BoxOffice® Pro - October 2012

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OCT 2012
ON THE
HORIZON
TEXAS
CHAINSAW
MASSACRE
3D
HANSEL
AND
GRETEL:
WITCH
HUNTERS
THE
LAST
STAND
THE
ALTERNATIVE
CONTENT
ISSUE
MEET
THIS
MONTH’S
SECRET
WEAPON
DISNEY DROPS A LOT
OF QUARTERS INTO
PLUS THE GENEVA CONVENTION:
CONFERENCE AGENDA & AWARD WINNERS
THE OFFICIAL MAGAZINE OF THE NATIONAL ASSOCIATION OF THEATRE OWNERS

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Congratulates the 2012 Geneva Convention Honorees
Warner Brothers
Cinema Boxoffice Blue Ribbon Award
Harry Potter and the Deadly Hallows – Part 2
Paramount Pictures
Centennial Award
Jeff Blake
Ben Marcus Award
Vice Chairman Sony Pictures Entertainment,
Chairman Worldwide Marketing and Distribution
Universal Studios
Centennial Award
John D. Loeks
Larry Hanson Award
Owner and CEO of
Celebration!
TI/DLP Cinema
Vendor of the Year Award
Midwest Exhibition Hall of Fame Inductees
Steve Marcus
Marcus Theatres
Dean Fitzgerald
Capital Services
Larry Beltz
Grand Theatre
Willis Johnson
Classic Cinemas
Bob & Dave Ross
CEC Theatres
Ralph & Gladys Boice
Boice Theatre
www.reald.com

OCT
2012
VOL. 148 NO. 10
24 SPECIAL REPORT
ALTERNATIVE
CONTENT
WHAT AUDIENCES WANT
Alternative content plugs the
programming gap for both movie
theaters and moviegoers
ALT INDIE Feature films find
distribution under an alternative
content model
THEATERS ON DEMAND Startup
Tugg lets moviegoers kickstart
screenings
34 BIG PICTURE
WRECK-IT RALPH
ATTACK OF THE
ARCADE Appealing
to fans of Frogger to
first-person shooters,
Disney’s made the
multigenerational hit of
the holidays
8-BIT EDUCATION To
design Wreck-It Ralph,
Disney installed an arcade
for animation supervisor
Renato Dos Anjos—tough
gig, right?
PINBALL WIZARD Director
Rich Moore is the master of
the arcade
BOXOFFICE MEDIA
CEO/PUBLISHER
Peter Cane
CREATIVE DIRECTOR
Kenneth James Bacon
BOXOFFICE MAGAZINE
EDITOR
Amy Nicholson
CONTRIBUTING EDITOR
Sara Maria Vizcarrondo
INDUSTRY CONTRIBUTORS
Jeffrey Eisentraut
John Fithian
Gary Klein
PRODUCTION ASSISTANT
Ally Bacon
BOXOFFICE.COM / BOXOFFICEMAGAZINE.COM
BOXOFFICE.COM
4 INDUSTRY BRIEFS
The latest news from the
exhibition industry
8 EXECUTIVE SUITE
EAST MEETS WEST Wanda’s
investment in AMC says good
things about exhibition in the
United States—and may also help
open China
10 NATO NOTES
WHAT’S THE ALTERNATIVE?
The time is now to win audiences
over with the new trend in
programming
12 FIRST PERSON
MAKE TIME FOR MENTORING
Exhibition must look to the
future—and that means looking
at our younger employees
13 CONVENTION NEWS
WE’RE OFF TO WISCONSIN
What to expect at this year’s
Geneva Convention
16 SHOW BUSINESS
CHINA ON MY MIND Box office
grosses from China become more
important every month
18 SECRET WEAPON
THE SMALL-TOWN GENIUS
Meet Ashley Bradley, Rogers
Cinema’s mechanical wizard
20 MARQUEE AWARD
THE CROWN OF CHICAGO
A 97-year-old movie palace
continues to be an industry
leader
40 ON THE HORIZON
Texas Chainsaw Massacre 3D /
Hansel and Gretel: Witch Hunters
/ Mama / The Last Stand
44 COMING SOON
Sister / Taken 2 / Sinister / Pitch
Perfect / V/H/S / Here Comes
the Boom / Gayby / Nobody
Walks / Atlas Shrugged: Part
II / Holy Motors / Paranormal
Activity 4 / Killing Them Softly /
Chasing Mavericks / Fun Size
48 BOOK IT! HOPE FOR INDIE FILM
He’s been tasked with saving
indie film. Does that mean it’s
dying? / TOP OF THE CHARTS
plus three undistributed films
that can make you money
52 BOOKING GUIDE
56 CLASSIFIEDS
BOXOFFICE’s WebWatch Data
Your customers are buzzing on the Internet about which movies
they want to see—and which ones they don’t. Use our subscription
service to predict Hollywood’s hits and misses before they hit your
theater.
Facebook & Twitter Tracking
Follow our daily tracking of activity on these two wildly popular
social media sites.
Reviews
Can Tyler Perry expand his audience with the mainstream thriller
Alex Cross?
News-Reeling?
Let Boxoffice.com digest all the reports and rumors for you! Check
our site daily for breaking industry news.
EDITOR
Phil Contrino
FORUMS EDITOR
Shawn Robbins
CONTRIBUTING WRITERS
Alex Edghill
David Ehrlich
Annlee Ellingson
Kate Erbland
Joe Galm
Daniel Garris
Todd Gilchrist
Ray Greene
Pete Hammond
Inkoo Kang
Mark Keizer
Ross A. Lincoln
Mark Olsen
Vadim Rizov
James Rocchi
Nick Schager
Drew Tewksbury
EDITORIAL INTERNS
Britta Hanson
Max Weinstein
ADVERTISING
VP OF ADVERTISING
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2 BOXOFFICE PRO OCTOBER 2012

TAKEN 2 11%
PITCH PERFECT 26%
SINISTER 6%
CLOUD ATLAS 8%
PARANORMAL ACTIVITY 4 49%
Insurance
Services
for the
Theatre
Industry
In October, audiences want a
scare, and Paranormal Activity
couldn’t be happier to provide
it: with nearly half of all the buzz
for that month’s films, it’s on
track to be another low-budget,
big-reward hit for Paramount.
Even the small Ethan Hawke
thriller Sinister has cracked
POS:NEG ONLINE BUZZ
the top five most-talkedabout
films, but look carefully
and you’ll notice there’s one
major October release missing:
Frankenweenie. Here’s hoping
Disney and Tim Burton step up
their ad campaign before their
zombie dog cartoon falls too far
behind the pack.
ONLINE FRENZY
PITCH PERFECT 17:1
CLOUD ATLAS 10:1
TAKEN 7:1
SINISTER 4:1
PARANORMAL
ACTIVITY 4
3:1
Divide these movies’ online buzz into positive
versus negative comments, and the reshuffled
top five shows that Universal may have a
sleeper hit with its a capella comedy Pitch
Perfect. Warner Bros.’ ambitious sci-fi mystery
Cloud Atlas is also feeding into audiences’
high hopes. With actors like Tom Hanks,
Halle Berry, Hugh Grant and Susan Sarandon
playing major roles, this could be a film to
remember come Oscar season.
1 THE LAST STAND
2 SCARY MOVIE 5
3 THE HANGOVER PART III
BOXOFFICE PRO (ISSN 0006-8527) is published monthly for $59.95 per year by Boxoffice Media, LLC, 9107 Wilshire Blvd., Suite 450,
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4
5
THE HUNGER GAMES:
CATCHING FIRE
THOR:
THE DARK WORLD
The good news is moviegoers are hyperpassionate
about upcoming movies. These top
five future releases were all among the top 10
total most-buzzed-about films. But the bad
news is every single one of these flicks isn’t set
to be released until 2013. That doesn’t bode
well for the 2012 big holiday hits, none of
which made the list.
MOC
Insurance
Services
THEATRE INSURANCE
SPECIALISTS
800 951 0600
San Francisco
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license #0589960
OCTOBER 2012 BOXOFFICE PRO 3

INDUSTRY
BRIEFS
THE 59TH PULA FILM
FESTIVAL IN CROATIA, held
in the ancient Vespasian’s
Amphitheatre that dates
back to the first century A.D.,
recently set three industry
firsts in outdoor 3D film
presentation. First, the 3D
projection setup achieved the
longest throw distance (using
a Barco DP2K-32B projector)
ever recorded: 242 feet,
exceeding the recommended
throw distance. Second, the
setup achieved a wide-viewing
angle of 60 degrees, allowing
the 3D presentation to be
viewed at suitable brightness
levels throughout the entire
seating area. As a result of
this, the film festival was
able to set what is believed
to be a new Guinness World
Record for an outdoor 3D
presentation with an official
attendance of 5,920 visitors.
“We were delighted to supply
the Stagelite Stereo surface
for the festival and provide
installation support,” says
Tony Dilley, European sales
manager at Harkness Screens.
“The setup achieved by LMT
(Laboratory of Multimedia
Technologies in Zagreb),
the festival’s technical
resource was nothing short of
remarkable and they deserve
much praise.”
THE NATIONAL ASSOCIATION OF THEATRE
OWNERS OF ILLINOIS, composed of 19 member
theaters that represent more than 75 percent of
the motion picture screens throughout the state
of Illinois, has awarded three college scholarships
to theater employees who have demonstrated
exemplary scholastic achievement, work ethic and
leadership qualities. Alexandra Mistak received
the first-place $1,500 scholarship, presented at the
Goodrich Quality Theaters Randall 15 where she
has worked for two years. She will pursue a degree
in sociology and international studies at Southern
Illinois University in the fall. Casey Kashnig of
Waunakee, Wisconsin, received a $750 scholarship,
presented at the Goodrich Quality Theaters
Savoy 16 where he has worked for 12 years. He has
recently returned to college at Parkland College
and Illinois State University, where he is pursuing a
degree in elementary education. Melanie Modloff
also received a $750 scholarship, presented at the
Marcus Elgin Cinema where she has worked for
four years. She will attend Northern Illinois University
in the fall to continue her studies toward
a career as a high school guidance counselor. To
date, $34,000 have been awarded to Illinois theater
employees through the 13-year program
THE NATIONAL ASSOCIATION OF THEATRE
OWNERS OF CALIFORNIA/NEVADA announced
the 2012 winners of its annual scholarship programs,
with awards totaling $330,000. In support
of graduate film students, the association awarded
$40,000 each to the film schools at UCLA and
USC to be divided among six deserving students
at the UCLA School of Theater, Film, and
Television and five deserving students at the USC
School of Cinematic Arts. “We take great pleasure
in helping to encourage and support the next
generation of filmmakers,” says Milton Moritz,
president and CEO of NATO of California/Nevada.
“They are our lifeblood and partners in our
future, and we congratulate them all.”
UCLA’S FELLOWSHIPS IN FILM ARE BEING
AWARDED to Brynach Day and Richard Parkin
in Production/Directing; Dana Gills, Producers
Program; Ben Kopit and Amy Michalik, Screenwriting;
and Emezie Okorafor, Animation. At
USC, through the Fund for Student Support,
awards are being presented to Joshua Berman in
the Peter Stark Producing Program; Joseph Yeh
in the John C. Hench Division of Animation
and Digital Arts, Jeremy Masys in the Writing
for Screen & Television Program; and Emily
Ferenbach and Victoria Rose in the Film &
Television Production.
The association has awarded 25 individual
$10,000 college scholarships through an annual
contest open to field-level employees of member
theaters. All entrants must have maintained a
minimum 3.0 grade point average, submitted an
essay to be judged and satisfied other eligibility
requirements. The competition is also open to
spouses and dependent children of managementlevel
employees and home-office staff. “We’re
very pleased that we are able to help ease the
financial burden for all of these students, some
of whom may have felt that college might otherwise
have been beyond their reach,” adds Moritz.
GDC TECHNOLOGY PARTNERED WITH BARCO
to showcase groundbreaking S2K projection
utilizing GDC Tech’s SX-3000 Standalone Integrated
Media Block (IMB) and Barco’s DP2K-
10S at BIRTV 2012 in Beijing. GDC Tech’s
integrated digital cinema solution utilizing Barco’s
projector will usher in an exciting new phase
for cinemas with small screens that have not yet
transitioned to digital technology. Barco’s DP2K-
10S compact projector, based on the new S2K
chipset from Texas Instruments, is designed to
address the needs of smaller theaters with screens
up to 33 feet wide. Barco’s DP2K-10S projector
meets DCI specifications for image quality, color
and security, and allows for greater versatility,
including 3D and HFR capabilities. Meanwhile,
GDC Tech’s SX-3000 Standalone IMB eliminates
the need for an external file server, which greatly
reduces theater management cost and makes
boothless cinema practical. It also supports HFR
content in both 2D and 3D. In addition, it allows
HDMI input, 3G-SDI input, and 2D and 3D
live streaming for alternative content. “We are
thrilled to be teaming up with GDC Tech to present
this groundbreaking demonstration,” says Phil
Chen, general manager of CFG Barco (Beijing)
Electronics Co. Ltd. “We are both committed to
the entire exhibition community, including those
equipped with smaller screens, and continuously
strive to bring the benefits of the digital cinema
revolution to all exhibitors. We believe that the
astonishing integrated visual experience demonstrated
by Barco and GDC Tech represents the
next phase in the history of the digital cinema
evolution.”
NATO OF KANSAS & MISSOURI HAS AN-
NOUNCED the return of Show A Rama on Oct.
15-17, 2013. Kansas City’s glorious and historic
cinema exhibition and distribution event will be
4 BOXOFFICE PRO OCTOBER 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
If you don’t offer
you don’t have
the tastiest popcorn
in town – period.
restored to life, honoring Show A Rama’s rich history while focusing on
the industry’s bright future. The main event will be held at the Hilton
Garden Inn convention center located in Independence, Missouri;
however, other nearby locations will also be used for screenings and
some meals. The convention will entail a two-day trade show, alternative
content demonstrations and discussions, studio presentations,
panel seminars, and entertaining and informative events. The convention’s
primary focuses will be new technologies, alternative content
and increasing audience attendance, as well as answering questions like
these: We’ve gone digital—now what? How do small exhibitors make
alternative content work? And how does my theater compete in the
marketplace? The convention will allow NATO members to mingle
with other exhibitors, studio executives, new technology providers
and vendors in a casual, open convention setting. Many of the top
vendors in the industry will be in attendance, and the smaller convention
size allows exhibitors plenty of time to hear the details and watch
demonstrations of the many products and services at the trade show.
A discount will be given to national NATO and NATO of Kansas &
Missouri who register for the full convention, and on the final night,
the convention will host a themed, off-site charity fundraiser for Young
Variety. For additional information regarding Show A Rama, please
contact Jack Poessiger at (913) 649-2960.
VUE ENTERTAINMENT HAS BECOME THE LARGEST cinema circuit in
Europe equipped with Sony Digital Cinema 4K technology following
the completion of its multimillion-pound rollout. The final installation
took place at the Vue Cardiff and completed the update of 650 screens
across 69 U.K. and Ireland cinemas. The completion heralds a new era
for cinema exhibition and demonstrates Vue’s commitment to deliver
the highest standards in cinema exhibition. The new projection capabilities
are being communicated to consumers under the Breatht4King
Sony Digital Cinema 4K brand, which enables films to be delivered in
up to four times the number of pixels compared to a normal projector.
For 3D films, Sony’s 4K projectors have an advanced dual-lens adapter
system displaying left and right eye images on the screen simultaneously.
Says Tim Richards, CEO of Vue Cinemas, “In partnership with
Sony, we are thrilled to be able to offer a superior viewing experience
for our customers up and down the country. Our Breatht4King Sony
Digital 4K Projectors allow cinemagoers to experience all the action,
suspense and drama at a new level, making the cinema experience even
more immersive and memorable.”
13 delicious flavors including:
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866.328.7672 x225
krystal@kernelseasons.com
SCREENVISION, IN ALLIANCE WITH MORE2SCREEN AND EAGLE
ROCK, brought the iconic British rock band Queen to the big screen
with the feature presentation of Hungarian Rhapsody: Queen Live in Budapest
‘86. Originally filmed on July 27, 1986, this Queen concert film
was remastered for digital cinema in high definition with 5.1 surround
sound and features many of the band’s most popular tracks, including
“Bohemian Rhapsody,” “Crazy Little Thing Called Love,” “I Want to
Break Free” and “We Are the Champions.” Part of the hugely successful
Magic Tour, this concert is significant because it was the last time
Queen toured with their late lead singer Freddie Mercury. It was also the
largest stadium concert ever staged at the Népstadion in Budapest, in
front of 80,000 ecstatic fans three years before the fall of the Berlin Wall.
Using archive footage from rehearsals and interviews with the band in
studio and on the road during the Magic Tour, this fascinating feature
was specially created for this new cinema release. “We’re delighted that
Queen fans across the world will finally have the chance to relive this
amazing moment for the band. We knew a stadium concert in Budapest
was ground-breaking but hadn’t quite anticipated what a historic night
it would turn out to be,” say Queen’s Brian May and Roger Taylor. “The
concert looks fantastic on the cinema screen in all its digitally remastered
glory, and the documentary does a great job of setting the scene—it really
was an extraordinary time in the band’s history.”
6 BOXOFFICE PRO OCTOBER 2012

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EXECUTIVE
SUITE
EAST
MEETS
WEST
Wanda’s investment in AMC says good things about exhibition
in the United States—and also may help open China
John Fithian
President & CEO,
NATO
■ In May of this year, the Dalian Wanda Group Co.
Ltd. announced its agreement to buy AMC Entertainment
Holdings Inc. for $2.6 billion. The purchase
included about $2 billion in assumed debt and approximately
$700 million in additional investment over time
to improve AMC’s theaters, including upgrades to show
big-screen format and 3D movies and additional bars
and dining options.
Typically, I would not comment about the change in
ownership structure of any particular NATO member.
But this transaction has generated more media inquiries
than most—and I’ve also received questions from
a number of members who have asked me what this
transaction means about the current state and future of
our industry.
Some callers have wondered if the acquisition signals
an attempt by the Chinese to use “soft power” to influence
culture and policy in the United States. Others
have pointed out that this is the largest acquisition ever
of an American company by a Chinese company and
asked me if I am troubled by that fact. Still others have
not proposed any theories or factual scenarios but have
simply asked me what I think.
My first response is to challenge the inquiries in the first
place. Acquisitions and deals happen all the time. Why is
this one generating more attention? Is it because Wanda
Group Chairman Wang Jianlin, one of the richest men in
China, possesses extraordinary wealth? Well, no. Wealth
alone doesn’t seem to attract too much attention. Few asked
similar questions when billionaire Phil Anschutz bought
Regal, United Artists and Edwards in 2001 and put them
together into the biggest cinema company of all time.
Is it because the acquisition was made by a foreign
company? The answer must be more specific than that.
There was no similar suspicion when Sony, a Japanesebased
company, took a controlling interest in Loews or
when Australian company Hoyts created a cinema footprint
in the United States. And more recently, I haven’t
received any concerns over Cinepolis, a Mexican-based
company and the fourth-largest exhibitor in the world,
entering the U.S. exhibition market. Most members and
reporters with whom I have discussed those transactions
considered them to be parts of the normal course in a
global, competitive, free-enterprise system.
The subtle suspicions about Wanda’s acquisition of
AMC seem to be exclusively related to the fact that a
Chinese company is involved. Some Americans perceive
China as a looming threat to the cultural and economic
hegemony of the United States. China has the world’s
largest population with 1.35 billion people. China
maintains a political and cultural structure very different
from our own. And China enjoys one of the fastestgrowing
economies on earth. Some see something to
fear. I do not. In the Wanda acquisition of AMC, I see
something to champion.
WANDA’S INVESTMENT IN AMC DEMON-
STRATES CONFIDENCE IN THE AMERICAN
EXHIBITION INDUSTRY
First and foremost, Wanda’s investment should
confirm our confidence in the strength and potential
for growth in the American exhibition industry. Wanda
constitutes one of China’s largest real-estate companies,
with interests in hotels and department stores. Wanda
also operates 86 cinema locations in China, more than
any other exhibitor in that country. Simply put, Wanda
is a sophisticated company and is in the business to
make money.
8 BOXOFFICE PRO OCTOBER 2012

