Boxoffice® Pro - December 2013

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DECEMBER 2013
DIGINEXT
DELIVERS
A CHRISTMAS
MIRACLE
NATO
CAPITOL HILL
DAY
Tom Hanks as
Richard Phillips in
the end-of-year hit
Captain Phillips
TAKING OUR
FUTURE IN OUR
OWN HANDS
40 UNDER 40
BONUS EDITION
THE YEAR AHEAD:
A LOOK AT 48 FILMS
FOR 2014
WORLD BOX OFFICE
ANALYSIS
THE POWER 5:
INTERNATIONAL
EXHIBITORS
TOM
star
The Captain Phillips and Saving Mr. Banks
is having a career year at the box office
The Official Magazine of the National Association of Theatre Owners

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DEC.
2013
Tom hanks and
emma thompson in
saving mr. banks
VOL. 149 NO. 12
10 ON SCREEN
A CHRISTMAS MIRACLE DigiNext expands its content to include
a faith-based holiday movie targeting Spanish speakers
16 CONVENTION REPORT
SHOWTIME! NATO of Missouri/Kansas puts on a Show-A-Rama
18 GLOBAL REPORT
YEAR-END ANALYSIS World box office
26 TECH TALK
GLOBAL DIGITAL CINEMA GDC Technology is digitizing the Asia
Pacific—and the world
28 THE BOXOFFICE POWER 5
INTERNATIONAL EXHIBITORS Featuring China, France, India, Mexico,
and the United Kingdom
34 40 UNDER 40
YOUNG GUNS In this bonus installment in our multi-part series,
BoxOffice ® Pro highlights eight executives under 40
38 BIG PICTURE
THANKING MR. HANKS The box office legacy of a timeless icon
44 THE YEAR AHEAD
A LOOK AT 2014 48 films to watch for in the coming year
6 EXHIBITION BRIEFS
The latest news from the exhibition industry
12 EXECUTIVE SUITE
Projecting the voice of exhibition: The industry storms Capitol Hill
14 NATO NEWS
Taking our future in our own hands: NATO spearheads efforts to
control the message about the industry
55 CHARTS & GRAPHS
The Hobbit Trilogy by the numbers
56 BOOKING GUIDE
64 CLASSIFIEDS
BOXOFFICE ®
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BOXOFFICE ® PRO (ISSN 0006-8527), Volume 149, Number 12, December 2013. BOXOFFICE PRO is published
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DECEMBER 2013 BoxOffice ® Pro The Business of Movies 3

UPCOMING 3D MOVIES
2013
DEC 6 CINEDIGM ADVENTURES OF THE PENQUIN KING
DEC 13 WARNER BROS. THE HOBBIT: THE DESOLATION OF SMAUG
DEC 20 FOX WALKING WITH DINOSAURS
DEC 25 UNIVERSAL 47 RONIN
DEC 25 OPEN ROAD JUSTIN BIEBER’S BELIEVE
2014
JAN 17 OPEN ROAD THE NUT JOB
JAN 24 LIONSGATE I, FRANKENSTEIN
FEB 7 LIONSGATE/SUMMIT HERCULES: THE LEGEND BEGINS
FEB 7 WARNER BROS. THE LEGO MOVIE
FEB 21 SONY / TRISTAR POMPEII
MAR 7 WARNER BROS. 300: RISE OF AN EMPIRE
MAR 7 FOX / DREAMWORKS ANIMATION MR. PEABODY & SHERMAN
APR 4 DISNEY CAPTAIN AMERICA: THE WINTER SOLDIER
APR 4 WARNER BROS./IMAX ISLAND OF LEMURS: MADAGASCAR
APR 11 FOX RIO 2
MAY 2 SONY/COLUMBIA THE AMAZING SPIDER-MAN 2
MAY 9 CLARIUS LEGENDS OF OZ: DOROTHY’S RETURN
MAY 16 WARNER BROS. GODZILLA
MAY 23 FOX X-MEN: DAYS OF FUTURE PAST
MAY 30 DISNEY MALEFICENT
JUN 6 WARNER BROS. EDGE OF TOMORROW
JUN 13 FOX / DREAMWORKS ANIMATION HOW TO TRAIN YOUR DRAGON 2
JUN 27 PARAMOUNT TRANSFORMERS: AGE OF EXTINCTION
JUL 18 FOX DAWN OF THE PLANET OF THE APES
JUL 18 DISNEY PLANES: FIRE & RESCUE
JUL 25 WARNER BROS. JUPITER ASCENDING
AUG 1 DISNEY GUARDIANS OF THE GALAXY
AUG 22 WEINSTEIN/DIMENSION SIN CITY: A DAME TO DIE FOR
SEP 26 FOCUS THE BOXTROLLS
NOV 7 DISNEY BIG HERO 6
4 BoxOffice ® Pro The Business of Movies DECEMBER 2013

NOV 26 FOX / DREAMWORKS ANIMATION HOME
DEC 17 WARNER BROS. THE HOBBIT: THERE AND BACK AGAIN
2015
JAN 16 LIONSGATE NORM OF THE NORTH
MAR 27 FOX / DREAMWORKS ANIMATION THE PENGUINS OF MADAGASCAR
JUN 5 FOX / DREAMWORKS ANIMATION B.O.O.: BUREAU OF OTHERWORLDLY OPERATIONS
JUN 12 UNIVERSAL JURASSIC WORLD
JUN 19 DISNEY INSIDE OUT
JUN 19 FOX THE FANTASTIC FOUR
JUL 10 UNIVERSAL MINIONS
AUG 14 SONY / COLUMBIA THE SMURFS 3
NOV 6 FOX PEANUTS
NOV 25 DISNEY THE GOOD DINOSAUR
DEC 18 DISNEY STAR WARS: EPISODE VII
DEC 23 FOX / DREAMWORKS ANIMATION KUNG FU PANDA 3
2016
FEB 12 UNIVERSAL UNTITLED ILLUMINATION ANIMATION 2016 PROJECT
MAR 4 DISNEY ZOOTOPIA
MAR 18 FOX / DREAMWORKS ANIMATION MUMBAI MUSICAL
JUN 17 DISNEY FINDING DORY
JUN 17 FOX / DREAMWORKS ANIMATION HOW TO TRAIN YOUR DRAGON 3
JUL 1 SONY / COLUMBIA ANGRY BIRDS
JUL 15 FOX ANUBIS
NOV 4 FOX / DREAMWORKS ANIMATION TROLLS
NOV 23 DISNEY GIANTS
2017
APR 7 FOX FERDINAND
JUN 16 DISNEY UNTITLED PIXAR ANIMATION FILM
NOV 22 DISNEY UNTITLED PIXAR ANIMATION FILM
2018
MAR 9 DISNEY UNTITLED DISNEY ANIMATION FILM
JUN 15 DISNEY UNTITLED PIXAR ANIMATION FILM
NOV 21 DISNEY UNTITLED DISNEY ANIMATION FILM
DECEMBER 2013 BoxOffice ® Pro The Business of Movies 5

EXHIBITION
BRIEFS
FATHER OF INVENTION
n Dan Jamele of interactive attractions technology
house MediaMation Inc. has been granted
a U.S. patent on his innovative shared drive
method used in the company’s X4D Motion
