Aconitum, or wolfsbane, when taken in
large portions, excites sickness, vomiting,
diarrhoea, giddiness, delirium,
fainting, cold sweats, convulsions and,
apparently, lycanthropy.
February 2010
Boxoffi ce · The Business of Movies
21

TIMECODE > WEREWOLF. THERE WOLF.
CLASSICAD MARCH 27, 1943
CLASSICREVIEW OCTOBER 1981
An American Werewolf in London
Although it’s somewhat sophomoric and more than a little cynical,
An American Werewolf in London is also gruesomely funny and
very frightening. For young audiences fond of noise and gore, it
seems to be a guaranteed hit.
David Naughton stars as David Kessler, a young
American student on a walking tour of Europe with
his childhood friend Jack (Griffin Dunne). While the
two are cutting through the desolate moors of Northern
England at night, a wolf kills Jack and begins to
attack David until local residents arrive to shoot the
beast.
Three weeks later, David wakes in a London hospital
and is told his assailant was an escaped lunatic.
He, however, remembers the giant wolf and is bothered
by recurring nightmares. He also gets visits from
his dead friend Jack, whose face is torn to shreds from
the attack, and who tells David he must commit suicide
before the next full moon or else he will become
a werewolf and continue the legacy of murder.
The doctors try to convince David he is suffering
from hallucinations, and a sympathetic nurse, Alex
(Jenny Agutter), takes him to her apartment to recover. But he continues
to receive visits from Jack, whose body shows further signs
of deterioration with each visit, until one night while Alex is absent
David does become a werewolf. He goes out on the town to kill a
young couple, three old bums and a commuter in a subway station.
The next morning David wakes nude in a zoo’s wolf cage and must
sneak home with stolen clothes. He doesn’t remember anything
about the night, but panics when he hears about the murders. He
tries to turn himself into the police, but no one will believe his story.
He encounters Jack outside of a porno theater and
follows him inside, where Jack introduces him to his
victims of the previous night. They implore him to
commit suicide, so they can stop being “the walking
dead,” which they insist is quite boring.
But the “full moon is rising and it’s too late for
suicide. David transforms into the beast once again
and kills several theater employees. The police try to
keep him trapped inside the theater, but he breaks
out, runs out into Piccadilly Circus and causes panic
and destruction.
Jenny arrives to help calm David the wolf, but the
police shoot him and he transforms back into his
human shape and dies.
Director-writer John Landis does an excellent job
of making the audience laugh and shriek at the same
time. But then it’s a long-standing rule that an audience
will laugh more readily when scared, and will scare more easily
when laughing. Nonetheless, he has done a fine job of combining
the two elements. It’s difficult not to laugh at Jack’s ghoulish wise-
22
Boxoffi ce · The Business of Movies February 2010

CLASSICAD DECEMBER 13, 1941
cracking, even when you can’t stand to look at his deteriorating
appearance. And the use of such songs as “Blue Moon”
and “Bad Moon Rising” to punctuate David’s transformation
scenes are good for several chuckles.
But eventually it seems Landis is including certain scenes
in the movie simply to demonstrate technical skill. Several of
David’s nightmares, including one in which terrorists invade
his family’s home and machine gun his parents and young
brother and sister while they watch The Muppets, are frightening,
but also rather pointless. The same goes for the panicky
destruction in Piccadilly Circus, in which cars crash in the
manner of Landis’s The Blues Brothers, but with the added
attraction of bodies being fatally crushed along with the
hardware. If Landis is trying to make a comment on movie
violence, it’s been lost in the noise.
But while older audiences may find the dark humor of
the movie rather sick and maybe even a little irresponsible,
younger moviegoers will probably find it to be fun and the
werewolf transformation to be the sideshow event of the
season. They will also no doubt find a way around the very
appropriate R rating.
The Landis name and impressive list of credits (The Blues
Brothers, “Animal House, Kentucky Fried Movie), as well as the
promise of shocking and ghoulish special effects, will be the
main selling points. They should be enough to achieve box
office success.
—Jimmy Summers
February 2010
Boxoffi ce · The Business of Movies
23

Tim Burton’s Alice in Wonderland opens March 5, 2010
2010
2011
2012
DATE DISTRIBUTOR TITLE
03.05.10 Disney Alice in Wonderland
03.19.10 Warner Bros. Hubble 3D
03.26.10 Paramount How to Train Your Dragon
04.16.10 Sony Kenny Chesney: Summer in 3D
05.21.10 Paramount Shrek Forever After
06.18.10 Disney Toy Story 3
07.09.10 Universal Despicable Me
07.30.10 Warner Bros. Cats & Dogs: Revenge of Kitty Galore
08.06.10 Disney Step Up 3-D
08.13.10 Warner Bros. Friday the 13th Part 2
08.27.10 The Weinstein Company Piranha 3D
09.24.10 Warner Bros. Guardians of Ga’Hoole
10.01.10 Lionsgate Alpha and Omega
10.15.10 Paramount Jackass 3D
10.22.10 Lionsgate Saw VII
11.05.10 Paramount Megamind
11.24.10 Disney Rapunzel
12.17.10 Disney Tron Legacy
12.17.10 Warner Bros. Yogi Bear
01.14.11 MGM The Cabin in the Woods
01.21.11 Sony Underworld 4
02.11.11 Summit Drive Angry
04.08.11 Fox Rio
06.03.11 DreamWorks Animation Kung Fu Panda: The Kaboom of Doom
06.24.11 Disney Cars 2
07.29.11 Sony The Smurfs
09.10.10 Sony/Screen Gems Resident Evil: Afterlife
11.04.11 DreamWorks Puss In Boots (working title)
11.11.11 Sony Arthur Christmas
11.18.11 Warner Bros. Happy Feet 2
12.23.11 Paramount The Adventures of Tintin: The Secret of the Unicorn
Christmas Disney The Bear and the Bow
TBD Disney Beauty and the Beast
02.17.12 Sony Hotel Transylvania
03.02.12 Universal Dr. Seuss’ The Lorax
03.30.12 Paramount The Croods (working title)
Spring Disney King of the Elves
05.25.12 Paramount Madagascar 3 (working title)
Summer Disney newt
11.02.12 DreamWorks The Guardians

REGAL ENTERTAINMENT GROUP
AMC ENTERTAINMENT INC.
CINEMARK USA
CARMIKE CINEMAS
CINEPLEX ENTERTAINMENT
NATIONAL AMUSEMENTS
RAVE MOTION PICTURE THEATERS
KERASOTES SHOWPLACE THEATRES
THE MARCUS CORPORATION
HOLLYWOOD THEATERS
HARKINS THEATRES
EMPIRE THEATRES LIMITED
DICKINSON THEATRES
MALCO THEATRES
READING INTERNATIONAL
GREAT ESCAPE THEATRES
GEORGIA THEATRE COMPANY
CARIBBEAN CINEMAS / REGENCY CARIBBEAN ENTERPRISES
SOUTHERN THEATRES, LLC
CLEARVIEW CINEMAS
GOODRICH QUALITY THEATRES
LANDMARK THEATRES
STARPLEX CINEMAS
WEHRENBERG THEATRES
B & B THEATRES
COBB THEATRES
PREMIERE CINEMA CORP.
MARQUEE CINEMAS
PACIFIC THEATRES EXHIBITION
MUVICO THEATERS
LOEKS THEATRES
PHOENIX BIG CINEMAS MANAGEMENT, LLC
FRANK THEATRES
BOW TIE CINEMAS
GUZZO CINEMAS
COMING ATTRACTIONS THEATRES
CINEMA ENTERTAINMENT CORPORATION (CEC THEATERS)
ULTRASTAR CINEMAS
MJR THEATRES
SANTIKOS
FLAGSHIP CINEMAS
LANDMARK CINEMAS OF CANADA
METROPOLITAN THEATRES
MULLER FAMILY THEATRES
R.L. FRIDLEY THEATRES
WESTATES
CLASSIC CINEMAS
CINEMASTAR LUXURY THEATERS
MANN THEATRES
of exhibition
February 2010 Boxoffi ce · The Business of fMovies 25

GIANTS OF EXHIBITION
1 2 3
Regal
entertainment group
7132 Regal Lane
tel 865-922-1123
Knoxville, TN 37918
fax 865-922-3188
www.regmovies.com
AMC
entertainment inc.
920 Main St.
tel 816-221-4000
Kansas City, MO 64105
fax 816-480-4617
www.amcentertainment.com
Cinemark
usa
3900 Dallas Pkwy., Ste. 500 tel 972-665-1000
Plano, TX 75093
fax 972-665-1004
www.cinemark.com
Executive Roster
Michael L. Campbell—Executive Chairman
Amy E. Miles—CEO
Gregory W. Dunn—Pres. & COO
Peter B. Brandow—Exec. VP, Sec. & Gen. Counsel
David Ownby—Exec. VP, CFO & Treasurer
Dick Westerling—SVP/Mktg. and Advertising
Neal Pinsker —SVP/Ops. West
Robert Crane—SVP/Real Estate
Ron Reid—SVP/Const. and Tech. Svcs.
Denise Gurin—SVP/Alternative Film
Barry Steinberg—SVP/Film Settlement
Ted Cooper—SVP/Film
David King—SVP/IT, Chief IT Officer
Rob Del Moro—SVP/Purchasing and Food Service
& Chief Purchasing Officer
Randy Smith—SVP/HR, Chief Admin. Officer
Corey Coggin—SVP/Finance
Year founded 1989
Total screens 6,771
Total sites 548
Screens last year 6,801
Sites last year 552
Rank last year 1
Theater employees 23,292
Corporate employees 450
Locations: 39 states & DC: AK, AL, AR, AZ, CA,
CO, CT, DE, FL, GA, HI, ID, IL, IN, KY, LA, MA, MD,
ME, MI, MN, MO, MS, NC, NH, NJ, NM, NV, NY,
OH, OR, PA, SC, TN, TX, VA, WA, WI, WV
Executive Roster
Gerardo I. Lopez—CEO and Pres.
Robert J. Lenihan—Pres./Programming
Craig R. Ramsey—Exec. VP and CFO
John D. McDonald—Exec. VP/US/Canada Ops.
Mark A. McDonald—Exec. VP/Global Dev.
Frank W. Rash III—Sr. VP/Strategic Partnerships
Kevin M. Connor—Sr. VP/General Counsel and
Secretary
Keith P. Wiedenkeller—Sr. VP and Chief People
Officer
Samuel D. Gourley—Pres./Film Prog.
Year founded 1920
Total screens 4,574
Total sites 304
Screens last year 5,105
Sites last year 353
Rank last year 2
Theater employees 16,800
Corporate employees 300
Locations: 30 States & DC: AZ, AR, CA, CO, CT,
FL, GA, IL, IN, KS, KY, LA, MA, MD, MI, MN, MO,
NC, NE, NJ, NY, OH, OK, PA, SC, TX, UT, VA, WA,
WI / Canada, Hong Kong, France, U.K.
STOP PRESS
On January 19, 2010,
AMC announced plans to acquire
Kerasotes Showplace Theatres.
Pending Department of Justice
approval, the deal will give AMC a
total of 5727 screens across
400 locations.
Executive Roster
Lee Roy Mitchell—Chairman
Alan Stock—CEO
Tim Warner—Pres. and COO
Tandy Mitchell—Exec. VP and Asst. Secretary
Valmir Fernandes—Pres. Cinemark Intl.
Robert Copple Exec.—CFO and Asst. Secretary
Mike Cavalier—Senior VP, Gen. Counsel and
Secretary
Tom Owens—Senior VP/Real Estate
Robert Carmony—Sr. VP/Ops.
Walter Hebert—Senior VP
Don Harton—VP/Construction
Ken Higgins—VP/Cinemark Intl.
John Lundin—VP/Film Licensing
James Meredith—VP/Mktg. and Comm.
Year founded 1984
Total screens 4,908
Total sites 426
Screens last year 4,717
Sites last year 414
Rank last year 3
Theater employees 8,100
Corporate employees
250 est.
Locations: 39 States: AK, AR, AZ, CA, CO, DE, FL,
GA, IA, IL, IN, KS, KY, LA, MA, MD, MI, MN, MO,
MS, MT, NC, NJ, NM, NV, NY, OH, OK, OR, PA,
SC, SD, TN, TX, UT, VA, WA, WV, WI / Argentina,
Brazil, Chile, Colombia, Costa Rica, Ecuador, El Salvador,
Guatemala, Honduras, Mexico, Nicaragua,
Panama, Peru, Taiwan
26
Boxoffi ce · The Business of Movies February 2010

4 5 6
Carmike
cinemas
1301 First Ave.
tel 706-576-3400
Columbus, GA 31901
fax 706-576-3433
www.carmike.com
Cineplex
entertainment
1303 Yonge St.
tel 416-323-6600
Toronto, ON M4T 2Y9
fax 416-323-6683
www.cineplex.com
National
amusements
200 Elm St.
tel 781-461-1600
Dedham, MA 02026
fax 781-326-1306
www.nationalamusements.com
Executive Roster
S. David Passman III—Pres. and CEO
Fred W. Van Noy—Sr. VP of Operations and COO
Richard Hare—Sr. VP of Finance and CFO
H. Madison Shirley—Sr. VP/Concessions
Lee Champion—Sr. VP, Gen. Counsel and Sec.
Gary F. Krannacker—VP of Operations
Jeffrey A. Cole—Asst. VP/Controller
Paul G. Reitz—Asst. VP of Finance and Chief
Accounting Officer
Year founded 1982
Total screens 2,285
Total sites 247
Screens last year 2,276
Sites last year 250
Rank last year 4
Locations: 36 States: AL, AR, CO, DE, FL, GA, IA,
ID, IL, IN, KS, KY, LA, MI, MN, MO, MT, NC, ND,
NE, NM, NY, OH, OK, OR, PA, SC, SD, TN, TX, UT,
VA, WA, WI, WV, WY
Executive Roster
Ellis Jacob—Pres. & CEO / Dan McGrath—Exec. VP
Gord Nelson—CFO / Jeff Kent—CTO
Michael McCartney—Exec. VP/Film Program.
Michael Kennedy—Exec. VP/Filmed Ent.
Salah Bachir—Pres./Cineplex Media
Susan Mandryk—Sr. VP/Cust. Strategies
Heather Briant—Sr. VP/HR
George Sautter—VP/Merch.
Anne Fitzgerald—Sr. VP, Gen. Coun. & Corp. Sec.
Pat Marshall—VP/Comm. & IR
Bill Tishler—VP/Design & Const.
Brad LaDouceur—VP/Alt. Programming
Susan Campbell—VP/Finance
Monica Duhatschek—VP/Risk Mgmt.
Gary Fearnall—VP/Interactive Media
Paul Nonis—Sr. VP/National Operations
Daniel Seguin—VP/Ops/East. Canada & GM/QC
Ian Shaw—VP/Purchasing
Fab Stanghieri—VP/Real Estate and Corp. Plan.
Richard Wood—VP/Lease Admin.
Robert Brown—VP/ Cineplex Media
Scott Hughes—VP/Infrastructure & POS
Decio Silva—VP/Software Solutions
Jason Fulsom—VP/Film
John Tsirlis—VP/Sales, Cineplex Media
Year founded 2003
Total screens 1,338
Total sites 130
Screens last year 1,328
Sites last year 130
Rank last year 6
Employees 10,000
Locations: 6 Provinces: AB, BC, MB, QC, MA, SK
Executive Roster
Sumner M. Redstone—Chairman
Shari E. Redstone—President
Thaddeus Jankowski—Sr. VP & Gen. Counsel
George Levitt—Sr. VP/Film Booking
Richard Sherman—VP/Finance & Admin.
John Bilsborough—VP/Ops. Intl.
Scott Bernstein—VP/Global Marketing
Bill LeClair—VP/Concessions
Joe Mollo—VP/MIS
William J. Moscarelli—VP/Real Estate
Elaine Purdy—VP/Global Advert. and Promo.
Robert J. Steele—VP/Strategy & Corp. Dvpt.
John Townsend—VP/Construction
Mark Walukevich—VP/Film Intl.
Year founded 1936
Total screens 1000
Total sites 82
Screens last year 1,501
Sites last year 116
Rank last year 5
U.S. Theater employees 5,500
Intl. Theater employees 2,500
Corporate employees over 200
Locations: 12 States: CA, CT, IA, KY, MA, MI, NJ,
NY, OH, PA, RI, VA / Argentina, Brazil, England,
Russia, Scotland, Wales
February 2010 Boxoffi ce · The Business of Movies 27

