BoxOffice® Pro - April 2011

BOOKIT! OUR ROUNDUP OF FILMS THAT COULD BE GOOD FOR YOUR BOX OFFICE > PAGE 112
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APR 2011
Robert Pattinson
and
Reese Witherspoon
A
D
V
E R
T I
S
E
M
E
N T
E X C L U S I V E
Director Francis Lawrence
on taming lions, tigers and
camped-out Twilight fans
THE CINEMACON ISSUE
The Official Magazine of NATO

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WHY STAY TWO DIMENSIONAL?
3D IS NOW WITHIN YOUR REACH.
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APR 2011 VOL. 147 NO. 4
THE CINEMACON ISSUE
BIG PICTURE
WATER FOR ELEPHANTS
74 ROBERT PATTINSON
on killer clowns and the American spirit
78 FRANCIS LAWRENCE
the film’s director on the link between lion tamers
and Lady Gaga
26 SHOW FLOOR & EXHIBITORS
30 BUD MAYO’S BRAINSTORM The alternative content expert on launching his new
theater chain and what exhibition needs now
34 TUESDAY NIGHT AT THE MOVIES A look at three films screening at the show
40 LET THERE BE LASERS The FDA gives thumbs-up to Kodak’s latest invention
42 CINEDIGM CHARGES ON Seven questions for new CEO Chris McGurk
44 EXCLUSIVE INTERVIEW BOXOFFICE talks with Source Code director Duncan Jones
52 NEW PRODUCTS 25 CinemaCon exhibitors announce their latest offerings
60 EXCLUSIVE INTERVIEW BOXOFFICE talks with Paul director Greg Mottola
68 DISCUSSIONS Get a front row seat for these four great panels
72 THE CINEMACON 2011 AWARDS
DEPARTMENTS
4 Industry Briefs
The new and notable in the exhibition
industry
8 Executive Suite
The view from Vegas The state of
exhibition at the exciting launch of
CinemaCon 2011
By John Fithian
12 Show Business
Place your bets Handicapping the
summer movies
By Phil Contrino
16 Timecode
Once a jolly swagman Confessions of
a freeloader
By Kenneth James Bacon
124 Classifieds
AWARDS
18 Front Line
Laverne ‘Toni’ Brumbaugh
Oakland, CA
20 Front Office
Andrea Beesley-Brown / Phoenix, AZ
22 Marquee Award
H&S Theatre / Chandler, OK
THE SLATE
92 On the Horizon
X-Men: First Class / Super 8 / Bad Teacher
98 Coming Soon
Hop / Insidious / Source Code / Arthur /
Hanna / Soul Surfer / The Conspirator /
Rio / Apollo 18 / Born to Be a Star / Tyler
Perry’s Big Happy Family / Haywire /
Prom / Hoodwinked 2: Hood Versus Evil
40 Book It!
Flash reviews and recommendations of
films that should be on your radar
46 Booking Guide
Nearly 150 films that you can book
right now, complete with contact info,
film formats, audio formats and more
BOXOFFICE MEDIA
PUBLISHER
Peter Cane
CREATIVE DIRECTOR
Kenneth James Bacon
BOXOFFICE MAGAZINE
EDITOR
Amy Nicholson
CONTRIBUTING EDITOR
Sara Maria Vizcarrondo
INDUSTRY CONTRIBUTOR
John Fithian
CONTRIBUTING WRITERS
Pam Grady
Pete Hammond
Cole Hornaday
Mark Keizer
Richard Mowe
Matthew Nestel
Steve Ramos
Vadim Rizov
Ed Scheid
Christian Toto
PRODUCTION ASSISTANT
Ally McMurray
BOXOFFICE.COM / BOXOFFICEMAGAZINE.COM
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2 BOXOFFICE PRO APRIL 2011

STOPPRESS
Social networks are all the rage, whether they’re the subject of an
Oscar-worthy film or a Wednesday morning panel moderated by
yours truly (shameless plug). But there is no opportunity to be social
and network like CinemaCon.
Many thanks to John Fithian, Mitch Neuhauser, Andrew Sunshine
and the entire NATO team for putting it all together. Your friends at
Boxoffice know that this is just the first of many successful shows to
come.
peter@boxoffice.com
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APRIL 2011 BOXOFFICE PRO 3

INDUSTRY BRIEFS
Lucasfilm Ltd. and Twentieth Century
Fox announced that the 3D theatrical
rerelease of Star Wars: Episode I The
Phantom Menace will open on February
10, 2012. The Naboo invasion, the Tatooine
Podraces and the climactic light saber
battle between Darth Maul and the Jedi
will be some of the visual highlights of the
3D conversion, which is being supervised
by Industrial Light & Magic. “Getting good
results on a stereo conversion is a matter
of taking the time and getting it right,”
said John Knoll, visual effects supervisor
for Industrial Light & Magic. “It takes a
critical and artistic eye along with an incredible
attention to detail to be successful.
It is not something that you can rush if
you want good results. For Star Wars, we
will take our time, applying everything we
know both aesthetically and technically to
bring audiences a fantastic new Star Wars
experience.”
Technicolor announced it has signed an
agreement with CINE PROJECT, a distributor
and installer of analog and digital cinema
equipment, to bring Technicolor 3D to
Germany, Austria and Switzerland.
“We’re excited to launch Technicolor 3D
in these new markets,” said Joe Berchtold,
president of Technicolor’s Creative Services
division. “We have a very affordable
technology solution that helps to solve the
current shortage of digital 3D screens, and
bring 3D to audiences in international markets
of all sizes.” To date, Technicolor 3D
has installed more than 500 screens internationally
and released 15 titles from major
studios. Studios supporting the Technicolor
3D format include Paramount, Warner Bros,
DreamWorks Animation, Universal, The
Weinstein Company, Lionsgate Films, Summit
and Relativity Media.
Cineplex Entertainment debuted a worldfirst
showing of a movie in 4K DLP at Galaxy
Cinemas Waterloo using the new Christie
CP4200 platform. “This will mark the first
time anywhere that moviegoers will be able
to see what’s possible on the big screen
with a superior 4K DLP cinema projection
solution. Cinema fans are going to enjoy
the depth and extreme quality of the visuals
this new projection technology delivers,”
said Craig Sholder, vice president, Entertainment
Solutions, Christie.
Cineplex Entertainment also promoted
Sarah Lewthwaite to vice president of
marketing. Previously, Lewthwaite was the
Toronto-based chain’s executive director
of marketing. Cineplex is the largest motion
picture exhibitor in Canada and owns,
leases or has a joint-venture interest in 132
theaters with 1,366 screens serving approximately
70 million guests annually.
Harkness Screens is investing $5 million
to expand operations in Canada, China and
France. The investment will almost double
their capacity to make Spectral 3D and
Perlux high gain screens. Canada is fully
operational and the expansions in France
and China are expected to be operational
by mid-2011. The plant increases will allow
Harkness Screens to serve local demand
worldwide with shorter lead times for customers
in all geographies as well as lower
the cost of shipping screens from factory to
final location. “With the explosion of the 3D
films arriving in cinemas worldwide, orders
for our custom frames and screens have
risen significantly,” said Andrew Robinson,
Harkness Screens, managing director. “In
order to meet that demand and speed customer
deliveries, we made the strategic decision
to open new facilities in Canada and
China, and expand operations in France.”
Harkness Screens also announced that
its Digital Screen Selector application has
passed the 500 user threshold. Launched at
ShoWest last year, the Digital Screen Selector
is intended to be a guide for theater
operators when consulting with projector,
lamp and 3D technology providers for both
2D and 3D. “We are delighted that our
Digital Screen Selector has become such
a popular aid to customers since its debut
last year,” said Robinson. In addition to its
500 registered users, the Selector has had
over 2,000 non-registered visitors use the
application.
MOC Insurance Services has promoted
Carmina Angka to Senior Vice President
and Paul Perlite to Vice President. Angka
joined MOC in 1995 and oversees all
services provided by the workers compensation
team at MOC, and is a leader
in MOC’s executive group. Perlite joined
MOC’s real estate team in 2004 and was
elevated to manager in 2007. Prior to joining
MOC, he was a claims manager at Nationwide
Insurance. “Carmina Angka and
Paul Perlite represent MOC as individuals
who consistently deliver the highest level
of professional and personal service to our
clients,” said Van Maroevich, president
and CEO.
Universal Pictures International opened
a new screening room for their London
office and has selected an Alcons Audio
system. With a huge variety of films passing
through the facility, finding a system that
could cope equally well with every one was
a challenge for audio consultant Laurence
Claydon of Cinefilm Ltd. “UPI deals with
many foreign language dubs. Being able to
determine if, for example, a dialogue insert
or edit is acceptable is difficult on all but
the best systems—sometimes the only clue
is a slight shift in background reverb on the
track,” he said. “So often with audio, you
only know you are doing things right if you
don’t get complaints. But this system has
been such a success that we have received
very positive comments from everyone.”
QSC has promoted Danny Pickett to cinema
sales manager, giving him responsibility
for QSC’s global cinema sales efforts.
For the past five years Pickett served as
QSC’s key accounts manager, helping to
build the Cinema dealer network in Europe.
Prior to joining QSC, Pickett served as
the Manager of DVD Audio at Twentieth
Century Fox. His 20-year career has also
included stints managing the audio department
at Lucasfilm’s THX Digital Mastering
Program, and technical positions with AMC
Theatres. “With the tremendous success
Danny achieved in Europe, I feel confident
that he will do a great job in his new global
position and I look forward to working with
him as he takes on this new challenge,”
said Barry Ferrell, Sr. Director of Cinema
Solutions. QSC also appointed 30-year
cinema veteran Ron Lutsock as cinema account
manager. Reporting to Danny Pickett,
Lutsock will supervise internal sales, managing
existing orders and well as focusing on
new business development from small to
medium regional cinema circuits. Lutsock
will be interfacing directly with QSC’s domestic
accounts, a task that will be aided by
the setting up of a dedicated training facility
for dealers and installers at QSC’s Costa
Mesa HQ.
The Scotts Valley Cinema in Scotts Valley,
California is under construction and will
expand. Construction is slated to be completed
in November, 2011. The new and expanded
theater is a high end concept from
CineLux Theatres, a San Jose-based motion
picture theater company, and will feature
ten new auditoriums with stadium seating,
digital projection and curved screens.
Six stadium auditoriums are expected to
launch in June in time for summer. A key
part of the expansion will be the introduction
of VIP auditoriums where moviegoers
can select an auditorium with oversized
VIP seats and reserved seating. Adjacent
to the VIP auditoriums are a wine bar and
lounge where movie goers can relax before
or after their film and enjoy local wines and
gourmet treats. This expansion is targeted
(continued on page 6)
4 BOXOFFICE PRO APRIL 2011

When it comes to 4K, all eyes are on Sony.
While others are just realizing the benefi ts of 4K, Sony has become the undisputed leader
in 4K technology. We’ve installed thousands of projection systems worldwide, delivering
stunning Sony 4K. And lifelike 3D. But we’re not stopping there. We also provide digital
signage for concessions, box offi ce and lobbies, plus exciting alternative content, digital
surveillance, a network operations center, nationwide support, and fl exible fi nancing.
The advantages of Sony 4K are clear. Now let’s talk about the bigger picture.
Visit sony.com/4K to set up a meeting.
© 2010 Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Features and specifi cations are subject to
change without notice. Sony, make.believe and their respective logos are trademarks of Sony.

INDUSTRY BRIEFS
to be a key entertainment element for King’s
Village Shopping Center as well as the future
planned Scotts Valley Town Center.
For the first time ever, the Wimbledon finals
will be captured in 3D and screened live to
3D-capable cinemas around the world. The
live 3D production, in partnership with the
BBC, will also be offered to interested global
broadcasters. Sony and The All England Lawn
Tennis Club (AELTC) have announced their
multi-year partnership to bring Wimbledon
in 3D to suitably equipped cinemas around
the world. Sony will work with SuperVision
Media, their theatrical distribution partner, to
bring the excitement of tennis to 3D cinemas
worldwide. Said Fujio Nishida, president of
Sony Europe, “Watching tennis in High Definition
3D is a stunning experience, bringing
the speed of the action and the emotions of
the occasion to life; it is as close to the atmosphere
and excitement of Centre Court as actually
being there. With the Live 3D Wimbledon
experience available in hundreds of 3D
cinemas across the world, many more people
will be able to enjoy one of the world’s most
iconic sporting events as though they were
actually at Wimbledon.”
AnyClip Ltd. has signed the company’s
first studio film licensing deal with Universal
Partnerships & Licensing. This unique
licensing agreement allows AnyClip Ltd. to
offer consumers the ability to access their
favorite movie moments from Universal Pictures’
library of feature films. AnyClip allows
for searching and browsing movies associatively
by characters, actors, scene details,
behavioral information, quotes, objects,
shooting characteristics and more. Through
AnyClip.com or via third-party distribution
partners, AnyClip Ltd. now offers movie
clips from Universal Pictures’ library of feature
films, including classic Universal Motion
pictures, the Back to the Future and The
Fast and Furious series and clips from new
releases. “This licensing agreement with
Universal Partnerships & Licensing leads
the way in changing how businesses and
consumers will interact with film content,”
said Oren Nauman, CEO of AnyClip.” We
allow viewers to access any moment of a
film at any time and to share it with anyone.
Our goal is to provide a new promotional
service for our studio partners.”
DreamWorks Animation SKG has announced
its feature film release slate
through 2014. The company’s plan of six
original films and three sequels is as follows:
Kung Fu Panda 2 for May 26, 2011
and Puss In Boots for November 4, 2011;
Madagascar 3 for June 8, 2012 and Rise
of the Guardians for November 21, 2012;
The Croods for March 1, 2013, Turbo for
June 7, 2013 and Me and My Shadow for
November 8, 2013; Mr. Peabody & Sherman
for March 21, 2014 and How to Train
Your Dragon 2 for June 20, 2014. “At
DreamWorks Animation, our creative ambition
has never been greater and the release
schedule we’re unveiling today is designed
to give our movies the time and resources
they need to realize their full potential so
each one can become a true event for our
audiences,” said Jeffrey Katzenberg, CEO
of DreamWorks Animation.
IMAX Corp. has promoted David Keighley
to the newly created role of Chief Quality Officer.
In this role, Keighley will be responsible
for ensuring that every IMAX release meets
the company’s criteria and is an enhanced
version of the original. “While many organizations
today are preoccupied with finding ways
to do things cheaper, IMAX is focused on
maintaining the highest quality of presentation
and continuing to improve all aspects
of the cinematic experience, said IMAX CEO
Richard L. Gelfond. “David Keighley has been
the driving force behind that approach at
IMAX for many years. By operating this way,
we are able to deliver exceptional value to
our audiences, partners and shareholders.”
Keighley has been involved in the postproduction
of more than 265 IMAX films and
will continue as president of IMAX’s postproduction
image and quality control subsidiary,
DKP 70MM Inc., co-founded with his wife
and business partner, Patricia, in 1972 and
acquired by IMAX in February 1988. Keighley
was appointed Executive Vice President of
IMAX in July 2007 and previous to that had
been Senior Vice President since July 1997.
Inception filmmakers Christopher Nolan and
Emma Thomas responded, “We were thrilled
to hear of David’s promotion. His attention to
detail, extraordinary technical knowledge and
dedication to the highest standards of motion
picture image quality have been essential to
the IMAX presentations of our films.”
Columbia Pictures has promoted Sam
Dickerman to executive vice president of
production. Dickerman served as senior vice
president of production since 2005 and has
overseen a series of hits including Click, You
Don’t Mess with the Zohan, Paul Blart: Mall
Cop, Salt, Grown Ups and Just Go With It.
“Sam’s contributions to our success the last
several years have been exceptional and this
promotion is richly deserved,” said Columbia
President Doug Belgrad.
The Collective, a full-service entertainment
management and content company,
along with AMC Theatres and horror website
BloodyDisgusting.com, is launching
a film distribution partnership dedicated
to acquiring and marketing the best horror
and thriller titles from the festival and
international markets. The Collective has
acquired the rights to several films out of
horror and genre heavy festivals such as
the Toronto International Film Festival, the
Berlin International Film Festival, Slamdance,
Sitges Film Festival and Fantastic
Fest, and plans to release the films across
multiple platforms. AMC will show a new
title in the series each month, at least twice
a week, across 32 key markets, including
a special Friday midnight show, beginning
in May. After their theatrical exhibition at
AMC, films from the series will be available
to fans of the genre in DVD, VOD, online
and television. “There’s a huge market for
niche horror films—both independent and
foreign—that isn’t being met in the current
environment,” said Gary Binkow, a partner
at the Collective. “Together, we will build
up a series around what those fans really
want. And it only makes sense to have the
trusted tastemakers of the genre from the
world’s number one entertainment source
for horror, Bloody Disgusting, pick the titles
that they think deserve to be seen by a
wider audience.”
Open Road Films, the distribution company
founded by AMC and Regal, has announced
that their partnership will acquire and release
between eight to ten films a year, with a focus
on wide-release movies. Tom Ortenberg,
the former president of theatrical films for Lionsgate,
has signed on to serve as CEO and
says Open Road will have a strong presence
at film festivals. “As major studio releases
have declined in recent years, Open Road
Films will fill an important gap that exists in
the market today for consumers, movie producers
and theatrical exhibitors,” said Gerry
Lopez, chief executive officer and president
of AMC. “We are committed to providing
a wide array of movies—year round-—that
appeal to all of our diverse groups of guests.
Open Road Films will provide a broader
availability of movies to consumers.” Added
Regal CEO Amy E. Miles, “Regal and AMC
are in a unique position to provide Open
Road Films with strategic access to theatrical
exhibition, enabling more great stories to
reach the big screen.” Advance word is that
this new content will not be exclusive to Regal
and AMC. Explained Miles, “Open Road
Films will distribute these movies to theaters
across the United States, playing them well
beyond Regal and AMC’s screens.” As for
international distribution, the answer is uncertain.
6 BOXOFFICE PRO APRIL 2011

MOVING PICTURES. FORWARD.
More than
1,300
Dolby ® Surround 7.1
screens installed
More than
7,200
Dolby 3D systems
shipped
More than
8,000
cinema servers
shipped
Working to bring you the next generation of digital cinema.
Ask us about our 4K solution at booth 1600A and in the Milano 7 suite.
Learn more at www.dolby.com.
Dolby and the double-D symbol are registered trademarks of Dolby Laboratories. © 2011 Dolby Laboratories, Inc. All rights reserved. S11/23982

EXECUTIVE SUITE
JOHN
FITHIAN
NATO
President
and Chief
Executive
Officer
THE VIEW FROM VEGAS
The state of exhibition at the exciting launch of CinemaCon 2011
Iwelcome all our loyal readers of Boxoffice to the inaugural
CinemaCon convention. The members and staff of
the National Association of Theatre Owners are thrilled
to bring you this new and exciting event, and we’re proud
that it’s the largest and most significant gathering of movie
theater owners and operators in the world.
I want to use this space to highlight some of the key
data and issues concerning this wonderful business of theatrical
exhibition, and to draw a few connections between
those issues and the convention. Equally important,
the remainder of the year—and continuing into 2012—I
believe that exhibition’s growth will continue here and
abroad. CinemaCon attendees will get a taste of many of
these exciting movies during the convention, with the
strong support of six of our studio distribution partners.
Their feature presentations, trailers and product reels will
be exhibited in Caesars Palace’s wonderful, state of the art
Colosseum, where all attendees will gather in one place.
The rapid roll-out of digital cinema and 3D exhibition
will no doubt help to drive growth in movie ticket sales.
however, I want to thank publicly some of the leaders that
made this event possible.
First up, let’s talk about the state of our industry.
While many other entertainment sectors continued to
suffer during the ongoing economic challenges of 2010,
exhibition thrived. Global box office in 2010 reached
$31.8 billion—an increase of 8 percent over 2009 and an
all-time record. Developing markets in the territories of
Asia Pacific (21 percent increase) and Latin America (25
percent increase) led the way. CinemaCon organizers have
scheduled a special program during International Day to
recognize and discuss the importance of these markets.
Here in the U.S. and Canada, the 2010 box office repeated
the record $10.6 billion of 2009. The number of
tickets sold in the U.S. and Canada declined 5 percent to
1.34 billion, returning to the 2008 level. But the industry’s
investments in digital cinema and 3D have begun to show
real dividends, with 3D releases nearly doubling their
share of the box office from 11 percent in 2009 to 21 percent
in 2010.
NATO members know that admissions can be cyclical
in the short term, driven primarily by brief fluctuations
in the commercial appeal of the movies on offer. Over
the long haul, however, our ticket sales continue to grow.
In the decade just completed, average annual ticket sales
climbed to $1.43 billion from $1.28 billion in the ’90s,
$1.133 billion in the ’80s, and $995 million in the ’70s.
So far, the 2011 domestic numbers have been disappointing.
But as I look at the strong slate of pictures in
Consider the numbers: In 2010 there were 25 3D movie
releases in the United States, which played on between
3,300 3D screens in January and 7,800 by December as 3D
screen counts more than doubled. This year, there are at
least 33 3D movie releases on the schedule and by Christmas
2011, the screen count will double again to 14,000.
In most territories abroad, international exhibitors are
installing digital 3D equipment even faster than their colleagues
here in the states.
Speaking of the digital cinema transition, I want to
congratulate the motion picture distributors and all our
equipment vendor partners for teaming with exhibitors
to make this historic transition possible. Through the
development of technical standards, high-quality equipment
and shared business models, the entire industry
came together to make this happen. It is fitting that NATO
opens its first CinemaCon convention with the strong
support of these studio and vendor partners. From the
trade floor, to the demonstration suites, to the equipment
used in our new projection booth in the Colosseum, to
the private meetings held throughout the convention, the
great success story of digital cinema will affect every part
of this special week. I am also grateful that our partners
at the International Cinema Technology Association and
the National Association of Concessionaires have worked
closely with us to support this sold-out trade show.
Beyond digital cinema, exhibitors continue to innovate
in many different ways which CinemaCon is glad to
(continued on page 10)
8 BOXOFFICE PRO APRIL 2011

EXECUTIVE SUITE > THE VIEW FROM VEGAS
highlight. Wednesday morning’s seminar
series, “Improving Your Business in Today’s
Ever-Changing Market,” includes such programming
as Peter Cane’s exciting panel
on social networking and Ron Krueger II’s
discussion on premium dining and concessions.
NATO member Tim Warner moderates
a high-level panel that will discuss
satellite distribution and other technological
innovations. And a highly anticipated
panel of major filmmakers will explain how
digital technologies are changing the way
movies are made.
A special event like CinemaCon could
never take place without the strong support
and dedicated volunteer spirit of many people.
For the past several years, the members
of NATO’s Convention Task Force led the
way by taking input from all our members,
searching out the ideal convention location,
hiring the best convention management
team (more on them later) and working
closely with that team to design an exciting
event. As co-chairmen of the task force, Phil
Harris of Signature Theatres and Bill Stembler
of the Georgia Theatre Company deserve
special praise. Other members include
Byron Berkley of Foothills Entertainment,
Rob Del Moro of Regal, John McDonald of
AMC and Tim Warner of Cinemark. We also
benefited from the support and leadership
of our honorary chairmen for the inaugural
show: Mike Campbell of Regal, and Lee Roy
Mitchell of Cinemark.
The management team we hired is
simply the best. After 28 years honing his
skills at the right hand of Bob Sunshine,
Managing Director Mitch Neuhauser brings
energy, passion and vision. Under the guidance
of Phil Harris and Bill Stembler, Mitch
assembled a terrific team that includes fellow
industry veteran Andrew Sunshine and
newcomer Matt Shapiro. And of course the
management team at CinemaCon has been
assisted on a daily basis by all of my colleagues
on the NATO staff.
CinemaCon would not be possible
were NATO not the strong and well-funded
organization that it is. NATO came to this
position through many years of volunteer
leadership from many talented individuals.
On Tuesday morning in Vegas, we will present
the first annual NATO Marquee Award.
In recognition of the many leaders whose
vision and effort contributed to the success
of the trade association, the 2011 Marquee
Award will be presented collectively to
NATO’s living Past Presidents and Past
Chairmen. We expect the following NATO
luminaries to be in attendance to receive the
much deserved recognition: Michael Campbell,
Jerry Forman, Richard Fox, A. Alan
Friedberg, Phil Harris, William Kartozian,
Steve Marcus, Lee Roy Mitchell, Joel Resnick,
T.G. Solomon, William Stembler, Peter Warzel
and Roy B. White.
The tradition of excellence established
by these leaders carries on today on the
front lines of motion picture exhibition. The
theater managers who received top honors
in NATO’s Marketing Achievement Awards
program will be recognized and celebrated
at the convention as well. And, of course,
we’ll be recognizing some famous people,
too, at the big closing night award ceremonies.
Finally, I am very proud that CinemaCon
is supporting the wonderful Will
Rogers Motion Picture Pioneers by hosting
a dinner on Wednesday evening to honor a
great friend of our industry and a great pioneer:
Dick Cook.
I hope you enjoy CinemaCon and find it
a valuable way to spend a few days with us.
Please let us know what you think!
10 BOXOFFICE PRO APRIL 2011

SHOW BUSINESS
PHIL
CONTRINO
Editor
BoxOffice.com
PLACE YOUR BETS
Handicapping the summer movies
Since most of you will be reading this column in Las Vegas, I figured I’d inject a gambling theme.
First, let me say that I’m excited about Summer 2011. There are some very promising films on the
release calendar—the months of May-August, 2011 have a real shot at gaining a lead over
2010’s domestic haul. There are more than enough ”sure things” to propel the
summer season forward and I hope that it’s going to be a strong
showing for the all of the major studios.
WILL HARRY POTTER
AND THE DEATHLY
HALLOWS: PART II
BE THE STRONGEST
EARNER
OF THE FRANCHISE?
YES 1-2 NO 10-1
Pity the Potter enthusiasts. Their
beloved franchise is coming to an
end. The curse is no more Harry,
Ron and Hermione in theaters.
The only cure is multiple viewings.
Fans have proven their need
to prolong the moment—Lord of
the Rings: Return of the King was the
trilogy’s biggest earner.
Now let’s have some fun.
Everybody likes to speculate
about which films
will be the big winners
during the summer—just
grab a drink and listen
in on any conversation
at CinemaCon. The one
thing we can all count
on is plenty of surprises.
After all, William Goldman’s
“Nobody knows
anything” philosophy is
as essential to the movie
industry as the chaos
theory is to the scientific
community. But as
BOXOFFICE’s box office
predictor—and reigning
poker champ—these are
my odds.
ENJOY!
WILL X-MEN: FIRST
CLASS LAUNCH
A NEW PREQUEL
TRILOGY?
YES 2-1 NO 10-1
Early reactions to the trailer for X-
Men: First Class have been extremely
enthusiastic on Facebook and
Twitter, so the prequel has jumped
through the first important hoop.
Director Matthew Vaughn displayed
some serious directorial
chops with Kick-Ass, and we’re
betting that he’s knocked this out
of the park as well. 2oth Century
Fox’s golden franchise is shined
and ready for its second display.
(continued on page 14)
12 BOXOFFICE PRO APRIL 2011

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SHOW BUSINESS > HANDICAPPING THE SUMMER
THE HANGOVER PART II VS. KUNG FU PANDA 2. ON
MAY 26: WHICH MOVIE WILL WIN THE WEEKEND?
THE HANGOVER PT II 3-5-1
KUNG FU PANDA 2 2-5-1
This is shaping up to be the most competitive weekend of the summer. We’re giving Kung Fu Panda 2 the slight edge with the bump of
pricier 3D tickets, but its raunchy competitor is not out of contention. Keep a close eye on this race. Either way, it’s bound to be a very
profitable weekend.
WILL TRANSFORMERS: DARK OF THE MOON SUFFER
AT THE BOX OFFICE WITHOUT MEGAN FOX? YES 15-1 NO 2-1
Michael Bay and Shia LaBeouf are both well aware that Transformers: Revenge of the Fallen did not live up to its potential, and they’re
determined erm to rebound with the third installment. Even though fans of the series waved their tool kits for Megan Fox (get your
mind out of the gutter!) the real draws are robots and explosions. If Bay can deliver those in a big way, Fox will be a faint, if fond,
memory.
WHICH SUPERHERO MOVIE WILL LAUNCH
THE MOST SUCCESSFUL NEW FRANCHISE?
CAPTAIN AMERICA 2-5-1
THOR 3-5-1
GREEN LANTERN 4-5-1
This
summer will serve as the launching point for three very promising superhero properties. We’re giving an edge to Captain
America at this point based upon the enthusiasm its Super Bowl trailer received on Facebook. Moviegoers flocked to the film’s offi-
cial page and gave it more new supporters than any other summer blockbuster with a commercial during the big game. If it can keep up
that momentum, a strong theatrical run awaits.
14 BOXOFFICE PRO APRIL 2011

ONCE A JOLLY
SWAGMAN
Confessions of a freeloader
TIMECODE
KENNETH
JAMES
BACON
Creative
Director,
BOXOFFICE
Media
few weeks ago, I was invited to tag along with
A a fine woman I know to a house and garden
show. It would be my duty, it was explained to me,
to carry the swag bag. Two, in fact, as my lovely pal
loves the freebie gewgaw. I was instructed to keep
a keen eye out for garden gloves, tape measures,
Tupperware and—highest on her list—the booth
with the free wine tasting. That would have been
the only thing on my list had I been leading the
parade, but on this day I would be a pack mule. And
this would be that rare day when I was not doing
‘booth duty’ for I am a reformed designer of tradeshow
booths and tchotchkes. Yes—I have put ridiculous
logos on magnets and mousepads. For you.
The best thing about being responsible for the
selection and design of tradeshow trinkets was the
full container truck of free samples I would receive
from knicknack vendors for my personal perusal
and appraisal—and much of it was beyond any currently
accepted notion of just plain weird. The last
promo piece to which I ever affixed a corporate logo
was a condom. And the condom had to be of a very
specific hue. Branding can be such a saucy mistress.
SPECIAL RAILROAD RATES!
Convention ad from the May 11, 1935 issue of BOXOFFICE
16 BOXOFFICE JANUARY 2011

FRONT LINE AWARD
Laverne ‘Toni’ Brumbaugh Cast Member
Regal Cinemas Jack London Stadium 9 / Oakland, CA
Nominated By David Kyi, Regal General Manager
Tbere’s a surprising secret about the
bubbly octogenarian greeting g guests
at the Regal Cinema’s Jack London Stadium
9: she’s shy. “But after working here
my social skills are fantastic,” says Laverne
“Toni” Brumbaugh. “I love interacting with
my guests.”
In her 85 years, the San Francisco
Bay Area native has had a career as
varied as the community in which
she lives, from grinding keys at a
local locksmith to working at Kaiser
Permanente Medical Centers
as Head of the Duplicating Department.
By her own admission, Brumbaugh
was always apprehensive
when it came to interacting with
strangers—that is, until 11 years
ago. When her goddaughter, then
a house manager for Signature
Theatres, nudged Brumbaugh
through the industry door, she
discovered she was blessed
with a range of latent interpersonal
skills.
Brumbaugh found a
wealth of joy in discovering
new things about herself and
credits the bonds made with
her fellow Jack London cast
members. “Toni has formed
many genuine relationships
with her fellow employees and
considers all of them her ‘children,’”
says General Manager
David Kyi. “Staff members call
her ‘Mama’ and she likes to say
that her children keep her young
and hip.”
In 2004, Brumbaugh has been
SAY HELLO
Senior team member shines
by Cole Hornaday
with Regal Cinemas filling roles from usher to concessions runner,
but her role as greeter has garnered her the greatest praise. “Toni is
one of the most complimented employees at the theater and she has
developed strong friendships with her regulars,” says Kyi. “Some
guests come in just to say hi, and they always smile when they see
that Toni is at her podium.”
Scientific studies warn us our brains lose elasticity as we age.
The learning curve gets progressively
steeper as we mature and
we retreat into comfort zones and rarely have a chance to try new
things. But when Brumbaugh piloted
herself head-on into a whole
new realm of experience, she not only survived, she flourished.
Brumbaugh also teaches by example, imparting volumes to
her younger co-workers about punctuality, patience and kind-
ness. “Toni is a proud employee who wears her Regal
badge with honor,” says Kyi. “She comes in every
day at least 15 minutes before the start of her shift,
constantly making sure that her station is nice and
clean and always greeting each guest with her
wonderful smile
and kindness.”
In addition, Brumbaugh has taught her
younger co-workers that personal growth is a
never-ending process.
“Toni is a dedicated employee who always
puts others before herself,” says Kyi. “She
is a loving friend and a caring mother to
all of her coworkers. She has been and
continues to be a great asset to Regal,
and we are fortunate that she
is here.”
Brumbaugh herself is
quick to shift the spotlight
onto others. “Everyone has
become my family,” she
says. “I love waking up every
morning just to see everyone.”
Outside work, her days
are always full. An avid bingo
player, Brumbaugh’s often
pressed to make time for dinners
with family and friends,
not to mention a little bit of
gardening on the side. But the
once-shy octogenarian is fearless
when telling all her role at
the Jack London 9 is the best job
she has ever had.
BOXOFFICE PRO is looking for winners—theater employees you consider to be genuine role models making a significant, positive impact on your theater operations. Monthly winners of the
BOXOFFICE PRO Front Line Award receive a $50 Gap Gift Card! To nominate a theater employee send a brief 100- to 200-word nominating essay to cole@boxoffice.com. Be sure to put ‘Front
Line Nomination’ in the subject line.
18 BOXOFFICE PRO APRIL 2011