EFX cinema seats. The patented pneumatic
drive mechanism is key to MMI’s master/
drone 4D cinema seats. With one seat serving
as the master with complicated internal digital
circuitry, multiple drone seats can be attached,
performing identical movements and functions
to the master without the master seat’s internal
complexities. Besides offering the drone seats
at a steep discount in comparison to the master
seats, this allows MMI to give clients new
flexibility when purchasing 4D cinema seats.
Now, exhibitors and attraction operators can
order multiple configurations of one, two, three,
or four seats at a time to suit their exhibition
space and business model. Previously, MMI’s
X4D Motion EFX seats were only available in
groupings of four seats per bench.
LET THERE BE LASERS
n Qube Cinema has provided its True 4K 3D
system to help power a series of laser projection
demonstrations shown by Laser Light
Engines (LLE) recently in Burbank, California.
The Qube Cinema XP-I server and dual Xi
integrated media blocks (IMBs) delivered 3D
4K content to the latest laser projection technology
from LLE. Industry attendees saw how
laser-illuminated cinema projection, run from
a single server to dual IMBs, improves 2D and
3D exhibition.
“We did internal demos with Qube Cinema’s
True 4K 3D system last year and it was
superb,” says Bill Beck, founder and executive
VP of business development for LLE. “We’re
delighted to have Qube providing the technology
to showcase our latest laser illumination
technology.”
Four separate side-by-side sessions showed
2D content on both white and silver screens.
The demonstrations included split-screen,
butterfly comparisons of laser vs. xenon illumination.
In addition, there were three sessions
showing both Hollywood theatrical content and
images especially chosen from the giant screen
film library and projected in 3D onto a silver
screen at full 4K resolution. These also showed
laser vs. xenon comparisons.
“This is where the Qube Cinema True 4K
3D system really shines,” explains Beck. “Ninety-five
percent of the audience will never have
seen 3D content at this resolution before. It’s
great that Qube has developed this technology
that supports advanced and future high-resolution
3D requirements.”
NEC Display Solutions provided two NC
3240S 4K DLP Cinema projectors. One was
lit by a standard xenon lamp. The other used
the LLE laser engine to demonstrate off-board
illumination and despeckling performance and
to compare the quality of images for different
content.
Images from the two projectors were synchronized
by the Qube server and embedded
IMBs. The synced Xi IMBs are a benefit because
they allow for this multiple projector playback.
“Qube Cinema remains the only manufacturer
capable of delivering dual-projector
4K 3D,” says Eric Bergez, director of sales and
marketing for Qube Cinema. “Along with our
ability to play back from a single DCP, the
Qube True 4K 3D system provides the power
to play back large-format DCPs at bitrates four
times greater than the standard DCI spec. The
system also supports high frame rates of 120
fps per eye on all our dual-projector configurations.
We’re thrilled to be a part of Laser Light
Engine’s demos.”
RUSSIAN REALD
n In two separate deals, RealD has pacted to
add more than 200 3D screens to the Russian
marketplace. The 3D company has inked a
deal with the country’s largest circuit, Cinema
Park, to install 200 systems throughout the
chain, including one Luxe: A RealD Experience
premium large-format auditorium at the Grand
Canyon theater in St. Petersburg. And RealD
will bring Luxe to 10 Karo Cinemas in key
markets.
“Russian moviegoers continue to show a real
passion for premium quality cinema, and this
agreement highlights our commitment to this
growing audience,” says Robert Mayson, managing
director of RealD Europe, about the Cinema
Park deal. “We are proud to have secured
this deal to continue to expand our offering of
RealD 3D and Luxe: A RealD Experience’ in
the region.”
Installations on the Cinema Park 3D screens
have already begun and are expected to be
completed within five years. Karo locations in
Moscow and St. Petersburg will get their Luxe
screens this winter, with eight more to follow at
new locations by the end of the second quarter
in 2014. The Luxe experience includes a floor-
ON THE MOVE
n NATO’s board of directors has named the
officers who will lead the trade group for the
next two years, including a couple of familiar
faces and a couple of new ones: Carmike president
and CEO S. David Passman III was
reelected chairman. Regal CEO Amy Miles
was voted vice chair. Foothills president Byron
Berkley was reelected treasurer. And Southern
CEO George Solomon was elected secretary.
