BoxOffice® Pro - June 2012

WWW.BOXOFFICE.COM
$6.95
JUNE 2012
ON THE
HORIZON
SPARKLE
PARANORMAN
THE APPARITION
THE BOURNE LEGACY
THE
SEATS &
SCREENS
ISSUE
A
D
V
R
E
I
T
S
E
M
E
T
N
SEE OUR AD
INSIDE!
PAGE 13
SEE PAGE 9
MEET MERIDA
DISNEYʼS NEW PRINCESS TAKES AIM THIS MONTH IN
WE TALK WITH DIRECTOR
MARK ANDREWS &
PRODUCTION DESIGNER
STEVE PILCHER
BOXOFFICE
WEEKLY
ONLY ON IPAD
PLUS
MARVELʼS THE AVENGERS
SETS NEW TENTPOLE
BENCHMARK
THE OFFICIAL MAGAZINE OF THE NATIONAL ASSOCIATION OF THEATRE OWNERS

© 2012 Christie Digital Systems USA, Inc. All rights reserved.
“ HOLLYWOOD
HAS A NEW
SUPER
COUPLE”
Christie Solaria and Christie IMB
Seamlessly integrated.
Flawlessly reliable.
They were made for each other. Literally.
The Christie ® Integrated Media Block (IMB)
seamlessly integrates into the Christie ®
Solaria ® series of projectors to deliver
perhaps the single most reliable projection
system on the planet. No compromises.
No force fit. Just a perfectly matched
solution that is reliable by design and
ready for 4K or High Frame Rates (HFR)
when you are.
See Christie present at ShowCanada 2012
to learn how HFR and IMB’s are
impacting technology.
christiedigital.com/reliablebydesign

JUNE
2012
VOL. 148 NO. 6
BOXOFFICE MEDIA
CEO/PUBLISHER
Peter Cane
CREATIVE DIRECTOR
Kenneth James Bacon
4 INDUSTRY BRIEFS
The latest news from the exhibition
industry
8 EXECUTIVE SUITE
CINEMACON ROCKED IN LAS
VEGAS: A true celebration of the
moviegoing experience
10 DIRECTOR’S CHAIR
JUNE IS RATINGS AWARENESS
MONTH: Exhibitors prepare for a
summer by stepping up education
and enforcement efforts
12 FIRST PERSON
SHOWMEN WILL SURVIVE:
Small theaters need to think big
14 SHOW BUSINESS
A NEW ERA FOR
BLOCKBUSTERS: Marvel’s The
Avengers sets a benchmark for
tentpoles
16 SHOW NEWS
HAIL, SHOWCANADA!: What to
expect in Winnipeg
18 SECRET WEAPON
MS. SOUTHERN HOSPITALITY:
Meet Betty Williams, Cobb
Theatres’ belle of the ball
20 MARQUEE AWARD
THIS IS CINERAMA: Preserving
the past, while looking to the future
24 SPECIAL REPORT: SEATS &
SCREENS
LET THERE BE LIGHT: Improve
the cinema experience with a clean,
bright screen / IN THE HOT SEAT:
VIP and motion chairs reinvent
cinema seating / DON’T LET THE
BEDBUGS BITE: They can also
hurt your reputation
28 COVER STORY > BRAVE
STOP OR SHE’LL SHOOT:
Meet Merida, Pixar’s fierce—and
first—female star / BRAVE NEW
WORLD: Pixar tells us how
they designed the past / LAY
ON, MARK ANDREWS: Pixar’s
barbarian on taking charge of a film
under siege
36 ON THE HORIZON
The Bourne Legacy / ParaNorman /
Sparkle / The Apparition
38 COMING SOON
Capsules of 13 films coming your
way in June PLUS our interview
with Rock of Ages director Adam
Shankman
41 BOOK IT!
MICROMINIS! :Two films that are
under the radar / YOUR BIGGEST
REWARDS ARE NOT ALWAYS AT
THE BOX OFFICE: Booking tips
from San Francisco’s Roxie Theater
/ KNOW YOUR DISTRIBUTOR:
Oscilloscope Laboratories
44 BOOKING GUIDE
A complete rundown of 150 films
ready for booking
48 CLASSIFIEDS
BOXOFFICE MAGAZINE
EDITOR
Amy Nicholson
CONTRIBUTING EDITOR
Sara Maria Vizcarrondo
INDUSTRY CONTRIBUTORS
Kathy Conroy
Jeffrey Eisentraut
John Fithian
Mitch Neuhauser
GRAPHIC DESIGNER
Kevin O’Conner
PRODUCTION ASSISTANT
Ally Bacon
BOXOFFICE.COM / BOXOFFICEMAGAZINE.COM
EDITOR
Phil Contrino
FORUMS EDITOR
Shawn Robbins
CONTRIBUTING WRITERS
Alex Edghill
David Ehrlich
Annlee Ellingson
Kate Erbland
Joe Galm
Daniel Garris
Todd Gilchrist
Ray Greene
Pete Hammond
Inkoo Kang
Mark Keizer
Ross A. Lincoln
Ross Melnick
Mark Olsen
Vadim Rizov
James Rocchi
Nick Schager
Drew Tewksbury
EDITORIAL INTERNS
Joshua James
Kevin Noonan
Max Weinstein
ADVERTISING
VP OF ADVERTISING
Susan Uhrlass
9107 Wilshire Blvd., Ste. 450
Beverly Hills, CA 90210
susan@boxoffice.com
310-876-9090
CIRCULATION INQUIRIES
Palm Coast Data
800-877-5207
boxofficemagazine@emailcustomerservice.com
EDITORIAL
9107 Wilshire Blvd., Ste. 450
Beverly Hills, CA 90210
310-876-9090 tel
866-902-7750 fax
MARKETING
Jonathan Margolis
the michael alan group
michael-alan.com
2 BOXOFFICE PRO JUNE 2012

PIRANHA 3DD 20%
BRAVE 14%
MADAGASCAR 3 10%
Insurance
Services
for the
SNOW WHITE AND THE HUNTSMAN 21%
PROMETHEUS 35%
Theatre
Industry
BOXOFFICE.COM
BUZZ PIE
June 2012 is sharing the wealth
with five very different flicks
sharing solid online momentum.
While Prometheus—Ridley
Scott’s long-awaited (and highly
secretive) return to space—has
geeks frothing for any new info,
Kristen Stewart’s Twihard fanbase
can’t wait to see her kick ass in
the dark fairytale Snow White and
the Huntsman. Yet the month is
also making plenty of room for
the T&A&Fish schlock horror
Piranha 3DD, as well as Pixar’s
all-ages saga Brave and the family
flick Madagascar 3. With all these
different audiences building buzz
online, we bet exhibitors will
enjoy a healthy—and diverse—
summer season.
BOXOFFICE’s WebWatch Data
Your customers are buzzing on the Internet about which movies they want to
see—and which ones they don’t. Use our new subscription service to predict
Hollywood’s hits and misses before they hit your theater.
Facebook & Twitter Tracking
Follow our daily tracking of activity on these two wildly popular social media
sites.
Reviews
Can Ridley Scott conquer space again with Prometheus? Will Brave set Pixar’s
new gold standard?
News-Reeling?
Let Boxoffice.com and BoxofficeMagazine.com digest all the reports and
rumors for you! Check our sites daily for breaking industry news.
BOXOFFICE PRO (ISSN 0006-8527) is published monthly for $59.95 per year by Boxoffice Media, LLC, 9107 Wilshire Blvd, Suite 450,
Beverly Hills, CA 90210. Periodical postage paid at Beverly Hills, CA, and at additional mailing offices. POSTMASTER: Send address
changes to: BOXOFFICE PRO, 9107 Wilshire Blvd, Suite 450, Beverly Hills , CA. ©2012 Boxoffice Media, LLC. All rights reserved.
MOC
Insurance
Services
THEATRE INSURANCE
SPECIALISTS
800 951 0600
San Francisco
www.mocins.com
license #0589960
JUNE 2012 BOXOFFICE PRO 3

INDUSTRY
BRIEFS
Classic Cinemas was recently
honored at the 22nd Annual
Daily Herald Business Ledger’s
Awards for Business Excellence
(AABE), where owner Willis
Johnson was joined by
partners Chris and Shirley
Johnson in accepting the
special plaque, awarded in the
“Large Company” category,
for businesses with more
than 150 employees. Classic
Cinemas, based in Downers
Grove, Illinois, was established
in 1978 and operates 13
theaters with 100 screens in
the northern Illinois area.
MARCUS THEATRES HAS PROMOTED MARK
GRAMZ AND JEFF TOMACHEK to executive
vice presidents of the theater division. Gramz
will assume responsibility for the division’s
information technology, human resources and
concessions, in addition to maintaining his
current operations, construction and projection
technology roles. Tomachek will assume
oversight and responsibility for Marcus
Theatres’ sales and marketing initiatives and
film department, in addition to maintaining
his current responsibilities, which include accounting,
finance, planning and also the company’s
food and beverage operations. “Marcus
Theatres is fortunate to have two members
of our current executive committee with
the experience and qualifications to assume
these increased responsibilities,” said Bruce J.
Olson, president of Marcus Theatres. “Mark’s
long tenure and his thorough understanding
of our people, policies and procedures make
him ideally suited for his new role. Jeff’s extensive
analysis of our markets and programs
gives him a strong base of knowledge for his
position. Jeff and Mark both have outstanding
knowledge of the motion picture industry
and a wonderful vision for the future of our
company. We congratulate them on their
promotions.”
VISTA ENTERTAINMENT SOLUTIONS IS
PLEASED TO ANNOUNCE that Rave Cinemas
has chosen Vista as its cinema management
software provider and will be installing Vista’s
software modules across its circuit throughout
2012. In addition to Vista’s POS and Cinema
Management Software modules, Rave will
also install Vista’s Internet Ticketing, Loyalty,
Facebook, Smartphone applications, Gift Card
management and Home Office modules. By
moving to the Vista platform, Rave will gain
the ability to offer online ticketing for all cinema
sites on its own website, using the Vista
Web Ticketing module, and will give Rave
full control over the branding and experience
for Internet ticket sales. Rave will also deploy
its own branded smartphone and Facebook
applications using Vista technology. Said Rave
CEO Rolando B. Rodriguez, “Vista’s innovative
approach to our industry will empower
us to achieve efficiencies, and deliver a better
offering to our customers. We have been
impressed by the fantastic reviews given to
Vista by our peers in the industry and I look
forward to working with them.”
CINEDIGM ENTERTAINMENT GROUP HAS
JOINED WITH BRIAN & BARRETT PIC-
TURES to distribute Battlefi eld America: Where
Kids Rule in theaters in the United States and
Canada on June 1. The hip-hop dance battle
movie is from filmmaker Christopher B.
Stokes, the writer/director/creator of 2004’s
You Got Served, which opened at number one
at the box office and kicked off the dance
phenomenon trend of dance movies including
Stomp The Yard and the Step Up franchise.
“We are thrilled to be working with filmmaker
Christopher B. Stokes and his team at
Brian & Barrett Pictures to bring Battlefi eld
America to theaters,” said Bob Fiorella of
Cinedigm Entertainment Group. “Chris’
thorough knowledge of modern street dance
and hip-hop culture makes him a true leader
and innovator in the dance film genre, and
Battlefield America is a perfect example
of how Cinedigm, through its Indie Direct
service, provides independent filmmakers with
a cost-effective, one-stop national theatrical
releasing platform.”
LIONSGATE HAS SIGNED FRANCIS LAW-
RENCE to direct Catching Fire, the sequel to
The Hunger Games. Lawrence’s experience in
directing films with a blend of character-driven
drama and high stakes action include I Am
Legend, Constantine and Water for Elephants.
“Lionsgate, the cast and filmmakers are all
thrilled to have Francis Lawrence come on
board as director of Catching Fire. Suzanne
Collins’ brilliant book is the intense story of the
birth of the rebellion and Katniss’ emotionally
charged journey as she takes on the mantle of
the Mockingjay, and we all think Francis is the
perfect director to bring the story to life,” said
Erik Feig, Lionsgate’s president of production.
Jennifer Lawrence, Josh Hutcherson and Liam
Hemsworth will reprise their roles as Katniss,
Peeta and Gale, with Lenny Kravitz, Elizabeth
Banks, Stanley Tucci, Donald Sutherland, Toby
Jones and Woody Harrelson also returning to
4 BOXOFFICE PRO JUNE 2012

Innovation with no end in sight.
Sony provides more end-to-end solutions for exhibitors than any other manufacturer. As the
leader in 4K projection, we remain committed to keeping our customers in the forefront
through advancements in 3D, high frame rate software, and new entertainment access
glasses with audio for the hearing impaired. Our VPF program lowers upfront costs and adds
value to help theatres of all sizes transition to 4K. We even offer advanced network services and
alternative content opportunities. So if you want solutions like these to transform your theatre,
choose the company that offers innovation with no end in sight – Sony.
Visit sony.com/digitalcinema for more information
or to set up an appointment with a Sony representative.
© 2012 Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Features and specifi cations are subject to change without notice.
Sony, Sony Digital Cinema, their respective logos and the Sony make.believe logo are trademarks of Sony.

INDUSTRY BRIEFS
their respective roles. Production is slated to
begin this fall, and the film will be released on
November 22, 2013.
TELEMUNDO MEDIA AND FANDANGO
HAVE ANNOUNCED A PARTNERSHIP to
launch Fandango Cine, the first comprehensive
and dedicated digital offering designed
to reach U.S. Hispanic movie fans. Fandango
Cine will be integrated into www.telemundo.
com, mun2.tv and www.fandango.com, as
a convergent experience that will combine
Telemundo’s deep understanding of the
Hispanic audience with Fandango’s movie
content and ticketing expertise. The new site
is planned for launch in the fourth quarter of
2012. Fandango Cine will offer movie-related
editorial and video programming in Spanish
from Fandango, Telemundo and mun2,
including original features, interviews and
movie guides, all specifically geared toward
Hispanic moviegoers. The site will provide
Fandango’s comprehensive movie show times
and unparalleled ticketing access to more than
70 percent of the nation’s top theater chains,
along with Fandango’s industry-leading innovations,
such as mobile barcode ticketing
and reserved seating at select theaters. “While
Hispanics make up about 16 percent of the
U.S. population, they represent 28 percent
of today’s frequent moviegoers, according to
Nielsen, and they are nearly twice as likely as
general market moviegoers to see a movie on
opening weekend,” said Peter Blacker, EVP
of digital and emerging media Telemundo
Media. “This partnership between one of the
most influential Hispanic media brands and
the nation’s leading moviegoer destination will
provide the best movie content and ticketing
convenience for avid Hispanic moviegoers,
enhancing their overall experience.”
FRANK THEATRES HAS CHOSEN GDC
TECHNOLOGY for its digital conversion with
NEC projectors. This deployment covers close
to 80 renovated and redesigned screens and
an additional 36 newly constructed screens,
which will be completed by the end of 2012
or by mid-2013 respectively. Celebrating
100 years of “bringing families together,”
the Frank Family Entertainment Group
was founded in 1906 by Samuel Frank of
Philadelphia and in 1921 introduced “talkie
films” to the Philadelphia area. It built the first
twin theater in the United States in 1966 and
developed the Towne 16 Stadium Cinema in
1986, which was one of the earliest megaplex
cinemas in New Jersey. Frank currently operates
256 screens in 25 theaters across the East
Coast. “We’re always open to exploring new
technologies that can enhance our customers’
experience when they visit our theaters,” said
Bruce Frank, president and CEO of Frank
Theatres. “GDC servers pave the way for innovative
digital technology, which is a perfect
match for what we want to be able to accomplish
moving our circuit into the future.”
CINEMA 21, INDONESIA’S LARGEST CIN-
EMA CHAIN, HAS ORDERED 300 Christie
DLP Digital Cinema projectors. Working
together with Christie’s Indonesian partner
PT Megatech Engineering, the installation is
expected to be fully completed by June across
the entire country. Founded in 1987, Cinema
21 is celebrating its 25th anniversary this year
in commemoration of its dominance in the
Indonesian entertainment industry. It currently
operates a total of 575 screens spanning
more than 122 locations across Indonesia. Its
theaters are expected to be 100 percent digital
by June 2012. “Our experience with Christie
has been a positive one. Almost 90 percent of
the installation has been done, and Christie
provides fast and reliable technical support.
The projectors also produce very high-quality
and sharp images, and they are very reliable in
terms of technology,” said Suryo Suherman,
president of Cinema 21.
MOVIETICKETS.COM HAS HIRED VETERAN
INDUSTRY EXECUTIVE JEREMY DEVINE as the
company’s vice president of exhibitor and studio
relations. Devine brings to MovieTickets.com
extensive experience in the theatrical distribution
and exhibition sectors and is a key addition to
the senior management team. In his role, Devine
will spearhead new programs being brought to
market by the company as well as work closely
with Greg Sica, who was recently promoted
to vice president of business development, to
focus on further developing relationships with
MovieTickets.com’s vast client base, film studios,
alternative content providers and third-party
corporations. Devine is a senior marketing and
sales executive, having enjoyed a long tenure
with Paramount Pictures in branch sales and
management. In 2002, Devine joined Rave Motion
Pictures, then a startup exhibition chain, as
director of marketing and then VP of marketing
and advertising. By the time of his departure
from Rave, it had grown into the fifth largest domestic
theatrical circuit. “I am delighted to join
this global company providing leading services
to our dynamic industry,” said Devine. “Having
worked with [CEO] Joel Cohen and MovieTickets.com
for years, this is a great opportunity. I
hope to bring insight and initiative to the servicing
of our valued industry clients.”
IN A JOINT EFFORT TO IMPROVE THE
ENTERTAINMENT EXPERIENCE OF HEARING
OR VISUALLY IMPAIRED AUDIENCE MEM-
BERS, Regal Entertainment Group has chosen
Sony’s Entertainment Access Glasses with
audio for practically all of its fully digitized
theater locations across the United States. The
glasses provide more flexible options for deaf,
hard-of-hearing, blind or visually impaired
theater patrons. The Sony technology consists
of specially designed eyewear and a receiver,
allowing deaf and hard-of-hearing customers
to view closed-captioned text in their direct
line of sight, for both 2D and 3D movies.
For blind and visually impaired customers,
Sony’s Entertainment Access Glasses, paired
with headphones, provide descriptive audio
tracks. The technology began being deployed
in April 2012 and is expected to be completed
by first quarter 2013. “Regal strives to provide
the best experience for all moviegoers, and
this rollout is the culmination of years of
coordination with accessibility advocates, film
studios and of course Sony Digital Cinema,”
said Amy Miles, CEO, Regal Entertainment
Group. “By incorporating this technology into
the Regal theater experience, we’re giving deaf,
hard-of-hearing, blind and visually impaired
customers a more convenient and natural way
to enjoy the movies. We’ve worked closely
with Sony for the last year testing the technology
with audiences and the feedback has been
phenomenal.”
AMC ENTERTAINMENT IS IN TALKS TO SELL THE COMPANY
OR A LARGE SHARE OF IT TO THE WANDA GROUP, one of
China’s largest theater owners, according to anonymous
sources. If completed, the deal will begin a new phase
in China’s push into the global film industry by sharply
increasing its leverage with Hollywood and creating the
first theater chain to have a commanding presence in
the world’s two largest movie markets. The discussions
have been private over the last year but recently became
more serious in recent weeks, as AMC scrapped plans
for a stock offering worth just shy of half a billion dollars.
Wanda’s interest in AMC comes at the start of China’s
five-year plan to double the contribution to its economy
from entertainment and media. Currently, Wanda runs
730 screens at 86 locations across China but intends to
double its domestic screen count in the next three years.
6 BOXOFFICE PRO JUNE 2012