Wanda’s leadership has suggested a desire
to acquire cinema assets in different territories
around the world. What was the fi rst place
outside China where Wanda sought to acquire
cinemas? That would be the good ole U.S. of
A. Subsequently, Wanda indicated an interest
in Europe, and I have heard several reports
of conversations to acquire large exhibition
companies on that continent too.
Wanda’s leadership has expressed interest
in the strength of the American exhibition
industry and the desire to learn more from
cinema operations in the world’s most developed
market. That speaks volumes about the
strength of our market.
If the Chinese government were somehow
trying to make a soft power play into the
United States, how would the acquisition of a
cinema company even make that goal possible?
Would Wanda and AMC risk commercial
disaster by showing lots of Chinese movies?
Would the Chinese censor the themes that
could be included in the AMC movie slate?
These are ridiculous concepts that fly
in the face of the capitalist underpinnings
of this large investment. Chairman Wang
has indicated his desire to keep the existing
executive team in place at AMC, to learn from
his investment as the experiences here might
help him overseas, and to make a healthy
return. And of course the growing strength
of Wanda’s combined box office returns and
screen count may give the company added
leverage with suppliers.
GROWING TIES BETWEEN CHINA AND
THE UNITED STATES MAY OPEN UP
THE MARKET IN CHINA
The potential benefits of the Wanda-AMC
deal are not limited to the American market.
China’s current movie and cinema market
lacks freedom. The government strictly limits
the number of foreign movies that may be imported
for exhibition each year. A government
censorship authority decides which movies
contain appropriate themes, and Chinese law
limits investment in cinema operations by foreign
companies. The Wanda-AMC deal, taken
in combination with other strengthening ties
between the two countries, may help loosen
these restrictions.
There has been some progress lately in the
market. In February of this year, U.S. and
Chinese negotiators announced an agreement
to increase the number of U.S. fi lms allowed
to be shown in Chinese movie theaters and
provide a more equitable share of revenue for
U.S. fi lm companies after a strong push by
the Motion Picture Association of America for
such reforms.
Subsequent to the agreement, fi lm industry
ties between the two countries have grown in a
number of ways. Disney, DreamWorks Animation
and News Corp. (owners of Twentieth
Century Fox) formed coproduction partnerships
that will include some of their biggest
movies. DreamWorks, in particular, is going
into China in a big way by forming Oriental
DreamWorks, a Shanghai-based joint venture
to develop entertainment projects including
theme parks and live productions.
Coupled with these advances in China, it is
possible and perhaps even likely that Wanda’s
experience in the U.S. cinema market may
translate into greater openness back home.
The Chinese government seeks to develop
the domestic exhibition infrastructure in the
country to serve rapidly rising demand. What
better way to expand the exhibition market
than to allow more entries by foreign interests?
Wanda’s experience in the United States will
surely inform its fellow countrymen that cinema
operations in a freer market can produce
growth and returns. And a simple sense of
fairness suggests that if China’s biggest cinema
player can come into our country, and perhaps
Europe, then non-Chinese exhibition interests
should have greater access to the growing
market in China.
We live in a global marketplace. Movies
provide an international language. The times
are changing. I welcome the confidence placed
in American exhibition by one of the most
significant business conglomerates in China,
and I look forward to greater foreign development
in the Chinese market too.
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OCTOBER 2012 BOXOFFICE PRO 9

NATO
NOTES
WHAT’S THE
ALTERNATIVE?
The time is now to win audiences over with the new trend in programming
Gary Klein
Vice President and
General Counsel,
NATO
■ OK, Jeopardy! fans, the category is “Exhibition” and the answer is “A rock concert by
Korn; the Ring Cycle operas by Wagner; a performance by noted diva Anna Netrebko.”
Now, as a former contestant, my answer would have been, “What are three things my
wife would have to drag me to kicking and screaming?” But in keeping with the focus of
this particular issue, you may have guessed that the
answer is, “What three events were, at ous times since 2002, shown in a movie
varitheater?”
And you would be absolutely
right.
These and other alternative tent events—think musicals, stage
performances, rock concerts
and sports events—are usually
screened on a weekday ekday
con-
at a time when seats need
to be fi lled. But with
digital projection
now mainstream,
it’s time to make
sure audiences
know that these
programs are a new,
major trend in the cinema industry. These new services provide
our industry an opportunity ortunity to attract new audiences, take advantage
of new content, provide new services and hopefully develop into a new,
growing revenue stream for the exhibition industry.
Although relatively ely small in comparison to box office revenue, nonmovie
entertainment t has nevertheless grown to approximately $120 lion a year, including a more than 50 percent increase from 2009 to 2010.
But the key is to work together toward the future. At a recent investment
mil-
conference in New York, Chris McGurk, CEO of Cinedigm, predicted that
alternative content in movie theaters, enabled by digital cinema technology
that makes distribution ion of such programs easier and less expensive than fi lm
reels, could eventually ly be a $1 billion business worldwide. And why not?
Alternative content is a means of providing consumers with the opportunity
to see an event they might otherwise never experience.
Take opera, for example. Although my experience is limited to
the Marx Brothers’ A Night at the Opera (best line: Groucho: “That’s
what they call the sanity clause.” Chico: “You can’t fool me. There
ain’t no sanity clause.”), those more cultured than I ensured that
tickets for the in-theater broadcasts of the Metropolitan Opera in
2011 sold out well in advance of the performances.
WHO ARE THE PLAYERS IN THE ALTERNATIVE
CONTENT SPACE?
The success of the Met’s distribution model is attributed to
National CineMedia and its NCM Fathom division, which are
clearly the dominant force in the market and distribute content
NCM
FATHOM
EVENTS IS
PRESENTING
HITCHCOCK’S THE
BIRDS AT SELECT
THEATERS ON
SEPT. 19
10 BOXOFFICE OFFICE
PRO
OCTOBER 2012

to more than 1,400 theaters nationwide.
In 2011, Fathom presented 104 events, a 41
percent increase over the previous year, and
the most since it kicked off with Korn concert
screenings in 2002. Some of Fathom’s more
popular offerings have included Andrew
Lloyd Webber’s Phantom of the Opera and
a partnership with HBO to simulcast a live
championship boxing match.
The aforementioned Cinedigm is also making
waves, even bringing the 2010 World Cup
in 3D to select cinemas in the United States
and Canada as it pursues a business model it
predicts will make the movie theater into a
“networked entertainment center.” Sony has
also shown interest in the concept, distributing
such diverse product as Cirque du Soleil,
the musical Rent and Wimbledon 2011. And
then Sony struck up a promotion with AMC
Theatres that allowed gamers to play Uncharted
3 in 3D on the big screen and snag a copy of
the game before its official release.
Recently, two new upstarts have appeared
on the stage that aspire to bring any fi lm
to a theater near you. Tugg, which is the
subject of an article later on in this issue, was
launched in February of this year. Put simply,
the Tugg model provides for individuals to select
a fi lm, screening time and nearby theater
and then spread the word to their immediate
and online community. Once a necessary
number of people commit to attending, Tugg
will reserve the theater, manage ticketing and
ensure delivery of the fi lm. The other newbie
is Gathr, a web-based service. With Gathr,
fans can request a fi lm to be screened in their
town, they can either reserve or purchase a
ticket to a screening in their area, or they can
request a new screening by specifying where
and when they want to see the movie. Once
a user has requested a screening, Gathr confi
rms the request and it goes live. If enough
people reserve tickets for the screening in
advance, the movie screening is guaranteed.
No one will be charged for tickets unless the
critical mass of reservations has been made.
So the possibilities seem endless, but one
thing is clear. Even though not all alternative
content is “high art,” its purpose is the same:
to fill seats in those time slots that might otherwise
go empty. As for pricing, one benefit to
theater owners if admission to the screening is
free is the chance to increase concession sales to
an audience that would otherwise not be there.
Alternatively, there’s also the chance to charge
an admission price higher than normal for a
film but a lot less than it would cost to attend
the actual concert or play being screened. (Just
FYI, four tickets to see The Book of Mormon in
New York City cost more than my first car).
Other revenue may come from a share in
advertising displayed prior to the screening,
depending on the terms of the license.
Although the devil is in the details, the
revenue is usually divided between the
content owners/providers, the distributor
and the movie theaters. The opportunity for
growth is clear, but what might the catalyst
be to fuel it?
ALTERNATIVE CONTENT’S HOLY
GRAIL? (SORRY, MONTY PYTHON)
As noted, sporting events have been a part
of the alternative content movement, especially
overseas where the 2010 World Cup drew large
audiences. The question is, can this be duplicated
here in the United States with our national obsessions
like the Super Bowl? Again, the licensing
details are the key. What would encourage the
NFL or MLB, which sell broadcast rights to the
networks for billions of dollars, to license their
content to be shown in a movie theater?
NATO is in the process of exploring this
possibility with licensing authorities, but aside
from the complexities involved in working
out the details, with every sports bar showing
the event, what would entice people to see the
event in a theater? The answer might be technology.
Sure, you could watch the game on a
small, high TV in a loud bar. But would you
rather see the event in 3D—or perhaps 4D—
on a super large screen with all your friends?
Raise your hands. I thought so.
Cineplex Uses Vista
www.vistaUSA.com
OCTOBER 2012 BOXOFFICE PRO 11

FIRST
PERSON
Exhibition must look to the future—
and that means looking at our younger employees
MAKE TIME FOR MENTORING
by Jeffrey Eisentraut, Eisentraut Theatres
■ I have been blessed to have a long and rewarding career in motion
picture exhibition. When I look back, one of the things I remember
most fondly is the relationships I had with my fellow workers and, in
later years, my employees.
In 1971, my brother—co-manager of the Eastgate Cinema in Des
Moines, Iowa—started taking me to work with him. I was 11 years
old, and the movie playing was Disney’s Song of the South. My fi rst
duty was to use a snow shovel to scoop up spilled popcorn in the
lobby after each show started. I knew right then I loved the excitement
of working in theaters and did everything I could to be there as
often as possible, not even caring if I got paid.
The manager was Jim Glenn. Jim was what one would consider an
entrepreneur. He took me under his wing and taught me several very
important lessons, like the value of hard work and that if you’re going
to do a job, you might as well do it great. He also taught me how to
treat customers properly. Jim stayed in theater management for a few
more years and eventually struck out on a new venture, buying a restaurant
that has become one of the great restaurants in the entire region.
Another mentor of mine was—and is—Bob Fridley of R.L.
Fridley Theatres, also based in Iowa. Bob owned and operated several
of the theaters that hired me when I was climbing the ladder in the
industry. He taught me how important it was to build the theaters to
be the attraction in and of themselves and showed me the importance
of going to Hollywood every now and then to immerse myself
in the business and watch what happens at its theaters. He also was
very personally gracious, often inviting my wife and me to join him
and his wife for dinner and a movie in his private home theater,
which at the time was not common at all. We felt like royalty, and he
still inspires me to this day.
There are several young people whom I would like to believe I
had a positive impact on, among them my own children.
My 28-year-old son Cary is the fi nest showman I have
ever witnessed. He started at age 5 when we discovered
him on stage at one of our theaters dressed as
a Teenage Mutant
Ninja Turtle to
entertain the
crowd. My
daughter Maddie
has a sharp
understanding
of
operations and uses
her talents as both
a systems analyst
and a wonderful
HR leader. We
all have worked
together to create
some great promotions,
and they work
hard every night to make
sure our patrons have a
memorable, cheerful experience—even
if the movie
itself is not so great.
How do you fi nd someone to mentor? There are almost always candidates
working for you who have that special quality. They may not
have the best resume because a resume doesn’t always show personality.
Really, it’s a gut feeling, and you know it when you come across
it. They show so much interest that you want to be around them. You
want to mold their impressions of the business and encourage them
to succeed. And investing in someone who is eager to learn is directly
related to the success of building a better work environment, which
can’t help but be translated to the customers. I’ve found that people
respond to relationships much better than to a list of rules.
I am coming at this from an independent perspective, which does
lend itself to an easier format for mentoring. But I believe mentorship
is even more vital to the larger chains. In the corporate environment,
it takes a conscious, deliberate effort from the top down to encourage
employees to tackle the time and energy to mentor someone. Even
though it seems the CEO would not have that time, fi nding out how
to squeeze it in could be the most effective way to impart his or her
knowledge and experience to those who may follow after him or her.
The candidates a CEO mentors should be encouraged to fi nd someone
on the next level down to pass along all they’ve learned, a pattern
that should be repeated all the way down to entry-level positions.
I have learned that mentoring is benefi cial for both parties involved—not
just a gift to the next generation but also a great way for
mentors themselves to stay sharp and on their game. Plus, it is truly
rewarding to watch the successful career of someone you were able to
impact early on. One young man I hired and groomed in the ’80s has
now gone on to be a top executive at a major chain. As we transition
into a rapidly evolving future, I believe mentoring is a must for
veterans of our industry in order for exhibition to maintain an aura
of showmanship and to keep our standards high.
As the late actor Jack Lemmon once said about
mentoring, “If you have done well in this business,
it is your obligation to spend an enormous amount
of your time
sending the
elevator back
down.”
12 BOXOFFICE PRO OCTOBER 2012

WARNER
BROS.’
HARRY POTTER
AND THE DEATHLY
HALLOWS: PART 2
THE 2012 BOXOFFICE
BLUE RIBBON
AWARD WINNER
CONVENTION
NEWS
WE’RE OFF TO WISCONSIN
WHAT TO EXPECT AT THIS YEAR’S GENEVA CONVENTION
by Amy Nicholson
■ Lake Geneva, Wisconsin, is 1,752 miles
northeast of Vegas, but exhibitors who attend
NATO’s Geneva Convention have the same
concerns as everyone who trekked to CinemaCon:
how can they better manage their
theaters, staff, supplies and equipment? The
core difference is location, location, location.
The tranquil Grand Geneva Resort & Spa is
as mellow as Caesars Palace is frenetic, and
while theater owners still end the convention
day with a cold drink, you’re much more
likely to see Geneva attendees hoisting a locally
made Leinenkugel beer than a four-foot
spiked slush.
“Here, you’ve got more time to have a real
conversation,” says George Rouman, co-chair
of the convention. “It’s not just fast hellos
on the trade show floor—you can catch up
with everyone, ask questions and make those
valuable connections.”
Rouman and fellow co-chair John Scaletta
have organized the 2012 Geneva Convention
to facilitate those easy, warm-weather interactions.
The first day of the show, Tuesday,
Sept. 18, opens with two charity events,
the Will Rogers 5K Walk and Variety—The
Children’s Charity Golf Classic, the latter
played on what was recently deemed one of
the top 10 gold resorts by Condé Nast Traveler.
Get a hole-in-one, and you could win
a new car, but alas, in all the years Scaletta
himself has entered the competition, he’s
never managed to get that lucky.
When attendees are nice and relaxed,
the evening begins with the opening-night
reception, which segues into the ever-popular
Geneva Idol singing competition, which was
started on a lark in 2010 and has carried on
by popular demand. Last year, the contest
was swept by a theater employee from
Chicago by unanimous decision. Expect this
year’s battle to raise the stakes.
After Tuesday night’s movie screening, the
real work begins on Wednesday with panels
in the Maple Lawn Ballroom that kick off at
8 a.m. with a NATO national news briefing
before continuing on with a Disney Institute
management seminar on selection, training
and engagement, two forums on exhibitor
relations, and the Boxoffice Conference
with Boxoffice’s own CEO and Publisher
Peter Cane.
Then at 3:30, the trade show opens with
more than 75 companies in attendance,
and two hours into in action, there will be a
cocktail hour on the show floor—what better
way to get people talking?—before Wednesday
night closes with a Gala Awards dinner
and a second film screening.
With the digital transition already mostly
underway, what Rouman expects to hear
people talking about this year is what comes
next.
“People have invested in this new technology,”
says Rouman. “Now they want to
know how they can make the best use of
it.” Before the closing luncheon and Hall of
Fame inductions, he and Scaletta have put
together a nearly two-hour presentation on
Thursday afternoon on alternative content
to show exhibitors the scope and potential of
what they can do with their digital systems.
The big idea is that exhibitors have to
band together to transition the theatrical experience
into its new incarnation. And with
its mix of film, education and enough fun
time to get people connecting, that’s exactly
what the Geneva Convention aims to do.
OCTOBER 2012 BOXOFFICE PRO 13