GIANTS OF EXHIBITION
7 8 9
Rave
motion picture theaters
3333 Welborn St., Ste. 100 tel 972-692-1700
Dallas, TX 75219
fax 972-692-1709
www.ravemotionpictures.com
Kerasotes
showplace theatres
224 N. Des Plaines, Ste. 200 tel 312-775-3160
Chicago, IL 60661-1134
fax 312-258-9943
www.kerasotes.com
the Marcus
corporation
100 E. Wisconsin Ave.
tel 414-905-1000
Milwaukee, WI 53202
fax 414-905-2189
www.marcustheaters.com
Executive Roster
Thomas W. Stephenson, Jr.—Pres. & CEO
Peter A. Nelson—Exec. VP & COO
Artie Starrs—Exec. VP/CFO
Bryan A. Rakowski—Sr. VP/Tech.
Greg Taylor—VP Controller
Jeremy Devine—VP/Mktg.
Carl Wagner—VP/Film
Brad Wardlow—VP/Ops.
Kira Shropshire—VP/HR
Year founded 1999
Total screens 989
Total sites 65
Screens last year 473
Sites last year 29
Rank last year 10
Locations: 14 states: AL, AR, CA, FL, IL, IN, LA, MI,
NE, NV, OH, PA, TN, TX
10
Hollywood
theaters
919 SW Taylor St., Ste. 800 tel 503-221-7090
Portland, OR 97205
fax 503-796-0229
www.gohollywood.com
Executive Roster
Scott C. Wallace—Chairman, CEO & Pres.
Clyde Cornell—Sr. VP/Operation & COO
Charles Kirk—Sr. VP & CFO
Paul Rosenfeld—Exec. VP/Head Film Buyer
Executive Roster
Tony Kerasotes—Chairman & CEO
Dean Kerasotes—President & COO
Jim DeBruzzi—CFO
Tim Johnson—Dir./Ops.
Pat Rembusch—Head Film Buyer
Bill Budig—Dir./IT
Robert Gallivan—Dir./Real Estate
Fred Walraven Tech—Dir./ Equip. Buyer
Mike Policicchio—Dir./Construction
Rob Lehman—Concessions Mgr.
Barry Tester—Adv. Mgr.
Clair Malo—Dir./Mktg.
Year founded 1909
Total screens 973
Total sites 96
Screens last year 952
Sites last year 98
Rank last year 7
Theater employees 3,800
Corporate employees 100
Locations: 10 states: CA, CO, IA, IL, IN, MN, MO,
NJ, OH, WI
Scott N. Hall—Sr. VP/Real Estate Dept.
Doug Hawkins—VP/Purchasingm & Concessions
Julie Lane—VP Construction/Design
Erin Anderson—VP/Mktg.
Executive Roster
Steve H. Marcus—Chairman
Gregory S. Marcus—President & CEO
Bruce J. Olson—President/Marcus Theatres Corp.
Mark Gramz—Sr. VP/Operations
Paul Silk—Sr. VP/Film
Jeff Tomachek—Sr. VP/Finance, Planning &
Development
Bob Menefee—VP/Adv., Mktg. & Concessions
Year founded 1935
Total screens 668
Total sites 54
Screens last year 679
Sites last year 56
Rank last year 8
Locations: 7 states: IL, IA, MN, ND, NE, OH, WI
Year founded 1991
Total screens 549
Total sites 50
Screens last year 521
Sites last year 49
Rank last year 9
Theater employees 1,100
Corporate employees 37
Locations: 16 states: AL, AZ, CA, CO, FL, HI, KS,
LA, MO, MT, NV, OH, OK, PA, TX; WV / American
Samoa, Guam, Grand Cayman Island, Saipan
28
Boxoffi ce · The Business of Movies February 2010

11 12
13
Harkins
theatres
7511 E. Mc Donald Dr.
tel 480-627-7777
Scottsdale, AZ 85250
fax 480-443-0950
www.harkinstheatres.com
Empire
theatres limited
115 King St.
tel 902-755-7620
Stellarton, NS B0K 1S0
fax 902-755-7640
www.empiretheatres.com
Dickinson
theatres
9201 W. 133rd St., Ste. A tel 913-432-2334
Overland Park, KS 66213 fax 913-432-9507
www.dtmovies.com
Executive Roster
Dan Harkins—Owner & CEO
Mike Bowers—President & COO
Greta Newell—CFO
Racheal Wilson—Dir./Ops.
Noel Kendall—Film Buyer
Gina Thompson—Dir./HR
Aron Barr—Dir./IT
Kirk Griffin—Dir./Engineering
Fred DiNapoli—Dir./Facilities
Richard Lustiger—Legal Counsel
Bryan Laurel—Dir./Business Dvpt.
Year founded 1933
Total screens 427
Total sites 30
Screens last year 432
Sites last year 31
Rank last year 15
Theater employees 1800
14
Malco
theatres
Corporate employees 68
Locations: 5 states: AZ, CA, CO, OK, TX
5851 Ridgeway Center Pkwy. tel 901-761-3480
Memphis, TN 38120
fax 901-681-2044
www.malco.com
Executive Roster
Richard Lightman—Chairman
Stephen Lightma—President & CEO
Robert Levy—Sr. VP/Mktg.
James Tashie—Sr. VP/Theater Ops.
Bill Blackburn—CFO & Treasurer
Executive Roster
Stuart G. Fraser—President & CEO
Paul Wigginton—VP/Finance & CFO
Mark Innes—VP/Operations
Dean Leland—VP/Media & Studio Rels.
Robert Wales—VP/Film Programming
Valerie J. Ryan—VP/Real Estate & Dev.
Laura Gillham—VP/Mktg. & Guest Stgy.
Mark Stroud—VP/Food Service & Merch.
Mary Luddington—Dir/HR
Brian MacLeod—Senior Dir./Operations Support
Services
Year founded 1984
Total screens 377
Total sites 51
Screens last year 386
Sites last year 52
Rank last year 13
Locations: 8 provinces: AB, BC, MB, NB, NL, NS,
ON, PE
James Lloyd—VP / Larry Etter—VP/Concessions
Alan Denton—VP/Corp. Comm.
Don Burchett—VP/Div. Mgr. and Theater Ops
Jeff Kaufman—VP/Film Buyer
Bill Blackburn—VP/Finance
David Tashie—Mgr./Ops.
Executive Roster
John Hartley—President & CEO
Ron Horton—Exec. VP/Film & Mktg.
Al Lane—CFO & Treas.
Craig Conley—Exec. VP/Ops.
Michael Gates—Concessions & Real Estate
Ed Carl—VP/Film
J.R. Deeter—Dir./Purchasing
Year founded 1920
Total screens 367
Total sites 37
Screens last year 378
Sites last year 40
Rank last year 14
Locations: 10 states: AR, AZ, FL, KS, MO, NC, NE,
OK, SC, TX
Year founded 1915
Total screens 320
Total sites 31
Screens last year 330
Sites last year 33
Rank last year 15
Locations: 5 states: AR, KY, MO, MS, TN
Mike Thompson—VP/Tech Support
Donald Terry—District Mgr.
Karen Scott—Sales, Promos. & Mktg.
Jeff Martin—Co-op Adv.
Donald Terry—District Mgr. / John Tashie—IT
February 2010 Boxoffi ce · The Business of Movies 29

15 16 17
GIANTS OF EXHIBITION
Reading
international inc.
500 Citadel Drive, Ste. 300 tel 213-235-2240
Commerce, CA 90040
fax 213-235-2229
www.readingrdi.com
Great Escape
theatres
300 Professional Ct., Ste. 200 tel 812-945-4006
New Albany, IN 47150
fax 812-945-4076
www.greatescapetheatres.com
Georgia
theatre company
50 Cinema Ln.
tel 912-634-5192
St. Simons Island, GA 31522 fax 912-634-5195
www.georgiatheatrecompany.com
Executive Roster
James J. Cotter—Chairman & CEO
John Hunter—COO
Jay S. Laifman—Gen. Counsel/Chief Legal Officer
Andrzej Matyczynski—CFO
Year founded 2002
Total screens (world) 286
Total screens (US) 56
Total sites (world) 44
Total sites (US) 9
Screens last year (world) 418
Screens last year (US) 231
Sites last year (world) 51
Sites last year (US) 22
Rank last year 12
Locations: 4 states: CA, NY, NJ, TX / Australia,
New Zealand
18
Caribbean Cinemas
regency caribbean enterprises
1512 Fernandez Juncos
tel 787-727-7137
Santurce, PR 00909
fax 787-728-2274
www.caribbeancinemas.com
Executive Roster
Robert Carrady—President & CEO
Carol Carrady—Sr. VP & CEO/ Dominican
Republic
Lorraine Carrady Quinn—Sr. VP/Real Estate
Joe Ramos—Theater Ops.
Joel Matos—Concessions Mgmt. & Equip. Buyer
Guillermo Ramis—Advertising
Executive Roster
Anne Ragains—President & CEO
Chance Ragains—COO
David Poland—VP/Ops.
Frank Mack—Dir./Ops. East
Scott Bagwell—Dir./Ops. West
Bill Leonhart—CFO
Phil McCauley—CFO
Jamie Bowles—Dir./IT
Jim Marcus—VP/Const. & Dvpt.
Web Brainerd—VP/Film
Year founded 1997
Total screens 277
Total sites 24
Screens last year 275
Sites last year 24
Rank last year 18
Corporate employess 11
Locations: 10 states: GA, IL, IN, KY, NE, MO, OH,
PA, TN, WV
Executive Roster
William J. Stembler—Chairman & CEO
H. Aubrey Stone, Jr.—President & COO
Dennis Merton—VP/Finance
Joan Mannheim—Treasurer
Bo Chambliss—VP/Legal Counsel
Jeff Mobley—VP/Ops.
C.F. Kip Smiley, Jr.—VP/Film Buyer
Tricia Thompson—Asst. Sec.
Year founded 1991
Total screens 272
Total sites 27
Screens last year 287
Sites last year 29
Rank last year 16
Theater employees 600
Corporate employess 9
Locations: 4 states: GA, FL, SC, VA
Year founded 1968
Total screens 283
Total sites 34
Screens last year 368
Sites last year 33
Rank last year 17
Locations: Dominican Republic; Puerto Rico; St.
Maarten; Trinidad; U.S. Virgin Islands
30
Boxoffi ce · The Business of Movies February 2010

19 20 21
Southern
theatres, llc
305 Barrone St.; Ste 900
tel 504-297-1133
New Orleans, LA 70112
fax 504-297-1138
www.thegrandtheatre.com
Clearview
cinemas
97 Main St.
tel 908-918-2000
Chatham, NJ 07928
fax 908-273-7157
www.clearviewcinemas.com
Goodrich
quality theatres
4417 Broadmoor SE
tel 616-698-7733
Grand Rapids, MI 49512
fax 616-698-7220
www.gqti.com
Executive Roster
George Solomon—Owner & Operator
Year founded 2002
Total screens 268
Total sites 18
Screens last year 268
Sites last year 18
Rank last year 19
Locations: 9 states: AL, FL, GA, KY, LA, MS, NC,
SC, TX
22
Landmark
theatres
2222 S. Barrington Ave.
tel 310-473-6701
Los Angeles, CA 90064
fax 310-312-2348
www.landmarktheatres.com
Executive Roster
Ted Mundorff—CEO
Kevin Parke—President
Schuyler Hansen—CFO
Chuck Delagrange—VP/Theater Ops.
Mike McClellan—VP/Film Buyer
Jason Hudak—VP/Tech.
Executive Roster
Douglas Oines—Sr. VP/GM
Craig Zeltner—VP/Film
Beth Simpson-Crimmins—VP/Mktg.
Walter Kaufmann—VP/Div. Controller
Adam Sands—Dir./Ops NY, CT
Craig Dougherty—Dir./Ops NJ, PA
Year founded 1998
Total screens 258
Total sites 48
Screens last year 258
Sites last year 52
Rank last year 20
Theater employees 1,130
Corporate employess 41
Locations: 3 states: NJ, NY, PA
Executive Roster
Robert E. Goodrich—President
Ross Pettinga—CFO
Martin Betz—COO
Matthew Johnson—Asst. COO
Wanda Holst—Film Buyer/Office Mgr.
Kelly Owens—Mktg. Mgr./Creative Dir.
Year founded 1930
Total screens 252
Total sites 28
Screens last year 252
Sites last year 28
Rank last year 21
Theater employees 1,150
Corporate employess 40
Locations: 4 states: IL, IN, MI, MO
Year founded 1974
Total screens 231
Total sites 56
Screens last year 235
Sites last year 57
Rank last year 23
Theater employees 2,000
Corporate employees 60
Locations: 17 states: CA, CO, DC, GA, IL, IN, MA,
MD, MI, MN, MO, NY, OH, PA, TX, WA, WI
February 2010 Boxoffi ce · The Business of Movies 31

23 24 25
GIANTS OF EXHIBITION
Starplex
cinemas
12400 Coit Rd., Ste. 800
tel 214-692-6494
Dallas, TX 75251
fax 214-692-8982
www.starplexcinemas.com
Wehrenberg
theatres
12800 Manchester Rd.
tel 314-822-4520
St. Louis, MO 63131
fax 314-822-8032
www.wehrenberg.com
B & B
theatres
P.O. Box 171
tel 660-388-5219
Salisbury, MO 65281
www.bbtheatres.com
Executive Roster
J.C. Mitchell—President & Owner
Steve Holmes—CEO
Tammy Flores—Film Buyer
Elle Beith—Dir./HR
Total screens 214
Total sites 23
Screens last year 214
Sites last year 23
Rank last year 25
Locations: 8 states: CA, CO, FL, IN, NE, OH, OK,
TX, WA
26
Cobb
theatres
2100-A S. Bridge Pkwy, Ste. 640 tel 205-802-7766
Birmingham, AL 35209
fax 205-802-1439
www.cobbtheatres.com
Executive Roster
Robert M. Cobb—President & CEO
Jeremy P. Welman—COO
Steven Bankston—Controller
Freddie Dobbs—VP/Construction & IT
Loretta Thomas—VP/Purchasing
Guy Austin—Dir./Ops.
Fred Meyers—Dir./ Cinebistro Ops.
Jennifer Herring—Dir./ HR
Judy Sanders—Executive Assistant
Executive Roster
Ronald P. Krueger—Chairman & Co-CEO
Jim Hoffmeister—President & Co-CEO
Ronald P. Krueger Jr.—President
Mark Rugelski—CFO
Douglas Whitford—VP/Film
Kelly Hoskins—Dir./Mktg.
Brett Havlick—Dir./Concessions
Year founded 1906
Total screens 210
Total sites 15
Screens last year 224
Sites last year 16
Rank last year 24
Theater employees 1000+
Corporate employess 45+
Locations: 4 states: IA, IL, MN, MO
Executive Roster
Robert E. Bagby—President & Booking
Elmer Bills—CEO
Dan Van Orden—Circuit GM
Eric Olson—Equipment Buyer
Bobbie Bagby—Dir./Mktg.
Brittanie Bagby—Dir./Concessions
Marcia Abeln—Dir./Programming
Year founded 1924
Total screens 200
Total sites 31
Screens last year 173
Sites last year 30
Rank last year 29
Theater employees 1000+
Corporate employess 45+
Locations: 3 states: KS, MO, OK
Year founded 2000
Total screens 193
Total sites 14
Screens last year 186
Sites last year 13
Rank last year 27
Corporate employees 14
Locations: 2 states: AL, FL
32
Boxoffi ce · The Business of Movies February 2010

27 28 29
Premiere
cinema corp.
109 W. Fourth St.
tel 432-267-6450
Big Spring, TX 79720
fax 432-267-9609
www.pccmovies.com
Marquee
cinemas
552 Ragland Rd.
tel 304-255-4036
Beckley, WV 25801
fax 304-252-0526
www.marqueecinemas.com
Pacific
theatres exhibition
120 N. Robertson Blvd.,
tel 310-657-8420
Los Angeles, CA 90048
fax 310-657-6736
www.pacifictheatres.com
Executive Roster
Gary Moore—President & CEO
Joel Davis—VP & COO
Debra Calobreves—CFO & Treasurer
Kathleen Epley—Film Ops.
Tim Patton—Booking
Rick Slaughter—Booking
Shirley Fryar—HR
Larry Delaney—Dir./Tech Srvc.
Michael Alvin—Dir./Bldg. Srvc.
Kristi Davis—Internet Mktg.
Brian Tietlebaum—Webmaster
Vince Bienek—Dir./IT
Year founded 1985
Total screens 192
Total sites 18
Screens last year 192
Sites last year 18
Rank last year 26
Locations: 3 states: AL, FL, TX
30
Muvico
theaters
3101 N. Federal Hwy. #600 tel 954-564-6550
Fort Lauderdale, FL 33306 fax 954-564-6518
www.muvico.com
Executive Roster
Hal Cleveland—President & CEO
Neil F. Bretan—GC & Chief Admin. Officer
Alan Rainbeau—VP/Finance
James H. Herd, Jr.—VP/Ops.
Executive Roster
Curtis E. McCall—Chairman, President & CEO
James M. Cox—VP & Construction/Dev.
Cindy Ramsden—CFO
Harry L. Newman—Dir./Ops.
Robin P. Shumate—Dir./Mktg.
Rob Thomspon—Ops.
Chris Prichard—Ops.
Dave Sebolt—Ops.
Year founded 1979
Total screens 184
Total sites 19
Screens last year 178
Sites last year 19
Rank last year 28
Locations: 10 states: CT, FL, KY, NC, NJ, NY, PA,
TN, VA, WV
Executive Roster
Michael Forman —Chairman
Christopher Forman—CEO
Nora Dashwood—COO
Year founded 1946
Total screens 177
Total sites 13
Screens last year 170
Sites last year 13
Rank last year 30
Locations: 1 state: CA
Year founded 1984
Total screens 154
Total sites 9
Screens last year 238
Sites last year 13
Rank last year 22
Locations: 2 states: FL, CA, IL
February 2010 Boxoffi ce · The Business of Movies 33