“On behalf of our members, I want to
thank our outgoing officers and executive
board members and our new officers and
board members for their service,” says NATO
president and CEO John Fithian. “NATO is
only as strong as its volunteer leaders, and we
are fortunate to have the dedicated service of
the most talented people in our industry.”
n RealD president of worldwide cinema Joe
Peixoto will retire in March at the end of the
company’s fiscal year 2014. The exhibition
veteran has served in the role since joining the
company in 2005, overseeing the introduction
of RealD 3D with Disney’s Chicken Little and
the growth of the platform to 23,500 installations
with 1,000 exhibitors in 74 countries.
Prior to RealD, he held executive roles at
United Cinemas International and Famous
Players.
“I will forever take great pride in seeing
how far RealD has come and the indelible
impact the company has made on the entertainment
industry in such a short period of
time,” Peixoto says. “While I look forward to
spending more time with my wife, children,
and grandchild, I cannot say enough what an
honor it has been to work with the fantastic
team at RealD, one I am confident will continue
to accomplish great things in the future.”
His position is not expected to be filled.
n QSC Audio has promoted Barry Ferrell
(right) to senior vice president and chief
strategy officer. Ferrell joined the company in
1990 as an applications engineer, assuming
leadership of the cinema group in 2009. In his
new role as chief strategy officer, he’ll help set
the overall strategic direction of the company
and oversee the development and execution
of product strategies across all markets served
by QSC.
6 BoxOffice ® Pro The Business of Movies DECEMBER 2013

to-ceiling RealD Precision White Screen, ultra
bright 2D and RealD 3D, enveloping audio,
and luxury seating.
PACKAGE DEAL
n Packaging Concepts Inc., a manufacturer of
flexible packaging, has purchased the assets of
Integrity Packaging from 21st Century Partners
for an undisclosed amount.
The new entity, Packaging Concepts of
Houston LLC, will be a wholly owned subsidiary
of PCI. The company has entered into a
long-term building lease with Leon and Paula
Goldstein and will remain at the Silber Road
address.
CARMIKE & CO.
n Expanding its footprint to 37 states, Carmike
has inked a deal to acquire nine theaters comprising
147 screens from Muvico Entertainment
for $31.75 million cash. The entertainment
complexes are located in Florida, Illinois, and
California, marking the Columbus, Georgia’s
entrée into the western state. The pact, expected
to close in the fourth quarter of 2013, will bring
Carmike’s theater portfolio to 257 theaters and
2,681 screens and add incremental revenue of
$68 million.
“Carmike’s ongoing operating execution,
combined with select accretive transactions, has
continued to positively impact our top- and
bottom-line results, further strengthening our
position to secure additional growth opportunities
as we move closer to our 300-location,
3,000-screen goal,” says Carmike CEO David
Passman. “We are delighted to add these
well-maintained theaters to our expanding
circuit, and the entire Carmike team looks
forward to welcoming the Muvico associates to
our growing family.”
The new theaters include two Bogart’s Bar
& Grill restaurants, two Imax screens, and two
MuviXL large-format auditoriums.
CINEPLEX COAST TO COAST
n Cineplex has purchased 24 cinemas from
Empire Theatres in a deal worth $194 million.
The acquisition adds 24 locations with 170
screens in Atlantic Canada to the Toronto
circuit’s portfolio, bringing its footprint to 161
theaters and 1,635 screens nationwide. Canada’s
largest exhibitor plans to invest in the new
locations and may add its proprietary UltraAVX
auditoriums or VIP Cinemas to one or more
multiplexes.
“We have realized our vision of making
Cineplex a truly national, coast-to-coast company,”
says Ellis Jacob, president and CEO of
Cineplex. “Atlantic Canadians are accustomed
to a high standard of theater entertainment, and
our goal is to make it even better—with our
SCENE loyalty program, Cineplex Tuesdays,
and the many other benefits of Cineplex ownership.”
DCDC LIVE
n Delivering on the promise of digital cinema,
the Digital Cinema Distribution Coalition
(DCDC) is up and running. Backed by AMC,
Cinemark, and Regal, as well as all seven
studios, the digital distribution platform is now
delivering content to 17,000 screens in 1,200
theaters throughout the country. And the venture
is being led by Randolph Blotky (above),
who served as the organization’s principal
consultant before being named CEO.
“This is a truly historic moment,” Blotky
says. “DCDC represents the culmination of
years of incredibly complex work, as well as the
extraordinary contributions of so many visionary
executives throughout the film and technology
industries. They’ve succeeded in creating a
groundbreaking venture that, simply put, turns
the digital content distribution economic model
on its head.”
DCDC delivers content via satellite or
high-speed terrestrial links, lowering the cost of
distribution. The coalition pays for the installation
and maintenance of equipment, including
a satellite owned and operated by DCDC,
V-Sat backchannel equipment, and a server that
receives content. In addition, a network operations
center monitors all deliveries. The service
aims to distribute 31 films over the network
by the end of 2013, with plans to expand its
footprint next year.
TICKETS TICK DOWN IN Q3
n Before Gravity hit theaters the first weekend
in October, moviegoer interest in 3D had
started to flag, and that affected ticket prices
during the third quarter. After hitting a record
high of $8.38 in the second three months of the
year, the average cost of admission in the United
States dropped 6.4 percent to $7.84, according
to NATO, due to fewer patrons opting for
premium-priced 3D and more selecting cheaper
matinees for family films, which were popular
during the quarter. Year-to-date ticket prices
averaged $8.05. The biggest title of the period
was Universal’s Despicable Me 2 with $361.8
million.