From Theme Parks to Cinemas to Drive-In Theatres...
Enjoy the Complete Experience!
• Digital Conversion, Installation and Service
• Drapery & Front-End Manufacturing and Big Screen Application
• Concession Casework Manufacturing & Food Service Equipment Distribution
Corporate Office
Bridgewater Professional Park, 4971 Van Dyke Road, Lutz, FL USA 33558
Phone 813 • 960 • 1646 Fax 813 • 961 • 7209 www.ensutec.com

EXECUTIVE
SUITE
A True Celebration of the Moviegoing Experience
CINEMACON 2012 ROCKED IN LAS VEGAS
by John Fithian and Mitch Neuhauser
John Fithian
President & CEO,
NATO
Mitch Neuhauser
Managing Director,
CinemaCon
NATO was proud to host the second edition of
CinemaCon in Las Vegas from April 23 to 26. Given
strong support from so many companies and individuals,
the convention included a fabulous few days of motion
picture excitement, a diverse array of educational
programming and the largest trade floor in the global
cinema business. Delegates from 62 different countries
traveled to Vegas this year to join in our celebration of
the moviegoing experience.
As CinemaCon 2012 opened, delegates had a lot to
celebrate. Global box office for all fi lms in each country
around the world reached a record $32.6 billion in 2011,
up three percent over the previous year. Growth was
particularly strong in developing markets such as Latin
America, China and Russia (which is one reason why
CinemaCon 2011 included specifi c programming on
those territories—always ahead of our time!).
Last year, the box office in the United States and
Canada was down four percent, but that decline was
driven entirely by a weak fi rst quarter. Between April 1,
2011, and March 31, 2012, domestic box office was up six
percent over the previous 12 months. Indeed, delegates
came into CinemaCon 2012 on the heels of a recordbreaking
fi rst quarter and a strong full year. And during
the convention, delegates were offered many reasons to
be optimistic about the continued box office receipts in
the near term. All seven of the largest motion picture distribution
companies brought product to CinemaCon, the
fi rst time that has happened in more than a dozen years.
NATO is very grateful to Paramount, Warner Bros.,
Disney, Lionsgate, Sony, Fox and Universal, who made
product presentations or exhibited movies. Delegates were thrilled
both with the promise of the movies they witnessed and by the strong
bevy of stars and directors who came to show their enthusiasm for
their work. Exhibition cannot exist without good movies, and our
partners in distribution came through in historically strong number
at CinemaCon 2012. Their participation in the show spoke volumes
about their confidence in this year’s slate of movies.
Directors and stars also thrilled delegates at the Big Screen
Achievement Award ceremony, again ably hosted by Billy Bush and
the Access Hollywood team. The fi nal-night awards and all the studio
presentations were held once again in the magnifi cent Colosseum
with the support of operator Anschutz Entertainment Group. The
movies looked great and the stars shown brightly with amazing
visual and audio experiences provided by many companies (including
Boston Light & Sound, Dolby Labs, QSC Audio Products, Doremi,
Christie, Barco, NEC, Sony Digital Cinema Solutions, Harkness
Screens, RealD, MasterImage 3D and XpanD).
At CinemaCon, leading directors come to talk about their upcoming
movies—and they also come to discuss the most important and
substantive topics confronting the industry. During the inaugural year
of 2011, a CinemaCon tradition was born with the Wednesday Filmmakers
Lunch and Panel Discussion, featuring some of the most important
fi lmmakers of our generation. In 2012, the tradition continued
with Academy Award-winning directors Martin Scorsese and Ang Lee,
both of whom recently shot their fi rst 3D fi lms, Hugo and this Christmas’
Life of Pi, and were open about what they think the
technology means to the industry—and their artistry.
CinemaCon strives to educate NATO members and
the industry at large on the newest technologies. Last
year, James Cameron came to CinemaCon for the fi rst
public demonstration and discussion of high frame rates
in a digital age. During CinemaCon 2012, we continued
that dialogue with the fi rst public viewing of scenes from
Peter Jackson’s The Hobbit: An Unexpected Journey in
high frame rates. We are grateful that Warner Bros. took
this important step, even though the footage wasn’t fi nal.
Many of NATO’s members are undertaking upgrade
paths to provide a high-frame-rate footprint for this
important movie.
Also at the 2012 show, CinemaCon introduced its
delegates to laser projection with a groundbreaking
demonstration from our friends at Barco and a panel
discussion of experts including Jerry Pierce, the 2012 Ken
Mason Inter-Society Award Winner, and AMC’s John
McDonald, who chairs NATO’s Technology Committee.
Though there are signifi cant regulatory and development
issues to overcome, laser projection offers the promise of
a brighter light source and savings on bulb costs.
The revolutionary innovation of digital cinema continued
to be an important and educational component of
the dialogue during the show. An international day panel
led by Paramount’s Mark Christiansen explored the latest
d-cinema topics, while the trade floor and demonstration
suites were abuzz with conversations about—and
sales of—d-cinema products. Out in the field, the industry’s
technicians have been busy over the past year. More
than 70,000 movie screens around the world—over half—have been
converted to digital. Here in the United States, more than 27,000
screens are digital, representing more than two-thirds of the total. At
CinemaCon 2011, NATO predicted that the domestic distribution of
movies in the format of celluloid fi lm could cease by the end of 2013.
At CinemaCon 2012, communications from the major studios and
analysis of installation rates confi rmed that prediction.
Given that reality, the entire industry utilized CinemaCon 2012
to continue efforts to bring the promise of digital cinema to all
exhibitors. Leaders of buying groups in the United States and other
countries held meetings to advance the cause of helping smaller operators
convert. Less expensive equipment options will also facilitate the
transition, and Texas Instruments announced just such a product
development during CinemaCon. Private discussions also advanced
the cause of new VPF models for drive-in operators.
The exhibition industry will always offer a superior experience to
anything in the home, and technological innovation is a big part of
that experience. Delegates witnessed the industry’s drive for innovation
on the trade floor and demonstration suites. There was great interest
in the trade show this year, which expanded into another ballroom
and still sold out. NATO is grateful for the support of our trade-show
partners at the International Cinema Technology Association (ICTA),
led by President Jack Panzeca.
The trade show also provided a great taste of the newest concessions
offerings. In addition to the ICTA, NATO is also grateful to
8 BOXOFFICE PRO JUNE 2012

the members of the National Association
of Concessionaires (NAC), led by President
John Evans, Jr. The ICTA and the NAC serve
as NATO’s trade-show partners.
Speaking of great-tasting concessions,
the industry remains ever so grateful to our
faithful friends at the Coca-Cola Company.
Coca-Cola served once again as the convention’s
Presenting Sponsor, and led by Stefanie
Miller, the Coca-Cola Company gave support
throughout the convention—and particularly
on the fi nal night.
Though Coca-Cola took the lead, many
other companies offered sponsorship support
throughout the week. By giving their time,
fi nancial support and creative engagement to
our delegates, the sponsors helped to keep our
registration rates affordable and our experience
enjoyable. The logos of the CinemaCon
2012 sponsors can be found below. Thank you
to all those companies for their tremendous
support of the convention and the exhibition
industry.
In addition to the movies and the trade
floor, educational seminars and keynote
speeches provide the third important public
element of the convention. Beyond those
already mentioned, CinemaCon 2012 panel
and speech topics included international
growth and exhibition, customer relations
and moviegoer expectations, digital cinema,
alternative programming, marketing, employee
engagement, the state of the industry,
movie theft and camcorder detection, concessions,
construction, fi lmmaking, exhibitor
concerns, audience behavior, 3D, screen size,
light levels, in-theater advertising and social
networking. The assistance of many intelligent
and talented volunteer speakers gave the
delegates a lot to think about. Delegates were
particularly impressed with a high-level panel
discussion moderated by Anne Thompson
on the modern moviegoer that included Jeff
Blake (Sony), Greg Foster (IMAX), Tim
League (Alamo Draftouse), Amy Miles (Regal)
and Neal Moritz (producer).
NATO also appreciates the support given
The entire
industry utilized
CinemaCon 2012 to
continue efforts to
bring the promise
of digital cinema to
all exhibitors.
to our convention each year by the Motion
Picture Association of America (MPAA) and
the able leader of that organization, Chris
Dodd. Senator Dodd’s words at the opening
ceremonies inspired our delegates, while
many of his MPAA colleagues joined NATO
members at private meetings throughout the
week as we discussed such issues as movie
theft, ratings, international growth and public
policy matters.
For the second year in a row, NATO
members were honored to combine efforts
with the Will Rogers Motion Picture Pioneers
Foundation to bestow the Pioneer of the Year
award on Jeffrey Katzenberg of DreamWorks
Animation. The event raised a tremendous
amount of needed funds to support industry
veterans in need, and Jack Black and some
of his talented friends brought humor and
energy to the evening.
Of course, neither CinemaCon nor NATO
would exist—much less succeed—without
the volunteer support of the association’s
members. A task force that includes Byron
Berkley, Rob Del Moro, John McDonald and
Tim Warner provided key guidance and volunteer
manpower. Most importantly, though,
was the leadership of NATO’s Convention
Task Force Chairmen and CinemaCon Board
Members Phil Harris and Bill Stembler. Not
to mention NATO’s other officers, including
Chairman David Passman, Vice-Chairwoman
Nora Dashwood and Secretary Mark
O’Meara, who all participated in the public
programming of the week. Many thanks to
these leading volunteers for their efforts.
Finally, NATO members were pleased to
recognize industry titan Ted Pedas with the
NATO Marquee Award. Congratulations, Ted!
We welcome and invite feedback and suggestions
from all of our delegates. For now,
please mark your calendars for CinemaCon
2013, coming to you in Las Vegas April 15 – 18,
2013. We’ll see you there!
JUNE 2012 BOXOFFICE PRO 9

DIRECTOR’S
CHAIR
Exhibitors prepare for summer by stepping up education and
enforcement efforts
JUNE IS RATINGS AWARENESS MONTH
by Kathy Conroy
NATO Executive Director
NATO is preparing for its ninth annual
“Ratings Awareness Month” in June.
The month of June was selected because it is
the start of the summer season, when young
people have more free time to enjoy movies.
Theater owners are now educating their employees
and patrons about the voluntary ratings
system. The system is designed to provide
parents with advance information about the content of movies to help
them make good decisions about which movies are most appropriate for
their young children and teens. Publicity surrounding the recent release
of Bully raised questions and concerns about the ratings system, so it’s
more important than ever to educate employees and patrons and raise
their awareness of the movie ratings system. There are a few NC-17-rated
movies currently or soon to be released in the cinema, so it’s essential
that both employees and patrons understand that access will be denied
to anyone 17 or younger, whether or not they are accompanied by an
adult.
A mystery shopper survey is currently being conducted by the
Federal Trade Commission (FTC), with the results expected to be published
later this year. With concentrated effort by exhibitors, NATO
hopes to see improved ratings enforcement results compared to the
FTC survey conducted in 2010. At a recent meeting of NATO’s ratings
compliance officers, NATO members were reminded of the steps that
theater owners and managers should take to ready their theaters and
websites for Ratings Awareness Month in June. (See next page.)
NATO encourages all exhibitors to display ratings posters and
placards in their theaters and to make ratings brochures available
to patrons. NATO also encourages theater owners and managers to
educate their employees regarding ratings enforcement, and we can
provide a training DVD. All of these materials are available free of
charge. An order form is available online at www.natoonline.org in
the Movie Ratings section. If you would like to place an order for ratings
materials, please contact Cheryl Dickson at cd@natodc.com
or 202-962-0054.
The exhibition industry’s effort is part of the broader annual effort
Entertainment Ratings and Labeling Awareness Month sponsored by
the Coalition of Entertainment Retail Trade Associations (CERTA) to
promote the use of entertainment ratings and labels. NATO’s partners
in the Coalition are the Digital Media Association (DiMA), Entertainment
Merchants Association (EMA) and the National Association
of Recording Merchandisers (NARM).
The voluntary movie rating system was established in 1968 during
a time of significant social change in the United States. It continually
strives to stay current with parental concerns.
10 BOXOFFICE PRO JUNE 2012

Checklist for Ratings Awareness Month—June 2012
EMPLOYEE NOTIFICATION REGARDING RATINGS
AWARENESS MONTH
Company executives should notify all employees that June 2012
is Ratings Awareness Month and describe the company’s activities
planned for the month. Theater personnel responsible for press
inquiries should be made fully aware of all activities undertaken by
the company.
ID-CHECK POLICY REMINDER
Company executives should remind all employees of company’s IDcheck
policy for R and NC-17 rated films, via company-wide memo,
staff meetings and other appropriate communication channels.
PERSONNEL POLICY REVIEW
Ratings compliance officers should review their personnel policies
to ensure proper emphasis on ratings education and enforcement.
Any updates or enhancements in those policies should be promptly
communicated to all employees.
DISPLAY RATINGS POSTERS
Ratings compliance officers should take steps to ensure that posters
explaining the ratings system are displayed in every theater complex.
Contact Cheryl Dickson at NATO at cd@natodc.com if additional
posters are needed.
INCLUDE RATINGS INFORMATION ON WEBSITE
Ratings compliance officers should work with their company information
technology providers to ensure that ratings information is
included on the company’s website.
INCLUDE RATINGS INFORMATION AND PROTOCOLS ON
ONLINE TICKETING SYSTEMS AND KIOSKS
Ratings compliance officers should review the online ticketing system
and ticketing kiosks utilized by the company to make sure that
ratings information is included. Please review the prompts utilized
when tickets for R and NC-17 rated movies are ordered to ensure
proper age-requirement notification.
MONITOR ONE SHEETS TO ENSURE RATINGS
INFORMATION IS INCLUDED ONCE THE MOVIE IS RATED
Studio marketing departments should distribute movie posters with
ratings information once a movie is rated. Theater personnel must
ensure that unrated posters are replaced with rated posters once
they become available. If rated posters are not made available after a
movie is rated, theater personnel should inform NATO.
ENSURE THE COMPATIBILITY OF TRAILERS
Ratings compliance officers and theater marketing personnel
should take steps to ensure that trailers are compatible with the
feature fi lm that follows. All trailers must be viewed prior to exhibition,
with feature-fi lm-audience compatibility in mind. Trailers
for R rated movies should never be shown before fi lms rated G
or PG and should be viewed and assessed before being shown in
conjunction with a PG-13 feature. To help NATO members appropriately
target trailers, NATO staff compiles and maintains a chart
of trailers that the MPAA has “approved for appropriate audiences”
and the specific motion pictures for which the trailers have been
approved. This information is posted in the Members Only section
of the NATO website on a confidential basis and should be used
only to ensure that trailers are appropriate and compatible with the
feature fi lm. NATO members can use their online username and
password to access the chart. Nonmembers can receive a password
to access the chart by contacting the NATO office. NATO encourages
exhibitors to always play the trailer tag with each trailer.
Exhibitors receiving patron complaints regarding trailer compatibility
should inform NATO.
REACH OUT TO LOCAL NEWSPAPERS
Ratings compliance officers and company marketing executives
should contact newspapers with whom they do business to encourage
them to include reasons for the ratings in their movie reviews.
REACH OUT TO COMMUNITY, PARENT AND RELIGIOUS
ORGANIZATIONS
Company executives and ratings compliance officers should consider
using the NATO ratings PowerPoint to provide tutorials to
local groups on the rating system. Electronic copies of the tutorial
can be obtained by going to www.natoonline.org and clicking on
Ratings Links.
GENERAL PATRON EDUCATION
Company executives and ratings compliance officers should investigate
additional ways to use Ratings Awareness Month to educate
patrons about the ratings system. Consider posting the company’s
ratings policy where all patrons can see. Encourage box office attendants
to mention the ratings in their conversations with patrons.
Conduct theater open houses and disseminate ratings information.
Reach out to local schools. Create employee contests with ratings
themes. Be creative and have fun!
Website/Kiosk Movie Ratings Checklist
All exhibition company websites, all movie ticketing websites, all ticketing kiosks and all other sites displaying
information about movies to which theater company sites are linked should include the following:
• Ratings should be prominently displayed in conjunction with all
movies referenced on the website.
• Ratings reasons should be prominently displayed in conjunction
with the rating for all movies referenced on the website.
• The website should provide detailed general descriptive information
about the MPAA/NATO movie ratings system.
• The website should provide links to ratings information available
on other sites, such as parentalguide.org, filmratings.com, or
MPAA.org.
• The site should include additional warnings related to the admittance
of people under age 17 to R-rated movies or people under
the age 18 to NC-17-rated movies.
JUNE 2012 BOXOFFICE PRO 11