31 32 33
GIANTS OF EXHIBITION
Loeks
theatres
2121 Celebration Dr. NE
tel 616-447-4200
Grand Rapids, MI 49525
fax 616-447-4201
www.celebrationcinema.com
Phoenix
big cinemas management llc
9111 Cross Park Dr., Ste. E-275
Knoxville, TN 37923 tel 865-692-4061
www.phoenixtheatres.com
Frank
theatres
1003 W. Indiantown Rd., Ste. 210
Jupiter, FL 33458 tel 561-776-4747
www.franktheatres.com
Executive Roster
John D. Loeks—CEO
J.D. Loeks—President & COO
Nancy Hagen—CFO & Treasurer
Ron Van Timmeren—VP/Film Booker
Roger Lubs—VP/Const. & Purchasing
Steve Forsythe—VP/Ops. & HR
Kenneth Baas—VP/CTO
Kenyon Shane—VP/Food & Beverage
Steve VanWagoner—VP/Mktg.
Emily Loeks—Dir./Edu. & Community Part.
Jeremy Kress—Dir. Marketing/Promotions
Year founded 1944
Total screens 150
Total sites 11
Screens last year 170
Sites last year 12
Rank last year 30
Locations: 1 state: MI
Total screens 163
Total sites 22
Screens last year 163
Sites last year 22
Rank last year 32
Locations: 12 states: CA, DC, FL, GA, KS, KY, MD,
MI, NJ, NY, TN, VA
Executive Roster
Al Frank—Chairman
Bruce Frank—President & CEO
Deborah Frank—Exec. VP/Film
Brian McCall—Sr. VP/Ops.
Gene Tucker—Sr. VP/Finance
Peter Berman—VP/Purchasing
Ed O’Brien—VP/Construction
Greg Fultz—VP/Marketing
Year founded 1921
Total screens 159
Total sites 17
Screens last year 159
Sites last year 17
Rank last year 33
Theater employees 600
Corporate employees 15
Locations: 6 states: FL, NC, NJ, PA, SC, WV
34
Bow Tie
cinemas
641 Danbury Road
tel 203-659-2600
Ridgefield, CT 06877
fax 203-659-2601
www.bowtiecinemas.com
Executive Roster
Joe Masher—COO
Charles B. Moss—Owner
Ben Moss—Owner
Spencer Klein—Film Buyer
Ike Rivera—Operations Manager
Jennifer Pellegrino—HR Manager
Year founded 1900
Total screens 154
Total sites 18
Screens last year 126
Sites last year 17
Rank last year 37
Locations: 5 states: CO, CT, MD, NY, VA
34
Boxoffi ce · The Business of Movies January 2010

35 36 37
Guzzo
Cinemas
1055 Chemin du Coteau
tel 450-961-2945
Terrebonne, PQ J6W 5Y8 fax 450-961-9349
www.cinemasguzzo.com
Coming Attractions
theatres
1644 Ashland St.
tel 541-488-1021
Ashland, OR 97520
fax 541-482-9290
www.catheatres.com
Cinema Entertainment
corporation (cec theatres)
P.O. Box 1126
tel 320-251-9131
St. Cloud, MN 56302
fax 320-251-1003
www.cectheatres.com
Executive Roster
Angelo Guzzo—President & CEO
Vincenzo Guzzo—COO
Jose Bruzzese—CFO & Treasurer
Mario Quattrociocche—Theater Ops.
Vito Franco—Booking
James Dambreville—Advertsing
Jose Bruzzese—Controller
Year founded 1974
Total screens 151
Total sites 11
Screens last year 148
Sites last year 12
Rank last year 32
Theater employees 625
Corporate employees 45
Locations: 1 province: QC
Executive Roster
John C. Schweiger—Chairman & CEO
Travis Cooley—President
Lee Fuchsmann—VP/Film
Roger Floyd—Sr. VP and Dir./Concess.
Mark Edwards—Dir./Training
Desaree Hall—Accounting Mgr.
Year founded 1985
Total screens 145
Total sites 19
Screens last year 152
Sites last year 21
Rank last year 34
Theater employees 215
Corporate employees 16
Locations: 3 states: CA, OR, WA
Executive Roster
Robert Ross—President / Tony Tillemans—VP
Anthony Ross—VP/Finance
Dwight Gunderson—Dir./Film Buying and Mktg.
Andrew Bergstrom—Concessions & Equip. Buyer
Greg Carter—Ops. Mgr. (MN, ND, WI)
Roger Hansen—Ops. Mgr. (IA, NE)
Craig Seidenkranz—Projection Technician
Year founded 1961
Total screens 121
Total sites 16
Screens last year 124
Sites last year 19
Rank last year 22
Theater employees 675
Corporate employees 13
Locations: 4 states: IA, MN, NE, WI
38
Ultrastar
cinemas
1060 Joshua Way
tel 760-597-5777
Vista, CA 92081
fax 760-597-5297
www.ultrastarmovies.com
Executive Roster
Alan Grossberg—President
John Ellison Jr.—Sr. VP/CFO
Damon Rubio—VP/Ops.
Kevin Stengel—VP/Concess.
Julie Bravo—VP/Adv. & Mktg.
Susan Hadsell-Martin—Dir./Accounting
Total screens 120
Total sites 13
Screens last year 111
Sites last year 14
Rank last year 43
Theater employees 600
Corporate employees 20
Locations: 2 states: AZ, CA
Doug Olive—Auditor
Frances Tabor—Dir./HR
Jill Rosenow—Dir./Promos. & Special Events
February 2010 Boxoffi ce · The Business of Movies 35

39 40 41
GIANTS OF EXHIBITION
MJR
theatres
13691 W. Eleven Mile Rd. tel 248-548-8282
Oak Park, MI 48237
fax 248-548-4706
www.mjrtheatres.com
Santikos
18402 US Hwy 281 N., Ste. 229 tel 210-496-1300
San Antonio, TX 78259
fax 210-496-2720
www.santikos.com
Flagship
cinemas
Lynnfield Woods Office Park tel 617-499-2700
210 Broadway, Ste. 203, Lynnfield, MA 01940
www.flagshipcinemas.com
Executive Roster
Michael Mihalich—President
Joni Urbanczyk—Exec. Asst. to Pres.
Dennis Redmer—Theater Ops./Concessions &
Equip. Buyer
Candi Mihalich—Booking
Robin Hansen—Advertising
Year founded 1980
Total screens 116
Total sites 7
Screens last year 116
Sites last year 7
Rank last year 40
Theater employees 375
Corporate employees 13
Locations: 1 state: MI
Executive Roster
John Santikos—Owner & Operator
Year founded 1967
Total screens 115
Total sites 8
Rank last year 41
Locations: 1 state: TX
Executive Roster
John J. Crowley, Jr.—President
Andrea Cox—VP/Ops.
Paul Wenger—Dir./Theater Ops.
Pauline Jandrue—Film Buyer
Year founded 1996
Total screens 112
Total sites 12
Screens last year 104
Sites last year 11
Rank last year 44
Corporate employees 8
Locations: 6 states: MA, ME, MD, NH, FL, PN
42
Landmark Cinemas
of canada
14505 Bannister Rd SE, Ste. 100 tel 403-262-4255
Calgary, AB T2X 3J3
fax 403-266-1529
www.landmarkcinemas.com
Executive Roster
Brian F. McIntosh—President
Neil H. Campbell—COO
Kevin Norman—Dir./Film Buying & Booking
Donald D. Langkaas—Mgr./Adv. & Creative Svcs.
Year founded 1965
Total screens 111
Total sites 22
Screens last year 118
Sites last year 33
Rank last year 39
Theater employees 600+
Locations: 5 provinces: AB, BC, MB, SK, YT
36
Boxoffi ce · The Business of Movies February 2010

43TIE
43TIE
Metropolitan
theatres
Muller
family theatres
45
R. L. Fridley
theatres
8727 W. Third St.
tel 310-858-2800
Los Angeles, CA 90048
fax 310-858-2860
www.metrotheatres.com
20653 Keokuk Ave.
tel 952-469-2883
Lakeview, MN 55044
fax 952-985-5643
www.mullerfamilytheatres.com
1321 Walnut St.
tel 515-282-9287
Des Moines, IA 50309
fax 515-282-8310
www.fridleytheatres.com
Executive Roster
Bruce Corwin—Chairman & CEO
David Corwin—President
Allen Gilbert—EVP
Dale Davison—Sr. VP/Ops & Development
Alan Stokes—VP/Film Mktg. & Advertising
Tim Spain—VP/Ops.
Victoria Uy—VP/Finance and HR
Skip Stefansen—VP/Concessions
Year founded 1923
Total screens 104
Total sites 21
Screens last year 89
Sites last year 20
Rank last year 50
Theater employees 600
Corporate employees 17
Locations: 4 states: CA, CO, ID, UT / Canada
Executive Roster
Mike S. Muller—President & Partner
Robert Muller—VP & Partner
Ken Muller—POS Dir.
Dale Haider—Dir./Ops.
Year founded 1978
Total screens 104
Total sites 8
Screens last year 104
Sites last year 8
Rank last year
Locations: 1 state: MN
44 (tie)
Executive Roster
Robert L. Fridley—President & Treasurer
Brian R. Fridley—VP
Year founded 1974
Total screens 102
Total sites 28
Screens last year 104
Sites last year 29
Rank last year
44 (tie)
Theater employees 350
Corporate employees 12
Locations: 2 states: IA, NE
Galaxy
theatres
15060 Ventura Blvd., Ste. 350 tel 818-986-9000
Sherman Oaks, CA 91403
www.galaxytheatres.com
Executive Roster
Frank Rimkus—CEO
Rafe Cohen—CEO
Lee Josselyn—VP/Film
46TIE Year founded 1998
Total screens 101
Total sites 10
Screens last year 133
Sites last year 14
Rank last year 36
Theater employees 300
Corporate employees 15
Locations: 4 states: CA, NV, TX, WA
February 2010 Boxoffi ce · The Business of Movies 37

GIANTS OF EXHIBITION
46TIE 48
Westates
theatres
49
Classic
cinemas
CinemaStar
luxury theaters
tel 801-487-6233
www.westatestheatres.com
603 Rogers St.
tel 630-968-1600
Downers Grove, IL 60515 fax 630-968-1626
www.classiccinemas.com
1949 Avenida del Oro, Ste. 100 tel 760-945-2500
Oceanside, CA 92056
fax 760- 945-2510
www.cinemastar.com
Executive Roster
Jack R. Crosby—CEO
Kim Zolna—COO,/President
Allen Elrod—Booking
Dan Cahill—Advertising
Paul Novotny—Accounting
Total screens 101
Total sites 18
Screens last year 101
Sites last year 20
Rank last year 47
Locations: 4 states: AZ, ID, NV, UT
Executive Roster
Willis Johnson—President
Chris Johnson—VP/Operations
Lou Michael—Booking, Great Lakes Theatre
Service
Shirley Johnson—Corporate Secretary
Mark Mazrimas—Mktg.
Year founded 1978
Total screens 99
Total sites 13
Screens last year 97
Sites last year 13
Rank last year 48
Theater employees 400
Corporate employees 20
Locations: 1 state: IL
Year founded 1989
Total screens 94
Total sites 7
Screens last year 94
Sites last year 7
Rank last year 46
Employees 350
Locations: 1 state: CA / Mexico
50
Mann
theatres
16530 Ventura Blvd., Ste. 500 tel 818-784-6266
Encino, CA 91436
fax 818-784-8659
www.manntheatres.com
Executive Roster
Peter Dobson—CEO
Sandy Rodriguez—Dir./Film & Mktg.
Terry Otis—Dir./Theater Ops. & Retail
Year founded 1973
Total screens 71
Total sites 11
Screens last year 113
Sites last year 18
Rank last year 42
Locations: 1 state: CA
38
Boxoffi ce · The Business of Movies February 2010

When it comes to education,
we’re looking at the big picture.
The Will Rogers Motion Picture Pioneers Foundation
Bernie Myerson Scholarship Fund
3 Awards. $3,000 for higher education.
The Will Rogers Motion Picture Pioneers Foundation (WRMPPF) established the Bernie Myerson Scholarship Fund
in 2003, to honor the philanthropic work of the longtime president and CEO of Loews Theatres. An industry legend,
Bernie Myerson made the welfare of others a priority throughout his life. In his memory, the WRMPPF is offering three
$3,000 scholarships to employees and the children of employees of the theatrical exhibition community.
A Bernie Myerson Scholarship is a great way to help finance the dream of a higher education.
■ The WRMPPF issues three awards of $3,000
■ Applicants must be an employee or a child of an employee in the theatrical entertainment exhibition industry
■ Applications must be postmarked no later than March 31, 2010
■ Award will be paid directly to the educational institution
For a list of application requirements and forms, go to wrpioneers.org.
¤

E X H I B I T O R T R I B U T E
CAPTION HED
OCi eugait autem exeros
nullutatem eum dipit, quisi tat,
venim dolorerilit nim ing et,
quam, secte faccum zzriusci
WORTH
RAVING
ABOUT
10 years in,
Rave Motion Pictures
in going strong
BY PHIL CONTRINO
February 2010
Boxoffi ce · The Business of Movies
41

E X H I B I T O R T R I B U T E
Rave Motion Pictures
As anybody who works in exhibition knows, running just one successful movie theater is
difficult. Not only do you have to set yourself apart from the competition to entice patrons,
but once you’ve enticed them you have to make sure they stick around by providing excellent
service. Rave Motion Pictures knows how to both attract patrons and make sure they keep
coming back for more. That’s why they’re celebrating 10 years of being in business—and a
burst in company growth.
When Rave was founded in 1999,
theater chains were moving away
from slope-floored theaters and into stadium
seating. For many patrons, the days
of complaining about the height of the
person sitting in front of them were winding
down. Digital cinema was in its earliest
stages, and Star Wars Episode I: The Phantom
Menace was the year’s big earner.
As a new theater venture, Rave needed to
make sure its first locations looked and felt
different.
“Rave’s intent was to give people in
medium-sized markets their first stadium
theaters and therefore a greatly enhanced
presentation and consumer experience,”
says Jeremy Devine, vice president of marketing.
“Our goals were indeed met as we
quickly captured huge market shares, some
in the 80-90 percent range, and the public
voted with their feet and hard-earned disposable
income.”
The company’s desire to produce strong
new theaters quickly grew into the desire
to maintain a strong backbone.
“We don’t compare ourselves to the other
theaters in the market,” adds Brad Wardlow,
vice president of operations. “The goal
is not to be better than the guy down the
street. We aspire to something much different—we
are judging and evaluating ourselves
based on best practices, our own best
performance, and ultimately perfecting the
theater experience. Our stated goal is perfection,
but we will tolerate excellence.”
Rave went beyond stadium seating to
make sure their theaters were all they
could be. In order to create a better experience
for their customers, they spaced
four feet between rows, 18-inch risers for
unobstructed viewing, giant wall-to-wall
screens, plush rocker seats, retractable cup
holders and elevator access to larger auditoriums.
It worked.
Rave currently boasts theaters in seven of
the top 10 markets: Los Angeles, New York,
Philadelphia, Dallas-Ft. Worth, San Fran-
THE VIEW FROM INSIDE
This is what greets moviegoers at the Las Vegas
location
42
Boxoffi ce · The Business of Movies0
February 2010

