BoxOffice® Pro - November 2012

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NOV 2012 

HOLIDAY 

2012 

OUR 

CRACK 

TEAM 

PREDICTS 

THE GROSSES 

THE 

TWILIGHT 

SAGA 

BEHIND 

THE 

FRANCHISE 

NEW 

PRODUCTS 

A DOZEN 

NEW OFFERINGS 

FOR YOUR 

CONSIDERATION 

Santa Claus is 

more than a legend in 

RISE OF THE 

THE 

SHOWEAST 

ISSUE 

THE 

CHAOS 

IN KARACHI 

FREE 

SPEECH & 

CINEMA 

UNITING 

TO FIGHT 

CONTENT 

THEFT 

THE OFFICIAL MAGAZINE OF THE NATIONAL ASSOCIATION OF THEATRE OWNERS

FOR ALL 

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NOV 


VOL. 148 NO. 11 

PG 66 BIG PICTURE 

RISE OF THE 

GUARDIANS 

DO YOU BELIEVE IN MAGIC? 

BOXOFFICE MEDIA 

CEO/PUBLISHER 

Peter Cane 

CREATIVE DIRECTOR 

Kenneth James Bacon 

PG 32 

SHOWEAST 


NEW PRODUCTS 

A dozen vendors 

present their latest 

and greatest 

BOXOFFICE.COM 

4 WE REMEMBER 

Disney’s Bob Lambert passes 

away at 55 

6 INDUSTRY BRIEFS 

The latest news from the 

exhibition industry 

10 EXECUTIVE SUITE 

THE CHAOS IN KARACHI Free 

speech, fundementalist ideology 

and the burning of Pakistani 

cinemas 

14 GUEST COLUMN 

UNITING TO FIGHT CONTENT 

THEFT Creative America— 

coming to a community near you 

18 SHOW BUSINESS 

WHAT’S SO EXCITING ABOUT 

LOOPER’S SUCCESS? Exciting 

films always help turn around a 

slump 

20 FIRST PERSON 

GET COMPETITIVE How 

independent theaters can stay 

afloat even when a flashy new 

multiplex comes to town 

Rise of the Guardians wants to 

get kids dreaming 

HO HO—HOLD ON! Think you 

know Santa Claus? Think again, 

says director Peter Ramsey 

TAKE A BITE OUT OF THIS! Isla 

Fisher plays a truly tough tooth 

fairy 

24 SECRET WEAPON 

THE PREDICTOR Meet Tim Dilts, 

NCG Cinemas’ defender against 

bad movie experiences 

26 MARQUEE AWARD 

HOW TO WIN THE DIGITAL 

CHALLENGE Cinemas of 

Whitewater shares its struggle— 

and its advice 

42 MOVIE MARKETING BEYOND 

BREAKING DAWN Twilight 

producer Wyck Godfrey on the 

mechanics and marketing of his 

massive five-film franchise 

52 BY THE NUMBERS 2012 HOLIDAY 

PREDICTIONS What to expect 

this winter 

74 ON THE HORIZON 

A LATE QUARTET / FLIGHT / 

THE MAN WITH THE IRON 

FISTS / ANNA KARENINA / 

NATURE CALLS / LIFE OF PI / 

SILVER LININGS PLAYBOOK/ 

HITCHCOCK / KILLING THEM 

SOFTLY / IDENTITY THEFT 

80 BOOKING GUIDE 

88 CLASSIFIEDS 

BOXOFFICE’s WebWatch Data 

Your customers are buzzing on the Internet about which movies 

they want to see—and which ones they don’t. Use our subscription 

service to predict Hollywood’s hits and misses before they hit your 

theater. 

Facebook and Twitter Tracking 

Follow our daily tracking of activity on these two wildly popular 

social media sites. 

Reviews 

Will Daniel Day-Lewis and Steven Spielberg deliver a wide-appeal 

Lincoln, and will Day-Lewis win his third little golden man? 

News-Reeling? 

Let Boxoffice.com digest all the reports and rumors for you! Check 

our site daily for breaking industry news. 

BOXOFFICE MAGAZINE 

EDITOR 

Amy Nicholson 

INDUSTRY CONTRIBUTORS 

Jeffrey Eisentraut 

John Fithian 

Chris Ortman 

PRODUCTION ASSISTANT 

Ally Bacon 

BOXOFFICE.COM 

EDITOR 

Phil Contrino 

FORUMS EDITOR 

Shawn Robbins 

CONTRIBUTING WRITERS 

Alex Edghill 

David Ehrlich 

Annlee Ellingson 

Kate Erbland 

Joe Galm 

Daniel Garris 

Todd Gilchrist 

Ray Greene 

Pete Hammond 

Inkoo Kang 

Mark Keizer 

Ross A. Lincoln 

Mark Olsen 

Vadim Rizov 

James Rocchi 

Nick Schager 

Drew Tewksbury 

EDITORIAL INTERNS 

Britta Hanson 

Max Weinstein 

ADVERTISING 

VP OF ADVERTISING 

Susan Uhrlass 

9107 Wilshire Blvd., Ste. 450 

Beverly Hills, CA 90210 

susan@boxoffice.com 

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2 BOXOFFICE PRO NOVEMBER 2012

LIFE OF PI 6% 

SKYFALL 40% 

RED DAWN 4% 

WRECK-IT RALPH 5% 

THE TWILIGHT SAGA: BREAKING 

DAWN—PART TWO 45% 

Insurance 

Services 

for the 

Theatre 

Industry 

If you’re surprised that The 

Twilight Saga: Breaking Dawn— 

Part Two is online’s buzziest 

flick, then you probably haven’t 

visited a movie theater—or a 

website—in four years. With 45 

percent of all Internet chatter 

about November’s biggest 

movies, Breaking Dawn is 

prepared to dominate. But 

November still manages to 

shock with the soaring success 

of Skyfall, which has nearly 

managed to catch up to the 

star-crossed vampire lovers. 

Look out, Bella—the most 

memorable name of the month 

could be Bond. 

POS:NEG ONLINE BUZZ 

SKYFALL 16:1 

THE TWILIGHT SAGA: 

BREAKING DAWN—PART 14:1 

TWO 

LIFE OF PI 13:1 

WRECK-IT RALPH 11:1 

RED DAWN 4:1 

Take that buzz and divide it into goodversus-bad 

feedback, and Skyfall sneaks 

into the number-one spot. But pay attention 

to Ang Lee’s boy-meets-tiger drama 

Life of Pi and Disney’s video-game 

cartoon Wreck-It Ralph. They may not 

be getting much oxygen online, but fans 

who have them on their radars can’t wait 

to check them out. Alas, poor Red Dawn. 

The much-beleaguered (and delayed) remake 

switched its villains from Chinese 

to North Korean in the editing room but 

still can’t build much online traction. 

ONLINE FRENZY 

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

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1 

THE HOBBIT: AN 

UNEXPECTED JOURNEY 

2 THOR: THE DARK WORLD 

3 LES MISÉRABLES 

4 THE HANGOVER PART III 

5 

TEENAGE MUTANT NINJA 

TURTLES 

Want an early look at what hits are on the 

horizon? Here are the five upcoming flicks 

with the most online enthusiasm—and it 

looks like Les Misérables might have more 

clout than people expect. 

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NOVEMBER 2012 BOXOFFICE PRO 3

Brett Winter Lemon Photography 

WE 

REMEMBER 

BOB LAMBERT, a senior executive at The Walt Disney Company 

for 25 years until 2010, has died at the age of 55. Respected 

throughout the entertainment industry, Lambert’s work spanned 

all platforms, from cinema and television to online and mobile. He 

played a central role in the development of computer-animated 

feature films and in the transition from film to digital cinema 

exhibition. While working for Disney Feature Animation, Lambert 

conceptualized a strategy and methodology for replacing cel 

animation with CGI production and selected Steve Jobs’ newly 

acquired company Pixar to design the software and oversee the 

collaborative process between the two companies. The resultant 

digital production system earned Disney an Academy Award for 

Scientific and Technical Achievement. 

Lambert was also a founder and chairman of DCI LLC, the 

six-studio consortium that laid the groundwork for the historical 

transition of movie theaters from film to digital exhibition 

by establishing and documenting digital cinema specifications 

that ensure a uniform and high level of technical performance, 

reliability and quality control. In addition, he was chairman 

emeritus and chief strategic officer of the University of Southern 

California’s Entertainment Technology Center (ETC@USC), 

a think tank that brings entertainment studios, technology 

providers and other key industry stakeholders together in order 

to improve digital entertainment initiatives. 

Said Kenneth S. Williams, ETC@USC CEO and executive 

director, “Bob was one of the most respected technology 

executives in the media and entertainment business. Always 

generous with his time, his friendship and tremendous insight 

will be greatly missed.” 


INDUSTRY 

BRIEFS 

FANDANGO HAS APPOINTED former Disney digital 

executive Paul Yanover to the newly created position 

of president. He will report to Nick Lehman, president 

of digital for NBCUniversal’s Digital Networks and Integrated 

Media. Yanover will lead the company’s overall 

business strategy to become a multi-platform entertainment 

brand, with an emphasis on growing its original 

content offerings across mobile, TV and the web, as 

well as expanding strategic partnerships with the movie 

studios, driving social engagement and building on Fandango’s 

strong e-commerce foundation. Previously, Yanover 

served as executive vice president and managing 

director of Disney Online, the entertainment and lifestyle 

digital product group of the Disney Interactive Media 

Group. He grew traffic across the digital brands to peak 

at 36 million unique visitors—a 50 percent increase—and 

more than tripled ad revenue. “Paul is the ideal leader to 

build on the incredible momentum of this business, as 

Fandango broadens its offerings for consumers and advertisers, 

as well as exhibitors, and maximizes the unique 

benefits of being a part of NBCUniversal,” says Lehman. 

“His wealth of experience at the intersection of entertainment 

and technology will help Fandango continue to 

redefine the way we think about the movies.” 

One of Yanover’s first moves is to announce that 

Fandango is developing a slate of original video series 

that will dramatically expand the company’s content 

offerings. The made-for-Fandango movie news shows 

will be hosted by movie expert and newly appointed 

Fandango Chief Correspondent Dave Karger. “As a 

trusted entertainment brand that is synonymous with 

moviegoing, Fandango has a significant opportunity to 

play an even larger role in the content arena and meet 

the growing demand from both consumers and advertisers,” 

says Yanover. “With a major talent like Dave 

Karger as our movie expert, and 

Fandango’s extensive 

reach across the 

web, mobile and 

social media, we 

are extremely 

well positioned 

to launch our 

first-ever 

original video 

development 

slate.” 

NEW 

FANDANGO 

PRESIDENT 

PAUL 

YANOVER 

ICE AGE: CONTINENTAL DRIFT is now the biggest animated film of all time 

at the global box office. The Twentieth Century Fox release has grossed $693.9 

million internationally, pushing it past the previous record of $687.1 million 

set by Ice Age: Dawn of the Dinosaurs. Ice Age 4 now ranks in eighth place on the 

all-time global box office list. 

REGAL ENTERTAINMENT GROUP WILL HAIL the Twilight series with a oneday-only 

event November 15 for fans to experience the complete saga including 

the premiere of The Twilight Saga: Breaking Dawn—Part Two at 450 participating 

Regal, United Artists and Edwards theaters. Admission for the circuit’s 

loyalty club members is only $15 for all five movies, and $20 for those without 

membership. “On this one day, Twilight will begin before noon and last past 

midnight as fans savor every moment of the saga at their favorite Regal Entertainment 

Group theater,” says Ken Thewes, chief marketing officer at Regal 

Entertainment Group. “The conclusion of The Twilight Saga is one of the most 

eagerly anticipated movies of the year. And Regal is pulling out all the stops, 

celebrating the Twilight phenomenon with an epic one-day-only event showcasing 

all five films for the ultimate fans.” 

SONY IS MAKING its VPF program available through March 31, 2013. Sony’s 

Digital Cinema Solutions group has worked closely with six major and more 

than 90 independent distributors to create a VPF program that includes complete 

projector installation, an integrated storage server, theater management systems, 

monitoring software, networked services, access to Sony Digital Cinema’s 

24/7 Network Operation Center, technical training, and a 10-year parts/2-year 

labor warranty. “In our ongoing effort to provide full-service digital cinema solutions 

for exhibitors of all sizes, we are proud to offer the most competitive and 

accessible VPF program available,” says Tim Smith, vice president of business 

development and operations for Sony Electronics’ Digital Solutions. “Exhibitors 

shouldn’t have to settle or feel pressured based on other programs ending. 

Instead, they should have everything they need in order to make the most wellinformed 

decisions.” 

CINEDIGM ENTERTAINMENT GROUP (CEG) HAS NAMED Jeff Reichert 

vice president of theatrical marketing and Stephanie Bruder vice president of 

marketing. The announcement marks the completion of top-level executive 

appointments that included the recent announcement of Vincent Scordino as 

vice president of acquisitions. With these moves, CEG is positioned to make 

major inroads in the theatrical distribution marketplace with a plan to acquire 

and release up to 24 titles in 2013. CEG was formed when Cinedigm acquired 

entertainment distributor New Video, the largest worldwide digital aggregator of 

independent content, and combined the acquisition with the company’s existing 

theatrical distribution business. The company has established partnerships with 

all major digital platforms, enabling CEG to do a variety of releases, from traditional 

releases to day-and-date releases to unique recurring in-theater programming. 

“Both Stephanie and Jeff are deeply knowledgeable, well-rounded industry 

players who will be ideal partners for filmmakers and content creators seeking 

innovative ways to market feature film and entertainment content, while exploiting 

every opportunity for innovation in VOD, digital and mobile distribution,” 

says Susan Margolin, co-president of CEG. 

NATO OF KANSAS & MISSOURI HAS ANNOUNCED the return of Show A 

Rama on Oct. 15-17, 2013. Kansas City’s glorious and historic cinema exhibition 

and distribution event will be restored to life, honoring Show A Rama’s 

rich history while focusing on the industry’s bright future. The main event will 

be held at the Hilton Garden Inn convention center located in Independence, 

Missouri; however, other nearby locations will also be used for screenings and 

some meals. The convention will entail a two-day trade show, alternative content 

demonstrations and discussions, studio presentations, panel seminars and entertaining 

and informative events. The convention’s primary focuses will be new 

technologies, alternative content and increasing audience attendance, as well as 

answering questions like these: We’ve gone digital—now what? How do small 

exhibitors make alternative content work? And how does my theater compete in 

the marketplace? The convention will allow NATO members to mingle with oth- 


Cheers 

The Coca-Cola Company 

congratulates 

Dan Harkins 

2012 Recipient 

of the Show "E" Award 

©2012 The Coca-Cola Company. “Coca-Cola,” “open happiness” and the Contour Bottle are registered trademarks of The Coca-Cola Company.

INDUSTRY BRIEFS 

er exhibitors, studio executives, new technology providers and vendors 

in a casual, open convention setting. Many of the top vendors in the 

industry will be in attendance, and the smaller convention size allows 

exhibitors plenty of time to hear the details and watch demonstrations 

of the many products and services at the trade show. A discount will be 

given to national NATO and NATO of Kansas & Missouri members 

who register for the full convention, and on the final night, the convention 

will host a themed, off-site charity fundraiser for Young Variety. 

For additional information regarding Show A Rama, please contact 

Megan Hageman or Bobbie Bagby at 913-649-2960. 

UNIVERSAL PICTURES HAS SET a new record for the highest-grossing 

year at the North American box office in the studio’s 100-year history. 

The studio’s North American box office through September 24, 2012, 

has reached $1.128 billion, besting the record set in 2008 of $1.127 

billion. And the studio still has two holiday films yet to be released: the 

latest comedy from writer-director Judd Apatow, This Is 40, on December 

21, and Les Misérables, the motion-picture adaptation of the global 

stage sensation seen by more than 60 million people in 42 countries 

and in 21 languages around the world, on Christmas Day. 

B&B THEATRES IS PLEASED to announce the B&B Theatres Marketplace 

8, a new state-of-the-art all-digital projection eight-screen theater 

in the Kansas City suburb of Grain Valley, Missouri. All eight auditoriums 

will have stadium seating with leather high-back rocker-style 

seats, Christie digital projection, Dolby 7.1 digital surround sound, 

wall-to-wall curved screens, and, in select auditoriums, RealD 3D. The 

largest auditorium will feature the B&B Grand Screen, one of the largest 

screens in all of Kansas City. B&B expects a holiday 2012 opening 

date. 

13 delicious flavors including: 

 

 

 

 

 

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Come see us! 

BOOTH #909 AT SHOWEAST 

SETH MACFARLANE, the creator of Family Guy whose theatrical 

debut Ted made $434 million worldwide this summer, will host the 

85th Academy Awards. He’s a controversial pick, but less controversial 

than the uproar last year when original Oscar producer Brett Ratner 

was forced to step down after making an anti-gay slur, triggering 

announced host Eddie Murphy to follow suit. The awards were then 

hosted by Billy Crystal. Say this year’s producers Craig Zadan and Neil 

Meron, “We are thrilled to have Seth MacFarlane host the Oscars. His 

performing skills blend perfectly with our ideas for making the show 

entertaining and fresh. He will be the consummate host, and we are so 

happy to be working with him.” 


TO THE SHOWEAST AWARD WINNERS 

Zach Beebee 

AL SHAPIRO DISTINGUISHED SERVICE AWARD 

Richie Fay 

SALAH M. HASSANEIN HUMANITARIAN AWARD 

Dan Harkins 

SHOW “E” AWARD 

Eamonn Bowles · Ben Barenholtz 

Tom Prassis · Arnie Sawyer 

BINGHAM RAY INDEPENDENT SPIRIT AWARD 

Marisela Morales 

ANTI-PIRACY LATIN AMERICAN GOVERNMENT LEADERSHIP AWARD 

Jose Patricio · Daire Barrios 

INTERNATIONAL EXHIBITOR OF THE YEAR 

Martin Iraola 

INTERNATIONAL DISTRIBUTOR OF THE YEAR 

Susie Beiersdorf · Hank Lightstone 

AWARD OF DISTINCTION FOR SERVICES TO THE FILM INDUSTRY 

Joan Corrado (posthumously) 

Chuck Goldwater · Sonny Gourley 

Bert Livingston · Stan Reynolds Sr. 

John Santikos 

HALL OF FAME 

Jack Cashin 

SPECIAL AWARD OF ACHIEVEMENT FOR TECHNICAL CONTRIBUTIONS 

TO THE MOTION PICTURE INDUSTRY

EXECUTIVE 

SUITE 

Free speech, 

fundamentalist 

ideolog and 

the burning 

of Pakistani 

cinemas 

THE 

CHAOS 

IN KARACHI 

STILL FROM THE 

CONTROVERSIAL 

FILM INNOCENCE 

OF MUSLIMS 

John Fithian 

President & CEO, 

NATO 

■ For many years, cinemas constituted an important 

component of the social and cultural landscape of Pakistani 

cities like Karachi. Movie premieres were attended 

by prime ministers, generals and the intellectual elite. 

Magnificent in their architecture, Pakistani cinemas have 

been art deco, baroque, modernist and beyond. Cinema 

owners were once held in high esteem. Even the current 

president of the country rose in Karachi’s society in part 

because of his father’s connection to one of the most 

famous cinemas, the Bambino. 

Pakistan had its own movie industry. Cinemas exhibited 

local fare with actors such as Sabiha and Santosh, the 

“first couple of Pakistani cinema,” as well as foreign fare 

like the latest James Bond flick. Through the ’50s, ’60s 

and ’70s, Pakistani cinemas did big business as more than 

120 cinemas thrived in Karachi. 

Through the ’80s and ’90s, however, Pakistan went 

through a religious and cultural transformation, as did 

much of the Muslim world. Fundamentalist ideology 

brought censorship and puritanism to the culture. Over 

time, families and women could no longer go to the 

cinema without upsetting the new norms. The cinemas 

began to cater almost exclusively to men, particularly the 

lower classes who wanted to see more violence and less 

plot. The number of cinemas in Karachi fell from more 

than 120 to less than 35. 