SHOW
BUSINESS
Box office grosses from China become
more important every month
CHINA
ON MY
MIND
by Phil Contrino, Editor
Boxoffice.com
TITANIC 3D
$146 MILLION
iCE AGE:
CONTINENTAL
DRIFT
$67 MILLION
THE
AMAZING
SPIDER-MAN
>$10 MILLION
IN 3 DAYS
■ The most interesting thing about Sundays used to
be seeing what surprises the domestic box offi ce had in
store. Now that the Boxoffi ce.com team has become
so good at predicting, not a whole lot surprises us anymore.
(Hey, it’s our magazine. We can do a shameless
plug every once in a while!) I still yearn for surprises,
but more of them are happening abroad than at home.
And no country currently surprises me more than China.
The relationship between China and the American
movie industry is going to grow in importance over
the next fi ve years. The writing is on the Great Wall.
Chinese moviegoers are devouring American fi lms
with vigor, and that has a huge effect here at home.
The Chinese enthusiasm for Titanic in 3D and Ice
Age: Continental Drift helped Twentieth Century Fox
become the fi rst distributor to hit $2 billion worldwide
at the 2012 box offi ce. Titanic in 3D achieved the biggest
opening weekend ever in China with $67 million
on its way to a $146 million haul in the country. That
means that China accounted for more than half of
the fi lm’s $287 million international take. As for Ice
Age: Continental Drift, the fourth installment in the
beloved franchise has taken in more than $67 million
in China as of this writing, which represents the best
foreign-country gross for Scrat and company. Ice Age:
Continental Drift’s international total has passed $665
million, and it still has plenty of momentum. For comparison,
its domestic haul is currently just over $155
million.
Two key sequels are also receiving funding from
China: Kung Fu Panda 3 and Iron Man 3. It should
come as no surprise that the Kung Fu Panda franchise
is bigger internationally than it is at home, so foreign
funding makes a lot of sense. In 2011, Kung Fu Panda
2 grossed $496.5 million internationally and just $165.2
million domestically. As for 2010’s Iron Man 2, it did
$310 million internationally compared to $312.1 million
domestically—an almost even split that should tip in
favor of international when the third fi lm arrives.
It’s also very telling that James Cameron has
decided to start a joint venture in China designed to
promote 3D fi lmmaking. Cameron, one of the great
cinematic innovators of all time, is usually fi ve years
ahead of everyone else. So if he’s showing an interest
in China, other influential fi lmmakers won’t be far
behind.
As I write this, The Dark Knight Rises and The
Amazing Spider-Man have just opened in China.
Already, The Dark Knight Rises has exceeded the
international haul of The Dark Knight, so grosses from
China will only make the fi lm’s bottom line all the
more pleasing. The Amazing Spider-Man has taken in
more than $440 million internationally, and China
could help boost that number to $500 million.
Increased business in China should serve as a
source of pride for the American movie industry.
Moviegoers around the world can’t get enough of our
stories, which means that we’ve learned to tell tales in
a way that transcends cultural boundaries. I can’t wait
to watch this relationship grow.
16 BOXOFFICE PRO OCTOBER 2012

SECRET
WEAPON
Meet Ashley Bradley, Rogers Cinema’s mechanical wizard
THE SMALL-TOWN GENIUS
WHAT GOT YOU INTO THE MOVIE THE-
ATER INDUSTRY?
My mom worked for the company, and I could
see how much she loved it. She defi nitely liked
the atmosphere. She worked at the corporate
office, so I decided to apply.
DID YOU EVER GET TO WORK WITH
HER?
Yeah. When I was in college, I would go up
[to the corporate office] to fi le, just kind of do
stuff to help her out, nothing too important.
WAS IT AWKWARD WORKING WITH
YOUR MOM?
Not at all! It was fun.
WHAT’S AN AVERAGE DAY FOR YOU?
There isn’t an average day at Rogers Cinema!
Most of the time, I work in our corporate
office booking movies, scheduling showtimes,
website management, and marketing. I also
visit our seven locations in Wisconsin and
Michigan, doing whatever is needed there.
WHO WAS A KEY MENTOR FOR YOU
AND WHY?
Scott Koran, Rogers Cinemas’ owner and
president, is a key mentor for me. Scott has
taken me under his wing to teach me everything
there is to know about the movie theater
business. He is a tough teacher, but he is also
understanding. He pushes me to my limits to
make me a better employee. I owe all of my
success to Scott.
WHAT WAS YOUR ROLE IN ROGERS
CINEMA’S SWITCH TO DIGITAL?
Basically Scott needed someone to step
up and take
charge of the conversion, so I just moved into
it. Marshfield was the first site to convert to
digital, which is my home site. We were the
guinea pigs for the conversion. We had no idea
what to expect. Sonic [Equipment] was the
company that actually did our conversion for
us. They walked us through everything. Even
so, we were just kind of winging it.
Eventually, my role was learning to use all the
new equipment and teaching all of the managers
how to use it. Going from fi lm to digital
was a challenge. I would be at work at 6 a.m.
and work until 1 a.m., just removing all of the
old equipment.
WHAT WAS YOUR MOST SUCCESSFUL
MOMENT OF THE PAST YEAR?
Learning how to fi x digital projectors.
IT SOUNDS LIKE YOU’VE BECOME THIS
VERY IMPORTANT PERSON AT ROG-
ERS.
I think so. [Laughs]
WHAT WAS IT LIKE TEACHING THE
MANAGERS THE INS AND OUTS OF
DIGITAL PROJECTION?
At fi rst it was a bit overwhelming, because
I was very unsure myself. Sonic did a
good job of teaching us, but it was like
learning a brand-new job. We had to
be shown everything. We even had to
learn how to change a bulb. It took us
almost a full year.
DO YOU HAVE ANY
ADVICE FOR THE-
ATER OWNERS
ABOUT TO GO
THROUGH DIGITAL CONVERSION?
Just take notes. Don’t let it get overwhelming
because it pays off in the end. Going digital
was the best decision we could have made. The
presentation quality and sound quality are just
outstanding. And Sonic really did a great job.
WHAT’S ONE UNEXPECTED SKILL
THAT HAS HELPED YOU AT YOUR
JOB?
My farming background. My family has been
farming forever. Growing up, we had a 300-
cow dairy farm. Dairy farming really helps
you in the theater business. The backgrounds
are very different, but running a small business
is running a small business. You have to learn
how to handle money, deal with any kind of
troubleshooting, mechanical difficulties. I
wasn’t afraid to get my hands dirty, get grease
on my hands. Especially with our fi lm projectors,
my mechanical background really helped
with that.
WHAT IS THE OVERALL IMPRESSION
OR EXPERIENCE YOU’D LIKE TO GIVE
YOUR CUSTOMERS, AND HOW DO YOU
GO ABOUT MAKING THAT HAPPEN?
I love to give our customers a great place to
escape. Presenting
a quality movie experi-
ence is at the top of my list because it can
make you forget what is happening in
the real world.
WHAT’S YOUR FAVORITE
MOVIE AND WHY?
My favorite movie is Gladiator
because Russell Crowe was
amazing in it.
WHAT DO YOU THINK
OF BEING NAMED
ROGERS CINEMA’S
SECRET WEAPON?
It’s an
honor.
ASHLEY
BRADLEY
ROGERS CINEMA,
OPERATIONS
MANAGER,
ROZELLVILLE,
WISCONSIN
18 BOXOFFICE PRO OCTOBER 2012

MARQUEE
AWARD
THE CROWN OF CHICAGO
A 97-YEAR-OLD MOVIE PALACE CONTINUES TO BE AN INDUSTRY LEADER
by Inkoo Kang
■ Chicago isn’t the first place that most Americans
associate with the movies, but the Windy
City was the site of the first commercial picture
house. At the 1893 World’s Fair, where Buffalo
Bill Cody set up his Wild West Show alongside
the original Ferris wheel and a young pianist
named Scott Joplin, film pioneer Eadweard
Muybridge exhibited images of animals in motion
using an early movie projector called the
zoopraxiscope.
The World’s Fair gave new life to Chicago,
which was still recovering from the Great
Fire of 1871. The fair’s triumphant success
preceded—and predicted—the economic and
cultural boom of the 1910s and 1920s that
would make Chicago one of the most important
cities in the nation. Naturally, dozens of
movie palaces sprouted up in the city during
those two heady decades, including the small
Logan Theatre, built in 1915, in northwestern
Chicago.
For nearly nine decades, the Vaselopolis
family ran the Logan, and generations lived
above the store, so to speak. Chris Vaselopolis,
now in his 80s, was born in the building
and dedicated most of his life to keeping his
family’s legacy alive. In September 2010, Mark
Fishman purchased the nearly century-old
theater. A prominent local entrepreneur and a
self-described “movie freak,” Fishman wanted
to retain the historical elements of the Logan
Square area, where his property management
firm owns several buildings, while contributing
to the up-and-coming neighborhood’s artsy,
youthful milieu.
After a year in business, Fishman closed the
theater for six months for renovations. He set
out to “give it some TLC,” but soon discovered
that a simple facelift wouldn’t do the antique
theater justice. What lay underneath the old
walls and decades of paint was much more
opulent and stately than what Fishman had
dreamed: marble walls, stained-glass windows
and original light fixtures, all in near-perfect
condition.
After those discoveries, Fishman was all in.
The simple remodeling job became his “own
little private art project.” “I built it as I saw it in
my head,” he says, finding inspiration in the art
deco theaters he had frequented as a child. He
rebuilt the theater lobby to resemble a 1930s
hotel lobby, renovating the ticket booth, installing
art deco water fountains, even importing
from Canada a Depression-era telephone booth
with the kind of two-piece phone last seen in
Humphrey Bogart movies.
But nostalgia was counterbalanced by
sleek modernity. Fishman’s team expanded the
theater’s space by a couple of thousand feet to
make room for a full bar, a lounge area and
a larger concession stand. Seat capacity was
downsized by a third, scaled back from 900 to
600 chairs, to offer patrons more legroom. All
four auditoriums boast brand-new digital projectors
and sound systems. And the remodeling
wasn’t just cosmetic—the ceilings and floors
were redone completely, and the outdated ventilation,
plumbing and electrical systems were
all updated. By the time the Logan reopened in
March 2012 with a $1 admission, $1 popcorn
and $1 fountain drinks deal, Fishman had
spent $1.5 million on renovations.
It isn’t just the Logan that enjoys a new lease
on life these days but its devoted, hopelesslyin-love
owner as well. The 55-year-old Fishman
explains that his previous theater industry experience
consisted of “buying a ticket and watching
the movie.” He learned virtually everything
20 BOXOFFICE PRO OCTOBER 2012

on the job and now spends his days scheduling showtimes, organizing
special events, doing bookkeeping and learning to deal with the studios.
“Developing a business is like developing a building,” he says confidently,
clearly a veteran of both fields.
In one important respect, however, Fishman has a clear advantage: he
knows the Logan Square neighborhood, and thus his core clientele, like
the back of his hand. He has worked in the area for nearly three decades
and boasts that it’s the “perfect city neighborhood”—the place to be for
artists, foodies and young professionals. Under Fishman’s direction, the
theater is becoming a perfect microcosm of Logan Square. To please the
stroller crowd as well as the hipper-than-thous, the theater sticks to a
tried-and-true combination of family-friendly, independent and R-rated
films.
But it’s arguably the concession selections, promotional events and
community activities that most distinguish the Logan as a neighborhood
landmark. The concession menu was updated along with the building,
and the Logan now offers upscale snacks sourced as locally as possible.
Revolution Brewing, which supplies the theater with a variety of beers, is
located down the street. Bobtail, a small, local ice cream chain, provides
homemade cold treats. Hot dogs come with Chicago-style fixins’ (poppy
seed bun, yellow mustard, diced onion, pickle spear, sliced tomato, celery
salt, pickled sport peppers). A local chef developed cornmeal-crust pizzas
for the theater.
Plus, there’s always a reason to drop by the theater. The Logan is host
to stand-up comedy open mikes on Mondays, free popcorn specials on
Wednesdays and beer discounts on Thursdays. The screens in the lounge
regularly play creature features and sports games. Midnight shows occur
regularly, and Tuesdays will soon become trivia nights. With the exception
of the free popcorn, anybody can pop into the theater to enjoy these
events, even without a movie ticket. “We’re running it like a family business,
a neighborhood business,” says Fishman.
The renovations have also helped Logan become a staple of the greater
Chicago arts community. The remodeled theater joins the long list of
Chicago’s architecture gems and will host the Chicago International Film
Festival and the Chicago International Movies & Music Festival. It has
served as the location of premiere screenings by local filmmakers and has
become a popular venue for weddings, birthday parties and other private
events. Fishman hopes that the Logan will also host concerts and art
shows in the future.
“We’re trying to find out who we are,” he says, speaking for the
theater. But Fishman might as well also be speaking for residents of
Logan Square and Chicago at large. Thanks to his support of the Logan,
Chicagoans can now enjoy the opportunity to discover who they are—
and do so in a dazzling building that represents their city’s past and
ever-changing present.
OCTOBER 2012 BOXOFFICE PRO 21

3D RELEASE CALENDAR presented by MasterImage 3D
2012
OCT 5 DISNEY FRANKENWEENIE
OCT 26 OPEN ROAD SILENT HILL: REVELATION 3D
NOV 2 DISNEY WRECK-IT RALPH
NOV 21 FOX LIFE OF PI
NOV 21
DEC 14
PARAMOUNT /
DREAMWORKS
WARNER BROS.
RISE OF THE GUARDIANS
THE HOBBIT: AN UNEXPECTED
JOURNEY
DEC 19 DISNEY MONSTERS, INC.
DEC 21
JAN 4
JAN 11
JAN 25
PARAMOUNT
LIONSGATE
PARAMOUNT
2013
SONY / SCREEN GEMS
CIRQUE DU SOLEIL: WORLDS
AWAY
THE TEXAS CHAINSAW
MASSACRE 3D
HANSEL AND GRETEL: WITCH
HUNTERS
BATTLE OF THE YEAR: THE
DREAM TEAM
FEB 14 WEINSTEIN COMPANY ESCAPE FROM PLANET EARTH
MAR 8 DISNEY OZ: THE GREAT AND POWERFUL
MAR 22 WARNER BROS. JACK THE GIANT KILLER
MAR 22 FOX THE CROODS
MAR 29 PARAMOUNT G.I. JOE: RETALIATION
APR 5 UNIVERSAL JURASSIC PARK
MAY 12 FOX EPIC
MAY 17 PARAMOUNT UNTITLED STAR TREK SEQUEL
JUN 21 DISNEY MONSTERS UNIVERSITY
JUL 3 UNIVERSAL DESPICABLE ME 2
JUL 3 FOX INDEPENDENCE DAY 3D
JUL 19
FOX / DREAMWORKS
ANIMATION
TURBO
JUL 31 SONY / COLUMBIA THE SMURFS 2
SEP 13 DISNEY THE LITTLE MERMAID
SEP 20
FOX
STAR WARS: EPISODE II -
ATTACK OF THE CLONES 3D
OCT 4 WEINSTEIN COMPANY SIN CITY: A DAME TO KILL FOR
OCT 4
DISNEY
UNTITLED HENRY SELICK 3D
PROJECT
NOV 8 FOX / DREAMWORKS MR. PEABODY & SHERMAN
NOV 8
SONY
NOV 27 DISNEY FROZEN
NOV 27 —
DEC 13
WARNER BROS.
ONE DIRECTION CONCERT
MOVIE
POSTMAN PAT: THE MOVIE -
YOU KNOW YOU’RE THE ONE
THE HOBBIT: THERE AND BACK
AGAIN
DEC 20 FOX WALKING WITH DINOSAURS
DEC 25 UNIVERSAL 47 RONIN
FEB 7
FEB 28
2014
SONY/COLUMBIA
WARNER BROS.
MAR 14 DISNEY MALEFICENT
CLOUDY2: REVENGE OF THE
LEFTOVERS
LEGO: THE PIECE OF
RESISTANCE
MAR 14 FOX / DREAMWORKS ME AND MY SHADOW
APR 11 SONY / COLUMBIA STRETCH ARMSTRONG
MAY 2 SONY/COLUMBIA THE AMAZING SPIDER-MAN 2
MAY 30 DISNEY THE GOOD DINOSAUR
JUN 20
DEC 19
JUN 19
FOX / DREAMWORKS
UNIVERSAL
DISNEY
2015
HOW TO TRAIN YOUR
DRAGON 2
UNTITLED MINIONS PROJECT
IN 3D
THE UNTITLED PIXAR MOVIE
THAT TAKES YOU INSIDE THE
MIND
JUL 24 SONY / COLUMBIA THE SMURFS 3
AUG 2 WARNER BROS. 300: BATTLE OF ARTEMISIA
NOV 6
FOX / DREAMWORKS
UNTITLED DREAMWORKS
ANIMATION PROJECT

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ALTERNATIVE
CONTENT PLUGS
THE PROGRAMMING
GAP FOR BOTH
MOVIE THEATERS
AND MOVIEGOERS
by Annlee Ellingson
A SCENE
FROM WAGNER’S
GÖTTERDÄMMERUNG
WITH DEBORAH VOIGT
AS BRÜNNHILDE AND
JAY HUNTER MORRIS
AS SIEGFRIED
BROADCAST BY
NCM FATHOM
Ken Howard/Metropolitan Opera
■ The advantages that alternative content offers exhibitors are familiar and numerous. With
movie theaters averaging 15 percent capacity—and five percent during the week—new and
different programming potentially puts more butts in seats. Some events, the hugely successful
The Met: Live in HD, for example, draw audiences that may not otherwise patronize
the movie house. Exhibitors charge a premium price for premium alternative content, and
more customers through the door mean more customers at the concession stand—both of
which are good for the bottom line. And there are more movie screens than ever before, yet
fewer major studio releases each year, so theater operators are desperate for content.
(continued on page 26)
24 BOXOFFICE PRO OCTOBER 2012