Universal Pictures Distribution
Is Proud To Partner With
Rave Motion Pictures
And Congratulates Them On
10 Years Of Innovative
Showmanship In Exhibition
UNIVERSAL PICTURES EXHIBITOR RELATIONS
NATIONAL
JOHN C. HALL
SENIOR VICE PRESIDENT
(818) 777-3860
johnc.hall@nbcuni.com
WEST
CYNTHIA ORELLANA
MANAGER
(818) 777-0096
cynthia.orellana@nbcuni.com
EAST
PETER WRIGHT
MANAGER
(617) 378-6504
peter.wright@nbcuni.com
SCOTT RIECKHOFF
VICE PRESIDENT
(818) 777-0629
scott.rieckhoff@nbcuni.com
LISA HOLLAND
DIRECTOR
(818) 777-3839
lisa.holland@nbcuni.com
NICKIE SANDOVAL
COORDINATOR
(818) 777-0011
nickie.sandoval@nbcuni.com
CENTRAL/SOUTH
STEPHANIE RICKS
MANAGER
(847) 746-2555
stephanie.ricks@nbcuni.com
ANDY BATTAGLIA
MANAGER
(212) 445-3805
andy.battaglia@nbcuni.com
CANADA
SHARON IRWIN
MANAGER
(416) 495-3628
sharon.irwin@nbcuni.com
ELVIRA GOLDEN
MANAGER
(214) 360-0022 x649
elvira.golden@nbcuni.com
© UNIVERSAL STUDIOS

E X H I B I T O R T R I B U T E
Rave Motion Pictures
cisco, Washington DC and Houston. That
reach is important to the chain’s overall
presence, but all of their theaters are given
special attention.
“There are unique challenges and differences
between Las Vegas and Little Rock—
and now between Fairfax County, VA and
Pensacola, FL—but the commitment to the
patron and our insistence on keeping up
our assets is consistent from market area
#1 to #118. Which incidentally is our very
first theater, opened in 1999 in Montgomery,
AL and still doing and looking good,”
says Devine.
After taking care of the look and feel
of their theaters, Rave’s next step was
spectacular content. Rave has major bragging
rights when it comes to the digital
revolution and the recent surge in 3D.
When Chicken Little opened in 2005, the
chain trumpeted it on nine 3D screens—10
percent of the entire release—thanks in a
big way to CEO Thomas Stephenson, Jr.’s
decision to meet with RealD and Disney
to provide the necessary theatrical support.
It was a smart bet. Flash forward to
2009: Rave booked Avatar on more than
We don’t compare ourselves to
the other theaters in the market
… The goal is not to be better
than the guy down the street.
We aspire to something much
different—we are judging and
evaluating ourselves based on
best practices … Our stated goal
is perfection, but we will tolerate
excellence.
50 screens. James Cameron’s sci-fi extravaganza
averaged a whopping $22,313 per
screen during its opening weekend and
as Boxoffice went to press, it’s held on
to number one at the box office for five
weekends and continues to shatter records.
The exhibition industry hoped that Avatar
would signal a major victory for the 3D
revolution—and those hopes were met in a
major way. Cameron and 20 th Century Fox
owe a portion of that success to exhibition
chains like Rave who pushed for the most
possible 3D screens.
Rave threw its weight behind digital cinema
and continues to seek out other opportunities
to thrive in the rapidly evolving
exhibition business. As a chain, Rave has
capitalized on new media platforms like
Facebook and Twitter. The official Rave
Facebook page has nearly 2,000 fans, and
its wall serves as an online community
where patrons voice opinions about Rave
theaters and reactions to the movies they
see at their local Rave. The Rave staff makes
sure to respond promptly to their wall
posts, adding to their image of strong, personal
customer service. On Twitter, they’ve
EVERYTHING IS BETTER IN VEGAS
This auditorium at Rave’s Las Vegas location is
enough to lure people off the strip
44
Boxoffi ce · The Business of Movies February 2010

Congratulates
RAVE MOTION PICTURES
On The 10th Anniversary
Of Its Dedication To Enriching
The Moviegoing Experience
Screenvision’s High Definition network uses Sanyo digital LCD projectors.
Trademarks are the property of their respective owners.

E X H I B I T O R T R I B U T E
Rave Motion Pictures
got more than 1,500 followers who chime
in on Rave’s fun, casual trivia contests to
win free tickets—an excellent way to build
interest and encourage people to visit their
page often.
“Offering giveaways in new media is simply
a way to engage the Rave fan and create
interactivity,” says Devine. “Giveaways
are a driver, but really it’s just excitement
timed to special midnight premieres or
openings of films like Avatar that seem to
spike the new media chatter.”
Years of hard work have paid off. Rave
ended 2009 with a tremendous bang. On
December 21, Rave Cinemas, LLC, a newly
formed company, announced that it would
be acquiring the business operations and
selected real estate assets of approximately
35 theaters from National Amusements,
Inc. (“NAI”). As an added bonus, Rave Cinemas,
LLC also acquired the business operations
of four theaters from Boston Ventures-owned
Rave Reviews Cinemas, L.L.C.
(“RRC”), which will be managed by Rave
under a management services agreement.
The day-to-day business and operations of
Rave will be helmed by RRC’s former man-
There are unique challenges
and differences between
Las Vegas and Little Rock—
and now between Fairfax County,
VA and Pensacola, FL—but the
commitment to the patron and our
insistence on keeping up our assets
is consistent from market area
number one to number 118.
agement team, who partnered with equity
sponsor TowerBrook Capital Partners L.P.
and co-investors Lambert Media Group
and Charles B. Moss, Jr. to found Rave and
pursue the NAI and RRC acquisitions. The
move will considerably expand Rave’s
reach from 30 to 65 theaters and from 465
screens to approximately 1,000 across 20
states. NAI theaters such as the Buckland
Hills location in CT, Fairfax Corner in VA
and Stonybrook in Kentucky will help bolster
Rave’s numbers. The move also means
that everyone working for the company
will have a busy 2010.
“It has been a great pleasure to work with
our founding partner, Boston Ventures, to
build the Rave Motion Pictures brand into
what it is today,” says Thomas W. Stephenson,
Jr., chief executive officer of Rave. “We
look forward to starting the next chapter in
our company’s history with our new partners
at TowerBrook, along with Michael
Lambert and Charley Moss, while continuing
to manage the Boston Ventures-owned
theaters on their behalf.”
To preserve the Rave brand at its newly
acquired theaters, one off the major tasks
HANGING OUT IN THE LOBBY
CEO Thomas W. Stephenson, Jr. takes it
all in at the Hurst, Tex. location
46
Boxoffi ce · The Business of Movies February 2010

COME ON IN!
The view from outside of Rave’s Hurst, Tex. location
February 2010 Boxoffi ce · The Business of Movies 47

E X H I B I T O R T R I B U T E
Rave Motion Pictures
Offering giveaways in new media
is simply a way to engage the
Rave fan and create interactivity
… Giveaways are a driver, but
really it’s just excitement timed
to special midnight premieres or
openings of films like
Avatar that seem to spike the new
media chatter.”
will be to upgrade the predominately 35
mm NAI chain to digital, especially since
Rave prides itself on being a pioneer of the
format. As with any massive undertaking,
the company will take it one step at a time.
“We will be re-branding the theaters over
a period of several months and analyzing
functions and programs and incorporating
the best practices,” says Devine. “At that
point we will review any necessary marketing
on a community-by-community
basis.”
“The greatest challenge in any growing
company is continuing to do those things
that made you a great small company in
the first place,” says Wardlow. “We have
had the pleasure of creating a great culture
in our company to this point. One of
our challenges will be to maintain that
culture in a larger, more diverse company.
Thankfully, part of Rave’s culture has been
to remain accepting of change. The one
constant in our company’s history has been
change. This new chapter will offer new
opportunity and challenge for both the
existing Rave locations and the newly acquired
locations. We welcome the opportunity
to carry the culture forward in the new
company with our new team members.”
Rave faces an exciting—and changing—
exhibition industry. With this new decade
comes new challenges. Movie theaters are
competing in a media climate that is making
it easier and easier for people to view
new content in their homes. And chains
like Rave need to work harder than ever to
preserve the theatrical experience for future
generations.
“I personally take pleasure in attempting
to debunk the myth de jour that such
and such will kill the theatrical exhibition
industry,” says Devine. “Fill in the blanks.
1950s: TV. 1980s: Video. 1990s: DVD. Now
it’s downloads, streaming, 3D home electronics,
collapsing day and date windows
yadda, yadda, yadda. You know what, it will
be holograms and virtual reality and some
delivery system I can’t even imagine soon
enough. It’s a challenge and that keeps us
sharp and innovative. But the bottom line
is that people are social animals and enjoy
watching films in a communal experience.
That’s in a movie theater.”
We couldn’t agree more.
HUNGRY?
Rave’s concession stand at its Las Vegas location
offers plenty to munch on including mozarella sticks
and chicken fingers
48
Boxoffi ce · The Business of Movies February 2010

CONGRATULATIONS
TO THE GIANTS OF EXHIBITION
FOR A RECORD BREAKING 2009
CONTINUED SUCCESS IN 2010!
Times Square NYC / 917.777.0959 / info@TitanTechGroup.com / www.TitanTechGroup.com

BIGPICTURE
THE WOLFMAN
Blockbuster director
Joe Johnston bites into his
first R-rated thriller—
with help from
Gene Simmons
FANGS FOR THE MEMORIES
Estranged son Lawrence Talbot
(Benicio del Toro) returns to his
family home in London
50
Boxoffi ce · The Business of Movies February 2010

QUESTION TIME
Joe Johnston and Benicio
del Toro discuss a scene
Joe Johnston’s career blasted off big time when his first feature, Honey, I
Shrunk the Kids, scooped up $130 million at the box office and was cemented
in the pop culture as a Disneyland attraction. Since then, he’s had the luxury
of following his instincts, alternating giant family hits (Jumanji, Jurassic
Park III) with acclaimed adventure flicks (The Rocketeer, October Sky, Hidalgo).
The Wolfman finds him on new turf, helming a splashy thriller with plenty
of gore and fangs. Johnston sounds off to Boxoffice about what stays—
and what gets tweaked—when a seventy-year-old horror classic gets an update,
and gives us the scoop on The First Avenger: Captain America plus those
(apparently true) rumors about Jurassic Park IV and the start of a second
dinosaur trilogy.
By Amy Nicholson
February 2010
Boxoffi ce · The Business of Movies
51

BIGPICTURE
THE WOLFMAN
Tell me about the first time you saw
the 1941 The Wolf Man?
That was a long time ago. It was always my
favorite of the Universal monster movies. I
don’t remember how old I was when I saw
it, but I know I watched it every time I saw
it listed on TV—long before the days of videotape
recorders for home use. I really like
the original. The fascinating thing about it, I
think, is the whole notion of the beast within
everyone. We all have a dark side—some
darker than others, know what I mean?
Absolutely. The story is interesting
because it scrambles the idea of good
guys and bad guys. You’re rooting for
the wolfman, but also afraid he’s going
to do damage to the other characters
you care about.
You’re rooting for him when he is fighting a
worse evil than himself. The wolfman is really
two characters in one. He’s both hero and
villain. Lawrence Talbot is essentially the
good guy. And he has no control over what
he does when he becomes the beast. You
can’t control the beast. That’s a quote from
Sir John Talbot in the story. You can’t control
the beast—you have to let him run free.
How did you direct Benicio Del Toro
as he was, like you said, playing two
different characters?
READ ABOUT OUR EXCLUSIVE TALK WITH ANTHONY HOPKINS ON PAGE 58
He was very much in tune with who his
character was. All actors have ideas that
they like to try. Sometimes you hear an idea
and think, ‘That’s the craziest thing I’ve ever
heard!’ It’s just the nuttiest idea. And then
sometimes when you think about it and talk
about it—usually the next day when you’ve
had a chance to ingest the idea—there’s
something interesting about it. And yeah, I
could see how that would work if you translate
it this way. Benicio had all kinds of ideas
and often I thought that he was out of his
mind. And then I would think about it and
realize, ‘Oh! I see what he’s suggesting—it’s
not as crazy as it sounds. Maybe if we did this,
we could make it work.’ There was often that
kind of thing going on. I encourage all the actors
to have ideas and make suggestions and
try things—when you’re doing something
like this, it’s essential even to let them have
the freedom to go wild if they want to. We
had a lot of fun amidst the horror and the
turmoil and the schedule and the budget. Or
maybe I should say, the horror of the schedule
and the budget.
Those mundane horrors that can be
worse than the fantastic...
Exactly!
TAKING AIM
While the wolfman ducks
silver bullets, Johnston
captures the action
When you signed on, one of your first
goals was to rewrite the script. What
was it that you thought was important
to have in your telling of the wolfman?
I didn’t want to rewrite it completely, but
I did want to make the blood and the gore
and the violence integral to the story. I didn’t
want any of the violent scenes to be gratuitous.
I didn’t want to splash it with blood
just because I felt the audience wanted to see
a lot of blood. I wanted to justify everything
that we did. All the action sequences and
all the violence and all the terror, I wanted
them to come out of—and evolve from—the
storytelling process. In the original script,
there was a lot of what I thought was a lot
of scenes that turned violent and bloody for
no reason. I think because the writer was
conscious of the fact that he was writing “the
Wolfman,” he wanted to infuse it with a lot
of blood and gore. It’s not that I objected to
the violence, but I wanted it to mean something.
So that was one of the earliest quests
that we went on once I hired David Self: to
rethink the story and justify everything we
were doing. And I think it’s a much stronger
story because of that.
This is also your first R-rated film. On
one hand, you now had the freedom
to make a film that was more intensely
52
Boxoffi ce · The Business of Movies February 2010

BIGPICTURE
THE WOLFMAN
GREEN SIDE
OF THE MOON
The sky is dark, but your
theater’s full of life
Don’t lock up your daughters. When
The Wolfman howls on February 12th,
we’ll be under a new moon, making it safe
for people able to see the R-rated thriller
to strut back to their cars without fear of
attack.
It’s a lucky weekend for exhibitors, too—
the Presidents Day holiday gives them
a full extra day to pack ‘em in. Consider
hosting a special event on the weekend
and Monday, or even Monday alone when
folks off work are looking for an excuse to
make the most of their holiday.
One fun lobby contest tests your patrons’
speed and skill at transforming. When an
employee lifts a paper moon, contestants
race each other to see who can quickly
turn from human to beast, thanks to stickon
sideburns, beard and a killer set of
press-on nails.
Another challenge is a Howl-Off where
the big of lung go head-to-head to see
who has the loudest—and longest—
bellow. The winner can be gauged by
audience applause or the steely rationality
of a stop-watch. The winners of these
battles gets a free soda and/or popcorn
and the glory of being most monstrous in
the multiplex. And for exhibitors, they’re
so easy to stage and cheap to produce
that you could host a Wolfman contest for
every screening of the three-day weekend,
making your theater the spot in town to
unleash your inner animal.
As a final draw, I bet most of you can
immediately picture the original poster
art for 1941’s The Wolf Man, that acidgreen
splash with Lon Cheney looming
over a collapsed Evelyn Ankers. If you’ve
been looking to give your website or
Facebook page a boost, here’s an idea:
set up your own green backdrop with a
wolf man mask, pink dressing gown and
theater employee with a digital camera at
the ready. (You could even cast that same
dramatic shadow if you have a bright light
handy.) Encourage patrons to pose for
their own Wolfman poster and tell them
you’ll post every one online. What’s that
sharp spike!? Your web traffic, and it hurts
so good.
violent than you’d done before, but
you’re coming from a background
where your action hits haven’t needed
blood.
I felt that because of the history of this film,
and the fact that we were essentially updating
a classic, it deserved an R rating. The
original script, there’s no question that it
was an R—in fact, it was probably an NC-17.
But I didn’t want to pull it back so much that
it was PG-13 because I wanted it to be very
dark, very brooding, and I wanted it to take
what was a classic film from the 1940’s and
re-imagine it for a modern audience. Now,
the original Wolf Man is probably PG. The
violence is all implied and it happens off
camera for the most part, or in silhouette.
You don’t really see anything. There’s something
quaint and charming about the way
Lawrence Talbot transforms. You can tell
they had Lon Cheney sort of strapped in a
chair. He couldn’t move and they just came
in and applied some hair. Shot a frame and
applied some more hair. For its day, it was
as terrifying for an audience as our technology
with CG and prosthetics. That’s why the
original film has so many fans today—it has
charm. Of course, it’s very dated, but it exists
as a time capsule of how makeup effects
used to be done.
That’s what I love best, when an
opportunity comes around to remake
a classic film. We get to see how we’ve
changed. It’s the same outline, but
the stories are new again because the
zeitgeist is different. Is that freeing?
It is freeing in a way. This project was freeing
for me in a lot of different ways and for
a lot of different reasons. When I came on,
I had three weeks of prep. Standard prep is
14, 16, 18 weeks sometimes, so I really had
to hit the ground running. But I also realized
that this is an opportunity to go completely
on instinct. We didn’t rehearse anything. Not
that I really like to rehearse anyway. I just
realized that this is going to be very interesting
because the actors in a sense are coming
together for the first time as these characters.
It’s almost like we’re there in documentary
style to film these actors as they come together
in a story. To be able to justify going
purely on instinct and say, ‘I’m going to do
what feels right—I’m not going to overanalyze
it,’ that is very liberating. You start
shooting from the hip and what you find out
is that usually you’ve made the right decision.
When you over-think something, you
will sometimes go in the wrong direction.
You don’t have a lot of people in your ear saying,
‘What if you did this? And what if you
do that?’ In a way, it’s much more personal
because you’re relying on instinct. In that
way, it was a really interesting experience. It
was almost like a student film.
Make up designer Rick Baker said
it was especially hard to transform
Benicio into a wolfman because even if
he was showered and in a suit, he’d still
look half wolf. To take him visibly way
beyond his normal state was an effort.
Benicio has a very intense—and some people
might even say animalistic—look to him. But
the raw Benicio is so far from what he becomes
as a wolfman that it’s not like we have
a head start or anything. He is completely
transformed. The great thing about Rick’s
makeup is you can see Benicio under his
makeup. His personality comes out—it’s not
like somebody putting on a hockey mask and
you’re not sure it’s them in there or not. The
makeup was built in such a way that it didn’t
restrict Benicio as much as some makeups
do. He was able to express himself and give
a very convincing performance even while
barely recognizable as Benicio Del Toro. You
can see his eyes—he’s got very distinctive
eyes—and they stare through at you.
Is it true that Gene Simmons does his
howl?
Well, when we were designing his howl, we
were going off in a lot of different directions.
We tried a lot of things to see what would
work and be interesting. We listened to every
wolf howl ever done on every film. We listened
to all of them. And you’d be surprised
how unconvincing most of them are. Some
were just wolves, but some were men going,
‘Aoooooooo!’
Like a choo-choo train.
We didn’t get a lot from our research in
what’s been done before. We were looking
for this great pure tone—we knew we were
going to process it and overlay elements to
it, but we wanted that great foundation. We
tried Gene Simmons and one of Gene Simmons’
howls is in the movie. I don’t think
Gene Simmons would recognize it, but it’s in
there. We had David Lee Roth come in and
do a few howls...
No way!
That was a blast. We had opera singers come
in and howl, we had animal impersonators.
Gene Simmons and David Lee Roth were
pretty near the end of the process. By then
we knew what we were looking for, we were
homing in on it. And their stuff became the
most useful stuff that we did. Like I said,
54
Boxoffi ce · The Business of Movies February 2010