FIRST
PERSON
Small theaters need to think big
SHOWMEN
WILL SURVIVE
by Jeffrey Eisentraut
Eisentraut Theatres
All over America, independent theaters
are fi ghting for their existence. What
will save theaters in smaller markets? Showmanship.
Independent theaters have a real advantage
when it comes to showmanship. Some
of the best promotions outside of Hollywood
come from feisty independent operators who
don’t have restraints put on them by “corporate.”
And these showmen benefit directly
when their efforts and brainpower succeed.
I have several theaters in small markets
now faced with the reality of converting to
digital projection. The one thing that protects
these theaters from extinction is the fact that
we have created a moviegoing habit in our
markets using simple showmanship. In fact,
thanks to our creative energy, our markets often
over-perform, and we continue to see an
increase in attendance, even as the industry
seems to drop year after year. Here are some
tips that have worked for us.
GET THE BASICS DOWN
Showmanship is more than the occasional
coloring contest for the latest kid movie. It is
an all-consuming way of life. When you are
a showman, everything you do is based on
improving attendance. Some of the most important
things are very basic: how you dress,
how you conduct yourself in public, staff
training, clean theaters, and quality sound
and image. Get the basics down—then you
can start to focus on the fun stuff.
HARRY POTTER
FANS LOVE
POPCORN, BUT WHY
NOT ALSO OFFER
THEM A SLUG OF
BUTTERBEER?
HAVE A PLAN
Assuming that
you do the basics
well, now it’s important
to sit down with
a calendar and look
at the movies being
released over the next
12 months. With this
information, you
can sit down and
brainstorm with your
staff and get the creative
juices flowing
on what would be a
fun way to promote
particular titles.
TIMING AND DISCIPLINE
When deciding what movies to promote,
timing is everything. In our case, we choose
two movies per year to go all out on boosting
attendance and awareness—usually one in
the summer and one around Thanksgiving. A
great promotion will take all of your energy
for the weeks leading up to it, so don’t schedule
them too close together or it will burn
you out. For the other titles, relax and have
fun—it’s pretty easy to come up with ideas to
have small-scale promotions.
HOLLYWOOD COMES TO YOUR TOWN
When I plan promotions, I always say to
myself, “How would they do that in Hollywood?”
Your customers want to feel special,
and if you create a glamorous event, they
will eat it up. Muster up the glamour: red
carpets, limousines, photographers, celebrities,
decorations, food, searchlights, tuxedos
and sequins.
THINK OUTSIDE THE BOX
Here are a few of my past promotions:
I purchased a replica of Harrison Ford’s
head made by a professional prop artist
from France, put it on a mannequin and
sat him in a 1951 Chevrolet pickup truck
similar to one found in Indiana Jones and
the Kingdom of the Crystal Skull. This prop
was great for picture taking—and great
pictures wind up on Facebook.
As customers exited the midnight premiere
of The Dark Knight, Batman stood
on a building across from the theater with
a spotlight on him. Yes, a bat symbol
spotlight created a shadow against the next
building. It’s not just about getting people
in the theater—it’s about casting a spell
that customers take with them even after
the movie ends.
For The Dukes of Hazzard, we brought
in the official General Lee—the one
used by the film company for the world
premiere—for a parade and photo ops in
front of the theater.
We put on a full wedding reception for
Bella and Edward for The Twilight Saga:
Breaking Dawn – Part I. Invitations
were used as tickets, and our guests even
enjoyed a wedding cake for the happy
vampire couple.
The characters from Harry Potter arrived
in a limo and walked a red carpet while
a Hogwarts choir sang. Among several
other touches, we served butterbeer and
pumpkin juice to customers.
An ape—okay, my son in a really cool
gorilla suit—greeted (read: startled) customers
from a cage at the theater entrance
for Rise of the Planet of the Apes.
These promotions were extravagant, hard
work and sometimes cost a bit of money
to put together. But I’ve found the harder
you work and the more you put into it, the
greater the return—not just monetary, but
the other priceless treasure in our business:
great word of mouth. I challenge theater owners
and managers this summer to sit down
with your staff, wife, husband, dog, cat or
whomever. Pick one or two tentpole movies
and come up with exciting and extravagant
promotions. Take pictures and post them on
your theater’s Facebook page. Encourage people
to tag themselves in pictures and watch
the fire spread. Be creative, think Hollywood
and, most importantly, have fun. .
Jeffrey Eisentraut is the founder and owner
of Eisentraut Theatres. If you’ve held a
great promotion you’d like to show off,
share it at jeff@bestmoviedeal.com and he’ll
print your fun tips.
12 BOXOFFICE PRO JUNE 2012

Special Thanks!
Color Ad Packaging would like to
thank all those who visited
us at Cinemacon 2012
Premium
POPCORN BAGS
• 4 Color Process Rotogravure Printing • Custom Print
• “Stock” Design
• VMI Services
www.coloradpackaging.com sales@coloradpackaging.com 204-777-7770

SHOW
BUSINESS
was so busy filing box office updates during
I Marvel’s The Avengers’ opening weekend that
the true magnitude of its accomplishments
didn’t hit me until the final domestic weekend
number: $207.4 million.
We are now living in a new era for blockbusters.
An opening of $150 million is no longer
the ultimate goal—and that’s kind of insane.
Think about it. What happened with Avengers is
as monumental as the new wave of mainstream
filmmaking that was ushered in that two-year
turnaround between Jaws and Star Wars. The
Avengers is a game changer.
Disney’s marketing approach for The Avengers
is easily one of the savviest campaigns since
Paramount turned the first Paranormal Activity
into a $107.9 million domestic hit. The only way
to escape exposure to The Avengers in the month
leading up to its release would have been to
rent a cabin in the woods. (Wait, no—the week
before its release came the indie horror Cabin in
the Woods, which paired a script by Avengers director
Joss Whedon and star Chris Hemsworth.)
Drinking a Dr. Pepper? You’ve been exposed.
Shopping at Target? You’ve been exposed.
Thinking of updating your Norton AntiVirus
software? You’ve been exposed. Eating a frozen
Marvel’s The Avengers sets a benchmark for tentpoles
A NEW ERA FOR BLOCKBUSTERS
pizza alone on a Friday night? You’ve been exposed.
Disney grabbed every possible branding
opportunity, and it paid off beautifully.
The broad marketing campaign brought in
more than just rabid fanboys. Nobody is better
at marketing to families than Disney, and it
managed to get that valuable group to show up
in droves. I believe that families were the factor
that ultimately pushed The Avengers past the
$200 million plateau.
The Avengers’ opening will intensify competition
among the studios. Now every executive
will want a $200 million opening of their own.
And when the studios compete, exhibitors win.
My only hope is that they gun for that kind of
opening in every month of the year. If The Hunger
Games can open to $152.5 million in March,
then it’s conceivable that another film could
hit $200 million in March. In fact, if Hunger
Games was in 3D, it probably would have come
close. I know that every studio wants to have
“the biggest movie of the summer,” but if you
can make more money in March by ducking
the competition, then why crowd in with the
summer-season mob?
The Avengers gave a huge boost to a year that
doesn’t really need it. 2012 was doing very well
even before Marvel’s superhero flick stormed
theaters. In the days leading up to The Avengers’
release, 2012’s lead over 2011 was hovering
at around $415 million. With the likes of Men
in Black 3, The Amazing Spider-Man, The Dark
Knight Rises and The Hobbit: An Unexpected Journey
on the horizon, it’s reasonable to expect that
2012 will end up much closer to 2010’s $10.570
billion domestic total than 2011’s $10.185 billion
haul—and that’s without an Avatar.
There is one lasting image from The Avengers
insanity that will always stick in my head. When
I went to see the movie during opening weekend,
I went at a time when a lot of shows were
clumped together because I knew that there was
a very good chance my screening would be sold
out and I wanted options. When I ducked out
to go to the bathroom at the 45-minute mark, I
spotted a long line right outside the theater door.
“Is this for the IMAX show?” I asked. “No, this
is for the bathroom.” In all my years of moviegoing,
I have never encountered such a long men’s
room line. If there were that many guys out of
their seats, how many more were in the theater?
For the sake of our industry, I hope I have to
face that problem again next summer.
—Phil Contrino, Editor, Boxoffice.com
14 BOXOFFICE PRO JUNE 2012

www.sylvania.com/cinema
© 2012 OSRAM SYLVANIA Product Photo:
Enjoy a new dimension in
digital cinema with XBO ® lamps.
OSRAM brings new standards to digital cinema.
Perfect for 2D and 3D in both film and digital formats, OSRAM XBO lamps feature consistent high
brightness over the life of the lamp. And their longer re-lamping interval means less maintenance
and a lower cost per hour of operation. All backed by the OSRAM 100% XBO Theater Xenon Lamp
Warranty Program. For more information, call 1-888-677-2627 or go to www.sylvania.com/cinema.

SHOW
NEWS
WINNIPEG’S
PROVENCHER
BRIDGE IS JUST
BLOCKS FROM
THIS YEAR’S
VENUE
HAIL, SHOWCANADA!
What to expect in Winnipeg
by Nuria Bronfman, Executive Director of the Motion Picture Theatre Associations of Canada
We are thrilled to be back in Winnipeg, a city otherwise known
as the “heart” of Canada, as it’s midway between the Atlantic
and Pacific. This year, our convention is located just blocks away
from the site of one of Winnipeg’s first movie theaters—the Bijou—
which opened nearly a hundred years ago. Back then, main-floor
seats were $1.50, balcony seats were 50¢, and a box of ten seats was
$10. Audiences flocked to the theater to experience the magic of a
new art form, and the Bijou quickly became the center of a flourishing
city. Although much has transformed in our industry, one thing
remains the same: movie theaters continue to be the “heart “of their
communities.
The future will continue to bring changes to our industry that will
dramatically shape the moviegoing experience. In Canada, theater
owners have risen to the challenge of the technological revolution,
and by the end of 2012, we will be among the first countries to
achieve almost 90 percent digital conversion in our theaters. There is
still work to be done in this arena, and in recognition of this we have
gathered industry experts at ShowCanada to present our seminar series
Digital Cinema 101: Everything You Need to Know About Converting
to Digital.
This year’s program is filled with screenings of exciting new films
and product reels from our distribution partners, topical information
sessions with leaders in social media and exhibition, and excellent
mingling and networking opportunities at the fun-filled nightly events
and the Trade Show Cocktail.
I would like to thank all of ShowCanada’s long-time supporters, our
new sponsors, all of the tireless volunteers and on-the-ground helpers
who will be assisting over the next few days, and the ShowCanada
committee who works so hard to organize our convention. I would
also like to congratulate all of our Showmanship Awards winners—you
make our theaters the best entertainment destinations possible for our
audiences and help continue the community that movie theaters have
always held dear.
HIGHLIGHTS FROM THIS YEAR’S SHOWCANADA LINEUP
SEMINAR SERIES
Tuesday, May 29t
Digital Cinema 101: Everything You Need to Know About Converting
to Digital – Come hear the experts talk about equipment, new
technologies and differences between satellite and digital transmission
of films to theaters.
Wednesday, May 30
Critics Choice: Harnessing the Power of Facebook’s Social Graph –
Facebook Canada’s managing director will share his view with delegates
regarding the social shift new media channels have brought about and
discuss how the entertainment industry can leverage the power of Facebook’s
Social Graph and connect to more than 18 million Canadians.
State-of-the-Industry Address—President and CEO of NATO will
discuss the latest trends in the exhibition industry.
Screening and Product Reels
This year there are more screenings of feature films and product reels –
You asked for it and you got it! This year, our distribution partners are
screening the latest in upcoming product for Show Canada delegates.
Networking opportunities
Social events galore—Every day and night, ShowCanada delegates will
have a chance to mix, mingle and enjoy themselves. From wonderful
hosted lunches to the Trade Show Cocktail to exciting evening events,
there will be plenty of opportunity to make connections and have fun.
Trade Show
Wednesday May 30 from 2–5 p.m. Come and look at the latest in products,
content and technology.
16 BOXOFFICE PRO JUNE 2012

SECRET
WEAPON
by Inkoo Kang
MS. SOUTHERN HOSPITALITY
Meet Betty Williams, Cobb Theatres’ belle of the ball
What kind of bond do you have with the patrons you see often?
It’s just that they all come in feeling loved. And I appreciate that. They
feel so loved.
A lot of customers have written letters to Cobb praising you for
taking the time to talk to them. Why do you enjoy that aspect of
your job so much?
It’s a good way of having people come back, you know? If you don’t talk
to them, they won’t think to come back your way—they’ll go somewhere
else. So it’s best to always greet them in, keep a smile on your face
and talk to them. They’ll feel like they’re welcome and come back.
BETTY WILLIAMS
Usher Supervisor, 7 years
Cobb Theatres Pinnacle 14
Foley, AL
RESPONSIBILITIES
Guest service, floor supervision, theater maintenance
How did you get your start at Cobb Theatres?
I was just riding around here one day. I looked over, saw the theater,
and was like, “I wonder if they would hire me?” Just like that, I came
through the door, and there was Gary, back at customer service. “Are
y’all hiring? I’d like a job here.” “Sure!” He put my name down, and I
started the next day.
What’s an average day for you?
On the first shift when all the people are coming in, I greet them in
and I wait until the customers are all in the movie. Then I leave the
ticket drawer and I do movie checks, make sure everything’s good on
the inside. I go in and make sure no one is on their cell phone, make
sure no one is talking out loud, make sure you don’t have a crying baby
in there disturbing the peace of the theater.
What is your biggest strength?
My biggest strength is talking to people. I love greeting them. It’s so
nice to talk to them because you can make them feel happy, make them
feel welcome here. It just feels so good, and I love them to death. From
the kindness of my heart, I care for them, I love them. And I guess to
them, I’m just a spiritual person. I just feel so welcome to them. They
ask, “Where is Miss Betty?”
General Manager Garet Sechrist says that regulars love you so
much that they’ll come see a movie based on when you’ll be
working. How do you feel about your popularity?
I feel kind of bad, sometimes. I’m like, “Oh my god, they don’t want
to see nobody else but me.” I’m very proud, but I think they should
recognize somebody else too.
Regulars also love the fact that you learn about their movie
preferences and make recommendations for them. When you
watch a movie, do you think of people who might be interested
in seeing it?
Sometimes I do. Sometimes I feel like there’s a movie that they would
really like to see. I just go ahead and tell them, “Oh, you would really
love this movie—it’s great.” And when they come back out, they say,
“We loved it.”
Are you ever wrong? Do you ever guess inaccurately?
Nope!
What’s your approach to leadership?
People who are on the floor with me, whenever I train them, I go back
and check. And if it’s not done right, I make sure they do it right. Once
I train them, I expect them to do it! “Let’s get the job done, and let’s do
it now.”
Who was a key mentor for you and why?
I have a favorite friend here that I love working with, April. She’s a
manager at Cobb Theatres. It feels like we got a good home here and
we can communicate with each other. Whenever I’m doing something,
I can call her and tell her, “Hey, I need this job done now.” She’ll jump
right on it and help me out and get it done. She really listens to me.
What is your favorite movie and why?
I like The Zookeeper. Think Like a Man, that’s my favorite one. Oh,
honey, it will make you cry, you will laugh so hard. It’s just a great, feelgood
movie. I think everybody should see it.
What’s your favorite concession-stand snack?
I love the cheese sticks. Oh my god, they are so good. Bread with
cheese on the inside. When you take a bite and the cheese stretches,
mmmmmmm.
That’s pretty fancy for a movie-theater snack. I don’t think a lot
of movie theaters have them.
Oh my god, you won’t believe it, we have a little bit of everything.
Down here we have hamburgers, funnel cakes, pretzels. We have real
food.
What do you think of being nicknamed Cobb Theatres’ Secret
Weapon?
Ooh, I love it!
18 BOXOFFICE PRO JUNE 2012

MARQUEE
AWARD
by Ross Melnick
THIS IS CINERAMA
Preserving the past while looking to the future
Turning 50 may not be a big deal for most, but it’s become an
increasingly rare anniversary in the exhibition business. Today,
only a small number of mid-century movie theaters—like
the Ziegfeld in New York and the Cinerama Dome in Los
Angeles—remain in operation. Count the number in any
American city, and you probably won’t make it past your
ring finger.
While the Beekman in New York and the National in Los
Angeles have vanished in recent years, the Seattle Cinerama
Theater has survived thanks to Paul G. Allen, the co-founder
of Microsoft and chairman of Vulcan Inc., who purchased the
fading movie house and restored it as a community-oriented,
first-run showcase theater.
The Martin Cinerama Theatre opened in January 1963
at the tail end of the Cinerama boom. Created by Fred
Waller in the 1940s, Cinerama used three cameras on
a single tripod to capture an enormously wide vista
(2.65:1) through three conjoining images. For 1952
audiences used to a 1.33:1 aspect ratio on comparatively
small television and film screens, Cinerama a was a tacle without equal. Feature-length Cinerama films during
spec-
the 1950s were chock-full of timepiece Americana and a
postwar fascination with “exotic” places and cultures.
Over the next 10 years, exclusive Cinerama theaters
opened in major cities throughout the world. In
the United States, the first Cinerama houses were
retrofitted movie palaces. By the end of the 1950s,
however, a new breed of purpose-built Cinerama
house began opening from the Cooper and
Martin chains.
The Martin Cinerama Theatre in Seattle e
opened in 1963 with the first of two fiction films
made by MGM in three-strip Cinerama, The
Wonderful World of the Brothers Grimm. Three
months later, it was followed by the enormously ously
popular How the West Was Won, featuring a bevy of
human stars plus Cinerama’s ability to capture an
expansive, clear image unlike any other for the
time. Yet, as it was expensive to produce, distribute
and exhibit, Cinerama adapted a single
lens system for its next film and became just
another wide-screen experience. For those
who loved it, Cinerama was effectively
over.
For the next 30 years, the Martin
Cinerama Theatre became a key venue
for first-run Hollywood blockbusters,
attracting audiences (like Paul G. Allen)
for science fiction and action films. By
the mid-1990s, the theater closed and
was rumored to become a rock-climbing
venue, parking lot or other commercial
property. Loyal patrons circulated a petition
to save the theater. Allen spotted the
grassroots effort while visiting a local video
store.
Most philanthropists interested in saving
historic theaters pledge seed money or
matching funds. Allen bought the theater
outright. His company, Vulcan Inc., renovated
and restored the 797-seat theater for 35mm and
70mm presentations on its wide 70-foot screen.
He also ensured that the old Martin Cinerama,
now the Seattle Cinerama Theater, could once
again exhibit three-strip Cinerama films on
its enormous 110-foot screen, which hangs
patiently each year behind its other, smaller
screen. Along with the Cinerama Dome in
Hollywood and the Pictureville Cinema in
Bradford, England, the Seattle Cinerama is one
of only three cinemas in the world able to project
true Cinerama films.
General Cinema and, later, AMC managed the
theater for Vulcan Inc., restoring its iconic status
for local moviegoers who once again made the
theater a choice location for Star Wars and other
blockbuster films. Allen also made the theater
available for local film festivals such as the
Seattle International Film Festival, the Langston
Hughes African American Film Festival and the
Seattle Human Rights Film Festival.
The desire to include more local, independent
film alongside a mix of new and classic films spurred
Allen and Vulcan to seek a new operator who could
bring this kind of eclecticism and balance to the the-
ater. Greg Wood, who owns and operates the popular
Roseway Theater in Portland, Oregon, caught Allen’s
attention. Wood grew up in Los Angeles and is the
third generation to be involved in the film business.
His father helped develop SDDS at Sony Pictures,
and he himself has operated theaters in Washington
and Oregon since 1996. He purchased
and restored the Roseway (built in 1924) and has
managed to attract a loyal patronage for both
independent and first-run Hollywood films.
The Cinerama closed for renovations and booth
upgrades on August 30, 2010, and reopened that
November with Wood’s Northwest Cinema Corp.
(NWC)
managing and booking the theater. Many saw
the Cinerama as a “big tentpole movie palace with sci-fi
movies,” Wood notes. With the relaunch, however, he has
“tried to break that mold with diverse programming.” Dur-
ing its first
year under NWC, Wood notes, the Cinerama
tried to “throw a lot of noodles against the wall and see
what would stick. In year two, we’ve found our groove a
little bit
where May through September we’ll always do
the first-run, blockbuster movies.” But during the slower
months, Wood says the theater has found great traction
by doing exclusive art movies. Wood points to a recent
decision to bypass the 3D rerelease of Star Wars in
order to exhibit the avant-garde dance film Pina in
3D. “[We] wound up doing wonderful business with
20 BOXOFFICE PRO JUNE 2012