ALTERNATIVE CONTENT
D&E
ENTERTAINMENT
BROUGHT THE 1967
BEATLES FILM YELLOW
SUBMARINE BACK TO
THEATERS EARLIER
THIS YEAR
Although players in the space say that this
type of programming is still in its infancy,
alternative content has gained a foothold in
movie theaters over the past decade. Alternative
content providers have learned a thing or two
about what audiences want—and we’ve asked
them to share their insights about what makes
people go to the multiplex to not see a movie.
CHOICE
“Audiences want control over how they engage
their content—in theaters, on a computer,
iPad, iPhone, smart TV, via Netflix, Hulu,
SnagFilms, VOD, iTunes, etc.,” says Rich Angell,
principal at Arnold Park Digital, a media
company that has partnered with Sonic Equipment
to outfit independent movie theaters with
digital cinema equipment in exchange for playing
Arnold Park’s exclusive content. “They also
want to be able to choose what content they
engage. … However, there is less of a choice
when it comes to the theaters, be it at the major
cineplexes or independents.”
Industry leader NCM Fathom has found
success appealing niche audiences too small
for television to cater to, citing Drum Corp
International, the high-school marching band
competition that it’s broadcast for nine years.
“It’s incredibly successful every year,” says CEO
Kurt Hall. “We can make it work because all
we need is somewhere in the neighborhood of
300 to 500 avid fans in any given market to
make it successful for us. Being able to cater to
these more niche or focused groups of people is
a key attribute of what we do.”
AN EVENT
“Filmgoers want an experience at the theater,”
says Jonathan Chaupin, director of film marketing
and distribution for D&E Entertainment, which
releases 8 to 12 films a year, specializing in concert
movies for the likes of Led Zeppelin, Bruce
Springsteen, Jimi Hendrix, and the Killers, but
also handling sports, documentaries and comedy
films. “I’ve been to many concert films, both live
and prerecorded, and it’s still an incredible communal
thing to watch fans stand in their seats or
the aisles in movie theaters. Albeit the experience
is different, it’s still an experience, and it’s what
people are looking to get out of their homes and
do during the week or on the weekends.” D&E
sweetened the deal for families attending its Yellow
Submarine screenings, for example, by handing out
Beatles kids books and branded yellow tote bags.
LIVE AND 3D
“Our main focus is on the live experience,”
says Julie Borchard-Young, president of BY
Experience, which distributes events ranging
from The Met to the Big Four (Metallica, Slayer,
Megadeth and Anthrax). “That’s where we sort
of stuck our flag in the ground and made our
mark with the belief that live or as close to live
as possible is really what galvanizes audiences to
congregate in movie theaters.”
NCM Fathom is taking live alternative
content a step further, experimenting with live
3D. “We did 3D for the World Cup a couple
of summers ago, we did a little Wimbledon last
summer, and we’re experimenting right now
with UFC, so clearly right now 3D provides a
value proposition [consumers] can’t get in the
home,” says Hall. “If you provide something
that’s unique and they can’t get elsewhere, that’s
something that will really drive people to the
theaters.”
INTERACTIVITY
“In L.A., there’s nothing like going to
Landmark Theatres or the ArcLight, watching
the movie, and then seeing the cast come
out and answer questions live. That’s just
awesome,” says Chaupin. With digital satellite
capability, moviegoers all over the country
can see the same film and then “watch a live
Q&A after the film that’s being filmed in
L.A. at ArcLight Cinemas. … You’ll be able
to tweet a question from your theater in Birmingham,
Alabama, as to why the filmmaker
made that choice.”
“During the intermissions in our operas, we’ve
put the Twitter feed up on the screen so people
can see people tweeting reactions from theaters all
over the country,” adds Ira Deutchman, managing
partner of Emerging Pictures. “These are the sorts
of things that make people feel like they’re part
of something larger, and I feel like that is what
makes people want to go to the movies.
REGULAR PROGRAMMING
“Alternative content needs to be packaged
in strands,” says Deutchman, whose Emerging
Pictures offers programs like Opera in Cinema,
Ballet in Cinema and festivals built around a
filmmaker or country of origin. “Consistency
of programming over a long period of time is
what’s necessary to really build an audience. The
Met is perhaps the best example of that because
they’ve stuck to a very clear schedule, and over
the number of years that they’ve been doing it,
the audience keeps growing.”
“Some of our exhibitor partners said to us
that they intend to have a dedicated auditorium
in their multiplex for alternative content,” adds
Borchard-Young. “They want seven days a week
to have something going on on that screen.”
COMMUNITY
Both Hall of NCM and Chris McGurk,
CEO of Cinedigm, also talk about programming
what they call “channels,” dedicating an
auditorium each weeknight to a different genre
of alternative content such as the arts, action
sports or documentaries. “And documentary
filmgoers love to discuss their documentaries
with other likeminded intelligent people,”
says McGurk. “By doing it under a banner—
‘Monday night is Doc Night’ or whatever—
they’re going to know if they go to their local
theater at 7 o’clock on Monday night, not only
are they going to get to see a great doc, but
they’re going to have an audience of people
who are just like them who they can meet and
discuss the doc and that kind of thing.”
(more Alternative Content on page 28)
26 BOXOFFICE PRO OCTOBER 2012

ALTERNATIVE CONTENT
EMERGING
PICTURES FOUND
ALTERNATIVE
CONTENT
SUCCESS WITH THE
DOCUMENTARY
JOFFREY: MAVERICKS
OF AMERICAN
DANCE
ALT INDIE
FEATURE FILMS FIND DISTRIBUTION UNDER AN ALTERNATIVE CONTENT MODEL
by Annlee Ellingson
NCM Fathom will present the TCM Event
Series double bill Frankenstein and The
Bride of Frankenstein on Wednesday,
October 24, 2012.
■ Over the past 115 years or so, movie theaters
played, well, movies. Although the feature has
been programmed historically with newsreels and
shorts and today with preshow entertainment
and advertising, the main event until recently has
always been a film. With the advent of alternative
content, however, that’s not necessarily the case,
with music, theater and sports events increasingly
appearing in multiplex auditoriums.
What, exactly, alternative content consists of,
though, is still being defined. “How do you define
alternative content?” poses Kurt Hall, CEO of
NCM Fathom. “That in itself is going to be a
struggle over the years. That’s why its name is not
a very catchy name.”
(continued on page 30)
NCM Fathom will present the TCM Event
Series film To Kill A Mockingbird starring
Gregory Peck on Thursday, November 15,
2012.
28 BOXOFFICE PRO OCTOBER 2012

ALTERNATIVE CONTENT
TRAVIS BARKER
GETS TATTOOED
DURING FILMING
FOR DOCUMENTARY
TATTOO NATION BEING
RELEASED BY D&E
ENTERTAINMENT IN
EARLY 2013
There are some parameters. Alternative
content, for example, plays once or twice on
cinema screens rather than four to six shows a
day, seven days a week. Some alternative content
companies, though, are indeed programming
feature films under that kind of schedule.
“The world of independent film and the world
of alternative content are in effect slowly merging,”
says Ira Deutchman, managing partner of
Emerging Pictures.
Film releases under the alternative-content
model include deserving independent and
documentary films that might not otherwise
see the light of a projector. “Tons of films a
month are being distributed on VOD, and it’s
difficult for them to separate themselves from
others,” says Jonathan Chaupin, director of film
marketing and distribution for D&E Entertainment,
who scours not only festivals but
Kickstarter for content. “It helps filmmakers
negotiate their other revenue streams if they got
exposure at the theatrical level.”
Deutchman cites Joffrey: Mavericks of
American Dance as a surprise success story for
Emerging Pictures. “It was a film that could
have been done any number of ways, but we
collaborated with the filmmakers to make it
into an event,” he says. “It was done from Lincoln
Center, where it was the opening night of
NCM Fathom will present Lawrence of Arabia 50th
Anniversary Event: Digitally Restored on Thursday,
October 4, 2012, featuring an exclusive introduction
from Lawrence of Arabia star and Academy Award
nominee Omar Sharif.
a series called Dance on Camera, and it turned
out that we did very, very nice box office just
about everywhere that it played.”
Meanwhile, Monumental, a documentary in
which Kirk Cameron retraces the steps of the
Pilgrims, did well for Fathom with the promotional
backing of its star and other celebrities
like Glenn Beck, whose comedy stage shows
have also been distributed by Fathom. Fathom
is also repackaging classic movies like The Birds,
Lawrence of Arabia and To Kill a Mockingbird
with extra never-before-seen-content, and
Emerging Pictures is programming series
around filmmakers like Jacque Tati, Charlie
Chaplin, Alfred Hitchcock and Kurosawa.
Cinedigm is bullish on this idea of series
programming. “We’re very focused on beginning
to launch what we call channels—alternative
content channels into theaters,” says Chris
McGurk, CEO, citing documentaries, action
sports and urban programming as good candidates
for regular weeknight series. “We hope to
have three or four of these alternative content
programs debuting in theaters in the next 12
months. And each one of those would have at
least one new content presentation per month.
… You’re talking about a very high volume of
new content being presented to exhibitors.”
(more Alternative Content on page 32)
30 BOXOFFICE PRO OCTOBER 2012

“…and each issue of BOXOFFICE PRO has interesting articles on the state of the industry and
upcoming releases. I also enjoy the profiles of others in exhibition and articles about new
technologies and vendors.”
“I joined NATO in 1982 and immediately felt the benefits of the organization. NATO
was very helpful in providing resources and information in the fight against blind bidding,
as well as assisting me with an issue regarding local sales tax.
I would encourage exhibitors regardless of their size to join NATO and take advantage
of its resources, information and leverage that only a larger industry
group can provide. With the introduction of digital cinema, NATO worked
publicly and behind the scenes to ensure exhibition was positioned as best
as possible to implement this new technology. From Hollywood to Washington,
NATO assists with new technologies, marketing, legislation and
industry issues that impact theatre owners and moviegoers nationwide.
I’m excited about the constant evolution of technology and amenities
that we can offer our guests. The wheel of innovation spins at an
increasingly progressive rate with each passing year. The future holds
unlimited opportunity to make moviegoing an unparalleled, communal
experience. NATO continually watches for what is on the horizon and
has always helped exhibitors prepare for new challenges and opportunities.
I am proud to be part of an industry that readily steps up to the
plate and invests in new innovations and amenities so we can ensure
that our guests enjoy the ultimate moviegoing experience.
I always recommend that exhibitors join NATO.”
Dan Harkins
Owner & CEO
Harkins Theatres
THE OFFICIAL MAGAZINE
OF THE NATIONAL
ASSOCIATION OF
THEATRE OWNERS

ALTERNATIVE CONTENT
THEATERS
ON DEMAND
START-UP TUGG LETS
MOVIEGOERS KICKSTART
SCREENINGS
by Annlee Ellingson
Who determines which movies play at the neighborhood
movie theater this weekend? Ideally, it’s the
exhibitors themselves, local managers who screen
movies in advance and curate their selection to please
their surrounding demographic. More likely, it’s an
executive who oversees several theaters in your region,
if not throughout the country, blanketing auditoriums
with the blockbusters with the broadest appeal. And
although block booking was outlawed in 1948, it could
also be a major distributor who bundles less attractive
titles with sought-after tentpoles through creative pricing.
The one player missing from this equation? The audience.
What if movie-lovers with ticket money clenched
in their hands could book a movie at your local moviehouse?
With Tugg, they can.
■ Dubbed “theatrical on demand,” Tugg’s concept allows users, called
“promoters,” to log on to www.tugg.com and select a program from 650-
plus titles. Then they indicate the date they would like their event to take
place and choose a local theater. (With deals with major chains including
AMC, Cinemark, Rave and Regal, the Tugg network is composed of
more than 75 percent of U.S. theaters). It’s up to the promoters to tout
the event and get people to buy tickets in advance. If enough tickets are
sold within a certain timeframe, Tugg schedules the screening; if not,
ticket buyers get their money back.
“Over the past many years, as a lot of other technologies have
matured, obviously online, the ease with which people can find
content they want to see when they want to see it [has increased],”
says Tugg co-founder and CEO Nicolas Gonda,
who has worked in distribution and as a producer for
Terrence Malick (The Tree of Life, the upcoming To the
Wonder), himself a Tugg board member. “There’s also
been a growing trend of crowdsourcing, whether it’s
something like Kickstarter or Indiegogo. … In a day
and age where crowdsourcing of all kinds is so present,
the movie theater is one of the most obvious destinations
because it exists in almost every community, and it is
intended for social assembly, for these shared experiences.”
Just a few months into operation—the startup launched in
March at South by Southwest—Tugg has facilitated the exhibition of
all kinds of content, from repertory titles that allow moviegoers to relive
their favorite movie theater experiences from classic crowd-pleasers to
discussion-stirring documentaries to independent films that wouldn’t
otherwise ever reach some smaller communities.
Hosting these screenings is a win-win for exhibitors. “Most movie
theaters, even really successful movie theaters, always have a little bit
of excess inventory midweek,” says Tim League, founder and CEO of
TUGG’S
TITLES INCLUDE
DOCUMENTARIES
(AMERICAN GRINDHOUSE),
CLASSICS (THE
APARTMENT), ANIMATION
(A CAT IN PARIS),
INTERNATIONAL (DAS
BOOT) AND RECENT
HITS (CHRONICLE)
Alamo Drafthouse, which has screened several dozen Tugg events. “What
Tugg does without a huge amount of effort, it enables the theater to find
programming for those slots and find a guaranteed audience for those
slots. The show doesn’t go on unless it’s going to be a successful event for
all parties involved, so it’s a fairly elegant solution.”
Once the costs of the event are covered through minimum ticket
sales, each of the participants—Tugg, the theater, the content owner and
the promoter—get a cut of revenues.
But more than supporting the bottom line, Gonda adds, Tugg screenings
help theaters fulfill their role in the community. “The goal of
most theater managers and most theater chains is for people
to consider the movie theater an extension of their own
community, reflecting the interests of that local community.
I haven’t met one theater owner whose goal
that isn’t,” he says. “Through Tugg, that becomes a
daily ritual.”
It’s not the case, though, of build-it-and-theywill-come.
“A lot of people think, ‘Hey, this is a great
movie! If I show it, people will come,’” says League.
“That’s just not the reality for any side of the business,
so you really have to do the hard work of promoting
and advertising and leveraging your friends and building
excitement and enthusiasm.” A good promoter, League adds,
will offer added value like introductions and Q&As, stunts and games,
and giveaways that enhance the experience.
“Most people have profound memories of a movie theater when it
projected something meaningful to them,” Gonda says. “Now we’re in a
day and age where that can become a regular thing, a regular event where
people can consider the movie theater to be a true reflection of their
interests. And so with that capability, we’re very confident that we’re just
at a dawn of a new era of moviegoing.”
32 BOXOFFICE PRO OCTOBER 2012

CHRISTOPHER
KIRBY AND JULIA
DIETZE IN ONE
OF TUGG’S MOST
POPULAR OFFERINGS,
THE DARK SCI-FI
COMEDY IRON
SKY
OCTOBER 2012 BOXOFFICE PRO 33

BIG
PICTURE
34 BOXOFFICE PRO OCTOBER 2012

BESIDES
HOMELESS
Q*BERT, WHO
ELSE CAN YOU
SPOT IN GAME
CENTRAL
STATION?
Attack of the Arcade
Appealing to fans of Frogger to first-person shooters, Disney’s made the multigenerational
hit of the holidays
In the beginning, there was Pong. Atari launched it in 1972, and now 40 years later, Walt Disney is honoring the
legacy it left behind with Wreck-It Ralph, a cartoon about a pixeled bad guy (voiced by John C. Reilly) who’s ready
to stop smashing buildings in the video game Fix-It Felix and start playing nice. His unusual hero’s journey takes him
to Game Central Station, a power strip in his old-school arcade that channels him into modern fare like the candycrazy
racing game Sugar Rush and Hero’s Duty, a violent first-person shooter. Says director Rich Moore, everyone
from 15 to 50 claims Wreck-It Ralph was made for his or her generation—expect a cross-section stampede of video
game fans from all eras to storm your theater when Disney releases it on November 2.
(continued next page)
OCTOBER 2012 BOXOFFICE PRO 35

BIG PICTURE > WRECK IT RALPH
8-BIT EDUCATION
TO DESIGN WRECK-IT RALPH, DISNEY INSTALLED AN
ARCADE FOR ANIMATION SUPERVISOR RENATO DOS
ANJOS—TOUGH GIG, RIGHT?
by Renato Dos Anjos, as told to BOXOFFICE
■ Wreck-It Ralph is very specific: he’s nine feet tall and 643 pounds.
I can tell you this much: whoever wears his suit at Disney World will
have to be a pretty tall guy. Animating his hands was such a complicated
ordeal because every time he moves his hands around, he tends to touch
things—they’ve got a vast amount of motion because they’re so massive.
Rich Moore really wanted Wreck-It Ralph to feel like a classic Disney
film, but his hands—mostly his hands but also his body and legs—gave
us a lot of challenging moments, trying to make sure they are conveying
an idea and an expression with proportions that are very odd.
Ralph when off the job is smoothed out and three-dimensional. But
in the game, he’s flattened and pixelated, yet he still has to look like
himself. Everything that’s designed in the world is done in the same way
it would’ve been done back in the ’80s when they were creating these
games. And transferring that was a bit of a challenge because we wanted
people when they watch our animation in 3D to always be aware of the
world that they’re coming from. There are people who live inside the
Felix Jr. game and their poses are very simple and iconic and very much
remind you of the 8-bit world. The challenge comes when they need to
act. There was a limited range of poses and motions that you could use to
convey an idea and an emotion, so the challenge for
us in animation was how to make sure they’re
as genuine as all the other characters in the
movie but also remind you that they’re coming
from this very simplistic animation style
of game. There e was a lot of back and forth,
a lot of studying.
Even though these original video game
designs were limited, there’s a huge artistry that
goes with that. Making something simple—
even if it’s very easy—when you do it well,
there’s a huge connection with the audience, like
Frogger or Sonic or even Ralph. They’re all
very simplistic characters with very limited
animation, but they’re so appealing that it
makes people connect with them.
They built an arcade for us inside the
studio so we could go in and play. There
were about eight machines in there—some
very iconic games from the ’80s, some
more modern ones and stuff like that.
As for who had the highest score in
our private arcade, we kept
it civil for the most part.
We had some animators
who never really
played games, so
we actually
had classes on
how to play
video games.
It was pretty
funny. We
explained
to them,
“Here’s how
you use the
controller.” Some people went to arcade places in the Valley, which was
an awesome research trip! One other really cool thing was that at one
point we were starting to study how the cars would work in the racing
game Sugar Rush, so we took all the animators down to a go-kart place
in the Valley just so everyone could have the feeling of how these cars
move, how to control them, how they kind of swivel and lose traction.
I’m not going to lie—the movie was really hard. When you’re working
with these characters we all know and love, all these cameos, it was kind
of like a responsibility: we wanted to make sure they were as true to the
games as they could have been. So we worked with the companies that
let us use them to make sure we were doing the right thing. Nintendo
had a lot of notes, actually, which helped us a lot. From how Bowser’s
eyebrows were shaped, from his eyes and pupils, to his knees and how he
held things like a coffee cup.
Sonic the Hedgehog had really specific things: how he bounces, how
he reacts to situations. I’m a huge Sonic fan myself—I grew up playing
Sonic—so for me, just having Sonic in the movie was the biggest thing
for me in the whole film. We felt like we were doing the right thing,
and then Sony gave us notes, and we went back and actually looked at
the game itself frame by frame and what they were asking for is actually
in the game itself. They were very involved as far as how the character
moves, how the character looks, colors, textures and everything. All
the notes were welcomed because we really wanted them to look just as
perfect as possible.
We had about 180-some unique characters, which is very unusual.
We usually only have about 60 or 65. And dealing with the different
styles of animation adds a whole different level of complexity. For
instance, when you have Felix interacting with Sergeant Calhoun, who’s
coming from a game that’s a lot more realistic, as an animator, on
one hand you have this character that’s very simplistic, that’s
very cartoony, and on his side is another person
who is a lot
more bound by reality. Normally when we’re animating
Tangled or
Bolt, at some point everybody understands the
style. But here, that was harder to accomplish
because
everything, every world, is so different. It
would be a huge payoff if people could notice
the amount of work that went
into each
specific world but also made
you felt like
you’re watching one cohesive film.
I think it’s definitely
a touch-
stone, an amazing opportunity, that
we’ve had here to work with these
characters that we grew
up with and
know so well. When one of our
animators was animating Bowser,
he was like, “I can’t believe that I’m
actually going to animate Bowser! This
is insane!” But if I play any
more video
games than I play
now, I
think my wife’s going to
divorce me.
RALPH AND
HIS PERKY NEW
FRIEND VANELLOPE
VON SCHWEETZ,
VOICED BY SARAH
SILVERMAN
36 BOXOFFICE FI
PRO OCTOBER 2012