BIGPICTURE
THE WOLFMAN
SLEEPLESS NIGHTS
del Toro wrestles his new instincts
I don’t think they would recognize it after
what we’ve done to it because we’ve digitally
processed it and added cool overtones and all
that stuff. We were basically just looking for
a wolf howl you’d never heard before. What
we realized is that everybody in the audience
knows what a wolfman sounds like. Even
if it’s from their imagination, it’s all pretty
much the same thing. We just wanted our
howl to be the best version of that howl. And
I think we’ve come up with something that’s
definitely spine-tingling, and at the same
time it’s familiar enough that the audience is
going to recognize it—it’s what they expect,
with enhancements.
My mental image of your howl
auditions is amazing.
It was great. These guys, they’re not only
singers—they’re comedians. Hilarious sessions.
You can imagine Gene Simmons and
David Lee Roth in there howling with the
picture on the screen. And they would do it,
crack a few jokes, and try it again. Even if it
hadn’t been useful, it would have been fun
just to do it.
Did they know they were competing
against each other to be the signature
howl?
I’m not sure if they did, actually?! They came
in on different days. I’m not sure if they
knew there were other rockers coming in? I
guess they’ll read about it somewhere.
The internet is freaking out that there
might be a Jurassic Park IV.
Wow, when did that happen?
November—you mentioned to Ain’t it
Cool News that there might be a good
script.
Did I tell him? Was it me?
You said that there was no way to get
people back on the island for a fourth
time and have it make sense, but that
2001 was the last installment and we’re
due.
Well, there is going to be a Jurassic Park IV.
And it’s going to be unlike anything you’ve
seen. It breaks away from the first three—
it’s essentially the beginning of the second
Jurassic Park trilogy. It’s going to be done in a
completely different way. That’s pretty much
all I can tell you.
A second trilogy?
If you think of the first three as a trilogy,
number four would be the beginning of a
second trilogy.
That’s big. So not to lock you in, but
there’s a possibility there might be a
total of six films?
Well, you never know. If they keep working—and
if audiences keep going to them—
there’s no reason why there wouldn’t be. We
just want to make them justified in their
own right. We don’t want to make sequel after
sequel just because there’s a market for it.
We want to tell different, interesting stories.
You don’t want to just sell hamburger.
What can you tell me that people
might not have already heard about
Captain America?
It’s not going to be a Captain America that
you expect. It’s something different. It is
influenced by the comic book, but it goes
off in a completely different direction. It’s
the origin story of Captain America. It’s
mostly period—there are modern, presentday
bookends on it—but it’s basically the
story of how Steve Rogers becomes Captain
America. The great thing about Captain
America is he’s a super hero without any
super powers. Which is why this story,
among the hundreds of superhero stories,
appealed to me the most. He can’t fly, he
can’t see through walls, he can’t do any of
that stuff. He’s an everyman who’s been
given this amazing gift of transformation
into the perfect specimen—the pinnacle
of human perfection. How does that affect
him? What does that mean for him emotionally
and psychologically? He was this
98-pound weakling, he was this wimp, and
he’s transformed instantly into this Adonis.
You’d think he got everything he wanted.
Well, he didn’t get everything he wanted.
The rules change at that point and his life
gets even more complicated and dire. For
me, that’s the interesting part of the story.
It’s got some great action sequences in it and
some incredible stuff that we’ve never seen
before. But at the heart of it, it’s a story about
this kid, who all he wants to do is fit in. This
thing happens and he still doesn’t fit in. And
he has to prove himself a hero—essentially
go AWOL to save a friend. Eventually at
the very end, I don’t want to give away too
much, but he does fit in. But it’s the journey
of getting him there that’s interesting. And
it’s a lot of fun.
Like the wolfman, it’s a classic character
where you have to find the human
element underneath him.
Well, I figure humans buy tickets to go see
the movies. We might as well make stories
about humans. After all, robots don’t buy
tickets.
56
Boxoffi ce · The Business of Movies February 2010

Three Giant
Advantages.
When it comes to digital cinema,
only one imaging technology has
proven performance, incredible
reliability, millions of showings
and broad offering of resolutions
including enhanced 4k coming
Licensed Partners
soon. It’s DLP Cinema ® – the
leader in digital cinema for all of
those reasons and more. Don’t
gamble with other technology
that could potentially cost more
to operate. Deploy reliable DLP
Cinema projectors from brands
with a track record of success. It’s
a proven formula for the ultimate
digital cinema experience.
Copyright 2010. DLP cinema and the DLP cinema logo are registered trademarks of Texas Instruments. The platform bar is a trademark of Texas Instruments. Texas Instruments is traded publicly on the NYSE ® under the symbol TXN.

BIGPICTURE
THE WOLFMAN
Anthony Hopkins devours the Universal classic
The
The wolfman has a love-hate relationship
with two supreme forces: the moon
and his father, the steel-cold Sir John Talbot.
Four-time Oscar nominee Claude Rains (the
steely but civilized actor best known as
Captain Renault in Casablanca) originated
the role in the 1941 Lon Cheney chiller and
found a heart buried in the father-of-thebeast.
But Anthony Hopkins is a different
animal.
“Claude Rains and I have nothing in
common,” Hopkins tells Boxoffice. “I’m
not dignified at all—I’m a pretty rough
customer.” And Hopkins’ Talbot channels
that aggression. Here, when son Benicio
Del Toro confesses his secret, dear old dad
doesn’t go into denial—he encourages
his child to go wild and unleash his inner
monster.
“I didn’t see the original movie, so I don’t
know how different I am from the guy,”
confesses Hopkins. “I don’t see monster
movies. I haven’t been to see any monster
movies. I’m not a great moviegoer.”
Hopkins’ John Talbot is a fighter, not a
lover. He’s just lost one son to a wild animal
by Amy Nicholson
attack when his second boy, long estranged
from the family, returns to ye olde England
after years in America. They don’t hug it out.
And when son Lawrence (Benicio Del Toro)
is bitten while helping his brother’s grieving
fiancee (Emily Blunt of The Young Victoria)
hunt down the killer, Hopkins isn’t offering
a shoulder to cry on.
Hopkins leaves it to others to wax
enthusiastically about reenergizing
the Universal classic or tapping into
the invigorated werewolf and vampire
resurgence. “I don’t find anything
fascinating about werewolves,” he says,
adding, “I don’t actually follow trends in
fashions of movies—it doesn’t interest me
at all.”
For Hopkins, the draw was simple: the
chance to work with Del Toro, the Puerto
Rico-born actor who has already caught up
to Hopkins in Academy Awards. An added
plus was director Joe Johnston, whose
fantasy spectacles like Honey I Shrunk the
Kids, Jumanji and Jurassic Park III have each
topped $100 million at the box office.
“It’s a good script,” says Hopkins. “I just
learned the lines and showed up.”
Though Hopkins defined his A-list
reputation in the ‘90s with dramatic
character roles in Amistad, Nixon, The
Remains of the Day and his most inseparable
persona, The Silence of the Lambs’ Hannibal
Lector, increasingly he’s embraced pop
culture blockbusters like Alexander and
Beowulf. He’ll spend the early stretch of 2010
in Los Angeles and New Mexico shooting
Thor, based on the Marvel Comic. (Hopkins
plays Odin, the Norse god of War and
Death.) But plunging into splashy CGI flicks
hasn’t changed Hopkins as an actor.
“I show up and do my thing and then
they spend all that time doing computer
specialized things. It’s just like any other
movie,” he explains. “I leave the imagination
to the editor, the director and all the special
effects people. I go home at night and then
when the movie’s ready to show, I’ll go see
it.” Look out for him chomping popcorn
in the next row when The Wolfman tears
through the multiplex this month.
58
Boxoffi ce · The Business of Movies February 2010

BIGPICTURE
THE WOLFMAN
Anthony Hopkins devours the Universal classic
The
The wolfman has a love-hate relationship
with two supreme forces: the moon
and his father, the steel-cold Sir John Talbot.
Four-time Oscar nominee Claude Rains (the
steely but civilized actor best known as
Captain Renault in Casablanca) originated
the role in the 1941 Lon Cheney chiller and
found a heart buried in the father-of-thebeast.
But Anthony Hopkins is a different
animal.
“Claude Rains and I have nothing in
common,” Hopkins tells Boxoffice. “I’m
not dignified at all—I’m a pretty rough
customer.” And Hopkins’ Talbot channels
that aggression. Here, when son Benicio
Del Toro confesses his secret, dear old dad
doesn’t go into denial—he encourages
his child to go wild and unleash his inner
monster.
“I didn’t see the original movie, so I don’t
know how different I am from the guy,”
confesses Hopkins. “I don’t see monster
movies. I haven’t been to see any monster
movies. I’m not a great moviegoer.”
Hopkins’ John Talbot is a fighter, not a
lover. He’s just lost one son to a wild animal
by Amy Nicholson
attack when his second boy, long estranged
from the family, returns to ye olde England
after years in America. They don’t hug it out.
And when son Lawrence (Benicio Del Toro)
is bitten while helping his brother’s grieving
fiancee (Emily Blunt of The Young Victoria)
hunt down the killer, Hopkins isn’t offering
a shoulder to cry on.
Hopkins leaves it to others to wax
enthusiastically about reenergizing
the Universal classic or tapping into
the invigorated werewolf and vampire
resurgence. “I don’t find anything
fascinating about werewolves,” he says,
adding, “I don’t actually follow trends in
fashions of movies—it doesn’t interest me
at all.”
For Hopkins, the draw was simple: the
chance to work with Del Toro, the Puerto
Rico-born actor who has already caught up
to Hopkins in Academy Awards. An added
plus was director Joe Johnston, whose
fantasy spectacles like Honey I Shrunk the
Kids, Jumanji and Jurassic Park III have each
topped $100 million at the box office.
“It’s a good script,” says Hopkins. “I just
learned the lines and showed up.”
Though Hopkins defined his A-list
reputation in the ‘90s with dramatic
character roles in Amistad, Nixon, The
Remains of the Day and his most inseparable
persona, The Silence of the Lambs’ Hannibal
Lector, increasingly he’s embraced pop
culture blockbusters like Alexander and
Beowulf. He’ll spend the early stretch of 2010
in Los Angeles and New Mexico shooting
Thor, based on the Marvel Comic. (Hopkins
plays Odin, the Norse god of War and
Death.) But plunging into splashy CGI flicks
hasn’t changed Hopkins as an actor.
“I show up and do my thing and then
they spend all that time doing computer
specialized things. It’s just like any other
movie,” he explains. “I leave the imagination
to the editor, the director and all the special
effects people. I go home at night and then
when the movie’s ready to show, I’ll go see
it.” Look out for him chomping popcorn
in the next row when The Wolfman tears
through the multiplex this month.
58
Boxoffi ce · The Business of Movies February 2010

CLASSIC AD FEB.1981
BOXOFFICE > CELEBRATING 90 YEARS

THESLATE
ONTHEHORIZON
By Amy Nicholson
Distributor Lionsgate Cast Nicolas Cage, Aaron Johnson, Lyndsy Fonseca, Christopher
Mintz-Plasse, Chloe Moretz Director Matthew Vaughn Screenwriters
Matthew Vaughn, Jane Goldman Producers Adam Bohling, Tarquin Pack, Brad
Pitt, David Reid, Krys Thykier, Matthew Vaughn Genre: Comedy/Action Rating
TBD Running time TBD Release date April 16, 2010
AND
TAKING
NAMES
DETENTION
MAKE ME
Chloe Moretz steals
the film as a pre-teen
assassin Hit-Girl
> There’s no shortage of superhero movies, but
advance buzz for this splashy adult comedy makes it
stand apart. Based on the Marvel Comics series,
Kick-Ass is about a New York high school
student named Dave Lizewski (a named
picked by MySpace contest winner Dave
Lizewski) who resolves to save the city from
crime. The twist is that he’s immediately
beaten up and stabbed. And then things get
interesting.
Longtime Guy Ritchie collaborator Matthew
Vaughn directed the flick outside the
studio system and made sure to stick to the
serie’s dark, rule-breaking humor. He didn’t
waver, even with the character of Hit-Girl, an 11
year old crime fighter more deadly and dastardly
than Bruce Willis. She doesn’t just kill drug dealers;
she trash talks them like a sailor. Fan boys who
caught a rough cut of the flick at Harry Knowles’
Butt-Numb-A-Thon festival at Austin’s Alamo
City Draft House in Austin heralded newcomer
Chloe Moretz as the second coming of Uma
Thurman in Kill Bill—career-making praise that
should boost the pre-teen’s box office cache in
time for her star turn as a vampire child in the US
remake of Let the Right One In.
Against Moretz’s scene-stealing magic, UK
teen Aaron Johnson will have to fight to
register as the titular hero Kick-Ass, especially
when the rest of the cast includes Nicolas
Cage and Christopher Mintz-Plasse (aka
McLovin’, the role he’s yet to leave behind).
But Lionsgate has faith the film will be
a minor phenom, and Focus Features
agrees enough that they’ve
snapped up the flick’s international
rights. Next stop for this
killer kid: world domination.
62 Boxoffi ce · The Business of Movies February 2010