Very recently, though, a small resurgence had begun 

to take place. Some cinema owners invested a great deal 

of money to modernize and improve their venues. Indian 

movies became popular again. In many locations, families 

and the middle class returned to the cinema without 

much condemnation from fundamentalists. The minirevival 

of cinema had begun. 

Then a 13-minute clip of a crass, anti-Muslim, bigoted 

piece of amateur American filmmaking hit the Internet, 

and all hell broke loose. 

Violence began to break out across Northern Africa 

and the Middle East. The U.S. ambassador to Libya and 

three of his colleagues were assassinated. Fundamentalist 

Muslim protestors and economically challenged youth 

came together to rampage American businesses and protest 

American embassies across the region. 

In Karachi, as in the rest of the Muslim world, the 

tension and violence grew. On September 21, the pot in 

Karachi boiled over. Mobs attacked policemen, destroyed 

banks and shops, and leveled American-brand businesses. 

The mob also focused its violence on one additional and 

specific target—the movie cinemas of the city. They set 

fire to many historic cinemas, such as the Capri, the 

Nishat, the Bambino and the Prince. Their rage wasn’t 

limited to historic properties but extended to suburban 

cinemas like those at Landhi and Quaidabad, where 

factory workers had enjoyed the latest blockbusters. The 

violence that erupted in Karachi essentially wiped out the 

cinema business in that city. 

Why would mobs burn cinemas, and why wouldn’t 

their government stop them? Is a single Internet posting 

of one short but horribly derogatory movie clip to blame? 

And where does the border lie between the exercise of 

First Amendment freedoms and absurdly incendiary and 

bigoted moviemaking? 

This author’s answer must begin with the rights and 

responsibilities of the First Amendment. Prior to my 

current role with NATO, I practiced law representing 

various clients with First Amendment concerns, from 

NATO to the ACLU to communications companies to 

magazine and newspaper publishers and to tobacco and 

alcohol advertisers. I have always believed in an unfettered 

marketplace of ideas where any speech, short of treason or 

a direct incitement to violence, deserved protection. 

When I was considering the possibility of joining 

NATO full-time, one important draw was the high profile 

of the free-speech issues involved. Domestic cinema 

owners range from conservative Republicans to liberal 

Democrats. But they all share important tenets. One such 

belief is the right to exhibit whatever movies they choose 

to exhibit, based on their understanding of their local 

marketplaces and their strong belief that the industry 

should let patrons decide what they do, and don’t, want 

to see. The government should stay out of the business of 

censorship. 

This core belief has been reflected consistently in a 

wide spectrum of circumstances. Many fundamentalist 

Christians sincerely opposed the exhibition of movies 

like The Last Temptation of Christ, but exhibitors showed 

the movie. Many Jews criticized cinemas for showing the 

assuredly anti-Semitic Passion of the Christ, but the movie 

sold hundreds of millions of dollars worth of tickets. 

Republicans disliked Fahrenheit 9/11 just like Democrats 

abhorred 2016: Obama’s America, but both movies did 


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quite well. Even disabled rights groups criticized exhibition for showing 

the comedy Bubble Boy. Indeed, the list of movies that have insulted and 

infuriated some group or another is a long one. 

My response to these protests has invariably been the same. Show 

the movie if you think it will sell tickets. Let the patrons decide. And 

bring on the protests. Protests only serve to gain greater publicity for 

the movie and sell more tickets. When members call me to alert me to 

the existence of protesters outside their cinemas, I typically recommend 

that they give the protesters free soda and popcorn, ask them to 

stay as long as they are able, and then call the local television station to 

complain. 

When news of the Innocence of Muslims first erupted, my initial 

reaction reflected my traditional views of free speech. A filmmaker 

simply shouldn’t be blamed, even in part, for the violent reaction of 

fundamentalist religious zealots. 

But then I took a closer look, and what I learned challenged my 

free-speech moorings in these circumstances. Many and perhaps even 

most Muslims believe fervently that modern media should show no images 

of the prophet Muhammad, much less derogatory ones. As initial 

background, I then researched the violent reaction of some Muslims in 

the Netherlands to artistic works that were intentionally derogatory of 

the prophet. 

Before I could draw any conclusions, I also needed to review the 

posted clips from the Innocence of Muslims that had been released on 

the Internet. Despite my history of support for the rights of artists 

to make, and cinema owners to exhibit, whatever they wanted, I was 

disgusted by what I saw. In complete amateur style, the filmmaker 

sought very deliberately to malign the prophet Muhammad in base 

and unbelievable ways. The movie made out the prophet to be a cheat, 

a philanderer and a child abuser. Later I learned that the actors asserted 

they were not told about the true purpose of the movie. There 

was, apparently, no association with the prophet Muhammad in the 

original script. The association of the lead character with the prophet 

was disguised until after shooting as voice-overs added his name. The 

filmmaker, an angry Coptic Christian with a criminal background, felt 

the need to deceive his own cast about the purpose of his movie. Why? 

Perhaps because he knew that the movie would incite some violence, 

and it did much more than that. 

I doubt the movie would fall outside the legal parameters of the 

First Amendment were it to be censored in the United States. The 

movie has no direct call for violence or treason, and it is not technically 

obscene. But it never should have been made, nor should it be exhibited, 

by anyone rational enough to understand what the movie might 

mean to millions of Muslims around the world.I was disheartened to 

learn that a few right-wing cinema operators in Germany sought to 

exhibit the movie, and I was not surprised to see the government of 

Angela Merkel suggest that the movie might have to be censored. Even 

though I deplore the thought of censorship, I understand the rational 

need to avoid predictable violence. 

At press time, it was still unclear whether the entire movie was ever 

completed or would ever be released. But out of respect for a different 

culture with very different beliefs, and for the practical desire to avoid 

violence, I truly hope we have seen the last of Innocence of Muslims.To 

be sure, nothing excuses the extreme violence that has erupted in the 

Muslim world. No matter how grave the insults might be, and no matter 

how fervently people believe in the tenets of their religion, violence in response 

to insult is never legitimate. And the violence that has raged across 

Northern Africa and the Middle East has been of such massive scale and 

gross distortion as to have seriously undermined—not enhanced—global 

respect for what is and should be a respected and historic religion. 

But I live and work representing the cinema industry, and I admit 

to insufficient understanding of the Muslim world. What I do know in 

my own line of work is that our industry could do without filmmaking 

like this. 


GUEST 

COLUMN 

by Chris Ortman, Communications Director / Creative America 

■ As most Boxoffice readers already know, when we watch our favorite 

movies and television shows, we see only a small glimpse of a much larger 

production. 

What audiences don’t see are the countless creators and makers who 

work behind the scenes to make the great content we all love: directors, 

cinematographers, editors, makeup artists, lighting and sound technicians, 

costume designers and set builders, to name a few. Their hard work and 

creativity deserve to be celebrated and protected. 

RAMPANT PIRACY THREATENS OUR LIVELIHOOD 

More than 2 million Americans rely on the entertainment industry 

for their livelihood—it’s one of the country’s biggest exports. But sadly, 

content theft is jeopardizing our industry. Each year, content theft costs 

U.S. workers more than $5.5 billion dollars in wages and tens of thousands 

of jobs. 

Criminals, many operating overseas, are stealing American movies 

and TV shows, and online piracy is big business. Websites offering stolen 

content generate approximately 146 million visits per day and 53 billion 

visits per year, and more than 500,000 movies are illegally distributed each 

day worldwide. 

The economic impact of the entertainment industry is not limited to 

production. Distribution and exhibition-related jobs employ many more 

individuals and contribute to the economies of local communities. 

THEATER OWNERS ARE DIRECTLY IMPACTED 

Those who are hurt most are not the big stars you see on the red carpet. 

They’re middle-class American workers—across all 50 states—who make 

their living in entertainment and are not compensated when creative works 

are stolen. They are the 95,000 small businesses that service the industry. 

Whether it’s from counterfeit DVDs on the black market, illegal 

filming with a camcorder or digital copies of films leaked online prior to 

Creative America—coming to a community near you 

UNITING TO FIGHT CONTENT THEFT 

release, movie theater owners are acutely aware of the increasingly harmful 

effects that content theft has on our industry and the nation’s economy. 

By recent estimates, movie theft costs theaters $670 million in the United 

States and more than $6 billion worldwide. And illegal camcording in 

theaters is responsible for supplying 90 percent of newly released content 

to bootleggers. 

GRASSROOTS ORGANIZING TO FIGHT BACK 

Creative America is a grassroots organization uniting the entertainment 

community and others against content theft. It brings together actors, 

directors, craft professionals, small businesses that service the industry, 

theater owners and others who make a living in and care about film and 

television and believe that creativity deserves to be protected. 

We are supported by an unprecedented coalition of major entertainment 

unions, guilds, studios, and networks, including CBS Corporation, 

the Directors Guild of America, IATSE International, NBCUniversal, the 

Screen Actors Guild and the American Federation of Television and Radio 

Artists (SAG-AFTRA), Sony Pictures Entertainment, Twentieth Century 

Fox, Viacom, the Walt Disney Company, and Warner Bros. Entertainment. 

In communities across the country, Creative America grassroots organizers 

are recruiting supporters at film festivals and other industry-related 

events, disseminating educational materials and informing the general 

public and key stakeholders about the impacts of piracy. 

From movie fans at the box office to the local businesses community to 

elected leadership, our goal is to educate and raise awareness about the vital 

economic impact of entertainment to every community in America—and 

of the need to find solutions that protect the rights of creators and makers 

to earn a living and support small businesses that are so critical to local 

economies. 

But we can’t do it alone. As an industry—and as communities—we 

need to come together. Creative America needs your help. 

Please join us and help build this movement. Visit www.creativeamerica.org 

and sign up today! 

WHO’S HELPING TO BUILD THIS 

MOVEMENT 

Creative America is a grassroots campaign 

organizing in communities across the 

country to give creative professionals and 

small businesspeople who make a living in 

entertainment a voice in the fight against 

content theft. Here’s what some supporters 

are saying: 

“Content theft is a big problem for 

hardworking independent filmmakers and 

industry workers who make a living and care 

about their creative work.” –Louise Runge, 

production manager, Los Angeles 

“In an ever-changing digital world where 

the outlets for creating and distributing 

creative work for a profit is in flux, it’s important 

that all the information on piracy and its 

effects on artists at all levels is known—and 

that artists are kept informed and protected.” 

–David Spaltro, producer/director/writer, 

New York 

“It’s critical that we all respect the arts, its 

process and to protect it at all cost. Creative 

America has a platform and a presence that 

brings these issues to the forefront. Stop the 

theft—it hurts!” –Coco Owens, entertainment 

business consultant, Los Angeles 

“Piracy is not a ‘big movie’ problem. It’s 

a problem for all filmmakers, especially those 

that have no safety nets, no savings, nothing 

but hope that their single film, probably their 

one chance at making a film, can become 

successful.” –Adam Dick, producer, Playon 

Productions, Chicago 

“Stealing someone else’s idea and profiting 

from it is wrong. It results in loss of revenue 

for the creator and for the host venue. 

I can’t think of a better way to support local 

artists and filmmakers than making sure their 

creative work is protected.” –Gayle J. Burris, 

executive director, Anderson Paramount 

Theater, Anderson, Indiana 

“As a united coalition of industry leaders, 

Creative America is uniquely positioned to 

ensure that the hard work and dedication of 

the television and film community may be 

sustained so that creativity will continue to 

thrive.” –Alan S. Clarke, managing partner, 

The Entertainment Law Group, Atlanta 

“It is urgent for our community to 

combat content theft. Content theft not 

only threatens all jobs, it affects production 

cost, collaboration and innovation.” –Frank 

Davis, assistant director, Woodland Hills, 

California 

“The Commission’s mission is to generate 

a positive impact on business tourism and 

the economy through the growth of the film, 

television and still photography industry. We 

are happy to work with organizations like 

Creative America that also educate and support 

creative professionals.” –Michelle Hillery, 

director of operations and programs, 

Palm Beach County Film & Television 

Commission, West Palm Beach, Florida 


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SHOW 

BUSINESS 

Innovative fi lms always help turn around a slump 

WHAT’S SO EXCITING ABOUT 

LOOPER’S SUCCESS? 

by Phil Contrino 

Vice President / Chief Analyst 

BOXOFFICE.COM 

■ Looper is currently my favorite movie of 

2012. The latest effort from director Rian Johnson 

(Brick, The Brothers Bloom) represents the 

kind of daring, go-for-broke filmmaking often 

absent from theaters these days. I went into 

Looper spoiler-free—a difficult task when you 

work in this space—and I was surprised by every 

plot twist, stylistic flourish and performance. 

I’m not afraid to compare 

Looper to such sci-fi masterpieces 

as A Clockwork Orange, 

The Terminator, Blade Runner 

and Children of Men. It’s 

the kind of film that will be 

picked apart by film-school 

students and general cinema 

enthusiasts for years. Johnson’s 

take on the future is unlike 

anything I’ve seen in a movie, 

and the future world he’s created 

is rooted in our current 

reality, making the presence of 

telekinesis and time travel in 2044 seem very 

practical. 

I can tell that I’m not the only one this 

excited about Looper. The Sony/TriStar release 

posted a solid $20.8 million opening weekend, 

and as of press time, reports indicate that 

Looper opened to more than $20 million in 

China, so it’s also on its way to becoming an 

international hit. That’s an excellent start for 

a project with a total budget—production, 

marketing and P&A combined—of $60 million. 

It’s clear that moviegoers were hungry for 

something different and that they were willing 

to put their money behind a good product. 

September was a very slow month at the 

box office, so it came as a relief when Hotel 

Transylvania and Looper ended the month on a 

high note. The weekend of September 7-9 was 

one of the worst weekends in recent memory, 

and the following weekend Finding Nemo and 

Resident Evil: Retribution failed to truly revive 

the market. End of Watch managed an upset 

over House at the End of the Street and Trouble 

With Curve during the September 21-23 

frame, but all three films failed to crack $15 

million during their debuts. The mainstream 

media once again started to trot out a doomsday 

tone when writing about the box office. 

People can argue about why the box office 

sometimes hits a slump, but the one constant 

is that new and exciting films are always the 

best remedy. We now live in a world where 

potential movie theater patrons have tons of 

entertainment options right at their fingertips. 

What that means is they need to be surprised 

when they go to the movies. The worst reaction 

an exhibitor can hear these days is, “I 

should have just waited to watch it on VOD.” 

Looper surprised people. When the lights 

started to go up in my theater, I looked behind 

me and noticed that most audience members 

were pinned to their seats. Nobody was rushing 

for the door. There was a beautiful silence 

because people were still processing what they 

had just watched. Everyone in that theater 

knew they had just shared an awesome experience—and 

that’s what exhibition is all about. 

I understand that risky movies like Looper 

will continue to struggle to get made. It’s clear 

that distributors are focusing more of their 

time on the kinds of films that can make $1 

billion worldwide. I accept that. Making $1 

billion worldwide is not a bad thing, and it 

doesn’t always mean that the product has to 

be watered down for the masses (see Toy Story 

3 and The Dark Knight Rises). My main hope 

is that distributors don’t underestimate what 

moviegoers are willing to see. Movies that are 

smart, surprising and intellectually engaging 

perform just as well as movies with loud 

explosions and mindless plots. We don’t have 

to pick between the two—especially when 

audiences are eager to see both. 


FIRST 

PERSON 

How independent theaters can stay afloat even 

when a flashy new multiplex comes to town 

GET COMPETITIVE 

by Jeffrey Eisentraut, Eisentraut Theatres 

■ Okay, so you thought it would be fun to own your very own movie 

theater. You bought the aging movie palace in town and started the long 

process of updating a building that everyone said was a goner. You open 

the doors to great community support and all the naysayers have to eat 

their words. You are a big fish in a small pond. 

Then the unthinkable happens. Just when you get comfortable, you 

find out that a big chain is going to open a multiplex only 15 miles from 

your location—and worse, this new theater will have all the bells and 

whistles you can only dream about. On top of that, the cinema has about 

five major restaurants in the same strip center as well as a big-box supercenter 

across the street. The naysayers all remind you that your decision to 

open the palace was ill-advised. 

Acme opens and your attendance plummets. What are you going to do 

now? My first piece of advice is to be patient. A new business is going to jump 

out and dominate the market for a period of time. But during this time, you 

need to do your homework. Become an expert on your market. Who comes 

to your theater—families, seniors, teens or maybe the upscale art crowd? Once 

you know this, you can formulate a plan to attract them back to your theater. 

During your homework period, you must also understand who your 

competition is. You must personally attend the theater as a customer 

would to get the real experience. What does that cinema do that you 

cannot such as offer better parking or brand-new restrooms? This can be 

a tough lesson. Many times, the new theater offers so many new advantages 

that it can be depressing. Don’t fret. Armed with this information, 

you can now reformulate your business plan to attack the weaknesses of 

your competition. 

One very big advantage independent theaters can have over chain 

theaters is the owners. Having everything on the line is a big motivator. 

Chain theaters are usually very well managed; however, in order to maintain 

control, the corporate leaders must have a relatively strict work manual 

for their managers to follow, and this often stifles creativity. On the other 

hand, independent owners can make immediate changes in their operations 

to better serve customers without the prohibitive red tape. Another 

advantage for independent theaters is usually they have lower overhead, 

which means they can offer a better ticket and concession value. 

Showmanship is another effective tool for independent theaters. A great 

showman can get away with many antics that would never get approved by 

corporate—just look at the success and growth of Texas’ Alamo Drafthouse, 

which started with one ambitious owner and his goofy and bold promotions 

and is now becoming a chain of its own. Extra effort and razzle-dazzle can go 

a long way toward helping theater owners—and their patrons—forget that 

they can never have a big parking lot or big new restrooms. 

Still, the best way to beat your competition is with good old-fashioned 

service. Personally greet your customers by name at the door. Train your staff 

to try to remember what a particular customer wants at the concession stand. 

Treat each customer as if he or she is a guest in your home. Even though your 

patrons may visit the flashy new Acme, if you’re smart in how you combat the 

competition, you can lure your audience back to your doors. 

Help her live. 

Because her story 

shouldn’t end 

with cancer. 

St. Jude patient Rylie, 7 years old, Sarcoma 

©2012 ALSAC/St. Jude Children’s Research Hospital 

Each holiday season, leaders in the theatre industry participate in the St. Jude 

Thanks and Giving ® campaign to help give patients at St. Jude Children’s 

Research Hospital ® the happily-ever-after they deserve. By visiting our 

website and signing up, you can help save children like Rylie. 

PLEASE PARTICIPATE l STJUDE.ORG/THEATRES 


MEDIA NETWORKS

Thank You 

Travis Knight and Laika, Focus Features 

and Norman 

2012 SUMMER FUNDRAISING CAMPAIGN SPOKESPERSON 

And to all of our exhibitor partners, we are most grateful for your support. 

ACT V THEATERS 

AMC THEATRES 

BOW-TIE CINEMAS 

CARMIKE CINEMAS 

CINEMARK 

CLEARVIEW CINEMAS 

GOODRICH QUALITY THEATERS 

IPIC THEATERS 

MALCO THEATRES 

MARCUS THEATRES 

NATIONAL AMUSEMENTS 

R/C THEATRES 

RAVE CINEMAS 

Your support does make a difference. 

REGAL ENTERTAINMENT 

SHOWPLEX CINEMAS 

SOUTHERN THEATRES 

UNITED DRIVE-IN THEATER 

OWNERS ASSOCIATION 

WEHRENBERG THEATRES 

www.wrinstitute.org 

The Will Rogers Institute and the Motion Picture Pioneers Assistance Fund are programs of the Will Rogers Motion Picture Pioneers Foundation.