CINEMARK HITS HIGH
n Cinemark saw 81.0 million patrons pass
through its doors during the third quarter—a
company high. Attendance was up 16.2 percent,
with U.S. theaters posting a 23 percent
increase to 50.6 million and international cinemas,
mostly in Latin America, up 6.8 percent
to 30.4 million.
“The North American industry celebrated
a robust box office in the third quarter with
an increase of 6.4 percent, fueled by a record
summer box office,” says CEO Tim Warner.
“Cinemark achieved record-setting results with
a 19.2 percent increase in admissions revenues
over the prior year, as well as all-time highs for
attendance.”
MAD IMAX
n Imax has been busy the past few weeks,
inking deals for 19 new giant screens in the
United States, Latin America, and England.
The large-format company has signed a new
revenue-sharing agreement with Carmike
for 10 Imax theater system to be installed in
both new construction projects and existing
multiplexes throughout the country, including
locations in Georgia, Tennessee, and Texas.
Through its acquisitions from Rave and
Cinemark, Carmike has inherited eight Imax
theaters, bringing its total commitment to 18
of the large-format screens.
“We’re delighted to see the continued
demand for Imax domestically—particularly
in the Southeast region of the U.S., which
continues to present expansion opportunities
for the company,” says Imax CEO Richard L.
Gelfond.
In addition, Imax has agreed to install
eight systems in existing Cinépolis multiplexes
throughout Latin America, including four in
Colomobia and one each in Brazil, Guatemala,
Panama, and Peru. With recent agreements for
locations in India and Mexico, and a half-dozen
already open in Mexico and Brazil, Cinépolis
has now pacted for 22 Imax screens.
“We’ve been more aggressive recently in
the Latin American market with 17 theater
signings to date in 2013—more than triple
the number of deals signed in the region in
2012,” adds Gelfond. “We expect the region
to provide further growth for us as the appetite
for The Imax Experience continues to increase
among developers, exhibitors, and consumers.”
Finally, Imax has inked to install a system
in Showcase Cinemas’ first giant screen in its
Bluewater Shopping Centre in Kent, England.
Parent company National Amusements operates
Imax theaters at 20 U.K. locations.
DECEMBER 2013 BoxOffice ® Pro The Business of Movies 7

MARCUS ON THE MOVE
Rolando Rodriguez both honors
the past and looks to the future
in his new role at the head of the
Midwest circuit
by Annlee Ellingson
Rolando Rodriguez has some very big
shoes to fill. After 30 years at AMC
Theatres in various positions including
executive vice president of North America
operations; five at Walmart, where
his roles included vice president and
regional general manager for four states;
and a couple more running Rave Cinemas
before the chain sold its theaters to
Carmike, the exhibition and retail veteran
has joined Marcus Theatres as president
and CEO, replacing Bruce Olson, who
retired this fall. But he’s hit the ground
running, visiting 95 percent of the circuit’s
locations in his first two-and-a-half
months on the job and implementing
initiatives both that had already been in
the works at Marcus and that he brought
with him.
During Rodriguez’s short tenure—his first
day at Marcus was July 30—the chain
has premiered the UltraScreen DLX in
three theaters with 65-foot screens and
DreamLounger leather electric recliners
throughout not only the premiere auditoriums
but every house in the Addison,
Illinois; Oakdale, Minnesota; and Columbus,
Ohio locations. Marcus is installing
20-foot screens in its Take Five Lounges
to play not only trailers but alternative
programming like football games. The
company is expanding its Zaffiro’s line
of pizzerias to include express versions
inside its theaters. And Marcus has
launched its own Theatre Entertainment
Network to play concerts, opera, indie
films, comedy performances, and classic
movies.
BOXOFFICE Bringing an express version
of Zaffiro’s into Marcus theaters is an
example of how the circuit
can tap into the synergy
of the Marcus Corporation.
ROLANDO RODRI-
GUEZ Absolutely.
This is part of utilizing
the experience of a
great organization that
obviously not only has
a rich tradition within
the theater industry
but also a very
rich tradition
in the restaurant
and
hospitality
business—
our ability
to utilize
the synergies associated with all of those
organizational knowledge bases, and
really providing what I believe [is] a significant
improvement in the moviegoing
and in particular entertainment concept
of theaters.
BOXOFFICE How has your experience
at Rave informed what you’re doing at
Marcus?
RODRIGUEZ It’s really a combination of
what I learned at Walmart coupled with
what I learned at Rave. Being in the retail
industry and in particular in the largest
and most powerful retailer in the world,
which is Walmart, and at Rave, we spent
a great deal of time not only looking at
the initiatives that we were doing but also
the things that a lot of our competitors
are doing that are actually working and
doing very well. And so then the question
becomes what works, [and] how can you
try to implement it? Second of all, if it is
working, can it possibly work a little bit
better if you put a different twist to it? …
As an example, if we think about the
DreamLounger concept that started
to build within the industry—and we
certainly weren’t the first ones on the
ground on that—the reality is that nobody
was thinking about doing them in their
large-screen formats. And so here is a
great opportunity to mobilize, hit the
ground running, and give the consumer
something that is so special, and it’s not
out there, that we could actually move to
market a lot faster.
BOXOFFICE What is it like stepping into
shoes as big as Bruce Olson’s?