FRONT OFFICE AWARD
MIDNIGHT MOVIE
MISTRESS OF MAYHEM
Cult movie programmer makes her
mark
by Cole Hornaday
H alf a lifetime spent in the Southwestern United States and Andrea Beesely-
Brown’s Kiwi accent hasn’t lost a hint of its original musicality. Sure, her
speech is peppered with North American slang, but the New Zealand native holds
fast to what makes her uncommon among her
fellow Arizonans: her speech, her
sense of humor and her passion for bizarre movies.
During her year-long stint as a high school exchange student, Beesely-
Brown fell in love Arizona’s arid climes, drama classes and a dashing young
leading man, her future husband John Brown. “We kind of kept in touch over
the years when my student exchange was done,” says Beesely-Brown. “I came
back to visit him and then we got married and were back and forth between
the two countries for awhile before we settled over here.”
She finished her BA in Film and Television
Studies and used her new
freedom to travel in support of her favorite movies, most of which rarely—if
ever—screened in Phoenix. While attending LA’s
NecroComicon in 2005, she attended a gala screening
of Russ Meyer’s Faster Pussycat, Kill, Kill. Perhaps it was
her giddy affection
for Meyer movies, perhaps it was
a case of one pint too many, but Beesely-Brown
found herself chatting up the agent of the cult
movie’s aging stars. “I said something like, ‘I’d
love to bring
you guys out to Arizona for a
show,’ sort
of half -joking and their manager
was like, ‘Okay, when do you want to do
that?’ And I realized, ‘Oh my God, I actually
have to do this!’”
After
a panicked flight home, Beesely-
Brown
went to work brainstorming an
event designed to appeal to both cult
movie fans and fringe-dwellers getting
their first introduction to Faster
Pussycat. “When we screened the
film we also had burlesque dancers
and bands and it was kind of a big
deal,” says Beesely-Brown. “It sold
out and that was awesome—we
actually had to turn people
away, but it was definitely an
eye opener.”
Thus emboldened, it
dawned on Beesley-Brown that
she may have found her calling.
Taking inspiration from
her fellow New Zealander Anthony
Timpson, curator of the
Incredibly Strange Film Festival,
she began researching venues
that might support her niche
programming.
20 BOXOFFICE PRO APRIL 2011

Andrea Beesely-Brown Rogue Programmer
Farrelli’s Cinema Supper Club / Phoeniz, AZ
Nominated By Mike Heenan Projectionist
Beesely-Brown soon hired on with Chandler Cinemas, a secondrun
indie theater whose owner shared her love of Grindhouse
and cult film. Between screenings of The Rocky Horror Picture Show
and Beyond the Valley of the Dolls Beesely-Brown earned trial-by-fire
training in film booking and programming—an exhibitor’s crash
course that spawned her programming alter ego: Midnight Movie
Mamacita.
Beeseley-Brown built an eager following for her Midnight
Movie Mamacita shows, continuing to cultivate them after leaving
Chandler Cinemas. Around the same time, several former Harkins
Theatres in downtown Tempe were being repurposed as part of
MADCAP (Middle Avenue District Community Arts Project).
“I coordinated all of their film rentals,” says Beesely-Brown,
“and was able to continue my movie series under Midnight Movie
Mamacita, but at a greatly discounted rate because I was working
under the organization as well.”
Though an ideal venue in so many ways, MADCAP would not
remain the Mamacita’s home for long. “It’s my primary base, but I
am no longer working for them,” says Beesely-Brown. “Very similar
to Chandler, it just didn’t work out. I have a bad habit of working
for the venues I try to produce in, and it’s been really difficult because
both had very limited resources and that’s quite exhausting.”
So as of today, Andrea Beesely-Brown has gone rogue. With a
squad of hand-picked programmers and projectionists, she’s struck
out on her own. “The whole goal of doing Midnight Movie Mamacita
was to gather enough of a following that could then translate to
having my own venue, which is what I’m working on right now.”
Beesely-Brown believes she’s found a suitable environment for
her plans, but as Boxoffice goes to press, no ink has been put to paper.
The potential new site must be reconfigured from the ground
up.
“It’s a shell of a building,” she says. “It was actually a gym before.
The sad thing about Phoenix is that all of the old one or two-plexes
are all gone. They’re now charter schools or churches. We don’t
want 10 screens, we only need two.”
The space isn’t the only thing in flux—so is the venue’s name.
“We’re currently looking for one,” says Collins College film student
and projectionist Jeremiah Wilkerson. “At one time, we were talking
about calling it The Deuce because it’s two screens, but right
now we’re just kind of calling it the TBA Theatre.”
Knowing that cult and midnight fare means a limited cash-flow,
Beesely-Brown says her new venue will also include first-run independent
film with a lot of repertory and event-based programming.
Despite the foreseeable challenges, Beesley-Brown’s team has faith
in their head honcho. “She’s one of the best people I know and an
amazing lady,” says Wilkerson, “but she definitely has a taste for
the weird and the strange. She loves film and bringing really cool
things that a lot of people haven’t seen. She has a unique personality
all her own.”
The World’s Most Trusted 3D Screen
www.Harkness-Screens.com
Go to Harkness-Screens.com for more information or visit us at CinemaCon, March 28-31.
APRIL 2011 BOXOFFICE PRO 21

MARQUEE AWARD
FOCUS ON FAMILY
It’s all related
Located just a hop and a
skip off historic Route
66 in Chandler, Oklahoma,
the old Roman-style portico
facade of H&S Theatre hasn’t
changed much since its debut
in September 1926. According
to newspaper archives, Col.
Richard Hoover and Gerald Stettmund
(the aforementioned H&S)
welcomed opening night patrons
into their 300-seat auditorium
to enjoy three vaudeville acts, an
“educational comedy” and the
MGM silent film The Waning Sex
staring Joel Mature.
In 1928, Col. Hoover sold his
half of the property to Stettman,
whose family retained ownership
until the late 1940s. The H&S
Theatre would pass through three
more owners before coming under
the aegis of a longtime friend.
As a Chandler native, 78-year-old owner Harold Wakely’s been
a fan of the H&S Theatre since childhood and an employee since
his teens, off and on. “I started here in 1948 as a doorman and then
moved up to projectionist shortly after that,” says Wakely. “I was in
the projection end of it until I graduated from high
school.” In those early years, Wakely cemented
a bond with the old theater
that would endure.
by Cole Hornaday
H&S THEATRE CHANDLER, OK
THE KIDS ARE ALL RIGHT
The Wakely grandchildren—Chad, Kyle, Brook and Kala pitching in at the family’s H&S Theatre
A two-year stint in the Army led
Wakely to a 35-year appointment
with the Air Force, but he kept his
eye on the theater. After establishing
a family and career, Wakely
surveyed the state of H&S, and decided
it was time to intervene.
“I bought the theater in about
1975,” says Wakely, “about 13
years before I retired from the Air
Force. The reason I bought it was
because it was going downhill so
fast it wasn’t even funny. It was in
terrible shape.”
“When we purchased it, we
started operating it as best we
could—every bit of profit went
right back into the theater,” says
Wakely. “It had no heating or air
conditioning. It had swamp coolers
on the roof to cool it in the
summer time and one little old
heater not worth a hoot to heat it in the wintertime.” Water from
the coolers would leak, contractors would repair the roof, water
would keep leaking and the cycle continued.
“Finally, the family and I just got up there ourselves and com-
pletely stripped the roof—and stripped it well,” laughs Wakely.
Once the roof excavation was complete, it dawned on Wakely that
the running and refurbishment of H&S Theatre had become a fam-
ily affair.
From then on, the Wakely clan became DIY theater operators.
When installing a new sound system was cost-prohibitive,
youngest son Dean stepped up to the plate. Dean excelled in
high school electronics vocational training, but rewiring
the old auditorium on his own was a tall order. Undaunt-
ed, he spent a night reading the installation manual cover
to cover. “He came back the next day and said, ‘Dad I think
I can do this,’” Wakely recalls. “He did it all and it sounds
really, really good.”
Some nights you’ll find the entire Wakely family
working the theater, some members even showing
up after a long shift at their day jobs. Dean is often
found firing up the film projector after a grueling
day installing floors while his two older broth-
ers, Steve and Alan, tackle custodial and mainte-
nance. And in the lobby you’ll see any one of the
four grandchildren busy behind the concessions
counter.
After 35 years in Wakely’s loving hands, the
H&S Theatre is the only working movie house
22 BOXOFFICE PRO APRIL 2011

in Lincoln County. It’s open seven days a week, one show a night
with two on Sundays. “We have very good backing, to be honest
with you,” says Wakely. “Most people enjoy it here a great deal and
we have lots of people that are here for every show we have. We
are a strictly family-oriented business that runs
family-oriented pictures. If someone calls me
and asks me to run an R-rated picture I tell
them, ‘No.’”
From his vantage point in the ticket
booth, Wakely, glows with pride as he
takes in his surroundings. “I enjoy meeting
and visiting with people,” he says,
“I almost enjoy having a movie to share
with other folks more than I enjoy watching
a movie myself.”
Wakely says he’s not overly
concerned about the future of
H&S Theatre as Dean has made
it crystal clear he intends to
carry on when the patriarch
is gone. As Wakely is fond
of telling new visitors, it
took 133,000 bricks laid
three rows deep to build the
theater, but his family can’t
count the blood, sweat, tears
and elbow grease it took to
build a legacy.
HEIR APPARENT
Tina and Dean Wakely; next in
line to take the reins of the H&S
Theatre
APRIL 2011 BOXOFFICE PRO 23

SHOW MAPS & EXHIBITOR LIST 26
BUD MAYO’S BRAINSTORM
The alternative content expert on launching his
new theater chain and what exhibition needs
by Amy Nicholson
TUESDAY NIGHT AT THE MOVIES
We look at three of the films we think you
ought to see while at the show
by Christian Toto
LET THERE BE LASERS
The FDA gives the thumbs-up
to KODAK’s latest invention
by Christian Toto
CINEDIGM CHARGES ON
Seven questions
for new CEO Chris McGurk
by Phil Contrino
EXCLUSIVE INTERVIEW
DUNCAN JONES
With his second film, the director of Source
Code plants his flag in Hollywood
by Amy Nicholson
NEW PRODUCTS
25 exhibitors show off their
latest products and services
EXCLUSIVE INTERVIEW
GREG MOTTOLA
Says the director of Paul, “There has to be
intelligence somewhere else in the univers.”
by Amy Nicholson
DISCUSSIONS
Four panels for which you
want to grab front row seats
30
34
40
42
44
52
60
68
CINEMACON AWARD WINNERS 72
C E L E B R A T I N G T H E M O V I E G O I N G E X P E R I E N C E
APRIL 2011 BOXOFFICE PRO 25

C I N E M A C O N C E L E B R A T I N G T H E M O V I E G O I N G E X P E R I E N C E
HAIL, CAESARS!
NEOPOLITAN BALLROOM
MILANO BALLROOM
26 26
BOXOFFICE PRO APRIL 2011

AUGUSTUS BALLROOM
FORUM BALLROOM
C O M P L E T E E X H I B I T O R L I S T O N N E X T P A G E
APRIL 2011 BOXOFFICE PRO 27

C I N E M A C O N C E L E B R A T I N G T H E M O V I E G O I N G E X P E R I E N C E
EXHIBITOR
1better LLC
ACS Enterprises
Adaptive Micro Systems
Advanced Specialty Lighting
American Cinema Equipment
American International Concession
Products
American Licorice
American Paper Optics, Inc.
Ballantyne Strong, Inc.
Barco-Digital Cinema
Baseline
Bass Industries Inc
Betson Enterprises
BGW Systems
Boca Systems
Bright Star Systems Corp
Business Russia Group
C Cretors & Co
Caddy Products
California Seating + Repair
Camatic Seating
Changzhou Yuyu Electric Light
Appliance Co., Ltd.
SHOW LOCATION
329F
207F
100A
1608A
506A
825F
1018F
935F
600A
911A, 1006A
1003F
734F
831F
1802A
728F
618F
1029F
413F
519F
834F
713F
402A
Christie Digital Systems 1200A, Milano 1
Cinedigm Digital Cinema Corp.
Cinema Concepts
Cinema Equipment & Supplies
Inc
Cinema Hosting
Cinema Lighting Corp
Cinema Scene Marketing
Cinema Solutions
CinemaLive
Cinemeccanica SPA
Cinestar Touchscreen Technologies
Cinetize
Coast To Coast Cleaning
Color Ad Packaging
Component Engineering
ConAgra Foods
Connie’s Pizza
Continental Concession Supplies
Inc
CRU-Dataport - Wiebetech
1404A
717F
1804A
332F
529F
913F
919F
403A
1606A
929F
1811A
1033F
433F
1800A
331F
104A
520F
1803A
Datasat Digital Entertainment Inc. Neopolitan 2
D-BOX Technologies Inc
125F
Deluxe
Neopolitan 3,
1028F
Digital Media Solutions
digitAll pty ltd
Dippin’ Dots Inc
202A
304A
502A
Dolby Laboratories
1600A
Dolby Laboratories Milano 7
Dolphin Seating
430F
Doremi Cinema
604A
Durkan Hospitality
630F
DVA Architecture
628F
Eisenberg Gourmet Beef Hot Dog 307F
Embedded Processor Designs,
Inc
730F
Eomac Ltd
Everything Cinema
FBD Partnership, LP
Figueras Int’l Seating
Filmack Studios
Fishbeck, Thompson, Carr &
Huber, Inc.
Fox Blocks
Franklin Designs
F’REAL! Foods
Funacho
FunFlicks Outdoor Movies
Future 3D Technology Co.
GDC Technology
Gehl Foods, Inc.
Gold Medal Products
Goldberg Brothers
Golden Link Inc.
Golterman & Sabo, Inc
Great Quantas International
Great Western Products
Greystone Public Seating
Harkness Screens
High Performance Stereo
Hollywood Movie Money
Hurley Screen Corp
Hytex Industries Inc
iCount-USA
Immerz Inc.
Inorca Seating
INTEG Process Group
International Cinema Equipment
Co
International Cinema Technology
Association
International Electrical Wire &
Cable Inc
Irwin Seating Company
J & J Snack Foods Corp.
Jack Roe USA Inc
JBL / CROWN
JKR Partners
Jolly Time Popcorn
Kernel Seasons
818F
511A
928F
931F
321F
1000F
829F
213F
426F
1009F
406A
203A
1208A
916F
707F
101A
531F
431F
1031F
418F
230F
904A
1801A
114F
201A
629F
228F
129F
200A
1706A
906A
1307A
1001F
201F
1012F
1604A
301F
924F
828F
821F
Kinoton GmbH
Klipsch Group
Konica Minolta Corp
Lancer Corporation
Lavazza Premium Coffees Corp.
LBI Boyd Wallcoverings
Lightspeed Design, Inc. /
DepthQ®
Look3D
1204A
806A
1407A
133F
214F
324F
305A
130F
MARS Chocolate, North America 701F
Martek Contracts Limited
719F
MasterImage 3D Milano 2
Mediamation Inc.
1005F
Meyer Sound Neopolitan 1
Mikrom GmbH
303A
Mobiliario SA de CV
801F
Moviead
634F
Moving Image Technologies
808A
Mycinemastore.com
416F
Nathan’s Famous
225F
National Association Of Concessionaires
428F
National Ticket Co
Nebraska Popcorn
NEC Display Solutions
Nestle USA
Nevada Film Office
Odell’s
Omniterm Data Technology
Osram Sylvania
Paciugo Gelato & Caffe
Packaging Concepts, Inc.
Panavision 3D System
Paradigm Design, Inc.
Pelican Productions
PepsiCo Foodservice
Peters Pretzels
Peter’s Pretzels
Philips Specialty Lighting
Photo Research Inc.
Pot O’ Gold
PowerDirect Marketing
Preferred Popcorn
Premium Performance Sound
Prime Ticket
PrintTixUSA
Proctor Companies
Progressive - Flooring Services
Promotion In Motion Companies,
Inc. (The)
ProSTAR Industries
Qingdao Fuyi Flame Retardant
Acoustical Materials
505A
917F
207A
512F
1021F
725F
625F
312F
1014F
824F
Milano 3, 1704A
217F
907F
1000A
404F
420F
503A
1207A
816F
128F
731F
405A
218F, 118F
319F
306F
429F
921F
1025F
204A
28 BOXOFFICE PRO APRIL 2011

QSC Audio Products
613F
Solo Cup Company
317F
Titan Technology Group
318F
Qube Cinema Inc.
407A
Sonic Equipment Company
1511A
Tivoli LLC Neopolitan 4
Quest Cinema Equipment, a division
of Therma-Stor
Radiant Systems
RCM Media, Inc.
Ready Theatre Systems
Retriever Software Inc
Reward Wall Systems, Inc.
Reynolds & Reynolds
RGS International
1019F
807F
830F
1211A
827F
326F
316F
925F
Sony Digital Cinema Solutions
Soundfold Inc
Stadium Savers LTD
Stadium Seating Enterprises
Stein Industries
Steve’s Frozen Chillers
Summit Food Enterprises
Superior Quartz Products
100F, Milano 5,
Milano 6
409A
229F
729F
901F
1002F
305F
1408A
TK Architects
Tootsie Roll Industries
Tr3nDy
Ultra Stereo Labs
Universal Cinema Services
Ushio America
Vantage / Glassform
Variety -The Children’s Charity of
the U.S.A.
325F
905F
1016F
313F
608A
102A
926F
328F
Richardson Oilseed Limited
126F
Surveillance Technologies
124F
Ventura Foods LLC
635F
Ricos Products Company, Inc.
Roney International
Royal Paper Corporation
Schneider Optics Inc
Schult Industries
Schwan’s Food Service, Inc.
Seating Concepts
Severtson Corp.
419F
1507A
817F
804A
813F
119F
513F
1707A
Sweet Amanda’s
Taste Of Nature, Inc.
Taylor Company
Technicolor 3D
Tempo Industries
Texas Digital
The Cawley Co.
The Coca-Cola Company
1017F
424F
631F
400A
525F
1411A
909F
401F
VIP Cinema Seating
Vista Entertainment Solutions
Vistar
Vivian Company, Inc.
Volfoni Inc.
Waiven
Weaver Popcorn
219F
425F
619F
534F
205A
1611A
1013F
Simply Right
732F
The Hershey Company
115F
Weldon Williams & Lick Inc
1015F
SinoCinetech Co.,Ltd
231F
Sirius3, Inc. Milano 8
SLS Audio
1808A
The ICEE Company
THX Ltd
TicketPro Systems
1006F
508A
311A
White Castle Food Products
Wulf Installations
530F, 528F
1020F
XpanD Milano 4
Socal Safe Co.
934F
Ticketsoft
918F
Zimotion Co.
330F
Emagine Use Vista
www.us-vista.com
APRIL 2011 BOXOFFICE PRO 29

C I N E M A C O N C E L E B R A T I N G T H E M O V I E G O I N G E X P E R I E N C E
BUD
MAYO’S
THE ALTERNATIVE CONTENT
EXPERT ON LAUNCHING HIS
NEW THEATER CHAIN AND
WHAT EXHIBITION NEEDS NOW
by Amy
Nicholson
A fter working in alternative e content, you’re launching
a theater ter chain of
your own for the second time.
What have you learned from
working
with Cinedigm
that you are excited to bring to you
new chain, Digiplex?
Well, one of
the things I’ve learned
ed is that very little in-theater
marketing and exhibitor-generated t marketing has been done
to
promote these alternative t content programs. That’s going to
certainly be
a big focus for Digiplex—to use every
tool in the
toolbox: those
provided by the
content
n distributor, ibutor, the content
owner and by ourselves. Unlike
a major Hollywood od movie,
these programs don’t come with a hundred million dollar marketing
budget provided by the studio, so it’s really incumbent
upon the
exhibitor himself to know how to communicate
with
the
audience, e to know
who they are, to be in touch
with them in a variety of ways
that the digital era enables:
social media, the Internet, newsletters. Local
charities and non-profits n-pr
certainly love
to take part.
If it’s a classical sica
l performance, it might very well
be
a group that enjoys classical music—beyond
even the local
symphony or performing arts
center. For example, e, with our Kidtoons program,
there’s a regional arts center
er that’s
our co-sponsor and we’ll cross-promote
each other’s events.
It takes a lot
of creative thinking ing
to come up with different marketing
concepts. How do you
come up with your
ideas?
Back in the days when I was building Clearview, I clearly
had
the same thoughts about how to fill seats that
are empty 90 percent of the time, in particular Sunday
to Thursday. Twelve years later, the digital era is here.
Some of my ideas, I simply couldn’t do 12, 15 years ago
at a traditional film-based movie theater chain. Now I
can. There are a whole bunch of new ideas and great
people at places like Cinedigm Entertainment and
30 30
BOXOFFICE PRO APRIL 2011

NCM Fathom Network—and the studios
themselves are coming out with some great
content. You add some 3D into the mix and
you’ve got a whole new opportunity to
fill those seats, which is really what it’s all
about for exhibition. How do you fill empty
seats? If you can fill them another 10 percent,
you’re really making a difference in
your movie theaters—and if you can do it
in multiple locations over a period of time,
you’ve really made a very significant difference
to your bottom line.
That’s interesting because it looks beyond
needing to sell out a theater on
opening weekend with a monster hit.
We want to do that, too. We’re not looking
to replace that. The bread and butter of
these theaters is still the Hollywood features
and we’re going to play them—and
we’re going to play a lot of independent
films, as well. But there’s an average of ten
screens in a building and not all of them
can be playing big tentpole movies from
Hollywood, or even the better independent
films like King’s Speech and Black Swan. It’s
about supplementing what works, not replacing
it.
What have you learned about the range
of audience appetites in the last decade
that gives Digiplex an advantage?
The first thing that we learned at Cinedigm
Entertainment was to identify the audience.
That means doing a little research about the
demographics around each building. Then
the next step is to try to communicate so
that you have some interactivity with the
audience. Once you’ve done that, it can inform
your programming decisions—you’re
a film buyer, but you’re also a curator. It
takes a lot of extra time to examine the options,
what can be played at certain times
of the day and days of the week, because
we know that moviegoers aren’t the same
Wednesday night as they are on Friday
or Saturday night. Once you know the
audience, then you know what it is: what
language, what ethnic groups, what socioeconomic
category. The opera might not be
for every theater, but boxing or football or
soccer, basketball, certain types of music,
certain genres of music—what would work
in one theater may not work in another.
Country and western may work very nicely
in some towns, and others jazz or even classical
music. Even within popular music,
you have different genres. You start slicing
and dicing the product. I’ve been doing this
for forty years in a not-for-profit environment
with a number of performing art
centers where I chaired the board of trustees
and helped to define how we program.
What I’m doing here is taking this to much
smaller venues which serve a much smaller
radius around the theater and introducing
programs that families can afford to do
with content that might otherwise not even
be available except in the major cities. For
example, Dave Matthews Band, that Cinedigm
brought out last year, properly marketed
would be a huge hit at a twenty-dollar
ticket. I emphasize properly marketed by the
theaters. The Dave Matthews Band isn’t for
everybody. Phish is something we learned
a great deal about—last year, the places
were packed and it was a huge success for
those theaters. In fact, it caught many of the
theaters way off-guard because people were
milling in by the hundreds on a Wednesday
night.
And those are some unusual fans.
These are events that we’d rather see
programmatically. In other words, we’d
rather not have a Dave Matthews concert
in December and a Phish Concert in April
and nothing in between. We really want
a new program at least once a month in a
certain category so people can begin to look
for it in the theater and say: This theater is
great—it’s a Digiplex theater and it’s going
to be playing all this extra content and I
better check regularly. People don’t come to
concerts or sporting events the way they do
movies, where they just show up. They generally
have to plan for this because these are
shared events. Usually groups say, “Let’s all
go to a concert or a ballgame. Let’s mark our
calendars.” Because it’s only going to play
once or twice, unlike a movie that might
run for three or four weeks. There’s a lot of
talk about changes in the industry. At least
through my eyes, I’m a lot less concerned
about windows shrinking. I still want a discreet
window for movies, but if it shrinks
a few weeks it’s no big deal to me because
most of the business is done within the
first two or three weeks. To me, the tradeoff
is that if alternative content emerges as
something that could be played regularly
throughout the year along with movies,
there is room for everything.
You were talking about demographics.
What were you looking at when you
decided your locations of your new Digiplex
theaters and how many have you
chosen?
Our pipeline right now is about 300 screens.
We’re picking the ones that, quite frankly,
make sense to us. Good theaters and good
geographical areas and good strategic areas
because we want to be able to attract audiences
from a fairly wide range around the
theater for certain kinds of events. It might
be as much as fifteen or twenty miles, so
they’ve got to be good theaters. Right now,
we’re looking essentially in four states: New
Jersey, New York, Connecticut and Pennsylvania.
We’d like to be fairly concentrated
initially and then begin to move north into
New England and south into the Mid Atlantic
over time.
Why is that?
It’s a management issue. It’s just being able
to pay attention to the theaters as we acquire
them. To do the things we want to do,
which are innovative and certainly different
from the way that theaters have historically
operated, we want them close by so we
can pay attention and retrain staff. There’s
a great talent pool in this industry and
we want to tap into it, but in each case we
have to reorient those talented people to do
things in addition to what they’re already
doing, which is to keep the popcorn fresh,
to keep the restrooms clean and to make
sure the sound and image quality are good
and consistent. We need to become a part of
the community in ways that we haven’t had
to in the past, and that means, re-purposing
people. We want to stay small enough to
be able to test a lot of theories and a lot of
new programs because it’s a lot easier to
do when you’re smaller. We’ll move a little
slowly for the first six months, but not that
slowly. We’ll be adding theaters probably
every month.
What are you predicting for Digiplex by
the end of 2011?
By the end of this year, we should have
about 150 screens, maybe more. We are targeting
1,000 screens in a three-year period,
and for that we want a national footprint.
We would like to have a presence in at least
(continued on next page)
APRIL 2011 BOXOFFICE PRO 31

C I N E M A C O N C E L E B R A T I N G T H E M O V I E G O I N G E X P E R I E N C E
BUD MAYO’S BRAINSTORM
50 of the top 100 markets in the United
States—hopefully more, but at least half.
Certainly in all of the key markets like New
York, Chicago, LA, Boston, Philadelphia,
Atlanta—those key “NFL cities.”
Los Angeles wishes we had an NFL
team!
Yeah, you might have a team one day—one
that resembles one, anyway! This isn’t rocket
science. It’s really the application of what
has been available primarily through Cinedigm,
as a result of all the great work we did
at Cinedigm providing the tools. But as I’ve
said many times, it isn’t about the technology,
it’s about what you do with it. It’s really
up to me as the theater owner. We have ambitious
plans to build the circuit; we’ve certainly
done that before. It’s a lot easier now
because we know a lot more people, and
we certainly know a lot more about digital
cinema and its applications and we certainly
know our way around the media exhibition
business. We have lots of friends on both
sides of the table—the studio side and the
exhibition side—and basically our game
plan is to negotiate purchases of existing
good theaters from people who in most cases
are ready to exit the business, ready to retire.
They have owned their theaters for maybe a
couple of generations; they have built a very
good business, but it’s time to move on. In
particular, dealing with the digital era is for
some people not only scary but expensive.
It’s a great opportunity for us and for them.
We can create an exit for them at a fair price,
and we can create a very meaningful circuit.
Everything I’m talking about doing, my own
feeling is that this is where the whole industry
has to go in certainly three to five years.
In order to really prosper, all movie theaters
are going to be doing the kinds of things
we’re talking about doing. The opportunities
are unique—it’s really only a matter of
whether a theater owner or theater operator
wants to put in that extra effort and learn
what they have to know in order to make
that successful. Honestly, in three years,
when everything is converted to digital, the
theaters that aren’t ready and aren’t regularly
playing digital cinema products in all of the
forms available—3D is certainly part of that
story, but not the only part—I think they’re
going to have challenges if they don’t meet
the audience and get them out of their living
rooms and into their theaters by providing
the product that they want. It’s basic. Maybe
DIGIPLEX THEATERS
Bloomfield 8
Bloomfield , CT
Cranford Theater
Cranford , NJ
Rialto Theatre of Westfield
Westfield , NJ
more obvious to me because I’ve lived it in
two different iterations: once as an exhibitor
limited by film and then as a pioneer in the
digital cinema space. We have seen theaters
with five and ten times the business that
they would otherwise be doing on some of
those weekday nights. Their success compared
to everything else they could have
played has been enormous and the concessions
around these concerts and sporting
events have been multiples of what they
would normally see.
This must be a great year to break back
into exhibition because you can invest
straight into digital, plus the market is a
little looser and it’s easier to get the cash
to purchase the equipment.
Absolutely, and we’ll be working with Cinedigm
as our integrator of choice. My CTO
here at Digiplex was my CTO at Cinedigm.
We have a great team with experienced
people on day-to-day relations. We’re using
Clearview as our booking agent so their film
department will be handling all of our bookings.
We’re using Cinedigm software as our
back office software. We’re using lots of tools
and creating some new ones as we go along
that are uniquely ours. Obviously, we’re going
to be converting to digital as soon as possible
and adding as many 3D screens as we
think is necessary—basically, more than half
of the theaters in every building need to be
3D today to be able to play all the major Hollywood
movies and still have room for some
alternative content.
How did you come up with the name
Digiplex?
You know, the same way I came up with the
name Cinedigm. You wake up in the morning
and it seems like a good idea and you test
it to see if anybody else has it. You make sure
you can get the URL you need and Digiplexdest
is Digiplex Destinations. So our trade
name is Digiplex and that’s our logo but the
name of our company is Digital Cinema
Destinations Corp. That’s actually the legal
name, but we registered a trademark called
Digiplex and that’s the name I think the public
will get to know just as they know Regal
and Rave. We want them to know when they
hear Digiplex, it means great movies, great
location and lots of alternative programming.
On a personal level, how does it feel being
back in the exhibition business?
Oh, I love it. This business gets in your blood
and I’ve never stopped loving it. After I sold
Clearview, I wanted to solve the problems
for exhibition that I saw. That’s really what
Cinedigm became. First the technology, first
the financial model, the virtual print fee—
which we created and is now the ubiquitous
world model for financing a conversion—
and then getting into the content side with
a great group in Woodland Hills called Cinedigm
Entertainment. They were first place
I turned to today when we wanted to launch
our alternative program series—and we
want to be able to play a lot of the content
that comes out of Fathom, as well. These are
the choices that we as exhibitors have and
the beneficiaries are the consumers. They get
all these choices they never had before. If we
make that happen as an industry everybody
wins.
What’s that like, being Bud Mayo calling
up Fathom and saying, “Let be friends
and work together.”
I’ve never not been their friend and they
know that. They are a great organization,
and so is Cinedigm. Just the same way that
Warner Brothers and Fox and Disney all
compete for audience, there’s plenty of
room for everybody—plenty of room for
Fathom’s product as well as Cinedigm’s, and
Screenvision’s if they get into the alternative
programming business. Certainly all of the
studios’ content we’re interested in, and we’ll
know whether it’s a good idea to play it in a
particular theater. There are certain kinds of
movies that you’re wasting your time playing
in certain venues. Saw III is not going to
work in an arthouse, and conversely King’s
Speech would draw a blank if you played it in
certain theaters in various parts of the country.
It’s just not going to work. It’s the same
mindset—know your audience, put the right
content in front of them and you’ll do fine.
32 BOXOFFICE PRO APRIL 2011

C I N E M A C O N C E L E B R A T I N G T H E M O V I E G O I N G E X P E R I E N C E
NIGHT
AT
THE
MOVIES
THUNDER SOUL Roadside Attractions
Rave Motion Pictures Town Square 18 Theatre
8:00 pm & 10:15 pm
You don’t have to be a band camp alum to appreciate Thunder Soul, the documentary gobbled up by
Roadside Attractions last year after a successful film festival run.
The movie follows alumni from Houston’s Kashmere High School Stage Band reuniting after 35 years to
honor their old music teacher, Conrad “Prof” Johnson. He helped the school shatter the color barrier in the
1970s while making beautiful music in the process.
Thunder Soul nabbed the audience award at last year’s SXSW Film Festival as well as a nomination for best
documentary at the Independent Spirit Awards. Its theatrical future could be just as promising.
Dave Chappelle’s Block Party earned nearly $12 million back in 2006 with a similar blend of music and
socially conscious storytelling. Thunder Soul boasts the backing of Oscar-winning cutup Jamie Foxx, who is
presenting Soul like Oprah Winfrey and Tyler Perry did for the Oscar-winning 2009 film Precious.
It doesn’t hurt that Glee is making high school music hip again, or that feel-good documentaries can be the
perfect tonic for overproduced blockbusters and soulless sequels.
The film’s musical tie-ins seem obvious, especially if Foxx can coax one of his industry pals to work with the
alums on a song to drop near the film’s release date.
Director: MARK LANDSMAN
Producers: KEITH CALDER, JESSICA WU, MARK LANDSMAN
Editor: CLAIRE DIDIER
Director of Photography: SANDRA CHANDLER
Sound Editor: ANDY HAY
Music Supervisors: JIM BLACK and GABE HILFER
Original Music: CONRAD O JOHNSON SR. (continued on page 36)
By Christian Toto
34
BOXOFFICE PRO APRIL 2011

©2011 The Coca-Cola Company. “Coca-Cola,” “open happiness” and the Contour Bottle are registered trademarks of The Coca-Cola Company.
A tip of the cap to you
The Coca-Cola Company
proudly salutes the
2011 NATO Marquee Award Honorees:
Michael Campbell
Jerry Forman
Richard A. Fox
A. Alan Friedberg
Phil Harris
William Kartozian
Steve Marcus
Lee Roy Mitchell
Joel Resnick
T.G. “Teddy” Solomon
William Stembler
Peter Warzel
Roy B. White
No artificial flavors, no added preservatives.
Since 1886.