WALL STREET 2:
MONEY NEVER SLEEPS
Greed never dies
Distributor 20th Century Fox Cast Michael Douglas, Shia Labeouf, Frank
Langella, Carey Mulligan, Vanessa Ferlito, Susan Sarandon, Josh Brolin
Director Oliver Stone Screenwriter Allan Loeb Producers Michael
Douglas, Eric Kopeloff, Edward R. Pressman, Oliver Stone Genre Drama
Rating TBD Running time TBD Release date April 23, 2010
> Finance has changed since Gordon Gekko got
thrown in the slammer. Now, hot shots aren’t swiping
their rival’s secrets by flipping their janitors into
spies. They’re simply inventing investments altogether.
And after two decades behind bars, Michael
Douglas’ Gekko is back on the streets and way behind
the times—which makes him the first person to
recognize that the 2008
business model is dangerous.
“I never expected high
finance to serve again
as a tableau for my
storytelling,” said writerdirector
Oliver Stone. But
when inspiration struck
in 2007, Stone started in
on a script—and then
over the next year, realized
he had to rewrite
it again to capture the
WHAT, ME STEAL?
In Wall Street 2, Shia LaBeouf
transforms into a young
banker surrounded by crooks
shifting quicksand. Stone
tapped screenwriter
Allan Loeb for the redo.
The pen behind the
ridiculous Halle Berry drama Things We Lost in the Fire
and the modest success 21 might be a smart choice
as he’s the rare writer who’s also a licensed stockbroker.
One of Loeb’s first major decisions was to decide
how much to cram in. After mulling it over, Loeb and
Stone chose to avoid the Bernie Madoff fallout, with
Stone explaining, “Madoff I consider to a be a sociopath;
he was a crook running a Ponzi scheme. What’s
going on now is legal. It’s legal robbery.”
Stone’s kept the plot under wraps, but he’s dropped
a few shiny pennies. Douglas will reprise his Academy
Award-winning role (this time more as hero than
villain) with Charlie Sheen dropping by in at best a
cameo—an Internet whisper that could be silenced
altogether with Sheen’s latest legal troubles. Instead,
Shia LaBeouf will play the male ingénue as the
upstart fiancé of Douglas’ estranged daughter, Carey
Mulligan, a new young actress tipped for an Oscar
nom thanks to her strong debut in An Education. Frank
Langella has been cast as LaBeouf’s mentor, who, rumor
has it, meets a bad end at the hands of corporate
shark Josh Brolin (teaming with Stone for the second
time since his turn as Dubya in W). And, in awareness
of the times, the film’s Manhattan shark tank
has grown globally to include London, Dubai and
“an Asian country,” according to producer Edward R.
Pressman. We’d put money on international ticket
sales giving Wall Street 2 a healthy box office boost.
HEY STRANGER
Jennifer Lopez returns to rom
coms in the fertilization flick
The Back-Up Plan
THE BACK-UP PLAN
Baby mama drama
Distributor CBS Films Cast Jennifer Lopez, Alex O’Loughlin, Eric Christian Olsen, Michaela Watkins, Melissa
McCarthy Director Alan Poul Screenwriters Kate Angelo Producers Todd Black, Jason Blumenthal, Steve Tisch
Genre Romance/Comedy Rating TBD Running time TBD Release date April 16, 2010
> In 2003, pop star and actress Jennifer Lopez was ubiquitous and the highestpaid
Latina actress in Hollywood. But after Gigli, she’s kept her head down and
has now let five years slip by without a moneymaker. (Her last was 2005’s critically
panned Monster-In-Law.) She’s still the highest-paid Latina actress in town,
but that’s for lack of competition. The big question for CBS films is if audiences
are once again ready to adore her in a star role—and the romantic comedy script
they’ve chosen is a moderate-stakes gamble..
Lopez plays one of those Manhattan dames who has it all, minus a man and
baby. Since she can’t do much about the former, she takes charge of the latter via
artificial insemination—minutes before she meets-cute with Aussie actor Alex
O’Loughlin, best known for his TV turn as an investigator on The Shield. Can their
new love survive her carrying a stranger’s spawn? And are audiences able to embrace
a sexy comedy with a baby bump? (Juno says yes, Baby Mama says maybe.)
Besides CBS, two studios will be closely watching The Back-Up Plan. One is Columbia,
who with Lopez’s own Nuyorican Productions is developing a rom com
called The Governess, to star Lopez as a thief worming her way into a family’s trust.
The other is Miramax, who just four months later plans to release The Baster,
another artificial-insemination comedy. Written by the versatile Allan Loeb (Wall
Street 2—is he a stockbroker and an OB-GYN?), The Baster stars Jennifer Aniston,
the queen of tabloid “Womb Watches,” as a mom-to-be who has no idea that her
best friend, Jason Bateman, switched vials at the clinic to impregnate her with
his DNA. The best thing about pregnancy comedies? Even if they take over nine
months to develop, the hits give their parents money and the duds don’t stick
around for 18 years.
February 2010
Boxoffi ce · The Business of Movies
63

THESLATE
COMING ATTRACTIONS
Distributor Lionsgate Cast John Travolta, Jonathan
Rhys Meyers Director Pierre Morel Screenwriters
Luc Besson, Adi Hasak Producers Luc Besson,
India Osborne Genre Action/Thriller Rating R for
strong bloody violence throughout, drug content,
pervasive language and brief sexuality Running
time TBD Release date February 5, 2010
> John Travolta is reborn again as
an action star with a shaved head
and thuggish goatee in this Parisian
caper flick co-starring Jonathan Rhys
Meyers as a newbie embassy worker
paired up with Travolta’s devil-maycare
secret agent. Writer Luc Besson
is the name is French action. The test
will be seeing if audiences are willing
to cross the Seine to see Travolta kick
some derriere.
Parlez-vous danger?
FROMPARISWITHLOVE
FROZEN
Just when you thought it was safe
to go back on the ski lift
Distributor Overture Cast Kevin Zegers, Shawn
Ashmore, Emma Bell, Rileah Vanderbilt, Adam
Johnson, Ed Ackerman, Chris York, John Omohundro
Director Adam Green Screenwriter Adam Green
Producers Peter Block, Cory Neal Genre Thriller
Rating R for some disturbing images and language
Running time TBD Release date February 5, 2010
> Here’s a shivery concept: three
skiers sneak onto the lift up for one
last run. But when the park—and the
lift—shuts down for the week with
them still dangling a football field
above the snow, the threesome faces
a chilling fight for survival. Overture
hopes this tidy flick by burgeoning
cult director Adam Green (Hatchet)
could be a Lifeboat for ski bunnies.
HIGH STAKES
Ski bunny cineastes
might get second
thoughts after catching
Frozen at Sundance
2010
64
Boxoffi ce · The Business of Movies February 2010

KNOW WHAT THEY
CALL A GUN IN PARIS?
John Travolta picks up another
pistol and hopes for a Pulp
Fiction comeback
DEAR JOHN
Postcards from the edge
Distributor Screen Gems Cast Channing Tatum, Amanda
Seyfried, Henry Thomas, Richard Jenkins Director Lasse
Hallström Screenwriter Jamie Linden, based on the novel
by Nicholas Sparks Producers Marty Bowen, Wyck Godfrey
Genre Romance/Drama Rating TBD Running time TBD
Release date February 5, 2010
> Author Nicholas Sparks is the Michael
Creighton of romance. His novels The Notebook,
A Walk to Remember, Nights in Rodanthe
and Message in a Bottle have all been adapted
for the screen and this year he’ll have two big
tickets: Miley Cyrus’ The Last Song and this
weepie about a college girl (Mamma Mia’s
Amanda Seyfried) in love with a soldier (Channing
Tatum) who keeps reenlisting for more
tours of duty. To Sparks, love ain’t easy—it’s
agony—and so far, audiences love him for it.
MY NAME IS KHAN
Life is like a box of chakras
Distributor For Searchlight Cast Shahrukh Khan, Kajol
Director Karan Johar Screenwriters Shibani Bathija,
Niranjan Iyengar Producer Karan Johar Genre Romance/
Drama Rating TBD Running time TBD Release date
February 12, 2010
> Fox Searchlight’s latest attempt for slumdog
millions hits all the bases: A Muslim
man with Aspergers leaves Mumbai for San
Francisco where he falls in love with a single
mother. Then 9/11 hits and after years of suspicion
and hostility Khan pilgrimages to DC
to ask newly elected President Obama to clear
his name from the terrorist register. It’s Rain
Man meets Forrest Gump meets Bollywood,
and if even one of those notes strikes a chord,
Fox Searchlight will be singing.
PERCY JACKSON &
THE OLYMPIANS: THE
LIGHTNING THIEF
Who’s your daddy?
Distributor 20th Century Fox Cast Pierce Brosnan, Uma
Thurman, Sean Bean, Melina Kanakaredes, Brandon T.
Jackson, Alexandra Daddario, Catherine Keener, Rosario
Dawson Director Chris Columbus Screenwriter Joe
Stillman Producers Michael Barnathan, Mark Morgan, Guy
Oseary, Mark Radcliffe, Karen Rosenfelt Genre Fantasy/
Family Rating TBD Running time TBD Release date
February 12, 2010
> A New York teen discovers his mom once
shagged Poseidon—and even more astoundingly,
he’s their demi-god love child. This
fantasy flick based on Rick Riordan’s popular
series has one good luck charm: director
Chris Columbus, who kickstarted the Harry
Potter franchise. And the cast isn’t too shabby
either, with Sean Bean as Zeus, Rosario Dawson
as Persephone, Pierce Brosnan as Chiron
and British comedian Steve Coogan as Hades.
Semi-newcomer Logan Lerman of Gamer and
3:10 to Yuma plays the half-breed hero.
VALENTINE’S DAY
Right in the kisser
Distributor New Line Cinema Cast Julia Roberts, Anne
Hathaway, Jessica Alba, Jessica Biel, Jennifer Garner,
Shirley MacLaine, Bradley Cooper, Ashton Kutcher, Eric
Dane, Jamie Foxx, Queen Latifah, Topher Grace, Carter
Jenkins, Taylor Swift, Taylor Lautner Director Garry
Marshall Screenwriters Katherine Fugate, Abby Kohn, Marc
Silverstein Producers Mike Karz, Wayne Allan Rice, Josie
Rosen Genre Romance/Comedy Rating TBD Running time
TBD Release date February 12, 2010
> When romantic comedy king Garry Marshall
(Pretty Woman, Runaway Bride) decided to
reclaim his crown, he called everyone’s agent.
He’s got Julia Roberts and niece Emma Roberts,
Jessica Alba and Jessica Biel, Taylor Lautner
and Taylor Swift—even That ‘70s Show co-stars
Ashton Kutcher and Topher Grace. And that’s
just half the cast. The test is will all these
names add up to a box office blowout? Last
V-Day, He’s Just Not That Into You did middling
fare, but if Marshall takes good aim with his
cupid bow and arrow, expect to hear much
hype about the rebirth of rom coms.
THE GOOD GUY
Before Gordon Gekko, meet Tommy
Fielding
Distributor Roadside Attractions Cast Alexis Bledel, Scott
Porter, Anna Chlumsky, Bryan Greenberg Director Julio
DePietro Screenwriter: Julio DePietro Producers Rene
Bastian, Julio DePietro, Linda Moran Genre Romance/
Drama Rating R for pervasive language and some sexual
content. Running time TBD Release date February 19,
2010
> A hotshot young banker (Scott Porter) risks
losing his love (Alexis Bledel) and his sanity
when he gets too tangled up in the riches of
Wall Street. Though it already sounds like a
period piece, this debut by newcomer writer/
director Julio DePietro has been appreciatively
received by audiences who forgive
its datedness in the face of solid, low key
credibility.
HAPPY TEARS
For crying out loud, dad
Distributor Roadside Attractions Cast Demi Moore, Parker
Posey, Rip Torn, Ellen Barkin, Christian Camargo, Billy Magnussen,
Sebastian Roche Director Mitchell Lichtenstein
Screenwriter Mitchell Lichtenstein Producers Joyce M.
Pierpoline Genre Drama/Comedy Rating R for language,
drug use, and some sexual content including brief nudity
Running time 95 min. Release date February 19, 2010
> Director Mitchell Lichtenstein made
an impression with 2007’s Teeth, a horror
dramedy about a pious teen who discovers a
set of fangs in the last place you’d want them.
His latest hews more to convention, but Lichtenstein,
son of Roy, has some twists up his
sleeve. Two sisters (Demi Moore and Parker
Posey) disagree over 75 year old father Rip
Torn’s need for home care. With Ellen Barkin
as dear old pop’s girlfriend (and hooker) who
wishes they’d back off.
February 2010
Boxoffi ce · The Business of Movies
65

THESLATE
QUICKTAKES for complete interviews and reviews, go to BOXOFFICE.com
ARE YOU THERE, GOD? IT’S ME, CHARLES
Husband and wife Paul Bettany and Jennifer
Connelly star in Creation, the biopic of the
controversial biologist
CREATION
Too milquetoast to survive Hollywood’s natural
selection
Distributor New Market Director Jon Amiel Cast Paul Bettany,
Jennifer Connelly, Jeremy Northam Screenwriter John
Collee Producer Jeremy Thomas Genre Historical Drama/
Biography Rating Unrated Running time 108 min. Release
date January 22 ltd.
★★ Barbara Goslawski says: 2009 is the 200th anniversary
of Charles Darwin’s birth and the 150th anniversary
of the publication of his groundbreaking scientific
treatise, On the Origin of Species. Too bad Jon Amiel’s
biopic, Creation, is underwhelming. The film tracks the
events before the publication of this masterwork—but
then it stops. Darwin’s personal tragedies and intellectual
dilemmas, coupled with his moral struggles, are rife with
possibilities, but Amiel just can’t rise above pedestrian
drama. Without drive and insight—and with only modest
star power in the ranks of his creative team and husband
and wife stars Jennifer Connelly and Paul Bettany—the
box office returns on Creation will also disappoint.
MINE
Hurricane Katrina’s pets speak out
Distributor Film Movement Director Geralyn Pezanoski Producer
Geralyn Pezanoski, Erin Essenmacher Genre Documentary
Rating Unrated Running time 83 min. Release date
January 15 NY/SF
★★★★ Pam Grady says: When Hurricane Katrina
slammed into New Orleans in 2005, the cataclysm brought
out the worst in the United States with an emergency response
that was woefully inadequate. But it also brought
out the best in the legions of rescue workers, charitable
organizations and citizen volunteers who swooped in to
alleviate the suffering of people whose homes and lives
were destroyed. Geralyn Pezanoski’s enraging, uplifting
documentary Mine hunts down what happened to New
Orleans’ animals in the aftermath of the storm—and as
with every other element of the disaster , it’s a story of
both bad and good. With only a limited release planned,
box office returns will be modest for a film that’s a mustsee
for animal lovers and anyone with an interest in Katrina’s
still unfolding saga.
DISTRICT 13: ULTIMATUM
A less than stellar sequel
Distributor Magnolia Pictures Cast Cyril Raffaelli, David
Belle, Philippe Torreton, Daniel Duval, Elodie Yung Director
Patrick Alessandrin Screenwriter/Producer Luc Besson
Genre Action Rating R for some language, violence and drug
material. Running time 97 min. Release date February 5 ltd.
★★★■Wade Major says: With an intended American
remake of the original 2004 French-language District B13
languishing in development hell, Gallic auteur-mogul
PARKOUR BROTHER
Fans of David Belle’s athletic feats, dubbed
parkour, will leap for District 13: Ultimatum
Luc Besson has delivered a safe but serviceable sequel, in
the process giving a boost to the career of up-and-coming
director Patrick Alessandrin. Though it fails to live up to
its dynamic predecessor in almost every way, District 13:
Ultimatum should still be enough to satisfy the earlier
film’s small but faithful core of American fans.
PRODIGAL SONS
Absorbing doc about family dynamics and changing
identity
Distributor First Run Features Director Kimberly Reed
Producers John Keitel, Kimberly Reed Genre Documentary
Running time 86 min. Release date February 26 NY,
March 5 Exp.
★★★★■Ed Schied says: Prodigal Sons is a documentary
on a sibling rivalry that persists through some unusual
identity changes. Marc, an adopted son, discovers that he is
the grandson of Orson Welles and Rita Hayworth. His highachieving
brother becomes a transgender woman and ultimately
the film’s director, Kimberly Reed. The unexpected
directions in their family dynamics (and the unflinching
scenes of volatile Marc) keep Prodigal Sons absorbing. The
emotional intensity boosted by the Welles/Hayworth connection
should draw attentions to help this documentary
stand out among other independent films.
SAINT JOHN OF LAS VEGAS
An indie comedy that’s more quirk than clever
Distributor IndieVest Cast Steve Buscemi, Romany Malco,
Peter Dinklage, Sarah Silverman, John Cho, Tim Blake Nelson
Director/Screenwriter Hue Rhodes Producers Mark
Burton, Lawrence Mattis, Kelly McCormick, Matt Wall Genre:
Comedy Rating R for language and some nudity Running
time 85 min. Release date January 29 NY/LA
★★ Pete Hammond says: A southwestern-flavored
comedy about a compulsive gambler who runs away from
Vegas in search of a normal life and bland new job, Saint
John Of Las Vegas doesn’t break any new ground. In fact, it
resembles any number of quirky indie character pieces. An
66 Boxoffi ce · The Business of Movies February 2010