When Director Rich Moore was charged with inventing
a video-game-inspired film, he was thrilled—and then
came the rush of panic. How can you make dimensional
characters out of pixels who run and jump for quarters?
And when their every move is controlled, can
a personal story arc even exist? Then the answer hit
him: what if, say, Donkey Kong considered his barrelthrowing
a job—and better still, what if he wanted to
quit? With a few more tweaks, Moore had concocted
the outlines of Wreck-It Ralph, but filling in the details
took years. Plus, when you’re working on something
as universal as video games, everyone’s got an opinion.
Moore takes us inside the circuits of Disney’s next
big hit and describes the “lawless and amoral” digital
world he and executive producer John Lasseter hope
to visit in the sequel.
PINBALL
WIZARD
DIRECTOR RICH MOORE
IS THE MASTER OF THE
ARCADE
interview by Amy Nicholson
WHAT DOES RALPH KNOW
ABOUT THE DIFFERENCE
BETWEEN HIMSELF AND
HUMANS? DOES FREE WILL
PLAY INTO THIS?
There is some free will. They’re
not puppets or locked in. If someone
decided they weren’t going
to show up in their game, they
could do that—it’s just that there
would be consequences, like in
our world. It doesn’t happen often
in the game world that someone
just decides to go against the
programming, but it does exist.
As for Ralph’s look on the human
world, we don’t play humans as
something that our video game
characters are curious about. They
just know them instead as “the
players.” They’re like: we do this
job, we show up for work, we
are performers for these people,
and when they leave, we’re off
the clock. They’re not mysterious
to our characters—they’re part
of the deal. And one thing they
do know is that depending on
if the gamers like their games or
not, they’re at the mercy of the
players. If you’re not doing a good
job in your game—if you make
your game look broken, if there’s
something out of whack with your
game—the players have the power
of life and death. The plug could
be pulled on your game and could
render it out of order or turned
off, and you kind of go down with
the ship when it’s unplugged. Unless
you’re able to escape to Game
Central Station, as we see, like the
old-school games, like Q*bert.
His game was unplugged some
OCTOBER 2012 BOXOFFICE PRO 37

BIG PICTURE > WRECK IT RALPH
time ago, and he and the crew from his game
are living as homeless characters.
AND FOR Q*BERT, YOUR FILM EVEN
NEEDED TO COME UP WITH Q*BERT-ESE.
It was already written! We just had to translate
it.
YOU ONLY HAD TO SLAM YOUR FINGERS
ON THE KEYBOARD.
Just the punctuation keys.
WHERE IN YOUR BRAINSTORMING PRO-
CESS OF FIGURING OUT THIS WORLD DID
YOU HIT UPON THE IDEA OF GAME CEN-
TRAL STATION, WHICH ALLOWS RALPH
TO TRAVEL TO ALL THESE DIFFERENT
WORLDS?
We knew that we wanted to have a device in
which characters could go to different games.
And we kind of went back and forth about it:
“Okay, so if we’re doing this thing about video
games, should we make it about home games or
should it be in an arcade?” There’s one group of
people who would say, “It’s gotta be an arcade.
There’s something really nostalgic and great
about that, and visually it kind of sells it so
well.” Each cabinet is a different world. It’s like
a different character’s hometown, or their planet,
and they’re all plugged in to this big power
strip, which is a hub where they meet. Then
there was another school of thought that was
like, “Kids don’t really know what arcades are.
It should be in a home game, where the games
are all on a hard drive in someone’s house.”
As the director, I had to decide what tells the
story best. What’s interesting to see? And the
more we thought about making it a home game
that’s taking place in an Xbox or something,
just visually it didn’t seem as quick of a read
because if they all live on a computer chip,
how do you visualize that? And it’s starting to
sound like Tron, which
is little people living
on a game grid. I
went to my son,
who at the time
was about 15—I
wanted to go to
the source—
and I asked
him, “If it were
set in an arcade,
would people your
age know what that
even is? And he was like, “Of
course! How many birthday parties
have I been to at Chuck E.
Cheese?” And I realized, even if a
kid didn’t know the glory days of
the arcades, they still know what
they are. And my son, even at
15, he was so nostalgic for them
that it was kind of decided
then: let’s just go for it. Something feels right
about playing it in an arcade. So it was at that
point that we decided, okay, we’re going to
make this power strip as a hub.
At the time, Phil Johnston, the writer of the
movie, lived out in Brooklyn. He would come
to L.A. and we would work together and then
he would go back home. He was having a baby,
and so I’d also fly out there a lot and work
with Phil. We were thinking, “Okay, what is
this power strip area going to be like?” while
we were taking trains back and forth from
Manhattan to Brooklyn and literally walking
through Grand Central Station at the time. It
sounds so cheesy, but as we were standing in
Grand Central Station, Phil was like, “Well,
what about this? Why can’t it be like Grand
Central Station—just call it Game Central
Station?” The team was like, “Come on, it
can’t be this simple.” But we kept expanding
on it, and we really liked it, and it was stuck.
It would look cool, it’s “gettable,” and a power
strip could even look a little like the interior of
Grand Central Station.
IT SOUNDS LIKE A BIG “BINGO!” IDEA.
That’s kind of our process, that we make the
movie by remaking it and remaking it and
remaking it. We do seven internal screenings of
the movie in various stage of completion—that’s
over about two years that we do that—and these
versions of the movie are just simple kind of
black-and-white drawings, like a comic strip.
It’s called an animatic, where it’s a story reel of
little thumbnail sketches of all the action, all the
acting, the whole movie cut together, married
to like a rough soundtrack that’s usually a lot
of temp and scratch dialogue. It’s not the real
actors, but it becomes this kind of tool that
represents the whole movie, and then we sit
and talk about what we could do better next
time. What needs to be
scrapped, what needs
to be reworked. We
do that about six or
seven times in the
making of the movie.
I HEARD ONE
OF THE IDEAS
YOU GUYS HIT
UPON THAT
YOU ENDED UP
HAVING TO LEAVE OUT
WAS SENDING RALPH TO A
SIMS-STYLE VIDEO GAME?
Extreme Easy Living 2! I loved
that world. It was one of the
first ideas that we had. We
wanted at Ralph’s low point for
him to go to this place that was
kind of lawless and amoral. Like
Vegas and Daytona Beach—I
don’t want to insult any cities, but an eternal
spring break-type place where you get the
feeling that if Ralph stays here, he’s going to
die of alcohol poisoning. He’d be hopelessly
lost. It’s a very shallow game, think Sims mixed
with Grand Theft Auto, where it was a violent,
big party. And it had no right in being in an
arcade. There is no such arcade game like this,
but it was just so funny, so we came up with
this cabinet that was like a big leopard-print
recliner. Maybe three versions of this thing into
it, we came upon the moment where someone
said, “You know what? I think we have one video
game world too many in this movie. I think
bringing in Extreme Easy Living 2 at the end
of the second act is just a whole other world
the audience has to learn about—that may be
too much.” So after some debate, we kind of
all agreed that it had to go. But John Lasseter
and I both really liked it. When I broke the bad
news to him, he was like, “You know what? It’s
fine, because if this movie goes well, it’s just
like on Toy Story—we had so much material on
the first one that in Toy Story 3, we were using
ideas we had to scrap in the first because we
had too much stuff.” I’m really hoping we have
the good fortune to reexplore these worlds and
do another movie with these characters and to
be able to use Extreme Easy Living 2 because I
think people would love it. It’s a good world!
THIS MUST BE THE KIND OF PROJECT
WHERE EVERYBODY COMES UP TO YOU
WITH IDEAS BECAUSE EVERYBODY
LOVES VIDEO GAMES.
People have come up and said, “Is so-and-so
going to be in it? Are you gonna have this guy?”
Even at a Comic-Con, we’re doing a couple
of panels for it, and afterward folks in the
audience come up and say, “You gotta have soand-so!”
Well, I’ll definitely try. So you’re right,
it feels like it’s a subject matter that’s pretty dear
to a lot of people’s hearts, and I’m taking that
very seriously and trying to deliver what I hope
will succeed—and then some.
I ACTUALLY CAN’T THINK OF SOMETHING
ELSE THAT CUTS ACROSS SUCH A HUGE
SWATH OF AMERICAN DEMOGRAPHICS:
ALL AGES, ALL GENDERS. WELL, ALL
GENDERS—THERE’S TWO, OR THREE.
Five of ’em. All five genders and the two major
religions. It’s something that as we got deeper
into it we started to realize that this was something
multigenerational. That we had something
for guys and something for girls, for older people
and for younger people. Video games have been
around just long enough now that they have a
history to them. A person in their 60s knows
what they are, and a little kid knows what they
are. My son is a teenager, and his friends say,
“I can’t wait to see this movie because this is a
movie for us, man—this movie is for our generation.”
And then I see people in their 50s that say,
38 BOXOFFICE PRO OCTOBER 2012

“Good job, I know this is a movie for my generation.”
Ages in-between would say the same
thing. And as I was hearing that, it was like,
“Man, we’ve got something that feels powerful
and impactful to a lot of people.”
PART OF THE WAY IT FEELS LIKE IT
BELONGS TO THESE DIFFERENT GENERA-
TIONS IS THAT YOU MAKE A POINT OF
INCORPORATING ALL THESE DIFFERENT
ERAS OF VIDEO GAMES IN THE FILM.
Yeah, and that was really important because
we didn’t wanna just do a love letter to arcade
games in the ’80s and leave out newer gamers
or do stuff that was only about new games or
home games. That
felt like it kind of
alienated those people
who were part of
the beginnings of
video games, of that
culture. It wasn’t from
the standpoint of,
“How can we get the
biggest audience?” It
was more like, “What
would be fun to see?
What would make for
a good, rich world?”
Because I love video
games. I grew up
with them and I was
part of that generation
that started with
them, so they’ve been
a thread through my
life. I didn’t want to
just concentrate on
one area of my experience
with them.
TRUE, ALTHOUGH
RALPH HAS THAT
LINE ABOUT
MODERN FIRST-
PERSON SHOOTER
GAMES: “WHEN
DID VIDEO GAMES
BECOME SO VIO-
LENT AND SCARY?!”
And I love that line. I think I that that’s something
that parents will really get, you know,
people in their 40s and 50s, or even their 30s
with kids. People who think, “God, what’s happened
with these games?” People who started
with Pong and have seen Grand Theft Auto,
would kind of say, “Oh my—when did this
happen?” But then I think the younger gamers
would look at it and say, “Yeah, that’s our kind
of game!”
We never wanted to exclude anyone. I like
very inclusional comedy, stuff where there’s
something for everybody. Working on The
Simpsons way back when, that was a directive.
Matt Groening never wanted to have jokes that
excluded one group, to where it was too far to
adults or to where it felt like it was confusing to
young people. I like it where everyone’s having
a good time, and maybe if a kid didn’t get a
joke, they would feel like, “Oh, okay, maybe
I don’t know what that is now, but when I get
older I’ll get that.” When I was a kid I would
watch a lot of Looney Tunes, Warner Bros.
cartoons, and there were a lot of references that
just flew over my head that I knew went right
over my head. It was revisiting those cartoons
that made me think, “Oh, I’m finally getting
that. I knew that was a joke, I just didn’t know
what it was.”
AND I LOVED HOW THOSE OLD CAR-
TOONS TAUGHT YOU ABOUT THINGS
BEFORE YOU EVEN KNEW WHAT THEY
WERE. YOU HAVE BUGS BUNNY PUTTING
ON LIPSTICK AND IT’S AT THE SAME TIME
PRIMING YOU FOR ALL THESE ADULT
EXPERIENCES, SAY CLASSICAL MUSIC.
YEARS LATER, YOU’RE LIKE, “I KNOW
THAT OPERA!”
As a kid, I loved Mad magazine because it did
exactly what you’re talking about. It exposed
me to what the world is about. You know,
there are kind of weird things in the world,
but they’re kind of funny. If you can laugh at
them, you’ll get along better if you can just
look at the world with a sense of humor. Mad
magazine, when I was a little kid reading the
movie satires, taught me about movies. I read
Mad magazine’s satire of The Godfather before
I saw The Godfather. But the way they were
drawn and everything made me appreciate the
filmmaking language.
AS YOU MENTIONED, YOU CAME TO
DISNEY FROM THE SIMPSONS AND FU-
TURAMA. ARE THERE MANY PEOPLE AT
DISNEY WITH THAT BACKGROUND?
No, not really. There are a few people on
my story crew who are story artists from The
Simpsons and a couple of directors that came
over when I came
over to work on
Wreck-It Ralph. It
fits better than you
would think because
before Simpsons and
Futurama, a lot of
us were students at
CalArts. It was like
a kiln—four years to
prepare you for the
business of animation,
and you had
your class of about
25 to 30 people
which was like a
little family. For a
lot of us, it was the
first time to ever
really be around a
group of like-minded
people who loved the
animation the way
that I did. We lived,
breathed, ate, slept
animation—the art
of it and the business
of it—how it was
done and how it
could be applied and
the entertainment
value. And some of
us went into television,
some of us went
into movies, like myself and Jim Reardon [one
of the writers of Wall-E], who’s my head of
story on this movie. We both did a very long
time on The Simpsons back when the show
first started, while guys like Andrew Stanton, a
classmate, was up at Pixar with John Lasseter,
working on that territory. So really, our sensibilities
are all very similar, but we all bring
a different point of view to the work. It’s not
something where someone would say, “Well,
is Rich a good fit for Disney?” We come from
the same source, you know—we’re all trying
to tell stories with characters that you love and
incredible, believable worlds with humor and
a lot of heart.
OCTOBER 2012 BOXOFFICE PRO 39

ON THE
HORIZON
by Sara Maria Vizcarrondo
TEXAS CHAINSAW
MASSACRE 3D
FUN WITH MEAT
■ Beginning where the original 1974
indie horror ended, this sequel to the
otherwise slipshod Texas Chainsaw
“sequels” attempts to take some literal
steps in director Tobe Hooper’s shoes.
Previous stories about our favorite graverobbing
cannibal Texans introduced the
backstory behind the mysteriously silent
Leatherface and played up the possible
incestuousness of his family. One even
starred Matthew McConaughey! But
none aimed to start its story right on
the heels of the original. Here, a girl has
to return to backwater Texas to collect
an inheritance and learns quickly the
irrelevance of money when you’re faced
with a chainsaw-wielding maniac. The
only part of the premise that might
scare fans is the fact that director John
Luessenhop (Takers, Lockdown) seems
to be cashing in on the film’s reputation
as a cult classic and confusing “cult” for
“low rent.” Surely the original was made
on the cheap, but it’s become a macabre
masterpiece that’s ritually taught in film
studies classes—it’s definitely not brainless
(except for some of the corpses).
The film’s been tossed around the release
calendar like a hot potato, but its early
January release date should give horror
fans a healthy jolt after the end-of-theyear
crush of family and Oscar flicks.
DISTRIBUTOR Lionsgate CAST Alexandra
Daddario, Tania Raymonde,
Scott Eastwood, Bill Moseley,
Gunnar Hansen, Marilyn Burns,
Dan Yeager DIRECTOR John Luessenhop
SCREENWRITER Kirsten Elms
PRODUCER Carl Mazzocone GENRE
Horror RATING TBD RUNNING TIME
TBA RELEASE DATE January 4, 2013
HANSEL AND GRETEL: WITCH HUNTERS
NOTHING SWEET ABOUT THEM
■ Writer-director Tommy Wirkola got the world’s attention with Dead Snow, a tongue-incheek
Norwegian slasher story about Nazi zombies. Harrowing and hilarious, it positioned
Wirkola as a good candidate for this fairy-tale revamp. The premise begins with adult
Hansel and Gretel, now 15 years after their “traumatic gingerbread incident.” (Well, they
did narrowly escape being burned alive in an oven.) These siblings are survivors, so they
have turned their childhood baggage into a business and become bounty hunters who boast
a shocking rate of recovery. They target witches all across the land, but they’re not alone in
their biz. It’s a competitive industry, which means these guys aren’t just vigilantes angling
to chase out their own demons, they’re competitors in a free market providing no sleep for
the wicked. Especially if the wicked have candy. This actioner stars a post-Bourne Jeremy
Renner and a post-Bond-girl Gemma Arterton but has tacked on producer Will Ferrell to
amp up the comic factor.
DISTRIBUTOR Paramount CAST Jeremy Renner, Gemma Arterton, Peter Stormare,
Famke Janssen, Zoe Bell, Thomas Mann DIRECTOR Tommy Wirkola SCREENWRITERS
Tommy Wirkola, D.W. Harper PRODUCERS Will Ferrell, Beau Flynn, Chris Henchy,
Adam McKay, Kevin J. Messick GENRE Action/Comedy/Horror RATING TBA RUNNING
TIME TBA RELEASE DATE January 11, 2013
40 BOXOFFICE PRO OCTOBER 2012

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OCTOBER 2012 BOXOFFICE PRO 41

ON THE HORIZON
MAMA
MEET UNIVERSAL’S NEWEST MONSTER
■ Guillermo del Toro executive produced this Canadian
horror by Spain’s Andres Muschietti, which is
why you’ll otherwise see this film called “Guillermo
del Toro presents Mama.” The film began as an ambitious
short—a captivating two-shot thriller directed
by Muschietti that featured a mother who lost her
children and was using a waifish pair of orphans in
a ghostly bid to recover her own babies. Consistent
with his interest in frightful families and new talent,
del Toro globbed on as a “producer/mentor” early on
and tapped Hollywood’s go-to girl Jessica Chastain
(Tree of Life, The Help) to star as the wife of a dedicated
family man (Nikolaj Coster-Waldau) whose young
nieces were lost in the woods for five years. As the
couple’s own children are dead, this seems like an opportunity
to recover the joy they lost when they lost
their kids, but the nieces seem guided by something
outside of them—a ghostly presence they suggest is
their mother. Chastain was the eternal mother in Tree
of Life; let’s see what she can do with this Mama.
DISTRIBUTOR Universal CAST Jessica Chastain,
Nikolaj Coster-Waldau, Megan Charpentier DI-
RECTOR Andrew Muschiett SCREENWRITERS Neil
Cross, Andres Muschietti, Barbara Muschietti
PRODUCERS J. Miles Dale, Barbara Muschietti
GENRE Horror RATING TBA RUNNING TIME TBA
RELEASE DATE January 18, 2013
THE LAST STAND
ARNOLD MEETS ASIA
■ South Korea has enjoyed an inspiring tidal wave of
great pictures in the last decade. Americans became
aware when Bong Joon-ho’s The Host hit the states with
the fury of The Blair Witch. That environmentally aware
monster movie proclaimed its dedication to American
horror (most notably, John Carpenter’s The Thing), and
an allegiance was struck. But then things got really kooky.
Later titles like Oldboy (Park Chan-wook) showed off
stunning action, while Poetry (Lee Chang-dong) recast
horror in a more insidious context. And now the cross-
Pacific cultural mash-up comes full circle: The Last Stand
is the first Hollywood blockbuster with a Korean director
at the helm. Early word on the film boosts it as a “neo-
Western” in the vein of James Mangold’s 3:10 to Yuma
remake, but it’s made by a man who takes the concept of
the Western into totally different terrain—director Kim
Jee-woon made a glorious cult splash with his oddball
steampunk train-heist flick The Good, the Bad, the Weird.
Here, he’s tasked with directing the après-Governator
Arnold Schwarzenegger in his first starring role since
T3. It’s a good role for him—Arnie plays the sheriff of a
small, sleepy border town who’s pressed to stop a recently
escaped cartel leader from reaching home and collecting
$200 million. Hey, anything’s possible this side of Korea.
DISTRIBUTOR Lionsgate CAST Arnold Schwarzenegger,
Eduardo Noriega, Forest Whitaker, Jaimie
Alexander, Harry Dean Stanton, Johnny Knoxville,
Peter Stormare, Luis Guzmán DIRECTOR Kim Jeewoon
SCREENWRITER Andrew Knauer PRODUCER
Lorenzo di Bonaventura GENRE Neo-Western RAT-
ING TBA RUNNING TIME TBA RELEASE DATE January
18, 2013
42 BOXOFFICE PRO OCTOBER 2012