RODRIGUEZ Obviously, as you can
imagine, he’s been a very and rightfully so
well-respected leader for 39 years in this
company, and so walking in is, no matter
how you look at it, creating change. …
[But] hopefully, what good leaders do is
balance the knowledge of the past and
respect the knowledge and the culture of
the past while at the same time introducing
new ideas and change to really move
us to the present and the future. And I
think that’s hopefully what I can do well
as I continue to maneuver and become
more of the core of the organization.
BOXOFFICE What challenges to you
anticipate face Marcus or the exhibition
industry in general?
RODRIGUEZ We have all heard of the
impact of the video-on-demand. … But
frankly I look at [that] as noise in the
system because the reality is, we all
have kitchens in our homes, and we still
like the social experience of going out.
And there’s one duplication that cannot
happen in our home, and that is staring
at a 70-foot screen on a DreamLounger
in a stadium-seat house with a room of
another 250 customers that are enjoying
a wonderful art experience on the screen.
EXHIBITION BRIEFS
MOVIE HOUSE NEWS
n Digiplex Destinations has acquired two new
theater locations: an eight-screener in Mechanicsburg,
Pennsylvania, and a seven-plex in
Churchville, Maryland, from Flagship Cinemas,
as well as signed a theater operating lease for a
12-screen theater in Smyrna Beach, Florida. n
Cinemark has launched the East Montana &
XD, a new 14-screen all-digital movie theater
featuring its NextGen cinema design concept
in El Paso, Texas, with wall-to-wall, floor-toceiling
screens; 3D; enhanced sound systems; a
cafeteria-style concession stand; and a Cinemark
XD: Extreme Digital Cinema auditorium. n
AMC Theatres has opened the North Point
Mall 12 in Alpharetta, Georgia, with mostly
plush, power-recliner seating; a MacGuffins
full-service bar and lounge area; a Marketplace
fast-serve concession area; and an Imax screen
with AMC’s own large-screen format to be installed
in early 2014.The Kansas City, Missouri,
circuit has also renovated the Dublin Village 18
in the Columbus, Ohio, area and the Southroads
20 in Tulsa, Oklahoma, with plush power
recliners, a MacGuffins Bar, and expanded concessions
offerings. n Landmark Theatres will
launch a 10-screener in the Washington, D.C.,
submarket of Capitol Point with a full-service
bar, luxury seats, 3D, and a unique concession
menu. n iPic Entertainment expects to open
an eight-screen, 533-seat luxury movie theater
and Tanzy dining concept in the new retail
destination Hudson Lights in Fort Lee, N.J., in
summer 2015 with reclining chairs, pillows, and
blankets and seat-side food and beverage service.
n Marcus Theatres has installed its UltraScreen
DLX cinema experience in Addison, Illinois;
Oakdale, Minnesota; and Columbus, Ohio with
three-story-high UltraScreens, spacious Dream-
Lounger leather electric recliners throughout
the auditoriums, and immersive sound. The
Milwaukee, Wisconsin, circuit has also added
an UltraScreen auditorium to its Gurnee Mills
Cinema in Illinois with a 70-foot screen, dual
projection system for realistic 3D, and the Auro
11.1 immersive sound system. n Cineplex
Entertainment will reopen the Younge-Dundas
and VIP mid-next year with five VIP auditoriums,
one licensed lounge, UltraAVX and Imax
screens, and 16 traditional auditoriums. n
Regal Cinemas has added two VIP auditoriums
and a full-service lounge to its Atlantic Station
Stadium 18 Imax & RPX with king-size recliners
in an exclusive 21-plus environment. n Luc
Besson’s EuropaCorp has launched its new exhibition
initiative with a 12-screen multiplex in
the Aeroville mall in underscreened Tremblayen-France
near the Charles de Gaulle Airport
with a “live” theater dedicated to events such as
operas and concerts, a sports bar, two premium
auditoriums, a private lounge with gourmet
food and wine, a large-format EuropaMax
screen, and eight more traditional auditoriums
as well as a Europa Store.
8 BoxOffice ® Pro The Business of Movies DECEMBER 2013

COMING
SOON
DigiNext expands its content to include a Latin,
faith-based holiday movie
A CHRISTMAS MIRACLE
by Annlee Ellingson
n Launched last fall, DigiNext has distributed
a series of eight documentaries (and one indie
rom com) to targeted audiences. “We started
with the documentaries because they were
readily available to us,” says Bud Mayo, chairman
and CEO of Digital Cinema Destinations
Corporation, which partners on DigiNext with
Nehst Media Enterprises.
But on Dec. 6, DigiNext is expanding
its mandate to include A Miracle in Spanish
Harlem, a family drama with a Latino cast and
faith-based themes—two demographics the
company will market to both hyper-locally and
nationally.
Luis Antonio Ramos stars as a widower and
father of two girls who, despite holding down
two jobs, struggles to support his family and
has lost his faith. Mexican star Kate del Castillo,
in her first lead English-speaking cinematic
role, offers him a second chance at love.
“This is It’s a Wonderful Life but in a Latino
background starring major Latino actors,” says
Mayo, who wants to tap the same audience that
has driven the Spanish-language comedy-drama
Instructions Not Included to $44.2 million domestically.
“We’re under no illusions that we’re
going to do Instructions Not Included numbers
with it, but we certainly think that we know
who the audience is.”
In order to reach that audience, DigiNext
is marketing in bodegas like the one the main
character owns and to charities that cater to
Latinos, “sharing part of the ticket price for
anything they helped us with,” Mayo says. The
cast has made the rounds in New York, with
plans to appear on Univision and a promotion
deal in the works with Telemundo through
Screenvision.
“The outgrowth of this will be that we do
three or four more [Latino-oriented films] over
the course of the next year or two,” Mayo says.