amusing turn from Steve Buscemi in the title role and some
sporadically funny, off-beat dialogue provided by debuting
writer/director Hue Rhodes make for a passable, if forgettable,
time-passer. Theatrical returns should be minimal with
cable and DVD prospects the best chance for success down
the line. Marketing to emphasize the niche fan base of the
starring comedians should boost attraction to this indie.
I LOVE YOU, PHILLIP MORRIS
Carrey’s bizarre gift redeems a mixed effort in this
unflinching portrait of a gay con artist
Distributor Consolidated Pictures Group Cast Jim Carrey,
Ewan McGregor, Leslie Mann Screenwriters/Directors Glen
Ficarra, John Requa Producers Andrew Lazar, Far Shariat
Genre Comedy Rating R for sexual content including strong
dialogue and language. Running time 102 min. Release
date February 5 ltd., February 12 wide
★★★ Ray Greene says: Will I Love You, Phillip Morris
have a chance at this year’s Oscars or at the box office?
That depends almost entirely on whether or not its central
performance has been given by a man who is still an
A-List film personality. The story itself—starring Jim Carrey
as Steven Jay Russell, a gay ex-cop who turns con man
and then prison escape artist—is a tough sell, despite the
fact that it’s rooted in a remarkable true story.
WHAT PRICE BEAUTY
Art world intrigue in
The Art of the Steal
shun him for being irreligious. Either way, he won’t get
out before there’s blood on his hands. Whether audiences
have the stomach for 150 minutes behind bars remains
debatable, but there is no denying the persuasive power
of a film that takes no prisoners and pulls no punches.
THE ART OF THE STEAL
Art and conspiracy dovetail in this crossover doc
Distributor Sundance Selects Director Don Argott Producer
Sheena M. Joyce Genre Documentary Rating Unrated
Running time 101 min. Release date February 26 NY
★★★★■Pam Grady says: One of the greatest Impressionist,
Post-Impressionist and early modern art collections
on the planet lives not in a museum, but on the
grounds of the Barnes Foundation in suburban Merion,
Pennsylvania. At some point in the near future, the collection
will move to new digs in Philadelphia, an act in
direct defiance of the wishes of the man who amassed the
collection, Dr. Albert C. Barnes. Filmmaker Don Argott
delves deep into this art world scandal and emerges with
The Art of the Steal, a fascinating if overlong look at a legacy
perverted. In a limited theatrical run, the doc looks to
score with art lovers and conspiracy buffs alike, insuring
at least modest box office numbers.
YEAR OF LIVING DANGEROUSLY
Sean Bean in Red Riding: 1983
RED RIDING TRILOGY
RED RIDING: 1974 ★★★★ / RED RIDING:
1980 ★★★★■ / RED RIDING: 1983 ★★★★■
A killer three-part series
Distributor IFC Films Cast Sean Bean, Warren Clarke,
Andrew Garfield, Rebecca Hall, James Fox, Paddy Considine,
Maxine Peake, Mark Addy, David Morrissey Directors
1974—Julian Jarrold / 1980—James Marsh / 1983—Anand
Tucker Screenwriter Tony Grisoni Producers Andrew Eaton,
Anita Overland, Wendy Brazington Genre Crime/Drama
Running time 1974—106 min. / 1980—97 min. / 1983—102
min. Release date February 5 NY
Ed Schied says: Red Riding is a trilogy of feature films,
released simultaneously, that uncover murder and pervasive
corruption in Yorkshire, England in different time
frames—1974, 1980 and 1983. Each film has a different director
who employs a different visual style and each film
is self-contained, but 1980 and 1983 build on events from
earlier parts of the series. With uniformly high quality,
the three films make up a gripping mystery that should
keep audiences curious enough to continue with the series
to find out the eventual resolution. With critical attention
the films could become a cult series, but the grim
subject matter could limit audience size.
A PROPHET UN PROPHÈTE
Harrowing and long, this prison drama delivers
Nothing escapes
our popcorn bags.
Distributor Sony Pictures Classics Cast Tahar Rahim, Niels
Arestrup, Adel Bencherif, Reda Kateb, Hichem Yacoubi Director
Jacques Audiard Screenwriter Jacques Audiard,
Thomas Bidegain Producer Martine Cassinelli Genre Prison
drama/French-language, subtitled Rating R for strong violence,
sexual content, nudity, language and drug material.
Running time 150 min. Release date February 26 NY/LA
★★★★ Richard Mowe says: With the honor of being
chosen as France’s Foreign language film Oscar contender
to add to its Cannes Film Festival Grand Prix Award, A
Prophet has been rightly lauded by the critics. Tahar Rahim
stars as a naïve, illiterate inmate trying to survive the
Corsicans, who see him as prey, and his fellow Arabs who
PCI’s popcorn bags are 100% guaranteed
leak-proof, meaning no butter, no grease
and no worries!
Apply your own custom design - your customers
will love them and you’ll soon discover how
secure bags mean secure profits.
To find out more simply call 314-329-9700
or email info@packagingconceptsinc.com
greener, cleaner packaging concepts
www.packagingconceptsinc.com
February 2010
Boxoffi ce · The Business of Movies
67

FOR A COMPLETE LISTING, GO TO BOXOFFICE.COM
Action = Act
Adventure = Adv
Animated = Ani
Arthouse = Art
Biography = Bio
Comedy = Com
Crime = Cri
Documentary = Doc
Drama = Dra
Epic = Epic
Family = Fam
Fantasy = Fan
Foreign
Language = FL
Horror = Hor
Kids = Kids
Lesbian, gay, bisexual,
transgender = LGBT
Live Action = LA
Martial Arts = MA
Mystery = Mys
Musical = Mus
Performance = Per
Political = Poli
Romance = Rom
Science Fiction = SF
Stop-Motion
Animation = SMAni
Sports = Spr
Suspense = Sus
3D = 3D
Thriller = Thr
Urban = Urban
War = War
Western = Wes
TITLE DATE & RELEASE STARS DIRECTOR RATING GENRE RUNNING TIME FORMAT
DISNEY 818-560-1000 / 212-593-8900
WHEN IN ROME Fri, 1/29/10 Kristen Bell, Josh Duhamel Mark Steven Johnson PG-13 Rom/Com DTS/Dolby DIG/SDDS
ALICE IN WONDERLAND Fri, 3/5/10 Mia Wasikowska, Johnny Depp Tim Burton NR Adv/Fam/Fan
Digital 3D/IMAX/DTS/
Dolby DIG/SDDS
WAKING SLEEPING BEAUTY Fri, 3/26/10 LTD. Don Hahn NR Doc
THE LAST SONG Fri, 4/2/10 Miley Cyrus, Kelly Preston Julie Ann Robinson NR Dra
OCEANS Thu, 4/22/10 Jacques Cluzaud/Jacques Perrin NR Doc
PRINCE OF PERSIA: THE SANDS OF TIME Fri, 5/28/10 Jake Gyllenhaal, Ben Kingsley Mike Newell NR Act/Adv Quad
TOY STORY 3 Fri, 6/18/10 Tom Hanks, Tim Allen Lee Unkrich NR Fam/Com Digital 3D/Quad
THE SORCERER’S APPRENTICE Fri, 7/16/10 Nicolas Cage, Alfred Molina Jon Turteltaub NR Dra/Fan
STEP UP 3-D Fri, 8/6/10 Sharni Vinson, Rick Malambri John Chu NR Mus/Dra/Rom Digital 3D
YOU AGAIN Fri, 9/24/10 Kristen Bell, Sigourney Weaver Andy Fickman NR Com Quad
SECRETARIAT Fri, 10/8/10 Diane Lane, John Malkovich Randy Wallace NR Dra/Spt Quad
RAPUNZEL Wed, 11/24/10 Kristen Chenoweth, Mandy Moore Glen Keane, Dean Wellins NR Ani/Com/Fam/Mus Digital 3D
TRON: LEGACY Fri, 12/17/10 Michael Sheen, Jeff Bridges Joseph Kosinski NR Act/Adv/SF Digital 3D/IMAX/Quad
FOCUS FEATURES 818-777-7373
GREENBERG Fri, 3/12/10 Ben Stiller, Greta Gerwig Noah Baumbach R Com/Dra DTS/Dolby SRD/Scope
BABIES Fri, 4/16/10 LTD. Thomas Balmes PG Doc DTS/Dolby SRD/Flat
THE AMERICAN Wed, 9/1/10 George Clooney, Violante Placido Anton Corbjin NR Dra/Sus DTS/Dolby SRD/Scope
FOX 310-369-1000 / 212-556-2400
THE TOOTH FAIRY Fri, 1/22/10 Dwayne Johnson, Ashley Judd Michael Lembeck PG Com Flat/Quad
PERCY JACKSON & THE OLYMPIANS:
THE LIGHTNING THIEF
Fri, 2/12/10 Logan Lerman, Brandon T. Jackson Chris Columbus NR SF/Fan/Act Scope
DIARY OF A WIMPY KID Fri, 4/2/10 Chloe Moretz, Steve Zahn Thor Freudenthal NR Fam/Com Flat
DATE NIGHT Fri, 4/9/10 Steve Carrell, Tina Fey Shawn Levy NR Com Scope
WALL STREET 2 Fri, 4/23/10 Shia LaBeouf, Javier Bardem Oliver Stone NR Dra
MARMADUKE Fri, 6/4/10 Ron Perlman, Christopher Mintz-Plasse Tom Dey NR Ani/Com/Fam
THE A-TEAM Fri, 6/11/10 Bradley Cooper, Liam Neeson Joe Carnahan NR Act/Adv
KNIGHT & DAY Fri, 7/2/10 Tom Cruise, Cameron Diaz James Mangold NR Dra
PREDATORS Fri, 7/9/10 Alice Braga, Topher Grace Nimród Antal NR Hor/Act
RAMONA AND BEEZUS Fri, 8/13/10 Selena Gomez, Ginnifer Goodwin Laurie Craig NR Com Scope
UNSTOPPABLE Fri, 11/12/10 Denzel Washington, Chris Pine Tony Scott NR Act/Dra/Thr
LOVE AND OTHER DRUGS Wed, 11/24/10 Jake Gyllenhaal, Anne Hathaway Edward Zwick NR Dra
the CHRONICLES OF NARNIA:
THE VOYAGE OF THE DAWN TREADER
Fri, 12/10/10 Ben Barnes, Skandar Keynes Michael Apted NR Adv/Fam/Fant Quad
GULLIVER’S TRAVELS Wed, 12/22/10 Emily Blunt, Jason Segel Rob Letterman NR Com Scope
RIO Fri, 4/8/11 Anne Hathaway,Neil Patrick Harris Carlos Saldanha NR Ani/CGI 3D
FOX SEARCHLIGHT 310-369-4402
MY NAME IS KHAN Fri, 2/12/10 LTD. Shahrukh Jkhan, Kujol Karan Johar PG-13 Dra/Rom
FAMILY WEDDING Fri, 3/12/10 Forest Whitaker, America Ferrera Rick Famuyiwa PG-13 Com
LIONSGATE 310-449-9200
FROM PARIS WITH LOVE Fri, 2/5/10 John Travolta, Jonathon Rhys Pierre Morel R Act Scope/Quad
SEASON OF THE WITCH Fri, 3/19/10 Nicolas Cage, Ron Perlman Dominic Sena NR Act/Dra/Hor
TYLER PERRY’S WHY DID I GET MARRIED
TOO?
Fri, 4/2/10 Tasha Smith, Kevin Navayne Tyler Perry NR Com/Dra Flat/Quad
KICK ASS Fri, 4/16/10 Nicolas Cage, Christopher Mintz-Plasse Matthew Vaughn NR Act/Com Scope
KILLERS Fri, 6/4/10 Katherine Heigl, Ashton Kutcher Robert Luketic NR Act/Com
THE EXPENDABLES Fri, 8/13/10 Sylvester Stallone, Jason Statham Sylvester Stallone NR Act
WARRIOR Fri, 9/17/10 Tom Hardy, Nick Nolte Gavin O’Connor NR Act/Dra
ALPHA AND OMEGA Fri, 10/1/10 Christina Ricci, Justin Long Ben Gluck NR Ani/Adv/Com 3D
SAW VII 3-D Fri, 10/22/10 Tanedra Howard, Tobin Bell David Hackl NR Hor 3D
FOR COLORED GIRLS WHO HAVE
CONSIDERED SUICIDE WHEN THE
Fri, 1/14/11 Halle Berry, Oprah Winfrey Tyler Perry NR Dra
RAINBOW IS ENUF
MGM/UA 310-449-9200 / 212-708-0300
HOT TUB TIME MACHINE Fri, 3/19/10 John Cusack, Craig Robinson Steve Pink NR Com
THE ZOOKEEPER Fri, 10/8/10 Kevin James, Rosario Dawson Frank Coracci NR Com
RED DAWN Wed, 11/24/10 Josh Peck, Chris Hemsworth Dan Bradley NR Act
THE CABIN IN THE WOODS Fri, 1/14/11 Richard Jenkins, Anna Hutchison Drew Goddard NR Com/Fan/Hor 3D
MIRAMAX 323-822-4100
LAST NIGHT Fri, 3/19/10 LTD. Keira Knightley, Sam Worthington Massy Tadjedin NR Dra/Rom
THE BASTER Fri, 8/20/10 Jennifer Aniston, Jason Bateman Josh Gordon/Will Speck NR Rom/Com
OVERTURE 424-204-4000 / 212-905-4200
THE CRAZIES Fri, 2/26/10 Timothy Olyphant, Danielle Panabaker Breck Eisner R Act/Dra/Hor Quad/Scope
BROOKLYN’S FINEST Fri, 3/5/10 Richard Gere, Ethan Hawke Antoine Fuqua R Dra/Thr
PARAMOUNT 323-956-5000 / 212-373-7000
SHUTTER ISLAND Fri, 2/19/10 Michelle Williams, Leonardo DiCaprio Martin Scorsese NR Dra/Mys/Thr 138 SDDS/Dolby Dig/DTS
SHE’S OUT OF MY LEAGUE Fri, 3/12/10 Jay Baruchel, Alice Eve Jim Field Smith R Com
HOW TO TRAIN YOUR DRAGON Fri, 3/26/10 Gerard Butler, Jonah Hill Dean DeBlois/Chris Sanders NR Ani/Adv/Fam/Fan 3D/IMAX
IRON MAN 2 Fri, 5/7/10 Robert Downey, Jr., Mickey Rourke John Favreau NR Act/Adv
SHREK FOREVER AFTER Fri, 5/21/10 Mike Myers, Cameron Diaz Mike Mitchell NR Ani/Fam/Com/CGI 3D/IMAX
FOOTLOOSE Fri, 6/18/10 Julianne Hough, Chace Crawford Kenny Ortega PG-13 Com/Dra/Mus
THE LAST AIRBENDER Fri, 7/2/10 Jackson Rathbone, Cliff Curtis M. Night Shayamalan NR Dra/Adv/Fam
DINNER FOR SCHMUCKS Fri, 7/23/10 Steve Carell, Paul Rudd Jay Roach NR Com
MORNING GLORY Fri, 7/30/10 Rachel McAdams, Harrison Ford Roger Michell NR Com
JACKASS 3-D Fri, 10/15/10 Johnny Knoxville, Steve-O Jeff Tremaine NR Doc/Act/Com 3D
MEGAMIND Fri, 11/5/10 Tina Fey, Robert Downey Jr. Tom McGrath NR Ani/Fam 3D
RANGO Fri, 3/18/11 Johnny Depp, Isla Fisher Gore Verbinski NR Ani/Act/Adv
THOR Fri, 5/20/11 Chris Hemsworth, Natalie Portman Kenneth Branagh NR Act/Adv
68
Boxoffi ce · The Business of Movies February 2010