TM
OCTOBER 2012 BOXOFFICE PRO 43

COMING
SOON
by Sara Maria Vizcarrondo
TAKEN 2
DON’T TAKE MY DAUGHTER! MAKE
THAT, MY EX-WIFE!
I’m not sure how it’s possible for Maggie Grace
to get kidnapped and sold again without making
the audience feel like it’s kinda her fault.
Sure, that sounds pitiless, but when the writers
were asked to concoct a sequel to the surprise
hit Taken, you just know they blanched. This
time around, Liam Neeson again elicits swoons
from the mothers in the crowd by stopping at
nothing to recover his daughter—and this time
around his ex-wife too—from the clutches of
the thugs who poached his daughter in the first
film. This revenge is fierce and stars all the same
actors.
DISTRIBUTOR Twenteith Century Fox CAST
Liam Neeson, Famke Janssen, Maggie
Grace, Rade Serbedzija DIRECTOR Olivier
Megaton SCREENWRITERS Luc Besson,
Robert Mark Kamen PRODUCER Luc
Besson GENRE Action RATING PG-13 for intense
sequences of violence and action,
and some sensuality RUNNING TIME TBD
RELEASE DATE Oct. 5, 2012
SISTER L’ENFANT D’EN HAUT
SIBLING ROBIN HOODS STEAL FROM
SKIERS
Jeff Lipsky’s newest distribution label, Adopt
Films, is rolling out some really top-shelf
foreign titles, and this is the third on its 2012
roster. About a sister and brother who live in a
Swiss ski resort and survive by stealing things
from wealthy guests, Sister is directed by Ursula
Meier, a multi-hyphenate whose last film,
Home, starred Isabelle Huppert and gained
good press despite the kind of title that leaves
it unsearchable in any database. Sister stars
current it-girl Léa Seydoux, who you might
remember from Mission Impossible—Ghost
Protocol (think sharpshooter who falls out of
window). She’s gonna be huge!
DISTRIBUTOR Adopt Films CAST Kacey
Mottet Klein, Léa Seydoux, Martin
Compston, Gillian Anderson, Jean-
François Stévenin DIRECTOR Ursula Meier
SCREENWRITERS Antoine Jaccoud, Ursula
Meier PRODUCER Ruth Waldburger GENRE
Drama; French-language, subtitled
RATING Unrated RUNNING TIME 100 min.
RELEASE DATE Oct. 5 ltd.
SINISTER
DEMONS SWAP RECIPES FOR
CHILDREN
One thing that scares the devout is the end
of innocence. Once you’ve crossed over into
“knowledge,” you’re stuck with all the consequences—and
likely a chance of going to hell.
Sinister is a ghost story that taps into that fear
by casting Ethan Hawke as a writer whose family
moves to a house marked by a child-killing
demon. And when Hawke gains that dark
knowledge of the dammed, a portal into hell
opens, and the family is slowly sucked in. It’s
worth noting Hawke had an ugly saga with his
ex Uma Thurman, and plenty of critics could
see this one as a kind of penance. Just saying.
DISTRIBUTOR Lionsgate CAST Ethan
Hawke, Juliet Rylance, James Ransone
DIRECTOR Scott Derrickson SCREEN-
WRITERS Scott Derrickson, C. Robert
Cargill PRODUCERS Jason Blum, Brian
Kavanaugh-Jones GENRE Horror RATING R
for disturbing violent images and some
terror RUNNING TIME 110 min. RELEASE DATE
Oct. 5, 2012
PITCH PERFECT
REBEL WILSON CAN’T BE
EMBARRASSED—THANK GOD
An unlikely cast of young actors and singers
were pulled together for this Glee-inspired
comedy about competitive singing. Starring
Rebel Wilson, the girl soon to be known as “the
bride from Bachelorette,” this musical tracks the
crazypants competitive fury between a collegiate
a capella group (the Bellas) and their more
up-to-date male counterparts. For as G-rated
as this story could have been, the banner ads
suggest it’s got a hefty dose of Porky’s.
DISTRIBUTOR Universal Pictures CAST Anna
Kendrick, Brittany Snow, Rebel Wilson,
Elizabeth Banks, Alexis Knapp, Christopher
Mintz-Plasse DIRECTOR Jason Moore
44 BOXOFFICE PRO OCTOBER 2012

TM
SCREENWRITER Kay Cannon PRODUC-
ERS Elizabeth Banks, Paul Brooks, Max
Handelman GENRE Musical Comedy RAT-
ING PG-13 for sexual material, language
and drug references RUNNING TIME TBA
RELEASE DATE Oct. 5, 2012
BUTTER
CARVING CHOLESTEROL
This star-studded comedy about competitive butter
carving has been lounging around the festivals
and film markets for some time. So it’s a hopeful
thing that the Weinsteins are pushing this
oddball story of ferocious dairy love into the mix
during awards season. Jennifer Garner stars as the
meticulous maven of a perennial butter-carving
contest with Ty Burrell, Kristen Schaal and the
long-missing Alicia Silverstone as small-town
Iowans also trying to achieve excellence in fat.
DISTRIBUTOR The Weinstein Company
CAST Jennifer Garner, Yara Shahidi,
Hugh Jackman, Ty Burrell, Olivia Wilde,
Ashley Greene, Alicia Silverstone, Kristen
Schaal, Rob Corddy DIRECTOR Jim
Field Smith SCREENWRITER Jason Micallef
PRODUCERS Michael De Luca, Jennifer
Garner, Alissa Phillips, Juliana Janes
GENRE Comedy RATING R for language
and sexual content RUNNING TIME TBA
RELEASE DATE Oct. 5 ltd.
V/H/S
RETRO FLICKS HAVE THEIR
REVENGE
This horror story is bookended by a team of
thieves who break into a house to steal a VHS
tape. Why they’d tape their crime is beyond us,
but the importance of leaving a record seems
apparent, as the thieves only find the proof of
people dying by unbelievable means. Four of
the nine filmmakers behind this horror snippet
fright fest fly under the banner Radio Silence
(Matt Bettinelli-Olpin, Tyler Gillett, Justin
Martinez, Chad Villella) while some of the
other makers and actors herein honed their
chops in mumblecore comedies and dramas
about post-collegiate confusion. But the lion’s
share of the acclaim goes to young spookster
directors like Ti West, which makes this gaggle
of gross-outs especially alluring.
DISTRIBUTOR Magnet CAST Calvin Reeder,
Lane Hughes, Adam Wingard, Sophia
Takal, Kate Lyn Scheil, Joe Swanberg,
Mike Donlan DIRECTORS Matt Bettinelli-
Olpin, Tyler Gillett, Justin Martinez, Chad
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OCTOBER 2012 BOXOFFICE PRO 45

COMING SOON
Villella, David Bruckner, Glenn McQuaid,
Joe Swanberg, Adam Wingard, Ti West
SCREENWRITERS Simon Barrett, Matt
Bettinelli-Olpin, David Bruckner, Tyler
Gillett, Justin Martinez, Glenn McQuaid,
Nicholas Tecosky, Chad Villella, Ti West
PRODUCERS Roxanne Benjamin, Gary
Binkow, Brad Miska GENRE Horror RATING
R for bloody violence, strong sexuality,
graphic nudity, pervasive language and
some drug use RUNNING TIME 116 min.
RELEASE DATE Oct. 5 ltd.
GAYBY
HE’S HAVING MY BABY
San Jose-based indie distributor Wolfe Releasing
focuses on small-niche LGBT content, and the
majority of its releases are destined for homeviewing
platforms. But Gayby was such a huge
hit on the festival circuit, the company just had
to make a splash with it. Two college friends,
Matt and Jenn, fulfill an old promise to have a
kid together if the rest of their options haven’t
panned out. But Matt’s gay, so doing it the oldfashioned
way is out of the question. Ultimately,
this story is about choosing—and making—your
family, a theme that’s important to everyone.
DISTRIBUTOR Wolfe CAST Jenn Harris,
Matthew Wilkas, Samantha Black, Louis
Cancelmi, Charlie Barnett DIRECTOR/
SCREENWRITER Jonathan Lisecki PRODUC-
ERS Amy Hobby, Anne Hubbell GENRE
Comedy RATING TBD RUNNING TIME 89
min. RELEASE DATE Oct. 12 ltd.
HERE COMES THE
BOOM
LIKE WARRIOR, BUT FUNNY
First, can we all stop and applaud how good
Kevin James looks? His exercise efforts should
not go unrecognized. And in this comedy by
regular partner-in-crime Frank Coraci, they
take center stage when he plays a biology
teacher trying to become a successful mixed
martial artist in order to win enough money
that his school can keep its extra curricular programs.
This comedy may seem made for kids,
but moms will attend in spades.
DISTRIBUTOR Sony CAST Kevin James,
Salma Hayek, Melissa Peterman, Henry
Winkler. Reggie Lee DIRECTOR Frank
Coraci SCREENWRITERS Kevin James, Rock
Reuben, Allan Loeb PRODUCERS Todd
Garner, Kevin James GENRE Comedy RAT-
ING TBA RUNNING TIME TBA RELEASE DATE
Oct. 12, 2012
NOBODY WALKS
BUT EVERYONE STUMBLES
Lena Dunham made a such splash with her
debut film Tiny Furniture—a story about
being an artist adrift after college—that
producer Judd Apatow backed a TV show for
her HBO’s Girls. But she’s still writing films
like this one, an elegantly cast drama about a
couple who take in a young filmmaker (Olivia
Thirlby) and get derailed by her energy.
What’s nuanced about this simple story is that
it recognizes that an already tenuous marriage
can be shaken by chemistry between even
platonic strangers—and that it’s the moments
when we’re most in awe that we’re vulnerable
and irresponsible.
DISTRIBUTOR Magnolia CAST Olivia Thirlby,
John Krasinski, Rosemarie DeWitt, Jane
Levy, Dylan McDermott, Justin Kirk DI-
RECTOR Ry Russo-Young SCREENWRITERS
Lena Dunham, Ry Russo-Young GENRE
Drama RATING R for sexuality, language
and some drug use RUNNING TIME 83 min.
RELEASE DATE Oct. 12 ltd.
ATLAS SHRUGGED
PART II
WILL THE AUDIENCE SHRUG ...
AGAIN?
Self-distributed by its makers, this drama is
the second part of 2010’s adaptation of the
titular novel by Ayn Rand (a favorite of vice
presidential hopeful Paul Ryan), though if
it’s anything like the first installment, this
objectivist tale of capitalism über alles risks
being so poorly produced that it will convince
people to not even bother reading the book,
much less finishing the film series. Hey, Paul
Ryan—can you help?
DISTRIBUTOR Atlas Distribution CAST
Samantha Mathis, Jason Beghe, John
Rubinstein, Diedrich Bader, Esai Morales
DIRECTOR John Putch SCREENWRITER Duke
Sandefur GENRE Drama/Mystery/Science
Fiction RATING TBD RUNNING TIME TBD
RELEASE DATE Oct. 12, 2012
46 BOXOFFICE PRO OCTOBER 2012

HOLY MOTORS
AN AUTEUR RESTARTS HIS ENGINE
Leos Carax made the mini masterpiece The
Lovers on the Bridge, and all of French film
bowed and gave him nicknames like “L’enfant
terrible,” a moniker not given lightly. But then
he followed it up with the underwhelming
Pola X and was just as quickly cast aside as a
lesser talent—a flash in the pan. Holy Motors
isn’t his first film after Pola, but it is his first
highly praised one. A Cannes Palme d’Or winner
with an unlikely but impressive cast that
includes pop star Kylie Minogue, this tricky
drama about parallel lives is precisely the sort
of provocation that’ll get the world chanting
“Carax”—or at least get more people pronouncing
it right.
DISTRIBUTOR Indomina CAST Denis Lavant,
Edith Scob, Eva Mendes, Kylie Minogue,
Michel Piccoli, Jeanne Disson DIRECTOR/
SCREENWRITER Leos Carax PRODUCERS
Maurice Tinchant, Albert Prévost, Martine
Marignac GENRE Drama; French- and
Chinese-languages, subtitled RATING TBD
RUNNING TIME 115 min. RELEASE DATE Oct.
19 NY
PARANORMAL
ACTIVITY 4
SPOOKED BY SKYPE
The premise for this franchise is straightforward
ghouls haunted two girls in the ’80s, and
they’ve never left. We’ve seen them through
security cameras and then VHS. In this latest,
the heroines are in social-media-fueled peril—
the ghosts are most visible when the Skype cam
is on. It’s a logical development for the guys in
charge who made their name with the invasive
doc Catfish. Do we turn into something scary
when the camera’s on us? Maybe, but I’d hardly
blame the webcam.
DISTRIBUTOR Paramount CAST Katie
Featherston, Matt Shively, Brady Allen
DIRECTORS Henry Joost, Ariel Schulman
SCREENWRITER Zack Estrin PRODUCERS Jason
Blum, Oren Peli GENRE Horror RATING
TBD RUNNING TIME 95 min. RELEASE DATE
Oct. 19, 2012
KILLING THEM
SOFTLY
BRAD PITT TAKES NO PRISONERS
Andrew Dominik, a New Zealand native with a
penchant for intelligently stylized violence and
stories about complex male bonds, directed Brad
Pitt in The Assassination of Jesse James and now
drags the movie star to the ’70s to play a mob
enforcer who investigates a heist gone wrong.
The high pedigree on this title was enormous
when it hit Cannes, which only suggests this is
one of the early Oscar-bait titles in the Weinsteins’
reliably heavy list of considerables.
DISTRIBUTOR The Weinstein Company
CAST Brad Pitt, Ray Liotta, James
Gandolfini, Richard Jenkins DIRECTOR/
SCREENWRITER Andrew Dominik PRODUC-
ERS Dede Gardner, Anthony Katagas,
Brad Pitt, Paula Mae Schwartz, Steve
Schwartz GENRE Crime/Thriller RATING R
for violence, sexual references, pervasive
language, and some drug use RUNNING
TIME 95 min. RELEASE DATE Oct. 19, 2012
CHASING MAVERICKS
KARATE KID IN THE SURF
Gerard Butler plays a rogue surfer worshiped by
young Jonny Weston—he claims the man saved
him from drowning when he was eight. Now
a teen, Jonny is even more reliant on turning
the guy into a father figure, and like him,
he’s determined to surf the occasionally fatal
major waves, or Mavericks, coming in when
the weather changes. Butler’s beach dweller
takes pity and plays Mr. Miyagi to Weston’s
Ralph Macchio. This one was in distribution
limbo for months, but its final location on the
calendar suggests the support of Fox.
DISTRIBUTOR Twentieth Century Fox CAST
Jonny Weston, Gerard Butler, Abigail
Spencer, Elisabeth Shue DIRECTORS Michael
Apted, Curtis Hanson SCREENWRIT-
ER Kario Salem PRODUCERS Curtis Hanson,
Brandon Hooper, Jim Meenaghan GENRE
Drama/Sports RATING PG for thematic
elements and some perilous action RUN-
NING TIME TBD RELEASE DATE Oct. 26, 2012
FUN SIZE
HE’S GOT BUTTERFINGERS
If you read only “Chelsea Handler” and “Johnny
Knoxville” among the credits, you’d think this teen
comedy was pure R, but this Paramount/Nickelodeon
co-production instead flings a beautiful (if
eerily shiny) cast of up-and-comers into a basically
G-rated premise, albeit with a few naughty jokes.
Wren (Victoria Justice) was just invited to the Halloween
party of the year, hosted by the hottest boy
in high school. Mom (Chelsea Handler) has her
own party to attend so she assigns Wren’s younger
brother to play chaperone. The chubby bro gets
into endless hijinks a la Adventures in Babysitting
while Wren scours the hood with two nerds, her
BFF and a shaggin’ wagon—there’s a light connotation
of sex, but it’s so breezily handled that kids
might miss it altogether.
DISTRIBUTOR Paramount CAST Victoria
Justice, Jane Levy, Johnny Knoxville,
Chelsea Handler, Thomas Middleditch,
Josh Pence DIRECTOR Josh Schwartz
SCREENWRITER Max Werner PRODUCERS
Bard Dorros, David Kanter, Stephanie
Savage, Josh Schwartz GENRE Comedy
RATING TBD RUNNING TIME TDB RELEASE
DATE Oct. 26, 2012
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OCTOBER 2012 BOXOFFICE PRO 47