it and getting all of these new people to the theater who hadn’t been in
there in such a long time.” (An exclusive booking of the epic, globetrotting
documentary Samsara is forthcoming.)
The theater has also embraced a growing interest in not only hosting
festivals but programming them. Wood curated a popular classic film
festival in fall 2011 and recently concluded a science fiction series with
Metropolis, as well as 70mm prints of 2001, Ghostbusters, Terminator 2
and Tron. The availability of celluloid is declining each year as 35mm
and 70mm prints wear out, studios restrict certain titles, and distributors
shift to DCPs. But instead of panicking about it, Wood has a
plan. “That’s exactly why I decided to make some [new prints],” Wood
argues. “The ones that we wanted weren’t in great condition, so we
decided to make them. I can see doing that a lot … identifying titles
we want to show and making prints and trying to hold onto the history
for everybody.”
The cost of making new prints and bypassing some Hollywood
releases is mitigated by the special relationship among Allen, Wood
and the theater. “The key,” Wood explains, “is we’re lucky. We have an
amazing owner. … I’m allowed to look at the theater industry as ‘What
can we do that’s going to be wonderful for Seattle?’—not really look
at ‘Hey, we need to make money, make money, make money.’ So we’re
very fortunate that we have the support that we do. We can go out and
make prints of 2001 or make prints of War of the Worlds without really
worrying. It’s a tremendous opportunity and it’s really exciting.” Wood
notes that for Allen, even after nearly 15 years of ownership, the theater
is still “something he cares for and treasures a lot.”
The interest in programming independent and classic films (including
Cinerama) is only one part of the theater’s identity. The Seattle
Cinerama Theater, as it has for nearly half a century, is still best
known as a showcase house for event films. Wood notes that midnight
premieres frequently attract lines of moviegoers stretched around the
block, often in costume and in a state of anxious frenzy. “There’s nothing
more fun than those,” he notes.
In addition to being one of only three theaters in the world able to
show 35mm, 70mm and Cinerama films, Wood and Allen are dedicated
to keeping the theater current with Christie digital projectors, RealD
3D, Dolby servers and the latest sound technology. Wood also wants to
find a way to project all films—whether from celluloid or DCPs—on
the theater’s massive Cinerama screen. The larger screen, he argues,
would be “an IMAX killer.” There are technical issues still to be worked
out, however, and the theater will have to manufacture some lenses.
Wood is already looking forward to exhibiting The Hobbit at 48fps,
regardless of the mixed buzz out of CinemaCon: “For us, if we can take
a technical leadership position on anything, we will, and I think that’s
what our duty is. We try to stay up on the technology.”
Although the theater relies heavily on digital projection, the
Cinerama also boasts two Kineton projectors capable of projecting
archival prints, which cannot be plattered. In a sense, the Cinerama
projection booth presents a timeline of exhibition technology that can
be marshaled for whatever programming is needed. “We try to embrace
the digital future as well as the history of the classic past,” Wood adds.
“We try to really cover it all on a yearly basis. We try to appeal to the
digital audience as much as the film audience. We’re trying to be what
works the best at the right time.” Wood remains excited by the diversity
of Hollywood blockbusters, classic films, and independent and foreign
cinema but admits that “it’s an amazing challenge” to try and “squeeze
that all in there.” “So far,” he adds, “we’ve done well and we’ve had a lot
of support from the studios, but it’s really hard to do.”
Ultimately, Wood and Allen want to create a “local, independent
feel” yet still be a destination for films like The Avengers. “We want to
have a relationship with the city,” Wood concludes. “We try to look at
the Cinerama as Seattle’s living room.” A living room that just happens
to have a 110-foot screen and the willingness to play just about anything,
from three-strip Cinerama to digital 3D films.
The Original Developer and #1 Leader
In Customized VIP Seating
www.vipcinemaseating.com
(662) 841-5866
sales@vipcinemaseating.com
All styles available in
customized designs and dimensions
with multiple options.
Visit our website or call us today.
See what a world of difference VIP seats can make
to your theater. . . and your bottom line.
JUNE 2012 BOXOFFICE PRO 21

Dolby Laboratories Inc. is
lending its name to the Dolby
Theatre in Hollywood, the landmark
known to the world as the home of
the Academy Awards. After taking
over the sponsorhip of the theater
from Kodak, Dolby will enhance
the sound system of the theater
to create a world-class showcase
for Dolby’s current and future
technologies, beginning with the
company’s revolutionary new Dolby
Atmos sound technology. “Dolby is a
brand recognized around the world
for creating the best, most life-like
entertainment sound experiences
in any environment,” said Kevin
Yeaman, president and CEO, Dolby
Laboratories. “This partnership
with CIM [owner of Hollywood
& Highland, where the venue is
located,] allows the Dolby Theatre
to be not only the world stage for
the Academy Awards, but for Dolby
innovations for decades to come.”
For 34 consecutive years, films
released with Dolby audio
technologies have earned
Academy Award nominations for
outstanding sound quality.
salutes our
friends
at Dolby Labs
for their
commitment to
world-class
exhibition
and for their
sponsorship of
the iconic home
of the Academy
Awards,
Dolby Theatre

2012
05.25.12 Sony Men in Black 3
06.01.12 Radius-TWC Piranha 3DD
06.08.12 DreamWorks Madagascar 3
06.08.12 Fox Prometheus
06.22.12 Disney Brave
06.22.12 20th Century Fox
Abraham Lincoln:
Vampire Hunter
07.03.12 Sony/Columbia The Amazing Spider-Man
07.05.12 Paramount Katy Perry: Part of Me 3D
07.13.12 20th Century Fox Ice Age: Continental Drift
07.27.12 Summit Step Up 4
07.27.12
UTV
Communications
Joker
08.17.12 Focus Features ParaNorman
09.14.12 Disney Finding Nemo 3D
09.14.12
Sony / Screen
Gems
Resident Evil: Retribution
09.21.11 Lionsgate Dredd
09.21.12 Sony Hotel Transylvania
10.05.12 Disney Frankenweenie
10.26.12 Open Road Silent Hill: Revelation 3D
11.02.12 Disney Wreck-It Ralph
11.21.12
Paramount/
DreamWorks
12.14.12 Warner Bros.
Rise of the Guardians
The Hobbit:
An Unexpected Journey
12.21.12 20th Century Fox Life of Pi
12.21.12 Paramount
12.25.12 Warner Bros.
01.04.13 Lionsgate
01.11.13 Paramount
2013
Cirque du Soleil:
Worlds Away
The Great
Gatsby
The Texas Chainsaw
Massacre 3D
Hansel and Gretel:
Witch Hunters
01.18.13 Disney Monsters, Inc.
01.25.13
Sony/Screen
Gems
Battle of the Year: The
Dream Team
02.08.13 Universal 47 Ronin
02.14.13
Weinstein
Company
Escape From Planet Earth
03.08.13 Disney Oz: The Great and Powerful
03.22.13 Warner Bros. Jack the Giant Killer
03.22.13
Paramount/
DreamWorks
The Croods
05.17.13 Paramount Untitled Star Trek Sequel
05.24.13 Fox Leafmen
06.21.13 Disney Monsters University
07.12.13 Warner Bros. Pacific Rim
07.19.13 Universal Jurassic Park
07.31.12 Sony/Columbia The Smurfs 2
08.02.13 Warner Bros. 300: Battle of Artemisia
09.13.13 Disney The Little Mermaid
10.04.13 Disney Untitled Henry Selick Film
10.11.13 Fox Walking With Dinosaurs
11.08.13
RELEASE CALENDAR
Paramount/
DreamWorks
Me and My Shadow
11.27.13 Disney Frozen
12.13.13 Disney
12/20/13 Sony/Columbia
2014
The Hobbit:
There and Back Again
Cloudy 2: Revenge of the
Leftovers
03.14.14 Disney Maleficent
05.02.14 Sony The Amazing Spider-Man 2
05.30.14 Disney The Good Dinosaur
2015
06.19.15 Disney Untitled Pixar Project

SPECIAL
REPORT
VIP CHAIRS
ENHANCE
THE CINEMA
EXPERIENCE FOR
MOVIEGOERS
IN THE HOT
SEAT
by Annlee Ellingson
VIP AND MOTION CHAIRS
REINVENT CINEMA SEATING
hen you start talking about seating
“Winnovations, it’s like trying to recreate
the wheel,” says Bill Moore, sales manager
for Irwin Seating Company.
After you’ve perfected the cinema chair—
made it durable, made it cost-effective, made
it comfortable, but not too comfortable (“You
don’t want people falling asleep,” says Ben
Stanton, national sales manager for cinema
for Greystone Seating)—what next? “From an
engineering standpoint, there’s not a whole lot
left we can do,” adds Stanton.
Yet in the last half-dozen years, a new product
category has emerged that has reinvigorated
seating research and development: VIP.
Think food-and-drink tables. Think recliners
and footrests. Think seat warmers.
“It’s the comfort of your home with the
technology of a movie theater,” says Stephen
Simons, founder of VIP Cinema Seating, which
specializes in luxury chairs. “That’s what VIP is.”
When his company first entered the market
around 2006, “People would walk by the
booth [at ShoWest] and look at us and sort
of laugh and say, ‘Boy, that’d be great for my
house,’” Simons remembers. “But it’s changed
substantially. It’s a much more accepted
concept.”
Now more theaters are experimenting with
VIP seating, whether they’re installing a couple
of rows of luxury chairs in one auditorium or
building an entire cinema concept around a
premium experience.
“The reason they’re interested is they’re
seeing their competition increase their sales using
this concept,” says Simons. Some theaters
have reduced their seat count to install larger
VIP models only to see their overall seat sales
increase. Moreover, cinemas that add food and
alcohol to their menus see their concession
revenues rise as well.
Observing this, some exhibitors who have
seen their older theaters get usurped by new
builds are looking to VIP seats to breathe
new life into their locations. “They’re going to
reseat them with all recliners,” says Sam Snell,
VP of sales North and South America for
Dolphin Seating. “They feel that that’s going
to give that old theater a niche in the market
to draw people back to it.”
Exhibitors should know, though, that VIP
seating involves more than just swapping out
a couple of chairs. “It requires such a dedication
of resources to make it successful that it’s
a real challenge for even large companies to
wrap their arms around the difficulties associated
with a VIP concept,” warns John Fennell,
cinema sales manager for Seating Concepts.
Serving a full menu requires a different skill set
from scooping popcorn and dispensing soda.
“You have to completely change the way you
would staff the facility.”
Still, the industry seems to be undergoing
what Simons describes as a “culture swing.” It
used to be that exhibitors just wanted to get as
many “butts in seats as possible,” says Stanton.
“Really that’s not what it’s about anymore.
Now it’s maybe charging a premium dollar
for a premium presentation, so you’re going
to make a more intimate setting and make it
connect with each and every customer a little
bit more.”
A couple of companies are taking this
concept of connecting customers to the cinema
experience to the next level with motion
chairs—seats that react to and move with the
movie. D-BOX is the leader in this category
with technology that syncs moviegoers’ viewing
experience to the picture and sound of
the film by subtly moving and vibrating their
chairs to pitch, roll and heave. These movements
are choreographed frame by frame.
“All of the motion patterns are based on the
image, and all of the intelligent vibrations—for
example, explosions, engine noise, engine rev,
and stuff like that—that’s all based on the
soundtrack,” says Guy Marcoux, VP of marketing
for D-BOX. “All of our motion codes
are then embedded in the DCP content, so
we’re really part of the postproduction process.
We’re really integrated.”
Meanwhile, at CinemaCon, RedSeat Entertainment
unveiled its Tremor FX seats, which
vibrate and pulse in response to any film’s
soundtrack. The technology, which comes in
at a lower price point than D-BOX, responds
to audio signals already embedded in a movie’s
existing audio and creates sensations that range
from a sharp push to a low, slow rumbling.
“It takes the audio track and analyzes it
for specific, for lack of a better term, events or
specific signals in that track,” explains LeVoy
Haight, RedSeat’s CTO. “If something goes
off that creates an event—a door slam, a train
going by, a heartbeat—any of those things,
24 BOXOFFICE PRO JUNE 2012

COMING SOON > SEATS & SCREENS
you will feel. Basically it takes whatever the
sound engineer, the audio people, put into the
movie for a soundtrack, it identifies what they
felt was important, and then it sends a tactile
or sensory experience to match that, right as
the sound and the visual picture demonstrates
whichever’s happening.”
The concept has caught on. D-BOX
introduced its technology into movie theaters
in April 2009 with Fast & Furious. Today it’s installed
in 125 theaters worldwide and has played
about 50 titles. Tremor FX seats will be ready to
roll out this summer. Although motion seats are
mostly limited to special sections for now, both
companies envision exhibitors outfitting entire
auditoriums with the technology.
“There’s nothing that really compares
directly with this experience,” says Fennell,
whose Seating Concepts has partnered with
RedSeat on the Tremor FX seats. In focus
groups, users have not only liked the initial
experience but missed it when they returned to
regular seats, adds Haight.
“It’s really an experience that puts them
right in the middle of the action,” says Marcoux.
“We’re basically trying to replicate what
you would feel in real life. … You see in 3D,
you hear in surround sound, which is natural.
But also in life, you feel everything around
you. … That’s why we feel that it is a natural
evolution if it’s done properly.”
With emerging innovations like VIP seats
and motion chairs, perhaps cinema seating
can be reinvented after all. The basics, though,
remain the same.
“What you want first is still comfort,”
Moore says. “Regardless of all the VIP needs
and special chairs, the main market still wants
a great picture, great sound and great seat.”
DON’T
LET THE
BEDBUGS
BITE
by Annlee Ellingson
THEY CAN ALSO HURT YOUR
REPUTATION
Almost two years since bedbugs shut
down a movie theater in Times Square,
the media flurry surrounding cinema infestations
may have died down. But according to
Steve Goldrich, vice president of Noble Pine
Products, that doesn’t mean the problem has
gone away.
“Theaters have serious problems,” he says.
“But no theater is going to suggest that they
have problems. … Do you see anybody on the
Internet explaining that they’re really proud of
that?”
Rather, bedbugs have become such a persistent
issue that the pest-control industry now
considers the sesame seed-sized parasites to be
a chronic problem. “Bedbugs are understood
now to be part and parcel of the reality of
people’s lives,” Goldrich says.
Movie theaters are particularly vulnerable
to infestations simply by virtue of the venue.
“Theaters are by nature a dark place even when
the lights are on, because you have so many
seats. Everything is designed truly to give as
little light back as possible.” Add to that a
transient population sharing seats upholstered
in porous material, and you’ve got a recipe for
disaster.
There are steps exhibitors can take, however,
to limit exposure. One is to clean each
seat with a vacuum with a HEPA filter, which
is designed to remove particles as tiny as 0.3
micrometers, including bedbugs and their
eggs, which can remain dormant for over a
year. Second, spray the seats with Steri-Fab,
a disinfectant and insecticide that Goldrich’s
company manufactures. Steri-Fab kills pests on
contact, dries in 15 to 20 minutes and leaves
no residue.
“In an ideal world, exhibitors would
vacuum every day and apply Steri-Fab every
day after the theater closes,” Goldrich says.
“But since we’re not in that ideal world, they
should have at least one day a week where they
do that.
“You want to have a fighting chance.”
26 BOXOFFICE PRO JUNE 2012

TM
It’s one of the lowest-cost elements in a theater
installation, yet one of the largest and most important:
the screen. And while the projector, digital or
otherwise, tends to get the credit (or the blame) for
the quality of a presentation, that big white sheet of
vinyl at the front of the auditorium plays a vital role in
moviegoers’ enjoyment of a film.
“The screen is absolutely fundamental to the
viewing experience,” says Andrew Robinson, CEO of
Harkness Screens, the world’s largest
cinema screen manufacturer.
“People come to the theater to
watch movies. The quality of the
image on the screen is fundamental
to the experience. If the light
level is low or if there are blemishes
on the screen, this reduces
the experience.”
Exhibitors know this, so light
levels are a constant concern,
Robinson says, particularly when
it comes to 3D presentations. Theater owners are also
finding that operating a digital projection system is
significantly more expensive than running a film projector
since digital requires more powerful xenon lamps
that don’t last as long.
“The cost can be two to three times film-operating
costs,” Robinson says. “Higher gain screens can mitigate
this increase.”
Cinema-screen technology has improved over the
past few years in order to meet the challenges of 2D and
LET
THERE BE
LIGHT
IMPROVE THE CINEMA
EXPERIENCE WITH
A CLEAN, BRIGHT
SCREEN
by Annlee Ellingson
3D digital cinema with higher gain screens that reflect
more light back to the audience. For example, Harkness
has introduced a silver screen with an enhanced gain
level of 3 (compared to a normal gain of 2.4) for 3D
applications that are particularly light-deprived.
But challenges remain. “High-gain screens are
inclined to show up imperfections in screens, so
producing consistent quality of appearance and in gain
characteristics has been the challenge,” Robinson says,
pointing to a “continuous improvement
in quality” in this area. Moreover,
“It is desirable to improve
viewing angles of high-gain screens.
The basic science of light distribution
constrains this, but Harkness
are researching ways to achieve an
improved performance.”
In the meantime, exhibitors
can ensure consistent, quality
presentations by keeping on top
of light levels. Robinson advises
that as lamps degrade, cinema operators should
measure screen brightness and adjust power settings
to maintain constant brightness. Harkness now offers
a low-cost, portable Screen Checker brightness meter
that’s accurate to +/- 0.5 foot-lamberts.
The number-one step exhibitors can take to
improve the cinema experience for moviegoers from
a screen perspective, Robinson says, is to “check
light levels and address the consequences of low
brightness.”
SCREEN
TECHNOLOGY
HAS ADVANCED TO
MEET THE DEMANDS
OF DIGITAL 2D
AND 3D
JUNE 2012 BOXOFFICE PRO 27

COVER
STORY
MEET MERIDA, PIXAR’S FIERCE—AND FIRST—FEMALE STAR
MERIDA IS A PRINCESS, BUT SHE ISN’T A PUSHOVER. The flame-haired 10th-century Scottish lass
is good with a bow and arrow and is every bit as tough, headstrong and independent as any boy. Actually, she’s
better: Merida would make Wall*E shake in his tire treads and send Up’s Boy Scout Russell fleeing back to South
America. And when her parents King Fergus and Queen Elinor (voiced by Billy Connolly and Emma Thompson)
try to marry her off to one of their three rival clans, Merida (Kelly Macdonald of No Country for Old Men)
shows up all of Scotland. Not good. Here she comes—arrows blazing—into summer 2012. (continued on page 30)
28 BOXOFFICE PRO JUNE 2012