SECRET 

WEAPON 

THE PROTECTOR 

Meet Tim Dilts, NCG Cinemas’ defender 

against bad movie experiences 

WHAT GOT YOU WORKING IN THE THEATER 

INDUSTRY? 

I started working as an usher at our NCG Lansing, 

Michigan, location in 2003 right after high school. I was 

immediately smitten by the atmosphere and loved coming 

to work every day. The thing I love about movies is that 

they don’t end at the credits. They continue on through 

conversation with friends and family; they help develop 

relationships; they provide that escape everyone looks for. 

In 2007, I left the theater to finish my bachelor’s 

degree in business management through wood University. During this time I ob- 

Northtained 

a job with a staffing company, 

hiring employees to fit the needs of 

a wide range of businesses. But 

I still had that passion for the 

moviegoing experience. With 

the economy the way it is, 

movies provide that two-hour 

escape from reality and allow 

you to be a little kid, a superstar, 

an athlete, a superhero. 

And I wanted to be a part of 

the movie theater industry 

to help protect and preserve 

that experience. That’s why 

when NCG Cinemas opened 

the traveling manager position in 

2008, I jumped at the opportunity 

and never looked back. 

WHAT IS THE MOST DIFFICULT 

ASPECT OF YOUR JOB, AND HOW 

HAVE YOU OVERCOME IT? 

Protecting the moviegoing experience 

is very important to me and to NCG 

Cinemas. I think that’s a difficult task, 

as we deal a wide range of people and 

everyone has their own expectation tion of 

the moviegoing experience. I want to 

make sure everyone has the very best 

experience every single time when they 

come into our theaters. 

WHAT DO YOU MEAN BY “PRO- 

TECT THE MOVIEGOING EXPERI- 

l, I don’t 

want to stray away from what got us to this 

point. That’s what I mean: making sure 

that the movie theater is the place that you 

go to in order to watch your favorite movie 

or your favorite actress or actor on 

the big 

ENCE”? 

Our industry’s going so well, 

screen. 

WHAT WAS YOUR MOST SUCCESSFUL 

MOMENT OF THE PAST YEAR? 

2011 and 2012 have been very successful for NCG and 

myself. Our theaters continue to grow—we added two 

more locations to our chain. And even though it wasn’t 

a phenomenal box offi ce year, it was still a good year 

for us. But my most successful moment in the past year 

is my wife and I having our first child. There is not a 

better feeling in the world than going 

home at the end of a long day at 

work and seeing him giving me a 

TIM DILTS 

DISTRICT 

huge smile. 

MANAGER 

NCG CINEMAS 

A MOVIE THEATER IN 

DEWITT, 

ENGLAND HAS BEEN OR- 

MICHIGAN 

GANIZING VOLUNTEERS 

TO DRESS UP AS NINJAS 

AND 

GIVING A WARNING 

TO 

GABBY AUDIENCE 

MEMBERS. WOULD YOU 

HAVE WANTED TO BE A 

SHUSHING NINJA WHEN 

YOU WERE AN USHER? 

Um, no. If anything, 

that might be more of a distraction. 

I want our ushers 

to go in and be as discreet as 

possible. 

WHO WAS A KEY MENTOR 

FOR YOU AND WHY? 

I would consider Pat O’Boyle a 

very important mentor to me. He has 

always been there to offer insight, help- 

ful ideas and important strategies to 

help me continue to be very successful. 

WHAT’S 

YOUR FAVORITE 

MOVIE? 

My favorite movie is Tommy Boy. 

Nobody’s 

funnier than Chris Farley. 

WHAT’S YOUR FAVORITE CON- 

CESSION STAND SNACK? 

Good old-fashioned popcorn. You 

can’t watch 

a movie without popcorn. 

WHERE DO YOU SIT IN A MOVIE 

THEATER? 

I like to sit in the first row before the 

stadium seating. It offers plenty of legroom. 

WHAT DO YOU THINK OF BEING 

NAMED NCG 

CINEMAS’ SECRET 

WEAPON? 

It’s a privilege. This company has been 

extremely good to my family and me, and I 

come to work every day very thankful to work 

for such an outstanding company. 


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HOW TO WIN THE DIGITAL 

CHALLENGE 

CINEMAS OF WHITEWATER SHARES ITS STRUGGLE—AND ITS ADVICE 

Without a doubt, the 

biggest challenge for 

the movie theater 

industry in the next year 

is digital conversion. 

NATO estimates that 20 

percent of all theaters 

in North America will 

be forced to close their 

doors as a result of 

the high cost of digital 

projectors—about a 

thousand venues in 

total. As John Fithian 

cautioned exhibitors 

across the country, 

“Convert or die.” 

by Inkoo Kang 

■ Becky Pattermann saw the writing on the wall a 

few years ago when blue aliens took a big chunk of 

her business. Back in 2009, customers popped into 

the Cinemas of Whitewater and asked if she carried 

Avatar in 3D. When Pattermann replied that she 

didn’t, they promptly turned around and headed out 

the door. In her five decades in the theater industry, 

she had never seen that before. 

“Digital was a necessity [for us] probably earlier 

than some of the people in our industry,” says Pattermann. 

The Cinemas of Whitewater is located in the 

college town of Whitewater, Wisconsin, which has a 

population of 14,000. The University of Wisconsin- 

Whitewater adds another 11,500 students to the 

town during the academic year. The relative youth of 

Whitewater residents means that Pattermann’s customers 

are especially eager to try out new gimmicks 

and gadgetry. With three multiplexes located within a 

30-minute drive of her four-screen theater, Pattermann 

knew that she had to convert—and quick. 

The Cinemas of Whitewater got its first 3D 

projector in early 2010, just a few weeks after the 

Avatar fiasco, but the new technology created new 

headaches. Having created a demand for 3D movies, 

studios quickly flooded the marketplace with them. 

This made booking for the one digital and three film 

projectors difficult for Pattermann. With just the one 

digital projector, she was forced to play the 3D movie 

on her largest screen even when it wasn’t a top grosser. 

She also found herself keeping a movie for longer 

than necessary if there was another 3D movie on the 

horizon that she needed the digital screen for. Pattermann 

and her sister and co-owner Sue Stetler knew 

they had to replace the other three film projectors as 

soon as possible—or as quickly as any small theater 

owner could manage. 

Pattermann, 55, and Stetler, 51, are third-generation 

movie-theater owners. In 1940, their grandparents 

acquired the family’s first theater, a single-screener 

in Kasson, Minnesota. Located in a small farming 

community, that theater ran movies until 1:00 in the 

morning to accommodate farmers’ long workdays. In 

1961, their parents purchased a theater in Ashland, 

Wisconsin, where Pattermann began her working 

life at the age of eight selling tickets and popcorn. 

The sisters bought the then-decade-old Cinemas of 

Whitewater in 2009 after each had owned or operated 

their own theaters. The family business continues 

to be passed down as a tradition: Stetler’s two grown 

daughters help out during the busy holiday season, 

as does her two-year-old grandson, who handed out 

candy canes to customers last Christmas. 


MARQUEE AWARD 

Unsurprisingly, financing the conversion 

was by far the most difficult part of the process. 

The two sisters spent months talking with 

banks and other lending institutions, to no 

BECKY 

PATTERMANN 

AND SUE 

STETLER 

avail. Though the sisters had 30 years of industry 

experience between them, loan managers 

viewed their theater as a start-up business. Part 

of the challenge lay in the type of business 

investment that conversion 

represents. “It’s easier to finance 

a building than to finance 

equipment,” says Pattermann. 

After months of frustration and 

rejection, the sisters decided to 

finance the $300,000 venture 

themselves. (continued on page 

30) 

They encountered another 

obstacle when they had to 

remodel the projector booth. 

Each projector had to be 

rewired to include its own 

disconnect. The existing equipment 

had to be disassembled 

and disposed of. An air conditioner 

had to be installed in the 

booth, since the tin roof over 

the room was too hot for the 

heat the computers generated. 

Finally, the port windows had 

to be enlarged to accommodate 

the new projectors. The entire 

process took just over a year, 

and, miraculously, they only 

missed two shows. 

Pattermann is an ardent advocate for the 

theater industry and for owners of smaller theaters 

in particular. For the past two years, she 

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MARQUEE AWARD 

has been on the board of directors of NATO of 

Wisconsin and Upper Michigan. (Her father, 

Al Bergmann, served on the board of NATO of 

Wisconsin years ago). 

That active participation in NATO, as well 

as in CinemaCon 

and the 

regional Geneva 

Convention, 

served Patterman 

well. Both 

conventions, 

she says, proved 

“extremely 

beneficial” in 

preparing for 

conversion. She 

took advantage 

of the presence 

of major 

projector, screen, 

3D and server 

manufacturers, 

who answered 

questions and 

displayed their 

devices with 

hands-on demonstrations. 

Pattermann 

is full of advice 

for theater owners 

who have 

yet to convert. 

They should 

think about how 

many screens 

to convert at a 

time and make 

sure to go with 

an installation 

company they’re 

already familiar 

with. She recommends 

asking 

to see other theaters’ 

projectors 

and searching for 

programs and 

organizations 

that might help 

with financing. 

She suggests 

exhibitors take 

their projectors 

and platters to 

the scrapyard, 

where they 

might get several hundred dollars for the metal 

content. And after making the mistake of opting 

for hard drives over satellite delivery, she 

can’t emphasize enough the greater convenience 

of the latter method of distribution. 

Digital conversion hasn’t helped with one of 

the biggest problems afflicting smaller theaters: 

print availability. “Sometimes there’s a sleeper that 

opens phenomenally that studios don’t open wider 

in the second week,” says Pattermann. When 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Help became last year’s biggest sleeper hit, for 

example, Pattermann wasn’t offered the film until 

the sixth week, so customers went elsewhere to 

see it. Digital conversion has not alleviated this 

problem. “It’s worse or the same,” she says. 

 

 

 

 

Still, the advantages to conversion are undeniable. 

Picture and sound quality are greatly 

improved, and the equipment is much easier to 

operate. Changing the programming to add or 

delete previews is now a simple matter of pressing 

some buttons. 

Worrying 

about scratches, 

lines or dust 

on the film is a 

thing of the past. 

The digital drives 

allow the projectionist 

to play 

the same print 

on multiple 

screens, a capability 

that has 

greatly improved 

attendance at 

midnight shows. 

The convenience 

of the new 

technology has 

made it easier 

for Pattermann 

to forget the 

months of sleepless 

nights and 

discouraging 

meetings with 

loan officers. 

Sadly, a 

Hollywood ending 

will prove 

elusive for many 

theater owners 

in the next 

few months. 

Local newspapers—also 

endangered— 

are already 

filling up with 

obituaries for 

neighborhood 

institutions and 

decades-old 

picture houses. 

Many exhibitors 

have found 

a wellspring of 

hope and donations 

in community-based 

save-the-theater 

drives. Though 

that fundraising 

model isn’t a promising option for many rural 

venues, it currently appears to be the likeliest 

source of digital conversion as it taps into the 

people who benefit most from the existence of 

movie theaters: the community. 


NEW 

PRODUCTS 

CHRISTIE DIGITAL 

SYSTEMS 

809 Wellington St. N., Kitchener, ON N2G 4Y7 CANADA 

519-572-5658 

steve.capling@christiedigital.com 

christiedigital.com/solariaone / christiedigital.com/christieduo 

Booth 915 

Enpar Audio announces 

the release of the DCP 

1000 digital cinema processor. 

This processor 

comes with all the convenience 

and durability of 

the DCP 800 but with 

an added built-in crossover. 

The processor can 

provide a 6-, 8- or 12-channel 

output and features 27 

ENPAR AUDIO 

313 Remuda, Clovis, NM 88101 

505-615-2913 

stetsonsnell@enparaudio.com 

www.enparaudio.com 

Booth 1223 

bands of 1/3 octave equalizers 

at every sound level 

except the subwoofer, 

which is a two-way tunable 

equalizer. At just 

$1,850, this is one of the 

most competitive processors 

on the market, and 

it’s backed by a two-year 

factory parts and labor 

warranty. 

The Christie Solaria One 

(not shown) is a high-value 

projection solution that’s 

perfect for screens up to 30 

feet wide. The Christie Solaria 

One is a single digital 

cinema projection solution, 

complete with a lens, custom-designed 

xenon lamp 

and a Christie Integrated 

Media Block (IMB) with its 

own easy-to-operate Screen 

Management Software 

(SMS). Shipping this November, 

Solaria One is the 

most reliable, DCI-compliant, 

digital cinema solution 

available today. It’s easy to 

operate and maintain, and 

has the lowest total cost of 

ownership on the market. 

In addition, you can now 

deliver your own, branded, 

premium-cinema experience 

with the Christie Duo 

(shown). Create double the 

projected brightness levels 

on ultra-large theater 

screens with this innovative 

kit. Christie Duo is a costeffective, 

simple and easyto-maintain 

solution for 

creating incredible, bright, 

clear, superior 3D images. 

The full integration kit can 

be purchased with either 2K 

or 4K Christie Solaria Series 

digital cinema projectors. 

If you already have Christie 

projectors, the company 

also offers a standalone integration 

kit. It’s cost-effective 

with low upfront costs, 

and there is no ongoing 

revenue sharing to worry 

about.Christie has created 

an affordable digital cinema 

solution that will captivate 

audiences anywhere in the 

world. 


SHOWEAST > NEW PRODUCTS 

Irwin Seating Company’s latest product, 

the Rocking Loveseat, offers a smooth, 

quiet and reliable mechanism with an 

amazingly comfortable motion. This satile chair platform can be 

used with 

ver- 

various Signature back upholstery styles 

and either self-rising or stationary seat 

components and has standard 

flip-up cupholder 

armrests. There are also 

options for more luxurious 

armrests and tables 

for use in premium ticket t 

and food service areas. 

With Irwin’s unparalleled 

quality and service 

standing behind this 

100-percent Americanmade 

chair, you get the 

comfort your customers 

demand and the quality 

and service you need. 

IRWIN SEATING COMPANY 

3251 Fruit Ridge Rd. NW, Grand Rapids, 

MI 49544 

616-574-7400 tel / 616-574-7133 fax 

Meghan.Edgerle@irwinseating.com 

www.irwinseating.com 

Booth 815 

New Bacon Cheddar seasoning 

from Kernel Season’s comes in a 

self-contained marketing cube that 

includes a wobbler to be displayed 

on your soda fountain or cash register 

to create excitement. Cubes are 

packed six to a master case. Try the 

new Bacon Cheddar flavor today! 

KERNEL SEASON’S 

2401 E. Devon Ave. 

Elk Grove Village, IL 60007 

773-292-4567 tel / 773-326-0869 fax 

krystal@kernelseasons.com 

www.nomorenakedpopcorn.com 

Booth 909 


GXM’s 

X-Mirror 3D 

is a quality, 

reliable, high-hperformance 

digital 3D 

solution that 

delivers a highdefinition 

display 

compatible with all kinds 

of digital cinema projectors 

and existing polarized 

glasses. The device minimizes 

ghosting by optimizing the 3D filter 

drive, the cooling system is compatible 

with 6 kw high-capacitance lamps, and 

the user-oriented design is simple to 

install. 

Harkness Spectral 

300 3D silver screens 

(not pictured) are 

the optimum 3D pro- 

jection surface for systems using polar- 

ized light. Spectral 300 is a specialist 

ultra-high brightness silver screen, 

with an increased 

gain of 25 percent 

against Harkness’ existing Spectral 240 

product. Spectral 300 gives excellent 

performance 

with “passive” 3D 

applications using 

polarized light where 

achieving suitable brightness 

levels particularly for 3D presentation in 

larger auditoria has 

proved problematic. 

It also performs well under 2D conditions 

and can be used for 3D/4D rides, simulators 

and special effects. 

GXM 

404 Woori Venture Town II 3ga 

Youngdeungpo-gu, Seoul, 150700 KOREA 

82-2-514-3500 tel / 82-2-2068-0450 fax 

lucia@gxminc.com 

www.gxminc.com 

Booth 315 

HARKNESS SCREENS 

Unit A, Norton Rd. 

Sevenage, UNITED KINGDOM 

44-01-438-725-200 tel / 44-01-438-344-400 fax 

r.mitchell@harkness-screens.com 

www.harkness-screens.com 

Booth 818 



GDC TECHNOLOGY 

2155 Whitfield Pl., Ste. 207 

Starling, VA 20165 

877-337-0868 tel 

157-1313-0468 fax 

connie.wong@gdc-tech.com 

www.gdc-tech.com 

Booth 621 

GDC Technology 

presents an advanced 

product, the SX-3000S 

Standalone Integrated 

Media Block, that 

perfectly fits into a 

boothless cinema. It 

significantly lowers 

operation, maintenance 

and installation costs, 

as it does not require a 

costly server attached. 

In addition to its highframe-rate 

(HFR) 

capability in both 

2D and 3D, the SX- 

3000S also supports 

digital connectivity 

for alternative content 

with 3G-SDI and HDMI 

inputs and network live 

streaming with imagescaling 

from HD to 4K. 

The SX-3000S permits 

long-distance 2K and 

4K content streaming 

and remote access via 

Gigabit Ethernet. 

eMenu, an interactive foodordering 

and entertainment 

service from eTouchMenu, 

offers a dedicated and exclusively 

design solution for 

theaters and multiplexes to 

modernize the entire foodordering 

process. The userfriendly 

interface provides 

easy navigation and quick 

ordering for patrons, enabling 

businesses to focus 

and improve upon customer 

service and efficiency, 

while greatly diminishing 

overhead costs. 

ETOUCHMENU 

5780 Lincoln Dr., Ste. 146, 

Minneapolis, MN 55436 

952-881-0571 tel / 952-303-5985 fax 

steveclinton@etouchmenu.com 

www.etouchmenu.com 

Booth 1119 



NEC DISPLAY SOLUTIONS 

500 Park Blvd., Ste. 1100, Itasca, IL 60143 

866-632-6673 

gspatafore@necdisplays.com 

www.necdisplay.com/godigital 

Suite 1 

As the first dual-lamp 

l 

digital cinema projector on 

the market, NEC’s NC900C 

provides added reliability 

by showing no black 

screen and offering easy 

lamp exchange and transportation. 

It also the first 

projector to incorporate 

rate 

the new S2K chipset from 

Texas Instruments and 

is ideal for small theater 

screens. The NC900C delivers 

3D HFR content and 

has a multitude of connections 

from the HDMI 1.4a 

and USB ports, as well as 

dual HDSDI 3G interfaces. 

Two Gigabit Ethernet ports 

allow content to be provided 

over the network and 

stored on an integrated 

Raid 5 server with capacity 

up to 3TB. 

The Omniterm Management Dashboard 

provides management with 

key decision-making information 

at a glance. It displays 

dynamic operational 

and statistical information 

in both an informative and 

graphical view that allows 

effective management of 

daily theater operations. 

It contains selectable realtime 

metrics on one screen 

with an up-to-the-minute 

view of theater operations. 

In addition to sales and 

scheduling data, the system 

also monitors other crucial 

applications and reports 

on hardware connectivity 

status. The intelligence of the Dashboard 

is heightened through the Management 

Messaging Area, which indicates employee-scheduling 

issues, cashier-drop requirements, 

system connection problems 

and other potential operational issues. 

OMNITERM DATA TECHNOLOGY 

2225 Hancock St., San Diego, CA 92110 

619-491-3159 tel / 619-491-3172 fax 

pgarcia@seatingconcepts.com 

www.seatingconcepts.com 

Booth 509 



The new DiStar+HD lens series from 

Schneider Optics is optimized for 4K pro- 

jectors with a 1.38-inch 

DLP chipset while 

still working pers 

fectly with 2K 

projectors that 

feature a 1.2-inch 

DLP chipset. Designed 

for theaters 

presenting 

on flat or slightly 

curved screens, 

DiStar HD lenses 

offer brilliant, 

bright, uniformly 

illuminated images 

from center to corner. 