C I N E M A C O N C E L E B R A T I N G T H E M O V I E G O I N G E X P E R I E N C E
TUESDAY NIGHT AT THE MOVIES
Page One: A Year Inside the New
York Times
Magnolia Pictures / Participant Media
Rave Motion Pictures Town Square 18 Theatre
8:00 pm & 10:15 pm
On paper, the new documentary Page One: A Year Inside the New
York Times hardly seems like a box office contender. The film reveals
how the Gray Lady is handling the transformation from print to a
web-saturated news media. Tell that to Magnolia Pictures president
Eamonn Bowles, whose company snatched up the film’s distribution
rights at the Sundance Film Festival.
“Page One is an incredibly fascinating film
about where journalism is headed in the
digital age, but more importantly it’s an
amazingly entertaining, beautifully made film
that’s a crowd pleaser on many levels. We’re
expecting a great performance for it this
summer.”
That may not just be indie studio spin. Page
One has two weapons at its disposal: the
ongoing fascination with WikiLeaks and a
real-life character any film would be lucky to
have.
Page One explores the fallout from the
newspaper’s coverage of documents
dumped into the public arena by Australian
provocateur Julian Assange. Should
a respected news outlet share potentially
illegal leaks that could damage national
security? Can the Times afford to ignore
Assange’s WikiLeaks findings while other
journalists and bloggers pounce?
There’s a good chance Assange will let more
delicate information loose before the film hits
theaters, a development which can only help
the movie’s marketing prospects.
If WikiLeaks isn’t enough of a lure there’s always
Dave Carr, The New York Times’ media
scribe featured in the film. A Moviefone.com
review called Carr “one of the standout reallife
personalities of the festival’s documentary
programming this year.” Not only is Carr capable
of promoting the documentary through
his existing media contacts, he’s precisely
the kind of figure that can sell the feature to
otherwise ambivalent crowds.
Director: ANDREW ROSSI
Screenwriters: KATE NOVACK, ANDREW
ROSSI
Executive Producers: JOSH BRAUN, KATE
NOVACK, ANDREW ROSSI, DANIEL STERN
Director of Photography: ANDREW ROSSI
Editors: CHAD BECK, CHRIS BRANCA,
SARAH DEVORKIN
Original Music: PAUL BRILL
(continued on page 38)
36 BOXOFFICE PRO APRIL 2011

WE PROUDLY SALUTE THE
NATIONAL ASSOCIATION OF THEATRE OWNERS
ON THE INAUGURAL
AND CONGRATULATE ALL
CONVENTION HONOREES

TUESDAY NIGHT AT THE MOVIES
C I N E M A C O N C E L E B R A T I N G T H E M O V I E G O I N G E X P E R I E N C E
DIGITAL SIGNAGE SOLUTIONS
txdigital.com | cinemasales@txdigital.com | 800.693.2628
Digital Menu Boards
Box Office
Auditorium & Wayfinding
Dynamic Movie Posters
The First Grader
National Geographic Entertainment
Rave Motion Pictures Town Square 18 Theatre
8:00 pm & 10:15 pm
The First Grader might sound like yet another inspirational teacher
tale, but the fact-based drama offers more than prep students taking
to their desks to cheer their instructor.
The film, which drew raves from last year’s Telluride Film Festival, recalls
the story of an illiterate, 84-year-old Kenyan man (Oliver Litondo)
who arrives at a first grade classroom after his government promises
free education for all.
Co-star Naomie Harris, who plays the elderly man’s teacher, is earning
kudos for her nuanced performance. The talented Harris could be due
for her big stateside break following turns in two Pirates of the Caribbean
features as the witch doctor Tia Dalma.
Education-based features like Waiting for Superman have outperformed
expectations, while the country’s current focus on public
education could set the stage for higher than usual interest.
National Geographic Films may not be a major studio, but its collective
senses sniffed out a sleeper with the 2005 documentary March
of the Penguins. And Grader wowed audiences during its festival run,
coming in second behind The King’s Speech for the Toronto International
Film Festival’s People’s Choice award.
Stephen Farber of The Hollywood Reporter predicted arthouse
patrons would gobble up The First Grader, but the film hits upon so
many intriguing themes that crossover appeal might be in the cards.
The studio also could piggy back with literacy groups to send the
message that people are never too old to learn to read.
Director: JUSTIN CHADWICK
Screenwriter: ANN PEACOCK
Executive Producers: NORMAN MERRY, JOE OPPENHEIMER,
ANANT SING, HELENA SPRING
Cast: NAOMIE HARRIS, TONY KGOROGE, SAM FEUER, NICK
REDING, VUSI KUNENE
38 BOXOFFICE PRO APRIL 2011

C I N E M A C O N C E L E B R A T I N G T H E M O V I E G O I N G E X P E R I E N C E
LET
THERE
BE
The FDA
gives the
thumbs-up to
KODAK’s
latest
invention
The Eastman Kodak Company wants to shed
some more light on 3D projection.
Kodak’s new laser projection technology
promises significantly brighter 3D viewing as
well as a host of improvements for both moviegoers
and exhibitors alike.
The new projection system introduced last fall
earned approval from the Food and Drug Administration
in February for a variance that allows
for the sale of its technology to cinema operators.
That removed a key obstacle for the technology’s
march to the marketplace.
Les Moore, Kodak’s chief operating officer for
Digital Cinema, says the company began studying
the possibility of laser-powered projectors in the
mid-2000s. “The cost-power trade off in lasers was
looking attractive and, in a few years, it would be
ready for cinema projection,“ Moore says. Laserbased
projection offered a number of advantages
over existing systems if properly refined. So the
Kodak research team went to work to meet those
expectations.
Moore says a laser-based projection system,
when efficiently designed and cooled, could run up
to 30,000 hours before needing to be replaced. A xenon
lamp used in conventional projector systems
might run up to 1,000 hours before breaking down.
“Exhibitors are used to swapping out lamps
on a regular basis, so there’s a potential for a real
reduction in total costs,” he says.
Conventional projectors top out at roughly
35,000 lumens, while Kodak’s new system can
emit up to 60,000 lumens of
light. Laser-based projectors
also deliver more pure primary
colors than their digital peers,
he adds.
The Kodak research and development
team had plenty of
work to do before laser projection
was ready for its close up.
Consider a laser pointer casting
a beam against a wall. The
light breaks up into a cascade
of smaller pinpricks of color,
something the Kodak design
team had to corral in order to
keep the image uncontaminated,
Moore says.
Getting FDA approval took
three years from start to finish,
because the projection lasers
fall under the “demonstration
laser” definition, which
demands regulations similar
to those attached to laser light
show displays.
Now, Kodak is eyeing licensing
deals with the hope of bringing the projection
system to the market in the next two years.
The possibilities connected to laser projection
for 3D film viewing are considerable, Moore says.
“Lasers are inherently polarized,” he says. “In
3D presentations they make use of polarized light
to get the left-eye, right-eye images together. You
can now bring more light to the screen [with
lasers].” Two-dimensional movies will also get a
boost, since Kodak’s laser-based projection more
than quadruples the brightness to darkness ratio
of existing projection systems. “Suddenly, there’s
detail in the blacks that you couldn’t see before,”
he says.
Some exhibitors may be wary of investing in
new projection systems after recently trading up
from film to digital. Moore says the system brings
enough benefits to the theatrical experience to
give exhibitors reason to mull an upgrade. “It is
something exhibitors need to consider, whether
or not they’re going to make their investment in
this,” he says.
Moore says professionals from the motion
picture industry are already curious about the
advantages of Kodak’s new system. The company
has been in contact with people on the production
side who are “pretty excited” about the system’s
potential. “They see that contrast ratio, the
nuanced details in the blacks,” he says. “It really
does make the pictures pop. For an artist and storyteller,
here’s a way to communicate motion in a
deeper way.”
By Christian Toto 40
40 BOXOFFICE PRO APRIL 2011

C I N E M A C O N C E L E B R A T I N G T H E M O V I E G O I N G E X P E R I E N C E
CHARGES
ON
QUESTIONS FOR
NEW CEO CHRIS
MCGURK
Boxoffice recently caught up with Chris Mc-
Gurk, Cinedigm’s new chairman and CEO,
to discuss everything from the release window
controversy to what he sees the company accomplishing
in the next five years. McGurk’s resume
includes stints at Universal, Disney, MGM and
most recently Overture Films, demonstrating a
diverse background that will have the industry
paying attention to his every move as he begins
to take Cinedigm in a different direction.
What is the biggest challenge you’ve faced so
far in your new position?
Now that the digital revolution has finally arrived
in theaters, the biggest challenge has been to assess
exactly where Cinedigm has the greatest growth
potential among all the business upsides created
by digital deployment. There are many opportunities,
so it’s a challenge to determine exactly
where to focus our resources. However, the
near-term focus for us will be continuing
our digital deployments, evolving our
theater management software for improved
business intelligence and rapidly
filling the newly created digital pipeline
with high-impact alternative content
and special events.
What is the most exciting part of your
new position?
The response from exhibitors, studios and
producers to the digital opportunity created
by Cinedigm has exceeded my expectations.
Everyone gets that the time is now to take
advantage of the new digital platform, and they
seem poised to help Cinedigm succeed. We are
building a new model for content distribution for
branded entertainment, special events and indie
film that will help strengthen the overall entertainment
industry—and everyone seems ready to
help us realize that goal.
Has your experience working with major
studios been helpful in your new role, or
have you found that you needed to disregard
a lot of what you learned before and just start
fresh?
The relationships I’ve forged during the past
decades have been extremely beneficial as I start
this new role. Studios want Cinedigm to prosper
because they believe our digital distribution,
digital management tools, software, technology
and content plans will strengthen the overall
entertainment industry. We are all aware that the
industry is changing now and we need to work
together now as entertainment evolves and consumer
expectations continue to expand.
My studio history has certainly brought focus to
Cinedigm at a very important time, getting more
people in the industry excited by our potential
and how we can work together. Obviously, having
worked at four studios over the past 20 years,
I have learned a lot about what works—and,
frankly, what doesn’t work—having had my share
of hits and misses. Now at Cinedigm, we can
translate all that experience into building a new
model for distribution that will be very attractive
to both exhibitors and content providers, like the
studios.
By Phil Contrino
42 42
BOXOFFICE OFFI
FI
PRO APRIL 2011

What are some of the main things that you feel the exhibition
industry can do to compete with the increasing popularity of
home-viewing options? What role does alternative content
play in that?
Exhibitors need to continue to enhance the overall audience experience
and feed the desire of audiences for unique content in
a communal setting—that’s what sets theaters apart from living
rooms. And digital cinema enables just that. From the ability to
show 3D programs and offer interactive, big screen gaming, live
events, concerts and alternative content, exhibitors now have a
whole new range of entertainment options up on the big screen
for their audiences who want to view content they can never see
in their homes.
Why do you think alternative content is catching on as fast as
it is?
It comes back to the communal nature of people and theater-going
audiences. Moviegoers want to be together with like-minded audiences
watching programming that feels like it was created just for
them. When you look at the successful alternative content programs
that Cinedigm has distributed, from the Kidtoons matinees to
our live 3D sports events and concerts, audiences clearly desire the
bigger, better, bolder and collective experience that only our digital
theaters can provide. Plus, with the supply of theatrical releases falling
flat, there’s more need now for alternative content—the exhibitors
need it and the viewers want it.
The theatrical release window is obviously a very sensitive subject
for the industry right now. Where do you stand on the topic?
We support exhibition’s stance on windowing for studio-level film
releases. For alternative content, I think we need to consider a new
economic model where exhibitors also share in the downstream
profits like DVD, VOD and Pay TV. Besides creating a significant
new content distribution business, this new model would help
strengthen exhibition financially.
What would you like to see Cinedigm accomplish in the next
five years?
The ultimate goal for Cinedigm is to create a new entertainment
model using our digital platform and bold technology to improve
and expand the overall audience experience while creating important
new revenue streams and management efficiencies for our
studio and exhibition partners. Cinedigm is poised to make that
happen, benefiting everyone involved: the exhibitors and studios
win through new revenue opportunities and management tools;
producers win through new outlets and demand for alternative
content; and obviously the consumers win through expanded entertainment
choices with digital, 3D, live and interactive experiences
only available in theaters. I want to see Cinedigm lead the way to
a stronger, more robust entertainment industry that provides the
ultimate social networking experience for consumers: together in
the theater watching and interacting with the entertainment they
love up on the big screen.
APRIL 2011 BOXOFFICE PRO 43

C I N E M A C O N C E L E B R A T I N G T H E M O V I E G O I N G E X P E R I E N C E
EXCLUSIVE
BLAST OFF
With his second flick, Source
Code director Duncan Jones
plants his flag in Hollywood
by Amy Nicholson
Duncan Jones was born to explore.
When he was three, dad David Bowie
cited him as an inspiration, saying, “He’s
such an inventive kid.” Jones has made a
point of striking out on his own. Instead
of pursuing celebrity, he enrolled in a
Philosophy PhD program at Vanderbilt.
And when he traded academia for indie
filmmaking, it was the strength of his
debut movie Moon, a claustrophobic
space thriller starring Sam Rockwell, that
made his reputation—not his famous
father. (The $5 million Sundance film
won him two British Independent Film
Awards and a BAFTA prize for Best First
Feature.) Jones’ second feature, Source
Code, is a step-up in profile with a budget
seven times larger and starring roles
for Jake Gyllenhaal, Michelle Monaghan
and Oscar nominee Vera Farmiga. The
tricky time travel drama follows a soldier
who has eight minutes to defuse a bomb
before it blows up a commuter train in
Chicago—and if he fails, time rewinds
and he has to try again. Jones talks to
BOXOFFICE about wild military Psy Ops,
the difference between hard sci-fi and
soft sci-fi and Source Code’s funny blinkand-you’ll-miss-it
secret cameo. (Shhh—
don’t spoil the surprise.)
I heard that you signed on to shoot Source
Code because you wanted to work with Jake
Gyllenhaal. His career’s been so diverse—
which role was it that really impressed you?
The first film I saw him in was Donnie Darko, like
a lot of people, and I thought he was really interesting
even back then. Then I saw Jarhead and
a couple other films, and I’ve just always found
him really empathetic. The same thing that I love
about Sam Rockwell is the same thing that I love
about Jake—he’s one of those guys who you can
actually care about, and it happens quite fast. He
doesn’t have to do much and you’re immediately
on his side. And I think that’s really important for
a leading actor, male or female.
Those big blue eyes can’t hurt.
That’s all it was. Absolutely—I’m a sucker for
blue eyes. I have little tiny eyes, so for me, just to
see those big blue eyes was good.
What’s interesting about the films you’ve
done so far is that they use sci-fi to ask big
questions that would fall flat if a drama tried
to ask them.
Absolutely. That’s one of the things that really
appeals to me about science fiction as a director,
I feel like I can be more personal in some ways
because the audience doesn’t think I’m entitled.
There’s a certain distance between it and the audience
because it’s science fiction and I think that
they’re willing to allow things to just wash over
them. They’re more guarded if it’s a regular, contemporary
kitchen drama.
44 BOXOFFICE PRO APRIL 2011

BIG WHEELS KEEP ON TURNING
Duncan Jones [center] readies Jake Gyllenaal and Michelle Monaghan for a scene on the doom train
As a genre film, it’s approaching them at
an angle.
They don’t expect it. I guess that’s what it
is—when it’s science fiction, they don’t expect
the film to hit them on a personal level.
You’re one of the only directors I know
with a Philosophy degree.
[Laughs] I don’t know if it’s helped or not,
but I’ve had a certain responsibility to follow
through on my academic career as long
as I could hack it. Then I was like, “That’s
enough! I’m going to do the thing I really
want to do: Film.”
One of your first paid gigs was a risque
commercial for the clothing company
French Connection UK that got 127
complaints to the Advertising Standards
Authority. Did that toughen your skin
right off the bat?
Britain is a very strange place, and it’s a
tricky marketplace of ideas because one of
the few ways that you can generate a career
in Britain is to be controversial. I had a mentor
in the UK named Trevor Beattie, who
is very, very well known in the advertising
community. He offered me this opportunity
to do this project almost as a calling card.
In the same way that Moon was my calling
card for feature films, French Connection
was really introducing me to my brand new
world of advertising in the UK. And it was
great publicity for French Connection, because
that brand had built up a reputation
of being controversial for their FCUK logo.
But they wanted to steer what made them
controversial away from the name; they
wanted to have a whole new reason to be
controversial. So it kind of worked out for
everybody—it was good for them and it was
good for me.
I don’t want to give away too much
about the plot, but in Source Code, Jake
Gyllenhaal is used as a military weapon.
How crazy do you think the world of Psy
Ops actually is?
In the news right now, there’s this crazy sto-
(continued on page 49)
APRIL 2011 BOXOFFICE PRO 45

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48 BOXOFFICE PRO APRIL 2011

EXCLUSIVE INTERVIEW > DUNCAN JONES
ry about a general in the Middle East who
was using his Psy Ops team to convince
American senators when they went to the
Middle East to vote in order to finance his
Psy Ops requirements. There’s this whole
story going on which is really interesting
and it kind of falls in the same ballpark of
what we’re doing in Source Code. The military
is both an incredibly important aspect
of protecting the American way of life, but
it’s also a business. That contradiction and
those two very divergent responsibilities to
both protect the American people and run
at a profit while keeping enough money
within the company that it can keep growing,
that’s interesting. We touch a little bit
on it, but not in too big of a way. Our focus
is really on the dilemma of Colton, the character
that Jake plays.
Did you see The Men Who Stare at Goats?
Yes, I did! Kevin Spacey and George Clooney—that
was a great film.
And it was based on a non-fiction book
by UK Guardian writer Jon Ronson
about the US Military’s crazy secret
projects, but what was funny in the
reactions to the movie is that the true
stuff was so wild, no one believed it was
real.
It had a real, goofball, strange sense of humor,
which I think did detract in some ways
from being based on a true story.
True. All the reviews said it was overthe-top—they
didn’t believe that a lab
where men tried to kill goats with their
minds actually existed, which is almost
a tragedy.
Stranger than fiction!
There’s this very funny line that Jeffrey
Wright nails—he plays the designer of
this military technology. He’s asked to
explain how Source Code works and he
waves his hand and says, “It’s quantum
mechanics—you wouldn’t understand
it.” Such a toss-away explanation!
It’s just a MacGuffin! [Laughs] Ben Ripley
who wrote the script did do a fair amount
of research on his own behalf before I even
became involved in order to craft this film
and this story and this world. There are definitely
some enticing, intangible facts as to
how this could work. But for me, as a sci-fi
junkie, how have hard sci-fi and soft sci-fi.
Hard sci-fi is more like Moon, where you can
see how the world we live in today could
evolve into the world in the movie. Soft scifi
is a lot more fantastical and you don’t necessarily
see how the two worlds would have
to relate. Source Code, for me, is between the
two in a gray area, mainly because of time
travel. For me, time travel is an idea—there
are some interesting theories about how it
could work, but I’ve never been completely
convinced about how we actually get to
that point where we have any control over
time travel. I kind of felt like I was treading
on two different territories here: trying
to stay true to the script and make sure
that the audience could take the leap and
go with the story, but not trying to get too
bogged down in the technology of how
Source Code works because I still think that
time travel is one of those things that is yet
to be proven.
Scott Bakula of Quantum Leap plays the
voice of Jake Gyllenhaal’s dad. Did you
ask him to explain?
(continued on next page)
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www.Harkness-Screens.com
Go to Harkness-Screens.com for more information or visit us at CinemaCon, March 28-31.
APRIL 2011 BOXOFFICE PRO 49

EXCLUSIVE INTERVIEW > DUNCAN JONES
C I N E M A C O N C E L E B R A T I N G T H E M O V I E G O I N G E X P E R I E N C E
TICKET, PLEASE
Gyllenhaal has eight minutes to find the terrorist on the train
No, I didn’t! But I’m glad you picked up on
that. I hope the geeks out there, like me,
pick up on the fact that Scott Bakula is Jake
Gyllenhaal’s dad in the film! Quantum Leap
was such an obvious reference, for me at
least—though most of the producers didn’t
know what it was! When I was discussing
it with them, I was like, “We can’t pretend
that there isn’t a similarity between this
and that old show, so I think it’d be fun for
us and fun for the audience who would get
the joke to get Scott Bakula involved.” And
he was willing to do it. It’s a very emotional
and delicate performance that he needed
to do at that moment, and I managed to get
him to say that great line from Quantum
Leap: “Oh boy!”
He’s not even credited on IMDb.
To be honest, I’m hoping we can keep that
a little quiet until the film comes out and
then people will have fun finding it out.
You had to fill the train with small, reoccurring
characters. That must have been
fun to cast, especially when they only
have a line or two to come to life.
It was. One of our cast is the comedian Max
Denoff, who’s played by Russell Peters. It
was good fun to work with him because
he’s a successful stand up comedian. We
had this idea that at the end of the film,
we’d let him do his schtick, his stand up, on
the train and the audience would be cracking
up. We let him do it and some of it was
so blue and so rude that there was only a
small amount we could get away with in
the end to keep our rating. There’s so much
stuff—I don’t know if it will be on the DVD
or not—that we couldn’t use from his comedy
routine that would have been great to
put on there. It was just too rude.
Towards the end, Source Code almost
seems like it could get really dark—very
morbid and existential.
Yeah, a couple of people have asked me
why we ended the film the way we did,
because it’s kind of an unusual ending. Not
to get too spoiler-ish, but there’s a moment
in the film where everyone freezes. A lot
of people said, “Why didn’t you end the
film there?” To me, I felt—again, as a sci-fi
geek—there was a certain responsibility
to follow through. We’d set up some ideas
of how this world worked and once you’ve
established those rules, there’s a logic that I
felt we had to go through and explain what
the repercussions of this event are. The fact
that Colter was able to stop the explosion
on the train meant that somewhere at the
facility where Vera Farmiga and Jeffrey
Wright worked, there was still a guy who
had not yet been sent on a mission. It was
this weird kind of circular logic and, to
me, it felt very important for the audience
that they’d know that we had thought that
through and they could kind of see how
things might have worked and what might
have happened next. I’m pleased with that
because the producers supported me on
that and I thought it was important to do.
Did Inception prove to studios that
there’s an audience for popcorn films
that are also intellectually engaging?
I think so. We were excited when Inception
came out because we were already well
into making our film. We were all holding
our breaths to see how people responded
to it because we knew we were in a similar
ball park. Obviously, the reaction was
terrific. This is the kind of film that there
is an audience for. We’re obviously very
different than Inception, but I think you’re
right that people do respond to that kind of
thriller with a slight cerebral tweak. And
on the other side of it, here, there’s also a
lighter tone, a sense of humor and a really
interesting and believable relationship
between Christina (love interest Michelle
Monaghan) and Colter—I’m feeling good
about it.
And going forward, hopefully studios
will continue to be encouraged to take
more risks.
You look at the articles online about how
many sequels are coming out this year, and
how many already established franchises
are just doing a revisit or a remaking. There
aren’t that many films that are as original as
Source Code—or Inception.
50 BOXOFFICE PRO APRIL 2011

Salutes the 2011 CinemaCon Honorees
Helen Mirren
Career Achievement Award
Tyler Perry
Visionary Award
Cameron Diaz
Female Star of the Year
Ryan Reynolds
Male Star of the Year
Morgan Spurlock
Documentary Filmmaker of the Year
Russell Brand
Comedy Star of the Year
Blake Lively
Breakthrough Performer of the Year
Rosie Huntington-Whiteley
Female Star of Tomorrow
Chris Hemsworth
Male Star of Tomorrow
Julianne Hough
Female Rising Star of 2011
Jason Momoa
Male Rising Star of 2011
The ”Harry Potter” Franchise
Hall of Fame Award
Sid Ganis, AMPAS
The Inter-Society’s Ken Mason Award
Richard Fox, Warner Bros. Entertainment
Passepartout Award
Jeff Scudillo, Promotion in Motion
NAC Bert Nathan Memorial Award
Miky Lee, CJ Corporation
Global Achievement Award in Exhibition
NATO Marquee Award Honorees
NATO/CinemaCon Marketing
Achievement Award Honorees
WWW.REALD.COM

C I N E M A C O N C E L E B R A T I N G T H E M O V I E G O I N G E X P E R I E N C E
BALLANTYNE STRONG
> STRONG Technical Services is pleased to announce
that its new Network Operations Center
(NOC) is now open. As cinemas make the transition
to digital projection, the NOC is a 24/7, 365 day
customer service, management and technical support
facility dedicated to monitoring all aspects of
digital theater. With support for a full range of digital
projection and audio systems, flat panels and
supporting networks, STRONG hardware, network
and engineering technicians can diagnose and, in
many cases, resolve issues remotely, or coordinate
parts supply and advise service requirements. Factory
certified technicians and original parts are dispatched
from the nearest STRONG service center.
Ballantyne Strong, Inc
4350 McKinley Street
Omaha, NE 68112
402-453-4444 tel
402-453-7238 fax
Francois.Godfrey@btn-inc.com
www.strong-world.com
BOOTH 600 A
BARCO-DIGITAL CINEMA
> BARCO DIGITAL CINEMA PROJECTORS
Barco offers the most complete range of 2K and
Enhanced 4K digital cinema projectors in the
industry. From the compact and budget-friendly
DP2K-12C to the top of the line DP4K-32B, Barco’s
projector offering includes a perfect match for every
screen.
> BARCO DIGITAL SIGNAGE
In addition, Barco announces its latest digital cinema
solutions for in-theater communications, featuring
integrated content creation, and distribution
and display modules. Built on a scalable, flexible
platform, users enjoy unlimited creative freedom
to design eye-popping signage and graphics to
highlight their movie offerings. Built on time-tested
technology, Barco digital signage products ensure
optimum reliability and performance for years to
come.
Barco, Inc
11101 Trade Center Dr,
Rancho Cordova, CA 95670
916-859-2500 tel
scott.freidberg@barco.com
www.barco.com/digitalcinema
BOOTH 1006 A
CRETORS
> CRETORS INTRODUCES THE MODEL 40
CONTINUOUS HOT AIR POPPER
C. Cretors and Company introduces the Model
40 Continuous Hot Air Popper, the newest addition
to its hot air popping equipment line. Ideal for
caramel corn shops and other concession locations,
the popper produces up to 40 pounds of popcorn
in an hour.
The Model 40 machine pops kernels in a steady
current of hot air, creating uniform popcorn with
very little scrap. A built-in sifter removes unpopped
and undersized kernels, while a digital control panel
allows the operator to set an exact temperature
for the best popping efficiency depending on the
grade and popcorn used.
C. Cretors & Company
3243 N. California Ave.
Chicago, IL 60618
773-588-1690 tel
800-228-1885 fax
Solesen@Cretors.com
www.cretors.com
BOOTH 413 F
52 52
BOXOFFICE PRO APRIL 2011

DATASAT DIGITAL
ENTERTAINMENT
(Formerly DTS Digital Cinema)
575-762-6468 tel
575-763-0440 fax
samsnell@suddenlink.net
info@dolphinseating.com
www.dolphinseating.com
GOLDBERG BROTHERS
BOOTH 430 F
EMBEDDED PROCESSOR
DESIGNS
> Last year Datasat Digital Entertainment
introduced the AP20 Audio Processor. Now
the same 16-channel processor is available
with eight channels. The processor offers
eight channels of analog and digital inputs/
outputs and features the option of upgrading
to 16 channels when necessary. In addition
to one S/PDIF and two TOSLINK inputs, the
AP20 features four HDMI 1.3 inputs with Bluray
HD decoding. The processor also features
20 memory presets for complete control of
various content—change from a feature film
to a live concert to a sporting event with the
flip of a virtual switch.
Datasat Digital Entertainment
9631 Topanga Canyon Place
Chatsworth, CA 91311
818-531-0579 or 818-518-8631 tel
818-357-5817 fax
heather.brehmer@datasatdigital.com
www.datasatdigital.com
BOOTH Neopolitan 2
DOLPHIN SEATING
> Stop by the Dolphin Seating booth so Sam
and Julie Snell can show you the new $223
Dolphin VIP rocker. Comfort, class and durability
for a great price.
Dolphin Seating
313 Remuda St.
Clovis, NM 88101
> PlexCall eTOUCH Sever Call Button from
EPD. eTOUCH is the first solid state server
call button created for the theater industry.
With no moving parts, the robust sleek and
elegant sealed design creates an integrated
solution ideal for mounting into a table or
seat. eTOUCH call buttons operate with
EPD’s PlexCall system and are available in
flush mount or raised edge versions. Make
eTOUCH your own with customized logos or
graphics. PlexCall is the leading server call
system for VIP or Dine-In-Cinemas.
Embedded Processor Designs, Inc.
A370 N. Louisiana Ave. Suite A1
Asheville, NC 28806
828-251-1501 tel
828-251-1965 fax
cpollak@epdesignsinc.com
www.epdesignsinc.com/index.html
BOOTH 730 F
FILMACK STUDIOS
> Filmack Studios announces advanced digital
cinema production JPEG2000 deliveries
for new and existing cinema trailers that help
exhibitors promote, entertain, inform and
advertise.
Filmack Studios
223 West Erie Street # 4NW
Chicago, IL 60654
312-427-3395 or 800-FILMACK or
800-345-6225 tel
312-427-4866 fax
312-391-4762 cell
robbie@filmack.com
BOOTH 321
> PROJECTION PORT FIRE SHUTTER
Goldberg Brothers reveals the Projection Port
Fire Shutter. Goldberg has teamed up with
a leading fire shutter company to design a
shutter that installs easily in the projection
booth to cover one or more ports, leaving
alone the port and glass with the clarity required
by the theater. This manually operated
shutter is certified for ratings up to three
hours and protects both the auditorium and
projection booth with fusible links on each
side. Optional electronic alarm control hooks
to fire or smoke alarms. The Projection Port
Fire Shutters are now available to meet fire
code requirements in your theater.
> OPTIPURE AR SAFETY
Goldberg OptiPure AR Safety is a safety rated
anti-reflective optical glass that doesn’t lose
clarity. Final testing is being wrapped up and
prototypes are going to be displayed at CinemaCon
2011. Goldberg’s OptiPure manufacturer
has perfected the process in which
the tempering of the coated AR glass does
not change the clarity rating of 98 percent.
Goldberg anticipates offering OptiPure AR
Safety this spring to early summer 2011 for
both their current line-up of projection ports
as well as custom size pieces for the replacement
market. Reduced liability, peace of
mind, code compliance and reduced insurance
premiums.
> REEL PENDANT LIGHT
Goldberg at Home film reel decor products
include the newly redesigned Reel Pendant
Light that offers 110V, down lighting and
works with various types of bulbs including
CFLs and LEDs. This product is perfect for concession
counters, restaurant tables and home
theaters and is designed to add commercial
advertising, as the outer film edge of the authentic
18-1/2” 35mm Goldberg reel lights up.
> GOLDBERG THEATRE REEL SETS
Goldberg Theatre Reel Sets are a great new
addition to Goldberg’s lineup of decor prod-
(continued on next page)
APRIL 2011 BOXOFFICE PRO 53