BOOK
IT!
IMITATION IS THE
MOST LUCRATIVE
FORM OF FLATTERY
When Jaws hit it big, multiple
mockbusters came out to capitalize
on its success: Piranha,
Orca and Alligator. This month’s
Book It! looks at commodities
made hotter by their proximity
to greatness, including our
chart which ticks off five flicks
whose financial potential is
maximized by similar fan-favorite
TV shows and movies.
HOPE FOR INDIE FILM
HE’S BEEN TASKED TO SAVE INDIE
FILM. DOES THAT MEAN IT’S DYING?
by Sara Maria Vizcarrondo
■ When Ted Hope (below) was offered the job
as the executive director of the San Francisco
Film Society, he was given the mandate to “save
indie film.” Not only is that a perplexingly tall
order, it also raises the question: is indie film
dying?
“Wonderful movies come out of the indie
sector and do well in the business world. That
was the case two years ago,” says Hope, citing
Oscar winners The King’s Speech and Black Swan
as new examples of the successful indie. Earlier
films like Reservoir Dogs, Pi, Sex, Lies, and Videotape
all defined “indie” and provided breakout
success for makers who’d go on to become
major players. Those titles are remembered in
part because of their exciting legacy, and they
heralded later indie hits like Safe, The Brothers
McMullen and The Ice Storm, each of which
involved names and breakouts (Todd Haynes,
Edward Burns, Sigourney Weaver), became arthouse
standards in their release, and were also,
not coincidentally, produced by Ted Hope.
“We’re at a place right now where good
films don’t always get
seen,” says Hope. “It’s
a move to a culture
of superabundant
access while business
remains stuck.” He
attributes the stagnation
to scarcity and
control. Hope calculates
that nationally,
we’re only able
to successfully
consume
and market
500
to 600
indie
titles per year, while every year, some 50,000
indie films are produced.
“That means the top consumption market
in the world, America, handles one percent of
the world’s supply—or that it’s going to take
an entire century to consume what we produce
in one year.” Those are the kinds of numbers
you hear when people speak of crude oil or
corn farming, not cultural product. Yet Hope
believes he knows what can rescue filmmakers,
audiences and theaters owners: super niches.
As he explains, “We used to have to speak to
everyone. Now we speak to certain special
someones.”
San Francisco boasts the oldest film festival
in America and continues to be seen as a leader
in the field. Hope’s predecessor at the SFFS,
Graham Leggat, turned the society into a yearround
educational and cultural nucleus, creating
multiple small festivals and showcases as well as
educational programs and competitions. And the
area has also grown famous worldwide because
of its technological dominance. Notes Hope,
“We in indie film culture haven’t successfully
worked well with technology.” While digital
technologies are democratic and accessible, these
two groups have yet to fully merge in a way that
would innovate or boost indie markets.
Before his big move west to accept his new
mission, Hope founded the Cinema Research
Institute at NYU, a think tank that pooled
savvy cinema graduate students to devise strategies
to, indeed, Save Indie Film. “That sort of
big-idea thinking around media and finding
ways to help facilitate it on a cultural level, and
not just a privatized corporate level, is something
I’m really interested in doing. [I want to
find] the role that a film society can have to
help conservation and solutions to business and
creative issues so that we can hopefully incubate
a better mousetrap.”
Ultimately, Hope says, “I want to embrace
the largest, most comprehensive definition
of what cinema is. I see the future of film as
a means of creative expression and a mode of
doing business.”
THE DOLLS OF LISBON
SMOOTH CRIMINAL
The street artist Banksy argues that for art to
be public and provocative, it must skate close
to crime. His doc Exit Through the Gift Shop
won acclaim, attention and an Oscar nom by
similarly skating the lines of truth and fiction,
art and crime. This doc follows suit but trades
Banksy’s celeb status for a semi-obscure art
movement called the Antagonist Movement.
The founder makes wire frame dolls wrapped
in canvas and sends them to artists around
the world, satisfying both the underground
influence of these dolls and the general hunger
artists have for resources. This doc’s super-indie
soundtrack and rough composure are marks of
its authenticity, and it’s just the kind of movie
you pair with a party, concert or art show.
CONTACT Ethan Minsker, antagonistart@
aol.com DIRECTOR Ethan H. Minsker GENRE
Documentary RUNNING TIME 72 min.
LATE BLOOMERS
DIE HERBSTZEITLOSEN
ALWAYS BUY LINGERIE FROM AN
OLD LADY
The Swiss entered Late Bloomers as their bid for
the foreign-film Oscar, but it rarely played here
until Efi Lubliner, last month’s interviewee for
Book It!, resurrected it with his International
Film Showcase to capitalize on the recent pop
trend of foreign stories about middle-aged
kooks. Martha’s husband Hans brings her to an
idyllic town in Switzerland and insists she give
up her lingerie-making, a skill he makes her
hide from her church-dwelling neighbors. But
when Hans dies, his empty grocery shop needs
a new product—and no matter how loudly
conservative the townies claim to be, everyone
wants to feel sexy. If your town has a busy indie
undie dealer, you’ve got what it takes for a fun
crossover party.
CONTACT Efraim Lubliner, 925-283-1700,
efi@edcsystem.com CAST Stephanie
Glaser, Annemarie Düringer, Heidi Maria
Glössner DIRECTOR Bettina Oberli SCREEN-
48 BOXOFFICE PRO OCTOBER 2012

WRITER Sabine Pochhammer PRODUCER
Alfi Sinniger GENRE Comedy, Swiss
German-language, subtitled RUNNING TIME
90 min.
¡VIVAN LAS ANTIPODAS!
LIKE BEING THERE BUT ARTIER
As the world is 70 percent water, finding two dry
antipodes—places on precisely opposite parts
of our spherical earth—is rare. Still, this doc
by the director of the Russian city symphony
Hush! finds eight of them, revolving from the
stunning sunsets of El Rios, Argentina, to the
upside-down superhighways of Shanghai. Sheep
are shorn in Chile, and then the camera literally
flips to see sheep run through a stretch of Russian
brush. Farmers milk cows and pull carrots
while on the exact other half of the world, cars,
commuters and smokestacks huff and puff. For
those who like art docs or films about sacred
spaces—and Ron Fricke, director of Samsara is
living proof they’re out there—these stunning
spectacles become social talking points. And
that’s when the film stops being a doc about
landscapes and starts being a full-blown cultural
touchstone—host a conversation after your
screening and you’ll hear your audience respond.
CONTACT Deckert Distribution, info@
deckert-distribution.com DIRECTOR Victor
Kossakovsky PRODUCER Heino Deckert
GENRE Documentary RUNNING TIME 108 min.
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Help her live.
Because her story
shouldn’t end
with cancer.
©2012 ALSAC/St. Jude Children’s Research Hospital
St. Jude patient Rylie
7 years old, Sarcoma
Each holiday season, leaders in the theatre industry participate in the St. Jude
Thanks and Giving ® campaign to help give patients at St. Jude Children’s
Research Hospital ® the happily-ever-after they deserve. By visiting our
website and signing up, you can help save children like Rylie.
PLEASE PARTICIPATE l STJUDE.ORG/THEATRES

BOOKING
GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
DISNEY 818-560-1000 / ASK FOR DISTRIBUTION
FRANKENWEENIE Fri, 10/5/12 Catherine OʼHara, Winona Ryder Tim Burton PG Ani/Com/Hor Digital 3D/Quad
WRECK-IT RALPH Fri, 11/2/12 Jane Lynch, John C. Reilly Rich Moore NR Ani/Fam Digital 3D/Quad
LINCOLN Fri, 11/9/12 EXCL. NY/LA Daniel Day-Lewis, Sally Field Steven Spielberg NR Bio/Dra/Hist
MONSTERS, INC. 3D Wed, 12/19/12 Billy Crystal, John Goodman David Silverman, Pete Docter G Ani/Com/Fam Digital 3D/Quad
OZ: THE GREAT AND POWERFUL Fri, 3/8/13 Mila Kunis, James Franco Sam Raimi NR Fam/Fant
Digital 3D/Quad/Dolby Dig/
SDDS
IRON MAN 3 Fri, 5/3/13 Robert Downey Jr., Guy Pearce Shane Black NR Act/Adv Quad/Dolby Dig/SDDS
MONSTERS UNIVERSITY Fri, 6/21/13 Billy Crystal, John Goodman Dan Scanlon NR Ani/Com/Fam Digital 3D/Quad/Dolby Dig EX
THE LONE RANGER Wed, 7/3/13 Johnny Depp, Armie Hammer Gore Verbinski NR Act Quad
THE LITTLE MERMAID 3D Fri, 9/13/13 Jodi Benson, Christopher Daniel Barnes John Musker, Ron Clements G Ani/Fam Digital 3D/Quad
THOR: THE DARK WORLD Fri, 11/8/13 Chris Hemsworth, Tom Hiddleston Alan Taylor NR Act/Fant
NEED FOR SPEED Fri, 2/7/14 Taylor Kitsch Scott Waugh NR Act
MALEFICENT Fri, 3/14/14 Angelina Jolie, Elle Fanning Robert Stromberg NR Fan
CAPTAIN AMERICA: THE WINTER SOLDIER Fri, 4/4/14 Chris Evans, Samuel L. Jackson Anthony Russo, Joe Russo NR Act
THE GOOD DINOSAUR Fri, 5/30/14 Bob Peterson NR Ani/Fam Digital 3D
FILMDISTRICT DEBORAH JOHNSON / 646-380-4497 / DJOHNSON@FILMDISTRICT.COM
PLAYING FOR KEEPS Fri, 12/7/12 Gerard Butler, Jessica Biel Gabriele Muccino PG-13 Rom/Com Dolby Dig
PARKER Fri, 1/25/13 Jason Statham, Jennifer Lopez Taylor Hackford NR Act/Cri/Thr
DEAD MAN DOWN Fri, 4/5/13 Colin Farrell, Noomi Rapace Niels Arden Oplev NR Cri/Thr Scope
FOX 310-369-1000 / 212-556-2400
TAKEN 2 Fri, 10/5/12 Liam Neeson, Maggie Grace Olivier Megaton PG-13 Act/Dra/Thr Dolby Dig
CHASING MAVERICKS Fri, 10/26/12 Gerard Butler, Elisabeth Shue Curtis Hanson, Michael Apted PG Dra/Sport Dolby Dig
LIFE OF PI Wed, 11/21/12 Gérard Depardieu, Irrfan Khan Ang Lee NR Adv/Dra 3D/Dolby Dig
PARENTAL GUIDANCE Tue, 12/25/12 Bette Midler, Billy Crystal Andy Frickman NR Com Dolby Dig
BROKEN CITY Fri, 1/18/13 Mark Wahlberg, Russell Crowe Allen Hughes R Cri/Dra/Thr Dolby Dig
A GOOD DAY TO DIE HARD Thu, 2/14/13 Bruce Willis, Jai Courtney John Moore NR Act
THE HEAT Fri, 4/5/13 Sandra Bullock, Melissa McCarthy Paul Feig NR Com
EPIC Sun, 5/12/13 Amanda Seyfried, Josh Hutcherson Chris Wedge NR Ani/Adv 3D
THE INTERNSHIP Fri, 6/28/13 Vince Vaughn, Owen Wilson Shawn Levy NR Com
INDEPENDENCE DAY 3D Wed, 7/3/13 Will Smith, Bill Pullman Roland Emmerich PG-13 Act/SF 3D/Dolby SRD/DTS
THE WOLVERINE Fri, 7/26/13 Hugh Jackman, Will Yun Lee James Mangold NR Act/SF
PERCY JACKSON: SEA OF MONSTERS Fri, 8/16/13 Logan Lerman, Alexandra Daddario Thor Freudenthal NR Act/Adv/Dra
RUNNER, RUNNER Fri, 9/27/13 Justin Timberlake, Ben Affleck Brad Furman NR Thr
WALKING WITH DINOSAURS 3D Fri, 12/20/13 Neil Nightingale, Barry Cook NR Ani/Act/Doc 3D
THE SECRET LIFE OF WALTER MITTY Wed, 12/25/13 Ben Stiller, Kristen Wiig Ben Stiller NR Adv/Com/Dra
FOX SEARCHLIGHT 212-556-2400
THE SESSIONS Fri, 10/26/12 LTD. Helen Hunt, John Hawkes Ben Lewin R Bio/Dra
STOKER Fri, 3/1/13 LTD. Mia Wasikowska, Matthew Goode Park Chan-wook R Thr
LIONSGATE 310-449-9200
SINISTER Fri, 10/5/12 Ethan Hawke, Clare Foley Scott Derrickson R Sus
ALEX CROSS Fri, 10/19/12 Tyler Perry, Matthew Fox Rob Cohen PG-13 Cri/Mys/Thr Dolby Dig
THE BIG WEDDING Fri, 10/26/12 Robert De Niro, Sarandon Susan Justin Zackham NR Rom/Com Dolby Dig
THE TWILIGHT SAGA: BREAKING DAWN PART 2 Fri, 11/16/12 Kristen Stewart, Robert Pattinson Bill Condon NR Rom/Thr
THE IMPOSSIBLE Fri, 12/21/12 EXCL. LA Naomi Watts, Ewan McGregor Juan Antonio Bayona PG-13 Dra
TEXAS CHAINSAW MASSACRE 3D Fri, 1/4/13 Alexandra Daddario, Tania Raymonde John Luessenhop NR Hor 3D
THE LAST STAND Fri, 1/18/13 Arnold Schwarzenegger, Eduardo Noriega Kim Jee-woon NR Act Dolby Dig
WARM BODIES Fri, 2/1/13 Nicolas Hoult, Teresa Palmer Jonathan Levine NR Dra/Hor/Rom
I, FRANKENSTEIN Fri, 2/22/13 Aaron Eckhart, Bill Nighy Stuart Beattie NR Act/SF
NOW YOU SEE ME Fri, 3/15/13 Jesse Eisenberg, Mark Ruffalo Louis Leterrier NR Thr
THE MARRIAGE COUNSELOR Fri, 3/29/13 Jurnee Smollett, Vanessa Williams Tyler Perry PG-13 Dra
WE THE PEEPLES Fri, 5/10/13 Craig Robinson, Kerry Washington Tina Gordon Chism NR Com
RED 2 Fri, 8/2/13 Bruce Willis, Mary Louise-Parker Dean Parisot NR Act
ENDERʼS GAME Fri, 11/1/13 Harrison Ford, Abigail Breslin Gavin Hood NR SF
THE HUNGER GAMES: CATCHING FIRE Fri, 11/22/13 Jennifer Lawrence, Josh Hutcherson Francis Lawrence NR Act/Adv/Dra Dolby Dig
OPEN ROAD FILMS LIZ DEUTSCH / 310-696-7575
SILENT HILL: REVELATION 3D Fri, 10/26/12 Sean Bean, Kit Harington Michael J. Bassett R Hor/Sus 3D/Dolby Dig
RED DAWN Wed, 11/21/12 Josh Hutcherson, Chris Hemsworth Dan Bradley PG-13 Act Dolby Dig
THE HOST Fri, 3/29/13 Diane Kruger, Saoirse Ronan Andrew Niccol NR Hor/SF
PARAMOUNT 323-956-5000 / 212-373-7000
PARANORMAL ACTIVITY 4 Fri, 10/19/12 Katie Featherston, Kathryn Newton Henry Joost, Ariel Schulman NR Hor
FUN SIZE Fri, 10/26/12 Johnny Knoxville, Chelsea Handler Josh Schwartz NR Com
FLIGHT Fri, 11/2/12 Denzel Washington, Melissa Leo Robert Zemeckis NR Dra Dolby Dig/SDDS
RISE OF THE GUARDIANS Fri, 11/21/12 Chris Pine, Hugh Jackman Peter Ramsey NR Ani 3D
CIRQUE DU SOLEIL: WORLDS AWAY Fri, 12/21/12 Jason Berrent, Matt Gillanders Andrew Adamson NR Doc 3D
JACK REACHER Fri, 12/21/12 Tom Cruise, Rosamund Pike Christopher McQuarrie PG-13 Cri/Dra Dolby Dig/SDDS
NOT FADE AWAY Fri, 12/21/12 LTD. James Gandolfini, Christopher McDonald David Chase R Dra Dolby Dig
THE GUILT TRIP Tue, 12/25/12 Seth Rogen, Barbra Streisand Anne Fletcher NR Com Dolby Dig
HANSEL AND GRETEL: WITCH HUNTERS Fri, 1/11/13 Jeremy Renner, Gemma Arterton Tommy Wirkola NR Act/Com Dolby Dig/3D
THE CROODS Fri, 3/22/13 Nicolas Cage, Ryan Reynolds Chris Sanders, Kirk De Micco NR Ani/Adv/Com/CGI 3D
G.I. JOE: RETALIATION Fri, 3/29/13 Channing Tatum, Byung-hun Lee Jon Chu NR Act/Adv/SF 3D/Dolby Dig/SDDS
UNTITLED STAR TREK SEQUEL Fri, 5/17/13 Chris Pine, Zachary Quinto J.J. Abrams NR Act/Adv/SF
WORLD WAR Z Fri, 6/21/13 Brad Pitt, David Morse Marc Forster NR Act/Dra/Hor Dolby Dig/SDDS
TURBO Fri, 7/19/13 Ryan Reynolds, Paul Giamatti David Soren NR Ani 3D
MR. PEABODY & SHERMAN Fri, 11/8/13 Ty Burrell, Ellie Kemper Rob Minkoff NR Ani/Com
52 BOXOFFICE PRO OCTOBER 2012