Moreover, DiStar lenses can 

be ordered with either a Fish- 

eye Aperture 

e for the best reso- 

lution and superior sharpness or 

a Full Aperture that offers maxi- 

mum light output with correct color 

rendition. Either choice 

yields the highest 

quality available in a large format lens. 

SCHNEIDER OPTICS 

285 Oser Ave., Hauppauge, NY 11788 

631-761-5000 tel / 631-761-5090 fax 

hgreese@schneideroptics.com 

www.schneideroptics.com 

Booth 1008 

SEATING CONCEPTS 

2225 Hancock St., San Diego, CA 92110 

619-491-3159 tel / 619-491-3172 fax 

pgarcia@seatingconcepts.com 

www.seatingconcepts.com 

Booth 509 

Seating Concepts and Red Seat Entertainment 

have introduced Tremor FX, a new 

seating technology that allows you to feel 

the soundtrack the way sound editors 

intended. Tremor FX chairs are the same 

size as standard theater chairs, simplifying 

and streamlining the theater conversion 

process. The seats are easy to integrate 

with any theater configuration with a lowvoltage 

wire and a communication cable. 

Additionally, Tremor FX technology responds 

directly to the audio signals embedded 

in the film’s existing soundtrack, 

eliminating the need for a separate track 

to program the chair to react appropriately 

to each new film. 


MOVIE 

MARKETING 

In November of 2008, 

Twilight—a modest 

$37 million movie— 

slipped into theaters, 

promptly made double 

its money back that 

week, and would go on 

to earn tenfold its cost. 

That’s when producer 

Wyck Godfrey’s career 

changed. He’d made 

big films before like I, 

Robot and Daddy Day 

Care, but now he—and 

exhibition—had landed 

that rarest of box 

office treasures: a hit 

franchise. The fourth 

film in the vampire 

series, last fall’s 

Breaking Dawn—Part 

1, pushed the series’ 

domestic tally past the 

$1 billion mark with a 

total international cash 

grab of $2.5 billion. 

With the grand finale, 

Breaking Dawn—Part 

2, hitting theaters 

on November 16, we 

ask Godfrey what the 

industry can learn from 

his literal monster hit. 


BEYOND 

BREAKING 

DAWN 

Twilight producer Wyck Godfrey on the mechanics and marketing of his 

massive five-film franchise and what its audience wants to see next 

by Amy Nicholson 

NO ONE EXPECTED THE FIRST TWI- 

LIGHT TO BE SUCH A HUGE SUCCESS. 

WHEN DID YOU FIRST KNOW THAT 

YOU HAD SOMETHING BIG? 

I knew that the books had connected with a 

young adult/teen readership, but at the time, 

that didn’t mean a lot in terms of box office. 

I think we knew we would make a successful 

film, but successful meant Sisterhood of 

the Traveling Pants [a domestic box 

office gross of $39 million]. What 

that made was a win for us. It really 

wasn’t until we cast Kristen Stewart 

and Rob Pattinson [the stars and 

real-life couple who made tabloid 

headlines this summer when their 

romance hit the rocks] in the movie 

and started to see just the online 

response—people went crazy with 

every casting—that we realized 

that there was a fervor behind this 

property that I don’t think existed 

with something like Sisterhood of 

the Traveling Pants. And then when 

we started shooting the movie in 

Portland, there were people watching 

us film, and that was bizarre. I didn’t 

experience that even on I, Robot with 

Will Smith—you didn’t have people 

following us around to every location 

and just standing around while 

we shot. Comic-Con that summer 

was really the event that made us 

realize that we had something bigger 

than people would have expected, 

but even then we didn’t know what 

it would open to. What it ultimately 

did was beyond everyone’s expectations. 

And then from Twilight to 

New Moon, it doubled. It definitely 

was a game changer in the film business, 

and all of a sudden properties 

like Hunger Games became very important. 

Up until then, you had Harry Potter, but 

Harry Potter was an all-audience movie. Twilight 

was the first movie that really felt like it 

was for girls and women. 

IN THE LAST FIVE YEARS, WE’VE SEEN 

A HALF-DOZEN POPULAR KIDS SERIES 

MAKE ONE SPLASHY FILM AND NEVER 

GET TO DO A SEQUEL. WHEN DID 

YOU KNOW FOR CERTAIN YOU’D GET 

TO MAKE THE SECOND MOVIE, NEW 

MOON? 

We had the script for New Moon written 

and were in discussions with the director of 

Twilight, Catherine Hardwick, before Twilight 

opened. What changed was the need to really 

crank it out for the following year because the 

actors would be aging—and obviously 

in the movie, the actors aren’t 

supposed to be aging. When Twilight 

opened, there was pressure to get 

New Moon out the following November, 

and that changed the game 

for Catherine, who really wanted to 

take more time. You see that happen 

a lot, both with Gary Ross [director 

of The Hunger Games] and Rupert 

Wyatt [director of Rise of the Planet 

of the Apes], that they don’t want to 

be hemmed into a box. They weren’t 

when they made the first film, and 

all of a sudden they feel this pressure 

to meet deadlines. We were full-on 

looking for a new director the week 

Twilight opened when Catherine 

decided she didn’t want to do it. 

THAT WAS THE FIRST TIME A 

LOT OF TEENAGERS BECAME 

AWARE OF THE POLITICS OF 

HOLLYWOOD AND THE DIREC- 

TORS BEHIND THEIR FAVORITE 

MOVIES. 

The Internet has really changed the 

way audiences participate in the making 

of movies. Deadline Hollywood 

spreads to Yahoo! Movies, and you 

get news every day on productions. 

That was definitely happening at a 

high degree on our movies. 


MOVIE MARKETING > THE TWILIGHT SAGA 

IT’S HARD TO REMEMBER NOW, BUT WHEN ROBERT PATTINSON WAS 

FIRST ANNOUNCED AS EDWARD, HE WAS ALMOST A CONTROVERSIAL 

PICK—THERE WERE AS MANY NAYS AS YAYS. 

The truth is it’s such a passionate fan base, and everyone has exactly who they see for 

the role in their mind. You’re inevitably going to go against people’s wishes because 

you can’t pick the perfect person for 

everyone. There’s almost always a kneejerk re- 

action against an announcement, but then people were foaming at the mouth for 

Rob within three weeks. The second we released the first photo of the Cullens—a 

still we shot in preproduction and released before we started filming—everyone 

was on board. 

TAYLOR 

LAUTNER 

AS JACOB BLACK 

IN THE TWILIGHT 

SAGA: NEW 

MOON 

PACING THESE FIVE FILMS SEEMS LIKE THE BIGGEST CHALLENGE. 

THE GIRLS WHO WERE FRESHMEN IN HIGH SCHOOL FOR TWILIGHT 

ARE NOW FRESHMEN IN COLLEGE FOR BREAKING DAWN—PART TWO. 

THAT’S A BIG JUMP. HOW DID YOU KEEP THEM HOOKED? 

You have to also hope that there are 

new readers coming into the franchise. The 

franchise gets older, but you also have new blood coming in every year. 

Certainly, I think this is 

the fastest delivery of a five-movie series. We 

released New Moon the year after Twilight opened, Eclipse nine 

months after that—and that was a big decision to go in the 

summer with Eclipse—and then we went back to Novem- 

bers for 

Breaking Dawn—Part One and Part Two. 

Chris Weitz directed New Moon, but we needed 

another director working on Eclipse while we 

were shooting New Moon so that we could 

start shooting Eclipse the second New Moon 

wrapped. For Breaking Dawn, the decision 

was to shoot it as one big movie, otherwise 

we would have never been able to deliver it 

on time. 

(continued on page 46) 

PLAN NOW 

FOR BETTER 

PROFITS 

IN 2013! 

ASK US 

HOW AT 

SHOWEAST 

COBB THEATRES 

CLEARWEATER, FL 

WITH YOUR 

MONEY MAKER 

1.800.221.3699 

sales@proctorco.com 

www.proctorco.com 



XAVIER 

SAMUEL 

LEADS THE PACK 

IN THE TWILIGHT 

SAGA: ECLIPSE 

SPEAKING OF ECLIPSE, IT HAS AN IN- 

TERESTING QUIRK: IT’S THE SMALLEST 

OPENING WEEKEND IN THE SERIES 

BUT WITH THE BIGGEST OVERALL 

BOX OFFICE HAUL. 

I think that’s all about summer. In summer, 

you have movies playing all during the 

midweek. Even though there’s much more 

competition for opening-weekend business, 

you have better legs because the movie can 

play all through July and August. Whereas the 

November releases, the movie has pretty much 

played itself out by New Years. But while they 

hold better in the summer, internationally the 

November movies play much better because 

people take August off in Europe. 

WHAT’S THE RELATIONSHIP BEEN 

LIKE BETWEEN THE TWILIGHT FRAN- 

CHISE AND EXHIBITION, AND HOW 

HAVE YOU SEEN IT CHANGE ONCE 

EVERYONE KNEW THAT THEY HAD A 

MONEYMAKER? 

It definitely became the movie to have that 

weekend in November. Exhibitors have been 

incredibly supportive of the movie. They’ve let 

us do things like run marathons of the earlier 

films. They’ve obviously been very supportive 

of our Thursday midnight screenings—they’ve 

even shown the film not only at midnight but 

throughout the night through Friday morning. 

Whenever you have an exhibitor who’s 

willing to keep their doors open and have 


Congratulates 

all 

ShowEast awardees 

Special congratulations 

to our own 

Stanley J. Reynolds 

on being inducted into the 

ShowEast Hall of Fame 

800-767-1724 Fax 515-243-6664 

300 Walnut Street, Suite 200 Des Moines, IA 50309-2262 

www.reynolds-reynolds.com 

s.w.reynolds@reynolds-reynolds.com


ROBERT 

PATTINSON & 

KRISTEN STEWART 

AS EDWARD AND 

BELLA IN THE 

TWILIGHT SAGA: 

BREAKING DAWN— 

PART 1 

employees working at three, four, five, six in the morning, you know 

that they’re supporting the film. 

IN THIS PROCESS, WHAT HAVE YOU LEARNED ABOUT 

WHAT TODAY’S KIDS WANT FROM A MOVIE? 

Honestly, you have to be a trailblazer in some sense. There were many, 

many book series that came after Twilight that were derivations of the 

central construct of Twilight, but it wasn’t until Hunger Games came 

along, this science-fiction dystopic series, that anything felt fresh. And 

now, there have been numerous other dystopic sci-fi book series which 

will never live up to the level of Hunger Games. And Harry Potter, of 

course, changed the game in terms of book series that could appeal to 

kids and adults alike. So really, what kids want is: new. You have to 

constantly be looking for something that you don’t see in the marketplace, 

things that haven’t been done before, things that feel fresh. 

WHAT DO YOU WANT THE SERIES TO BE REMEMBERED 

FOR? 

Bella, Edward and Jacob. Those characters and their relationships are 

really going to live on in movie history as a unique trio. What I remember 

from Harry Potter is the same thing—their trio. That’s what makes 

you fall in love with movies: the characters. No one will repeat Bella, 

Edward and Jacob for as long as we make movies. 

BY THE WAY, TWO YEARS AGO YOU CRACKED A JOKE 

THAT FOR MARKETING PURPOSES, YOU PRAYED THAT 

KRISTEN STEWART AND ROBERT PATTINSON STAYED 

TOGETHER. 

I still pray that! 


Salutes the 2012 ShowEast Award Winners 

INTERNATIONAL EXHIBITOR 

OF THE YEAR 

Jose Patricio Daire Barrios 

SALAH M. HASSANEIN 

HUMANITARIAN AWARD 

Richie Fay 

INTERNATIONAL DISTRIBUTOR 

OF THE YEAR 

Martin Iraola 

SHOWEAST’S SPECIAL AWARD OF ACHIEVEMENT 

FOR SERVICES TO THE INDUSTRY 

Sheila DeLoach 

SHOW “E” 

AWARD 

Dan Harkins 

AL SHAPIRO DISTINGUISHED 

SERVICE AWARD 

Zach Beebee 


PRESENTED TO GOLF OUTING HONOREES 

Hank Lightstone 


PRESENTED TO GOLF OUTING HONOREES 

Susie Beiersdorf 

BINGHAM RAY INDEPENDENT 

SPIRIT AWARD 

Eamonn Bowles 


SPIRIT AWARD 

Ben Barenholtz 


SPIRIT AWARD 

Tom Prassis 


SPIRIT AWARD 

Arnie Sawyer 

ANTI-PIRACY LATIN AMERICAN 

GOVERNMENT LEADERSHIP 

AWARD 

Marisela Morales 

SHOWEAST’S SPECIAL AWARD OF 

ACHIEVEMENT FOR TECHNOLOGICAL 

CONTRIBUTIONS 

Jack Cashin 

2012 ShowEast Hall of Fame Inductees 

Joan Corrado* Chuck Goldwater Sonny Gourley 

Bert Livingston Stan Reynolds Sr. John Santikos Jorge Peregrino 

www.reald.com 

*Posthumously

“…and each issue of BOXOFFICE PRO has interesting articles on the state of the industry and 

upcoming releases. I also enjoy the profiles of others in exhibition and articles about new 

technologies and vendors.” 

“I joined NATO in 1982 and immediately felt the benefits of the organization. NATO 

was very helpful in providing resources and information in the fight against blind bidding, 

as well as assisting me with an issue regarding local sales tax. 

I would encourage exhibitors regardless of their size to join NATO and take advantage 

of its resources, information and leverage that only a larger industry 

group can provide. With the introduction of digital cinema, NATO worked 

publicly and behind the scenes to ensure exhibition was positioned as best 

as possible to implement this new technology. From Hollywood to Washington, 

NATO assists with new technologies, marketing, legislation and 

industry issues that impact theatre owners and moviegoers nationwide. 

I’m excited about the constant evolution of technology and amenities 

that we can offer our guests. The wheel of innovation spins at an 

increasingly progressive rate with each passing year. The future holds 

unlimited opportunity to make moviegoing an unparalleled, communal 

experience. NATO continually watches for what is on the horizon and 

has always helped exhibitors prepare for new challenges and opportunities. 

I am proud to be part of an industry that readily steps up to the 

plate and invests in new innovations and amenities so we can ensure 

that our guests enjoy the ultimate moviegoing experience. 

I always recommend that exhibitors join NATO.” 

Dan Harkins 

Owner & CEO 

Harkins Theatres 

THE OFFICIAL MAGAZINE 

OF THE NATIONAL 

ASSOCIATION OF 

THEATRE OWNERS

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

To all recipients of the prestigious 

ShowEast 2012 Awards. 

Congratulations on your award and continuous 

contributions to the world of cinema. 

christiedigital.com

BY THE 

NUMBERS 

OUR 2012 

HOLIDAY 

PREDICTIONS 

What to expect 

this winter 

by Shawn Robbins 

with additional research and 

predictions by Phil Contrino with 

Daniel Garris and Alex Edghill 

WRECK-IT-RALPH 

WE PREDICT! 

OPENING WEEKEND $53M 

DOMESTIC GROSS $175M 

Distributor Disney 

Cast John C. Reilly, Sarah Silverman, Jack McBrayer, 

Jane Lynch 

Director Rich Moore 

Release date November 2 

Disney takes another shot at the CG animation game 

following 2005’s successful Chicken Little and 2008’s 

less successful Bolt. This video game-inspired tale 

may end up being Disney’s most appealing film yet for 

kids of this technology-driven generation, while young 

adults and parents can get a jolt of nostalgia from 

classic characters like Pac-Man and Sonic. Buzz for the 

flick out of CinemaCon was very positive, and although 

Ralph has some competition to face later in the month, 

it has the potential to be one of the biggest hits this 

holiday season. 


FLIGHT 

WE PREDICT! 



Distributor Paramount 

Cast Denzel Washington, John Goodman, Don Cheadle, 

Melissa Leo 

Director Robert Zemeckis 


Denzel Washington is one of the few reliable box office 

stars left in the business. Coming off a sleeper hit in Safe 

House earlier this year, he may end up with yet another 

success. Flight also marks the return to live-action filmmaking 

for director Robert Zemeckis, who’s been away 

directing mo-cap animation flicks—his last flesh-andblood 

film was 2000’s Cast Away. Also noteworthy: 

Washington’s last November-lead-off movie, American 

Gangster, opened to $43.5 million. We don’t expect 

Flight to reach those heights, but this dramatic story of 

a pilot facing controversy and his own demons in the aftermath 

of an airplane crash is the kind of grown-up fare 

that older crowds may be looking for during the holiday 

and awards season. 

SKYFALL 

WE PREDICT! 



Distributor Sony 

Cast Daniel Craig, Javier Bardem, Ralph Fiennes, Ben 

Whishaw, Judi Dench 

Director Sam Mendes 


After a four-year hiatus triggered by MGM’s financial 

issues, Bond is back. Daniel Craig returns in his highly 

anticipated third outing as 007, and Skyfall fans are 

wondering what new-to-the-franchise director Sam 

Mendes (American Beauty) will bring to the table. Javier 

Bardem joins the cast as the film’s main villain while 

Ben Whishaw introduces fan-favorite Q to the Craig series 

for the first time. The last Bond entry, Quantum of 

Solace, let down some fans, but the most resilient and 

enduring series in box office history is rarely shaken 

or stirred. Add in the IMAX factor (a first for 007), and 

Skyfall is well-poised for box office glory. 


BY THE NUMBERS > 2012 HOLIDAY PREDICTIONS 

LINCOLN 

WE PREDICT! 



Distributor Touchstone 

Cast Daniel Day-Lewis, Joseph Gordon-Levitt, Tommy 

Lee Jones, Sally Field 

Director Steven Spielberg 

Release date November 9 (ltd), November 16 (wide) 

Steven Spielberg. Daniel Day-Lewis. Abraham Lincoln. 

Got your attention yet? There couldn’t be a better 

formula for a historical biopic, and we think that will be 

more than clear when the grosses for this slow-to-rollout 

film are tallied at the end of 2012. Spielberg rarely 

misses (though Amistad proved he is human), and the 

rarely seen Day-Lewis only tackles a big film every few 

years to remind audiences that he’s a master of his 

craft. Plus the 16th president of the United States may 

be one of the few historical figures revered enough to 

entice a larger audience. (That is, if he’s not fighting 

vampires.) If the film delivers and Oscar buzz follows, 

expect a long and healthy run for Lincoln throughout 

the holidays. 

THE TWILIGHT SAGA 

BREAKING DAWN—PART 2 

WE PREDICT! 



Distributor Summit 

Cast Kristen Stewart, Robert Pattinson, Taylor Lautner, 

Dakota Fanning 

Director Bill Condon 


A juggernaut winds down this November when the 

vampire saga of Edward, Bella and Jacob is finally 

drained of blood. Following four hugely successful 

entries—three of which hit true blockbuster status by 

grossing between $280 million and $305 million each 

domestically—the second half of Breaking Dawn comes 

one year after a cliffhanger that left fans clamoring 

to see Bella post-transformation into a vampire and 

mother. We don’t expect the Twilight finale to quite 

reach the same heights enjoyed by Harry Potter’s 2011 

conclusion, but expect a big number for Breaking 

Dawn—Part 2. 



LIFE OF PI 

WE PREDICT! 



Distributor Fox 

Cast Suraj Sharma, Shravanthi Sainath, Irrfan Khan, 

Gérard Depardieu 

Director Ang Lee 


Director Ang Lee is hoping for his first box office hit 

since 2005’s Brokeback Mountain with this decidedly 

different tale of a zookeeper’s son stranded at sea with 

a Bengal tiger. Based on the award-winning book of the 

same name, the holiday release indicates Fox is hoping 

that adults will opt for Pi over a slew of other releases 

in late November and early December. The religious 

themes of the film could play well for some crowds, but 

right now this has wild-card status written all over it— 

and, if early buzz from the New York Film Festival is to 

be believed, considerable Oscar promise. 

RISE OF THE 

GUARDIANS 

WE PREDICT! 