NEW PRODUCTS
C I N E M A C O N C E L E B R A T I N G T H E M O V I E G O I N G E X P E R I E N C E
ucts. These authentic film reels are powder
coated in dark rustic colors or in a light natural
scheme, and available in two size groups.
The Theatre Set has four reels, 32” being the
largest while the Home Set has three reels
and 18-1/2” is the largest reel in the set. Both
sets are shipped with wall hooks and a strip
of 35mm film to add your own design touch.
Dress up your lobby or theater look with
these authentic Goldberg reel displays.
Goldberg Brothers, Inc.
8000 E. 40th Avenue
Denver, CO 80207
303-321-1099 tel
303-388-0749 fax
john@goldbergbrothers.com
www goldbergbrothers.com
BOOTH 101 A
GOLD MEDAL PRODUCTS CO.
> Now the taste customers love has 30 percent
less sodium than our regular Flavacol ® .
The new Flavacol RS is a “Heartfelt Popcorn
Seasoning” with four percent recommended
daily value of dietary fiber and 30 percent less
sodium than our regular Flavacol. It’s the perfect
blend of ingredients without trace minerals
to give popcorn a bright, appealing yellow
color for maximum sales with less sodium.
Worldwide, more popcorn is popped with
Flavacol ® Seasoning Salts. We start with fine
salt flakes that stick better to the popcorn and
pack in the taste. Contact us today to make
your profits pop!
Gold Medal Products Co.
10700 Medallion Drive
Cincinnati, OH 45241
800-543-0862 tel
800-542-1496 fax
info@gmpopcorn.com
www.gmpopcorn.com
BOOTH 707 F
HARKNESS SCREENS
> Perlux ® Digital retains all the features of the
Perlux ® line, with the added benefit of being
optimised for digital projection. Screen samples
will be available at the Harkness booth
throughout the duration of CinemaCon.
“We developed our new Perlux Digital
screens to provide cinema operators the
ability to optimize digital projection and we
are very happy to introduce it at CinemaCon
2011,” says Andrew Robinson, managing
director of Harkness Screens.
Ideal for larger screens with active and passive
3D technologies (not using polarized
light), such as Dolby 3D, and for large 2D
screens, Perlux ® Digital requires minimal color
correction during projector setup, thus reducing
the complexity of converting to digital.
Perlux ® Digital is 30 percent whiter than the
prior Perlux formation while maintaining the
same impressive brightness, viewing angles
and invisible seams for which Harkness is
known.
Harkness’ Perlux ® brand gain screens (Perlux
® 140, Perlux ® 180 and Perlux ® 220) include
both 2D and 3D screen surfaces for any
size theater. Harkness’ Perlux ® screens are
considered by leading cinema exhibitors and
special venue operators worldwide to be the
premier gain projection surface.
Perlux ® 140 is a versatile 2D screen intended
for medium-sized auditoria where as the Perlux
® 180 is designed for larger auditoria. Both
surfaces offer high contrast, bright pictures
and wide viewing angles. Harkness’ proprietary
and unique seam welding process ensures
its screens have no visible seams under
projection conditions. Perlux ® 220 is a special
ultra-high brightness screen intended for 3D
non-polarized light systems such as Dolby and
active glasses technologies and is also wellsuited
for very large 2D digital auditoria.
Harkness Screens
10 Harkness Blvd
Fredericksburg, VA 22401
540-370-1590 tel
540-370-1592 fax
infousa@harkness-screens.com
www.harkness-screens.com
BOOTH 904 A
JBL PROFESSIONAL
> JBL Professional has added the NEW 3730
Three-Way ScreenArray ® loudspeaker to the
popular line of ScreenArray cinema loudspeaker
systems. The new 3730 is designed
as a cost effective three-way speaker for small
to medium size auditoriums with maximum
output and optimal coverage and the patented
technology found in all ScreenArray systems.
The 3730 features a selectable bi-amp
or fully passive switchable crossover and high
frequency polymer diaphragm, neodymium
compression driver for maximum output. The
low frequency section has dual 15” transducers
with ribbon wire voice coils for low distortion
and high efficiency.
JBL Professional
8500 Balboa Blvd.
Northridge, CA 91329
818-894-8850 tel
818-830-1220 fax
charles.goodsell@harman.com
www.jblpro.com
BOOTH 301 F
J&J SNACK FOODS
> J&J Snack Foods is excited to introduce a
new flavor to our Minute Maid Soft Frozen
line: Orangeade.
Rated # 1 in brand awareness in Foodservice,
Minute Maid Soft Frozen Orangeade
offers great tasting natural refreshment
anywhere, anytime. The Minute Maid Soft
54 BOXOFFICE PRO APRIL 2011

Frozen Novelty line now includes four varieties:
Lemonade, Strawberry Lemonade, Cherry
Limeade and new Orangeade.
Minute Maid Soft Frozen Orangeade provides
an easy to spoon texture in resealable
12 fl oz cups. Made with real orange juice,
these portable cups are perfect for stadium,
theme or leisure audiences. These naturally
refreshing treats are also gluten free, Kosher
Certified and contain 0g Trans Fat.
Minute Maid is a world famous brand recognized
by 98 percent of consumers and
served in over 40 million U.S. households.
J&J Snack Foods Corp
6000 Central Highway
Pennsauken, NJ 08109
888-JJ-SNACK tel
ddascenzo@jjsnack.com
www.jjsnack.com
BOOTH 1012 F
KERNEL SEASON’S
> Kernel Season’s ® is premiering a new line
of all natural, ready-to-eat popcorn at CinemaCon
at booth #821F. The new popcorn
line expands on the company’s popular
popcorn seasonings and gives movie theater
owners and their patrons another reason to
join the “No More Naked Popcorn” revolution.
Featuring four flavors—Real Butter, Aged
White Cheddar, Zesty Chipotle Nacho and
Sweet ‘n Salty Kettle Corn—the products
are certified kosher and are a good source
of whole grain, containing 9g - 16g of whole
grain per serving, 0 grams of trans fat, no
artificial colors or flavors, natural sunflower
oil, real cheese and clarified butter.
Kernel Season’s
2401 E. Devon Ave.
Elk Grove Village, IL 60007
866-328-7672 tel
773-326-0869 fax
KLaReese-Gaule@kernelseasons.com
www.nomorenakedpopcorn.com
BOOTH 821 F
MY CINEMA STORE
> My Cinema Store is introducing the B.S.I.
- 3D/Digital Micro-Fiber Kit. This kit contains
the specially designed high quality cleaning
micro-fiber cloths needed to maintain any
3D/Digital Projector. BSI’s Micro-Fiber clothes
used in this kit have set the standard by which
all Optical Micro-Fiber cloths are compared.
My Cinema Store
30290 Highway 72
Hollywood, Alabama 35752
256-575-2473 or 800-664-6420 tel
256-259-3208 fax
MyCinemaStore.com
www.MyCinemaStore.com
BOOTH 416
NATIONAL TICKET COMPANY
> National Ticket Company offers Forest
Stewardship Council (FSC)-certified products.
Our 100 percent Recycled Thermal Ticket
Stock comes from well-managed forests certified
by the FSC. The FSC is an international
organization that promotes environmentally
appropriate, socially beneficial and economically
viable management of the world’s
forests. 100 percent Recycled Thermal Ticket
Stock is custom printed in four color process
ink. Several security features are available on
Recycled Thermal Ticket Stock.
National Ticket Company
P.O. Box 547
Shamokin, PA 17872
800-829-0829 tel
800-829-0888 fax
ticket@nationalticket.com
www.nationalticket.com
BOOTH 505 A
NEC DISPLAY SOLUTIONS
> Equipped with the new 1.38” 4K DLP Cinema
Chip from Texas Instruments, the NEC
NC3240S digital cinema projector is fully
Digital Cinema Initiative (DCI) compliant. This
model provides a brightness of 31,000 ANSI
lumens and offers exceptionally bright images
on screens sized up to 105 feet wide.
The NC3240S provides users with a modular
design that simplifies servicing and minimizes
downtime. Its clear electronic layout and
wiring, easy prism replacement and custom
DMD shielding gaskets with patented reflector
design help reduce maintenance costs
and enable quick parts replacement.
NEC Display Solutions
500 Park Boulevard, Suite 1100
Itasca, IL, 60143
866-NEC-MORE
www.necdisplay.com
BOOTH 207 A
OMNITERM
> Omniterm’s new Digital Signage solution
operating within our Integra Theatre Management
Software framework enables theaters to
(continued on next page)
APRIL 2011 BOXOFFICE PRO 55

C I N E M A C O N C E L E B R A T I N G T H E M O V I E G O I N G E X P E R I E N C E
NEW PRODUCTS
control all of the digital signage applications
from one central location. This technology
can increase sales, reduce costs, generate additional
revenue and improve your customers’
experience. Omniterm’s Digital Signage solution
is an all-in-one integrated solution that
will save you time, money and frustration.
Omniterm
2785 Skymark Avenue Unit # 11
866-629-4757 tel
905-629-8590 fax
sales@omniterm.com
www.omniterm.com
BOOTH 625 F
PACKAGING CONCEPTS, INC.
> Packaging Concepts, Inc. is expanding its
concession packaging product line and has
partnered with AMC Theatres to introduce
a new line of hot food trays. The trays are
customizable to meet the specific needs of
your theater. As movie exhibitors continue to
increase their concession food offerings, PCI
is there to assist with design, graphics and
delivery of quality concession packaging with
superior graphics at an economical cost.
Packaging Concepts, Inc
9832 Evergreen Industrial Drive
St. Louis, MO 63123
314-329-9700 tal
314-487-2666 fax
info@packagingconceptsinc.com
www.packagingconcepts.com
BOOTH 824 F
PETER’S PRETZELS
> Peter’s Pretzels announces “a New Twist
on an Old Classic.” Improve your sales with
two new classic, premium pretzels: the cinnamon-filled
twisted pretzel and the stand-by
Bavarian twisted pretzel. Bavarian and Cinnamon
Rounds can be featured with cheese,
mustard, icing, or other dipping sauces in a
two-compartment plastic serving tray. Our
twisted pretzels are handmade, whole wheat
and individually wrapped to extend freshness
and increase shelf life.
Peter’s Pretzels
30290 U.S. Highway 72
Hollywood, AL 35752
256-575-2478 tel
256-259-3208 fax
whemmerly@peterspretzels.com
www.peterspretzels.com
BOOTH 404 & 420
PHILIPS
> Philips announces four new xenon lamps
specifically designed for NEC digital cinema
projectors. The Philips XDC-6000N and XDC-
4500N are designed to fit the NEC NC3200S
and NC2500S projectors. The XDC-4000N
and XDC-4001N are designed to fit the NEC
NC2000C and NC1600C projectors. All four
of these lamps are certified by NEC.
Philips Lighting
13700 Live Oak Avenue
Baldwin Park, CA 91706
626-480-0755 tel
626-480-0855 fax
entertainment@philips.com
www.philips.com/lighting/entertainment
BOOTH 503 A
ROYAL CORPORATION
> Waterless No-Flush urinals work completely
without water or flush valves. The
system is touch-free, easy to install, improves
restroom sanitation and eliminates odors, reduces
maintenance cost, and conserves water.
Royal Corporation
15050 Shoemaker Ave
Santa Fe Springs, CA 90670
562-903-9030 ext. 505 tel
562-236-1506 fax
mabiaad@royal-paper.com
www.royal-paper.com
BOOTH 817 F
SCHULT
> INTRODUCING SMARTBRITE INFINITY
SIGNAGE & DISPLAYS
Investing in 3D theater programming? Set
your 3D brand apart with Schult’s Smartbrite
Infinity 3D Signage & Displays, now
available in extra large, LED formats.
Visit the “Green Corner” and view all the
latest in Smartbrite energy-saving poster
cases, menu systems and décor signage.
Plenty of digital signage enclosures, surrounds
and branding elements, too.
Schult
900 NW Hunter Drive
Blue Springs, MO 64015
816-874-4600 tel
816-874-4607 fax
anicponski@schult.com or
jdurwood@schult.com
www.schult.com
BOOTH 813
SWEET AMANDA’S
> Sweet Amanda’s will introduce the worlds’
first automated candy dispensing system that
delivers both wrapped and unwrapped bulk
candy in a convenient to-go cup. The kiosk
also dispenses six general merchandise items
including t-shirts, portable electronics and the
(continued on page 58)
56 BOXOFFICE PRO APRIL 2011

NEW PRODUCTS
C I N E M A C O N C E L E B R A T I N G T H E M O V I E G O I N G E X P E R I E N C E
latest novelty items. Consumers will notice
the kiosks’ graphics as they are lured towards
the colorful automated candy store containing
the best-selling varieties of candy favorites
and toys. Consumers will love the oversized
touch screen ordering system that looks and
operates like today’s smart phones and Sweet
Amanda’s proprietary video game options.
Consumers can mix and match 16 of the top
brand name candies such as Hershey’s Kisses®,
Reese’s® Peanut Butter Cups and Snickers®
Miniatures as they watch the unattended kiosk
deliver their candy in a to-go cup. The kiosk is
climate-controlled to maintain product freshness
and accepts cash, credit and debit cards.
Vice President of Sales Fred Bowers says, “With
the Sweet Amanda’s kiosk, theater operators
will be adding 16 top-selling candy items to the
concession stand without any labor or operating
costs.”
These cutting-edge kiosks containing over a
dozen pending patents that are all self-monitored
and will communicate daily with servers
located in Sweet Amanda’s corporate offices.
Sweet Amanda’s will own, operate and service
the kiosks, and will be placing them in theaters,
malls, airports and other high foot traffic locations.
“Our store is open 24/7 and ready to
satisfy everyone’s sweet tooth,” says Bowers.
Sweet Amanda’s is a perfect fit for the theater
industry as screen operators will be adding
incremental concession revenue while keeping
consumers excited through Sweet Amanda’s
unique purchasing process.
Sweet Amanda’s Inc.
P.O. Box 190
Albertson, NY 11507
888-388-1810 tel
516-280-6299 fax
fbowers@sweetamandas.com or
rbruck@sweetamandas.com
www.sweetamandascandy.com
BOOTH 1017 F
TASTE OF NATURE
> Cookie Dough Mix-ins are a natural addition
to any theater’s concession stand that
serves ice cream, frozen yogurt, milk shakes
and other treats. The “Mix-ins” product is
a delicious egg free chocolate chip cookie
dough formula that can be poured onto any
dessert as a tasty topping, even used on popcorn
for those who like that sweet and salty
taste. Theaters will be using the Mix-ins as an
upsell item for patrons.
Cupcake Bites will be a play on Taste of
Nature’s popular Cookie Dough Bites ® candies,
which were originally introduced as a movie
theater candy in 1997. While Cookie Dough
Bites ® consist of egg-free, raw chocolate-chip
cookie dough covered in creamy milk chocolate,
Cupcake Bites will feature a cupcake
center, covered in a yummy coating of frosting
and topped off with multi-colored sprinkles.
Taste of Nature, Inc
2828 Donald Douglas Loop N, Ste. A
Santa Monica, CA 90405
310-396-4433 tel
310-396-4432 fax
s.samet@candyasap.com
www.candyasap.com
BOOTH 424 F
TEXAS DIGITAL SYSTEMS INC.
> With Texas Digital’s Outdoor LED largerthan-life
displays, you can attract attention
from afar and fill more seats. Use your display
to play movie trailers and video posters,
display show times, promote upcoming films
and events, announce specials and more. The
Outdoor LED displays can also be used to enhance
your branding efforts by complementing
your existing signage. LEDs are available
in both full-color or monochrome and have
four pitch options available, depending on
the viewing distance.
Texas Digital Systems Inc.
400 Technology Pkwy.
College Station, TX 77845
800-693-2628 tel
979-764-8650 fax
cinemasales@txdigital.com
www.txdigital.com
BOOTH 1411 A
CONGRATULATIONS
John, Mitch, Andrew and the entire NATO team from
BOXOFFICE MAGAZINE / BOXOFFICE PRO
BOXOFFICE.COM
BOXOFFICEMAGAZINE.COM
BOXOFFICE MEDIA, LLC / NEW YORK · LOS ANGELES
58 BOXOFFICE PRO APRIL 2011

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C I N E M A C O N C E L E B R A T I N G T H E M O V I E G O I N G E X P E R I E N C E
EXCLUSIVE
YOU WILL BE
ASSIMILATED
Paul director Greg Mottola:
“There has to be intelligence
somewhere else in the universe”
by Amy Nicholson
Director Greg Mottola (right, on the set of
Superbad) had great luck: his first stable
TV gig was helming six episodes of Undeclared,
the 2001-2002 sitcom that gave
shelter and nurturing to Judd Apatow, Seth
Rogen and Jason Segel after the cancellation
of Freaks and Geeks. Before then, Mottola
was best-known for The Daytrippers, a
small indie film that went to Cannes in 1996
on the strength of stars Liev Schreiber,
Stanley Tucci and Hope Davis. Undeclared
begat Superbad, and suddenly Mottola
became the comedy director everyone
wanted to hire. With the opening of his
latest movie, Paul, an alien road trip adventure
starring Shaun of the Dead’s Simon
Pegg and Nick Frost plus the voice of Seth
Rogen as an intergalactic stoner, Mottola’s
in a unique position to talk about what gets
geeks to theaters—and is there geek life on
other planets?
Amy Nicholson: I heard that Simon Pegg
wanted you because you’re an American director.
Greg Mottola: I am the only American director.
Simon’s a very sheltered person.
As an American, what were you able to bring
to capture the feeling of a road trip in New
Mexico?
That’s a good question. Obviously, Shaun of the
Dead and Hot Fuzz have a real British quality to
them. They depict life in London and in small
British towns in such a hilarious way. Simon and
Nick were doing something different here. Not
that I am any expert on the American southwest,
but I suppose I did bring to it my experience with
the other comedy actors in the movie—and, for
better or worse, an American sensibility. What
was Simon thinking when he hired me? Honestly,
I met him the day Superbad was opening. He had
just finished shooting a movie in New York. He
shot all night long and I was very anxious because
my first studio film was opening and meeting
was a great distraction, I think, for both of us.
He hadn’t even seen Superbad yet, but he had seen
this tiny indie film I had done called The Daytrippers
in London and liked it. He just said, “I want
this movie to not feel the same as the stuff I do
with Edgar. I’m not looking for somebody who’s
going to replicate his style.” What I like about
Daytrippers was this kind of low budget, car trip,
claustrophobic feel and he said, “I just kept seeing
Paul as Little Miss Sunshine with an alien in it.” I
think he just liked the idea of a movie that at least
60 BOXOFFICE PRO APRIL 2011

starts off with a more contained indie vibe
and grows into a Hollywood movie by the
end—and has a character in the middle of it
who just so happens to be a very expensive
special effect.
As a team, Simon and Nick Frost are so
used to working with director Edgar
Wright. Was there an adjustment period
when you guys had to learn each other’s
language on the set?
Definitely. I mean, I was very intimidated.
I felt like I was in a no-win situation with
certain people because those movies are so
loved and have a really devoted following,
and myself, I’m a huge admirer of Edgar’s
prestigious gifts. And I thought, “Well, I’m
just going to get slammed when this comes
out.” In some quarters I have been, but Simon
and Nick made it very clear right away
that they weren’t looking for me to be like
Edgar. They were letting me find my way
doing a bunch of things that I hadn’t done
before, like car chases and CGI main characters.
I feel like it didn’t take very long before
we were clicking. We did do this one test
scene from the movie very, very early—long
before we got a green light on the film—to
try and figure out how we were going to pull
off the CGI with the company that we wanted
to hire in the UK. It was the first time we
were getting to know each other and I realized
that Simon and Nick don’t necessarily
work the same way as my friends I had met
through Judd Apatow. They’re not as likely
to start improving the same way that everyone
who has come though “Judd School”
does. That’s as much about Judd’s approach
as theirs—and once I realized that they
wanted to stick pretty close to the script and
really focus on the structure of things, the
adjustment was pretty easy for me because
I like both disciplines: being really open to
things, but also trying to hone in on what I
want to say and be specific and have a point
of view. The director’s job is to go back and
forth between those things constantly.
The tone of this feels so early Steven
Spielberg—not just E.T. and Close Encounters,
but there’s some Duel in there,
too.
(continued on next page)
APRIL 2011 BOXOFFICE PRO 61

EXCLUSIVE INTERVIEW > GREG MOTTOLA
C I N E M A C O N C E L E B R A T I N G T H E M O V I E G O I N G E X P E R I E N C E
EYES ON THE ROAD!
Paul (voiced by Seth Rogen) and Simon Pegg hit a rough patch while trying to rescue the alien from an government-okayed vivisection
Well, I started obviously reacquainting
myself with Close Encounters and E.T., then I
thought, “This movie does take place in the
desert a lot,” so I re-watched Duel and Sugarland
Express. We actually weren’t working
with a huge budget—this is kind of at the
budget of an I Love You, Man, Get Him to the
Greek-type comedy, plus practically a third
of our budget was going into just building
Paul and the effects roles—so we were not
even that far off from Superbad. I knew that
we couldn’t do a big spectacle movie, it
couldn’t be a super duper action film. We
didn’t have a second unit or anything like
that, but I thought there was something
really lovely about the way Spielberg shot
all that stuff without money back when he
was working without much in the way of
means. He did also have Vilmos Zsigmond
shoot Sugarland Express, who is one of the
greatest DPs to ever live. I hope some of it
rubbed off. I tried not to shoot the whole
thing as just master shots and over-theshoulder
shots the way most comedies are.
At the end of the day, a comedy is about
making it funny. But since this was trying
to satisfy the genre of fantasy, I felt it had to
open up a bit. It was fun for me because I’ve
been dying to do something a little more
visual, to get out in the desert. And I had
a really good DP, this guy Larry Sher who
shot The Hangover and Garden State—he’s
very visual. Even though we had to work
really fast—and it was constantly raining or
hailing in the middle of summer, which is
bizarre—we did get to have some real degree
of fun. I hope at the end of the movie,
it’s turned into a more classic Hollywood
feel and shed its raggedy, indie spirit.
Although it has such a cozy ’80s feel that
you could have almost gotten away with
bad special effects, like Mac and Me.
I know! We thought about that because
Paul’s CGI was so expensive that it was eating
into our budget a lot, but we just felt he
should be state of the art. I felt one of the advantages
of shooting a lot of stuff handheld
is that people wouldn’t be thinking about
it so much. It wasn’t like one of the special
effects things where it’s like, “Look at this
cool thing we made!” It’s just like, “Hey,
that just happens to be an alien and it can’t
possibly be a guy in a suit.” Literally, we
discussed versions where it was a kid wearing
prosthetic hands and we’d CGI a head
on him—and that would have been such a
disaster and the film would have probably
never gotten made. It probably would have
been closer to Mac and Me.
Did you ever consider casting a less recognizable
voice or did you always know
you wanted Seth Rogen?
Honestly, the studio wanted somebody
that they would recognize. I think my only
hesitation with Seth was his age because
Paul has supposedly been on the planet for
60-some odd years and is quite cantankerous.
But knowing Seth as well as I do, he’s
always been like a middle-age guy trapped
in a young person’s body, so it didn’t worry
me that much. I think Seth’s vitality is really
good for the character because, as Seth
said best after reading script the first time,
“He’s kind of like Eddie Murphy in Beverly
Hills Cop or Ferris Bueller.” It’s just one of
those characters that doesn’t change over
the course of the movie but has a subtle
effect on the people around him, gets them
all to lighten up a little bit, which was actually
very helpful for me thinking about
how to put the movie together. He’s one of
those of unapologetic aliens who just tells
people, “Be who you are. It doesn’t matter
what other people think.” I think there’s
something quite fun about that and Seth
can just pull that off.
And there’s a lot of geek pride, too. Do
geeks even need more pride? Especially
on the Internet, it feels like they’re ruling
the world.
It’s interesting, the rise of the geek. I get
asked sometimes by the hardcore fanboy
blogs, “So are you one of us?” And the truth
is, I’m someone who when I was seven my
parents took me to see 2001: A Space Odyssey
(continued on page 64)
62 BOXOFFICE PRO APRIL 2011

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EXCLUSIVE INTERVIEW > GREG MOTTOLA
C I N E M A C O N C E L E B R A T I N G T H E M O V I E G O I N G E X P E R I E N C E
in the movie theaters and it blew my mind,
I was twelve when Star Wars came out and I
collected comic books and I read science fiction
novels, but back then there wasn’t this
geek culture. I didn’t find a lot of other likeminded
people, so as time went on I became
friends with people with other interests. I
sort of put it aside. And I go see sci-fi movies
and watch my favorites but I’m not someone
who still collects comics, besides graphic
novels and stuff. Having said that, I feel like
I’m a different generation to some extent. Of
course Simon is still completely wrapped up
in that stuff because he’s an über geek, he’s
an overlord of geekdom.
I think he does rule the geeks. I think
he could snap his fingers and they
would all obey him.
Yeah, at Comic-Con if you are out and about
with Simon, you just feel like you’re with
Mick Jagger circa 1971. It’s insane. But I
have a lot of affection. I understand why
they love it, I love it a lot and I still do. I still
re-watch those movies and I would never
begrudge some who really, really loved
something positive and imaginative and
great. If I had more time and fewer kids, I
would probably get back into it, but fucking
babies. There were so many kids born on
Paul. Simon had a baby right in the middle
of shooting; my wife and I had twin girls
two weeks after we wrapped shooting.
I saw that. Congratulations.
Thank you. I don’t know if we’ll have any
time for comic books right now. There’s
definitely with this movie going to be geek
factions that will not like it because the
references will be deemed too obvious or
overdone or from 30 years ago—and it’s all
fair. It’s not an invalid point to say that Star
Wars and Close Encounters and Alien, part of
the reason that they’ve so deeply affected
people of a certain generation—including
me and Simon, who’s a bit younger than
me, and Nick, who says Close Encounters
is his favorite film—is that movies just
changed after 2001 through the ’70s and
’80s. You could show creatures and worlds
that had never been shown on screen before.
It was completely fit-for-fantasy film
making; it was just a completely different
new thing. For us, we’re stuck in the past a
little bit because those things went straight
into our bloodstream. It’s interesting. I really
tried hard not to make a film that would
have people feeling left out if they didn’t get
the references. My sister-in-law just saw it
and said that it’s by far her favorite film of
anything I’ve ever made. She knows nothing
about science fiction. She’s never seen
Star Wars.
Is that possible?
She’s got to be one of like seven people in
America. I think she just liked Paul as a silly
adventure story, comedy. She liked the jokes
and she’s a Christian and wasn’t offended.
Let’s talk about the religious aspect,
because it’s pretty bold. You have Kristen
Wiig playing a fundamentalist who
gets upended when Paul comes to her
trailer park.
It’s interesting. It’ll be interesting to see
how that plays here. It certainly made me
laugh when I read it. Particularly because
it’s about creationists and I just find it a little
hard to believe that in this day and age,
that’s a discussion on any kind of national
level, but it comes up. I thought it was
funny the first time I read it. It occurred to
me before in fantasy movies anything like
The Omen where there’s proof that the devil
exists, no one ever stops and says, “Well, the
good news is there’s God.” So I know it sucks
that this guy is chopping off people’s heads
but there’s a bright side of the line. No one
ever stops to have those discussions in movies,
and I thought it was really funny that in
an alien film they stopped to have a discussion
about, “Well if he exists, then this one
world theology stuff can’t be true.” It’s very
much like Simon and Nick to go down that
strange path. I think if anyone were to be
offended by it, my answer would be, “Look,
Paul is just basically trying to open people’s
eyes up and say, ‘Make sure you don’t miss
the world around you.’” In the case of
Graeme and Clive, Simon and Nick’s characters,
they’re timid and not really living. In
the case of the religious characters, they’re
so wrapped up in their dogma they don’t see
the other possibilities for happiness around
them. I think it’s interesting from the time
the script was written till now, it’s become
an even hotter topic so who knows if that’s
going to get any attention?
When I was 18, that was the first time
I found out that some people didn’t believe
in evolution and it really caught
me off guard.
When it started to become a national thing
and I heard that there was a creationist
museum, I thought, “This is like a hoax.
The Onion wrote this. This can’t possibly
be happening.” It’s bizarre to me. I feel
like Kristen’s character is sweet and sweetnatured.
Are people going to get offended
by a cartoon alien talking about atheism?
All the sort of patriotic types get all pissed
off about stuff. They seem to always forget
that our country was founded on the idea of
separation of church and state.
Paul can import all of his wisdom into
people with the touch of his hand.
What do you think he’s telling them?
And if you had the option of learning
everything that he knew, would you
take it?
Yeah, I think I would. This is a very pretentious
answer to your question, but I remember
I was talking about the legend of Faust.
I had never seen any version of it or read
any book. What does Faust want from God?
What he wants is ultimate knowledge. It’s
not riches or keys to heaven; he just wants
to know everything that’s knowable. So
for a certain type of person that would be
pretty hard to say no to. To have at least
the knowledge of Paul, who’s theoretically
been around the universe and comes from a
planet where they have access to a lot more
information than we do. It really would
screw you up, though.
Yeah, it really would.
Your friends would really think you’re an
asshole.
You couldn’t just hang out anymore.
You’d always have to be talking about
the nature of man.
They would be like, “All right. Shut up.”
“I’m sick of hearing about the infinite
greatness of the universe!” Do you
think aliens exist?
I definitely am of the school of thought
that there has to be intelligence somewhere
else in the universe, just by the law
(continued on page 66)
64 BOXOFFICE PRO APRIL 2011