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
ME AND MY SHADOW Fri, 3/14/14 Kate Hudson, Bill Hader Alessandro Carloni NR Com
NOAH Fri, 3/28/14 Russell Crowe, Jennifer Connelly Darren Aronofsky NR Dra Quad
RELATIVITY MARA BUXBAUM: 323-822-4800 / RELATIVITY@ID-PR.COM
MOVIE 43 Fri, 1/25/13 Emma Stone, Gerard Butler Elizabeth Banks et al Com
SAFE HAVEN Fri, 2/8/13 Josh Duhamel, Julianne Hough Lasse Hallström NR Rom
21 AND OVER Fri, 3/15/13 Miles Teller, Justin Chon Jon Lucas, Scott Moore NR Com
PARANOIA Fri, 9/27/13 Liam Hemsworth, Gary Oldman Robert Luketic NR Hor
SONY 212-833-8500
HERE COMES THE BOOM Fri, 10/12/12 Kevin James, Salma Hayek Frank Coraci NR Com Dolby Dig/SDDS
SKYFALL Fri, 11/9/12 Daniel Craig, Judi Dench Sam Mendes NR Act/Adv/Thr Quad/IMAX
ZERO DARK THIRTY Wed, 12/19/12 Chris Pratt, Jessica Chastain Kathryn Bigelow NR Act/Thr Dolby Dig
BATTLE OF THE YEAR: THE DREAM TEAM Fri, 1/25/13 Josh Holloway, Chris Brown Benson Lee NR Dra 3D/Quad+L133
ELYSIUM Fri, 3/1/13 Matt Damon, Jodie Foster Neill Blomkamp NR Dra/SF
CARRIE Fri, 3/15/13 Chloë Grace Moretz, Julianne Moore Kimberly Peirce NR Hor
THE EVIL DEAD Fri, 4/12/13 Jane Levy, Shiloh Fernandez Fede Alvarez NR Fan/Hor
AFTER EARTH Fri, 6/7/13 Jaden Smith, Will Smith M. Night Shyamalan NR Hor/SF Quad
THE END OF THE WORLD Fri, 6/14/13 Seth Rogen, Jonah Hill Evan Goldberg, Seth Rogen NR Com
GROWN UPS 2 Fri, 7/12/13 Adam Sandler, Kevin James Dennis Dugan NR Com
THE SMURFS 2 Wed, 7/31/13 Neil Patrick Harris, Hank Azaria Raja Gosnell NR Ani/Fam 3D
ROBOCOP Fri, 8/9/13 Joel Kinnaman, Gary Oldman José Padilha NR Act/SF Quad
THE MORTAL INSTRUMENTS: CITY OF BONES Fri, 8/23/13 Lily Collins, Jamie Campbell Bower Harald Zwart NR Adv/Dra
CAPTAIN PHILLIPS Fri, 10/11/13 Tom Hanks,Catherine Keener Paul Greengrass NR Bio/Dra Quad
WHITE HOUSE DOWN Fri, 11/1/13 Channing Tatum, Maggie Gyllenhaal Roland Emmerich NR Act/Adv/Rom Quad
CLOUDY 2: REVENGE OF THE LEFTOVERS Fri, 2/7/14 Terry Crews, Anna Faris Cody Cameron, Kris Pearn NR Ani/Com/Fam
SONY PICTURES CLASSICS TOM PRASSIS / 212-833-4981
SMASHED Fri, 10/12/12 EXCL. NY/LA Mary Elizabeth Winstead, Aaron Paul James Ponsoldt R Com/Dra
RUST & BONE Fri, 11/16/12 EXCL. NY/LA Marion Cotillard, Matthias Schoenaerts Jacques Audiard R Dra/Mys Scope
AMOUR Wed, 12/19/12 EXCL. NY/LA Isabelle Huppert, Jean-Louis Trintignant Michael Haneke PG-13 FL/Dra Dolby Dig
WEST OF MEMPHIS Tue, 12/25/12 EXCL. NY/LA Amy Berg NR Doc
UNIVERSAL 818-777-1000
PITCH PERFECT Fri, 10/5/12 Anna Kendrick, Brittany Snow Jason Moore PG-13 Mus/Com Quad/Dolby Dig/SDDS
THE MAN WITH THE IRON FISTS Fri, 11/2/12 Russell Crowe, Jamie Chung RZA R Act/Adv Dolby Dig/SDDS
LES MISERABLES Fri, 12/14/12 Hugh Jackman, Russell Crowe Tom Hooper NR Mus/Dra Dolby Dig/SDDS
THIS IS 40 Fri, 12/21/12 Leslie Mann, Paul Rudd Judd Apatow R Com Scope/Quad/Dolby Dig/SDDS
MAMA Fri, 1/18/13 Nikolaj Coster-Waldau, Jessica Chastain Andres Muschietti NR Thr
IDENTITY THIEF Fri, 2/8/13 Jason Bateman, Melissa McCarthy Seth Gordon NR Com
JURASSIC PARK 3D Fri, 4/5/13 Sam Neill, Laura Dern Steven Spielberg PG-13 Adv/SF 3D/Quad
OBLIVION Fri, 4/19/13 Tom Cruise, Andrea Riseborough Joseph Kosinski NR Act/SF Dolby Dig/SDDS
ABOUT TIME Fri, 5/10/13 Rachel McAdams, Bill Nighy Richard Curtis NR Com/Dra/SF
THE FAST AND THE FURIOUS 6 Fri, 5/24/13 Vin Diesel, Paul Walker Justin Lin NR Act
KICK-ASS 2: BALLS TO THE WALL Fri, 6/28/13 Chloë Grace Moretz, Nicolas Cage Jeff Wadlow NR Act/Com/Cri
DESPICABLE ME 2 Wed, 7/3/13 Steve Carell, Al Pacino Pierre Coffin, Chris Renaud NR Ani/Com
R.I.P.D. Fri, 7/19/13 Jeff Bridges, Ryan Reynolds Robert Schwentke NR Act/Com Quad/Dolby Dig/SDDS
2 GUNS Fri, 8/16/13 Mark Wahlberg, Denzel Washington Baltasar Kormákur NR Act/Cri/Dra
RUSH Fri, 9/20/13 Chris Hemsworth, Olivia Wilde Ron Howard NR Dra
47 RONIN Wed, 12/25/13 Keanu Reeves, Hiroyuki Sanada Carl Rinsch NR Act/Dra Digital 3D/Quad
WARNER BROS. 818-977-1850
ARGO Fri, 10/12/12 Ben Affleck, Alan Arkin Ben Affleck R Dra Quad
CLOUD ATLAS Fri, 10/26/12 Halle Berry, Tom Hanks
Andy Wachowski, Lana Wachowski,
Tom Tykwer
R Dra/SF Quad/Dolby Dig/SDDS
THE HOBBIT: AN UNEXPECTED JOURNEY Fri, 12/14/12 Orlando Bloom, Ian McKellan Peter Jackson NR Adv/Fan 3D/IMAX/Dolby Dig/SDDS
THE GANGSTER SQUAD Fri, 1/11/13 Sean Penn, Ryan Gosling Ruben Fleischer R Cri/Dra Quad/Dolby Dig/SDDS
THE CONJURING Fri, 1/25/13 Vera Farmiga, Patrick Wilson James Wan NR Hor
BULLET TO THE HEAD Fri, 2/1/13 Sylvester Stallone, Jason Momoa Walter Hill R Act Dolby Dig/SDDS
BEAUTIFUL CREATURES Wed, 2/13/13 Emma Thompson, Viola Davis Richard LaGravenese NR Dra Quad
JACK THE GIANT KILLER Fri, 3/22/13 Nicholas Hoult, Stanley Tucci Bryan Singer NR Adv/Fan 3D/IMAX/Quad/Scope
42 Fri, 4/12/13 Chadwick Boseman, Harrison Ford Brian Helgeland NR Bio/Dra/Sport
THE HANGOVER PART III Fri, 5/24/13 Bradley Cooper, Ed Helms Todd Phillips NR Com
MAN OF STEEL Fri, 6/14/13 Henry Cavill, Amy Adams Zach Snyder NR Act/Adv
PACIFIC RIM Fri, 7/12/13 Idris Elba, Charlie Hunnam Guillermo del Toro NR Act/SF Quad
THE SEVENTH SON Fri, 10/18/13 Jeff Bridges, Julianne Moore Sergey Bodrov NR Fan 3D
THE HOBBIT: THERE AND BACK AGAIN Fri, 12/13/13 Ian McKellen, Christopher Lee Peter Jackson NR Adv/Fan 3D/Scope/Dolby SRD
LEGO: THE PIECE OF RESISTANCE Fri, 2/28/14 Channing Tatum, Chris Pratt Chris Miller, Phil Lord NR Ani
WEINSTEIN CO. / DIMENSION 646-862-3400
BUTTER Fri, 10/5/12 LTD. Jennifer Garner, Hugh Jackman Jim Field Smith R Com Scope
KILLING THEM SOFTLY Fri, 10/19/12 Brad Pitt, Ray Liotta Andrew Dominik R Cri/Thr Dolby Dig
PUSHER Fri, 10/26/12 LTD. Richard Coyle, Bronson Webb Luis Prieto R Cri/Thr Scope/Dolby
THE DETAILS Fri, 11/2/12 LTD. Elizabeth Banks, Tobey Maguire Jacob Aaron Estes R Com Flat/Dolby Dig
THE SILVER LININGS PLAYBOOK Wed, 11/21/12 Jennifer Lawrence, Robert De Niro David O. Russell NR Com Dolby Dig
DRAGON, aka WU XIA Fri, 11/30/12 LTD. Kara Hui, Wu Jiang Peter Chan R Act/Dra Dolby Dig EX
DJANGO UNCHAINED Tue, 12/25/12 Jamie Foxx, Christoph Waltz Quentin Tarantino NR Dra/West Dolby Dig/SDDS
ESCAPE FROM PLANET EARTH Thu, 2/14/13 Jessica Alba, Sarah Jessica Parker Callan Brunker NR Ani/Act 3D
SCARY MOVIE 5 Fri, 4/19/13 Charlie Sheen, Lindsay Lohan Malcolm D. Lee NR Com
LEO THE LION Fri, 8/30/13 Mario Cambi NR Ani
SIN CITY: A DAME TO KILL FOR Fri, 10/4/2013 Mickey Rourke, Jessica Alba Robert Rodriguez, Frank Miller NR Act/Adv/Dra/Thr
THE TRICK OR TREATERS Fri, 10/25/13 Hayo Freitag NR Ani/Com/Fam
SANTAPPRENTICE Fri, 12/6/13 Delta Goodrem, Holly Fraser Luc Vinciguerra NR Ani
OCTOBER 2012 BOXOFFICE PRO 53

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
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
ON BLU-RAY
AND DVD
SEPTEMBER 11
STARRING KRISTEN
STEWART, CHARLIZE
THERON AND CHRIS
HEMSWORTH IN A
TWIST TO THE FAMOUS
FAIRY TALE. THE HUNTS-
MAN (HEMSWORTH)
ORDERED TO TAKE
SNOW WHITE (STEW-
ART) INTO THE WOODS TO BE KILLED WINDS UP
BECOMING HER PROTECTOR AND MENTOR IN A
QUEST TO VANQUISH THE EVIL QUEEN (THERON).
SPECIAL FEATURES INCLUDE: The Magic of Snow
White & the Huntsman With the vision of Snow White
and the Huntsman Rupert Sanders wanted to redefine
the world of Snow White into something living and
breathing and then dying under the rule of Ravenna. An
inside look into how the VFX team would create a realistic
yet fantastical world unlike the movies have ever
seen. Explore what it took to create the otherworldly
elements that make Snow White and the Huntsman so
unique.
INCLUDES BLU-RAY, DVD, DIGITAL COPY AND
ULTRAVIOLET!
54 BOXOFFICE PRO OCTOBER 2012

CARDINAL SOUND & MOTION
PICTURE SYSTEMS
6330 Howard Ln.
Elkridge, MD 21075
Cathy Rockman
410-796-5300
cardinal@cardinalsound.com
www.cardinalsound.com
PG 56
CHRISTIE DIGITAL SYSTEMS
10550 Camden Dr.
Cypress, CA 90630
Craig Sholder
714-236-8610
craig.sholder@christiedigital.com
www.christiedigital.com
INSIDE FRONT COVER
CINEDIGM
100 Potrero Ave.
San Francisco, CA 94103
424-281-5400
contact@cinedigm.com
www.cinedigm.com
PG 25
DOLBY LABORATORIES
100 Potrero Ave.
San Francisco, CA 94103
Christie Ventura
415-558-2200
cah@dolby.com
www.dolby.com
INSIDE BACK COVER
DOLPHIN SEATING
313 Remuda St.
Clovis, NM 88101
575-762-6468
www.dolphinseating.com
PG 37
FANDANGO
12200 West Olympic Blvd,
Ste. 400
Los Angeles, CA 90064
Robert.Macias@Fandango.com
PG 7
GDC TECHNOLOGY (USA) LLC
1016 West Magnolia Boulevard
Burbank, CA 91506
877-743-2872
www.gdc-tech.com
PG 29
GENEVA CONVENTION
W168 N8936 Appleton Ave.
Menomonee Falls, WI 53051
262-532-0017
nato@natoofwiup.org
www.natoofwiup.org
PG 14, 15
HARKNESS SCREENS
Unit A, Norton Road
Stevenage, Herts
SG1 2BB
United Kingdom
+44 1438 725200
sales@harkness-screens.com
www.harkness-screens.com
PG 43, 45
KERNEL SEASONS
1958 N. Western Ave.
Chicago, IL 60647
Krystal LaReese-Gaul
773-292-4576
info@kernelseasons.com
www.kernelseasons.com
PG 6
MAROEVICH, O’SHEA &
COUGHLAN
44 Montgomery St., 17th Fl.
San Francisco, CA 94104
Steve Elkins
800-951-0600
selkins@maroevich.com
www.mocins.com
PG 3
MASTERIMAGE 3D
4111 W. Alameda Ave., Ste. 312
Burbank, CA 91505, USA
818-558-7900
www. masterimage3d.com
PG 22
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 54
OSRAM SYLVANIA
100 Endicott St.
Danvers, MA 01923
978-750-2419
Christine Buckley
christine.buckley@sylvania.com
PG 9
PACKAGING CONCEPTS, INC.
9832 Evergreen Industrial Dr.
St. Louis, MO 63123
John Irace / 314-329-9700
jji@packagingconceptsinc.com
www.packagingconceptsinc.com
PG 47
PROCTOR COMPANIES
10497 Centennial Rd.
Littleton, CO 80127-4218
Bruce Proctor
303-973-8989
sales@proctorco.com
www.proctorco.com
PG 49
QSC AUDIO
1665 MacArthur Blvd.
Costa Mesa, CA 92626
Francois Godfrey
714-754-6175
francois_godfrey@qscaudio.com
www.qscaudio.com
PG 23
QUEST CINEMA
866-933-7486
www.questcinema.com
PG 39
READY THEATRE SYSTEMS
4 Hartford Blvd.
Hartford, MI 49057
Mary Snyder
865-212-9703x114
sales@rts-solutions.com
www.rts-solutions.com.com
PG 33
REALD
100 North Crescent Dr., Ste. 200
Beverly Hills, CA 90210
800-783-2660
pro-sales@reald.com
www.reald.com
PG 1
RETRIEVER SOFTWARE
7040 Avenida Encinas
Ste. 104-363
Carlsbad, CA 92011
760-929-2101
www.retrieversoftware.com
PG 54
SCREENVISION
1411 Broadway 33rd Fl.
New York, NY 10018
Darryl Schaffer
212-497-0480
www.screenvision.com
BACK COVER
SENSIBLE CINEMA SOFTWARE
7216 Sutton Pl.
Fairview, TN 37062
Rusty Gordon
615-799-6366
rusty@sensiblecinema.com
www.sensiblecinema.com
PG 56
SHOW-A-RAMA 2013
Hilton Garden Inn
19677 East Jackson Drive
Independence,, MO 64057
Erin Schneider
816-407-9183
PG 43
AD
INDEX
SONIC EQUIPMENT COMPANY
900 W Miller Rd.
Iola,KS 66749
00-365-5701
www.sonicequipment.com
PG 54
SONY ELECTRONICS
One Sony Dr.
Park Ridge, NJ 07656
201-476-8603
www.sony.com/professional
PG 5
ST. JUDE CHILDREN’S
RESEARCH HOSPITAL
262 Danny Thomas Pl.
Memphis, TN 38105
800-785-5071
www.stjude.org
PG 51
STRONG CINEMA PRODUCTS
(Division of Ballantyne Inc.)
4350 McKinley St.
Omaha, NE 68112
Ray Boegner
402-453-4444
ray.boegner@btn-inc.com
www.ballantyne-omaha.com
PG 27
TEXAS DIGITAL SYSTEMS
400 Technology Parkway
College Station, TX 77845
800-693-2628
www.txdigital.com
PG 41
USHIO AMERICA, INC.
5440 Cerritos Ave.
Cypress, CA 90630
800-838-7446
www.ushio.com
PG 21
VISTA ENTERTAINMENT
SOLUTIONS LTD.
P.O. Box 8279
Symonds Street
Auckland, New Zealand
011-649-357-3600
info@vista.co.nz
www.vista.co.nz
PG 11
WHITE CASTLE
555 West Goodale St.
Columbus, OH 43215
Timothy Carroll
614-559-2453
carrollt@whitecastle.com
www.whitecastle.com
PG 41
OCTOBER 2012 BOXOFFICE PRO 55

BUYING & SELLING
Marquee Letters. Buying and selling. New
and Used marquee letters all types. We buy
old. We sell new. All styles. Trade in your old
letters and get new letters. Turn those old
letters into cash. Your source for new Pronto,
Zip-Change, Snap Lok, Slotted. mike@
pilut.com 800-545-8956
DRIVE-IN CONSTRUCTION
DRIVE-IN SCREEN TOWERS since 1945.
Selby Products Inc., P.O. Box 267, Richfield,
OH 44286. Phone: 330-659-6631.
EQUIPMENT WANTED
AMERICAN ENTERTAINMENT PRODUCTS
LLC is buying projectors, processors, amplifiers,
speakers, seating, platters. If you are
closing, remodeling or have excess equipment
in your warehouse and want to turn
equipment into cash, please call 866-653-
2834 or email aep30@comcast.net. Need
to move quickly to close a location and dismantle
equipment? We come to you with
trucks, crew and equipment, no job too
small or too large. Call today for a quotation:
866-653-2834. Vintage equipment
wanted also! Old speakers like Western
Electric and Altec, horns, cabinets, woofers,
etc., and any tube audio equipment. Call or
email: aep30@comcast.net.
COLLECTOR WANTS TO BUY: We pay top
money for any 1920-1980 theater equipment.
We’ll buy all theater-related equipment,
working or dead. We remove and
pick up anywhere in the U.S. or Canada.
Amplifiers, speakers, horns, drivers, woofers,
tubes, transformers; Western Electric,
RCA, Altec, JBL, Jensen, Simplex and more.
We’ll remove installed equipment if it’s in
a closing location. We buy projection and
equipment too. Call today: 773-339-9035;
cinema-tech.com; email ILG821@aol.com.
ASTER AUDITORIUM SEATING & AUDIO.
We offer the best pricing on good used
projection and sound equipment. Large
quantities available. Please visit our website,
www.asterseating.com, or call 888-409-
1414.
FOR SALE
THEATER FOR SALE 740-seat, 5-screen,
12,000 plus sq. ft. Theater for sale in the
college town of St. Peter in South Central
Minnesota. Fully operating with average
revenues of $340,000 over past 5 years.
Call Tim Lidstrom/broker for information:
Lidstrom Commercial Realtors, 507-625-
4606 / lidstrom@lidcomm.com
FULLY DIGITAL 3D THEATER, excellent
market. 3 screens, stadium seating, additional
lots. For more information contact:
amanda@halecon.com
BARCO 3D/DIGITAL EQUIPMENT FOR
SALE: Purchase for $55K. Equipment list
provided upon request. Contact seller at
mschwartz@pennprolaw.com.
NEWER 3-SCREEN THEATER, Big Bear
Lake, CA. Same tenant since 1999, currently
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
866-922-0226 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.
ALLSTATE SEATING specializes in refurbishing,
complete painting, molded foam,
tailor-made seat covers, installations and
removals. Please call for pricing and spare
parts for all types of theater seating. Boston,
Mass.; 617-770-1112; fax: 617-770-1140.
THEATER SPACE FOR LEASE
AN 8,400 SQ. FT. SPACE containing two
movie theaters is available for lease in
Frankfort, KY, at a very reasonable lease
rate. It would be perfect for the new concept
of eating in the theater. The theaters
are located in the middle of a major shopping
center. The center owners would prefer
an operating movie theater rather than
convert the space into retail use. Contact
Alexa at 859-221-9921 or email her at alexarkelley@gmail.com
for more information.
NOW ON BLU-RAY AND DVD
The battle for Earth begins at sea in this epic action-adventure starring
Liam Neeson, Taylor Kitsch, Rihanna, Alexander Skarsgård and Brooklyn
Decker. An international naval coalition becomes the worldʼs last hope
for survival as they engage a hostile alien force of unimaginable strength.
Ripping across sea, sky and land, Battleship is “a big bold blast”, packed
with spectacular visual effects and explosive action.
SPECIAL FEATURES INCLUDE: Preparing for Battle Hear how Hollywood
teamed up with the US Navy to transform a beloved board game into a
big-screen blockbuster. All Hands on Deck: The Cast Witness the actors
getting into the military mindset and Navy veterans having their time in
the spotlight in this salute to the people at the heart of the story.
INCLUDES BLU-RAY, DVD, DIGITAL COPY AND ULTRAVIOLET!
56 BOXOFFICE PRO OCTOBER 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