A FULL-COLOR
ANIMATED MERIDA
TAKES AIM WITH HER
TRUSTY BOW
AND
HERE
SHE IS IN
AN EARLY
SKETCH
JUNE 2012 BOXOFFICE PRO 29

COVER STORY > BRAVE
BRAVE NEW WORLD
A Pixar artist tells us how they designed the past
by Steve Pilcher, production designer of Brave, as told to BOXOFFICE
Before Brave, I didn't know much about
Celtic culture besides that I've always
loved it. But I'd never say that this is a
purely Celtic film, even though we knew
from the time period that the art motifs
from this time would be Pictish—an
earlier Iron Age Scottish people—and
Celtic. It's everything that's Celtic and
it's everything before that—and this is around the Viking time too, so
you're going to get this hybrid mix of symbolism. When we researched
Scotland, we'd look at the old Celtic symbols carved in stone and it
was all awesome-looking. There's so much history. The Pictish stuff,
they don't even know the meaning of a lot of it today, and I love that.
But these people at this time did know, and that's cool. It gives it an
ancient quality.
This era had a lot of writing, even though the common man
couldn't always read. Symbols were very important, so you'll see a lot
of Pictish and Celtic carving on wood and stone throughout the film.
There's a lot of Celtic motifs we designed that represent the different
clans. For the Dingwall Clan, the Macintosh Clan and the MacGuffin
Clan, we came up with symbols that represent their culture, which
meant coming up with backstories to flesh them out. For example, we
came up with the idea that the Macintosh Clan is more music-based,
so they have a lyre—or really, a crwth, which is an old Scottish instrument—in
their banner. MacGuffin is more wheat and agriculturalbased,
and Dingwall is more like the stone masons. And with King
Fergus, Merida's dad, who is sort of the leader of the kingdom, we
use the sword to symbolize him. His clan is obsessed with the bear, so
you'll see bear motifs all around the castle and in the wood. We associated
animals with the clans—say, that Dingwall is more stubborn, like
the boar—to give us more options.
As for the Celtic knots in the film, we looked at old symbols and
then we created our own. It starts with a pencil, and it's actually
harder than it looks. A true Celtic knot has no beginning and no end,
so you have to make the knots intertwine. Some things break that.
Like when we worked in an animal motif with the tapestries, you
can take more liberties. But we didn't want to do a brand-new weird
design just to say it was “our” design. We had to stay true to what the
feel of the time was so people can feel that it's authentic. It's not 100
percent—a Celtic historian would look at it and say, “Well, it's not
really exactly what they would do.” But it's close enough that I think
we're selling the idea and the feel of it.
Merida's curly red hair was there since day one. But it had to be
wild—it couldn't look like it came out of a salon. It had to have a lot
of variation. The curls had to have different sizes, different shades of
red, different types of spring when she walks. The design was clear,
but the computer modeling took a year—it's the most complicated
hair Pixar has ever done. But we solved that pretty fast considering the
amount of concern over getting her hair just right.
The little details in the film I most love are the way we use lichen
and moss. The way we have it growing on rocks, growing up trees. The
way light sparkles on wet grass and on the Stonehenge-esqe circle of
30 BOXOFFICE PRO JUNE 2012

SCOTLAND
IS A COUNTRY
OF GREAT ROCKS,
COLD WATERS AND A
HUNDRED SHADES
OF GREEN
stones. We actually made some of the lichen on those stones gold so
they would catch the light.
There are a lot of shades of green in this
film. It's outdoors, it's natural, and there's a
risk of a lot of color repetition if we weren't
careful. But there's shadows and different
plants, so the green is always changing—
it's never exactly the same. When we're
fixing a shot, I've got to say, “The green
is too much the same—it looks like a
big lawn. It needs more variation.” And
green is a nice complimentary color to
Merida. It's the opposite of her bright
red hair on the color wheel, which is
why even with all of this green, we
made Queen Elinor's dress green.
Which also works because 90 percent
of Elinor's backdrop is the warm grays
of the castle.
KING FERGUS
Most of the objects in
LAUGHS OFF AN
the film aren't man-made.
ATTACK FROM HIS
They're rocks and nature—and
objects made
TRIPLET SONS
out of them—and here
and there, a sword made out of steel.
In some ways, it's harder to animate natural surfaces. But it's also
more fun and beautiful. We'd need a lot of layers on everything. If a
sketch came to us with only one or two colors, we'd say, “It
looks contemporary, it looks fake, it doesn't have any history
to it.” Even though this world is already taking
place hundreds of years in the past, we wanted it
to have its own history—to show the years
before these clans were there. It's old
to us, yet new to them, yet old at the
same time. So every little cup, every
little pot—and there's hundreds and
hundred of them—if we'd catch
one that didn't have enough history,
we'd go back and fix it.
Even the things that the people of
Brave made or ate, we still tried to keep
them looking like nature. For Fergus'
wooden leg, we made it of burl wood,
which has these beautiful, gorgeous
knots in it. We sculpted it to really exaggerate
them and the grain of the wood.
And as for the cookies the triplets are always
chasing, you'll notice they aren't sweet, florescent
colors. They're still very earthy and
wholesome in keeping with our palette. I
don't really even know what they are, but I
think of them as shortbread with icing.
JUNE 2012 BOXOFFICE PRO 31

COVER STORY > BRAVE
LENT
VOLESTEM
DEBIT DEM ET
ENDISQUI ARUM
RE NI OMMOLO
DEMQUAERI
LAY ON, MARK ANDREWS
PIXAR’S BARBARIAN ON TAKING CHARGE OF A FILM UNDER SIEGE
For those of us who haven’t been fortunate
to work for an intensely creative,
high-profile animation studio,
here’s how the Pixar process works.
The company doesn’t accept scripts. Instead, a
director comes to studio head John Lasseter and
pitches a story he or she’d like to make. Ideas
bounce, energies flow, and once an idea gets a go,
then the whole studio gets involved in shaping,
styling and perfecting the film. It’s a process that
takes years—and in Brave’s case, nearly a decade
from the time Brenda Chapman convinced
Pixar to tell the saga of a spunky Scottish princess
named Merida who sets out on a dangerous
adventure. Besides the head-to-toe team effort,
the second thing that sets Pixar apart is that it is
its own harshest critic. If the “brain trust” deems
a film isn’t working, they’ll strip it to the bone
and begin again—a brutal quest for perfection
that famously had Lasseter throwing away all
the storyboards for Toy Story 2 and reworking
the plot from scratch in a week. Which is how
the energetic Mark Andrews was chosen to take
over as Brave’s director 18 months before the
film’s scheduled release date. (Pixar had already
spent 18 months just figuring out the spring
to Merida’s red curls.) Now that he can catch
by Amy Nicholson
his breath, Andrews talks to Boxoffice about
making this femmepowerment film his own, the
magic of Scotland and Pixar’s truly unusual (and
in the case of Ratatouille, filling) creative process.
With that hair, you look like a Highlander.
I am the Pixar Barbarian. That’s what it says
on my business card: “Barbarian.”
Does that mean people are scared of you?
That just means I’m free. The true sense of the
word “barbarian.”
What’s so interesting about Scotland is
that it’s a country where the fantastical
feels real. You had to hit that same balance
in the film.
There’s something really special about it, and
I think you can only get it by going there.
That’s why we took a trip to France and I had
to eat at five-star restaurants for Ratatouille.
You poor thing.
Boy, we hated it. I mean, these are three-hour
meals we’re talking about.
You must have felt like a goose being
stuffed for foie gras.
My god! It was insane. For Nemo, [director]
Andrew [Stanton] put on scuba gear and took
us underwater. There’s a character that you get
from actually going to a place, and Scotland
truly is magical. I’ve been trying to decipher
why, and I think a lot of it has to do with
how varied it is. Not only the terrain, which
is carved by mile-high sheets of ice melting
away and dragging back up to the poles, taking
away everything that’s soft rock. Carving
out the deep lochs, carving out the people.
Their society is made of storytellers. All the
Celts in the British Isles down to Northern
Europe have such storytelling fundamentals.
They had all this verbal culture. And the sun
could come out on a rainy or cloudy day and
transform the land instantaneously. Getting
weather into the film, getting varied terrains
into the film. And getting into the characters
who were involved in all these other stories
that were overlapping was a big part of the
process of making Brave work.
I’ve been there and you’re right: it’s beautiful,
but at any minute it can look evil.
32 BOXOFFICE PRO JUNE 2012

TM
MEALTIMES
ARE NEVER
CALM IN
MEDIEVAL
SCOTLAND
JUNE 2012 BOXOFFICE PRO 33

COVER STORY > BRAVE
MARK
ANDREWS
GETS IN A
FEW PRACTICE
ARROWS DURING
LUNCH
Or it can be so hot you’re sweating, and then
the clouds come over and it’s cold again.
The Scottish accent is also the hardest
English language to understand. How
did you work with the voice cast to make
them sound recognizably Scottish, yet
intelligible?
We decided that for everybody, whatever Scottish
accents they were bringing from whatever
region would work. So I didn’t need them
to speak one dialect—they could go all over
the map. And Kevin McKidd, his character
Young MacGuffin speaks in this unintelligible
“Grachachrackaracharach” way, which is great.
There’s so many different dialects in Scotland,
we wanted to hear that variety. When we’d
be recording, I’d just let them go. And then
when things were too Scottish—because of
the syntax of how they speak, not just the
sounds—that’s when we found it was most
unintelligible. They would take words and
slam them together and make one new word.
I’d be going, “Did you just start a new sentence?”
To get in and break those things apart,
or slow it down, that’s what we did so Middle
America could understand it.
Without subtitles, which is what Guy
Ritchie sometimes has to do with Scottish
speakers.
Right. So there were a couple of instances of,
“Okay, now let’s do that take exactly like that,
but just dial it back a little bit.” They were
great about that—they’ve all worked on their
English accents and American accents.
Merida’s refusal to marry and the way she
goes about it reminded me of the Greek
myth of the princess Atalanta, who challenged
all of her suitors to a footrace so
she could stay single. She’s such a literally
classic heroine. But she’s also Pixar’s first
female star. How aware of that were you
as you were making the film—did it add a
pressure?
When I was first seeing it, I thought it was
like Diana, Goddess of the Hunt. We’ve seen
this story all over the place. But you never get
tired of it. Put a weapon in a woman’s hand,
and it automatically transforms them into
what I think is always in a woman: that inner
strength, visualized. A powerful warrioress It
goes back to the Celtic mythology too, in that
all the men were trained by women warriors.
That was where you got your best training.
But Brenda wanted her to be strong, and just
having a sword is not enough. It’s not dynamic
enough—she doesn’t have a range. So
giving her a bow—which is a super dynamic
weapon—just lent itself to the storytelling
of her character. Her influence and her reach
goes beyond just what you see. An arrow is
just the perfect compliment to that.
Are you expecting a small bump from the
Katniss fans, since The Hunger Games was
a huge hit about a girl who was good
with a bow?
Absolutely. Things line up in wood all the time. It’s great—all
the Katniss lovers are going
Hollyto
go, “Yeah! Another one!”
In the Pixar system,
usually it’s the director
who comes up with the
idea for the film. But
here, you came in halfway
into the project—
Beyond halfway.
Did it still feel like your baby by
while you were working on it?
No, absolutely not my baby. This is
Brenda’s baby—she’s the director who
came up with the idea, developed the
idea, came up with these great characters
and this great world. They asked me to
come onboard about 18 months ago
to finish it off. It had hit story troubles
and at that point, changes have to be
made. We did it on Ratatouille, on Toy
Story 2—it happens. In the live-action
world, director changes happen all the
time. Pixar’s dedication to getting ting that
story, that pressure of having these great
34 BOXOFFICE PRO JUNE 2012

stories be as great as they can, sometimes you’re going to have to change
it up, whether you’re changing the script, making big location changes,
pushing back the release dates, chopping an idea from a film altogether.
So here, were you the barbarian coming in with the giant sword?
I didn’t chop nothing. Part of the project, I had loosely sat in as a consultant
on all things because it’s Scottish and I have Scottish descent
and kind of a Scottish file. Because it’s set in a medallion fantasy time
and I’m a huge medieval history buff, these were things that I have an
affinity with, that I’m kind of an expert on. So Brenda and I would
talk constantly and I’d kind of consult. I went with them on their
research trip to Scotland to be the in-house guide with our other Scottish
guides. So I’ve been part of the project loosely at the fringes for a
while. And also, being a director here at Pixar, you’re part of the brain
trust. Every time they would show us the reels helping Brenda to get
the story right, I was apprised of that whole process.
Then, when was a moment during the making of Brave when you
did feel a sense of ownership?
I approached it like doing an adaptation: here’s the story and here
are the parts that don’t work, so how do I make it work overall? I
came in with a really clear objectivity. But it wasn’t until this last
December when we finalized the movie and got the last scene signed
off on that I realized how much I was fighting John Lasseter and
Andrew Stanton in the room about changes or edits. And I thought,
“Whoops! Just lost my objectivity.” Now,
I’m a part of it just as much as Brenda
is—I have just as much ownership
in it—and I really feel
like it’s my baby too.
Are you going to wear a kilt
to the premiere?
Absolutely.
LORD MACGUFFIN
VOICED BY
SCOTTISH TELEVISION
AND FILM ACTOR AND
DIRECTOR. KEVIN
MCKIDD (GREY’S
ANATOMY)
JUNE
2012 BOXOFFICE OFFI
EP
PRO
35

ON THE
HORIZON
by Sara Maria Vizcarrondo
THE BOURNE
LEGACY
JEREMY RENNER TAKES
CHARGE
>> So, Matt Damon wasn’t the only
hot bod with a mysterious pedigree
and weapon skills trained by the
government? Go figure! Owning up
to the promise implicitly made in The
Bourne Ultimatum, when the sneaky
Treadstone agents all but told Jason,
“There are hella more Bournes out
there,” this action flick subs in The
Avengers’ Jeremy Renner as an agent at
Operation Outcome cast in the mold
of Jason but beset with the complications
his mold-setter spawned. Back
when the film was announced, much
of the original cast was corralled: Julia
Stiles as the hottie hacker, Joan Allen
as the detective who blew open the
Treadstone conspiracy, and of course,
Damon as Jason Bourne. But previous
Bourne director Paul Greengrass said
he wasn’t interested. Since Damon had
told producers he wouldn’t appear as
Bourne without Greengrass, the director’s
detraction called him on his bluff
and now Damon’s off the project until
the reinstatement of his director pal—
so title aside, you won’t see him in this
installment. This fourth film charges
ahead with new director Tony Gilroy
(Duplicity) who is the closest you can
get to a Bourne expert: he wrote this as
well as the first three Bournes.
DISTRIBUTOR: Universal Pictures CAST:
Rachel Weisz, Edward Norton, Jeremy
Renner, Joan Allen, Albert Finney, Scott
Glenn, David Strathairn, Oscar Isaac,
Corey Stoll DIRECTOR: Tony Gilroy SCREEN-
WRITERS: Tony Gilroy, Dan Gilroy PRODUC-
ERS: Patrick Crowley, Frank Marshall,
Benjamin B. Smith, Jeffrey M. Weiner
GENRE: Action RATING: TBD RUNNING TIME:
TBD RELEASE DATE: August 3, 2012
PARANORMAN
3D ANIMATED GHOULS? SOLD!
>> Stop-motion animators are a unique
bunch, especially those at Seattle’s Laika, the
studio that brought you Coraline. Its freaky
follow-up, ParaNorman, is about a gangly
outcast whose god-given skill for speaking
with the ungodly might help him save
humanity. Picture a comic rendition of Night
of the Living Dead starring kids—that’s a good
recipe for a treat that hits the geek, teen, kid
and family demographics. With a release
through Focus Features, it’s already poised for
arthouse affection and a wide reception. The
Road’s Kodi Smit-McPhee plays Norman, the
misunderstood kid with a voice ghouls lap up
like brain sauce. A phenomenally well-cast
John Goodman is the future-telling troglodyte
OKAY KID,
YOU LOOK
SCARY. BUT
NOT FOR THE
REASONS YOU
THINK
who sees the zombies on the horizon and
Tempestt Bledsoe (yes, from The Cosby Show)
plays the Sheriff in this overwhelmed little
hamlet. With comedian Jeff Garlin (Curb Your
Enthusiasm) as Norman’s unsympathetic papa.
Will ParaNorman scare up lots of affection?
Guaranteed.
DISTRIBUTOR: Focus Features CAST: Casey
Affleck, Bernard Hill, John Goodman, Leslie
Mann, Anna Kendrick, Jeff Garlin, Tempestt
Bledsoe, Kodi Smit-McPhee, Christopher
Mintz-Plasse, Elaine Stritch DIRECTORS: Sam
Fell, Chris Butler SCREENWRITER: Chris Butler
PRODUCERS: Arianne Sutner, Travis Knight
GENRE: Animated Comedy RATING: TBD RUN-
NING TIME: TBD RELEASE DATE: August 17,
2012
SPARKLE
ALL HAIL WHITNEY
>> R&B diva Whitney Houston’s last on-screen
appearance is in this remake of the 1976 Irene
Cara film of the same name. A girl group in
1960s Detroit ascends the Motown ranks,
fighting among themselves when not shimmying
to a soundtrack that merges Curtis
Mayfield’s songs from the original 1976 film
and new songs by R. Kelly. Sparkle promises
rags-to-sequins divadom and some glorious
nostalgic throwbacks to the time when our dear
Whitney topped the charts. Houston plays a
single mother who cautions her three beautiful
and talented daughters against the music industry—isn’t
the church choir just fine?—until an
industrious churchgoer wants to capitalize on
their talent. And Sparkle, played by American
36 BOXOFFICE PRO JUNE 2012

Idol singer Jordin Sparks, won’t be deterred.
It’s not a simple upward swing—the girls face
spousal abuse, violent managerial battles and
criminal entanglements—but the glory and
the goodness of their protective mother isn’t
enough to shield them from their own ambitions.
A musical aimed like an arrow to the
heart of Detroit, this Motown
melodrama is bound to Sparkle
and will be lovingly dedicated to
the memory of Whitney.
DISTRIBUTOR: Sony CAST: Jordin
Sparks, Whitney Houston, Carmen
Ejogo, Mike Epps, Derek
Luke, Omari Hardwick, Tika
Sumpter DIRECTOR: Salim Akil
SCREENWRITER: Mara Brock Akil
PRODUCER: Debra Martin Chase
GENRE: Musical/Drama RATING:
TBD RUNNING TIME: TBD RE-
LEASE DATE: August 17, 2012
Ben call in a paranormal specialist (Harry Potter’s
Tom Felton). Raise your hand if you think that’s
going to work. With international distribution
via Summit and StudioCanal in place, the film’s
poised for a fairly lucrative theatrical run, but the
low-impact teen cast isn’t positioning the film for
major prescreening buzz.
DISTRIBUTOR: Warner Bros. CAST: Tom Felton,
Sebastian Stan, Ashley Greene, Rick Gomez DIREC-
TOR: Todd Lincoln SCREENWRITER: Todd Lincoln
PRODUCERS: Joel Silver, Andrew Rona, Alex Heineman
GENRE: Suspense RATING: PG-13 for terror/
frightening images and some sensuality. RUNNING
TIME: TBD RELEASE DATE: August 24, 2012
THE APPARITION
SUPER CATHOLIC ANARCHY
>> If you know any Catholics (if
you know me, you know one),
you know we believe fear breeds
fear, paranoia breeds paranoia, and
talking about sex breeds babies
(that’s only half a joke). And this
film, based loosely on an already
loose true story, speaks to those
anxieties directly. After a university
parapsychology experiment, Kelly
(Ashley Greene of Twilight fame)
and Ben (Captain America’s Sebastian
Stan) find they’re haunted by
a pesky spirit. (My mom would
have smacked them: “See what you
get when you play with the wrong
kids?!”) The ghosts prey on their
fears and follow them like parasitic
puppy dogs—if these spirits can’t
have peace, no one can. Kelly and
JUNE 2012 BOXOFFICE PRO 37