EXCLUSIVE INTERVIEW > GREG MOTTOLA
C I N E M A C O N C E L E B R A T I N G T H E M O V I E G O I N G E X P E R I E N C E
THEY’RE HEEEEEEERE
Blythe Danner, Simon Pegg, Nick Frost and Kristen Wiig meet Paul’s pals
of averages. Whether or not they have
actually come here and buzzed around our
cornfields, I’m pretty skeptical about, but
I like the idea of it. I think there’s a reason
why it’s such great folklore and why
there’s so many movies that keep getting
made about it. I think aliens are the ultimate
other. They’re just like us. Often, they
are giant spiders that want to eat us, but a
lot of times they are kind of like mankind,
the classic alien. Obviously, Paul is not
so different. We could have all invented
that aliens don’t need bodies as much and
their brains get bigger and bigger. We turn
green. It would be pretty awesome if the
government said, “Okay. Yes. We have an
alien in the deep freeze.”
That’s going to happen in our lifetime,
right?
It would definitely help our box office. Do
you believe?
I do. It just seems mathematically impossible
that there wouldn’t be other
life. I was re-watching Cosmos and in
the first episode, Carl Sagan takes you
through a tour of how gigantic the
universe is. The idea that there are not
aliens within a relative pebble’s throw
of our solar system is completely ludicrous.
Yeah, I think you’re right. I think it’s just a
question of what kind of technology would
there be to travel to another galaxy, to another
universe, to another solar system. We
could do it, but we’d have to build an Arc
and many generations later it’d get there.
But it could be done.
It will be done. I just hope we’ll be
around to see it.
It’d be really cool. When I first saw Close
Encounters, I was 12, 13 years old but it was
completely like, “Yup. That’s happening.”
What I find it so interesting is—even
in how Paul’s character is designed
here—there’s a general consensus
about what aliens would look like if
they did happen to exist: the big head
and the big eyes. E.T. now seems so
out of the box compared to the general
alien template.
Yeah, the sort of Communion alien look,
gray alien. I mean I do think that he’s some
sort of Jungian-like melted-down version
of a human being. He’s sort of a formless,
weird, nude, de-gendered person, but I
think that’s what makes him creepy and
really fascinating. It’s one of those things
where I really do believe different crazy
people have said they’ve seen aliens and
they’ve drawn the exact same thing that
another crazy person drew on the other
side of the planet. How did that happen?
Why did they all pick the big head guy
with the big olive-shapes eyes and the little
body? I don’t believe they saw someone
else’s alien drawing in the newspaper. I
truly believe that people who have no contact
came up with the same look. I think
it’s something in the unconscious. What’s
your theory?
The theory that I like is that they’re
humans from the future visiting us in
time machines—I could totally see us
evolving to look like that.
That was a joke here—it was never explicit,
but in the back of my head I thought, because
there’s so many human evolution
jokes in Paul, Paul is like a human evolved
but billions of years later. But unfortunately
he’s still as flawed and fucked-up as we
are—he’s just a little bit smarter and has
some superpowers, yet it’s not like he’s that
Christ-like figure, he’s not super emotionally
evolved. He’s still childish and gets
things wrong, thinks you can get sick from
eating a closed pistachio.
Is Important Artifacts, the auction house
romance with Brad Pitt and Natalie Portman,
still on? I know Portman has been
busy this year, but is that next for you?
I am presently writing it and it would be
fantastic if that were the next thing. I’m in
the middle of the script and the book is a
really hard thing to adapt. My joke answer
is, “Yeah. Let’s see if the screenwriter does a
good job—oh shit, I’m the screenwriter.” So
yeah, I hope so. It’s a really cool project. Yeah
it’s obviously a great time to be working
with Ms. Portman, but I was always a fan.
By the way, did you know that somebody
else owns GregMottola.com?
Really?
I don’t think English is their first language.
The quote that I liked was, “His
most recent film is The Adventureland.”
It’s all just a little bit off.
I’m going to look this up. That’s hilarious.
Go Google yourself.
And then I should buy it from him and make
it equally inept. I think there’s someone who
just buys up the name of anyone who might
be remotely ever somebody and slaps together
some crap and hope that someone comes
in and says “Can I buy that from you?”
It’s how you know you’ve made it in
America.
It’s a weird form of flattery.
66 BOXOFFICE PRO APRIL 2011

C I N E M A C O N C E L E B R A T I N G T H E M O V I E G O I N G E X P E R I E N C E
GET SMART
We ask Wednesday’s moderators why their panel is a must
by Amy Nicholson
By the time conventioneers sit down to lunch on Wednesday, they’ll have had the chance to
listen in—and ask their own questions—on panels that cover all corners of exhibition in 2011.
From air filters to Facebook, The Adventures of Tintin to taco salads, the morning sessions are
invaluable for businesses looking to expand their footprint. Here’s a preview.
ICTA Technology 101: Keeping your
cinema open on a Saturday Night
“The joke is nothing ever breaks on a Monday,
Tuesday or Wednesday when no one is in an auditorium,”
says Bob Pinkston, VP of Technical Services
for Universal Cinema Services Inc. On a weekend,
the last thing exhibitors want to hear is that there’s
a problem in theater five, but panicked calls to a
manufacturer aren’t uncommon. Explains Pinkston,
“As technology changes, there’s this curve as it
becomes more perfect and as people understand
how to use it. Digital cinema is new technology for
so many new people—there’s no more checking on
the oil in projectors, but now we have to make sure
the air filters are clean.” At ShowEast last October,
Pinkston and the ICTA moderated a panel on common
problems and quick solutions. (“The problems
are always very similar—it’s the same things you
see over and over,” he observes.) So many theater
operators packed the room that they decided to
do it again in Vegas. On the panel are smart minds
from all corners of the digital revolution: digital
projectors, digital servers, audio, network operation
centers. Will they mind copping to their product’s
most frequent failures? “Anything made by
a human being, you’re going to have problems,”
answers Pinkston. “There’s nothing to hide. It helps
the manufacturers who get calls every week about
the same problem to address that problem—it’s a
learning experience for everyone.”
MODERATOR
BOB PINKSTON
Vice President of Technical Services
Universal Cinema Services Inc.
PANELISTS
BILL MEAD
Publisher, DCinemaToday
TONY ADAMSON
Manager
Worldwide Customer Marketing for DLP Cinema Products
BEN ING
Technical Liaison Manager
Digital Cinema Solutions for Sony Electronics
DAN HAMMOND
Director of Technical Services, Doremi Cinema
SEAN JAMES
Vice President, Managed Services, Christie Digital Systems
PAT MOORE
Vice President, Sales & Marketing, Ballantyne Strong
PAUL PEARSON
Senior Customer Support Manager
Cinema Division of Dolby Laboratories
Social Networking: Changing The
Marketing World Now and Forever
“Everybody knows that social networking is changing
the landscape, but nobody can tell you definitively
how important it really is, how much of a
change it’s really made, and how far the change
will go,” says BOXOFFICE Publisher Peter Cane.
“And most importantly, nobody knows nothing
about exactly where we are.” His panel plans to cut
through the buzz and give exhibitors real facts and
concrete tips about how to use social networking at
a time when everyone’s urged to jump on board—
or they already have—but few companies seem to
be using it well. “People are struggling with how to
make social networking a viable part of their business,”
says Cane, “but there are some people who
are taking advantage of social networking when
it comes to filling up movie theaters with paying
customers.” He’s assembled panelists who seem to
have cracked the social networking code, a team
that represents both mid-sized and massive theater
chains, websites like Flixster and Fandango and a
studio executive who’s proven the power of the Internet.
Cane will ask them to open up about what’s
worked—and what hasn’t. “Everybody should know
now what Facebook and Twitter are, but what are
the next steps?” asks Cane. “It’s not a question of
‘if you build it, they will come.’ The big questions
are: how do you get the base and what do you do
when you have it?”
MODERATOR
PETER CANE, Publisher, BOXOFFICE Magazine
PANELISTS
STEVE POLSKY, President and COO, Flixster
SARAH LEWTHWAITE
Vice President of Marketing, Cineplex Entertainment
BOBBIE BAGBY
Marketing Director, B&B Theatres
Ted Hong, Chief Marketing Officer, Fandango
AMY POWELL
Executive Vice President, Interactive Marketing and Film Production,
Paramount Pictures
(continued on page 70)
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C I N E M A C O N C E L E B R A T I N G T H E M O V I E G O I N G E X P E R I E N C E
DISCUSSIONS > THE CINEMACON PANELS
New Technologies: How They Are—and Will—
Continue to Impact the Theatrical Exhibition
Business
“Theatrical exhibition has really operated for the past 100 years on the
original technology of film,” says Tim Warner, President and COO of
Cinemark. But digital has upended everything. Notes Warner, “It’s an
industry that’s being completely reinvented—a high technology platform
that’s going to bring tremendous capability to how theaters operate.”
Exhibitors are familiar with the rise of digital, concurrent with the ascendance
of alternative content, live events and 3D. Warner wants to lead a
conversation that asks, “what’s next?” Particularly, how all of these new
innovations can work in harmony like a money-making machine. To that
end, he’s pulled together a panel that represents the four corners of
exhibition, distribution, tech and advertising. Warner is looking forward
to steering the conversation to the new satellite networks, which he says
will “dramatically drop the cost to distribute films.” But just as much, he
welcomes the chance to survey the landscape and synthesize this brave
new world into an exciting, optimistic message. “What will be really revealing
at the panel is the connectivity of all these technologies,” he explains.
“Now you can see how it’s all pulling together to deliver a better
experience to the customer and help us reduce costs and deliver a much
more powerful experience.” Paired alongside, pioneer filmmakers James
Cameron, Jeffrey Katzenberg, George Lucas and Chris Meledandri will
take the stage to talk about their big plans for digital and 3D.
MODERATOR
TIM WARNER, President and COO, Cinemark
PANELISTS
DARCY ANTONELLIS, President of Technical Operations, Warner Bros. Pictures
JOSEPH PEIXOTO, President, Worldwide Cinema
KURT HALL, President and CEO, National CineMedia
AMY E. MILES, Chief Executive Officer, Regal Entertainment Group
Dinner and a Movie: How Premium Theater
Concepts Are Enhancing the Movie Going
Experience
“As an industry, traditionally we’re used to people bellying up to our
concessions stand,” says NAC President Ron Krueger II. The upsurge
in upscale snacks—or full-on meals—in multiplexes has the potential
to be very lucrative, but it comes with a lot of questions about how
to turn a space used only for popping corn and pouring soda into a
kitchen that can serve up chicken fingers and caesar salads. Krueger’s
been at the center of that conversation (“As an association, we haven’t
just been about the concession stand in years,” he notes) and is ready
to helm a panel for exhibitors wondering if they should change up
their concessions, plus those who’ve waded into these new waters and
are looking to boost their sales. “So many people are looking at this
to grow their business,” says Krueger. “What are the costs of entry—
and once you make that transition, what’s the staffing model? The
proper preparations of it, the proper sale of it?” On the stage with him
are the brains behind several chains that have broken into fine dining,
including two—Movie Tavern and Studio Movie Grill—whose very
names are synonymous with the film/food model. “We’re definitely
seeing a lot of interest,” says Krueger. “It’s really about what are some
new and exciting ways to grow our businesses—the business evolves
as it has always evolved.”
MODERATOR
RON KRUEGER, II, Chief Operating Officer, Southern Theatres and NAC President
PANELISTS
JAMES E. HERD, JR., Vice President of Operations, Muvico
BILL LECLAIR, Vice President of Concessions, National Amusements Inc.
LEE PITTS, Executive Director of Operations, Movie Tavern
BRIAN SCHULTZ, Owner, Studio Movie Grill
70 BOXOFFICE PRO APRIL 2011

C I N E M A C O N C E L E B R A T I N G T H E M O V I E G O I N G E X P E R I E N C E
CHRIS
HEMSWORTH
ROSIE
HUNTINGTON-
WHITELEY
CAMERON
DIAZ
RYAN
REYNOLDS
BLAKE LIVELY
JULIANNE
HOUGH
JASON
MOMOA
MORGAN
SPURLOCK
RUSSELL
BRAND
HELEN
MIRREN
TYLER
PERRY
MALE STAR
OF TOMORROW
FEMALE STAR
OF TOMORROW
FEMALE STAR
OF THE YEAR
MALE STAR
OF THE YEAR
BREAKTHROUGH
PERFORMER
OF THE YEAR
FEMALE
RISING STAR
OF 2011
MALE
RISING STAR
OF 2011
DOCUMENTARY
FILMMAKER
OF THE YEAR
COMEDY STAR
OF THE YEAR
CAREER
ACHIEVEMENT
AWARD
CINEMACON
VISIONARY
AWARD
72 72
BOXOFFICE PRO APRIL 2011

Ioan Allen
The International Cinema Technology
Association is an international network of
professionals in the motion picture theatre
industry. It promotes open lines of communication
and harmonious relationships
with NATO, SMPTE, MPAA, Inter-Society
and other related organizations. This vital
industry network not only advises and
promotes technological advancements
in the motion picture industry, it also aids
in securing state and national legislation
that is just and equitable to the interests
of its members as well as the industry as
a whole. ICTA meetings and technical
seminars provide an unequalled opportunity
for learning and networking with
leaders in technology. The ICTA logo
stands for top service and state-of-theart
equipment. Imagine what it will do for
your business.
Committed to Excellence in Cinema Presentation.
Join today to enjoy the benefits of membership:
• Be associated with top equipment and service companies
• Booth discounts at all major industry trade shows
• Opportunity to attend the annual ICTA business retreat
• Increased visibility and credibility for your company
Barry Ferrell
Joe DeMeo
Visit us online for a list of our 180 members
www.ICTAweb.com

BIG PICTURE
74 BOXOFFICE PRO APRIL 2011

FOX PUTS ON A SHOW WITH THEIR NEW LUSH LOVE STORY
■ What’s rarer than bearded ladies and dancing bears? An old-fashioned love story between
two top stars that swaggers into theaters with the sweep of history and the audiencewowing
spectacle of classic Hollywood. Based on the best-selling novel by Sara Gruen,
Water for Elephants leaps back to 1931, when the immigrants who came to America with
big dreams saw their hopes blow away like dust, and scrappers like Christoph Waltz’s small
traveling circus fought daily against getting gobbled up by growing conglomerates the
Ringling Brothers. Among them is Robert Pattinson, playing a young veterinary student
who wanders into Waltz’s circus and slowly falls in love with ethereal animal trainer Reese
Witherspoon, who has the bad luck of being Waltz’s wife. BOXOFFICE asks Pattinson and
director Francis Lawrence (I Am Legend) about bringing that big top magic back to movie fans.
by Amy Nicholson
BACK IN TIME
Robert Pattinson on killer
clowns and the American spirit
THE MOST ENVIED ELEPHANT IN AMERICA
Robert Pattinson and pachyderm co-star Tai have a bonding moment
You’re incredibly busy. What is it about
Water for Elephants that made you decide
this was the film you wanted to do next?
When I first met Francis, we met at the
elephant sanctuary where Tai the elephant
lived. I got along with him really, really
well in the car. We arrived at this place, met
the elephant and he was showing us all the
tricks that it was going to do in the movie—
it was such an incredible day and just the
environment of being around elephants
was the first major thing. I loved the idea of
working on such a peaceful set because just
being around them is incredibly peaceful.
Also, having done so many stressful things
over the previous year, when I read the
(continued on next page)
APRIL 2011 BOXOFFICE PRO 75

BIG PICTURE
W A T E R F O R E L E P H A N T S
AN IN-TENTS SCENE
Director Francis Lawrence and Pattinson prepare under the big top
script and the book and loved them both,
it just felt like I could add something to it.
Then it had Reese and Christoph on it and I
felt like you can’t really get a better cast, and
that was about it. I thought it was kind of a
no-brainer, really.
It’s interesting to hear you talk about
the animals because one scene that
stands out is the first time you walk
through and meet all the animals by
yourself. You just seemed so comfortable
in that circus environment.
There was something about where we were
shooting and just the wildness the story
created—there’s something kind of magical
about it. We were shooting out in the
middle of the desert and everything was
in this authentic 30s circus tent and there
was hardly any kind of modern day film
equipment anywhere. You could really believe
that you’re in the 30s. There was just
something about the way the light comes
through the tent. There’s this real mystic
quality and then there’s extremely hot, tired
animals, exotic animals in these period cages.
There is something incredibly beautiful
and strange when you see a hyena and tigers
and zebras and they’re all in the same room
together all passed out sleeping—and a
baby giraffe at the end. One thing about that
scene specifically, the baby giraffe was completely
clueless to the
fact that there’s the tiger
in one cage and lion in
the other cage directly
opposite it. They’re both
staring at the giraffe
during the scene and I
was just trying to make
the giraffe not realize
what was happening
and keep him looking
in one direction.
That sounds like a
metaphor for something,
although I’m
not exactly sure what.
It’s funny because the
giraffe wasn’t born in
the wild or anything
so it had no idea of the
threats posed about four
feet away from him. I
mean, everyone always
talks about, “Never work with children and
never work with animals,” but I just found
that it’s always been a part of me. I enjoy
working with children and animals more
than adults the majority of the time because
they’re a constant source of inspiration
because they’re just doing their own thing.
They don’t know they’re in a movie.
They’re the ultimate method actors.
They’re really, really, into their characters.
[Laughs]
As a kid, did you want to run away with
the circus?
Not really. I only went to the circus once
when I was about six or something. The
clowns were in this little car and the car
door blew off and my sister told me that
the clown had died, which is completely
untrue but I thought it was true up until a
year ago. I think that was one of the things
that set me off from ever going to the circus
again. It’s funny because so many people
always think the circus is creepy and then
you watch Water for Elephants and it doesn’t
seem even like a circus, really. Some people
have asked me, “Is it scary? Are there freaky
clowns?” No. Why is that the first thing that
comes to your head when you think about a
circus? That is just very strange.
So many people are afraid of clowns.
What happened to them when they
were kids?
I know. It’s so weird. Maybe in my generation,
most people want to be miserable all the time
so they’re scared of someone trying to make
them laugh. One of my favorite movies when
I was younger was [Stephen King’s] It. I kind
of always liked the idea of a psycho clown.
I think I actually do blame It for a lot of
that. I remember watching that when
I was really young and just being terrified—especially
of spiders, too.
I watched it again recently and it’s really not
very scary. I was terrified of it when I was
younger for years.
My parents let me read that book when
I was ten. I don’t know what they were
thinking. I wanted to ask you, this film
has such an American feel to it. Since
you’re from London, I was wondering
what you drew on to give it this great
’30s frontier spirit?
I think it’s always been my favorite period
of America. Whenever I’m driving through
the countryside in America and just see flat
land going for ages and ages and tiny little
towns with their little gas station and stuff.
That’s what my idea of America is. I never
think about New York or any of the cities.
That’s what it seems to me. That period,
that’s the end of the Wild West. That energy
I find really attractive. I like the idea of romanticizing
America because England in
the ’30s, there’s nothing I particularly want
to romanticize. There’s something about
America at that point in time that seems
very symbolic of hope for some reason. As
soon as I saw the way Jack Fisk the production
designer created the sets, and also just
the days and the times of the day we chose
to shoot on—we were always shooting in
magic hour—it just felt incredibly American
all the time and I really liked it. I don’t
know if you could make a modern movie
feel the same. I don’t know what you do to
make something seem really American if
it was modern day. Before the ’40s, people
are essentially still cowboys and that’s what
Americans are to me. And then it became all
white picket fences and something totally
different. But the ’30s are cool.
(more Water for Elephants on page 78)
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SEND IN THE CLOWNS
Francis Lawrence is ready for action
W A T E R F O R E L E P H A N T S
THE
RINGMASTER
Director Francis Lawrence on
the link between lion tamers
and Lady Gaga
The first thing that really struck me
about this film is that it’s such an American
tale—it really captures the feel of
Early America when Americans were
new Polish and Italian immigrants.
A little of that comes from the book, and
when we started getting into casting, I
thought it would be interesting to dive
into it the immigrant aspect of the ’20s
and the Depression a little more. Some of
that was just being creative in casting like
Christoph Waltz playing August—August
wasn’t written as coming from Austria or
Germany, but it just fit and it worked because
of the era. So then, we started to fill
out the cast from there and I thought it
would be fun to have some Irish guys and
some Scottish guys, English guys, and of
course Jacob is from a Polish family. It just
became kind of fun and made the feeling
of the cast a bit richer.
Is it a time period you’ve always wanted
to represent?
I’m really interested in building worlds, and
so obviously doing a period piece you’re
building a world. I think I was more interested
in the circuses of that era than just
the broad sense of the ’20s and ’30s and the
Depression. It’s definitely a fun era, 1930-
1931—there’s a great sense of style. The hair
is really great, the cars are great, all that kind
of stuff is really fun to play around with.
And being a period piece and being a romance,
it frees you up as the director to get
really dramatic and know that it will fit,
like that gorgeous shot where Robert Pattinson
and Christoph Waltz are running
on top of a train over a bridge at twilight.
It’s also that sort of old Americana in a different
sense with the landscape and the
steam train. It was a fun way to open the
movie up a little bit, as well, and just get
outside of the tents.
Old-fashioned love stories have increasingly
become a rare breed.
I think they have. I mean quite honestly, I
think that people are nervous about movies
like this: period piece, circus movie. For
studios, it’s not the no-brainer. It was tricky
to get made and we had to be responsible.
Hopefully, people will run out to see the
movie and it could help create a resurgence
for movies like this.
Do you feel like what people want from
romance or love stories has changed?
I don’t know? I just think you look at movies
being released in the same year: you
have Transformers 3 and Harry Potter 8 and
Pirates 4. That’s a lot of sequels and a lot of
huge $200 million-plus movies with loads
of action and special effects. It seems like
the middle zone of movies has disappeared.
You’ve got these huge tent poles and then
these small, more indie-ish, arthouse films,
and the more adult dramas have sort of disappeared
and have become tougher to make
and to sell. It would be nice if there was a
way of making a story like this that people
will actually go out to see. So, my fingers are
crossed.
When a film like this comes out and
does well, it feels like a “Duh!” moment
because the truth is, more women buy
tickets to movies than any other demo-
(continued on page 80)
78 BOXOFFICE PRO APRIL 2011

SEND IN THE CLOWNS
Francis Lawrence is ready for action
W A T E R F O R E L E P H A N T S
THE
RINGMASTER
Director Francis Lawrence on
the link between lion tamers
and Lady Gaga
The first thing that really struck me
about this film is that it’s such an American
tale—it really captures the feel of
Early America when Americans were
new Polish and Italian immigrants.
A little of that comes from the book, and
when we started getting into casting, I
thought it would be interesting to dive
into it the immigrant aspect of the ’20s
and the Depression a little more. Some of
that was just being creative in casting like
Christoph Waltz playing August—August
wasn’t written as coming from Austria or
Germany, but it just fit and it worked because
of the era. So then, we started to fill
out the cast from there and I thought it
would be fun to have some Irish guys and
some Scottish guys, English guys, and of
course Jacob is from a Polish family. It just
became kind of fun and made the feeling
of the cast a bit richer.
Is it a time period you’ve always wanted
to represent?
I’m really interested in building worlds, and
so obviously doing a period piece you’re
building a world. I think I was more interested
in the circuses of that era than just
the broad sense of the ’20s and ’30s and the
Depression. It’s definitely a fun era, 1930-
1931—there’s a great sense of style. The hair
is really great, the cars are great, all that kind
of stuff is really fun to play around with.
And being a period piece and being a romance,
it frees you up as the director to get
really dramatic and know that it will fit,
like that gorgeous shot where Robert Pattinson
and Christoph Waltz are running
on top of a train over a bridge at twilight.
It’s also that sort of old Americana in a different
sense with the landscape and the
steam train. It was a fun way to open the
movie up a little bit, as well, and just get
outside of the tents.
Old-fashioned love stories have increasingly
become a rare breed.
I think they have. I mean quite honestly, I
think that people are nervous about movies
like this: period piece, circus movie. For
studios, it’s not the no-brainer. It was tricky
to get made and we had to be responsible.
Hopefully, people will run out to see the
movie and it could help create a resurgence
for movies like this.
Do you feel like what people want from
romance or love stories has changed?
I don’t know? I just think you look at movies
being released in the same year: you
have Transformers 3 and Harry Potter 8 and
Pirates 4. That’s a lot of sequels and a lot of
huge $200 million-plus movies with loads
of action and special effects. It seems like
the middle zone of movies has disappeared.
You’ve got these huge tent poles and then
these small, more indie-ish, arthouse films,
and the more adult dramas have sort of disappeared
and have become tougher to make
and to sell. It would be nice if there was a
way of making a story like this that people
will actually go out to see. So, my fingers are
crossed.
When a film like this comes out and
does well, it feels like a “Duh!” moment
because the truth is, more women buy
tickets to movies than any other demo-
(continued on page 80)
78 BOXOFFICE PRO APRIL 2011

PUT ON A SHOW
Jealous ringmaster Christoph Waltz orders Pattinson to dance with his wife, Reese Witherspoon
W A T E R F O R E L E P H A N T S
graphic. But people always think it’s
17-year-old boys.
Of course, ideally you want to get as many
different types of people into the theater
and not just one specific demographic. I
think women are definitely the first audience
that are going to go to this, but I think
men are going to enjoy it—and certainly the
men that have seen it have enjoyed it, too.
So I’m hoping it crosses into lots of different
kinds of people.
This is your second time adapting a
best-seller after I Am Legend. How do you
balance what’s right for the movie while
making fans of the book feel like you
respect the book that they love?
I Am Legend, we literally never went to the
book to pull exact scenes and things, but
there’s definitely themes and characters and
ideas pulled from it. The location changed
and the disease changed and the ending
changed and loads of different things. The
adaptation this time around is a much
truer adaptation of the book, and I think
in the broadest sense, we really captured
the themes and the spirit. And then there’s
lots of details that we also captured, very
specific scenes from the book that are in
the movie. The ending, although it’s been
augmented a little bit, is still the same ending
as the book. For the most part, the characters
are the same. The trick with this one
was how do you streamline a 14-hour read
down to a two-hour watch? Some of the
stuff is going to have to fall away so it can
be streamlined.
And she wrote the book in a month.
Wow. I didn’t know that.
As part of National Novel Writing
Month. If you have any nerdy friends
like I do, they sit down in November and
attempt to write a book.
I’ve never heard of that. That’s really funny.
I had no idea. I know she started it by researching—she
was researching something
for another book and she started to look at
these circus photos, decided to switch up
the direction and ended up writing this.
What do you think that pull is towards
the circus?
I think some of it is—especially the circus
from that era—the gypsy life. There’s a bit
of a mystery to that band of odd characters
traveling through the night on a train, and
camping out and setting up their stuff. You
work and live in a way that is different from
the rest of us. And back then, there was a lot
of magic in the circus. I think we now, living
in 2011, are so used to seeing everything:
seeing the animals and seeing performers.
We’ve all traveled, we all have the Internet,
we all have satellite TV, so we’ve experienced
and seen a lot. Back then, you hadn’t
seen anything like it. So I think there was
a lot of magic and it was very exotic and
mysterious.
That’s true. In the film, when they bring
out the elephant you do get the sense
that this is really new—back then, people
didn’t have zoos that they could go to
all the time.
Unless you lived in one of maybe three or
four big cities, you hadn’t even been to the
zoo because a lot of people in Middle America
had never been to big cities, let alone
traveled on airplanes or gone to foreign
countries, so it was a big deal when a circus
rolled into town.
One shot that stands out the long tracking
shot when Jacob first walks through
(continued on page 82)
80 BOXOFFICE PRO APRIL 2011

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BIG PICTURE
W A T E R F O R E L E P H A N T S
STEP RIGHT UP
Tricks to fill your big top
You could hire a barker to holler
people into your movie theater—any
of your ticket takers look good in
pinstripes? Or you could brainstorm
promotions that tighten your bond
with your regulars while giving you
good local press that will help your
theater make new friends.
Water for Elephants has an animal
rights theme that everyone can rally
behind. Who isn’t in favor of making
sure rescued or abandoned exotic
animals are safe, happy and wellfed.
Onscreen, Christoph Waltz’s
volatile circus owner is whipping his
elephant and malnourishing his lions.
Off screen, this gives your theater an
opening to show its support for the
great beasts.
Consider donating a portion of all
concessions sold during one weekend
of Elephant’s run to a save the animals
fund—there are dozens across the
country, and likely one nearby that
can partner with you in drumming up
publicity. Other variations are simply
announcing that you’ll be fund-raising
for the creature charity of your choice
while the film is still at the theater, or
spinning the effort into a raffle where
for every dollar donated, a patron is
entered to win a family pack of tickets
to your local zoo.
And since Water for Elephants is the
type of classic love story made for a
date night, announce your theater’s
search for your community’s Most
Romantic Couple. Invite lovebirds
young and old to submit the story
of how they met to your Facebook
page or website and use the same
social networking tools to cast their
votes for the best real life Romeo and
Juliet. The winners get two tickets to
Water for Elephants, naturally, plus a
romantic dinner for two at a nearby
restaurant. Ain’t love grand?
the train with Camel [the circus old-timer,
played by Jim Norton] and he’s just
pressed in by all the performers. How
was that shot conceived and how did you
put it together?
That dialogue of Camel telling Jacob about
circus life and the lingo and all of that used
to be somewhere else in the book. We put it
in the walk though the train, and it was the
first time you get a sense of the hierarchy
of the train. One train car holds the workers,
one train car holds the musicians and
sideshow and coochie girls and clowns and
one nicer train cars holds the performers.
And it progressively gets a little nicer as you
walk through until you get to the back end
and August’s private car. So we transplanted
that dialogue there, and then I thought it
would be really great to see all the changes
in the train car and how jam-packed everybody
is. I was reminded a little bit of the
Wolfgang Petersen film Das Boot, which I
saw when I was a kid that has always really
stuck with me. I always really loved one of
the shots early on when the journalist that’s
going to travel with the submarine gets a
tour by one of the guys and you go through
the submarine and you see how everybody’s
jammed in. They built a real scale version
of the sub so you felt how crammed and
claustrophobic it was, how men were sleeping
in bunks, and storing food in the bunks
as well—just how jammed up it was. That
was sort of a reference point for all of us
for that shot and that sequence. Originally,
it was going to be one shot, but then we
discovered the train pathways were a little
too narrow around some of the turns to fit
the Steadicam through all the way continuously,
so we had to break it up into a couple
pieces. It’s fun because you get a real sense
of the life. You really feel like you are moving
from one place to another, and there’s a
great color palette and a great cast of characters
and great sounds and great activity.
You can sort of see that there’s a little wish
fulfillment in that kind of group: to camp
out, sleepover on a train and get to do whatever
you want—a party party lifestyle.
And all those real circus acts. How did
you cast them?
The idea for us was that the circus acts, the
sideshow people, the musicians and the
clowns, very few of them had lines in the
movie but we wanted to create a real circus
family that stays with us from beginning to
end. So we cast 25 or 40 roustabouts, which
are workers. They were always with us and
they were trained to be circus workers—
they’re actually the guys putting up the
tents and putting in the stakes. They trained
and stayed with us, and then we went and
we found real clowns. Our casting people
went and searched out real clowns all from
Ringling Brothers and Circus Vargas and
different places to put together our group of
five clowns. Then we found musicians. We
brought in just loads and loads and loads
of musicians to play specific instruments
that were designed by my composer—what
instruments would make up a circus band,
what would make up our sideshow band?
We brought all of them in, and then we
found coochie girls and showgirls and did
circus performer auditions, as well. We had
a choreographer named Sebastian Stella
who has worked with Cirque Du Soleil and
does choreography. He designed 30 real authentic
acts like the slack wire and the iron
jaw and the lion tamer and then found the
people that could do those things.
When you’re walking around and seeing
everyone limbering up, it must have felt
like you were on a real circus.
Every day. In the morning, you would drive
into base camp—we were out just north of
Los Angeles—and you’re in all the trucks,
and then you get into this golf cart drive
across the private train line and you were
transported into the ’30s, into a circus because
everybody was there every day. There
were always the musicians and coochie girls
and clowns and performers and roustabouts
and animals everywhere and the big props
were up. They were always in costume and
they really lived up to those costumes, so it
really felt really authentic.
If 7-year-old you could flash forward
and see you on that set, you would have
been like, “I have the coolest job in the
world.”
Absolutely. It was, definitely. And I think
that was why we felt on this movie that people
didn’t want it to end, and I think the cast,
too. All the background people that were
the performers and the sideshow people
and musicians and everybody, I think, had a
pretty magical experience on this movie.
(continued on page 84)
82 BOXOFFICE PRO APRIL 2011