Distributor DreamWorks/Paramount 

Cast Isla Fisher, Alec Baldwin, Chris Pine, Hugh Jackman, 

Jude Law 

Director Peter Ramsey 


DreamWorks’ annual holiday offering assembles a 

collection of fabled characters from Jack Frost to the 

Easter Bunny to Santa Claus in this adaptation of William 

Joyce’s The Guardians of Childhood book series. 

The pre-Thanksgiving release should open well as families 

pile into theaters in between Christmas shopping 

stops. Although its holiday tie-in could benefit it in the 

long run, the flick has the unfortunate position of being 

released between Disney’s potential hit Wreck-It Ralph 

and December’s long-awaited Hobbit film. All three 

can coexist, but Guardians will really have to deliver to 

stand up to this year’s family film competition, which 

has flooded the market. 


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THE HOBBIT: 

AN UNEXPECTED JOURNEY 

WE PREDICT! 



Distributor Warner Bros. 

Cast Andy Serkis, Ian McKellen, Martin Freeman, Cate 

Blanchett, Orlando Bloom 

Director Peter Jackson 

Release date December 14 

This “prequel” to The Lord of the Rings is finally making 

its way to theaters under the stewardship of director Peter 

Jackson. Safe box office bets don’t get any safer than 

this: the beloved Rings trilogy became a phenomenon by 

satiating the hopes of Tolkien fans, attracting mainstream 

viewers and critical applause and making Oscar history. 

Cast favorites are back to ensure The Hobbit builds upon 

the success of its predecessors. The book is a generational 

favorite, so moviegoers of all ages will turn out. But it is 

this story’s lighter tone that could make it an even more 

family-driven event than the Rings series. With the boost 

from 3D (which could end up a very attractive option for 

this film), the sky is the limit for where The Hobbit will end 

up. 

MONSTERS, INC. 

3D 

WE PREDICT! 



Distributor Pixar/Disney 

Cast John Goodman, Billy Crystal, Steve Buscemi, John 

Ratzenberger 

Director Pete Docter, David Silverman, Lee Unkrich 


Besides last fall’s The Lion King, 3D re-releases haven’t 

generally become huge hits. Pixar itself has seen modest 

box office returns from its reruns, so we’re hesitant 

to expect anything much different here. In Monsters’ 

favor, however, is the fact that this releases just in time 

for Christmas—a strategy no recent re-release has attempted 

to capture. The addition pressure for Pixar is 

that with Monsters University opening next summer, the 

studio needs to hook a new generation on this decadeold 

film. The biggest gamble of all is that Monsters 

must contend with The Hobbit for those family audiences, 

but as these two are the only kid-friendly releases in 

December, there could be just enough room for both to 

coexist. Still, we’re hesitant. 


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ZERO DARK 

THIRTY 

WE PREDICT! 



Distributor Columbia 

Cast Joel Edgerton, Chris Pratt, Jessica Chastain, Scott 

Adkins 

Director Kathryn Bigelow 


Kathryn Bigelow’s first film since her Oscar-winning The 

Hurt Locker follows the events leading up to and concluding 

with the killing of Osama bin Laden. Based on 

Bigelow’s war film pedigree alone, there will no doubt 

be an interested audience, but this genre isn’t known 

for producing many blockbusters—Black Hawk Down 

being the exception that proves the rule. We’re cautious 

for now, but if Bigelow has another taut Academy 

Award-worthy thriller on her hands, Zero Dark Thirty 

could play well into early 2013. 

CIRQUE DU SOLEIL: 

WORLDS AWAY 

WE PREDICT! 




Cast Igor Zaripov, Erica Kathleen Linz 

Director Andrew Adamson 


The popular circus hybrid performance group ventures 

to the big screen this Christmas in a 3D flick that caters 

to the group’s fan base as well as audiences who can’t 

afford to make it to Vegas—or really, even afford the 

live show’s pricey tickets at all. The question is whether 

or not the film can find a wide audience amid the considerable 

holiday competition around it. For now, our 

expectations are modest. 


THE TWILIGHT SAGA 

JACK 

REACHER 

WE PREDICT! 




Cast Tom Cruise, Werner Herzog, Richard Jenkins, Rosamund 

Pike 

Director Christopher McQuarrie 


Tom Cruise stars as the titular character in this thriller 

about a military sniper who may have shot five random 

civilians. Based on the popular book series by bestselling 

author Lee Child, Jack Reacher is writer Christopher 

McQuarrie’s (The Usual Suspects, Valkyrie) second 

directorial effort (he helmed 2000’s The Way of the 

Gun), as well as star Cruise’s effort to mark a successful 

return to non-Mission: Impossible flicks following 

the disappointment of 2010’s Knight and Day. Cruise 

helped lead Ghost Protocol to huge success last Christmas, 

but with his public image again under fire, keep 

expectations in check. 

THIS IS 40 

WE PREDICT! 



Distributor Universal 

Cast Paul Rudd, Leslie Mann, Albert Brooks, Megan Fox, 

Chris O’Dowd, Melissa McCarthy 

Director Judd Apatow 


This is Judd Apatow’s first directing effort since 

2009’s Funny People, and the industry is hoping his 

career bounces back. The tagline sells this dramedy as 

the “sort-of sequel to Knocked Up.” The Internet has 

ragged on the slogan mercilessly, but it could end up a 

stroke of brilliance. By shifting the focus to the married 

couple played by Paul Rudd and Leslie Mann, 40 offers 

audiences something they don’t get in many sequels: a 

unique approach. That could be a key factor in making 

this a hit, but given the tough competition for adult 

audiences this winter, our box office hopes are modest. 

Still, this could easily end up playing a strong hand if 

the final product is a classic Apatow crowd-pleaser. 


HOLIDAY PREDICTIONS 

DJANGO 

UNCHAINED 

WE PREDICT! 



Distributor Weinstein 

Cast Jamie Foxx, Leonardo DiCaprio, Christoph Waltz, 

Samuel L. Jackson, Kerry Washington 

Director Quentin Tarantino 


Leave it to Quentin Tarantino to create his own form 

of a Western—which he officially refers to as a “Southern.” 

Here, he boldly centers his film on the subject of 

slavery and then releases it at Christmastime. As one of 

the few “original” movies out this holiday season—and 

especially with its A-list stars like Leonardo DiCaprio 

and Samuel L. Jackson—Django should open strongly. 

Tarantino’s appeal to the masses can often be hit-andmiss, 

but the just-under-the-2012-wire timing of the 

release indicates a likely push for awards buzz, which 

might result in a box office bump. Still, you really never 

know what you’re going to get from Tarantino—and 

that’s exactly one reason so many love him. 

LES MISÉRABLES 

WE PREDICT! 



Distributor Universal 

Cast Anne Hathaway, Hugh Jackman, Russell Crowe, 

Amanda Seyfried, Helena Bonham Carter 

Director Tom Hooper 


Let’s face it: musicals are hit-and-miss at the box office—and 

they’re more often miss. But the early buzz 

behind Les Misérables and its star-driven cast of potential 

Oscar hopefuls like Hugh Jackman, Russell Crowe 

and Anne Hathaway have stoked more interest than 

has any musical in recent memory. The adaptation of 

the popular stage play is currently slated to open on 

Christmas Day, and as director Tom Hooper’s follow-up 

to The King’s Speech, this could be one of the bigger 

hits of the season with the potential to stretch deep 

into 2013. 


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BIG 

PICTURE 

ALEC BALDWIN 

VOICES NORTH, 

THE GUARDIAN 

OF WONDER, 

OTHERWISE KNOWN 

AS SANTA CLAUS. 


The good news is Santa 

Claus, the Tooth Fairy, the 

Easter Bunny and the Sandman 

are real. The bad news 

is so is the Boogeyman. In 

DreamWorks Animation’s 

startlingly bold Rise of the 

Guardians, these four titans 

of fantasy must team up to 

defend childhood against 

the Boogeyman’s onslaught 

of fear—but first, he goes on 

the offensive by convincing 

the kids they’re all fake. What 

could be a breezy comedy is 

a dark and inventive dramedy 

made even more emotional 

by the bitter Jack Frost. Nobody 

today believes in him— 

and that fuels Jack to frostbite 

everyone’s noses out of 

Rise of the 

Guardians 

wants to get kids 

dreaming 

by Amy Nicholson 

spite. Based on the bestselling 

series The Guardians of 

Childhood by William Joyce, 

this cartoon has all the right 

ingredients to give Dream- 

Works another How to Train 

Your Dragon-size hit. If kids 

take the plunge on Thanksgiving, 

exhibitors can expect 

Christmas to come early. 

(continued on page 68) 


BIG PICTURE: LEGEND OF THE GUARDIANS 

PETER 

RAMSEY 

WITH HIS 

CAST OF 

GUARDIANS 

HO HO—HOLD ON! 

THINK YOU KNOW SANTA CLAUS? 

THINK AGAIN, SAYS RISE OF THE GUARDIANS DIRECTOR PETER RAMSEY 

Every year, there’s a 

movie starring Santa 

Claus. But there’s 

never been a Santa 

Claus like this one: 

tattooed, tough and 

borderline crazy. 

First-time director 

Peter Ramsey should 

have been scared to 

completely reimagine 

the biggest heroes 

of the holidays. Was 

he? Not really. But he 

does think Rise of the 

Guardians might have 

been a little too evil 

to its elves. 

THIS FILM IMAGINES SANTA CLAUS, 

THE EASTER BUNNY AND THE TOOTH 

FAIRY MUCH DIFFERENTLY THAN 

WE SEE IN GREETING CARDS. TALK 

ABOUT PUTTING YOUR OWN SPIN ON 

THESE ICONS. 

We wanted to give people a little bit of a shock, 

to startle people into looking at these guys in a 

new way, so that we could reveal things about 

them that we thought were the most powerful 

and enduring and resonant all along. These 

ideas were there in the original books, but for 

the film we really oiled them down to their 

essential qualities. What do these characters 

represent? Why have they been around for so 

long? How and why does the Tooth Fairy collect 

teeth from every kid in the world? Those 

simple questions propelled us into coming up 

with the personalities for these guys. 

AND COMING UP WITH DETAILS LIKE, 

SAY, SANTA CLAUS’ “NAUGHTY” AND 

“NICE” TATTOOS ON HIS FOREARMS. 

INSTEAD OF HIS JUDGING CHILDREN 

ON WHETHER THEY’RE ONE OR THE 

OTHER, IT’S LIKE CLAIMING THAT HE 

HIMSELF IS BOTH. 

Our version of the character really is! What 

he does is literally impossible, so we thought, 

“Why not base his personality on that? Why 

don’t we make him this wild man where everything 

he does is a sheer act of will?” He doesn’t 

care if something’s impossible—he’s going to do 

it anyway. That’s where he gets his magic from. 

He’s a larger-than-life pirate kind of a guy. He’d 

be the first to say, “Yeah, I am naughty and 

nice. I’m everything!” The tattoos were a great 

symbol of that. 

BUT TWO QUESTIONS: ONE, WHY IS 

HE RUSSIAN? AND TWO, WHERE IS 

MRS. CLAUS? 

The Russian thing came from Bill Joyce, 

who made him Russian in the books, but we 

thought it was really cool because it’s different. 

We’ve never heard that before, but in a way it 

makes sense. The legends and lore of Santa are 

all Northern European and from that general 

area of the world, and the Russian accent just 

made him fiery and unpredictable—it gave him 

a rough edge. As for Mrs. Claus, I don’t know? 

Maybe she pops up in the sequel. But I always 

fantasize he’s got girls in every port. “I saw 

Mommy kissing Santa Claus …” 

LET’S BE FRANK: THIS MOVIE IS A 

LITTLE CRUEL TO ELVES. 

That’s true. Actually, we’re a little crueler than 

sometimes I thought we should be. The story 

department or the animators would come up 

with these gags, and I’d be like, “No! You can’t 

do that!” But they were so funny. And I guess 

our thing with the elves is that they’re kind 

of annoying little gremlins. They’re vermin, 


TM 

troublemakers. So we tried to make it so that 

for all the punishment they take, you also see 

that they can take it—they actually kind of 

enjoy it. 

THE WAY YOU DID THE HAIR AND FUR 

IS UNUSUAL. INSTEAD OF REACHING 

FOR REALISM, THEY ALMOST LOOK 

LIKE CARVINGS. 

Definitely with all the designs on the film, we 

wanted a stylized reality. We wanted the feeling 

of reality with the textures and the detail and 

the way the light works with these objects, but 

we also wanted to not be truly photorealistic. 

The film walks a delicate line there. When you 

go too photorealistic, you get the zombie thing, 

the dead stuff. We knew there was a lot of stuff 

we wanted to do with our animation style that 

would also kick the characters’ movements up 

another notch above realism. For the most part, 

I think our guys really hit the sweet spot. 

GUARDIANS ALSO FEELS DELIBER- 

ATELY INTERNATIONAL. YOU HAVE 

SCENES IN RUSSIA, CHINA, THE U.S. 

AND FRANCE. WAS THAT TO EM- 

BRACE THE POWER OF THE GLOBAL 

BOX OFFICE? 

A little bit. But it was really to make the story 

feel big enough to encompass the way you 

feel about these characters when you’re a kid. 

We know they go all over the world—there’s 

versions of these characters, if not these exact 

characters, everywhere. And there have been for 

hundreds of years. So we really wanted to give 

it an explicit global feel, and it also raises the 

stakes. If they’ve got to go all over the world for 

teeth instead of just one little neighborhood, 

then it suddenly becomes an epic story. 

THERE’S ALSO A RUNNING JOKE THAT 

WHEN A CAR ALARM GOES OFF FOR 

NO REASON, IT’S BECAUSE A FANTA- 

SY CREATURE HAS JUMPED ON IT. 

It’s so funny you say that because we were in 

the sound mix yesterday and were working on a 

scene where Jack Frost hops across a car and the 

alarm goes off. His footsteps were too loud, and 

I was like, “No, no, no—we’ve got to make it so 

that you wouldn’t hear him if you were actually 

there.” To you, it just appears like the malfunction 

of a car all of a sudden or the wind blowing 

the wrong way. You didn’t know it, but it was 

Jack Frost crossing your path. We tried to do that 

a lot in the movie, find things that you would 

just automatically think are ordinary but a little 

weird, when in reality it’s these invisible characters 

going through their paces all around you. 

BRINGING MAGIC TO THE MUNDANE— 

IS THAT SO KIDS CAN STAY CONNECT- 

ED TO THE FILM EVEN AFTER THEY 

LEAVE THE THEATER? 

Exactly. It’s important. The design of our town 

that’s featured in the movie, I really wanted to 

make it a real place—even a little shabby in 

some places. It’s got a little wear and tear; it’s 

not squeaky clean. We didn’t want to make it 

some place that you’d see on a greeting card 

or in a Norman Rockwell painting where of 

course Santa Claus and the Easter Bunny come 

there. We wanted it to feel relatable so kids who 

live just about anywhere could say, “Oh, that 

feels like my neighborhood—they’re coming to 

where I live, too.” 

YOU WERE ONE OF THOSE KIDS. YOU 

GREW UP IN SOUTH CENTRAL AND 

WERE BUSED LITERALLY ACROSS LOS 

ANGELES TO A POSH BEACH HIGH 

SCHOOL. 

That’s true. I went to the neighborhood 

elementary, but after that I was bused to junior 

and senior high. I grew up in South Central, 

and I’m one of six natives in the film industry. 

It’s been a long and winding road. 

THE BIG EMOTION IN THIS FILM IS 

LONELINESS. A LOT OF KIDS FEEL 

THAT WAY, BUT FEW KIDS FILMS AC- 

TUALLY ADDRESS IT. 

It’s so interesting. We really worked hard on 

making Jack Frost’s story involving and compelling. 

He’s the audience surrogate character, 

but he’s also a classic reluctant hero, and we 

really wanted to give him something that 

 

 

 

 



CHRIS PINE 

VOICES THE 

TEENAGE JACK 

FROST, THE SPIRIT 

OF WINTER 

people could hold on to throughout the rest 

of this crazy stuff. And people really latch on 

to that aspect of Jack and are really moved by 

it. There’s already a big following of Rise of the 

Guardians Tumblr sites online, and one of the 

reasons is people are completely in love with 

and obsessed by Jack Frost. And for a lot of 

them, it’s because he’s lonely, isolated, alone. 

The beautiful sad boy, and they really gravitate 

towards it. We were in Washington, D.C., and 

we did this presentation about the movie for 

these schoolkids. I ran them through the story 

and said that Jack has something special inside 

that he’s got to discover. And after I was finished, 

this one boy raised his hand and asked, 

“What does Jack have that’s special inside 

him?” I gave him a little explanation, but after 

the talk, the principal came up and she had this 

shaken look on her face and she said, “Oh my 

god. I can’t believe that little boy actually asked 

a question. I’ve been so worried about him—all 

this year, he’s not doing well, his test scores are 

low, I can’t get him to open up, I can’t get him 

to talk. And I was blown away by the question 

that he asked.” A chill went up my spine 

because there’s something in the idea of Jack 

Frost that really connected with him. 

MAYBE IT’S BECAUSE NO ONE EVER 

TELLS KIDS THAT LONELINESS IS 

OKAY—THAT EVERYONE IS LONELY. 

AND THAT MAKES KIDS FEEL EVEN 

LONELIER. 

I remember being a kid myself and feeling that 

way. You always think it’s only you, which is 

kind of the definition of loneliness. 

THE OPENING SCENE WHERE JACK 

FROST COMES TO LIFE AND REALIZES 

HE’S ALONE IN THE WORLD REALLY 

SETS THAT TONE. IT’S INCREDIBLY 

MELANCHOLY. 

I was so happy when we struck upon that as a 

way to open the movie. We’d been struggling 

to find a way to present Jack as this fun-loving, 

wise-cracking character with a little bit of an edge 

while creating sympathy for him. David Lindsay- 

Abaire [the Tony Award-winning playwright who 

wrote the films Rabbit Hole and Inkheart] said, 

“Let’s just show his original trauma—let’s just 

show what really happened to him and open the 

movie that way.” It really makes it his movie, and 

it really tells everybody what’s underneath the 

surface of this guy right at the jump. It gives the 

audience permission to like him. 

YOUR PRODUCER GUILLERMO DEL 

TORO, DIRECTOR OF PAN’S LABY- 

RINTH, SAID HE CAN’T EVEN BELIEVE 

YOU GOT AWAY WITH THAT SCENE. 

It’s funny because it is a different kind of movie 

for the studio, and they really wholeheartedly 

embraced it once they saw what we were up to. 

But it is kind of melancholy, a little mysterious. 

You have somebody floating in the water—it’s 

eerie. So they were a little concerned, but they 

let us go ahead. They watched it develop and 

grow, and I think now, nobody would dream 

of giving it a different opening. But you hear 

there’s going to be a DreamWorks animated 

movie with Santa Claus and the Easter Bunny 

and the Tooth Fairy, and that’s not the way you 

think it’s going to open. 

I HAVE TO ASK THE CONTROVERSIAL 

QUESTION: IS ANYONE GOING TO GET 

MAD AT YOU FOR SANTA CLAUS’ RE- 

PEATED INSISTENCE THAT EASTER IS 

NOT AS IMPORTANT AS CHRISTMAS? 

Other than the Easter Bunny? They might, 

they might. That’s going to be a really interesting 

one. I really have wondered if people 

are going to say, “Wait a minute—you have 

these Christian holidays, but there’s no acknowledgment 

of the rest of them.” Frankly, 

nobody’s really brought that up, and I think 

it’s because we focus on the meaning of the 

holidays as opposed to all of the trappings of 

them. The Easter Bunny and Santa are more 

about the spirit of those holidays, without really 

being too explicit about that. I think the 

characters are specific enough and convincing 

enough that people just accept it as part of 

their banter. So far, everybody just chuckles 

at that line. 

IT IS GOING TO BE A HOLIDAY FOR 

YOU WHEN GUARDIANS FINALLY 

OPENS IN THEATERS? 