“We see this as a movie that we will do at least
some kind of a limited release and try to do it
at around this time of year again possibly every
year,”
A Miracle in Spanish Harlem
will play Dec. 6-12 in about
150 theaters in the Digiplex
chain and Screenvision
network, and DigiNext plans
to re-release it wider in
January.
LUIS ANTONIO RAMOS
FATIMA PTACEK, KATE DEL CASTILLO, BRIANNA GONZALEZ-BONACCI
FATIMA PTACEK
10 BoxOffice ® Pro The Business of Movies DECEMBER 2013

EXECUTIVE
SUITE
The industry storms Capitol Hill
PROJECTING THE VOICE
OF EXHIBITION
by Todd Halstead,
Deputy Director of Government Affairs, NATO
“Politics is the best show in America. I love animals and I love
politicians and I love to watch both of ’em play either back home
in their native state or after they have been captured and sent to
the zoo or to Washington.”
–Will Rogers
n Story has it that each president since Franklin
D. Roosevelt has rubbed the left shoe of the
U.S. Capitol’s statute of Will Rogers for good
fortune before delivering the State of the Union
address. The sculpture—which Oklahoma
selected as one of two statues to represent the
state as part of the National Statuary Hall Collection—has
had so many lawmakers throughout
the years seeking that same bit of luck that
the finish on the bronze shoe has worn down
to the metal. A perhaps apocryphal tale claims
that Rogers, Oklahoma’s favorite son and the
leading political pundit of his day (think Jon
Stewart, but significantly more clever and influential),
agreed to the statue on one condition:
that it be placed facing the House Chamber so
he could “keep an eye on Congress.”
In the spirit of cinema’s patron saint, NATO
keeps an eye on Congress by monitoring legislation
that affects the industry and educating policymakers
on the importance of movie theaters to
the economy and the communities they anchor.
Given the increasingly high stakes of the legislative
and regulatory issues at play in the nation’s
capital, however, we need your help in projecting
the voice of exhibition in the halls of Congress.
As the old adage goes, “All politics is local.”
And that’s where you, the American exhibitor,
come in. As NATO continues to advocate
on behalf of the movie theater industry, it
is vital now more than ever that exhibitors
continue to increase their level of engagement
with lawmakers at the federal, state, and local
levels of government. A study by the nonpartisan
Congressional Management Foundation
found that congressional staff believe constituents
have far more influence on undecided
lawmakers when compared with the sway of
professional lobbyists. Furthermore, the survey
found that in-person constituent visits have “a
lot” of influence on members of Congress. In
short, lawmakers and their staff often count on
your insight to help them know if they are on
the right track.
To that end, NATO and its regional
association partners involve exhibitors in the
legislative process by facilitating contact with
lawmakers through a range of tools, including
letters, emails, faxes, and phone calls. None of
these tools, however, influence the policy-making
process more than face-to-face interaction
with lawmakers.
And there is no better way than a Capitol
Hill fly-in to demonstrate the exhibition community’s
dedication to protecting one of America’s
greatest pastimes: going to the movies.
These fly-ins are invaluable opportunities for
leaders of exhibition to begin new relationships
with lawmakers and staff and to strengthen
existing ones. NATO organizes all aspects of
its Capitol Hill Day, ranging from scheduling
meetings to providing advocates with detailed
background information and talking points.
This year, NATO continued its practice
of hosting Hill Day in conjunction with the
association’s annual meetings when they are
held in Washington, D.C., every odd year.
And what an odd year this was. Even the most
successful of fly-ins experience some hiccups,
ranging from last-minute meeting cancellations
to unsympathetic lawmakers. Then there is
the Dudley “Booger” Dawson-level burp that
almost leveled NATO Capitol Hill Day 2013.
“Last year we said, ‘Things
can’t go on like this,’ and
they didn’t. They got
worse.”
–Will Rogers
No single event can have as traumatic of an
impact on the carefully choreographed schedule
of a Hill Day—or the organizer’s mental
well-being—than a government shutdown. Unfortunately,
the way NATO’s annual meetings
fell this year required that Hill Day be held
on October 1—which as it turned out was the
worst day to hold such an event since partisan
politics caused a partial shutdown of the government
17 years earlier. As was the case then,
a deeply divided and increasingly unproductive
Congress had been playing a zero-sum game
of chicken over the nation’s fiscal health for
some time. Since 2011, Congress’ increasingly
acrimonious fights over spending cuts, the debt
limit, and the Affordable Care Act had led to
threats of several shutdowns that were narrowly
avoided only when lawmakers stopped bickering
long enough to pass stopgap measures to
fund the federal government.
With no such relief in sight this time
around, it looked like months of planning were
going to be sacrificed at the altar of political
gridlock. NATO spent the last weekend of
September notifying our members that the
planned fly-in might become grounded if Congress
failed to pass a 2014 budget or temporary
spending bill to fund the federal government by
October 1, the first day of the new fiscal year.
Despite conflicting reports on whether Senate
and House offices would be open to visitors,
more than 30 NATO Hill Day advocates threw
caution to the wind and continued with their
pilgrimage to Washington, D.C., ahead of the
annual meetings.
While the shutdown came to pass as
expected, lawmakers and their staff found it
important to ignore the resulting chaos long
enough to meet as planned with these leaders
of the exhibition industry. At the end of the
day, the dedication of these NATO volunteers
was rewarded with more than 40 meetings with
House and Senate offices regarding the exhibition
industry’s positions on four issues:
Closed captioning and video description—NATO
advocates relayed the industry’s concern regarding
the Department of Justice’s proposed rule addressing
the requirements for captioning and video
12 BoxOffice ® Pro The Business of Movies DECEMBER 2013

description of motion pictures exhibited in movie
theaters. Lawmakers in general agreed these regulations
were needless given the industry’s voluntary
efforts to make cinemas as accessible as possible to
moviegoers with disabilities.