BIG PICTURE
You started your career in music videos. That
almost seems like a good way to study the life
of a career performer and get another look at
the behind-the-scenes magic of making an act.
A little bit, although you’re only getting sort of
quick glimpses. You get a little more if you have
repeat business with somebody and you get a
sense of how their career works, what’s happening,
and the people around them. But, it’s more
of a glimpse. It’s really more of a training ground
in terms of learning how to be visual and how to
put things together and how to deal with different
personalities and building worlds—that kind of
stuff is really quite fun.
And the video world moves so fast. Studios
must love that you feel trained to move so
quickly.
W A T E R F O R E L E P H A N T S
WHAT NEXT, MY LOVE?
Witherspoon and Pattinson debate running away from the circus
For sure. And also, because of the amount that I
have done and how things sometimes change up,
I’ve learned how to think on my feet. Some people
have a hard time switching direction in the middle
of the day if it’s not what was planned. People have
a hard time figuring it out and music videos have
really trained me to think quickly and change.
I Am Legend is a very different film. What’s
the through line that connects those two
films that explains why you wanted to do
both of them?
There are a few things in a broad sense. One is the
world-building thing, which I think is really fun.
Movies are visual, and part of that is the world you
create. So you know, they’re obviously very different
kinds of worlds, but definite worlds. The other
thing is that I really look a movie that can hopefully
give you a very rich emotional experience.
If you can watch a movie and look at it and wonder—and
be scared and cry and laugh a little—I
think that’s a rich experience. With I Am Legend,
that was the goal: it’s scary, it’s pretty wonderful,
it’s emotional at times and thrilling at other times.
And I think Water for Elephants is the same. It’s a
different balance of those emotional values but it’s
the same kind of experience, I think.
Reese Witherspoon was a champion of this
project, I heard. When she read the book, this
was a film she really wanted to do.
She was the first person that we really talked to
and she came on very, very early. Reese was really
a partner in this and worked really hard with
Richard LaGravenese, the screenwriter, and me on
(continued on page 86)
84 BOXOFFICE PRO APRIL 2011

CENTER CAMP
Says Lawrence, “We wanted to create a real circus family that stays with us from beginning to end.”
W A T E R F O R E L E P H A N T S
the script in the early days before there were
any other actors on.
With casting Robert Pattinson, did you
have to deal with any lovesick Twilight
fans around the set?
Oh, yes, for sure. Every day. For the most
part, everybody was well behaved but
every day there were probably 50 people
outside of our set, outside of the gate with
signs hoping he’d stop. They would be
there before we got there and they’d be
there after we left. All day—and if it was a
night shoot, they’d stay overnight, camp
overnight and they’d be there. Then, we
shot for a week in Tennessee, they were all
camped out by the hotel. Sometimes we’d
find girls camped out in the hallways of
the hotel, hoping to get a glimpse of him—
every day on set, there were hundreds of
people out there.
Sounds like a madhouse.
You know what? It never got crazy. For
the most part, they were pretty respectful.
I never felt like they were causing a
problem, never got too scary. They were
never in the way, so they were respectful
in that sense.
Jacob is a good role for him because he’s
really trying to become a leading man on
his own terms.
Yes. It’s a very different kind of role for him.
When I was watching Christoph Waltz’s
character, who has moments of tough
violence, I kept wondering if he was
bipolar at a time when those diseases
weren’t diagnosed?
Well, in the book he is. In the movie to
me, he’s not sick at all. In the book he’s
schizophrenic. Me, I don’t think he’s sick.
You know, that’s a choice that Sara Gruen
made. I happen to think, personally, that
villains or antagonists in a movie are
more interesting when they have a logic
that is actually relatable. To me, the movie
is really about people putting lives together
for themselves after extreme loss,
and in a weird way Jacob and Marlena and
August have all been orphaned and have
all put their lives together using different
sort of morality. But he is surviving and
he has a way of protecting his family and
he has a way of protecting his circus—it
may not be a way that we agree with, but
there is a logic behind his thinking that
I think makes the character much more
interesting and complex. I think that if
somebody is sick and has a hair-trigger
temper, in a strange way, it’s a bit too easy.
It’s interesting the way he veers from
anger to regret. I like that you added
those moments of regret because I feel
like we don’t see a lot of that in our villains—that
they can be sad for what
they’ve done.
And that’s another thing that’s a slight
change from the book. I really wanted to
show that somebody who is, let’s say, morally
wrong can still feel bad. I don’t necessarily
think that August is a sociopath and doesn’t
feel and doesn’t understand the moral differences
between him and Jacob. So we created
the scene where Jacob discovers August visibly
upset after a beating with Rosie the elephant.
In the book, August actually comes
to Jacob to apologize. I thought we needed
that changed so that you knew that seeing
him visibly upset was real because he was
actually hiding. He was discovered rather
than possibly putting on a show.
Was there any doubt that you could go
with someone else besides Christoph
Waltz?
(continued on page 88)
86 BOXOFFICE PRO APRIL 2011

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HIS LEADING LADY
Waltz and Witherspoon play a passionate husband and wife
W A T E R F O R E L E P H A N T S
No. I mean, look, Christoph Waltz was perfect.
Perfect.
What about casting the elephant?
We knew we had a lot of animals in the
movie and I didn’t want to use any CG animals,
so we hired an animal coordinator.
The first thing we talked about was the elephant
and he knew a guy who he thought
was the best elephant guy in town: Gary at
Have Trunk Will Travel. I had worked with
him once before on a music video, which
was great. We went down there and met
Gary and met all of his elephants. Together
we picked Tai, partly because I think she
is the most beautiful of his elephants, but
also she is the biggest. Then we just started
working on her behavior. I wanted to see
what she could do in terms of circus acts
and what she could do in terms of behavior
that he could walk her through so we could
use certain things in scenes. It worked great.
Everybody loved the elephant.
How do you direct an animal trainer?
How do you learn what to tell them so
they can turn around and tell the animal?
I learned a lot on I Am Legend working with
the dog because I realized that in certain
scenes where you want something to happen
with the dog, what I would do was pick an
emotional value. Do you want to the dog sad,
do you want the dog scared, do you want the
dog agitated? You pick something and then
you think, usually with the trainer, about
what the behavior might be that would make
the animal look like they are feeling that
emotion. They don’t actually have to feel it.
They just have to look like they are feeling it.
So with the elephant you might say, “Okay,
well what’s affectionate?” Affection might be
touching somebody with their trunk or leaning
into them. And we say, “What is pain?”
Well, pain might be flinching, it might just
raising her head and opening her mouth,
it might be lowering her head, it might be
shaking, it might be stepping away from
whatever’s happening. And so we would figure
out what these behaviors were that just
when in the context of a scene would make
it look like the animal is feeling something.
Literally, what we would do, in the beating
scenes Christoph—who would never touch
her—has a stick with this green ball on it
that we can extend to look like the elephanttraining
bull hook. He’s just swinging it in
the air next to her as if he’s hitting her and
the trainer is to the side off camera running
her through these behaviors. Literally, he’s
just saying “Step to the side, lower your head,
raise your head, open your mouth.” She’s just
listening to the trainer, but because of the
context of the scene it looks like she’s trying
to avoid the bull hook and waving her head
in pain or wincing.
So first, you figure out what we as humans
think is empathy or sadness.
Exactly. There’s a shot of her laying down
after she’s been beaten one time and we put
some blood on her. Jacob comes running in
and and it needs to be emotional and I was
feeling like, “Okay she’s just lying there.
What if we make it look like she’s kind of
writhing around in pain a little bit.” So really,
all Gary did was say, “Get up. Oh, wait
don’t get up. Get up. No, wait, don’t get up.”
So she kept thinking she was going to get up
and then laying down again. When you see
the shot, it literally looks like she’s writhing
in pain. Again, it’s just because of the context
of the scene.
She really does understand English.
Oh, yeah. He just talks to her.
Did you ever get to tell her anything
yourself?
(continued on page 90)
88 BOXOFFICE PRO APRIL 2011

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A TABOO TOAST
On the set of a Prohibition era speakeasy
W A T E R F O R E L E P H A N T S
No, I don’t think she would listen to anybody
else.
Oh, she’s very faithful.
Oh, yeah, for sure.
We were talking about the circus being
the most amazing thing in town. Entertainment
has gone through such an evolution
in the last 80 years—which you
definitely know because you directed
Lady Gaga for her “Bad Romance” video.
They seem like two completely different
end points that show the nature of performance
and how it—and audiences—
have changed.
I think what’s interesting about the music
video is a different language, a visual language,
has been created. You show Lady
Gaga to an 80-year-old, most 80-year-olds
really aren’t going to get it. They’re not that
interested. They’re not that interested in the
music, they’re not that interested in that
kind of a cutting pattern, they’re not that
that interested in the flash. They also probably
couldn’t look at that sort of series of images
and actually extract any kind of story,
as minimal as it is. But as a 13-year-old can
look at it and get all of it. I think part of it is
the pace at which things work now in terms
of the internet and email and computers and
texting—just generations of an MTV nation
and an MTV world of people getting used to
that kind of stimulus. It’s fun to work in that
world, and then it’s also fun to go and make
a movie that actually old-fashioned in a really
good and refreshing way.
Since you really like creativity and new
experiences, why make feature films?
They take years, where as a music video
director at the top of music video directing,
you get to do wild, different projects
all the time.
Yeah, but when I was doing tons and tons of
videos before I was doing movies, the thing
I craved was to not be in and out of a video.
Get a song, write it, prep it for a week, shoot
it for a couple of days, be done in two weeks,
on to the next. It felt so disposable, that it
started to not be quite as fulfilling. The speed
of it is fun, the instant gratification of it is
fun, the creativity and the switching up of
doing something completely different from
the next every couple of weeks is fun, but
I started to crave the nurturing of a project
over a long period of time. Really loving, let’s
say, a book and really working on a script for
a while. Really focusing and building visual
references and hiring an amazing crew and
prepping it and shooting it for months. And
then going into post and living with something
for two years rather than three weeks.
That became really appealing to me.
Any future projects you are working on
now?
There’s a lot of things I’m developing, a
lot of stuff I’m developing. I haven’t done
a video since Lady Gaga. I made that at the
end of 2009.
Well, she’s got a new album coming out.
She does, yeah.
What would you like people to be talking
about after they see Water for Elephants?
Hopefully, people think that it’s refreshing
from the other kind of fare that’s out there.
I hope people are moved by it—and really,
that’s really all it is: I just hope people are
moved by it. I hope they get sucked in and
I hope they love the world and they are
moved by the story and by the ideas and the
themes—and hopefully, it will inspire others
to make more movies like this.
90 BOXOFFICE PRO APRIL 2011

ON THE HORIZON
A SNEAK PEEK AT WHAT’S
ON TAP FOR SUMMER
X-MEN:
FIRST CLASS
SO IT BEGINS
DISTRIBUTOR 20th Century Fox CAST James McAvoy, Michael
Fassbender, January Jones, Nicholas Hoult, Jennifer
Lawrence, Caleb Landry, Lucas Till, Kevin Bacon, Edi
Gathegi, Oliver Platt, Zoe Kravitz, Jason Flemyng, Bill Milner,
Morgan Lily, Rose Byrne DIRECTOR Matthew Vaughn
SCREENWRITER Jamie Moss PRODUCERS Gregory Goodman,
Simon Kinberg, Lauren Shuler Donner, Bryan Singer GENRE
Action/Sci-fi RATING TBD RUNNING TIME TBD RELEASE DATE
June 3, 2011
CAN’T WE JUST GET ALONG?
James McAvoy and Michael Fassbender as young Professor X and Magneto
> Professor X, the leader of the X-Men,
wasn't always bald and wheelchairbound.
But to go back to when he was
handsome and hirsuite and able to be
played by British heartthrob James
McAvoy takes a big leap in time—all the
way to the Kennedy Era when the young
mutant was still called Charles Francis
Xavier.
Almost a decade ago, Fox hit upon the
idea of an X-Men Origins series, a spinoff
of their franchise that would focus on
one character's back story at a time. At
first, they put two projects into action:
Wolverine and Magneto, the mastermind
who survived the Holocaust and was
shaped to hate mankind. Wolverine did
decent business ($373 million worldwide)
and screenwriter Sheldon Turner (Up in
the Air) started in on the Magneto script
until the studio decided that parallel
project based on the First Class comic
series about X-Men history had too much
overlap. Fox merged plots to and started
in on a blockbuster that harkens back to
when villain Magneto (Michael Fassbender,
Inglourious Basterds) and McAvoy’s
Professor X were … friends?
Rounding out the ensemble are a bunch
of new actors taking on familiar roles,
with Jennifer Lawrence (Winter’s Bone)
as Mystique, January Jones as Frost
and Kevin Bacon as arch-rival Sebastian
Shaw. If the film’s a shash—and with Kick
Ass’ Matthew Vaughn at the helm, hopes
are high—rumor is Fox is game for a
new First Class trilogy. What’s certain is
there’s a lot more to milk in this mutant
franchise.
(more On the Horizon on page 94)
92 BOXOFFICE PRO APRIL 2011

FREE
CONSULTATION
& ANALYSIS
CinemaCon Attendees!
Michael Lourie, VP Sales | James Devin, VP Operations | Scott Hanlon, ExhibitorAds Manager
will be available to review your current marketing strategy.
The marketing team from West World Media will be making themselves available to all
movie theatre exhibitors for a FREE marketing consultation and analysis.
• All Exhibitors Welcome - One screen or one thousand screens
• Quick Consultations - Give us 15 minutes and we’ll give you valuable feedback
• Fast Feedback - On site feedback and a follow up report with recommendations
SPACE IS LIMITED!
Accepting appointments for Monday, Tuesday and Wednesday
March 28, 29, 30 during CinemaCon 2011
Call 888-737-2812 or email info@westworldmedia.com
Online
Mobile
Social
Print
Showtimes
Management
Websites, content management,
email newsletters, movie content, trailers
Mobile websites, apps, texting
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showtimes flyers
Ticketing, showtimes distribution
63 Copps Hill Road, Ridgefield, CT 06877
888.737.2812 | info@westworldmedia.com | www.westworldmedia.com

ON THE HORIZON
SUPER 8
REEL TO REAL
DISTRIBUTOR Paramount CAST Kyle Chandler, Elle Fanning, Ron Eldard, Noah Emmerich, Gabriel
Basso, Joel Courtney, Riley Griffiths, Ryan Lee, Zach Mills DIRECTOR J.J. Abrams SCREEN-
WRITER J.J. Abrams PRODUCERS J.J. Abrams, Bryan Burk GENRE Action/Thriller/Sci-fi RATING
TBD RUNNING TIME TBD RELEASE DATE June 10, 2011
> In 2008, J.J.
Abrams produced
an unusual monster
movie, the
shaky handycam
horror Cloverfield,
shot entirely
in first person as a
group of attractive
twenty-somethings
flee the
massacre of Manhattan.
Abrams
is interested in
the intersection
of heroism and
voyeurism; he’s
a filmmaker for a
generation that
believes in nothing without a picture. But for Super 8, his mysterious
new project, he rewinds to 1978 Ohio where a group of
young teens shooting a homemade zombie movie accidentally
tape the arrival of a beast that might destroy their town.
Abrams has kept the script under wraps, only slowly leaking
information as he realizes his blockbuster is competing with
a summer full of franchises. But he’s admitted that Super 8 is
a mash-up of two scripts he had his heart set on making: the
first was a coming of age drama about a boy and his single
father, the second an action-packed alien thriller. Separately,
the stories felt too thin. Together, they clicked into a flick he
hopes will fire on all cylinders, telling the LA Times that he
took courage from Steven Spielberg, an executive producer
on the film, who told him that he first imagined E.T. as a story
about children coping with divorce, aliens not included. Early
footage shows that Super 8 even has the small town feel of
early Spielberg, and like E.T., it features a cast of young talents,
like Somewhere’s Elle Fanning, who are ready for the big time.
Star Trek won Abrams the attention of the movie-going audience.
With Super 8, he’s aiming for their hearts and minds, and
spending money.
(more On the Horizon on page 96)
94 BOXOFFICE PRO APRIL 2011

ON THE HORIZON
BAD TEACHER
STAY AFTER SCHOOL
DISTRIBUTOR Paramount CAST Kyle Chandler, Elle Fanning, Ron Eldard, Noah Emmerich, Gabriel Basso, Joel
Courtney, Riley Griffiths, Ryan Lee, Zach Mills DIRECTOR J.J. Abrams SCREENWRITER J.J. Abrams PRODUCERS J.J.
Abrams, Bryan Burk GENRE Action/Thriller/Sci-fi RATING TBD RUNNING TIME TBD RELEASE DATE June 10, 2011
> As BOXOFFICE went to print, the big news story was a high school
science teacher fired for having once starred in adult films like In Thru
the Out Door 7 in the early ’90s. Small fries compared to how noxious,
cruel and, well, utterly baaaaaad Cameron Diaz gets in Columbia’s new
comedy.
Diaz plays Elizabeth Halsey, a snobby, swear-heavy, pot-smoking teacher
who sniffs at dating gym coach Jason Segal. She wants money—and
she meets it when a rich substitute (Justin Timberlake) starts work at her
school. But when she learns he’s only into girls with big gazongas, Diaz
realizes that to get money, she’s got to make money—at least enough to
cover the costs of breast implants. And when a rival teacher (Lucy Punch
of You Will Meet a Tall Dark Stranger) clues her in that the best teacher
in school gets a bonus, Diaz decides it’s time to make sure her children is
learning, whether by inspiration or force.
HOT DATE IN THE TEACHER’S LOUNGE?
Golddigger Cameron Diaz tries to charm wealthy sub Justin
Timberlake
Jake Kasden of Orange County and Walk Hard directs a script by The
Office’s Lee Eisenberg and Gene Stupnitsky. Columbia and Cameron Diaz
are looking for a cult hit in a crowded summer and with Bad Teacher’s Red
Band trailer tracking high on the internet, they just might get it.
96 BOXOFFICE PRO APRIL 2011

Meet the April new releases headed to your theater
HOP
A FLYING LEAP
DISTRIBUTOR Universal CAST James Marsden, Kaley Cuoco, Elizabeth Perkins, Russell Brand DIRECTOR Tim Hill SCREEN-
WRITERS Ken Daurio, Cinco Paul, Brian Lynch PRODUCERS John Cohen, Christopher Meledandri GENRE Comedy/
Animation RATING PG for some mild rude humor. RUNNING TIME TBD RELEASE DATE April 1, 2011
> E.B. (Russell Brand) wants to rebel against the family business and become a drummer.
Problem is, he’s the Easter Bunny’s (Hugh Laurie) son and when he starts squatting
in human James Marsden’s apartment, E.B. must dodge the fluffy yellow chick
sent to bring him home—and his own building guilt that he’s ruining Easter. Tim
Hill of Alvin and the Chipmunks directs.
INSIDIOUS
NOBODY PUTS BABY IN A COMA
DISTRIBUTOR FilmDistrict CAST Patrick Wilson, Rose Byrne, Barbara Hershey, Lin Shaye, Ty Simpkins, Andrew
Astor,Leigh Whannell, Angus Sampson DIRECTOR James Wan SCREENWRITER Leigh Whannell PRODUCERS Jason Blum,
Oren Peli, Steven Schneider GENRE Horror/Thriller RATING PG-13 for thematic material, violence, terror and frightening
images, and brief strong language. RUNNING TIME 102 min. RELEASE DATE April 1, 2011
GO SUCK AN EGG
Russell Brand voices the Easter Bunny’s rebellious son in
Hop
> You know the drill: a young couple moves to their dream home and “Boo!” When
Rose Byrne and Patrick Wilson’s son goes comatose, things start going bump in the
night in this attempt by two of the evil masterminds of Saw to move into a more
classic—dare we say, genteel—way of scaring the bejeezus out of people.
(more Coming Soon on page 100)
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98 BOXOFFICE PRO APRIL 2011

COMING SOON
SOURCE CODE
GROUND CONTROL TO CAPTAIN JAKE
DISTRIBUTOR Summit Entertainment CAST Jake Gyllenhaal, Vera Farmiga, Michelle
Monaghan, Jeffrey Wright DIRECTOR Duncan Jones SCREENWRITERS Ben
Ripley, Billy Ray PRODUCERS Mark Gordon, Philippe Rousselet, Jordan Wynn
GENRE Thriller/Sci-fi RATING PG-13 for some violence including disturbing images,
and for language. RUNNING TIME 93 min. RELEASE DATE April 1, 2011
> Jake Gyllenhaal plays a soldier stationed in Afghanistan
who wakes up on a commuter train in Chicago
that promptly explodes. As part of a military experiment,
it’s a hell he has to keep relieving until he finds
the terrorist who planted the bomb. A tricky, cerebral
sci-fi from Duncan Jones, the director of 2009’s critically
acclaimed Moon. (see our review on page 116)
ARTHUR
HE’S IN THE MONEY
DISTRIBUTOR Warner Bros. CAST Russell Brand, Helen Mirren, Greta Gerwig,
Jennifer Garner DIRECTOR Jason Winer SCREENWRITER Peter Baynham PRODUC-
ERS Chris Bender, Russell Brand, Larry Brezner, Kevin McCormick, J.C. Spink,
Michael Tadross GENRE Comedy RATING TBD RUNNING TIME TBD RELEASE DATE
April 8, 2011
MAN ON A MISSION
Jake Gyllenhaal in the brainy blockbuster Source Code
> Russell Brand plays a rich lout—himself, he’d say with
a wink—torn between marrying Jennifer Garner for
money or dating Greta Gerwig for love. This remake of
the 1981 classic has a hipper feel, with strong, but classy
Helen Mirren taking on the role that won John Gielgud
an Oscar. (more Coming Soon on page 102)
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100 BOXOFFICE PRO APRIL 2011

COMING SOON
If you don’t offer
you don’t have
the tastiest popcorn
in town – period.
CURFEW? YEAH, RIGHT
Saoirse Ronan is a teen trained to kill in Hanna
HANNA
BORN TO KILL
DISTRIBUTOR Focus Features CAST Saoirse Ronan, Eric Bana, Cate Blanchett DIRECTOR Joe
Wright SCREENWRITERS Seth Lochhead, David Farr PRODUCERS Marty Adelstein, Leslie Holleran,
Scott Nemes GENRE Action/Thriller/Drama RATING PG-13 for intense sequences of
violence and action, some sexual material and language. RUNNING TIME TBD RELEASE DATE
April 8, 2011
> Daddy (Eric Bana) taught Hanna (Saoirse Ronan) well. In the
woods of Finland, the ex-CIA man raised his daughter to kill, then
sets the teen free to slash and kick across Europe in pursuit of Cate
Blanchett, an enemy she pursues with the doggedness of a greyhound
on the track. With this vicious noir, Ronan, the star of Peter
Jackson’s The Lovely Bones, wants to prove to the Fanning sisters that
there’s another tough blonde teen in town.
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SOUL SURFER
BACK ON THE BOARD
DISTRIBUTOR FilmDistrict, TriStar Pictures CAST Dennis Quaid, Helen Hunt, AnnaSophia Robb,
Carrie Underwood, Lorraine Nicholson, Kevin Sorbo, Jeremy Sumpter DIRECTOR Sean McNamara
SCREENWRITERS Sean McNamara, Deborah Schwartz, Douglas Schwartz, Michael Berk
PRODUCERS David Brookwell, Dutch Hofstetter, Sean McNamara, Douglas Schwartz GENRE
Drama RATING PG for an intense accident sequence and some thematic material. RUNNING
TIME 116 min.RELEASE DATE April 8, 2011
> When surfer Bethany Hamilton was 13, a tiger shark bit off her
left arm just below the shoulder. This biopic aimed at young girls
and the Blind Side crowd follows how her family’s faith was tested
after the attack and the courage it took to go back in the water just
one month after the loss. AnnaSophia Robb (Race to Witch Mountain)
stars. (more Coming Soon on page 104)
102 BOXOFFICE PRO APRIL 2011

2011
04.08.11 20th Century Fox Rio
04.29.11 IFC Films Caves of Forgotten Dreams
05.06.11 Paramount Thor
05.13.11 Screen Gems Priest
05.20.11 Disney
05.26.11
Paramount
(DreamWorks)
Pirates of the Caribbean: On
Stranger Tides
Kung Fu Panda 2
06.17.11 Warner Bros. Green Lantern
06.24.11 Disney Cars 2
07.01.11
Paramount
(DreamWorks)
07.15.11 Warner Bros.
07.22.11 Paramount
Transformers:
Dark of the Moon
Harry Potter and the Deathly
Hallows: Part II
Captain America:
The First Avenger
08.03.11 Sony The Smurfs
08.19.11 The Weinstein Company
Spy Kids 4:
All the Time in the World
08.19.11 DreamWorks Fright Night
08.19.11 Lionsgate Conan the Barbarian
08.26.11 New Line Final Destination 5
09.02.11 Relativity Media Untitled 3D Shark Thriller
09.16.11 The Weinstein Company Piranha 3DD
09.16.11 Warner Bros. Dolphin Tale
10.14.11 Summit The Three Musketeers
10.21.11 Warner Bros. Contagion
11.04.11 DreamWorks Puss in Boots
11.11.11 Universal Immortals
11.18.11 Warner Bros. Happy Feet 2
11.23.11 Sony Arthur Christmas
12.09.11 Sony Hugo Cabret
12.16.11 20th Century Fox
12.23.11 Paramount
2012
Alvin and the Chipmunks:
Chip-Wrecked
The Adventures of Tintin:
The Secret of the Unicorn
01.20.12 Screen Gems Underworld 4
02.10.12 Fox
Star Wars: Episode I - The
Phantom Menace
TBA N/A The Great Gatsby
02.17.12 Sony Ghost Rider 2
03.02.12 Paramount
Hansel and Gretel:
Witch Hunters
03.02.12 Universal Dr. Seuss’ The Lorax
03.09.12 Walt Disney Pictures John Carter of Mars
RELEASE CALENDAR
03.23.12 N/A Clash of the Titans 2
04.06.12 Sony/Columbia Pirates! Band of Misfits
05.25.12 Sony Men in Black 3
06.08.12 DreamWorks Madagascar 3
06.15.12 Disney Brave
06.22.12 20th Century Fox
Abraham Lincoln:
Vampire Hunter
07.13.12 20th Century Fox Ice Age: Continental Drift
09.14.12 Sony / Screen Gems Resident Evil 5
09.21.12 Sony Hotel Transylvania
10.05.12 Walt Disney Pictures Frankenweenie
11.02.12 Disney Monsters Inc. 2
11.21.12
Paramount’s
Thor
opens May 6, 2011
Paramount
(DreamWorks)
Rise of the Guardians
11.21.12 Universal 47 Ronin
12.12.12 20th Century Fox Life of Pi
2013
03.01.13 DreamWorks The Croods
03.22.12 Disney Reboot Ralph

COMING SOON
THE CONSPIRATOR
THE PLOT THAT ROCKED AMERICA
DISTRIBUTOR Lionsgate/Roadside Attractions CAST James McAvoy, Robin Wright,
Justin Long, Tom Wilkinson, Evan Rachel Wood, Kevin Kline, Alexis Bledel, Danny
Huston, Stephen Root DIRECTOR Robert Redford SCREENWRITER James Solomon
PRODUCERS Brian Peter Falk, Bill Holderman, Robert Redford, Greg Shapiro, Robert
Stone, Webster Stone GENRE Drama RATING PG-13 for some violent content.
RUNNING TIME 122 min. RELEASE DATE April 15, 2011
> John Wilkes Booth shot Lincoln, but he didn’t act alone.
Robert Redford’s legal drama takes us back to 1865 when Mary
Surratt (Robin Wright), owner of boarding house where Booth
and co. planned the insurrection, was the most hated women
in America. Young Yankee lawyer James McAvoy (The Last
King of Scotland) is forced to argue her defense in a courtroom
period piece that tests our faith in the right to a fair trial.
RIO
ANGRY BIRDS
DISTRIBUTOR 20th Century Fox CAST Anne Hathaway, Neil Patrick Harris, Rodrigo
Santoro, Jesse Eisenberg DIRECTOR Carlos Saldanha SCREENWRITER Don Rhymer
PRODUCERS Bruce Anderson, John C. Donkin GENRE Comedy/Adventure/Animation
RATING PG for mild off color humor. RUNNING TIME TBD RELEASE DATE April
15, 2011
PRESUMED GUILTY
An ill-starred Mary Surratt (Robin Wright) consults with her lawyer (James McAvoy) in
Robert Redford’s The Conspirator
> A Minnesota macaw flies to Rio (by plane) to meet his mate
only to find himself pursued by two poachers and their dastardly
cockatoo. After directing three Ice Ages, Brazilian-born Carlos
Saldanha has a chance to flaunt his homeland in a cartoon that
explodes with color. (more Coming Soon on page 106)
104 BOXOFFICE PRO APRIL 2011

COMING SOON
APOLLO 18
IN SPACE, NO ONE CAN HEAR YOU SCREAM
DISTRIBUTOR The Weinstein Co. DIRECTOR Gonzalo Lopez SCREENWRITER
Brian Miller PRODUCERS Timur Bekmambetov, Michele Wolkoff GENRE
Thriller/Sci-fi RATING TBD RUNNING TIME TBD RELEASE DATE April 22,
2011
> As though by fate, this galactic thriller lands just
when the country is debating the future of NASA
(again). But the villain isn’t the soaring national
debt—it’s space monsters who suck your blood.
Harvey Weinstein is swearing up and down that this
found footage flick isn’t faux. Sure. And the moon our
doomed heroes land on is made of green cheese.
BORN TO BE A STAR
DADDY DID DALLAS
DISTRIBUTOR Columbia CAST Christina Ricci, Nick Swardson, Edward
Herrmann, Tyler Spindel, Stephen Dorff, Don Johnson DIRECTOR
Tom Brady SCREENWRITER Adam Sandler, Jack Giarraputo PRODUCERS
Barry Bernardi, Allen Covert, David Dorfman, Jack Giarraputo, Adam
Sandler GENRE Comedy RATING TBD RUNNING TIME TBD RELEASE DATE
April 22, 2011
HOUSTON, WE HAVE A PROBLEM
The moon is overcrowded in Apollo 18
> Comedian Nick Swardson gets promoted from cameos
to a starring role in this Adam Sandler-produced flick
about an Iowa farm boy who discovers his parents were
porn stars. The twist is he moves to Los Angeles to join
the family business. With Stephen Dorff as adult actor
Dick Shadows. (more Coming Soon on page 108)
106 BOXOFFICE PRO APRIL 2011

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COMING SOON
TYLER PERRY’S
BIG HAPPY FAMILY
CLAN OF THE CAVE BEARS
DISTRIBUTOR Lionsgate CAST Tyler Perry, Bow Wow, Teyana Taylor, Lorette Devine, Lauren London, Isaiah Mustafa
DIRECTOR Tyler Perry SCREENWRITER Tyler Perry PRODUCERS Roger M. Bobb, Reuben Cannon, Tyler Perry
GENRE Comedy/Drama RATING PG-13 for drug content, language and some mature thematic material RUNNING
TIME TBD RELEASE DATE April 22, 2011
> Shirley (the divine Loretta Devine) has raised a family of savages. Her three kids
can’t keep it together long enough to come over and hear her important news—
they’re preoccupied by their bad marriages, wild children and drug dealer friends.
Enter Madea to save the day. (And enter audiences anxious for Perry’s next comedy.)
Keep your eyes peeled for Isaiah Mustafa of the Old Spice commercials.
HAYWIRE
GIRL FIGHT
DISTRIBUTOR Lionsgate CAST Gina Carano, Ewan McGregor, Michael Douglas, Michael Fassbender, Channing
Tatum,Michael Angarano, Antonio Banderas, Bill Paxton DIRECTOR Steven Soderbergh SCREENWRITER Lem
Dobbs PRODUCERS Gregory Jacobs, Ryan Kavanaugh GENRE Action/Thriller RATING TBD RUNNING TIME TBD RE-
LEASE DATE April 22, 2011
HEY, WHY NOT?
Tyler Perry’s audacious poster campaign for Big Happy Family
> Steven Soderbergh is always on the hunt for inspiration, designing The Girlfriend
Experience around XXX actress Sasha Grey and here creating a project around gorgeous
Mixed Martial Arts fighter Gina Carano. Carano plays a female soldier out for
vengeance, but Soderbergh’s enlisted a formidable cast of brutes to take her down,
including Antonio Banderas, Michael Douglas, Bill Paxton, Ewan MacGregor, Michael
Fassbender and Channing Tatum. (more Coming Soon on page 110)
108 BOXOFFICE PRO APRIL 2011