I sure do hope so! A happy holiday. First of all, 

I’m just so excited for people to be able to see 

it. I’ve been working on it for three years, and 

we’ve really been under the radar. Even after the 

two trailers that we’ve had, I feel like there’s so 

much more about the movie that people just 

have no idea about. I think they’re going to be 

a bit taken aback by what they see. So for me 

when it opens, it will be like opening a surprise 

gift on Christmas morning and seeing what the 

responses are like. 


TM 

TAKE A BITE 

OUT OF THIS! 

ISLA FISHER PLAYS A 

TRULY TOUGH TOOTH 

FAIRY 

■ Isla Fisher definitely made an impression 

in her first big stateside blockbuster, Wedding 

Crashers, which had her playing a nympho 

who can’t stop pouncing on Vince Vaughn. 

(Luckily, he grows to like it.) Since then, she’s 

become one of Hollywood’s most reliable 

comediennes, helping films like Hot Rod and 

Confessions of a Shopaholic turn a profit while 

prodding the studio system to create better 

roles for funny women. Until they do, Fisher 

has also done brisk business in animated 

flicks, lending her voice to Rango and Horton 

Hears a Who!—or really, creating a voice, as 

she hasn’t yet gotten to keep her perky Australian 

accent. A former soap star in her home 

country, Fisher grew up with four brothers, 

which means it felt natural playing the sole 

female character in Rise of the Guardians opposite 

Alec Baldwin’s Santa Claus, Chris Pine’s 

Jack Frost, Hugh Jackman’s Easter Bunny and 

Jude Law’s Boogeyman. Fisher’s Tooth Fairy is 

an incisor-obsessed pixie crossed with a hum- 

(continued onpage 72) 

 

 

 

 



mingbird. She sounds nothing like Hollywood’s last Tooth Fairy, played 

by The Rock—but bring that up to Isla, and she’ll swear, “We have so 

much in common.” 

FIRST, THE BIG QUESTION: WHEN YOU WERE A KID, DID 

YOU BELIEVE IN THE TOOTH FAIRY? 

Of course, I loved the Tooth Fairy. I don’t know when I stopped believing 

in the Tooth Fairy. Could it have been year three or four? I remember 

definitely that it was one of the other kids who broke it to me that both 

Santa Claus and the Tooth Fairy were my mother and father. Which was 

such a disappointment to hear—to have your dreams crushed like that! 

I’VE HEARD PEOPLE SAY THAT PARENTS WANT THEIR 

KIDS TO BELIEVE IN THINGS LIKE THE TOOTH FAIRY AND 

SANTA CLAUS EVEN MORE THAN THE KIDS THEMSELVES 

DO BECAUSE THEY’RE HAPPY TO SEE THEIR CHILDREN 

YOUNG AND FULL OF WONDER. AS A PARENT YOURSELF 

(WITH COMEDIAN SACHA BARON COHEN), DO YOU THINK 

THAT’S TRUE? 

I don’t do the Santa Claus thing. It’s complicated. Let’s just say 

this: I’m raising my kids Jewish. Santa Claus might be 

slightly more of a Hanukkah ah Claus. Hanukkah Claus 

might come to the house. 

I HEAR HANUKKAH CLAUS IS A REALLY 

FUN GUY. 

Exactly! He’s a real love. 

IT’S FUNNY THAT THE LAST 

TWO ACTORS WHO’VE 

BEEN CAST AS THE TOOTH 

FAIRY ARE YOU AND THE 

ROCK. 

I know! And we have so 

much in common, both 

in physical stature and 

our cinematic style. The 

Rock is great—he’s 

amazing. 

I HAD NO IDEA UN- 

TIL I SAW RISE OF THE 

GUARDIANS THAT IN EU- 

ROPE, THE TOOTH FAIRY 

IS ACTUALLY A MOUSE. 

Right? There’s a scene where 

we’re going all around the world collecting teeth 

and then we come across a French mouse—it’s very 

sweet. 

I LIKE THE IDEA OF A MOUSE FAIRY CAR- 

RYING AROUND MONEY FOR CHILDREN IN 

HIS LITTLE MOUSE PURSE. YOU’VE DONE A 

LOT OF VOICE WORK IN CARTOONS LATELY. 

TALK ABOUT THE PROCESS OF COMING 

UP WITH THE TOOTH FAIRY’S VOICE—THE 

DIRECTOR PETER RAMSEY SAID IT TOOK A 

WHILE TO GET EXACTLY RIGHT. 

All the other animated movies I’ve done, I’ve come in 

with a created voice that’s very different than my own. In 

Rango [in which Isla voiced the tough lady mouse Beans], 

I did a vocal cross between Holly Hunter and Clint Eastwood. 

I haven’t ever done just my own voice. Here, it’s a 

little bit heightened and higher—and it’s American. It was 

kind of a challenge, but when I watched the movie, I thought, “It sounds 

like me, but it’s just different.” You can’t really hide behind a character or 

muck around as much in your own voice. 

SOME VOICE ACTORS MAKE A POINT OF JUST SOUNDING 

LIKE THEMSELVES IN EVERYTHING THEY DO—SAY, EDDIE 

MURPHY. 

But what’s fun is acting! Eddie Murphy comes from a stand-up background, 

and he’s used to being himself. He writes his own material and 

he performs it. I’m just a comic actor, so I have to be more flexible to be 

able to fit into whichever comedic creation is created for me. 

WERE YOU SURPRISED BY THE ADULT LEVEL OF SADNESS 

IN THE FINAL CUT OF RISE OF THE GUARDIANS? 

I really love this movie. When I saw it, I couldn’t believe how beautiful it 

was—just the colors and the characters. And the story is really special. It 

felt like a Steven Spielberg movie in the sense that the storytelling is almost 

old-fashioned and slow—it’s not quick cuts and speedy line delivery. 

William Joyce, who wrote the original books and created this world, he’s a 

genius, that dude. His illustrations were just old-world and otherworldly. 

YET FOR THIS MOVIE, THEY DIDN’T MODEL IT AFTER 

ONE OF HIS BOOKS—INSTEAD, THEY TOOK 

HIS CHAR- 

ACTERS AND WROTE THEM INTO A UNIQUE SCRIPT. 

AND ONE OF THE THINGS THEY ADDED WAS A 

FLIRTATION BETWEEN YOU AND JACK FROST. I 

WAS TRYING TO IMAGINE HOW THAT WOULD 

PLAY OUT IF THEY WERE A COUPLE—WOULD 

THEIR KID BECOME A HOLIDAY? 

That’s so funny. I asked myself the same thing when we 

were 

filming because there’s some anatomical 

differences. I’d like to 

think the 

kids will overlook those and just 

see the love story. But I do 

think it’s a 

little one- 

sided. It’s just Tooth 

and her little fairies 

having a crush 

on 

Jack Frost 

because he’s 

so cute. Yet 

it’s unrequited. 

He’s on his 

ISLA FISHER 

own adventure. 

BLOOMWOOD IN 

AS REBECCA 

CONFESSIONS OF 

A SHOPAHOLIC 

AND 

HE’S A 

300-YEAR-OLD 

12-YEAR-OLD BOY 

WHO PROBABLY STILL THINKS 

GIRLS ARE GROSS. 

Exactly. It’s a true story, clearly. 

THERE’S A SCENE I WANT TO BRING UP. YOU’RE 

SWOONING OVER JACK FROST’S TEETH AND 

SANTA 

BARKS AT YOU, “THINK SOUTH OF MOUTH!” THAT 

SOUNDS A LITTLE DIRTY … 

Ha! You know, even now when I go back and watch kids movies that 

I used to think were so innocent, there were some heavy 

things or 

lines that were a little racy, and they just go right over the heads of 

the children. There’s a couple of those in our movie, and hopefully 

it will make it more of a fun experience for the whole family, rather 

than just the kids. 


TM 

AFTER THE SUCCESS OF BRIDES- 

MAIDS, THERE WAS A LOT OF CHAT- 

TER ABOUT HOW STUDIOS HAD 

REALIZED THE POWER OF FEMALE- 

DRIVEN COMEDIES AND WERE GOING 

TO START THROWING MONEY AT 

MORE PROJECTS. NOW THAT A YEAR 

AND A HALF HAS GONE BY, HAS 

THAT ACTUALLY HAPPENED? 

I don’t really feel like it has. Though I have to 

be honest, I haven’t been looking to work in 

the last six months. But I hope it has or will 

change. I think there’s always going to be a 

whole audience that wants to go and see these 

comedies. I know how excited I get for any 

female comedy—I’ll go and see anything that’s 

written by women or stars women—because I 

want to support them. It does feel like it’s hard 

to see stuff for us. 

THE TOOTH 

FAIRY 

THE GUARDIAN OF 

MEMORIES 

SO WOMEN WHO WANT TO SEE 

MORE FEMALE COMEDIES SHOULD 

GO OUT AND BUY TICKETS FOR 

THEM—EVEN THE NOT-SO-GOOD 

ONES—BECAUSE YOU HAVE TO PUT 

YOUR MONEY WHERE YOUR TASTE 

IS. 

Absolutely. You have to support everyone. It’s 

encouraging. There are so many bad maledriven 

comedies that continue to get made. 

Comedy is just hit and miss—it’s harder in 

some ways than drama. 

 

 

 

 


ON THE 

HORIZON 

by Inkoo Kang 

A LATE QUARTET 

CHRISTOPHER WALKEN’S SWAN 

SONG 

When Peter, the cellist (Christopher Walken) 

of a renowned string quartet, announces that 

he has Parkinson’s disease, the news triggers 

professional and personal crises in his three fellow 

musicians. The two violinists, David (Mark 

Ivanir) and Robert (Philip Seymour Hoffman), 

lock horns over who will control the artistic 

direction of the group after Peter’s imminent 

departure. Meanwhile, Robert and his wife 

Juliette (Catherine Keener), the quartet’s violist, 

wonder whether their unhappy union is worth 

saving. Naturally, the interpersonal drama gets 

in the way of the chamber group’s rehearsals for 

their final concert. 

DISTRIBUTOR Entertainment One CAST 

Philip Seymour Hoffman, Christopher 

Walken, Catherine Keener, Imogen 

Poots, Wallace Shawn, Mark Ivanir 

DIRECTOR Yaron Zilberman SCREENWRIT- 

ERS Seth Grossman, Yaron Zilberman 

PRODUCERS Mandy Tagger, Tamar Sela, 

Yaron Zilberman, Emanuel Michael, Vanessa 

Coifman, David Faigenblum GENRE 

Drama RATING R RUNNING TIME 105 min. 

RELEASE DATE Nov. 2 ltd. 

FLIGHT 

DENZEL WASHINGTON SOARS 

ABOVE THE COMPETITION 

What if “Miracle on the Hudson” pilot Sully 

Sullenberger had breakfasted on a can of beer 

and a line of coke before his miraculous, 

no-casualties crash landing of a failing plane? 

That’s the premise of Flight, which finds Denzel 

Washington continuing his hot streak of playing 

intriguing antiheroes in nail-biting action 

thrillers. Under the guidance of Forrest Gump 

director Robert Zemeckis, Washington bids 

for his third Oscar as a talented but troubled 

pilot who narrowly avoids a midair catastrophe—then 

suffers the humiliation of national 

scrutiny (and possible prison time) when it’s 

revealed he was under the influence. 

DISTRIBUTOR Paramount CAST Denzel 

Washington, Don Cheadle, Bruce Greenwood, 

Kelly Reilly, James Badge Dale, 

John Goodman, Melissa Leo DIRECTOR 

Robert Zemeckis SCREENWRITER John Gatins 

PRODUCERS Laurie MacDonald, Walter 

F. Parkes, Jack Rapke, Steve Starkey, 

Robert Zemeckis GENRE Drama RATING R 

RUNNING TIME 138 min. RELEASE DATE Nov. 

2, 2012 


THE MAN WITH THE IRON 

FISTS 

BLACK SHEEP IN CHINA 

Kung fu films get a hip-hop makeover in 

The Man with the Iron Fists. Wu-Tang Clan 

member RZA co-wrote and stars in this hyperviolent 

English-language martial arts film set in 

19th-century China. RZA plays a blacksmith 

who makes elaborate, novel weapons to defend 

his adopted hometown against outsiders and 

is helped by a mysterious cowboy (Russell 

Crowe) and a dance teacher/assassin (Lucy 

Liu). It could be a much-later sequel to the 

2010 version of The Karate Kid, if Jaden Smith’s 

character went back in time and had Pam Grier 

for a mom. 

DISTRIBUTOR Universal CAST Rick Yune, 

Daniel Wu, Cung Le, Byron Mann, Pam 

Grier, Jamie Chung, RZA, Dave Bautista, 

Russell Crowe, Lucy Liu DIRECTOR RZA 

SCREENWRITERS RZA, Eli Roth PRODUCERS 

Marc Abraham, Eli Roth, Quentin Tarantino 

GENRE Action RATING R RUNNING TIME 

96 min. RELEASE DATE Nov. 2, 2012 

ANNA KARENINA 

LOVE IN THE TIME OF CZARIST 

RUSSIA 

It is a truth universally acknowledged that every 

year, Keira Knightley must star in a prestige 

period film. For the third time after their previous 

successes Pride & Prejudice and Atonement, 

Knightley and director Joe Wright team up to 

adapt a classic novel. This time, they’re bringing 

life to Leo Tolstoy’s tragic romance about a rich, 

unhappily married woman (Knightley) who 

falls in love with a much younger man (Aaron 

Taylor-Johnson of Kick-Ass and Savages). The 

film boasts an all-star cast and sumptuous 

production design (those gowns!) and is bound 

to attract Oscar gab. 

DISTRIBUTOR Focus CAST Keira Knightley, 

Matthew Macfadyen, Jude Law, Emily 

Watson, Alicia Vikander, Kelly Macdonald, 

Olivia Williams DIRECTOR Joe Wright 

SCREENWRITER Tom Stoppard PRODUCER 

Tim Bevan GENRE Drama RATING R RUN- 

NING TIME 130 min. RELEASE DATE Nov. 16 

ltd. 


ON THE HORIZON 

NATURE CALLS 

MANCHILDREN GO INTO THE WILD 

Estranged brothers Randy (Patton Oswalt) 

and Kirk (Johnny Knoxville) vie for the affections 

of a group of apathetic Boy Scouts. 

Randy, a slightly unhinged assistant Scoutmaster, 

kidnaps a bunch of spoiled brats from 

a slumber party at Kirk’s house to teach them 

to how become men. Kirk gives chase with his 

two dingbat sidekicks, his security guard (Rob 

Riggle) and a concerned parent (the late Patrice 

O’Neal). Things get even stranger—and the 

satire much loopier—with the arrival of an 

offbeat park ranger (SNL’s Darrell Hammond) 

with a penchant for swinging. 

DISTRIBUTOR Magnet CAST Patton Oswalt, 

Johnny Knoxville, Rob Riggle DIRECTOR 

Todd Rohal SCREENWRITER Todd Rohal 

PRODUCERS Lisa Muskat, David Gordon 

Green GENRE Comedy RATING R RUNNING 

TIME 79 min. RELEASE DATE Nov. 9, 2012 

LIFE OF PI 

I’M ON A BOAT! … WITH A BENGAL 

TIGER 

Based on the bestselling novel of the same 

name, Life of Pi follows the fantastical journey 

of a teenage boy called Pi (Suraj Sharma) across 

the Pacific Ocean. The son of a zookeeper who 

wants to move from India to Canada with his 

entire menagerie, Pi is stranded in the middle of 

the ocean when his family’s Noah’s Ark capsizes 

and he and a hungry tiger are the only survivors 

of the shipwreck. Though the film is billed as 

a tale that “will make you believe in God,” it’s 

surely the promise of larger-than-life spectacles—shot 

by Crouching Tiger, Hidden Dragon 

director Ang Lee—that will pull in audiences. 

DISTRIBUTOR Fox CAST Suraj Sharma, Irrfan 

Khan, Rafe Spall, Tabu, Adil Hussain, 

Andrea Di Stefano, Shravanthi Sainath, 

Ayush Tandon, Vibish Sivakumar, Ayan 

Khan, Gérard Depardieu DIRECTOR Ang 

Lee SCREENWRITER David Magee PRODUC- 

ERS Ang Lee, Gil Netter, David Womark 

GENRE Adventure drama RATING TBD 

RUNNING TIME 120 min. RELEASE DATE Nov. 

21, 2012 

 

 


SILVER LININGS 

PLAYBOOK 

THE ODDEST COUPLE 

After a four-year stint in a psychiatric hospital, 

Pat Solitano (Bradley Cooper) has to rebuild 

his life, though he doesn’t know when he’ll 

snap next. Armed with positivity, he tries to get 

back with his wife, who cheated on him before 

he went crazy and has since hit him with a restraining 

order. His friends jokingly set him up 

with another mess of a human being, Tiffany 

(Jennifer Lawrence), who describes herself as 

“the crazy slut with the dead husband.” 

DISTRIBUTOR Weinstein CAST Bradley Cooper, 

Jennifer Lawrence, Robert De Niro, 

DIRECTOR David O. Russell SCREENWRITER 

David O. Russell PRODUCERS Bruce Cohen, 

Donna Gigliotti, Jonathan Gordon, 

George Parra GENRE Dramedy RATING 

TBD RUNNING TIME 120 min. RELEASE DATE 

Nov. 21, 2012 

HITCHCOCK 

THE ICONIC DIRECTOR IS 

NOTORIOUS, SPELLBOUND AND 

PSYCHO 

Anthony Hopkins packs on the pounds and 

prosthetics to transform himself into the 

Master of Suspense. An aging Hitch is in the 

midst of shooting a passion project that no 

one believes in but his devoted wife/assistant 

director (Helen Mirren)—a self-financed indie 

about a killer in a rundown motel. The nonetoo-tactful 

director has trouble convincing his 

actors, Janet Leigh (Scarlett Johansson) and Anthony 

Perkins (James D’Arcy), that the project 

is worthy of them, while also dealing with Ed 

Gein (Michael Wincott), the notorious serial 

killer who inspired Norman Bates. 

DISTRIBUTOR Fox Searchlight CAST 

Anthony Hopkins, Helen Mirren, Scarlett 

Johansson DIRECTOR Sacha Gervasi 

SCREENWRITER John J. McLaughlin PRO- 

DUCERS Alan Barnette, Ali Bell, Richard 

Middleton, Tom Pollock, Ivan Reitman, 

John Schneider, Tom Thayer GENRE 

Biographical drama RATING TBD RUNNING 

TIME TBD RELEASE DATE Nov. 23, 2012 

 

 

 


ON THE HORIZON 

KILLING THEM SOFTLY 

BUT NOT WITH HIS SONG 

Killing Them Softly corrals a bunch of famous 

faces from crime flicks (Ray Liotta, James Gandolfini, 

Animal Kingdom’s Ben Mendelsohn) 

to be slowly and stylishly mowed down by a 

sociopathic Brad Pitt. Armed with a goatee 

and a gun, Pitt plays a mob detective/enforcer 

assigned to clean up the mess after a heist in a 

gangland poker game goes wrong. Writer-director 

Andrew Dominik pairs up with Pitt again 

after their last venture, the artsy The Assassination 

of Jesse James by the Coward Robert Ford, 

was shot dead by poor box office returns. 

DISTRIBUTOR Weinstein CAST Brad Pitt, 

Richard Jenkins, James Gandolfini, Ray 

Liotta, Scoot McNairy, Ben Mendelsohn, 

Sam Shepard DIRECTOR Andrew Dominik 

SCREENWRITER Andrew Dominik PRODUC- 

ERS Dede Gardner, Brad Pitt, Paula Mae 

Schwartz, Steve Schwartz GENRE Crime 

thriller RATING R RUNNING TIME 97 min. 