40-hour rule—For the purpose of implementing
the Affordable Care Act’s employer mandate,
the law sets the full-time threshold at 30 hours
a week—upending the traditional 40-hour
work week that has long been the standard for
American businesses. To protect the livelihoods of
workers and encourage business growth, NATO
advocates encouraged lawmakers to replace the
30-hour definition of “full-time employment”
under the law with the 40-hour standard.
Laser cinema projection—NATO advocates updated
congressional offices on efforts to encourage
the FDA to adopt upcoming international laser
standards that would eliminate burdensome
and senseless regulatory requirements the agency
currently imposes on projector manufacturers and
exhibitors.
Ratings enforcement and media violence—In
meetings with key Senate offices involved in
the gun control/media violence debate, NATO
advocates explained why the movie rating system is
working and should remain voluntary, specifically
noting that introducing the heavy hand of government
into the ratings system would distort the
industry’s partnership with America’s parents and
fail to survive the first constitutional challenge to
the legislation.
While it was empowering to see such a level
of commitment from the NATO volunteers
who invested their time and effort to turn a
potentially ill-fated NATO Hill Day into such
a resounding success, this is just the beginning.
To avoid losing momentum from this event,
which was essential in helping the industry
build relationships on Capitol Hill that will
strengthen our national advocacy work, NATO
will assist exhibitors who wish to visit the state
or district offices of their senators and representatives
during congressional recesses.
Another great way to represent the industry
and cultivate relationships with lawmakers is to
invite them to tour a movie theater and meet
with your employees—just ask Kevin Mitchell
of ShowBiz Cinemas. After the shutdown
forced Rep. Joe Barton (R-TX) to cancel his
meeting with the Texas delegation of NATO
advocates, Kevin invited the congressman to
participate in the ribbon-cutting of the new Superior
Digital Experience (SDX) auditorium at
his theater in Waxahachie, Texas. At the event
in late October, Barton, chairman emeritus of
the important House Energy and Commerce
Committee, said he appreciated ShowBiz’s
investment in Waxahachie—a community
that has a special place in his heart. There is no
amount of lobbying that can replace the effectiveness
of that breed of constituent outreach.
NATO CAPITOL HILL DAY
Deepak Keshani, Bartlett Cinema
Gina DiSanto, King Theatre Circuit
2013 ADVOCATES
Dan Ellis, Carmike Cinemas
NATO thanks the following volunteers for taking
Richard Hare, Carmike Cinemas
Jeff Logan, Logan Luxury Theatres
time out of their schedules to participate
David Passman, Carmike Cinemas
Dale Davison, Metropolitan Theatres
in NATO Capitol Hill Day 2013 to advocate on
Fred Van Noy, Carmike Cinemas
behalf of the exhibition industry. Representing
J.D. Loeks, Celebration! Cinema
Steve Horton, National Amusements
a diverse cross-section of the industry, NATO’s
Steve Zuehlke, Cinemark USA
Bill LeClair, National Amusements
advocacy efforts were strengthened by the
Ricky Thomas, Cobb Theatres
Paul Valerio, National Amusements
Harkness_Android_iPad_Ad_half unique perspectives these members brought 7.25x4.75" to
Jeremy Welman, Cobb Theatres
(Box_Office_USA):Layout 1 02/10/2013 10:34 Page 1
Washington.
Byron Berkley, Foothills Entertainment
Chelsea Lotter, Paradise Cinemas
David and Linda Wright, Linway Plaza Cinemas
Doug Murdoch, Mid-Atlantic NATO/CATO
Belinda Judson, NATO State Government and Regional Liaison
Scott Lotter, Paradise Cinemas
Jack Schick, NATO of Michigan
Randy Smith, Regal Entertainment Group
Syd Hall, Rio Entertainment
Brian Schultz, Studio Movie Grill
Daniel Vieira, Theatre Owners of New England
Mark O’Meara, University Mall Theatres
Mark Adam, Zyacorp Entertainment
Sherri Davis, Zyacorp Entertainment
Judy Huard, Zyacorp Entertainment
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DECEMBER 2013 BoxOffice ® Pro The Business of Movies 13

NATO
NEWS
NATO spearheads efforts to control the message
about the industry
TAKING OUR FUTURE IN
OUR OWN HANDS
by Patrick Corcoran,
Vice President &
Chief Communications Officer, NATO
n As I have noted previously, much of the
reporting on our industry is intensely focused
on the performance of individual movies, with
a great deal of interest in how a movie did on
its opening weekend contrasted with its estimated
budget and marketing campaign. Winners
and losers are anointed and the health
of the industry scored like a boxing match.
This witless reporting reached its peak this
summer as one big-budget “bomb” signaled
the collapse of the movie industry at the very
time it was recording record summer revenue
and notching a nearly 9 percent increase in
admissions.
We have, for as long as I can remember,
decried the weekly box office score-keeping
that does little or nothing to drive attendance
and has the pernicious effect of making
comparisons to the same weekend a year (or
five years) before seem as if they matter. It is a
constant struggle to get industry analysts and
reporters to focus on the longer term. Unfortunately,
we do not control the release of that
information. As long as the studios see a marketing
advantage in claiming winners in the
weekend horse race, I don’t see much chance
of that changing, but the theater industry has
other ways of influencing the narrative.