COMING
SOON
by Sara Maria Vizcarrondo
London, Jocelyn Hayes, Janice Williams
GENRE: Comedy RATING: R for language,
sexuality and drug use. RUNNING TIME: TBD
RELEASE DATE: June 8 ltd.
FOR GREATER GLORY
¡ VIVA MEXICO!
>> A cast of film and TV actors elevates this
good old-fashioned telenovela about the
Cristero War in Mexico. This war began with
the government’s efforts to secularize Mexico
and (in this case) ends with Andy Garcia
with a gun and lengthy shots of Eva Longoria
looking iconic and dusty. Mexico in the 1920s
was a golden age for art and culture, and this
melodrama promises to put some pride into the
Mexican-American community.
CAST: Andy Garcia, Eva Longoria, Bruce
Greenwood, Ruben Blades, Peter O'Toole,
Oscar Isaac, Santiago Cabrera DIRECTOR:
Dean Wright SCREENWRITER: Michael Love
PRODUCER: Pablo Barroso GENRE: Drama RAT-
ING: R for war violence and some disturbing
images. RUNNING TIME: TBD RELEASE DATE:
June 1 ltd.
THE DO-DECA-
PENTATHLON
LET THE GAMES BEGIN
>> Mark’s an upstanding guy with a great wife
and son. His brother is a professional poker
player. Do they harbor respective jealousies?
Sure. They work out their aggressions in the
world’s most absurd 25-event competition,
their own homespun Olympics, complete with
“hold your breath underwater” section and arm
wrestling. These weekend warriors are Spartans
in spirit—or just really feisty around each
other, which is why their mom does so much to
keep them apart.
DISTRIBUTOR: Red Flag Releasing CAST: Mark
Kelly, Steve Zissis, Jennifer Lafleur, Julie
Vorus, Reid Williams DIRECTOR/SCREENWRIT-
ERS: Jay Duplass, Mark Duplass PRODUCERS:
Stephanie Langhoff, Jay Duplass, Mark
Duplass GENRE: Comedy RATING: R for
language RUNNING TIME: TBD RELEASE DATE:
June 6 NY/LA
DON’T RILE
UP ANDY
GARCIA,
HOMBRE
PEACE, LOVE &
MISUNDERSTANDING
GRANDMA LOVES PATCHOULI
>> Manhattan changes every minute, but neighboring
Woodstock hasn’t changed since Jimi
Hendrix played. As uptight Diane (Catherine
Keener) prepares for a divorce, she takes her
kids to see Grandma (Jane Fonda), still the
sexiest hippie upstate. Primed for a righteous
untangling, Diane wrestles with Mom while her
resistant kids open up to Grandma’s embraces.
DISTRIBUTOR: IFC Films CAST: Jeffrey Dean
Morgan, Chace Crawford, Elizabeth Olsen,
Jane Fonda, Rosanna Arquette, Catherine
Keener, Kyle MacLachlan, Nat Wolff DIREC-
TOR: Bruce Beresford SCREENWRITERS: Christina
Mengert, Joseph Muszynski PRODUCERS:
Claude Dal Farra, Jonathan Burkhart, Brice
Dal Farra, Lauren Munsch GENRE: Drama RAT-
ING: TBD RUNNING TIME: 92 min. RELEASE DATE:
June 8 NY/LA
LOLA VERSUS
LOOKING FOR LOVE IN ALL THE WRONG
PLACES
>> Daryl Wein and partner Zoe Lister Jones
make relationship-centric indies in NY. This is
their first mega-indie backed by Fox Searchlight,
and it stars their regular coven of NYers
plus their generation’s it girl, Greta Gerwig.
Here, we meet Gerwig as she’s released from her
engagement (or should we say, en-cage-ment?)
and sent back into the NY Jungle of dating and
casual men. She doesn’t fare well, but there’s
no one I’d rather see suffer than Gerwig. Huge
win-win. With Joel Kinnaman of TV’s The Killing,
our new RoboCop.
DISTRIBUTOR: Fox Searchlight CAST: Greta
Gerwig, Joel Kinnaman, Bill Pullman, Debra
Winger, Hamish Linklater, Ebon Moss-Bachrach,
Cheyenne Jackson, Zoe Lister Jones
DIRECTOR: Daryl Wein SCREENWRITERS: Daryl
Wein, Zoe Lister Jones PRODUCERS: Michael
MADAGASCAR 3:
EUROPE’S MOST WANTED
WORKING FOR PEANUTS
>> Like Roots for zoo animals, the first Madagascar
movies watched a lion, a zebra, a hippo
and a hypochondriac giraffe wind up in Africa
and immediately want to go home. So now
they’re making their way back to the Big Apple
on foot, via a European shortcut. Their cover?
A traveling circus. If they can do anything, it’s
put on a show. And get hurt—they’re good at
that too.
DISTRIBUTOR: Paramount/Dreamworks CAST:
Chris Rock, Ben Stiller, Jada Pinkett Smith,
Frances McDormand, Bryan Cranston, David
Schwimmer, Martin Short, Andy Richter,
Sacha Baron Cohen, Tom McGrath, Cedric
the Entertainer, Sherri Shepherd, Jessica
Chastain DIRECTOR: Eric Darnell SCREEN-
WRITER: Noah Baumbach PRODUCERS: Mireille
Soria, Mark Swift GENRE: Comedy/Animation
RATING: TBD RUNNING TIME: TBD RELEASE
DATE: June 8, 2012
SAFETY NOT
GUARANTEED
HUNTING A TIME TRAVELER? WEAR A
HELMET
>> A quirky broad release by the makers of
Little Miss Sunshine, Safety Not Guaranteed follows
a team of snarky journalists as they hunt
down a guy advertising a time travel machine
in the classifieds. They expect to prove he’s
mental, and frankly, Mark Duplass with a rifle
does look unhinged. But the relationship he
forges with intern/researcher Audbrey Plaza is
so sweet it overrides suspicion—mostly.
DISTRIBUTOR: FilmDistrict CAST: Kristen Bell,
Mary Lynn Rajskub, Mark Duplass, Aubrey
Plaza, Jake M. Johnson DIRECTOR: Colin
Trevorrow SCREENWRITER: Derek Connolly
PRODUCERS: Peter Saraf, Marc Turtletaub,
Colin Trevorrow, Derek Connolly, Stephanie
Langhoff GENRE: Comedy RATING: R for
language including some sexual references.
RUNNING TIME: TBD RELEASE DATE: June 8 ltd.
YOUR SISTER’S SISTER
TOO CLOSE TO HOME
Next to Jason Segel, Mark Duplass plays the
schlubbiest schlub in Hollywood. Here, a job
loss sends him to the summer home of his
super-together best friend (Emily Blunt). His
friend’s sister (Rosemarie DeWitt) is also crashing
at the house after a recent breakup. They
38 BOXOFFICE PRO JUNE 2012

commiserate, they drink, and they drunkenly
do something their Blunt can’t ever know about.
DISTRIBUTOR: IFC Films CAST: Emily Blunt,
Rosemarie DeWitt, Mark Duplass, Mike Birbiglia
DIRECTOR/SCREENWRITER: Lynn Shelton
PRODUCER: Steven Schardt GENRE: Comedy
RATING: R for language and some sexual
content. RUNNING TIME: 90 min. RELEASE DATE:
June 15 NY
FRIENDS
TILL THE END.
BUT AT LEAST
THAT’S JUST A
MATTER OF
WEEKS
COMPLIANCE
DO NOT RESPECT HIS AUTHORITY
A low-budget, high-concept thriller, Compliance
is based on a shocking true crime. A
fast-food restaurant manager takes a call from
a police officer who manipulates her into
strip-searching her employee, a young girl.
And from there, it gets worse. Compliance was
a quick pickup by Magnolia Pictures at this
year’s Sundance, and it’s been rounding fests
steadily until its theatrical release late June.
Great World of Sound director Craig Zobel
directs.
DISTRIBUTOR: Magnolia Pictures CAST: Ann
Dowd, Dreama Walker, Pat Healy DIRECTOR/
SCREENWRITER: Craig Zobel PRODUCERS: Tyler
Davidson, Sophia Lin, Lisa Muskat, Theo
Sena, Craig Zobel GENRE: Thriller RATING:
R for language and sexual content/nudity.
RUNNING TIME: 90 min. RELEASE DATE: June 20
NY/LA
TO ROME WITH LOVE
AFTER BARCELONA AND PARIS, WOODY
ALLEN HEADS TO ROME
Woody Allen again sells the romance of nostalgic
Europe in this Rom com about swapping
romantic partners in Rome. Greta Gerwig is
so comfortable with her beau Jesse Eisenberg
that she offers her friend Ellen Page a chance
in bed with him. Meanwhile, Alec Baldwin
tries to jokingly sell people vacation bliss, and
Italian stars Roberto Benigni (Life Is Beautiful)
and Ornella Muti (Tales of Ordinary Madness)
play locals.
DISTRIBUTOR: Sony Pictures Classics CAST:
Penélope Cruz, Alec Baldwin, Woody Allen,
Ellen Page, Roberto Benigni, Carol Alt, Judy
Davis, Ornella Muti, Jesse Eisenberg, Alison
Pill, Riccardo Scamarcio, Greta Gerwig DIREC-
TOR/SCREENWRITER: Woody Allen PRODUCERS:
Letty Aronson, Stephen Tenenbaum GENRE:
Comedy RATING: TBD RUNNING TIME: 112 min.
RELEASE DATE: June 22 NY/LA
SEEKING A FRIEND FOR
THE END OF THE WORLD
MAKE EVERY MOMENT COUNT
The apocalypse is a dry-spirited comedy with
the hope of love at the end of the world. Steve
Carell is all alone when an asteroid heads for
Earth. His neighbor can’t reach her family, so
she suggests they drive to his hometown and
find the girl that got away from him in high
school. Sandwiching them between people
dissolving into tears and people determined to
act like it’s just any old day of the week, this
grimly funny flick follows the the first day of
the rest of their short lives.
DISTRIBUTOR: Focus Features CAST: Keira
Knightley, Steve Carell, Melanie Lynskey,
Derek Luke, Connie Britton, Adam Brody,
Rob Corddry, William Petersen DIRECTOR/
SCREENWRITER: Lorene Scafaria PRODUCERS:
Steve Golin, Mark Roybal, Steven M. Rales,
Joy Gorman GENRE: Rom com RATING: R for
language including sexual references, some
drug use and brief violence. RUNNING TIME:
TBD RELEASE DATE: June 22, 2012
MAGIC MIKE
BREAK OUT THE DOLLAR BILLS
Finally! The dancing that helped Channing
Tatum bust out of Step Up again takes center
stage. But instead of high school-appropriate
dancing, now his moves are … adult. Magic
Mike is lots of things: a dancer (read: stripper),
a Casanova (because he strips), a muscle-builder
(to look good while stripping) and, most
impressively, an entrepreneur (who manages
strippers). So he helps show a new guy (Alex
Pettyfer) the ropes while trying to seduce his
sister, a well-bred lady who doesn’t believe
Mike can be himself without rip-off pants.
DISTRIBUTOR: Warner Bros. CAST: Channing
Tatum, Alex Pettyfer, Matthew McConaughey,
Matthew Bomer, Joe Manganiello,
Olivia Munn, Riley Keough DIRECTOR: Steven
Soderbergh SCREENWRITER: Reid Carolin
PRODUCERS: Gregory Jacobs, Nick Wechsler,
Channing Tatum, Reid Carolin GENRE: Dramedy
RATING: R for pervasive sexual content,
brief graphic nudity, language and some
drug use. RUNNING TIME: TBD RELEASE DATE:
June 29, 2012
G.I. JOE: RETALIATION
SALUTE YOUR BRUCE WILLIS
This sequel begins with the Cobras assassinating
the majority of the Joes, leaving only a few
to resurrect the franchise. Luckily they recruit
Bruce Willis, the original G.I. “Joe,” to help
them save the day. Who better to stand in for the
original action hero but the face of Die Hard?
He’s an old—yet muscular—great American
hero, even 25 years after Nakatomi Plaza.
DISTRIBUTOR: Paramount CAST: Channing
Tatum, Ray Park, Byung-hun Lee, Bruce
Willis, Ray Stevenson, RZA, Jonathan Pryce,
Elodie Yung DIRECTOR: Jon Chu SCREENWRIT-
ERS: Rhett Reese, Paul Wernick PRODUCERS:
Brian Goldner, Lorenzo di Bonaventura
GENRE: Action RATING: TBD RUNNING TIME:
TBD RELEASE DATE: June 29, 2012
PEOPLE LIKE US
BLOOD IS THICKER THAN MONEY
Buried in debt, Chris Pine inherits $150,000
untaxed dollars with a note instructing him
to deliver the cash to a sister he never had.
Single mother Elizabeth Banks (perfectly cast)
is struggling her way through as a bartender
when Pine appears, unable to tell her they’re
family but determined to get to know the sister
he never met and the nephew that has his
father’s eyes.
DISTRIBUTOR: Disney CAST: Olivia Wilde, Jon
Favreau, Michelle Pfeiffer, Elizabeth Banks,
Chris Pine, Mark Duplass DIRECTOR: Alex
Kurtzman SCREENWRITERS: Alex Kurtzman, Roberto
Orci, Jody Lambert PRODUCERS: Bobby
Cohen, Alex Kurtzman, Roberto Orci GENRE:
Drama RATING: PG-13 for language, some
drug use and brief sexuality. RUNNING TIME:
TBD RELEASE DATE: June 29, 2012
JUNE 2012 BOXOFFICE PRO 39

COMING SOON
Which was voted the worst song of all
time—a bit unfair.
I don’t think it’s fair. “We Built This City”
was one of those songs that I always found
annoying yet was always on so I knew it.
I knew all of it—every word—but I never
thought it was a great song. But when I
smashed it up and put it with “We’re Not
Gonna Take It” in the movie, it’s fantastic.
POUR SOME
SUGAR ON
TOM CRUISE
ARE YOU READY
TO ROCK?
A MANLY MUSICAL STORMS
THE SCREEN
by Amy Nicholson
Adam Shankman made John Travolta slip
on a pair of modest heels and boogaloo to
’60s pop. His goofy, colorful Hairspray was a
monster hit and ranks as the fourth highest
grossing musical of all time. So what’s
Shankman doing diving into the sex, drugs
and hair metal of 1987 Los Angeles, when
bands like Guns N’ Roses and Mötley Crüe
dominated American culture? Surprise—directing
Rock of Ages was a natural fit. And
it didn’t hurt that Tom Cruise signed on to
play the rock god who has aspirants Julianne
Hough and Diego Boneta drooling into their
denim vests. Says Shankman, he’s not resurrecting
hair metal for a new generation—because
hair metal never left.
Little-known fact: you grew up on the Sunset
Strip.
I did. My father was a manager and lawyer
who represented everyone from Barry
White to David Foster to X to Sister Sledge.
It was crazy—my upbringing was right
there. My first concert was at the Roxy. It
was amazing.
Most people think there’s a distinction between
“hair metal” and “good music.”
That’s for haters! That’s such a bulls--t line!
Listen, there is a line between a rock band
and more indie music. What happened after
this big phase of rock and roll was grunge,
and grunge has de facto not lasted in the
same way as this music. Yesterday in my car,
a totally Top 40 radio station was playing
“Here I Go Again” by Whitesnake. I walk
into any restaurant, I’m hearing Journey,
Foreigner, Pat Benatar. It is everywhere. The
new Honda commercials have “Kickstart
My Heart” by Mötley Crüe.
Which is epic.
It’s an epic, epic song. Mötley Crüe were
so annoying—they were the only ones who
held out about giving us their music. But
we have “Paradise City” by Guns N’ Roses
in there and Def Leppard and Warrant’s
“Heaven,” which is a really good mash-up
in the movie with Extreme’s “More Than
Words.”
Your ingenue, Julianne Hough, wasn’t even
born when this music was on MTV. What
did you tell her about what it was like to be
young during the heyday of hair metal?
I showed her a lot of music videos. Generation
upon generation, we’re all the same
and we all want to go for our dreams. So
she knows what that is—and so does
Diego—and then, it’s ts just me
immersing her. But Julianne
herself in those years would
have been more into the Go-
Gos and Blondie, though she
certainly knew “More Than
Words.” This music is like the
wallpaper of our lives—we don’t
even realize that we know
so many of these
songs. “We’re Not
Gonna Take It”
by Quiet Riot is
in a commercial
that plays all
the time. I can’t
remember what
it’s for, but that’s
crazy. And even
“We Built This
City on Rock and
Roll.”
For the choreography in the movie, I’m
picturing you researching by watching old
David Lee Roth videos.
We did! We watched “Hot for Teacher,” we
watched Tawny Kitaen and the Whitesnake
stuff. I choreographed from some Extreme
videos and all of that. I said to Mia
Michaels, who choreographed this movie,
that compared to Hairspray, here we have
to take this limited vocabulary of dance
moves—a lot of stepping around—and turn
that into something much bigger. But you
need to always ground it in the movement
of the period. That became the base.
Tom Cruise plays superstar Stacee Jaxx. Tell
me about coming up with his look—who
was he a combination of?
For my inspiration, the movie that started
it all for me was The Decline of Western
Civilization Part II [a 1988 heavy metal
documentary by Penelope Spheeris]. And we
read all these books about all these bands,
especially this Guns N’ Roses one. So a
lot of the look ended up being Axl Rose.
Certainly the fur coat was Axl. The cowboy
hat, I don’t know how that crept on him, but
he kept going back to it. I kept going, “Really?”
Oh, I know how it happened! It just
occurred to me what it must have been! It’s
because I kept saying to him that when he’s
doing the interview with Malin Akerman,
he should keep singing Bon Jovi’s “Wanted
Dead or Alive,” and there’s that line, “I’m
a cowboy, on a steel horse I ride.” He
takes direction very well. And then all
the rockers of that time were always in
those leather pants. The jewelry, the fin-
gernails, the bandana—that’s all based
on real people. Then there was the clowny
David Lee Roth stuff, but there was
also that crazy lead singer from
W.A.S.P. We saw a picture of
him in ass-less chaps and a
ADAM
SHANKMAN:
DIRECTOR,
CHOREOGRAPHER,
SECRET
METALHEAD
codpiece that blew sparks
out of it. I said, “That’s
what I want you to be,”
and he said, “Awesome!”
His codpiece
doesn’t blow sparks
out of it, though.
40 BOXOFFICE PRO JUNE 2012