RELEASE DATE Nov. 30, 2012 

IDENTITY THIEF 

BRIDESMAID GONE WILD 

Perpetually put-upon good guy Jason Bateman 

finds his comedy dream team partner in 

Melissa McCarthy, last seen stealing every scene 

in Bridesmaids and winning an Emmy for Mike 

& Molly. After finding a sleeper hit in Horrible 

Bosses, Bateman joined forces again with Bosses 

director Seth Gordon to make another adult 

comedy. But the star everyone will be looking 

at is McCarthy. After the runaway success of 

Bridesmaids, McCarthy has a string of comedies 

lined up for the coming year, including 

December’s Knocked Up sequel This Is 40, plus 

The Heat with Sandra Bullock in April 2013 

and a small role in next summer’s The Hangover 

Part III. Identity Thief finds mild-mannered 

office drone Sandy (Bateman) pursuing the 

shamelessly greedy Diana (McCarthy), who has 

been maxing out his credit cards without his 

knowledge. Diana may be dowdy, but she uses 

her highly developed con artistry and neckpunching 

skills to lose Sandy fast. The car chase 

and physical fight scenes between Sandy and 

Diana raise the stakes—and adrenaline levels— 

of their unpredictable cat-and-mouse game. 

DISTRIBUTOR Universal CAST Jason Bateman, 

Melissa McCarthy, Genesis Rodriguez, 

Amanda Peet, Jon Favreau DIREC- 

TOR Seth Gordon SCREENWRITER Craig 

Mazin PRODUCERS Jason Bateman, Scott 

Stuber GENRE Comedy RATING TBD RUN- 

NING TIME TBD RELEASE DATE Feb. 8, 2013 


Screenvision congratulates 

Zach Beebee, Relativity Media 

Al Shapiro Distinguished Service Award 

Richie Fay, Lionsgate 

Salah M. Hassanein Humanitarian Award 

Dan Harkins, Harkins Theatres 

Show “E” Award

BOOKING 

GUIDE 

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS 

DISNEY 818-560-1000 / ASK FOR DISTRIBUTION 

WRECK-IT RALPH Fri, 11/2/12 WIDE John C. Reilly, Sarah Silverman Rich Moore NR Ani/Fam Digital 3D/Quad 

LINCOLN Fri, 11/9/12 EXCL NY/LA Daniel Day-Lewis, Sally Field Steven Spielberg PG-13 Bio/Dra/Hist 

MONSTERS, INC 3D Wed, 12/19/12 WIDE Billy Crystal, John Goodman David Silverman, Pete Docter G Ani/Com/Fam Digital 3D/Quad 

OZ: THE GREAT AND POWERFUL Fri, 3/8/13 WIDE Mila Kunis, James Franco Sam Raimi NR Adv/Fam/Fant 

Digital 3D/Dolby Dig/IMAX/ 

SDDS/Quad 

IRON MAN 3 Fri, 5/3/13 WIDE Robert Downey Jr., Guy Pearce Shane Black NR Act/Adv Dolby Dig/SDDS/Quad 

MONSTERS UNIVERSITY Fri, 6/21/13 WIDE Billy Crystal, John Goodman Dan Scanlon NR Ani/Com/Fam Digital 3D/Dolby Dig EX/Quad 

THE LONE RANGER Wed, 7/3/13 WIDE Johnny Depp, Armie Hammer Gore Verbinski NR Act/Adv/West Quad 

PHINEAS AND FERB Fri, 7/26/13 WIDE Thomas Brodie-Sangster, Ashley Tisdale 

Dan Povenmire, Jeff ‘Swampy’ 

Marsh 

NR Ani/Fam 

THE LITTLE MERMAID 3D Fri, 9/13/13 WIDE Jodi Benson, Christopher Daniel Barnes John Musker, Ron Clements G Ani/Fam Digital 3D/Quad 

THOR: THE DARK WORLD Fri, 11/8/13 WIDE Chris Hemsworth, Tom Hiddleston Alan Taylor NR Act/Adv 

FROZEN Wed, 11/27/13 WIDE Kristen Bell, Idina Menzel Chris Buck NR Ani/Fam Digital 3D/Quad 

FILMDISTRICT DEBORAH JOHNSON / 646-380-4497 / DJOHNSON@FILMDISTRICT.COM 

PLAYING FOR KEEPS Fri, 12/7/12 WIDE Gerard Butler, Jessica Biel Gabriele Muccino PG-13 Rom/Com Dolby Dig 

PARKER Fri, 1/25/13 WIDE Jason Statham, Jennifer Lopez Taylor Hackford NR Act/Cri/Thr 

DEAD MAN DOWN Fri, 3/8/13 WIDE Colin Farrell, Noomi Rapace Niels Arden Oplev NR Cri/Thr Scope 

FOCUS FEATURES CHRIS USTASZEWSKI / 818-777-3071 

ANNA KARENINA Fri, 11/9/12 EXCL NY/LA Keira Knightley, Jude Law Joe Wright R Dra Scope/Dolby Dig 

HYDE PARK ON HUDSON Fri, 12/7/12 EXCL NY/LA Bill Murray, Laura Linney Roger Michell R Dra Scope/DTS/Dolby SRD 

PROMISED LAND Fri, 12/28/12 EXCL NY/LA Matt Damon, John Krasinski Gus Van Sant R Dra 

ADMISSION Fri, 3/8/13 WIDE Tina Fey, Paul Rudd Paul Weitz NR Com/Dra 

FOX 310-369-1000 / 212-556-2400 

LIFE OF PI Fri, 11/16/12 LTD. Suraj Sharma, Gérard Depardieu Ang Lee NR Adv/Dra 3D/Dolby Dig 

PARENTAL GUIDANCE Tue, 12/25/12 WIDE Billy Crystal, Bette Midler Andy Fickman NR Com Dolby Dig 

BROKEN CITY Fri, 1/18/13 WIDE Mark Wahlberg, Russell Crowe Allen Hughes R Cri/Dra/Thr Dolby Dig 

A GOOD DAY TO DIE HARD Thu, 2/14/13 WIDE Bruce Willis, Jai Courtney John Moore NR Act 

THE CROODS Fri, 3/22/13 WIDE Nicolas Cage, Ryan Reynolds Chris Sanders, Kirk De Micco NR Ani/Adv/Com 3D 

THE HEAT Fri, 4/5/13 WIDE Sandra Bullock, Melissa McCarthy Paul Feig NR Com 

EPIC Fri, 5/24/13 WIDE Josh Hutcherson, Amanda Seyfried Chris Wedge NR Ani/Adv 3D 

THE INTERNSHIP Fri, 6/28/13 WIDE Vince Vaughn, Owen Wilson Shawn Levy NR Com 

INDEPENDENCE DAY 3D Wed, 7/3/13 WIDE Will Smith, Bill Pullman Roland Emmerich PG-13 Act/SciFi 3D/Dolby SRD/DTS 

TURBO Fri, 7/19/13 WIDE Ryan Reynolds, Paul Giamatti David Soren NR Ani 3D 



THE WOLVERINE Fri, 7/26/13 WIDE Hugh Jackman, Will Yun Lee James Mangold NR Act/Adv 

PERCY JACKSON: SEA OF MONSTERS Fri, 8/16/13 WIDE Logan Lerman, Alexandra Daddario Thor Freudenthal NR Act/Adv/Fan 

STAR WARS: EPISODE II - ATTACK OF THE CLONES 3D Fri, 9/20/13 WIDE Ewan McGregor, Hayden Christensen George Lucas PG Act/Adv/SF 3D 

RUNNER, RUNNER Fri, 9/27/13 WIDE Ben Affleck, Justin Timberlake Brad Furman NR Cri/Thr 

STAR WARS: EPISODE III - REVENGE OF THE SITH 3D Fri, 10/11/13 WIDE Ewan McGregor, Hayden Christensen George Lucas PG-13 Act/Adv/SciFi 3D 

MR. PEABODY & SHERMAN Fri, 11/1/13 WIDE Ty Burrell, Max Charles Rob Minkoff NR Ani/Com/Fam 3D 

WALKING WITH DINOSAURS 3D Fri, 12/20/13 WIDE Neil Nightingale, Barry Cook NR Ani/Act/Adv 3D 

THE SECRET LIFE OF WALTER MITTY Wed, 12/25/13 WIDE Ben Stiller, Kristen Wiig Ben Stiller NR Adv/Com/Dra 

FOX SEARCHLIGHT 212-556-2400 

HITCHCOCK Fri, 11/23/12 LTD. Anthony Hopkins, Helen Mirren Sacha Gervasi NR Dra 

STOKER Fri, 3/1/13 LTD. Mia Wasikowska, Nicole Kidman Park Chan-wook R Thr 

LIONSGATE 310-449-9200 

THE TWILIGHT SAGA: BREAKING DAWN - PART 2 Fri, 11/16/12 WIDE Kristen Stewart, Robert Pattinson Bill Condon NR Fan/Rom 

THE IMPOSSIBLE Fri, 12/21/12 EXCL NY/LA Ewan McGregor, Naomi Watts Juan Antonio Bayona PG-13 Dra 

TEXAS CHAINSAW 3D Fri, 1/4/13 WIDE Alexandra Daddario, Tania Raymonde John Luessenhop R Hor 3D 

THE LAST STAND Fri, 1/18/13 WIDE Arnold Schwarzenegger, Forest Whitaker Kim Jee-woon NR Act/Cri Dolby Dig 

WARM BODIES Fri, 2/1/13 WIDE Nicholas Hoult, Teresa Palmer Jonathan Levine NR Hor/Rom 

SNITCH Fri, 2/22/13 WIDE Dwayne Johnson, Susan Sarandon Ric Roman Waugh PG-13 Act/Thr 

THE MARRIAGE COUNSELOR Fri, 3/29/13 WIDE Jurnee Smollett, Vanessa Williams Tyler Perry PG-13 Dra 

THE BIG WEDDING Fri, 4/26/13 WIDE Robert De Niro, Katherine Heigl Justin Zackham NR Com 

WE THE PEEPLES Fri, 5/10/13 WIDE Craig Robinson, Kerry Washington Tina Gordon Chism PG-13 Com 

NOW YOU SEE ME Fri, 6/7/13 WIDE Jesse Eisenberg, Mark Ruffalo Louis Leterrier NR Thr 

RED 2 Fri, 8/2/13 WIDE Bruce Willis, John Malkovich Dean Parisot NR Act/Com 

YOU’RE NEXT Fri, 8/23/13 WIDE Sharni Vinson, Joe Swanberg Adam Wingard NR Hor 

I, FRANKENSTEIN Fri, 9/13/13 WIDE Aaron Eckhart, Bill Nighy Stuart Beattie NR Act/Hor 

THE TOMB Fri, 9/27/13 WIDE Sylvester Stallone, Arnold Schwarzenegger Mikael Hafstrom NR Act 

ENDER’S GAME Fri, 11/1/13 WIDE Harrison Ford, Abigail Breslin Gavin Hood NR Act/Thr 

THE HUNGER GAMES: CATCHING FIRE Fri, 11/22/13 WIDE Jennifer Lawrence, Josh Hutcherson Francis Lawrence NR Act/Adv/SciFi Dolby Dig 

OPEN ROAD FILMS LIZ DEUTSCH / 310-696-7575 

RED DAWN Wed, 11/21/12 WIDE Chris Hemsworth, Josh Hutcherson Dan Bradley PG-13 Act Dolby Dig 

A HAUNTED HOUSE Fri, 1/11/13 WIDE Marlon Wayans, Cedric the Entertainer Michael Tiddes R Com/Hor 

SIDE EFFECTS Fri, 2/8/13 WIDE Channing Tatum, Rooney Mara Steven Soderbergh NR Dra/Thr 

THE HOST Fri, 3/29/13 WIDE Saoirse Ronan, Diane Kruger Andrew Niccol NR SciFi/Thr 

PARAMOUNT 323-956-5000 / 212-373-7000 

FLIGHT Fri, 11/2/12 WIDE Denzel Washington, Melissa Leo Robert Zemeckis R Dra Dolby Dig/SDDS 

RISE OF THE GUARDIANS Wed, 11/21/12 WIDE Chris Pine, Alec Baldwin Peter Ramsey PG Ani/Adv/Fam 3D 

CIRQUE DU SOLEIL: WORLDS AWAY Fri, 12/21/12 WIDE Erica Linz, Igor Zaripov Andrew Adamson NR Fan 3D 

JACK REACHER Fri, 12/21/12 WIDE Tom Cruise, Rosamund Pike Christopher McQuarrie PG-13 Cri/Thr Dolby Dig/SDDS 

NOT FADE AWAY Fri, 12/21/12 WIDE John Magaro, Jack Huston David Chase R Dra Dolby Dig 

VitalCAST Digital Menus 

Digital Box Office 

Auditorium Displays 

Digital Movie Posters 

Outdoor LED 

Enhance your brand. Engage your customers. 

Increase sales and profits. 

VitalCAST by Texas Digital offers an easy-to-use, scalable digital signage 

solution for every aspect of your theatre—from box office to lobby to 

concessions to auditorium—all centrally controlled and easily managed. 

For more information, contact us at sales@txdigital.com or 800.693.2628. 


BOOKING GUIDE 


THE GUILT TRIP Tue, 12/25/12 WIDE Seth Rogen, Barbra Streisand Anne Fletcher NR Com Dolby Dig 

HANSEL AND GRETEL: WITCH HUNTERS Fri, 1/11/13 WIDE Jeremy Renner, Gemma Arterton Tommy Wirkola NR Act/Com/Hor 3D/Dolby Dig 

G.I. JOE: RETALIATION Fri, 3/29/13 WIDE Channing Tatum, Dwayne Johnson Jon M. Chu NR Act/Adv 3D/Dolby Dig/SDDS 

PAIN & GAIN Fri, 4/26/13 WIDE Mark Wahlberg, Dwayne Johnson Michael Bay NR Act/Com 

STAR TREK INTO DARKNESS Fri, 5/17/13 WIDE Chris Pine, Zachary Quinto J.J. Abrams NR Act/Adv/SciFi IMAX/3D 

WORLD WAR Z Fri, 6/21/13 WIDE Brad Pitt, Mireille Enos Marc Forster NR Act/Hor Dolby Dig/SDDS 

JACK RYAN Wed, 12/25/13 WIDE Chris Pine, Keira Knightley Kenneth Branagh NR Act/Thr 

RELATIVITY MARA BUXBAUM: 323-822-4800 / RELATIVITY@ID-PR.COM 

MOVIE 43 Fri, 1/25/13 WIDE Emma Stone, Gerard Butler Multiple NR Com 

SAFE HAVEN Fri, 2/8/13 WIDE Josh Duhamel, Julianne Hough Lasse Hallström NR Dra/Rom 

21 AND OVER Fri, 3/15/13 WIDE Miles Teller, Justin Chon Jon Lucas, Scott Moore NR Com 

PARANOIA Fri, 10/4/13 WIDE Liam Hemsworth, Gary Oldman Robert Luketic NR Thr 

SONY 212-833-8500 

SKYFALL Fri, 11/9/12 WIDE Daniel Craig, Javier Bardem Sam Mendes PG-13 Act/Adv/Thr Quad/IMAX 

ZERO DARK THIRTY Wed, 12/19/12 WIDE Joel Edgerton, Jessica Chastain Kathryn Bigelow NR Act/Thr Dolby Dig 

ELYSIUM Fri, 3/1/13 WIDE Matt Damon, Jodie Foster Neill Blomkamp NR Act/SF 

CARRIE Fri, 3/15/13 WIDE Chloë Grace Moretz, Julianne Moore Kimberly Peirce NR Hor/Thr 

THE EVIL DEAD Fri, 4/12/13 WIDE Jane Levy, Shiloh Fernandez Fede Alvarez NR Hor 

AFTER EARTH Fri, 6/7/13 WIDE Will Smith, Jaden Smith M. Night Shyamalan NR Act/Adv/SF Quad 

THE END OF THE WORLD Fri, 6/14/13 WIDE Seth Rogen, James Franco Evan Goldberg, Seth Rogen NR Com 

WHITE HOUSE DOWN Fri, 6/28/13 WIDE Channing Tatum, Jamie Foxx Roland Emmerich NR Act/Thr Quad 

GROWN UPS 2 Fri, 7/12/13 WIDE Adam Sandler, Kevin James Dennis Dugan NR Com 

THE SMURFS 2 Wed, 7/31/13 WIDE Neil Patrick Harris, Hank Azaria Raja Gosnell NR Ani/Com/Fam 3D 

ROBOCOP Fri, 8/9/13 WIDE Joel Kinnaman, Gary Oldman José Padilha NR Act/Cri/SciFi Quad 

THE MORTAL INSTRUMENTS: CITY OF BONES Fri, 8/23/13 WIDE Lily Collins, Lena Headey Harald Zwart NR Act/Adv/Dra 

BATTLE OF THE YEAR: THE DREAM TEAM Fri, 9/13/13 WIDE Josh Holloway, Laz Alonso Benson Lee NR Dra 3D/Quad 

CAPTAIN PHILLIPS Fri, 10/11/13 WIDE Tom Hanks, Catherine Keener Paul Greengrass NR Dra Quad 

NO GOOD DEED Fri, 10/18/13 WIDE Idris Elba, Taraji P. Henson Sam Miller NR Dra/Thr 

ONE DIRECTION CONCERT MOVIE Fri, 11/8/13 WIDE NR Con/Doc 3D 

SONY PICTURES CLASSICS TOM PRASSIS / 212-833-4981 

RUST AND BONE Fri, 11/23/12 EXCL NY/LA Marion Cotillard, Matthias Schoenaerts Jacques Audiard R Dra/Mys Scope 

AMOUR Wed, 12/19/12 EXCL NY/LA Jean-Louis Trintignant, Emmanuelle Riva Michael Haneke PG-13 Dra Dolby Dig 

WEST OF MEMPHIS Tue, 12/25/12 EXCL NY/LA Amy Berg R Doc 

UNIVERSAL 818-777-1000 

THE MAN WITH THE IRON FISTS Fri, 11/2/12 WIDE Russell Crowe, Cung Le RZA R Act/Adv Dolby Dig/SDDS 

THIS IS 40 Fri, 12/21/12 WIDE Paul Rudd, Leslie Mann Judd Apatow R Com Scope/Quad/Dolby Dig/SDDS 

LES MISERABLES Tue, 12/25/12 WIDE Hugh Jackman, Russell Crowe Tom Hooper NR Mus/Dra Dolby Dig/SDDS 

MAMA Fri, 1/18/13 WIDE Jessica Chastain, Nikolaj Coster-Waldau Andres Muschietti NR Hor/Thr 

IDENTITY THIEF Fri, 2/8/13 WIDE Jason Bateman, Melissa McCarthy Seth Gordon NR Com 



JURASSIC PARK 3D Fri, 4/5/13 WIDE Sam Neill, Laura Dern Steven Spielberg PG-13 Adv/SF/Thr 3D/Quad 

OBLIVION Fri, 4/12/13 LTD. Tom Cruise, Olga Kurylenko Joseph Kosinski NR Act/SF IMAX/Dolby Dig/SDDS 

ABOUT TIME Fri, 5/10/13 WIDE Rachel McAdams, Bill Nighy Richard Curtis NR RomCom/SF 

THE FAST AND THE FURIOUS 6 Fri, 5/24/13 WIDE Vin Diesel, Paul Walker Justin Lin NR Act 

KICK-ASS 2 Fri, 6/28/13 WIDE Aaron Taylor-Johnson, Chloë Grace Moretz Jeff Wadlow NR Act 

DESPICABLE ME 2 Wed, 7/3/13 WIDE Steve Carell, Al Pacino Pierre Coffin, Chris Renaud NR Ani/Com/Fam 3D 

R.I.P.D. Fri, 7/19/13 WIDE Ryan Reynolds, Jeff Bridges Robert Schwentke NR Act/Com/Hor Quad/Dolby Dig/SDDS 