TITLE DATE & RELEASE STARS DIRECTOR RATING GENRE RUNNING TIME FORMAT
SONY 310-244-4000 / 212-833-8500
LEGION Fri, 1/22/10 Dennis Quaid, Paul Bettany Scott Charles Stewart R Act/Hor 101 Scope/Quad
DEAR JOHN Fri, 2/5/10 Amanda Seyfried, Channing Tatum Lasse Hallström NR Dra/Rom/War
THE BOUNTY HUNTERS Fri, 3/19/10 Gerard Butler, Jennifer Aniston Andy Tennant NR Act/Com
DEATH AT A FUNERAL Fri, 4/16/10 Chris Rock, Regina Hall Neil LaBute NR Com
TAKERS Fri, 5/14/10 Paul Walker, Hayden Christensen John Luessenhop PG-13 Act/Cri 108
KARATE KID Fri, 6/11/10 Jackie Chan, Jaden Smith Harald Zwart NR Act/Dra
GROWN UPS Fri, 6/25/10 Adam Sandler, Kevin James Dennis Dugan NR Com
SALT Fri, 7/23/10 Angelina Jolie, Liev Schreiber Phillip Noyce NR Thr
OTHER GUYS Fri, 8/6/10 Will Ferrell, Mark Wahlberg Adam McCay NR Act/Com
EAT, PRAY, LOVE Fri, 8/13/10 Julia Roberts, Billy Crudup Ryan Murphy NR Dra
PRIEST Fri, 8/27/10 Paul Bettany, Maggie Q Scott Charles Stewart NR Adv/Hor
BORN TO BE A STAR Fri, 9/3/10 Christina Ricci, Stephen Dorff Tom Brady NR Com
THE ROOMMATE Fri, 9/17/10 Cam Gigandet, Leighton Meester Christian E. Christiansen NR Cri/Mys Scope
THE SOCIAL NETWORK
Fri, 10/15/10
EXCL. NY/LA
Jesse Eisenberg, Justin Timberlake David Fincher NR Dra/Com
BURLESQUE Wed, 11/24/10 Cher, Christina Aguilera Steve Antin NR Dra
SMURFS Fri, 12/17/10 John Lithgow, Julia Sweeney Raja Gosnell NR Ani
UNTITLED JAMES BROOKS Fri, 12/17/10 Jack Nicholson, Paul Rudd James L. Brooks NR Dra/Com
THE GREEN HORNET Wed, 12/22/10 Seth Rogen, Enzo Cilenti Michel Gondry NR Act/Adv
RESIDENT EVIL: AFTERLIFE Fri, 1/14/11 Milla Jovovich, Ali Larter Paul W.S. Anderson NR Act/Thr 3D
UNDERWORLD 4 Fri, 1/21/11 Kate Beckinsale, Michael Sheen NR Fan/Hor/3D
PRETEND WIFE Fri, 2/11/11 Adam Sandler, Jennifer Aniston Dennis Dugan NR Rom/Com
BATTLE: LOS ANGELES Fri, 2/18/11 Michelle Rodriguez, Aaron Eckhart Jonathan Liebesman NR Act/SF
STRAW DOGS Fri, 2/25/11 Alexander Skarsgaard, James Marsden Rod Lurie NR Dra
BEAUTIFUL GIRL Fri, 3/11/11 NR Sus
THE INTRUDER Fri, 4/15/11 NR Dra
SONY PICTURES CLASSICS 212-833-8833
THE LAST STATION
Fri, 1/15/10
EXCL. NY/LA
James McAvoy, Paul Giammatti Michael Hoffmann R Dra 112
A PROPHET aka Un prophète
Fri, 2/26/10
EXCL. NY/LA
Tahar Rahim, Niels Arestrup Jacques Audiard R FL/Dra 150
SUMMIT 310-309-8400
REMEMBER ME Fri, 3/12/10 Robert Pattinson, Emilie de Ravin Allen Coulter NR Dra/Rom
FURRY VENGEANCE Fri, 4/2/10 Brendan Fraser, Ken Jeong Roger Kumble NR Com/Fam
LETTERS TO JULIET Fri, 5/14/10 Amanda Seyfried, Vanessa Redgrave Gary Winick NR Dra/Rom
THE TWILIGHT SAGA: THE ECLIPSE Fri, 7/30/10 Kristen Stewart, Robert Pattinson David Slade NR Dra/Sus/Rom IMAX
RED Fri, 10/22/10 Bruce Willis, Morgan Freeman Robert Schwentke NR Act/Com
DRIVE ANGRY Fri, 2/11/11 Nicolas Cage Patrick Lussier NR Thr 3D
UNIVERSAL 818-777-1000 / 212-445-3800
THE WOLFMAN Fri, 2/12/10 Benicio Del Toro, Anthony Hopkins Joe Johnston R Hor/Thr
GREEN ZONE Fri, 3/12/10 Matt Damon, Jason Isaacs Paul Greengrass R Dra/War
REPO MAN Fri, 4/2/10 Forest Whitaker, Jude Law Miguel Sapochnik NR SF/Sus
MACGRUBER Fri, 4/23/10 Val Kilmer, Kristen Wiig Jorma Taccone NR Com
ROBIN HOOD Fri, 5/14/10 Russell Crowe, Cate Blanchett Ridley Scott NR ActAdv/Dra Quad
GET HIM TO THE GREEK Fri, 6/11/10 Jonah Hill, Jason Segel Nicholas Stoller NR Com
DESPICABLE ME Fri, 7/9/10 Steve Carell, Jason Segel Chris Renaud/Pierre Coffin NR CGI/Ani 3D
MEET THE FOCKERS SEQUEL Fri, 7/30/10 Robert De Niro, Ben Stiller Paul Weitz NR Com
YOUR HIGHNESS Fri, 10/1/10 James Franco, Natalie Portman David Gordon Green NR Com/Adv
I HOP Fri, 4/1/11 Russell Brand Tim Hill NR CG/Act/Rom/Com
STRETCH ARMSTRONG Fri, 4/15/11 NR Act/Com
WARNER BROS. 818-954-6000 / 212-484-8000
BOOK OF ELI Fri, 1/15/10 Denzel Washington, Gary Oldman Allen & Albert Hughes R Dra/Act
EDGE OF DARKNESS Fri, 1/29/10 Mel Gibson, Peter Hermann Martin Campbell R Dra/Sus Quad
VALENTINE’S DAY Fri, 2/12/10 Jessica Biel, Jessica Alba Chris Zamoscianyk NR Rom/Com
COP OUT Fri, 2/26/10 Bruce Willis, Tracy Morgan Kevin Smith NR Com
HUBBLE
Fri, 3/19/10
EXCL. IMAX
Toni Myers G 3D/Doc 3D/IMAX/Quad
CLASH OF THE TITANS Fri, 3/26/10 Sam Worthington, Gemma Arterton Louis Leterrier NR Act/Dra
THE LOSERS Fri, 4/9/10 Zoe Saldana, Jeffrey Dean Morgan Sylvain White NR Act/Dra/Adv Quad
A NIGHTMARE ON ELM STREET Fri, 4/30/10 Jackie Earle Haley, Thomas Dekker Samuel Bayer NR Fan/Hor/Thr
SEX AND THE CITY 2 Fri, 5/28/10 Sarah Jessica Parker, Kim Cattrall Michael Patrick King NR Com/Dra/Rom
JONAH HEX Fri, 6/18/10 Josh Brolin, John Malkovich Jimmy Hayward NR Act/Dra/Thr
INCEPTION Fri, 7/16/10 Leonardo DiCaprio, Ellen Page Christopher Nolan NR Act/SF IMAX
CATS & DOGS:
THE REVENGE OF KITTY GALORE
Fri, 7/30/10 Chris O’Donnell, Jack McBrayer Brad Peyton NR Com 3D
LOTTERY TICKET Fri, 8/27/10 Ice Cube, Bow Wow Erik White NR Com Quad
THE TOWN Fri, 9/10/10 Ben Affleck, Jon Hamm Ben Affleck NR Dra/Cri/Rom Quad
FLIPPED
Fri, 9/17/10
LTD.
Penelope Ann Miller, Rebecca De Mornay Rob Reiner NR Rom/Com/Dra
GUARDIANS OF GA’HOOLE Fri, 9/24/10 Hugh Jackman, Hugo Weaving Zack Snyder NR Ani/Adv/Fant 3D/IMAX
GOING THE DISTANCE Fri, 10/8/10 Drew Barrymore, Justin Long Nanette Burstein NR Rom/Com
THE PRISONERS Fri, 10/22/10 NR Quad
DUE DATE Fri, 11/5/10 Robert Downey, Jr.,
Zach Galifianakis
Todd Phillips NR Com Quad
HARRY POTTER 7 Fri, 11/19/10 Daniel Radcliffe,
Emma
Watson
David Yates NR Adv/Dra/Fan IMAX/Scope
YOGI BEAR Fri, 12/17/10 Dan Aykroyd,
Justin
Timberlake
Eric Brevig NR Ani 3D/Quad
LIFE AS WE KNOW IT Wed, 12/22/10 Katherine Heigl, Josh Lucas Gary Berlanti NR Rom/Com Quad
HONG KONG PHOOEY Fri, 1/14/11 NR Ani
THE FACTORY Fri, 1/28/11 John Cusack,
Dallas
Roberts
Morgan O’Neill NR Hor/Thr
SUCKER PUNCH Fri, 3/25/11 Vanessa Hudgens,
Amanda
Seyfried
Zack Snyder NR Act/Fan/Thr
THE HANGOVER 2 Thu, 5/26/11 Bradley Cooper, Ed Helms Todd Phillips NR Com Quad
February 2010 Boxoffi ce · The Business of Movies 69

MARKETPLACE
Ben Rosenstein
Director of Advertising
212-627-7000
ben@boxoffice.com
70
Boxoffi ce · The Business of Movies February 2010

MARKETPLACE
CHRISTIE DIGITAL
SYSTEMS
10550 Camden Dr.
Cypress, CA 90630
Craig Sholder
714-236-8610
craig.sholder@christiedigital.com
www.christiedigital.com
Inside front cover
CINEDIGM
55 Madison Ave., Ste. 300
Morristown, NJ 07960
Suzanne Tregenza Moore
973-290-0080
info@accessitx.com
www.cinedigm.com
PG 40, back cover
CINEMA CONCEPTS
2030 Powers Ferry Road
Suite 214
Atlanta, GA 30339
Stewart Harnell
770-956-7460
stewart@cinemaconcepts.com
www.cinemaconcepts.com
PG 5
DATASAT DIGITAL
ENTERTAINMENT
9631 Topanga Canyon Place
Chatsworth, CA 91311
Heather Brehmer
818-531-0579
heather.brehmer@datasatdigital.com
www.datasatdigital.com
PG 53
DOLBY LABORATORIES
100 Potrero Ave.
San Francisco, CA 94103
Christie Ventura
415-558-2200
cah@dolby.com
www.dolby.com
PG 15
DOLPHIN SEATING
313 Remuda St.
Clovis, NM 88101
575-762-6468
www.dolphinseating.com
PG 11
FRANKLIN DESIGNS
208 Industrial Dr.
Ridgeland, MS 39157
601-853-9005
franklindesigns@aol.com
www.franklindesigns.com
PG 61
GOLD MEDAL PRODUCTS
10700 Medallion Dr.
Cincinnati, Ohio 45241
Stephanie Goodin
513-769-7676
sgoodin@gmpopcorn.com
www.gmpopcorn.com
PG 49
HURLEY SCREEN CORP.
110 Industry Ln.
P.O. Box 296
Forest Hill, MD 21050
Gorman W. White
410-879-3022
info@hurleyscreen.com
www.hurleyscreen.com
PG 71
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 55
NATIONAL TICKET
COMPANY
P.O. Box 547
Shamokin, PA 17872
Ginger Seidel
ticket@nationalticket.com
www.nationalticket.com
PG 70
NBC UNIVERSAL
30 Rockefeller Plaza
New York, NY 10112
212-664-4444
212-664-4085 fax
www.nbcuni.com
PG 43
ODELL’S
8543 White Fir St. #D-1
Reno, NV 89523
Arthur Anderson
775-323-8688
odells@popntop.com
www.popntop.com
PG 9
OMNITERM
2785 Skymark Ave., Unit 11
Mississauga, ON L4W 4Y3
CANADA
Greg Coman
905-629-4757
gregcoman@omniterm.com
www.omniterm.com
PG 11
PACKAGING
CONCEPTS INC.
9832 Evergreen Industrial Dr.
St. Louis, MO 63123
John Irace / 314-329-9700
jji@packagingconceptsinc.com
www.packagingconceptsinc.com
PG 67
READY THEATRE
SYSTEMS
4 Hartford Blvd.
Hartford, MI 49057
Mary Snyder
865-212-9703x114
sales@rts-solutions.com
www.rts-solutions.com.com
PG 72
SCHULT INDUSTRIES
900 N.W. Hunter Dr.
Blue Springs, MO 64015
800-783-8998
sales@schult.com
www.schult.com
PG 23
SCREENVISION
1411 Broadway 33rd Fl.
New York, NY 10018
Darryl Schaffer
212-497-0480
www.screenvision.com
PG 45, 59
SONY ELECTRONICS
One Sony Dr.
Park Ridge, NJ 07656
201-476-8603
562-342-2246
www.sony.com/professional
PG 1
SPERRY VAN NESS
ACCELERATED
MARKETING
1100 Johnson Ferry Rd.,
Ste. 588
Atlanta, GA 30303
www.svnauctions.com
PG 70
TECHNICOLOR DIGITAL
Brett Fellman
(818) 260-4907
Brett.Fellman@technicolor.com
www.technicolordigitalcinema.com
PG 13
TEXAS INSTRUMENTS
12500 TI Boulevard, Dallas,
Texas 75243
www.dlp.com
PG 57
TITAN TECHNOLOGY
GROUP
Times Square NYC
145 W. 45th St.
Suite 603
New York, NY 10036
917-777-0959
917-777-0961 fax
www.TitanTechGroup.com
PG 49
TRI-STATE
THEATRE SUPPLY
3157 Norbrook Dr.
Memphis, TN 38116
901-525-8249
800-733-8249 toll-free
www.tristatetheatre.com
PG 70
UNIVERSAL CINEMA
SERVICES
1010 West Euless
Boulevard,Suite 240
Euless, Texas 76040
817-633-2180
888-600-6775 toll-free
817-633-2190 fax
www.universalcinema.com
PG 47
WEST WORLD
MEDIA
63 Copps Hill Rd.
Ridgefield, CT 06877
Brett West
888-737-2812
www.westworldmedia.com
Inside back cover
WILL ROGERS
INSTITUTE
10045 Riverside Drive,
Third Floor
Toluca Lake, CA 91602
818-755-2300
877-957-7575 toll-free
818-508-9816 fax
www.wrinstitute.org
PG 39
9107 ilshire450Beverly Hills210
Amy Nicholson9107 Wilshire Blvd., Suite 450, Beverly Hills, CA 90210
2
2110
2110
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
SENSIBLE CINEMA
SOFTWARE
7216 Sutton Pl.
Fairview, TN 37062
Rusty Gordon / 615-799-
6366
rusty@sensiblecinema.com
www.sensiblecinema.com
PG 72
February 2010 Boxoffi ce · The Business of Movies 71

CLASSIFIEDS
DRIVE-IN CONSTRUCTION
DRIVE-IN SCREEN TOWERS since 1945.
Selby Products Inc., P.O. Box 267, Richfield,
OH 44286. Phone: 330-659-6631.
EQUIPMENT FOR SALE
ASTER AUDITORIUM SEATING & AU-
DIO. We offer the best pricing on good
used projection and sound equipment.
Large quantities available. Please visit our
website, www.asterseating.com, or call
1-888-409-1414.
BOX OFFICE TICKETING AND CON-
CESSIONS EQUIPMENT. Stand-alone
ticketing or fully integrated theater ticketing
and/or concessions systems are available.
These fully tested, remanufactured
Pacer Theatre Systems have extended
full-service contracts available. Complete
ticketing and concessions
systems starting at $2,975.
Call Jason: 800-434-3098;
www.sosticketing.com.
WWW.CINEMACONSUL-
TANTSINTERNATIONAL.
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-
343-3900; fax: 412-343-
2992; sales@cinemaconsultantsinternational.com.
CY YOUNG IND. INC. still has the best
prices for replacement seat covers, outof-order
chair covers, cupholder armrests,
patron trays and on-site chair renovations!
Please call for prices and more information.
800-729-2610. cyyounginc@aol.com.
DOLPHIN SEATING At www.dolphinseating.com
Find today’s best available new
seating deals 575-762-6468 Sales Office.
TWO CENTURY PROJECTORS, complete
with base, soundheads, lenses.
Pott’s 3-deck platter,like new. Rebuilt
Christie lamp,goes to 150 amps. Model
H-30. 603-747-2608.
EQUIPMENT WANTED
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 De-
Luca, 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 theater-related
equipment, working or dead. We remove
and pick up anywhere in the U.S. or Canada.
Amplifiers, speakers, horns, drivers,
woofers, tubes, transformers; Western
Electric, RCA, Altec, JBL, Jensen, Simplex
& 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 PROD-
UCTS 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.
gle 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
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 REFLECTORS! Ultraflat repolishes
and recoats xenon reflectors. Many reflectors
available for immediate exchange.
(ORC, Strong, Christie, Xetron, others!)
Ultraflat, 20306 Sherman Way, Winnetka,
CA 91306; 818-884-0184.
FROM DIRT TO OPENING DAY. 20-plus
years of theater experience with the knowhow
to get you going. 630-417-9792.
FOR SALE
SEATING
First run movie theatre. 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.
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
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 sin-
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.
72 Boxoffi ce · The Business of Movies February 2010