BOOK
IT!
MICRO-
MINIS!
When you see the word “indie,” what
kind of movie pops into your head? A
dark horse like Blair Witch? A saucy sleeper
like Kissing Jessica Stein? Or maybe a prefab
breakout like Little Miss Sunshine? Last issue,
we looked into arthouse couture—the high
pedigree, super-articulate fare prized by the
savvy cineaste. This time around, Book It! is
showcasing microminis: small wonders with
a big emotional payoff. There’s a doc about
video game designers that can lure the tech
and gamer crowd to the arthouse, a poppy
valentine that plays to museum lovers, romantics
and fans of indie rock, and a performance
art trailblazer based on brotherly love and the
Jean Claude Van Damme’s vehicle Kickboxer.
The tiny titles are eclectic—whether by nature
or design—and that’s precisely why they can
pack such a mighty wallop. Court wisely! Why
shouldn’t your theater programming be all
about matchmaking?
Indie Game: The Movie
Though they know more about cutting-edge
technology than most neuroscientists, game and
app developers—and the teens who’ve made
turned these Silicon Valley geeks into millionares—are
famous for loving the multiplex. But
this doc draws them to the arthouse. While
mainstream game makers produce tentpole-style
franchises like Halo and Final Fantasy, there’s
also a parallel universal of indie game makers,
teams of two, three and five, who toil for
a year to design and program games of unique
sensibility and vision. Featuring the Soderbergh,
Swanberg and Spielberg of their industry (as in
the Spielberg who once made Duel), this doc
is an exciting look into the cult heroes of computer
wizardry. Instead of worrying that video
games are keeping potential patrons home, use
that draw to your advantage and make your
theater an arcade they can’t resist.
CONTACT: Lisanne Pajot indiegamethemovie@
me.com DIRECTORS: Lisanne Pajot, James
Swirsky GENRE: Documentary RUNNING TIME:
94 min.
An Oversimplification of
Her Beauty
A free-form cinematic valentine to one girl
(with the occasional intrusion of others), this
festival darling is visually dense and playfully
light, matching the emotional weight of romantic
love with the sense of freedom it creates.
A Sundance Film Festival pick, Beauty stars
director Terence Nance as a young New Yorker
mad for a girl who might not love him back. As
it cuts among moments in their relationship,
Beauty’s sense of time recalls Groundhog Day,
and the surrealism is amped up with drawing,
watercolor and stop-motion animation. Inventive
and astute, this one will play best among
the young or young at heart.
CONTACT: MVMT Media, Cat Miles cat@mvmt.
com CAST: Namik Minter, Terence Nance
DIRECTOR/SCREENWRITER: Terence Nance
PRODUCERS: James Bartlett, Andrew Corkin,
Terence Nance GENRE: Romance RUNNING
TIME: 94 min.
Your Brother.
Remember?
The Oberzan kids used to love mouthing
along with Kickboxer, the brutal, goofy action
flick starring the Muscles from Brussels. Two
decades and a legacy of drug abuse and prison
terms later, the family regroups to reenact that
movie about a loyal brother overcoming his
gentility to avenge his brother and hero after
he’s paralyzed in a fight. The younger, more
muscular Oberzan plays the fallen fighter, and
when his scenes are intercut with images of his
ex-con brother, their history—and Jean Claude
Van Damme’s sweaty cult classic—takes on a
striking poignancy.
CONTACT: Zachary Oberzan strawandgold@
gmail.com CAST: Zachary Oberzan, Gator
Oberzan, Jean Claude Van Damme DIRECTOR/
SCREENWRITER/PRODUCER: Zachary Oberzan
GENRE: Documentary RUNNING TIME: 65 min.
YOUR
BIGGEST
REWARDS
AREN’T
ALWAYS IN
THE BOX
OFFICE
TIPS FROM SAN
FRANCISCO’S ROXIE
THEATER
by Sara Maria Vizcarrondo
Good customer service is the mantra for
our industry. With all the new technology
and comfort devoted to making theatrical
spaces blend into living rooms, customization
seems like the way to go. But what about
community? Mike Keegan, programmer at
San Francisco’s Roxie Theater, at first didn’t
answer straight when I asked him about his
A winning
combination.
Choose PCI for your food packaging
needs and you’re choosing a real
winner. We combine great service
with a top range of stock and custom
design packaging.
Call PCI on 314-329-9700 or email
info@packagingconceptsinc.com
greener, cleaner packaging concepts
www.packagingconceptsinc.com
Eco Select ® is a trademark
of Wausau Paper Mills, Inc.
JUNE 2012 BOXOFFICE PRO 41

BOOK IT!
most successful programming effort. “The specialness of going to movies
is taken away by great cable programming, big TVs,” he said. The
only way for theaters to survive is by working hard to present awesome
programming that reflects the taste of the theater. It brands you.”
What came first: the programming or the brand?
The Roxie is located in the Mission District—we don’t just compete with
other theaters, we’re in competition with bars, galleries and shows. The
more you draw in the wider audience, the more you’re on their mind as an
option. For some people, it’s antiquated to pay a lot to sit in a dark room
and have a sh--ty experience—bad presentation, not liking the movie—and
if they’d spent a little time they’d download the film for free. Let’s be realistic:
movies have gone a long way, but as the theaters got bigger, the bottom
line loomed larger. Costs were cut and prices were raised, and the industry
itself alienated audiences. The best way to experience art is with others,
striking up conversation with strangers after. The theater is such an awesome
place for community, and I think it’s been easy to lose sight of that in
the last 25 to 30 years—it’s been marginalized among other options.
So the Roxie’s order of priorities is: party, program, prominence?
The situations where films have been presented with a band, or beer
or a party atmosphere, have been the best for me, personally. The successful
stuff, in terms of bottom line, is one thing, but the longer-term,
more satisfying success has preserved our identity and presence in the
city. We show undistributed things to the public and we demonstrate
a public taste. Our last brand-reliant success was Love Exposure: it had
small distribution and only the PR we could muster out of office. Since
it was out of Japan, we couldn’t bank on star power or much preexisting
public awareness, but because people knew “Roxie,” it did well. We
were programming what we believed in and courting our city’s cinemagoers—that
success was really satisfying.
KNOW YOUR
DISTRIBUTOR
OSCILLOSCOPE LABORATORIES
If you’ve considered booking smaller titles to your theater but
didn’t know who to trust—or, if you’re a filmmaker looking for the
right handler for your film—these distributor backgrounds provide
the easy details that’ll help you choose who to partner with. This
month, we’re starting with Oscilloscope Laboratories.
All-rights distributor Oscilloscope Laboratories began in the 2008 under
the initiative of Beastie Boy Adam Yauch, aka MCA. In the boutique
distributor’s first four years it’s earned six Oscar nominations—accolades
that usually come to larger studios with money to spend on an awards
push. The high-pedigree distributor refers to its own film club as a Circle
of Trust.
“The idea was to build a distributor people can trust,” says David Fenkel.
At the point of this interview, Fenkel was the VP of Oscilloscope. However,
in short order as we were going to press, in an Indiewire interview on May
3, Fenkel announced he’s trading his VP post for a consulting position,
leaving David Laub and Dan Berger in charge of acquisitions. And sadly,
on May 4, founder Adam Yauch died of cancer. The most recent word is
that Fenkel has reversed his position and will stay with the company. But
as Oscilloscope rearranges itself, it already has a full slate of films on the
horizon for 2012, including the doc The Apple Pushers, narrated by Edward
Norton, the visual masterpiece Samsara from the filmmakers behind Baraka,
and the LCD Soundsystem music concert Shut Up and Play the Hits.
DISTRIBUTOR TYPE: all rights including digital, theatrical, DVD and TV
SPECIAL OFFERS: Circle of Trust DVD club—subscription service distributing
DVDs and gifts to subscribers post-theatrical window.
FILMS RELEASED THEATRICALLY PER YEAR: 8-12
MANTRA: “We’re not going to supply you with any movies we don’t
believe in personally.”
BIGGEST HITS: Oren Moverman’s The Messenger / Gross: $1,109,660
/ Nominated for Oscars for Best Screenplay and Best Supporting Actor
(Woody Harrelson)
Kelly Reichardt’s Wendy and Lucy / Gross: $865,695 / Nominated for
Independent Spirit Awards for Best Feature and Female Lead (Michelle
Williams)
Kelly Reichardt’s Meek’s Cutoff / Gross: $977,600 / Independent Spirit
Award Producer’s Award / Nominated for the Venice Film Fest’s Golden
Lion for Director Kelly Reichardt
Lynn Ramsay’s We Need to Talk About Kevin / Gross: $1,708,380 / Cannes
Palme d’Or winner: Writer/Director Lynn Ramsay / Nominated for BAF-
TAs for Lynn Ramsay, Tilda Swinton and the producers
Marshall Curry’s If a Tree Falls: A Story of the Earth Liberation Front / Gross:
$61,153 / Nominated for Best Documentary Oscar /
Banksy’s Exit Through the Gift Shop / Gross: $3,370,175 / Nominated for
Best Documentary Oscar, Won BAFTA
Brilliant Lighting Solutions
for a Brighter Future!
42 BOXOFFICE PRO JUNE 2012

AD INDEX
CARDINAL SOUND
& MOTION PICTURE
SYSTEMS
6330 Howard Ln.
Elkridge, MD 21075
410-796-5300
www.cardinalsound.com
PG 48
CHRISTIE DIGITAL
SYSTEMS
10550 Camden Dr.
Cypress, CA 90630
714-236-8610
www.christiedigital.com
INSIDE FRONT COVER
COLOR AD PACKAGING
LTD.
200 Beghin Avenue
Winnipeg, Manitoba R2J 3W2
204-777-7770
www.coloradpackaging.com
FRONT COVER, PG 13
DOLBY LABORATORIES
100 Potrero Ave.
San Francisco, CA 94103
415-558-2200
www.dolby.com
INSIDE BACK COVER
DOLPHIN SEATING
313 Remuda St.
Clovis, NM 88101
575-762-6468
www.dolphinseating.com
PG 26
ENPAR AUDIO
Stetson Snell
505-807-2154
www.enparaudio.com
PG 43
ENTERTAINMENT SUPPLY
& TECHNOLOGIES, LLC
4971 Van Dyke Road
Lutz, FL 33558
813-960-1646
www.ensutec.com
PG 7
THE GLUE FACTORY
www.thegluefactory.ca
PG 47
GOLD MEDAL PRODUCTS
10700 Medallion Dr.
Cincinnati, OH 45241-4807
513-769-7676
www.gmpopcorn.com
PG 10
HARKNESS SCREENS
Unit A, Norton Road
Stevenage, Herts
SG1 2BB
United Kingdom
+44 1438 725200
www.harkness-screens.com
PG 27, 33
IRWIN SEATING
3251 Fruit Ridge N.W.
Grand Rapids, MI 49544
866-574-7400
www.irwinseating.com
PG 25
MAROEVICH, O’SHEA &
COUGHLAN
44 Montgomery St., 17th Fl.
San Francisco, CA 94104
800-951-0600
www.mocins.com
PG 3
MOBILIARIO S.A. DE C.V.
Calle Del Sol #3 Col./
San Rafael Champa
Naucalpan de Juarez
53660 Mexico
5255-5300-0620
877-847-2127
www.mobiliarioseating.com
PG 1
MOVING IMAGE
TECHNOLOGIES
17760 Newhope St.
Fountain, Valley, CA 92708
714-751-7998
www.movingimagetech.com
PG 17, 19
OPACKI AUDIO
616-791-0867
PG 47
OSRAM SYLVANIA
100 Endicott St.
Danvers, MA 01923
978-750-2419
www.sylvania.com
PG 15
PACKAGING CONCEPTS,
INC.
9832 Evergreen Industrial Dr.
St. Louis, MO 63123
314-329-9700
www.packagingconceptsinc.
com
PG 41
QSC
1665 MacArthur Blvd.
Costa Mesa, CA 92626
714-754-6175
www.qscaudio.com
PG 46
QUARTZ LAMPS INC.
4424 Aicholtz Rd.
Cincinnati, OH 45245
888-557-7195
www.qlistore.com
PG 42
QUEST CINEMA
SOLUTIONS
4201 Lien Rd.
Madison, WI 53704
866-933-7486
www.questcinema.com
PG 48
READY THEATRE SYSTEMS
4 Hartford Blvd.
Hartford, MI 49057
865-212-9703
www.rts-solutions.com.com
PG 47
RETRIEVER SOFTWARE
7040 Avenida Encinas
Ste. 104-363
Carlsbad, CA 92011
760-929-2101
www.retrieversoftware.com
PG 47
SCREENVISION
1411 Broadway 33rd Fl.
New York, NY 10018
212-497-0480
www.screenvision.com
BACK COVER
SENSIBLE CINEMA
SOFTWARE
7216 Sutton Pl.
Fairview, TN 37062
615-799-6366
www.sensiblecinema.com
PG 48
SONY ELECTRONICS
One Sony Dr.
Park Ridge, NJ 07656
201-476-8603
www.sony.com/professional
PG 5
TK ARCHITECTS
106 W 11th St., Ste. 1900
Kansas City, MO 64105
816-842-7552
www.tkarch.com
PG 42
USHIO AMERICA, INC.
5440 Cerritos Ave.
Cypress, CA 90630
800-838-7446
www.ushio.com
PG 35
VIP CINEMA SEATING
PO Box 3668
Tupelo, MS 38803
662-841-5866
www. vipcinemaseating.com
PG 21
VISTA ENTERTAINMENT
SOLUTIONS LTD.
P.O. Box 8279, Symonds Street
Auckland, New Zealand
011-649-357-3600
www.vista.co.nz
PG 37
WHITE CASTLE
555 West Goodale St.
Columbus, OH 43215
614-559-2453
www.whitecastle.com
PG 14
JUNE 2012 BOXOFFICE PRO 43