2 GUNS Fri, 8/16/13 WIDE Denzel Washington, Mark Wahlberg Baltasar Kormákur NR Act/Cri/Dra 

RUSH Fri, 9/20/13 WIDE Chris Hemsworth, Daniel Brühl Ron Howard NR Act/Dra 

47 RONIN Wed, 12/25/13 WIDE Keanu Reeves, Hiroyuki Sanada Carl Rinsch NR Act/Adv/Dra Digital 3D/Quad 

WARNER BROS. 818-977-1850 

THE HOBBIT: AN UNEXPECTED JOURNEY Fri, 12/14/12 WIDE Ian McKellen, Martin Freeman Peter Jackson NR Act/Adv/Fan 3D/IMAX/Dolby Dig/SDDS 

GANGSTER SQUAD Fri, 1/11/13 WIDE Sean Penn, Ryan Gosling Ruben Fleischer R Cri/Dra Quad/Dolby Dig/SDDS 

THE CONJURING Fri, 1/25/13 WIDE Vera Farmiga, Patrick Wilson James Wan NR Hor/Thr 

BULLET TO THE HEAD Fri, 2/1/13 WIDE Sylvester Stallone, Sung Kang Walter Hill R Act Dolby Dig/SDDS 

BEAUTIFUL CREATURES Wed, 2/13/13 WIDE Alden Ehrenreich, Alice Englert Richard LaGravenese NR Dra Quad 

JACK THE GIANT KILLER Fri, 3/22/13 WIDE Nicholas Hoult, Eleanor Tomlinson Bryan Singer NR Act/Adv/Fan 3D/IMAX/Quad/Scope 

42 Fri, 4/12/13 WIDE Chadwick Boseman, Harrison Ford Brian Helgeland NR Dra/Sport 

THE GREAT GATSBY Fri, 5/10/13 WIDE Leonardo DiCaprio, Carey Mulligan Baz Luhrmann NR Dra 3D/IMAX/Quad 

THE HANGOVER PART III Fri, 5/24/13 WIDE Bradley Cooper, Zach Galifianakis Todd Phillips NR Com 

MAN OF STEEL Fri, 6/14/13 WIDE Henry Cavill, Amy Adams Zack Snyder NR Act/Adv 

PACIFIC RIM Fri, 7/12/13 WIDE Charlie Hunnam, Idris Elba Guillermo del Toro NR Act/SF 3D/Quad 

300: RISE OF AN EMPIRE Fri, 8/2/13 WIDE Eva Green, Rodrigo Santoro Noam Murro NR Act 3D 

THE SEVENTH SON Fri, 10/18/13 WIDE Jeff Bridges, Ben Barnes Sergey Bodrov NR Fan 

THE HOBBIT: THE DESOLATION OF SMAUG Fri, 12/13/13 WIDE Ian McKellen, Martin Freeman Peter Jackson NR Act/Adv/Fan 3D/IMAX 

WEINSTEIN CO. / DIMENSION 646-862-3400 

THIS MUST BE THE PLACE Fri, 11/2/12 LTD. Sean Penn, Frances McDormand Paolo Sorrentino NR Com/Dra 

SILVER LININGS PLAYBOOK Wed, 11/21/12 WIDE Bradley Cooper, Jennifer Lawrence David O. Russell NR Com/Dra Dolby Dig 

KILLING THEM SOFTLY Fri, 11/30/12 WIDE Brad Pitt, Richard Jenkins Andrew Dominik R Cri/Thr Dolby Dig 

DJANGO UNCHAINED Tue, 12/25/12 WIDE Jamie Foxx, Christoph Waltz Quentin Tarantino NR Dra/West Dolby Dig/SDDS 

QUARTET Fri, 12/28/12 LTD. Maggie Smith, Billy Connolly Dustin Hoffman NR Com/Dra 

ESCAPE FROM PLANET EARTH Thu, 2/14/13 WIDE Brendan Fraser, Sarah Jessica Parker Callan Brunker NR Ani/Adv/SF 3D 

DARK SKIES Fri, 2/22/13 WIDE Keri Russell, Dakota Goyo Scott Stewart NR SF/Thr 

SCARY MOVIE 5 Fri, 4/19/13 WIDE Ashley Tisdale, Charlie Sheen Malcolm D. Lee NR Com 

LEO THE LION Fri, 8/30/13 WIDE Mario Cambi NR Ani/Fam 

SIN CITY: A DAME TO KILL FOR Fri, 10/4/13 WIDE Mickey Rourke, Jessica Alba Robert Rodriguez, Frank Miller NR Act/Cri/Thr 3D 

THE TRICK OR TREATERS Fri, 10/25/13 WIDE Hayo Freitag NR Ani/Fam 

SANTAPPRENTICE Fri, 12/6/13 WIDE Delta Goodrem, Holly Fraser Luc Vinciguerra NR Ani/Fam 




AD INDEX 

ON SALE DECEMBER 11! 

The Bourne Legacy takes the actionpacked 

Bourne series to an explosive 

new level. On the verge of having their 

conspiracy exposed, members of the 

governmentʼs intelligence community 

will stop at nothing to erase all evidence 

of their top secret programs—even the 

agents involved. Aaron Cross (Jeremy 

Renner) must use his geneticallyengineered 

skills to survive the ultimate 

game of cat-and-mouse and finish what 

Jason Bourne started. Also starring 

Rachel Weisz and Edward Norton. 

“Top-tier performances and a universeexpanding 

plot” —Boxoffice Magazine 

ON SALE DECEMBER 11! 

Family Guy creator Seth MacFarlane 

brings his boundary-pushing brand of 

humor to the big screen for the first time 

as writer, director and voice star of Ted. 

In the live action/CG-animated comedy, 

he tells the story of John Bennett (Mark 

Wahlberg), a grown man who must 

deal with the cherished teddy bear who 

came to life as the result of a childhood 

wish … and has refused to leave his side 

ever since. 

“Movies donʼt get much funnier than Ted” 

—Boxoffice Magazine 

CARDINAL SOUND & MOTION 

PICTURE SYSTEMS 

6330 Howard Ln. 

Elkridge, MD 21075 

Cathy Rockman 

410-796-5300 

cardinal@cardinalsound.com 

www.cardinalsound.com 

PG 88 

CHRISTIE DIGITAL SYSTEMS 

10550 Camden Dr. 

Cypress, CA 90630 

Craig Sholder 

714-236-8610 

craig.sholder@christiedigital.com 

www.christiedigital.com 

INSIDE FRONT COVER, PG 51 

CINEDIGM 

100 Potrero Ave. 

San Francisco, CA 94103 

424-281-5400 

contact@cinedigm.com 

www.cinedigm.com 

PG 63 

CINEMACON 

60 Cuttermill Road Suite 413 

Great Neck, NY 11021 

516-439-5511 

info@cinemacon.com 

www.cinemacon.com 

PG 16 

THE COCA-COLA COMPANY 

P.O. Box 1734 

Atlanta, GA 30301, USA 

800-GET-COKE 

www.thecoca-colacompany.com 

PG 7 

DOLBY LABORATORIES 

100 Potrero Ave. 


Christie Ventura 

415-558-2200 

cah@dolby.com 

www.dolby.com 

PG 11 

DOLPHIN SEATING 

313 Remuda St. 

Clovis, NM 88101 

575-762-6468 

www.dolphinseating.com 

PG 87 

DOREMI LABS, INC. 

1020 Chestnut St. 

Burbank, CA 91506 

info@doremilabs.com 

www.doremilabs.com 

PG 37 

ENPAR 

Stetson Snell 

505-615-2913 

stetsonsnell@enparaduio.com 

www.enparaudio.com 

PG 46 

FANDANGO 

12200 West Olympic Blvd, 

Ste. 400 

Los Angeles, CA 90064 

Robert.Macias@Fandango.com 

PG 1 

GDC TECHNOLOGY (USA) LLC 

1016 West Magnolia Boulevard 


877-743-2872 

www.gdc-tech.com 

PG 15 

GLASSFORM 

900 Civic Center Dr. 

National City, CA 91950 

800-995-8322 

www.glassformonline.com 

PG 85 

GOLD MEDAL PRODUCTS CO. 

10700 Medallion Dr. 

Cincinnati, Ohio 45241 

800-543-0862 

info@gmpopcorn.com 

www.gmpopcorn.com 

PG 80 

HARKNESS SCREENS 

Unit A, Norton Road 

Stevenage, Herts 

SG1 2BB UK 

+44 1438 725200 

sales@harkness-screens.com 

www.harkness-screens.com 

PG 69, 71, 73 

HARMAN INTERNATIONAL 

400 Atlantic Street 

Stamford, CT 06901 

203-328-3500 

www.harman.com 

PG 17 

IRWIN SEATING COMPANY 

3251 Fruit Ridge NW 

Grand Rapids, MI 49544 

866-464-7946 

sales@irwinseating.com 

www.irwinseating.com 

PG 19 

KERNEL SEASONS 

1958 N. Western Ave. 

Chicago, IL 60647 

Krystal LaReese-Gaul 

773-292-4576 

info@kernelseasons.com 

www.kernelseasons.com 

PG 8 

KLIPSCH 

3502 Woodview Trace, Ste. 200 

Indianapolis, IN 46268 

317-860-8100 

www.klipsch.com 

PG 65 

MAROEVICH, O’SHEA & COUGHLAN 

44 Montgomery St., 17th Fl. 


Steve Elkins / 800-951-0600 

selkins@maroevich.com 

www.mocins.com 

PG 3 

MASTERIMAGE 3D 

4111 W. Alameda Ave., Ste. 312 


818-558-7900 

www. masterimage3d.com 

PG 25 

MOBILIARIO S.A. DE C.V. 

Calle Del Sol #3 

Col. San Rafael Chamapa 

Naucalpan, Estado de Mexico 

53660 MEXICO 

5255-5300-0620 

www.mobiliario.net 

PG 27 

MOVING IMAGE TECHNOLOGIES 

17760 Newhope St. 

Fountain, Valley, CA 92708 

714-751-7998 

www.movingimagetech.com 

PG 29, 31 

NCM FATHOM 

9110 East Nichols Ave, Ste. 200 

Centennial, CO 80112-3405 

info@FathomEvents.com 

www.fathomevents.com 

PG 21, 33 

ODELL’S 

8543 White Fir St., #D-1 

Reno, NV 89523 

800-635-0436 

odells@popntop.com 

www.popntop.com 

PG 84 

OMNITERM 

2785 Skymark Avenue, Unit 11 

Mississauga, Ontario 

Canada, L4W 4Y3 

866-629-4757 

info@omniterm.com 

www.omniterm.com 

PG 83 

OSRAM SYLVANIA 

100 Endicott St. 

Danvers, MA 01923 

978-750-2419 

Christine Buckley 

christine.buckley@sylvania.com 

PG 57 

PACKAGING CONCEPTS, INC. 

9832 Evergreen Industrial Dr. 

St. Louis, MO 63123 

John Irace / 314-329-9700 

jji@packagingconceptsinc.com 


PG 12, 39 

PARADIGM DESIGN 

550 3 Mile Rid. NW, Ste. B 


616-785-5656 

paradigm@paradigmae.com 

www.paradigmae.com 

PG 76-77 

PARAMOUNT PICTURES 

555 Melrose Ave. 

Hollywood, CA 90038 

323-956-5000 

www.paramount.com 

PG 13 

PROCTOR COMPANIES 

10497 Centennial Rd. 

Littleton, CO 80127-4218 

Bruce Proctor 

303-973-8989 

sales@proctorco.com 

www.proctorco.com 

PG 44, 84 

PROMOTION IN MOTION 

25 Commerce Dr. 

P.O. Box 8 

Allendale, NJ 07401-0008 

800-369-7391 

mail@promotioninmotion.com 

www.promotioninmotion.com 

PG 41 

QSC AUDIO 

1665 MacArthur Blvd. 

Costa Mesa, CA 92626 

Francois Godfrey 

714-754-6175 

francois_godfrey@qscaudio.com 

www.qscaudio.com 

PG 59 

QUBE CINEMA 

601 S. Glenoaks Blvd., Ste. 102 


818-748-9057 

sales@qubecinema.com 

www.qubecinema.com 

PG 45 

QUEST CINEMA 

866-933-7486 

www.questcinema.com 

PG 18 

READY THEATRE SYSTEMS 

4 Hartford Blvd. 

Hartford, MI 49057 

Mary Snyder 

865-212-9703x114 

sales@rts-solutions.com 

www.rts-solutions.com.com 

PG 84 


REALD 

100 North Crescent Dr., Ste. 200 

Beverly Hills, CA 90210 

800-783-2660 

pro-sales@reald.com 

www.reald.com 

PG 49 

RETRIEVER SOFTWARE 

7040 Avenida Encinas 

Ste. 104-363 

Carlsbad, CA 92011 

760-929-2101 

www.retrieversoftware.com 

PG 28 

REYNOLDS & REYNOLDS 

300 Walnut St., Ste. 200 

Des Moines, IA 50309 

800-767-1724 

info@reynolds-reynolds.com 

www.reynolds-reynolds.com 

PG 47 

RICOS PRODUCTS COMPANY 

830 South Presa St. 

San Antonio, TX 78210 

210-222-1415 

www.rico.com 

INSIDE BACK COVER 

SCREENVISION 

1411 Broadway 33rd Fl. 

New York, NY 10018 

Darryl Schaffer 

212-497-0480 

www.screenvision.com 

PG 79, BACK COVER 

TEXAS INSTRUMENTS, INC. 

12500 TI Blvd. 

Dallas, TX 75243 

972-995-2011 

www.ti.com 

PG 55 

USHIO AMERICA, INC. 

5440 Cerritos Ave. 

Cypress, CA 90630 

800-838-7446 

www.ushio.com 

PG 48 

VISTA ENTERTAINMENT 

SOLUTIONS LTD. 

P.O. BOX 8279 

Symonds Street 

Auckland, New Zealand 

011-649-357-3600 

info@vista.co.nz 

www.vista.co.nz 

PG 82 

WHITE CASTLE 

555 West Goodale St. 

Columbus, OH 43215 

Timothy Carroll 

614-559-2453 

carrollt@whitecastle.com 

www.whitecastle.com 

PG 35 

WILL ROGERS INSTITUTE 

10045 Riverside Dr., Third Floor 

Toluca Lake, CA 91602 

877-957-7575 

info@wrinstitute.org 

www.wrinstitute.org 

PG 22-23 

SENSIBLE CINEMA SOFTWARE 

7216 Sutton Pl. 

Fairview, TN 37062 

Rusty Gordon / 615-799-6366 

rusty@sensiblecinema.com 

www.sensiblecinema.com 

PG 88 

SHOW-A-RAMA 2013 

Hilton Garden Inn 

19677 East Jackson Drive 

Independence,, MO 64057 

Erin Schneider 

816-407-9183 

PG 85 

SONIC EQUIPMENT COMPANY 

900 W Miller Rd 

Iola,KS 66749 

800-365-5701 

www.sonicequipment.com 

PG 4 

SONY ELECTRONICS 

One Sony Dr. 

Park Ridge, NJ 07656 

201-476-8603 

www.sony.com/professional 

PG 5 

STADIUM SAVERS 

550 Three Mile Road N.W. 


616-785-5598 

www.stadiumsavers.com 

PG 30 

STRONG CINEMA PRODUCTS 

(Division of Ballantyne Inc.) 

4350 McKinley St. 

Omaha, NE 68112 

Ray Boegner / 402-453-4444 

ray.boegner@btn-inc.com 

www.ballantyne-omaha.com 

PG 61 

TEXAS DIGITAL SYSTEMS 

400 Technology Parkway 

College Station, TX 77845 

800-693-2628 

www.txdigital.com 

PG 81 


BUYING & SELLING 

Marquee Letters. Buying and selling. New and 

Used marquee letters all types. We buy old. We 

sell new. All styles. Trade in your old letters and 

get new letters. Turn those old letters into cash. 

Your source for new Pronto, Zip-Change, Snap 

Lok, Slotted. mike@pilut.com 800-545-8956 

DRIVE-IN CONSTRUCTION 

DRIVE-IN SCREEN TOWERS since 1945. Selby 

Products Inc., P.O. Box 267, Richfield, OH 

44286. Phone: 330-659-6631. 

EQUIPMENT WANTED 

AMERICAN ENTERTAINMENT PRODUCTS 

LLC is buying projectors, processors, amplifiers, 

speakers, seating, platters. If you are closing, 

remodeling or have excess equipment in 

your warehouse and want to turn equipment 

into cash, please call 866-653-2834 or email 

aep30@comcast.net. Need to move quickly to 

close a location and dismantle equipment? We 

come to you with trucks, crew and equipment, 

no job too small or too large. Call today for a 

quotation: 866-653-2834. Vintage equipment 

wanted also! Old speakers like Western Electric 

and Altec, horns, cabinets, woofers, etc., 

and any tube audio equipment. Call or email: 

aep30@comcast.net. 

COLLECTOR WANTS TO BUY: We pay top 

money for any 1920-1980 theater equipment. 

We’ll buy all theater-related equipment, working 

or dead. We remove and pick up anywhere 

in the U.S. or Canada. Amplifiers, speakers, 

horns, drivers, woofers, tubes, transformers; 

Western Electric, RCA, Altec, JBL, Jensen, Simplex 

and more. We’ll remove installed equipment 

if it’s in a closing location. We buy projection 

and equipment too. Call today: 773-339- 

9035; cinema-tech.com; email ILG821@aol.com. 

ASTER AUDITORIUM SEATING & AUDIO. We 

offer the best pricing on good used projection 

and sound equipment. Large quantities available. 

Please visit our website, www.asterseating.com, 

or call 888-409-1414. 

FOR SALE 

THEATER FOR SALE 740-seat, 5-screen, 

12,000 plus sq. ft. Theater for sale in the college 

town of St. Peter in South Central Minnesota. 

Fully operating with average revenues 

of $340,000 over past 5 years. Call Tim Lidstrom/broker 

for information: Lidstrom Commercial 

Realtors, 507-625-4606 / lidstrom@ 

lidcomm.com 

FULLY DIGITAL 3D THEATER, excellent market. 

3 screens, stadium seating, additional lots. 

For more information contact: amanda@halecon.com 

BARCO 3D/DIGITAL EQUIPMENT FOR SALE: 

Purchase for $55K. Equipment list provided 

upon request. Contact seller at mschwartz@ 

pennprolaw.com. 

NEWER 3-SCREEN THEATER, Big Bear Lake, 

CA. Same tenant since 1999, currently monthmonth. 

$950,000. 6%+ cap rate. Norm, Spencer 

RE, 909-878-0600, nreinik@yahoo.com. 

PREFERRED SEATING COMPANY, your 

source for new, used and refurbished theater 

and stadium seating. Buying and selling 

used seating is our specialty. Call tollfree 

866-922-0226 or visit our website www. 

preferred-seating.com. 

HELP WANTED 

THEATRE MANAGEMENT POSITIONS AVAIL- 

ABLE Pacific Northwest Theatre Company. Previous 

management experience required. Work 

weekends, evenings and holidays. Send resume 

and salary history to movietheatrejobs@gmail. 

com 

SERVICES 

DULL FLAT PICTURE? RESTORE YOUR XENON 

REFLECTORS! Ultraflat repolishes and recoats 

xenon reflectors. Many reflectors available for 

immediate exchange. (ORC, Strong, Christie, 

Xetron, others!) Ultraflat, 20306 Sherman Way, 

Winnetka, CA 91306; 818-884-0184. 

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. 

THEATER SPACE FOR LEASE 

AN 8,400 SQ. FT. SPACE containing two movie 

theaters is available for lease in Frankfort, KY, 

at a very reasonable lease rate. It would be 

perfect for the new concept of eating in the 

theater. The theaters are located in the middle 

of a major shopping center. The center owners 

would prefer an operating movie theater rather 

than convert the space into retail use. Contact 

Alexa at 859-221-9921 or email her at alexarkelley@gmail.com 

for more information. 

WHEN RECORDS ARE BROKEN ITʼS 

WEBWATCH 

IN ACTION! 

and we have all your exhibition news! 

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BoxOffice® Pro - November 2012

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