COMING SOON
PROM
CAN I CUT IN?
DISTRIBUTOR Walt Disney Pictures CAST Thomas McDonell, Aimee Teegarden, Danielle Campbell, Nolan
Sotillo, Yin Chang, Jared Kusnitz, Nicholas Braun DIRECTOR Joe Nussbaum SCREENWRITER Katie Wech
PRODUCERS Ted Griffin, Justin Springer GENRE Comedy RATING PG for mild language and a brief fight
RUNNING TIME TBD RELEASE DATE April 29, 2011
> It’s the biggest day of a teenager’s life—at least, at the time—and fertile
territory for Walt Disney’s comedy about a group of kids getting ready for
the big dance. The cast is largely unknown, but the Mouse has a solid track
record of turning nobodies into teen idols.
HOODWINKED 2:
HOOD VERSUS EVIL
SEEING RED
DISTRIBUTOR The Weinstein Co. CAST Hayden Panettiere, Joan Cusack, Patrick Warburton, Bill Hader,
Amy Poehler, Glenn Close, Brad Garrett, Martin Short, David Ogden Stiers, Andy Dick, David Alan Grier,
Wayne Newton DIRECTOR Michael D’Isa-Hogan SCREENWRITERS Cory Edwards, Todd Edwards, Tony
Leech PRODUCERS Joan Collins Carey, Maurice Kanbar GENRE Comedy/Fantasy/Family/Animation RAT-
ING PG for some mild rude humor, language and action RUNNING TIME TBD RELEASE DATE April 29, 2011
DOES THIS DRESS MAKE ME LOOK FAMOUS?
Aimee Teegarden is one of the breakout hopefuls in Disney’s Prom
> In this sequel to 2005’s Hoodwinked ($110 million global box office),
a spunky Red Riding Hood is a sleuth investigating Hansel and Gretel’s
mysterious disappearance. With Shrek retired (at least until Puss in Boots
struts its stuff in November), this Weinstein release has the fairy tale
farce on lock.
110 BOXOFFICE PRO APRIL 2011

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 June 30, 2011
■ Award will be paid directly to the educational institution
For a list of application requirements and forms, go to wrpioneers.org.
®

SMALL FILMS, BIG POTENTIAL
BOOK IT!
GOING, GOING, SOLD!
Book It! is blooming
by Sara Maria Vizcarrondo
Back in 2007, when I interviewed Danny Boyle for his
thriller Sunshine, he was over the moon about a tiny
Swedish vampire film called Let the Right One In. The festival
sleeper would go on to get American distribution, run for six
months and even inspire a Hollywood redux starring Kick-Ass’
Chloë Moretz. Said Boyle, “It’s just so incredible when you
find something that feels really new, something that’s really
your discovery.” I know that feeling—and so do the rest of
Boxoffice’s writers. Few things excite a film critic more than
finding a great, unsung picture and telling the world about it.
Boxoffice published its first Book It! section in July 2010.
At the time, we’d seen many boutique distributors fold, and
as a result, theaters were missing out on the recommendations
those companies used to provide. This is where Book It!
stepped in to start reviewing and promoting movies without
distribution—dramas, documentaries, cult flicks, comedies,
cartoons and foreign language films—that we think have
the potential to make money for a hungry distributor or film
booker.
Since Book It! began, we’ve reviewed four dozen exceptional,
cutting-edge and marketable titles, complete with the
contact information required to book the film right out of our
magazine. And since our first section, we’ve seen 12 of those
titles get picked up. Back in August, critic Steve Ramos came
to me extolling the virtues of cross-cultural indie The Imperialists
are Still Alive, and in early 2011 IFC picked it up for a
spring release. Pam Grady sang the praises of Bill Cunningham
New York in October and Zeitgeist scooped it up for spring.
After Pam saw Rowan Joffe’s star-studded remake Brighton
Rock at Toronto, she was baffled that it hadn’t already been
purchased. IFC rectified that soon after. Bruce LaBruce’s cult
comic/horror LA Zombie was snagged by TLA after Richard
Mowe reviewed it out of Berlin. Still other titles purchased
since we reviewed them, like Vera Farmiga’s directorial debut
Higher Ground (Sony Pictures Classics), or the niche docs The
Black Power Mixtape and Buck (both Sundance Selects), are set
to hit theaters, with dates to be determined.
As the economic climate—and our industry—changes,
there’s a need for low budget, feature film programming to
sell tickets to all corners of the community, making every
screen in the multiplex matter. As we head toward the season
of blockbusters, a stretch when a chunk of moviegoers
roll their eyes and vow they won’t set foot in a theater until
September, let’s also keep an eye on smaller films with strong
box office potential for a run of one night, one week or even
several months. We’ll be on the hunt—and if you’re reading
Book It!, you will be, too.
A Bag of Hammers
Indie charmer
CAST Jake Sandvig, Jason Ritter, Chandler Canterbury, Rebecca Hall, Carrie Preston, Todd
Louiso, Gabriel Macht, Amanda Seyfried DIRECTOR Brian Crano SCREENWRITERS Jake Sandvig,
Brian Crano PRODUCERS Jennifer Barrons, Brian Crano, Lucy Barzun Donnelly, Peter Friedlander
GENRE Comedy RATING Unset RUNNING TIME 90 min. RELEASE DATE Unset
Pam Grady says … A pair of
friendly car thieves may be the
last best hope for a little boy’s
chance at a happy life when they
take him under their wing. This
irresistibly off-kilter comedy
blends crime, bromance and eccentric
family values. Jason Ritter
and co-writer Jake Sandvig play
the warmhearted grifters who
decorate the tale with an abundance
of charm, heading a terrific
ensemble that includes Rebecca
Hall, Carrie Preston and breakout
ingenue Amanda Seyfried. After
its world premiere at SXSW 2011, co-scripter Brian Crano’s feature
directorial debut could emerge as one of the year’s indie sleepers
with its winning mix of quirky comedy and oddball buddy movie.
CONTACT
Josh Braun, Submarine Entertainment
212-324-4831
Carbon Nation
Start your engines
DIRECTOR Peter Byck SCREENWRITERS Peter Byck, Eric Driscoll, Karen Weigert, Matt Weinhold
PRODUCERS Peter Byck, Arteis Joujowsky, Craig Sieben, Chisna Van Zyl, Karen Weigert GENRE
Documentary RATING Unrated RUNNING TIME 82 min. RELEASE DATE February 1 NY
Matthew Nestel says …
Do-good cinema is all the
rage. Activist documentaries
out to change the world
have pointed a spotlight at
car companies, slaughter
factories and pesticides;
their cinematic formula
is fueled guilt. But who
wants panic attacks when
they purchase a dozen
eggs? Carbon Nation points
no finger at the audience
in examining the costs of
fuel—not even a finger at
corporations, the easiest of
easy targets. Instead, this activist film aims to inspire innovation and
creativity. Its breezy take on the serious global energy crisis plays out
smartly and, as a result is positioned to enlist Me-Generation viewers.
CONTACT
Jackie Papier / Clay Way Media / jackiepapier@hotmail.com
112 BOXOFFICE PRO APRIL 2011

Loveless
Retro Romance
CAST Andrew Von Urtz, Cindy Chastain, Genevieve Hudson-
Price, Gary Wilmes DIRECTOR/SCREENWRITER Ramin Serry
PRODUCER Shauna Lyon GENRE Romantic Comedy RATING
Unrated RUNNING TIME 92 min. RELEASE DATE February 18 NY
Matthew Nestel says … Shouting pickup lines
in watering holes no longer attracts a harem
of honeys. At least, not anymore for Andrew
(Andrew von Urtz), a player with little movement
left in his curveball. Loveless follows the
crash-and-burn of this middle-aged dreamer:
he’s stuck in a monotonous day job but still
angles to land a deal directing his screenplay
and become the hotshot he thinks he deserves
to be. The clever windups and nimble writing
put this rom com nose-out in front of the pack,
making us invested in Andrew’s desperate
deeds even as he “auditions” aspiring actresses
in a series of one-night stands. (But we enjoy
it when he hits bottom.) The tale plays strong
and promises to keep tickets punched.
CONTACT
Ramin Serry / ramins@aol.com
Foreign Parts
Shakespeare in less than kingly conditions
DIRECTORS/SCREENWRITERs Véréna Paravel and J.P. Sniadecki PRODUCER J.P. Sniadecki GENRE Documentary RATING Unrated
RUNNING TIME 80 min. RELEASE DATE March 10 NY
Richard Mowe says … Winner
of the Best First Feature
award at the 2010 Locarno
Film Festival, this documentary
is very geographically
specific. Discreetly hidden
away in a tiny part of New
York between the new Citi
Field baseball stadium and
the Van Wyck overpass lies
a ramshackle collection
of auto-body repair shops
and other small businesses,
staffed by an extraordinarily multicultural cast of characters. This engrossing documentary
explores what happens when the march of “progress” comes knocking—a sentiment that
audiences should find has universal echoes. The high niche value of this film paired with
its engaging direction makes it a perfect candidate for sleeper success.
CONTACT
Véréna Paravel and J.P. Sniadecki
paravel@mit.edu and jpsniad@fas.harvard.edu
APRIL 2011 BOXOFFICE PRO 113

BOOK IT!
Rubber
Just another movie about a
sentient, murderous tire
DISTRIBUTOR Magnet Releasing CAST Stephen Spinella,
Jack Plotnick, Wings Hauser DIRECTOR/SCREENWRITER
Quentin Dupieux PRODUCER Julien Berlan GENRE Comedy
RATING R for some violent images and language.
RUNNING TIME 85 min. RELEASE DATE April 1 ltd.
Mark Keizser says … Someday
someone will write a thesis paper on
Quentin Dupieux’s Rubber that will
make Quentin Dupieux (right) laugh.
He will laugh because people will
read a lot of meaning into a film that
has just enough meaning to suggest
there’s infinitely more. At its most
basic, Rubber is about a tire that
comes to life and kills people
with its telekinetic etic powers.
It sounds like a comedic
short, yet Dupieux rides
it closer to the feature
length finish line than
you’d expect. The desert
setting, the self-aware
script, the bizarrely effective
anthropomorphizing
of the tire all combine
to create a knowingly
absurd horror/comedy/
thriller. Where Rubber
veers off the road is
that for all its giggly
moments and metawhatever,
it’s nev-
er quite funny or
scary enough.
Pleasure is
derived
strictly from
bearing
witness to
such devilish
and wellexecuted
inanity. it
If this isn’t a cult
item, the word has
lost all meaning. So
look for the hipster
Diaspora to insure
solid theatrical returns
in limited release.
Stu + Who?
Brother, can you spare a date?
DIRECTOR Stuart Archer CAST Stuart Archer, Eric Goldfarb PRODUCERS Stuart Archer, Eric Goldfarb GENRE Documentary RATING
Unrated RUNNING TIME 78 min.
Steve Ramos says … When Stuart Archer was 21, he accosted Roger Ebert at the Sundance
Film Festival and pressed a DVD of his movie into the critic’s hands. It worked. On national TV,
Ebert deemed his movie “good,” granting his benediction on his directing
career. But on the cusp of 30, his luck has stalled. “When I was 21, I thought I
was going to be as big as Spielberg, or bigger,” sighs Archer. At least he’s
still got moxie, plus an all-expenses-paid trip for two to Jamaica
that he won on a game show. Archer and friend Eric Goldfarb
hatch a plan to get attention with a chirpy documentary
about Archer’s quest to get a date for Jamaica, which means
pointing a camera at a series of random girls and inviting them
to Jamaica. Archer’s a ham play-acting for the lens, so it’s a welcome
reality check when a Venice Beach psychic and his family
wade in and tell the still-boyish aspirant who claims he’s never
been in love that it’s time to find himself something
real. Youthful, naive and avaricious, the doc suits the
mood of Gen-Y’ers and could play well on campuses
and film schools as most students could use
Archer’s motivation.
CONTACT
Stuart Archer / stupluswho@gmail.com
Skateland
Sweet nostalgia sets Skateland
apart
DISTRIBUTOR Freestyle Releasing CAST Shiloh Fernandez, Ashley
Greene, Heath Freeman, Taylor Handley, A.J. Buckley,
Melinda McGraw and Brett Cullen DIRECTOR Anthony Burns
SCREENWRITERS Anthony Burns, Brandon Freeman and Heath
Freeman PRODUCERS Anthony Burns, Justin Gilley, Nicholas
Jayanty, Victor Moyers, Brandon Freeman and Heath Freeman
GENRE Drama RATING PG-13 for violence, some sexuality,
language, substance abuse and smoking - involving teens.
RUNNING TIME 98 min. RELEASE DATE March 25 ltd.
Steve Ramos says … Filmmaker Anthony
Burns turns the clock back to 1983 for this
sweet coming of age drama, recreating a
small town in loving detail down to the
retro wardrobe of his teen characters and
the period details of their beloved hangout:
the town roller rink. Twilight’s Ashley Greene
and Red Riding Hood’s Shiloh Fernandez are
two of the Texas teens slowly learning that
they’re on a road to nowhere. Handsome but
thin, Skateland premiered in the U.S. Dramatic
Competition of Sundance 2010 and went on to
play SXSW and beyond, opening now via a platform
release from distributor-for-hire outfit Freestyle
Releasing.
114 BOXOFFICE PRO APRIL 2011

The Four Times
Le Quattro Volte
Impressive, but irritating
DISTRIBUTOR Lorber Films CAST Giuseppe Fuda, Bruno Timpano,
Nazareno Timpano DIRECTOR/SCREENWRITER Michelangelo
Frammartino PRODUCERS Philippe Bober, Marta
Donzelli, Elda Guidinetti, Gabriella Manfré, Susanne Marian,
Gregorio Paonessa, Andres Pfäffli GENRE Drama/Documentary;
Italian-language, subtitled RATING Unrated RUN-
NING TIME 88 min. RELEASE DATE March 30 NY, April 15 ltd.
Vadim Rizov says … The title Le Quattro
Volte translates to The Four Times, which is
the key to what Michelangelo Frammartino’s
hybrid-documentary UFO-of-a-film
is up to. Frammartino runs through the
Italian countryside, transforming man into
the four parts of the natural world: the first
time the subject is human, the second it’s
animal, the third it’s vegetable and lastly it’s
mineral. Viewers will pick up on his “point”
even without the film’s epically ponderous
press kit with ten-plus pages of explanation
and context. Alternately beguiling
and actively irritating, Frammartino’s second
feature is too uneven to recommend
wholeheartedly, but contains so many
(continued on page 116)
FOURTH TIME’S A CHARM
Human, animal, vegetable and mineral star in this Italian scrambler
APRIL 2011 BOXOFFICE PRO 115

BOOK IT!
individually fascinating
movies that
attention should
be paid. Commercial
prospects for
the dialogue-free
film are minimal,
though pretty nature
scenery, plenty
of animals and an
occasionally wry
sense of humor
should help bring
in older audience
who doesn’t know
what they’re in for.
Source
Code
Sci-fi Speed
THEY SHALL HAVE THEIR REWARD
The settlers of Meek’s Reward
DISTRIBUTOR Summit Entertainment CAST Jake Gyllenhaal,
Vera Farmiga, Michelle Monaghan, Jeffrey Wright DIREC-
TOR Duncan Jones SCREENWRITER Ben Ripley PRODUCERS
Mark Gordon, Phillipe Rousselet, Jordan Wynn GENRE
Action/Science Fiction RATING PG-13 for some violence including
disturbing language RUNNING TIME 93 min. RELEASE
DATE April 1, 2011
Pete Hammond says … A Hitchcockian
thriller with a bit of Unstoppable and a little
Unknown, Source Code is a pulse-pounding
flick about a decorated soldier who wakes
up in the body of another man and is thrust
into a clock-ticking plot to find the mysterious
bomber of a Chicago commuter train.
With the capable Jake Gyllenhaal in the lead
and good support from Vera Farmiga and
Michelle Monaghan, this nifty nail-biter
could do nice spring business at the box
office.
In a Better World
Haevnen
Vet Susanne Bier is at her best
DISTRIBUTOR Sony Pictures Classics CAST Mikael Persbrandt,
Trine Dyrholm, Ulrich Thomsen, Markus Rygaard and William
Jøhnk Juel Nielsen DIRECTOR Susanne Bier SCREENWRIT-
ERS Susanne Bier and Anders Thomas Jensen PRODUCERS
Sisse Graum Jørgensen GENRE Drama; Danish-language,
subtitled RATING R for violent and disturbing content some
involving preteens, and for language. RUNNING TIME 119
min. RELEASE DATE April 1 NY/LA
Steve Ramos says … In a Better World (Haevnen),
by Danish filmmaker Susanne Bier, is
an artistically mature work with pitch-perfect
performances from her ensemble cast.
This heartbreaking family saga showcases
Bier’s talent mixing political themes and
personal dramas into rich and substantial
storytelling, with good camerawork to
boot—and for it, she won the Foreign Language
Academy Award. Her tenth feature
takes the coming of age story of two teenage
boys and weaves in adult themes involving
courage and political correctness. Bier also
collaborates with her longtime scriptwriter
Anders Thomas Jensen for this story of broken
families, absentee fathers, frightened
boys and so much more. Box office is very
promising.
Meek’s Cutoff
Days of Heaven for today
DISTRIBUTOR Oscilloscope Pictures CAST Michelle Williams,
Bruce Greenwood, Will Patton, Zoe Kazan, Paul Dano,
Shirley Henderson, Neal Huff, Tommy Nelson DIRECTOR
Kelly Reichardt SCREENWRITER Jonathan Raymond PRODUC-
ERS Elizabeth Cuthrell, Neil Kopp, Anish Savjani, David
Urrutia GENRE Western RATING PG for some mild violent
content, brief language and smoking. RUNNING TIME 104
min. RELEASE DATE April 8 NY
Steve Ramos says … Indie filmmaker Kelly
Reichardt steadily gains more admirers
as home video audiences discover her feature
films River of Grass (’94), Old Joy (’06)
and Wendy and Lucy (’09). Reuniting with
screenwriter and frequent collaborator Jonathan
Raymond and Wendy and Lucy star
Michelle Williams, Reichardt’s first period
drama (a Western no less) has the attention
of the independent film community. Epic
in scope, and featuring a powerful lead performance
by Williams,
Reichardt
does justice to the
myth of the wagon
train settlers and
makes a Western
every bit as beautiful
and poetic as
Terrence Malick’s
Days of Heaven—
and thankfully a
bit more energetic.
Purchased by Oscilloscope
Laboratories
after its North
American premiere
at the 2010 Toronto
International Film
Festival, Meek’s Cutoff
will out-perform
the modest box
office of Wendy and Lucy and continue to
build momentum for this masterful filmmaker.
The Princess of
Monpensier
La princesse de
Monpensier
A tricky time to be French
DISTRIBUTOR IFC Films CAST Grégoire Leprince-Ringuet, Mélanie
Thierry, Gaspard Ulliel, and Lambert Wilson, Raphaël
Personnaz, Michel Vuillermoz. Philippe Magnan DIRECTOR
Bertrand Tavernier SCREENWRITERS Jean Cosmos, François-
Olivier Rousseau, Bertrand Tavernier PRODUCERS Eric Heumann,
Frédéric Bourboulon, Eric Heumann GENRE Costume
drama; French-language, subtitled RATING Unrated RUN-
NING TIME 139 min. RELEASE DATE April 15 ltd.
Richard Mowe says … Painted on an epic
canvas, this French historical drama by
veteran director Bertrand Tavernier tells of
forbidden love during the Catholic vs. Protestant
religious wars of the 16th century.
Despite its period trappings, Princess boasts
as its heroine a thoroughly “modern” young
woman (a luminous Mélanie Thierry) who
has to choose between her duty and her
husband. Although lengthy (close to 140
minutes) it sustains interest and feeds the
emotions. Without any internationally recognized
names, however, it may be a tough
sell beyond the obvious Francophile market.
The film doesn’t offer much background on
the history it reveals, so marketing to local
historical societies could boost attention
and turn a screening into an event.
116 BOXOFFICE PRO APRIL 2011

Incendies
Les miserables
DISTRIBUTOR Sony Pictures Classics CAST Lubna Azabal,
Mélissa Désormeaux-Poulin, Maxim Gaudette,
Rémy Girard, Abdelghafour Elaaziz, Allen Altman
DIRECTOR/SCREENWRITER Denis Villeneuve PRODUC-
ERS Luc Déry and Kim McCraw GENRE Drama;
French and Arabic-language, subtitled RATING R
for some strong violence and language. RUNNING
TIME 130 min. RELEASE DATE April 22 ltd.
EXPORTING
RAYMOND
From Russia with love
DISTRIBUTOR Samuel Goldwyn Company DIRECTOR/
SCREENWRITER Philip Rosenthal PRODUCERS Jim Czarnecki,
Philip Rosenthal GENRE Documentary RATING
PG for brief language and smoking. RUNNING TIME 86
min. RELEASE DATE April 29 ltd.
Ed Scheid says … In this French-
Canadian drama, a family’s secrets are
tied up in the tragedies of a war-ravaged
Middle Eastern country. A sister
and brother investigate their mother’s
past in a compelling mystery that
blossoms into an emotionally intense
story of survival and identity. Director
Denis Villeneuve has adapted the play
(with the English title Scorched) and
enlisted Wajdi Mouawad to provide
riveting cinematic images. A standing
ovation at the Telluride Film Festival
is evidence of the film’s impact—and
potential to inspire strong word of
mouth. A nominee for the Foreign
Language Film Oscar, Incendies should
draw plenty of attention.
Pete Hammond says … For nine
seasons, Phil Rosenthal wrote and
produced Everybody Loves Raymond,
one of TV’s most successful sitcoms.
But despite knowing everything about
Everybody, the Emmy winner had no
idea what he was in for when Sony
decided to do a Russian version of
the show and sent Phil to Moscow as
the consultant. Knowing this could be
interesting, Rosenthal took cameras
along and the result is this hilarious
docu-comedy that, in the context of
trying to recreate a TV show, reveals a cultural bridge as comical as it is eye-opening.
If Goldwyn takes its time and lets word of mouth take hold, this could be a sleeper hit.
As a companion to DVD sets of the American Raymond show, this could also have a
long afterlife.
You’re not alone!
LICE
MOLD
GERMS
BED BUGS
FLEAS
BACTERIA
VIRUSES
®
800 359-4913 • STERIFAB.COM
APRIL 2011 BOXOFFICE PRO 117

BOOKING GUIDE
Action = Act Arthouse = Art Documentary = Doc Family = Fam Horror = Hor
Adventure = Adv Biography = Bio Drama = Dra Fantasy = Fan Kids = Kids
Animated = Ani Comedy = Com Epic = Epic Foreign Language = FL Lesbian, gay, bisexual, transgend. = LGBT
FILM RELEASE DATE STARS DIRECTOR(S) RATING GENRE RT FORMAT
DISNEY 818 560 1000 / ask for Distribution / 212 536 6400
AFRICAN CATS Fri, 4/22/11
Alastair Fothergill
Keith Scholey
NR Doc Quad
PROM Fri, 4/29/11 Danielle Campbell, Aimee Teegarden Joe Nussbaum PG Com/Teen/Drama Quad
PIRATES OF THE CARIBBEAN: ON STRANGER TIDES Fri, 5/20/11 Johnny Depp, Penelope Cruz Rob Marshall NR Act/Adv
Digital 3D/IMAX/Quad/
Scope/DTS/SDDS
CARS 2 Fri, 6/24/11 Owen Wilson, Bonnie Hunt Brad Lewis/John Lasseter NR Com/Fam Digital 3D/IMAX
WINNIE THE POOH Fri, 7/15/11 Craig Ferguson, Jim Cummings
Stephen J. Anderson/
Don Hall
G Ani/Fam Quad
THE HELP Fri, 8/12/11 Bryce Dallas Howard, Emma Stone Tate Taylor NR Dra
FRIGHT NIGHT Fri, 8/19/11 Colin Farrell, Toni Collette Craig Gillespie NR Com/Hor Digital 3D
REAL STEEL Fri, 10/7/11 Hugh Jackman, Evangeline Lilly Shawn Levy NR Act/Dra Imax
THE MUPPETS Wed, 11/23/11 Jason Segel, Amy Adams James Bobin NR Com/Fam
WAR HORSE Wed, 12/28/11 Benedict Cumberbatch,Emily Watson Steven Spielberg NR Adv/Dra Quad
FILM DISTRICT Deborah Johnson / djohnson@fi lmdistrict.com
INSIDIOUS Fri, 4/1/11 Patrick Wilson, Rose Byrne James Wan PG13 Horror
DON’T BE AFRAID OF THE DARK Fri, 8/12/11 Katie Holmes, Guy Pearce Troy Nixey R Hor/Sus Dolby Digital/DTS/SDDS
DRIVE Fri, 9/16/11 Ryan Gosling, Carey Mulligan Nicolas Winding Refn NR Act/Dra
LOCKOUT Fri, 2/24/12 Guy Pearce, Maggie Grace
James Mather, Stephen
St. Leger
NR sci-fi -/action
FOCUS Christopher Ustaszewski / 818 777 3071
HANNA Fri, 4/8/11 Cate Blanchett, Saoirse Ronan Joe Wright PG-13 Adv/Thr DTS/Dolby SRD/Scope
BEGINNERS
Fri, 6/3/11 LTD.
Ewan McGregor, Christopher
Plummer
Mike Mills R Dra/Gay Interest DTS/Dolby SRD/Flat
ONE DAY Fri, 7/8/11 LTD. Anne Hathaway, Jim Sturgess Lone Scherfi g NR Dra/Comedy/Rom Scope/DTS/Dolby SRD
THE DEBT Wed. 8/31/11 Hellen Mirren, Sam Worthington John Madden R Drama/Sus 113 Scope
FOX 310 369 1000 / 212 556 2400
RIO Fri, 4/15/11 Anne Hathaway, Jesse Eisenberg Carlos Saldanha PG Ani/CGI 3D/Scope/Quad
DUM MAARO DUM Fri, 4/22/11 LTD. Abishek Bachchan, Bipasha Basu Rohan Sippy NR Thr/Foreign
WATER FOR ELEPHANTS Fri, 4/22/11 Reese Witherspoon, Robert Pattinson Francis Lawrence NR Dra
X-MEN: FIRST CLASS Fri, 6/3/11 James McAvoy, Michael Fassbender Matthew Vaughn NR Act/SF/Thr Dolby
MR. POPPER’S PENGUINS Fri, 6/17/11 Jim Carrey, Carla Gugino Mark Waters NR Com/Fam
MONTE CARLO Fri, 7/1/11 Selena Gomez, Leighton Meester Tomas Bezucha PG Adv/Com/Rom
THE SITTER Fri, 8/5/11 Jonah Hill, Ari Graynor David Gordon Green NR Com
WHAT’S YOUR NUMBER? Fri, 9/30/11 Anna Faris, Chris Evans Mark Mylod R Com
THE BIG YEAR Fri, 10/14/11 Steve Martin, Jack Black David Frankel NR Com
NOW Fri, 10/28/11 Justin Timberlake, Amanda Seyfried Andrew Niccol NR SF/Thr
RISE OF THE APES Wed, 11/23/11 James Franco, Freida Pinto Rupert Wyatt NR Adv/Act/SF
ALVIN AND THE CHIPMUNK: CHIPWRECKED Fri, 12/16/11 Jesse McCartney, Amy Poehler Mike Mitchell NR And/Ani 3D
WE BOUGHT A ZOO Fri, 12/23/11 Matt Damon, Scarlett Johansson Cameron Crowe NR Com/Dra
FOX SEARCHLIGHT 310 369 1000
WIN WIN Fri, 3/18/11 LTD. Paul Giamatti, Melanie Lynskey Thomas McCarthy R Com 106
THE TREE OF LIFE Fri, 5/27/11 LTD. Sean Penn, Brad Pitt Terrence Malick PG-13 Dra/Fan
HOMEWORK Fri, 6/17/11 LTD. Emma Roberts, Freddie Highmore Gavin Weisen NR Rom 84
SNOW FLOWER AND THE SECRET FAN Fri, 7/15/11 LTD. Li Bingbing, Jeon Ji-Hyun Wayne Wang NR Dra/Hist
LIONSGATE 310 449 9200
I’M NOT YOU, I’M ME aka No eres tu, soy yo Fri, 4/8/11 LTD. Eugenio Derbez, Martina Garcia Alejandro Springall NR Rom/Com/Foreign 99
TYLER PERRY’S MADEA’S BIG HAPPY FAMILY Fri, 4/22/11 Tyler Perry, Loretta Devine Tyler Perry NR Com/Dra
GO FOR IT Fri, 5/13/11 LTD. Aimee Garcia, Gina Rodriguez Carmen Marron NR Dra
ONE FOR THE MONEY Fri, 7/8/11 Katherine Heigl, John Leguizamo Julie Ann Robinson NR Act/Rom/Com
CONAN THE BARBARIAN Fri, 8/19/11 Jason Momoa, Stephen Lang Marcus Nispel NR Act/Adv/Fan 3D
WARRIOR Fri, 9/9/11 Tom Hardy, Nick Nolte Gavin O’Connor PG13 Act/Dra Scope
ABDUCTION Fri, 9/23/11 Taylor Lautner, Lily Collins John Singleton NR Act/Sus
DIBBUK BOX Fri, 10/28/11 Jeffrey Dean Morgan, Kyra Sedgwick Ole Bornedal NR Hor/Thriller
PARAMOUNT 323 956 5575
THOR Fri, 5/6/11 Chris Hemsworth, Natalie Portman Kenneth Branagh NR Act/Adv 3D
KUNG FU PANDA: THE KABOOM OF DOOM Thu, 5/26/11 Jack Black, Dustin Hoffman Jennifer Yuh NR Ani/Com/Fam/Act Digital 3D/DTS/SDDS/Dolby
SUPER 8 Fri, 6/10/11 Elle Fanning, Amanda Michalka J.J. Abrams NR SF
TRANSFORMERS: DARK OF THE MOON Fri, 7/1/11 Shia LaBeouf, Josh Duhammel Michael Bay NR Act/Adv/SF
3D/IMAX/Dolby Digital/
DTS/SDDS
CAPTAIN AMERICA: THE FIRST AVENGER Fri, 7/22/11 Chris Evans, Hayley Atwell Joe Johnston NR
Act/Adv/Thriller/
SF
FOOTLOOSE Fri, 10/14/11 Julianne Hough, Dennis Quaid Craig Brewer PG-13 Com/Dra/Mus
PARAMORMAL ACTIVITY 3 Fri, 10/21/11 NR Hor/Sus
PUSS IN BOOTS Fri, 11/4/11 Antonio Banderas, Walt Dohrn Chris Miller NR Adv/Ani/Com/Fan 3D
MISSION IMPOSSIBLE: GHOST PROTOCOL Fri, 12/16/11 Tom Cruise, Simon Pegg Brad Bird NR Act IMAX
THE ADVENTURES OF TIN TIN: SECRET OF THE UNICORN Fri, 12/23/11 Daniel Craig, Jamie Bell Steven Spielberg NR Ani/Adv/Fam/Mys 3D
RELATIVITY MEDIA Mara Buxbaum 323-822-4800
TAKE ME HOME TONIGHT Fri, 3/4/11 Topher Grace, Anna Faris Michael Dowse R Com/Dra 98 Scope/Quad
LIMITLESS Fri, 3/18/11 Robert De Niro, Abbie Cornish Neil Burger PG13 Act/Sus/Thriller 106 Scope/Quad
JUDY MOODY AND THE NOT BUMMER Fri, 6/10/11 Heather Graham, Jaleel White John Schultz NR Com
UNTITLED 3D SHARK THRILLER Fri, 9/2/11 Sara Paxton, Alyssa Diaz David R. Ellis NR Hor/Thriller 3D
IMMORTALS Fri, 11/11/11 Henry Cavill, Mickey Rourke Tarsem Singh NR Act/Dra/Fan 3D/Quad
ROADSIDE ATTRACTIONS 415-591-9614
THE CONSPIRATOR Fri, 4/15/11 Evan Rachel Wood, James McAvoy Robert Redford PG13 Dra/Hist 122 Scope/Dolby SRD
EVERYTHING MUST GO Fri, 5/6/11 LTD. Will Ferrell, Rebecca Hall Dan Rush NR Dra/Com 96 Scope/Dolby SRD
ROCKY MOUNTAIN PICTURES Ron@rockymtnpictures.com
THE LION OF JUDAH Fri, 3/25/11 LTD. Ernest Borgnine, Leon Clingman Deryck Broom/Roger Hawkins PG Ani/Fam 87 3D/Digital Scope/Stero
THE 5TH QUARTER Fri, 3/25/11 LTD. Aidan Quinn, Andie MacDowell Rick Bieber PG13 Drama/Sport 93
ATLAS SHRUGGED Fri, 4/15/11 LTD. Taylor Schilling, Grant Bowler Paul Johansson PG13 Drama/Mys/SF
THE LAST OUNCE OF COURAGE Fri, 11/11/11 Fred Williamson, Jennifer O’Neil
Darrell Campbell/Kevin
McAfee
NR Drama 102
118 BOXOFFICE PRO APRIL 2011