BOOKING GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
CBS FILMS LAUREN DOUGLAS / 310-575-7052 / LAUREN.DOUGLAS@CBS.COM
7500 Fri, 8/31/12 WIDE Leslie Bibb, Amy Smart Takashi Shimizu NR Thr
THE WORDS Fri, 9/21/12 WIDE Bradley Cooper, Olivia Wilde Brian Klugman, Lee Sternthal NR Dra/Rom
SEVEN PSYCHOPATHS Fri, 11/2/12 LTD. Colin Farrell, Sam Rockwell Martin McDonagh NR Act/Com
GAMBIT Fri, 1/11/13 WIDE Colin Firth, Cameron Diaz Michael Hoffman NR Rom/Com
DISNEY 818-560-1000 / ASK FOR DISTRIBUTION
BRAVE Fri, 6/22/12 WIDE Emma Thompson, Kelly Macdonald Mark Andrews, Brenda Chapman NR Ani/Fam Digital 3D/Quad
PEOPLE LIKE US Fri, 6/29/12 WIDE Chris Pine, Elizabeth Banks Alex Kurtzman PG-13 Dra
THE ODD LIFE OF TIMOTHY GREEN Wed, 8/15/12 WIDE Jennifer Garner, Joel Edgerton Peter Hedges PG Dra Quad
FINDING NEMO 3D Fri, 9/14/12 WIDE Alexander Gould, Albert Brooks Andrew Stanton, Lee Unkrich G Ani/Fam Digital 3D/Quad
FRANKENWEENIE Fri, 10/5/12 WIDE Catherine OʼHara, Martin Short Tim Burton NR Ani/Com/Hor Digital 3D/Quad
WRECK-IT RALPH Fri, 11/2/12 WIDE Jane Lynch, John C. Reilly Rich Moore NR Ani/Fam Digital 3D/Quad
MONSTERS, INC. Fri, 1/18/13 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 Digital 3D/Quad
IRON MAN 3 Fri, 5/3/13 WIDE Robert Downey Jr., Guy Pearce Shane Black NR Act/Adv Quad
THE LONE RANGER Fri, 5/31/13 WIDE Johnny Depp, Armie Hammer Gore Verbinski NR Act Quad
FILMDISTRICT DEBORAH JOHNSON / 646-380-4497 / DJOHNSON@FILMDISTRICT.COM
SAFETY NOT GUARANTEED Fri, 6/8/12 LTD. Aubrey Plaza, Mark Duplass Colin Treverrow R Com/Dra
RED DAWN Wed, 11/21/12 WIDE Josh Peck, Chris Hemsworth Dan Bradley PG-13 Act
PLAYING THE FIELD Tue, 12/25/12 WIDE Gerard Butler, Jessica Biel Gabriele Mucino NR Rom/Com/Sport
PARKER Fri, 1/25/13 WIDE Jason Statham, Jennifer Lopez Taylor Hackford NR Act/Cri/Thr
FOCUS FEATURES CHRISTOPHER USTASZEWSKI / 818-777-3071
SEEKING A FRIEND FOR THE END OF THE WORLD Fri, 6/22/12 WIDE Keira Knightley, Steve Carell Lorene Scafaria R Com/Dra Scope/DTS/Dolby SRD
PARANORMAN Fri, 8/17/12 WIDE Kodi Smit-McPhee, Anna Kendrick Chris Butler, Sam Fell NR Com/Ani 3D/DTS/Dolby SRD
FOR A GOOD TIME, CALL … Fri, 9/14/12 EXCL. NY/LA Ari Gaynor, Lauren Miller Jamie Travis R Com
ANNA KARENINA Fri, 11/9/12 EXCL. NY/LA Keira Knightley, Jude Law Joe Wright NR Dra
HYDE PARK ON HUDSON Fri, 12/7/12 EXCL. NY/LA Bill Murray, Laura Linney Roger Michell R Dra Scope/DTS/Dolby SRD
FOX 310-369-1000 / 212-556-2400
PROMETHEUS Fri, 6/8/12 WIDE Noomi Rapace, Michael Fassbender Ridley Scott R Act/Hor/Dra 3D
ABRAHAM LINCOLN: VAMPIRE HUNTER Fri, 6/22/12 WIDE Benjamin Walker, Rufus Sewell Timur Bekmambetov NR Act/Adv 3D
ICE AGE: CONTINENTAL DRIFT Fri, 7/13/12 WIDE Ray Romano, Denis Leary Steve Martino, Michael Thurmeier NR Ani/Com 3D
THE WATCH Fri, 7/27/12 WIDE Ben Stiller, Jonah Hill Akiva Schaffer NR Com
DIARY OF A WIMPY KID: DOG DAYS Fri, 8/3/12 WIDE Zachary Gordon, Devon Bostick David Bowers NR Com/Fam
WONʼT BACK DOWN Fri, 9/28/12 WIDE Maggie Gyllenhaal, Viola Davis Daniel Barnz PG Dra
TAKEN 2 Fri, 10/5/12 WIDE Liam Neeson, Maggie Grace Olivier Megaton NR Act/Thr/Dra
OF MEN AND MAVERICKS Fri, 10/26/12 WIDE Gerard Butler, Elisabeth Shue Curtis Hanson NR Dra
LIFE OF PI Fri, 12/21/12 WIDE Gerard Depardieu, Irrfan Khan Ang Lee NR Adv/Dra 3D
PARENTAL GUIDANCE Tue, 12/25/12 WIDE Bette Midler, Billy Crystal Andy Frickman NR Com
BROKEN CITY Fri, 1/18/13 WIDE Mark Wahlberg, Russell Crowe Allen Hughes NR Cri/Dra/Thr
A GOOD DAY TO DIE HARD Thu, 2/14/13 WIDE Bruce Willis, Jai Courtney John Moore NR Act/Sus
PERCY JACKSON: SEA OF MONSTERS Wed, 3/27/13 WIDE Logan Lerman, Alexandra Daddario Thor Freudenthal NR Adv/Act/Dra
LEAFMEN Fri, 5/17/13 WIDE Chris Wedge NR Ani/Adv 3D
FOX SEARCHLIGHT 212-556-2400
LOLA VERSUS Fri, 6/8/12 LTD. Greta Gerwig, Joel Kinnaman Daryl Wein R Com
BEASTS OF THE SOUTHERN WILD Wed, 6/27/12 LTD. Quvenzhane Wallis, Dwight Henry Benh Zeitlin PG-13 Dra
RUBY SPARKS Wed, 7/25/12 LTD. Paul Dano, Zoe Kazan Jonathan Dayton, Valerie Faris NR Dra
LIONSGATE 310-449-9200
MADEAʼS WITNESS PROTECTION Fri, 6/29/12 WIDE Tyler Perry, Eugene Levy Tyler Perry NR Com
THE EXPENDABLES 2 Fri, 8/17/12 WIDE Arnold Schwarzenegger, Bruce Willis Simon West NR Act
THE POSSESSION Fri, 8/31/12 WIDE Jeffrey Dean Morgan, Kyra Sedgwick Ole Bornedal R Hor/Sus
DREDD Fri, 9/21/12 WIDE Karl Urban, Olivia Thirlby Pete Travis R Act 3D
THE BIG WEDDING Fri, 10/19/12 WIDE Robert De Niro, Susan Sarandon Justin Zackham NR Rom/Com
TEXAS CHAINSAW MASSACRE 3D Fri, 1/4/13 WIDE Alexandra Daddario, Tania Raymonde John Luessenhop NR Hor 3D
THE LAST STAND Fri, 1/18/13 WIDE Arnold Schwarzenegger, Eduardo Noriega Kim Jee-woon NR Act
I, FRANKENSTEIN Fri, 2/22/13 WIDE Aaron Eckhart, Bill Nighy Stuart Beattie NR Act/SF
THE MARRIAGE COUNSELOR Fri, 3/29/13 WIDE Jurnee Smollett, Vanessa Williams Tyler Perry NR Dra
WE THE PEEPLES Fri, 5/10/13 WIDE Craig Robinson, Kerry Washington Tina Gordon Chism NR Com
OPEN ROAD FILMS 310-696-7575
HIT AND RUN Fri, 8/24/12 WIDE Dax Shepard, Kristin Bell Dax Shepard, David Palmer NR Act/Com
END OF WATCH Fri, 9/28/12 WIDE Anna Kendrick, Jake Gyllenhaal David Ayer NR Cri/Dra
SILENT HILL: REVELATION 3D Fri, 10/26/12 WIDE Sean Bean, Kit Harington Michael J. Bassett NR Hor/Sus 3D
THE BITTER PILL Fri, 2/8/13 WIDE Channing Tatum, Jude Law Steven Soderbergh NR Sus
THE HOST Fri, 3/29/13 WIDE Diane Kruger, Saoirse Ronan Andrew Niccol NR Hor/SF
PARAMOUNT 323-956-5000 / 212-373-7000
MADAGASCAR 3: EUROPEʼS MOST WANTED Fri, 6/8/12 WIDE Ben Stiller, Chris Rock Eric Darnell PG Ani/CGI 3D
G.I. JOE: RETALIATION Fri, 6/29/12 WIDE Channing Tatum, Bruce Willis Jon Chu NR Act/Adv/SF
KATY PERRY: PART OF ME Thu, 7/5/12 WIDE Katy Perry Dan Cutforth, Jane Lipsitz NR Mus/Doc 3D
PARANORMAL ACTIVITY 4 Fri, 10/19/12 WIDE Katie Featherston Henry Joost, Ariel Schulman NR Hor
FUN SIZE Fri, 10/26/12 WIDE Johnny Knoxville, Chelsea Handler Josh Schwartz NR Com
THE GUILT TRIP Fri, 11/2/12 WIDE Seth Rogen, Barbra Streisand Anne Fletcher NR Com 3D
RISE OF THE GUARDIANS Fri, 11/21/12 WIDE Alec Baldwin, Hugh Jackman Peter Ramsey NR Ani 3D
ONE SHOT Fri, 12/21/12 WIDE Tom Cruise, Rosamund Pike Christopher McQuarrie NR Dra/Cri
CIRQUE DU SOLEIL: WORLDS AWAY Fri, 12/21/12 WIDE Jason Berrent, Matt Gillanders Andrew Adamson NR Doc 3D
HANSEL AND GRETEL: WITCH HUNTERS Fri, 1/11/13 WIDE Jeremy Renner, Gemma Arterton Tommy Wirkola NR Act/Com
THE CROODS Fri, 3/22/13 WIDE Nicolas Cage, Ryan Reynolds Chris Sanders, Kirk De Micco NR Ani/Adv/Com/CGI 3D
UNTITLED STAR TREK SEQUEL Fri, 5/17/13 WIDE Chris Pine, Zachary Quinto J.J. Abrams NR Act/Adv/SF
44 BOXOFFICE PRO JUNE 2012

RELATIVITY MARA BUXBAUM: 323-822-4800 / RELATIVITY@ID-PR.COM
HOUSE AT THE END OF THE STREET Fri, 9/21/12 WIDE Jennifer Lawrence, Elisabeth Shue Mark Tonderai PG-13 Hor
21 AND OVER Fri, 11/2/12 WIDE Miles Teller, Justin Chon Jon Lucas, Scott Moore NR Com
SAFE HAVEN Fri, 2/8/13 WIDE NR Rom
RED BAND Fri, 1/25/13 WIDE Emma Stone, Gerard Butler Elizabeth Banks + others NR Com
SONY 212-833-8500
THATʼS MY BOY Fri, 6/15/12 WIDE Adam Sandler, Andy Samberg Sean Anders R Com Quad
THE AMAZING SPIDER-MAN Tue, 7/3/12 WIDE Andrew Garfield, Emma Stone Mark Webb NR Act/Adv 3D/IMAX/Quad
TOTAL RECALL Fri, 8/3/12 WIDE Colin Farrell, Bill Nighy Len Wiseman NR Act
HOPE SPRINGS Fri, 8/10/12 WIDE Meryl Streep, Tommy Lee Jones David Frankel NR Com/Dra
SPARKLE Fri, 8/17/12 WIDE Whitney Houston, Jordin Sparks Salim Akil NR Dra/Mus Quad
PREMIUM RUSH Fri, 8/24/12 WIDE Joseph Gordon-Levitt, Jamie Chung David Koepp NR Act/Thr
RESIDENT EVIL: RETRIBUTION Fri, 9/14/12 WIDE Milla Jovovich, Michelle Rodriguez Paul W.S. Anderson NR Act/Adv 3D
HOTEL TRANSYLVANIA Fri, 9/28/12 WIDE Adam Sandler, Kevin James Genndy Tartakovsky NR Ani 3D/Quad
LOOPER Fri, 9/28/12 WIDE Joseph Gordon-Levitt, Emily Blunt Rian Johnson NR SF/Act
HERE COMES THE BOOM Fri, 10/12/12 WIDE Kevin James, Salma Hayek Frank Coraci NR Act/Com
SKYFALL Fri, 11/9/12 WIDE Daniel Craig, Judi Dench Sam Mendes NR Act/Adv/Thr IMAX
ZERO DARK THIRTY Wed, 12/19/12 WIDE Chris Pratt, Jessica Chastain Kathryn Bigelow NR Act/Thr
BATTLE OF THE YEAR: THE DREAM TEAM Fri, 1/25/13 WIDE Josh Holloway, Chris Brown Benson Lee NR Dra 3D/Quad
ELYSIUM Fri, 3/1/13 WIDE Matt Damon, Jodie Foster Neill Blomkamp NR Dra/SF
CARRIE Fri, 3/15/13 WIDE Chloë Grace Moretz, Julianne Moore Kimberly Peirce NR Hor
CAPTAIN PHILLIPS Fri, 3/22/13 WIDE Tom Hanks, Catherine Keener Paul Greengrass NR Bio/Dra Quad
EVIL DEAD Fri, 4/12/13 WIDE Jane Levy, Shiloh Fernandez Fede Alvarez NR Hor/SF
SONY PICTURES CLASSICS TOM PRASSIS / 212-833-4981
TO ROME WITH LOVE Fri, 6/22/12 EXCL. NY/LA Alec Baldwin, Ellen Page Woody Allen NR Com Dolby SRD/Flat
NEIL YOUNG JOURNEYS Fri, 6/29/12 EXCL. NY/LA Neil Young Jonathan Demme PG Doc Dolby SRD/Flat
SEARCHING FOR SUGAR MAN Fri, 7/27/12 EXCL. NY/LA Malik Bendjelloul PG-13 Doc/Mus
CELESTE AND JESSE FOREVER Fri, 8/3/12 LTD. Rashida Jones, Andy Samberg Lee Toland Krieger NR Com/Dra
CHICKEN WITH PLUMS Fri, 8/17/12 LTD. Mathieu Amalric, Maria de Medeiros Marjane Satrapi, Vincent Paronnaud FL/Dra
SUMMIT 310-309-8400
STEP UP REVOLUTION Fri, 7/27/12 WIDE Kathryn McCormick, Ryan Guzman Scott Speer NR Dra/Mus/Rom 3D
THE COLD LIGHT OF DAY Fri, 9/7/12 WIDE Bruce Willis, Henry Cavill Mabrouk El Mechri PG-13 Act
SINISTER Fri, 10/5/12 WIDE Ethan Hawke, Clare Foley Scott Derrickson R Sus
ALEX CROSS Fri, 10/26/12 WIDE Tyler Perry, Matthew Fox Rob Cohen NR Cri/Mys/Thr
THE TWILIGHT SAGA: BREAKING DAWN—PART 2 Fri, 11/16/12 WIDE Kristen Stewart, Robert Pattinson Bill Condon NR Thr/Rom
NOW YOU SEE ME Fri, 1/18/13 WIDE Jesse Eisenberg, Isla Fisher Louis Leterrier NR Sus
WARM BODIES Fri, 2/1/13 WIDE Nicolas Hoult, Teresa Palmer Jonathan Levine NR Dra/Hor/Rom
UNIVERSAL 818-777-1000
SNOW WHITE AND THE HUNTSMAN Fri, 6/1/12 WIDE Kristen Stewart, Charlize Theron Rupert Sanders PG-13 Adv Quad
SAVAGES Fri, 7/6/12 WIDE Blake Lively, Taylor Kitsch Oliver Stone R Cri/Dra/Thr Quad
TED Fri, 7/13/12 WIDE Mila Kunis, Mark Wahlberg Seth MacFarlane NR Com
THE BOURNE LEGACY Fri, 8/3/12 WIDE Jeremy Renner, Rachel Weisz Tony Gilroy NR Act Quad
LES MISERABLES Fri, 12/14/12 WIDE Hugh Jackman, Russell Crowe Tom Hooper NR Dra/Mus
THIS IS 40 Fri, 12/21/12 WIDE Leslie Mann, Paul Rudd Judd Apatow R Com Quad/Scope
47 RONIN Fri, 2/8/13 WIDE Keanu Reeves, Hiroyuki Sanada Carl Rinsch NR Act/Dra 3D/Quad
OBLIVION Fri, 4/26/13 WIDE Tom Cruise, Andrea Riseborough Joseph Kosinski NR Act/SF
IDENTITY THIEF Fri, 5/10/13 WIDE Jason Bateman, Melissa McCarthy Seth Gordon NR Com/Cri Quad
THE FAST AND THE FURIOUS 6 Fri, 5/24/13 WIDE Vin Diesel, Gina Carano Justin Lin NR Act 3D
WARNER BROS. 818-977-1850
ROCK OF AGES Fri, 6/15/12 WIDE Tom Cruise, Julianne Hough Adam Shankman PG-13 Mus Quad/Scope/IMAX
MAGIC MIKE Fri, 6/29/12 WIDE Channing Tatum, Alex Pettyfer Steven Soderbergh R Com Quad/Scope
THE DARK KNIGHT RISES Fri, 7/20/12 WIDE Christian Bale, Tom Hardy Christopher Nolan PG-13 Act/Thr Quad/Scope/IMAX
THE CAMPAIGN Fri, 8/10/12 WIDE Will Ferrell, Zach Galifianakis Jay Roach NR Thr Quad
THE APPARITION Fri, 8/24/12 WIDE Ashley Greene, Sebastian Stan Todd Lincoln PG-13 Hor Quad/Scope
TROUBLE WITH THE CURVE Fri, 9/28/12 WIDE Clint Eastwood, Amy Adams Robert Lorenz NR Dra Quad
ARGO Fri, 10/12/12 WIDE Ben Affleck, Alan Arkin Ben Affleck R Dra 3D/Scope
GRAVITY Wed, 11/21/12 WIDE George Clooney, Sandra Bullock Alfonso Cuaron NR SF/Thr 3D/IMAX
THE HOBBIT: AN UNEXPECTED JOURNEY Fri, 12/14/12 WIDE Orlando Bloom, Ian McKellan Peter Jackson NR Adv/Fan 3D/IMAX
THE GREAT GATSBY Tue, 12/25/12 WIDE Leonardo DiCaprio, Tobey Maguire Baz Luhrmann NR 3D 3D/Quad
BEAUTIFUL CREATURES Fri, 2/1/13 WIDE Emma Thompson, Viola Davis Richard LaGravenese NR Dra Quad
JACK THE GIANT KILLER Fri, 3/22/13 WIDE Nicholas Hoult, Stanley Tucci Bryan Singer NR Adv/Fan 3D/IMAX/Quad/Scope
42 Fri, 4/13/12 WIDE Chadwick Boseman, Harrison Ford Brian Helgeland NR Bio/Sport/Dra 3D/Scope
THE HANGOVER PART III Fri, 5/24/13 WIDE Bradley Cooper, Ed Helms Todd Phillips NR Com
WEINSTEIN CO./DIMENSION 646-862-3400
EASY MONEY Wed, 7/11/12 EXCL. NY/LA Joel Kinnaman, Matias Padin Varela Daniel Espinosa R Cri/Dra/Thr Dolby SRD/Scope
LAWLESS Fri, 8/31/12 WIDE Tom Hardy, Jessica Chastain John Hillcoat NR Cri/Dra Scope
KILLING THEM SOFTLY Fri, 9/21/12 WIDE Brad Pitt, Ray Liotta Andrew Dominik NR Cri/Thr
BUTTER Fri, 10/5/12 LTD. Jennifer Garner, Hugh Jackman Jim Field Smith R Com
THE MASTER Fri, 10/12/12 LTD. Joaquin Phoenix, Amy Adams Paul Thomas Anderson NR Dra
THE SILVER LININGS PLAYBOOK Wed, 11/21/12 WIDE Jennifer Lawrence, Robert De Niro David O. Russell NR Com/Dra
DJANGO UNCHAINED Tue, 12/25/12 WIDE Jamie Foxx, Don Johnson Quentin Tarantino NR West/Dra
SCARY MOVIE 5 Fri, 1/11/13 WIDE Anna Faris, Regina Hall David Zucker NR Com
ESCAPE FROM PLANET EARTH Thu, 2/14/13 WIDE Jessica Alba, Sarah Jessica Parker Callan Brunker NR Ani/Act 3D
JUNE 2012 BOXOFFICE PRO 45

VINTAGE
THEATER SOUND
SYSTEMS &
VINTAGE AUDIO
GEAR
INCLUDING
MCINTOSH
TUBE ELECTRONICS AND
SOLID STATE
MARANTZ
TUBE ELECTRONICS
WESTERN ELECTRIC
AMPS AND LOUDSPEAKERS
ALTEC
ELECTRONICS, SPEAKERS,
DRIVERS AND HORNS
JBL
SPEAKERS AND ELECTRONICS
ELECTRO VOICE
SPEAKERS
RCA
AMPS, SPEAKERS, ETC.
ALSO LOOKING FOR LOTS OF OLD …
Vacuum Tubes
RCA, TUNGSOL, WESTERN ELECTRIC, SYLVANIA, ETC.
Radios
ZENITH, MARCONI, WESTERN ELECTRIC, ETC.
Microphones
RCA, EV, WESTERN ELECTRIC, ETC.
Related Electronic Parts
TRANSFORMERS, CAPACITORS, ETC.
WE WILL PICK UP AND PAY CASH
If you have anything in these or related areas,
please call us at
616 791 0867
Touch Screen Ticketing & Concession Sales
Internet Ticketing
Film Booking Software
Gift & Loyalty Cards
Reserved Seating
Corporate Management Software
Signage Software & Media Displays
Hardware Installation & 24/7 Support
Toll Free 888-988-4470
www.RetrieverSoftwareInc.com
JUNE 2012 BOXOFFICE PRO 47

0226 or visit our website www.
preferred-seating.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.
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.
month-month. $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 toll-free 866-922-
ALLSTATE SEATING specializes in refurbishing,
complete painting, molded foam, tailormade
seat covers, installations and removals.
Please call for pricing and spare parts for all
types of theater seating. Boston, Mass.; 617-
770-1112; fax: 617-770-1140.
THEATER SPACE FOR LEASE
AN 8,400 SQ. FT. SPACE containing two
movie theaters is available for lease in Frankfort,
KY, at a very reasonable lease rate. It
would be perfect for the new concept of eating
in the theater. The theaters are located
in the middle of a major shopping center.
The center owners would prefer an operating
movie theater rather than convert the space
into retail use. Contact Alexa at 859-221-9921
or email her at alexarkelley@gmail.com for
more information.
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 1-888-409-1414.
FOR SALE
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
48 BOXOFFICE PRO JUNE 2012

Lights. Camera. Atmos. Introducing Dolby Atmos, the most immersive cinema sound
experience yet. Sound can now be mapped to any object in a scene and is free to move
throughout the theatre, creating a clear, lifelike audio experience. With Dolby Atmos
you can almost feel the dust of the stampede. Learn more at dolby.com/atmos