Live Action = LA Performance = Per Science Fiction = SF Suspense = Sus Urban = Urban
Martial Arts = MA Political = Poli Stop-Motion Animation = SMAni 3D = 3D War = War
Mystery = Mys Romance = Rom Sports = Spr Thriller = Thr Western = Wes
FILM RELEASE DATE STARS DIRECTOR(S) RATING GENRE RT FORMAT
SONY 310 280 8000 / 212833 8500
SOUL SURFER Fri, 4/8/11 AnnaSophia Robb, Dennis Quaid Sean McNamara PG Act/Dra 106 Scope/Quad
BORN TO BE A STAR Fri, 4/22/11 Christina Ricci, Stephen Dorff Tom Brady NR Com
JUMPING THE BROOM Fri, 5/6/11 Paula Patton, Tasha Smith Salim Akil NR Comedy
PRIEST Fri, 5/13/11 Paul Bettany, Maggie Q Scott Charles Stewart NR Adv/Hor/SF/Thriller 3D/SDDS/DTS/Dolby Digital
BAD TEACHER Fri, 6/24/11 Cameron Diaz, Jason Segel Jake Kasdan NR Com Dolby Dig/DTS/SDDS
ZOOKEEPER Fri, 7/8/11 Kevin James, Rosario Dawson Frank Coraci PG Com/Fam/Rom
FRIENDS WITH BENEFITS Fri, 7/22/11 Mila Kunis, Emma Stone Will Gluck NR Com
THE SMURFS Wed, 8/3/11 Jayma Mays, Neil Patrick Harris Raja Gosnell NR Ani/Fam 3D/SDDS/DTS/Dolby Digital
30 MINUTES OR LESS Fri, 8/12/11 Danny McBride, Aziz Ansari Ruben Fleischer NR Adv/Com
COLOMBIANA Fri, 9/2/11 Zoe Saldana, Michael Vartan Olivier Megaton NR Act/Adv/Dra/Thr
STRAW DOGS Fri, 9/16/11 Alexander Skarsgard, James Marsden Rod Lurie NR Thriller
MONEYBALL Fri, 9/23/11 Brad Pitt, Jonah Hill Bennett Miller NR Dra
ANONYMOUS Fri, 9/30/11 Xavier Samuel, Rhys Ifans Roland Emmerich NR Dra/Hist
COURAGEOUS Fri, 9/30/11 LTD. Alex Kendrick, Kevin Downes Alex Kendrick PG13 Dra
JACK AND JILL Fri, 11/11/11 Adam Sandler, Katie Holmes Dennis Dugan NR Com/Rom
ARTHUR CHRISTMAS Wed, 11/23/11 James McAvoy, Bill Nighy Barry Cook/Sarah Smith NR Ani 3D
THE GIRL WITH THE DRAGON TATTOO Wed, 12/21/11 Daniel Craig, Rooney Mara David Fincher R Dra/Thriller
PREMIUM RUSH Fri, 1/13/12 Joseph Gordon-Levitt, Jamie Chung David Koepp NR Act/Thr/Sus
UNDERWORLD 4: NEW DAWN Fri, 1/20/12 Kate Beckinsale, Sandrine Holt Man Marlind, Bjorn Stein NR Act/Fan/Horror 3D
THE VOW Fri, 2/10/12 Channing Tatum, Rachel McAdams Michael Sucsy NR Rom/Dra
SONY PICTURES CLASSICS Tom Prassis / 212 833 8851
IN A BETTER WORLD
Fri, 4/1/11
EXCL. NY/LA
Mikael Persbrandt, Trine Dyrholm Susanne Bier R Dra/Foreign 119
Scope/Dolby SRD/Dolby
Digital
INCENDIES
Fri, 4/22/11
EXCL. NY/LA
Lubna Azabal, Melissa Desormeaux-
Poulin
Denis Villeneuve R Dra/Foreign 130 Flate/Dolby SRD
POM WONDERFUL PRESENTS THE GREATEST MOVIE
EVER SOLD
Fri, 4/22/11
EXCL. NY/LA
Morgan Spurlock NR Doc 106
MIDNIGHT IN PARIS
Fri, 5/20/11
EXCL. NY/LA
Rachel McAdams, Michael Sheen Woody Allen NR Rom/Com
LIFE, ABOVE ALL
Fri, 7/15/11
EXCL. NY/LA
Khomotso Manyaka, Harriet Lenabe Oliver Schmitz PG13 Dra/Foreign
SUMMIT 310 309 8400
SOURCE CODE Fri, 4/1/11 Jake Gyllenhaal, Vera Farmiga Duncan Jones PG13 Dra/SF/Thriller
THE BEAVER Fri, 5/6/11 LTD. Mel Gibson, Jodie Foster Jodie Foster PG-13 Com/Dra
A BETTER LIFE Fri, 6/24/11 Demian Bichir, Nancy Lenehan Chris Weitz PG13 Dra
THE DARKEST HOUR Fri, 8/5/11 Emile Hirsch, Olivia Thirlby Chris Gorak NR SF/Thr/Hor/Act 3D
50/50 Fri, 9/30/11 Seth Rogen, Joseph Gordon-Levitt Jonathan Levine NR Com/Dra
THE THREE MUSKETEERS Fri, 10/14/11 Christoph Waltz, Logan Lerman Paul W.S. Anderson NR Act/Adv/Rom 3D
THE TWILIGHT SAGA: BREAKING DAWN Fri, 11/18/11 Kristen Stewart, Robert Pattinson Bill Condon NR Thr/Rom/Fan/Dra
UNIVERSAL 818 777 1000 / 212 445 3800
HOP Fri, 4/1/11 Russell Brand, James Marsden Tim Hill NR CGI/Com Flat/Quad
YOUR HIGHNESS Fri, 4/8/11 James Franco, Natalie Portman David Gordon Green R Com/Fan/Adv/Thir 102 Scope/Quad
FAST FIVE Fri, 4/29/11 Vin Diesel, Paul Walker Justin Lin NR Act/Cri/Dra/Thri Scope/Quad/IMAX
BRIDESMAIDS Fri, 5/13/11 Kristen Wiig, Rose Byrne Paul Feig R Com Scope/Quad
LARRY CROWNE Fri, 7/1/11 Tom Hanks, Julia Roberts Tom Hanks NR Dra/Com Quad
COWBOYS & ALIENS Fri, 7/29/11 Oliva Wilde, Daniel Craig Jon Favreau NR Act/SF/Thr/Western Quad/Dolby Dig/DTS/SDDS
THE CHANGE-UP Fri, 8/5/11 Jason Bateman, Ryan Reynolds David Dobkin NR Com Quad
JOHNNY ENGLISH REBORN Fri, 9/16/11 Rowan Atkison, Rosamund Pike Oliver Parker NR Com/Foreign
DREAM HOUSE Fri, 9/30/11 Daniel Craig, Rachel Weisz Jim Sheridan NR Sus/Dra/Mys 110 Quad/Scope
WANDERLUST Fri, 10/7/11 Paul Rudd, Jennifer Aniston David Wain NR Com Quad
THE THING Fri, 10/14/11 Mary Elizabeth Winstead, Ulrich Thomsen Matthijs Van Heijningen Jr. NR Hor/Mys/SF/Thr Quad/Scope
TOWER HEIST Fri, 11/4/11 Ben Stiller, Eddie Murphy Brett Ratner NR Act/Com/Crime Scope/Quad
IMMORTALS Fri, 11/11/11 Henry Cavill, Mickey Rourke Tarsem Singh NR Fan/Adv 3D/Quad
EVERYBODY LOVES WHALES Fri, 1/13/12 John Krasinski, Drew Barrymore Ken Kwapis NR Dra/Rom Quad
SAFE HOUSE Fri, 2/10/12 Denzel Washington, Ryan Reynolds Daniel Espinosa NR Act/Hor/Thr/Sus Quad
WARNER BROS. 818 954 6000 / 212 484 8000
ARTHUR Fri, 4/8/11 Helen Mirren, Russell Brand Jason Winer NR Com Quad
SOMETHING BORROWED Fri, 5/6/11 Kate Hudson, Ginnifer Goodwin Luke Greenfi eld PG13 Com/Rom Quad
THE HANGOVER 2 Thu, 5/26/11 Bradley Cooper, Ed Helms Todd Phillips NR Com Quad
GREEN LANTERN Fri, 6/17/11 Ryan Reynolds, Blake Lively Martin Campbel NR Act/SF 3D
HORRIBLE BOSSES Fri, 7/8/11 Jason Bateman, Jennifer Aniston Seth Gordon NR Com Quad
HARRY POTTER AND THE DEATHLY HALLOWS: PART 2 Fri, 7/15/11 Alan Rickman, Daniel Radcliffe David Yates NR Adv/Fan/Act 3D/IMAX
CRAZY, STUPID, LOVE. Fri, 7/29/11 Steve Carell, Ryan Gosling Glenn Ficarra/John Requa PG13 Com/Dra/Rom Quad
FINAL DESTINATION 5 Fri, 8/26/11 Emma Bell, David Koechner Steven Quale NR Hor/Sus/Thr 3D/Quad
THE APPARITION Fri, 9/9/11 Ashley Greene, Sebastian Stan Todd Lincoln NR Hor/Sus/Thr Quad
DOLPHIN TALE Fri, 9/16/11 Morgan Freeman, Ashley Judd Charles Martin Smith NR Adv/Fam 3D/Quad
CONTAGION Fri, 10/21/11 Matt Damon, Gwyneth Paltrow Steven Soderbergh NR Act/Thr/Dra/SF 3D/IMAX/Quad
HAPPY FEET 2 IN 3D Fri, 11/18/11 Brad Pitt, Matt Damon George Miller NR Ani/Com/Fam/Mus 3D/IMAX
PROJECT X Wed, 11/23/11 Miles Teller, Jonathan Daniel Brown Nima Nourizadeh NR Com Quad
NEW YEAR’S EVE Fri, 12/9/11 Ashton Kutcher, Lea Michele Garry Marshall NR Rom/Com Quad
SHERLOCK HOLMES: A GAME OF SHADOWS Fri, 12/16/11 Robert Downey Jr., Jude Law Guy Ritchie NR Adv/Act/Com Quad
JOYFUL NOISE Fri, 1/13/12 Queen Latifah, Dolly Parton Todd Graf NR Com/Dra/Mus Quad
THE WEINSTEIN CO. / DIMENSION 646 862 3400
SCREAM 4 Fri, 4/15/11 Neve Campbell, David Arquette Wes Craven NR Hor/Sus/Mys/Thr Dolby Dig/DTS/SDDS
APOLLO 18 Fri, 4/22/11 Gonzalo López-Gallego NR Hor/SF/Thr
HOODWINKED TOO! HOOD VS. EVIL Fri, 4/29/11 Hayden Panettiere, Joan Cusack, Michael Disa PG Ani/Act 85 3D/Flat/DTS/Dolby SR
SPY KIDS 4: ALL THE TIME IN THE WORLD Fri, 8/19/11 Antonio Banderas, Alexa Vega Robert Rodriguez NR
Act/Adv/Com/
Fam/SF
3D
PIRANHA 3DD Fri, 9/16/11 Neil Hopkins, Aubrey O’Day John Gulager NR Hor 3D
APRIL 2011 BOXOFFICE PRO 119

BOXOFFICE
CIRCUIT PLACE
Theatre equipment
supplier specializing
in full line theatre
stage and drape for
new construction
and remodels. Digital
installation available.
816-296-3354 offi ce
916-296-7733 fax
www.cloudindustries.com
120 BOXOFFICE PRO APRIL 2011

AD INDEX
ADAPTIVE MICRO SYSTEMS
7840 N 86th ST
Milwaukee, WI 53224
800-558-4187
www.adaptivedisplays.com
PG 124
ALCONS AUDIO B.V.
De Corantijn 69
1689 AN, Zwaag
The Netherlands
+ 31 (0) 229 28 30 90
info@alconsaudio.com
www.alconsaudio.com
PG 121
ALL CINEMA SALES & SERVICES
120 Laurel Road
East Northport, NY 11731
800-628-5788
mail@allcinemsales.com
www.allcinemasales.com
PG 115
BARCO
Media & Entertainment Division
11101 Trade Center Dr.
Rancho Cordova 95670, CA
916-859-2500
sales.digitalcinema.us@barco.com
www.barco.com
PG 59
CARDINAL SOUND & MOTION
PICTURE SYSTEMS
6330 Howard Ln.
Elkridge, MD 21075
Cathy Rockman
410-796-5300
cardinal@cardinalsound.com
www.cardinalsound.com
PG 116
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 39
CINEMA CONCEPTS
2030 Powers Ferry Rd., Ste. 214
Atlanta, GA 30339
Stewart Harnell
770-956-7460
stewart@cinemaconcepts.com
www.cinemaconcepts.com
PG 95
CINEMA SERVICE COMPANY
9400 N.Central Expressway
Ste. 320
Dallas, TX
info@cinemaserviceco.com
www.cinemaserviceco.com
214-692-7555
PG 120
THE COCA-COLA COMPANY
P.O. Box 1734
Atlanta, GA 30301, USA
1 800 GET COKE
PG 35
DATASAT DIGITAL
9631 Topanga Canyon Place
Chatsworth, CA 91311
818-531-0003
www.datasatdigital.com
Inside back cover
DOLBY LABORATORIES
100 Potrero Ave.
San Francisco, CA 94103
Christie Ventura / 415-558-2200
cah@dolby.com
www.dolby.com
PG 7, 103
DOLPHIN SEATING
313 Remuda St.
Clovis, NM 88101
575-762-6468
www.dolphinseating.com
PG 113
DOREMI LABS
1020 Chestnut St.
Burbank, CA 91506
818-562-1101
www.doremicinema.com
PG 67
EDIFICE
1401 W. Morehead St.
Charlotte, NC 28208
Scott Fandel 704-332-0900
sfandel@edifice.com
www.edificeinc.com
PG 38
EFA PARTNERS
260 Madison Ave., 8th Fl.
New York, NY 10016
www.EFApartners.com
PG 89
FANDANGO
12200 West Olympic Blvd, Ste. 400
Los Angeles, CA 90064
Robert.Macias@Fandango.com
PG 105
FILMACK STUDIOS
1327 S. Wabash Ave.
Chicago, IL 60605-2574
Robert N. Mack
800-345-6225
inquiries@filmack.com
www.filmack.com
PG 104
FRANKLIN DESIGNS
208 Industrial Dr.
Ridgeland, MS 39157
601-853-9005
franklindesigns@aol.com
www.franklindesigns.com
PG 33
GDC TECHNOLOGY LLC
3500 W Olive Ave. Suite 940
Burbank, CA 91505
818-972-4370
www.gdc-tech.com
PG 97
GLASSFORM
P.O. Box 776
Batavia, IL 60510
Cyndi Gardner
800-995-8322
glassform@aol.com
PG 70
GOLDBERG BROTHERS, INC.
8000 East 40th Ave.
Denver, CO 80207
303-321-1099
www.goldbergbrothers.com
PG 123
GOLD MEDAL PRODUCTS
10700 Medallion Dr.
Cincinnati, OH 45241-4807
Erin Meyer / 513-769-7676
info@gmpopcorn.com
www.gmpopcorn.com
PG 120
HARKNESS SCREENS
Unit A, Norton Road
Stevenage, Herts
SG1 2BB
United Kingdom
+44 1438 725200
sales@harkness-screens.com
www.harkness-screens.com
PG 21, 49
HURLEY SCREEN
110 Industry Ln.
P.O. Box 296
Forest Hill, MD 21050
Gorman W. White
410-879-3022
info@hurleyscreen.com
www.hurleyscreen.com
PG 36
IRWIN SEATING
3251 Fruit Ridge N.W.
Grand Rapids, MI 49544
Bruce Cohen / 866-574-7400
sales@irwinseating.com
www.irwinseating.com
PG 65
JBL
400 Atlantic St., 15th Fl.
Stamford, CT 06901
203-328-3500
www.jbl.com
PG 87
KERNEL SEASONS
1958 N. Western Ave.
Chicago, IL 60647
Krystal LaReese-Gaul
773-292-4576
info@kernelseasons.com
www.kernelseasons.com
PG 102
MANUTECH
2080 Sunset Drive
Pacific Grove, CA 93950
800-676-2569
info@manutech.com
www.manutech.com
PG 00
MARCUS THEATRES CORP.
100 E. Wisconsin Ave., Ste. 2000
Milwaukee, WI 53202
414-905-1505
carlopetrick@marcustheatres.com
www.marcustheatres.com
PG 43
MAROEVICH, O’SHEA &
COUGHLAN
44 Montgomery St., 17th Fl.
San Francisco, CA 94104
Steve Elkins / 800-951-0600
selkins@maroevich.com
www.mocins.com
PG 3
MARS, INCORPORATED
100 International Drive
Mount Olive, NJ 07828
www.mars.com
PG 24
MASTERIMAGE 3D
4111 W. Alameda Ave. Suite 312
Burbank, CA 91505, USA
818-558-7900
www. masterimage3d.com
PG 77
MEYER SOUND
2832 San Pablo Ave.
Berkeley, CA 94702
510-486-1166
sales@meyersound.com
www.meyersound.com
PG 9
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 85
MOTION TECHNOLOGY, INC.
10 Forbes Rd.
Northborough, MA 01532
800-348-2976
www.mtiproducts.com
PG 106
NATIONAL TICKET COMPANY
P.O. Box 547
Shamokin, PA 17872
Ginger Seidel
ticket@nationalticket.com
www.nationalticket.com
PG 120
ODELL’S
8543 White Fir St. #D-1
Reno, NV 89523
Arthur Anderson / 775-323-8688
odells@popntop.com
www.popntop.com
PG 92
OMNITERM DATA
TECHNOLOGY
2785 Skymark Ave., Unit 11
Mississauga, ON L4W 4Y3
Greg Coman / 905-629-4757
gregcoman@omniterm.com
www.omniterm.com
PG 100
OSRAM SYLVANIA
100 Endicott St.
Danvers, MA 01923
978-750-2419
Christine Buckley
christine.buckley@sylvania.com
PG 63
PACKAGING CONCEPTS, INC.
9832 Evergreen Industrial Dr.
St. Louis, MO 63123
John Irace / 314-329-9700
jji@packagingconceptsinc.com
www.packagingconceptsinc.com
PG 107
PANAVISION 3D
DPVO THEATRICAL, LLC
21300 Victory Blvd. Ste.
640 Woodland Hills, CA 91367
818-316-2195
3d.panavision.com
PG 81
PARADIGM
550 3 Mile Road NW, Ste. B
Grand Rapids, MI 49544
616-785-5656
www.paradigmae.com
PG 120
PARAMOUNT
5555 Melrose Ave.
Los Angeles, CA 90038
Jody Timmerman
323-956-5000
www.paramount.com
PG 69, 71
PETER’S PRETZELS
Great Western Products
30290 U.S. Hwy. 72
Hollywood, AL 35752
800-239-2143
info@gwproducts.com
www.gwproducts.com
PG 109
PHILIPS LIGHTING
200 Clarendon St.
Boston, MA 02116
Dina Munchback
617-449-4127
www.philips.com
PG 13
PROCTOR COMPANIES
10497 Centennial Rd.
Littleton, CO 80127-4218
Bruce Proctor
303-973-8989
sales@proctorco.com
www.proctorco.com
PG 98
PROMOTION IN MOTION
3 Reuten Dr., P.O. Box 558
Closter, NJ 07624
Felicia Bompane
201-784-5800
mail@promotioninmotion.com
www.promotioninmotion.com
PG 41, 83
QSC
1665 MacArthur Blvd.
Costa Mesa, CA 92626
Francois Godfrey
714-754-6175
francois_godfrey@qscaudio.com
www.qscaudio.com
PG 46-47
QUBE CINEMA, INC.
4640 Lankershim Blvd., Ste. 601
North Hollywood, CA 91602-1844
818-392-8155
nigel@qubecinema.com
www.qubecinema.com
PG 15
READY THEATRE SYSTEMS
4 Hartford Blvd.
Hartford, MI 49057
Mary Snyder
865-212-9703x114
sales@rts-solutions.com
www.rts-solutions.com.com
PG 96
REAL D
100 N. Crescent Dr., Ste. 120
Beverly Hills, CA 90210
Scott Archambault
310-385-4021
www.reald.com
PG 51
REGAL CINEMAS
7132 Regal Ln.
Knoxville, TN 37918
Ted Hatfield
865-925-9606
www.regalcinemas.com
PG 37
RETRIEVER SOFTWARE
7040 Avenida Encinas
Ste. 104-363
Carlsbad, CA 92011
760-929-2101
www.retrieversoftware.com
PG 121
REYNOLDS & REYNOLDS
300 Walnut St., Ste. 200
Des Moines, IA 50309-2244
Darlene Fischer / 515-243-1724
info@reynolds-reynolds.com
www.reynolds-reynolds.com
PG 108
RICOS PRODUCTS
621 S. Flores
San Antonio, TX 78204
210-222-1415
info@ricos.com
www.ricos.com
PG 10
ROBERT L. POTTS ENTERPRISES
9023 E. Aqua Vista Dr.
Inverness, FL 34450
Robert Potts
423-562-5069
PG 123
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
BACK COVER
SENSIBLE CINEMA SOFTWARE
7216 Sutton Pl.
Fairview, TN 37062
Rusty Gordon / 615-799-6366
rusty@sensiblecinema.com
www.sensiblecinema.com
PG 124
SONY ELECTRONICS
One Sony Dr.
Park Ridge, NJ 07656
201-476-8603
www.sony.com/professional
Front cover, PG 5
STADIUM SAVERS
550 3 Mile Rd. N.W.
Grand Rapids, MI 49544
William Brunner
616-785-5598
www.stadiumsavers.com
PG 120
STERIFAB
NOBLE PINE PRODUCTS
P.O. box 41
Yonkers, NY 10710-0041
800-359-4913
sterifab@sterifab.com
www.sterifab.com
PG 117
STRONG CINEMA PRODUCTS
(Division of Ballantyne Inc.)
4350 McKinley St.
Omaha, NE 68112
Ray Boegner
402-453-4444
ray.boegner@btn-inc.com
www.ballantyne-omaha.com
PG 17
122 BOXOFFICE PRO APRIL 2011

TASTE OF
NATURE
SHARI CANDIES
Santa Monica, CA
310-396-4433
info@candyasap.com
www.candyasap.com
www.cookiedoughbites.com
PG 48
TECHNICOLOR
DIGITAL
Brett Fellman
(818) 260-4907
Brett.Fellman@technicolor.com
www.technicolordigitalcinema.com
PG 1
TEXAS DIGITAL
400 Technology Pkwy.
College Station, TX 77845
Romney Stewart
979-446-0173
www.txdigital.comh
PG 38
TEXAS INSTRUMENTS
12500 TI Boulevard
Dallas, TX 75243
www.dlp.com
PG 91
USHIO AMERICA, INC.
5440 Cerritos Ave.
Cypress, CA 90630
800-838-7446
www.ushio.com
PG 94
USL
181 Bonetti Dr.
San Luis Obispo, CA 93401
805-549-0161
usl@uslinc.com
www.uslinc.com
PG 11
VARIETY CLUBS
5757 Wilshire Blvd.
Ste. 445
Los Angeles, CA 90036
www.usvariety.org
PG 101
VIP CINEMA SEATING
PO Box 3668
Tupelo, MS 38803
662-841-5866
www. vipcinemaseating.com
PG 99
VISTA ENTERTAINMENT
SOLUTIONS LTD.
P.O. Box 8279
Symonds Street
Auckland, New Zealand
Meika Kikkert
011-649-357-3600
info@vista.co.nz
www.vista.co.nz
PG 29
WEST WORLD MEDIA
63 Copps Hill Rd.
Ridgefield, CT 06877
Brett West
888-737-2812
www.westworldmedia.com
PG 93
WHITE CASTLE
555 West Goodale St.
Columbus, OH 43215
Timothy Carroll
614-559-2453
carrollt@whitecastle.com
www.whitecastle.com
PG 16
WILL ROGERS INSTITUTE
10045 Riverside Drive, Third Floor
Toluca Lake, CA 91602
877-957-7575
www.wrinstitute.org
PG 111
APRIL 2011 BOXOFFICE PRO 123

CLASSIFIED ADS
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 & AUDIO. We offer
the best pricing on good used projection and sound
equipment. Large quantities available. Please visit
our website, www.asterseating.com, or call 1-888-
409-1414.
BOX OFFICE TICKETING AND CONCESSIONS
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.CINEMACONSULTANTSINTERNATIONAL.
COM. New and used projection and sound equipment,
theater seating, drapes, wall panels, FM transmitters,
popcorn poppers, concessions counters, xenon
lamps, booth supplies, cleaning supplies, more.
Call Cinema Consultants and Services International.
Phone: 412-343-3900; fax: 412-343-2992; sales@cinemaconsultantsinternational.com.
CY YOUNG IND. INC. still has the best prices for
replacement seat covers, out-of-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
OLD MARQUEE LETTERS WANTED Do you have
the old style slotted letters? We buy the whole pile.
Any condition. Plastic, metal, large, small, dirty,
cracked, painted, good or bad. Please call 800-545-
8956 or write mike@pilut.com.
MOVIE POSTERS WANTED: Collector paying TOP $$$
for movie posters, lobby cards, film stills, press books
and memorabilia. All sizes, any condition. Free appraisals!
CASH paid immediately! Ralph DeLuca, 157 Park
Ave., Madison, NJ 07940; phone: 800-392-4050; email:
ralph@ralphdeluca.com; www.ralphdeluca.com.
POSTERS & FILMS WANTED: Cash available for
movie posters and films (trailers, features, cartoons,
etc.). Call Tony 903-790-1930 or email postersandfilms@aol.com.
OLDER STEREO EQUIPMENT AND SPEAKERS,
old microphones, old theater sound systems and old
vacuum tubes. Phone Tim: 616-791-0867.
COLLECTOR WANTS TO BUY: We pay top money
for any 1920-1980 theater equipment. We’ll buy all
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 PRODUCTS LLC is
buying projectors, processors, amplifiers, speakers,
seating, platters. If you are closing, remodeling or
have excess equipment in your warehouse and want
to turn equipment into cash, please call 866-653-
2834 or email aep30@comcast.net. Need to move
quickly to close a location and dismantle equipment?
We come to you with trucks, crew and equipment, no
job too small or too large. Call today for a quotation:
866-653-2834. Vintage equipment wanted also! Old
speakers like Western Electric and Altec, horns, cabinets,
woofers, etc. and any tube audio equipment,
call or email: aep30@comcast.net.
AASA IS ASTER AUDITORIUM SEATING & AUDIO.
We buy and sell good used theater equipment. We
provide dismantling services using our trucks and
well-equipped, professional crew anywhere in the
United States. Please visit our website, www.asterseating.com,
or call 1-888-409-1414.
FOR SALE
Twin Theatre with four rentals in Zephyrhills, Fl
(NE of Tampa) Rental income is more than mortgage
payments. Appraised at $325,000 land & building. Next
in line for $60,000 improvement Grant. Excellent Draft
House possibility. larry.rutan@verizon.net. Cell 813-299-
0665.
Art Deco TWIN For Sale In Quaint Western New York
Town. NO COMPETITION. Colonial Home Located Behind
Theatre. $389K for Theatre Only. $459K For Both.
585-610-8640.
First run movie theater. Vibrant Vermont college
town. Vaudeville stage, 3 screens, 298 seats, renovated.
$850,000. 802-999-9077.
FOR SALE Independent owned & operated, eight-screen,
all stadium-seating theater complex located in suburban
Chicago. Completely renovated in 2004. Seating capacity
for 1,774 people within a 48,000-square-foot sqft building
on 5.32 acres. Preliminary site plan approval for expansion
of additional screens. Proximate to national/regional retail
and dining. Strong ticket and concession revenues. Excellent
business or investment opportunity. Contact Kevin
Jonas at 305-631-6303 for details.
FIVE-PLEX, FULLY EQUIPPED AND OPERATIONAL:
$735,000, land, bldg., equip., NW Wisconsin. Priced
$50,000 below appraised value. 715-550-9601.
THEATER FOR RENT 1,500 seating capacity. No hanging
balconies. Largest single screen in Chicagoland. Over
500,000 potential patrons, serving NW side of Chicago
and suburbs. Contact dkms72@hotmail.com.
THEATERS FOR SALE Three screens (370 seats), North
Florida. First-run, no competition 60 miles. Additional
large multipurpose room (75 seats), with HD projector on
13.5-by-7-foot screen for birthday parties, conferences,
receptions and café. Contact 850-371-0028.
HELP WANTED
GENERAL MANAGER IN TRAINING AT CARMIKE
CINEMAS All applicants must have prior managerial
experience in restaurant or theater, must be available to
relocate, no bankruptcy in past 7 years, pass a criminal/
credit check. This position requires working all holidays
and weekends. Salary position ($24K/yr start) with benefits.
Email resumes to tbauer@carmike.com, no phone
calls or faxes. EOE.
PARTNER AND/OR EXPERIENCED GM NEEDED for
ground floor opportunity in Arizona. New and popular
“Brew and View” concept in outstanding area. Contact
Stadiumtheatres@aol.com
CARMIKE THEATERS IS LOOKING FOR EXPERI-
ENCED MULTIPLEX THEATER MANAGERS FOR IM-
MEDIATE PLACEMENT. Candidates must have movie
theater management experience and be able to pass a
criminal and credit background check. We offer competitive
salaries and benefits. Please email resumes to tbauer@carmike.com.
GREAT ESCAPE THEATRES is a regional motion picture
exhibition company with 24 individual locations that
include 275 screens throughout the Midwestern United
States. Founded in 1997, Great Escape is one of the fastest-growing
movie theater operators in the country. We
are currently seeking a motivated individual to fill our position
as the chief financial officer or vice president of finance
and accounting. Please send resumes to amccart@
alianceent.com.
HELP improve movie-goer experiences and the industry,
go to movie-goer-rights.org or youtube.com/user/moviegoerrights
SERVICES
DULL FLAT PICTURE? RESTORE YOUR XENON RE-
FLECTORS! Ultraflat repolishes and recoats xenon reflectors.
Many reflectors available for immediate exchange.
(ORC, Strong, Christie, Xetron, others!) Ultraflat, 20306
Sherman Way, Winnetka, CA 91306; 818-884-0184.
FROM DIRT TO OPENING DAY. 20-plus years of theater
experience with the know-how to get you going. 630-417-
9792.
SEATING
AGGRANDIZE YOUR THEATER, auditorium, church or
school with quality used seating. We carry all makes of
used seats as well as some new seats. Seat parts are also
available. Please visit our website, www.asterseating.
com, or call 888-409-1414.
ALLSTATE SEATING specializes in refurbishing, complete
painting, molded foam, tailor-made seat covers, installations
and removals. Please call for pricing and spare
parts for all types of theater seating. Boston, Mass.; 617-
770-1112; fax: 617-770-1140.
DOLPHIN SEATING At www.dolphinseating.com, find
today’s best available new seating deals: 575-762-6468
Sales Office.
THEATERS WANTED
WE’LL MANAGE YOUR THEATER OR SMALL CHAIN
FOR YOU. Industry veterans and current exhibitors with
40-plus years’ experience. Will manage every aspect of
operations and maximize all profits for you. Call John
LaCaze at 801-532-3300.
WELL-CAPITALIZED, PRIVATELY HELD, TOP 50 THE-
ATER CHAIN is looking to expand via theater acquisitions.
We seek profitable, first-run theater complexes with
6 to 14 screens located anywhere in the USA. Please call
Mike at 320-203-1003 ext.105 or email: acquisitions@uecmovies.com
124 BOXOFFICE PRO APRIL 2011