We face long-term challenges and opportunities
to improve the perception and
prospects for growth in our industry. We have
for too long relied on the strength of our
studio partners’ marketing efforts, movie by
movie, to drive attendance. We have interests
and concerns that transcend any one title, and
as an industry we are taking hold of our own
future.
The brouhaha over Netflix’s Ted Sarandos’
comments that painted theater owners as
obstacles to innovation over our industry’s
protection of an exclusive theatrical window
demonstrated a broad ignorance of the theatrical
window’s benefit to the whole industry.
Indeed, our concern is over not just the length
of the theatrical window but the perceived
length of that window. Consumers already
think it is shorter than it is and are already
basing their purchasing decisions on that perceived
length. The theatrical release of a movie
and its home release are different products.
Treating them as the same thing will end up
devaluing one at no benefit to the other. The
exclusive window is a profound marketing
advantage for the theatrical market and for
distribution that our partners at the studios
tamper with at all our peril.
It is widely understood that the theater
business gets most of its revenue from a
fraction of its capacity. We are acutely aware
of the unsold inventory in our industry, and
we believe it represents a real opportunity for
growth. At the same time, it is also a fact that
two-thirds of Americans went to at least one
movie last year. That’s 217 million people.
Imagine the possibility of getting our current
customers to attend just one more time.
NATO is currently in the process of soliciting
concepts for a moviegoer PR campaign to
address that opportunity. We have conducted
market research that uncovered moviegoer
attitudes that were remarkably positive and
helped develop themes that potential customers
across the range of moviegoing frequency
found attractive and motivating.
Two-thirds of Americans
went to at least one
movie last year. That’s
217 million people.
Imagine the possibility
of getting our current
customers to attend just
one more time.
We have received final pitches from ad
agencies to begin designing a test marketing
campaign to see how effective such a campaign
might be. Key marketing executives
from our membership are closely involved in
this process. After it runs, we will return to
our members with the results to consider a
broader campaign with a large commitment
of money and theater marketing assets. We
will also turn to our studio and other industry
partners to broaden its scope and reach. We
have kept our studio partners apprised of this
potential campaign and some have already
expressed interest in partnering with us.
We and our members are also exploring
ways to leverage their loyalty programs and
customer databases to target more potential
moviegoing. We have been having discussions
with a company that specializes in designing
and optimizing customer databases. Further,
those loyalty programs are being used to
leverage both theatrical and home purchases
through various “superticket” programs. We
think this approach has potential to benefit
both the theatrical and home markets for the
studios and offer value to our customers while
at the same time protecting the vital exclusive
theatrical window.
There is a perception about moviegoing
that the price is too high. This perception is
despite the fact that moviegoing remains the
least expensive out-of-home entertainment
option and that, adjusted for inflation, it is
less expensive on average to go to a movie
than it was 40 years ago. The average ticket
price of $1.76 in 1973 would cost $9.28 in
today’s dollar. The average ticket price for the
first three quarters of 2013 was $8.05. For the
third quarter it was $7.84.
Still, some have suggested variable pricing
based on day of the week, the length of time
a movie has been in release, or even based on
the movie itself. Variable pricing is more problematic
from a broader industry standpoint.
As a trade association, it is necessary that we
stay out of pricing decisions. Industry-wide
pricing schemes can raise serious legal questions
if not structured properly in the interest
of competition and consumers. However,
many companies already have a range of discount
offerings based on day of the week, bulk
purchases, and the like. Some companies base
their entire business model on lower pricing
for movies that have been in the marketplace
for a certain period of time. Others have
complexes within their larger circuits that use
the same model.
Another area of concern for us is seasonality.
The concentration of movies in the
summer and holiday periods, while large
swaths of the calendar are essentially empty
of broadly appealing movies, has long been a
primary issue for us. It is not in the interest
of studio or cinema companies to train our
customers that there are moviegoing seasons.
The glut of similar movies this summer is a
case in point. Many of the movies that underperformed
could have done as well or better
in any other month in the calendar, and with
some breathing room, the remaining summer
movies could have performed even better. We
14 BoxOffice ® Pro The Business of Movies DECEMBER 2013

have seen some progress on this front; indeed, the remarkable success of
Warner Bros.’ Gravity could not illustrate the point better.
Finally, as many of you already know, in November NATO hosted
an industry marketing summit in Los Angeles that took as its theme
“driving theatrical attendance.” Top marketing people from inside and
outside the industry were focused on some of the ideas discussed above.
To give you a sense of what you missed if you couldn’t attend, consider
these panels and discussion topics:
Coming in January
Attracting and Engaging Millennial Consumers:
Social at the Heart
The Golden Ticket: How to Drive Sales by
Making Moviegoing an Event
The Role of Data and Analytics in the Cinema Marketplace
SCARY BOX OFFICE
A look at the
Paranormal Activity franchise
The Power of Social Media in Getting Moviegoers
to Your Theater
Beyond the Big Screen: How to Use Mobile Apps
to Enhance the Moviegoing Experience
Branding the Moviegoing Experience
The Importance of Multicultural Marketing in the 21st Century
As we move into a new era in moviegoing, driven by digital technology
and new ways—and new needs—to engage our customers, NATO
and our CinemaCon team plan to make this an annual event.
Making great movies that audiences want to see is the studios’
specialty. Ours has to be providing a great place for those movies to be
seen and a great experience for our customers. As we take our industry’s
marketing and image into our own hands, there is no better way—and
no better message—than that.
OF EXHIBITION
PLUS
BoxOffice Exhibitors of the Year
Executive Suite
NATO News
Exhibition Briefs
Timecode
Coming Soon
Booking Guide
DECEMBER 2013 BoxOffice ® Pro The Business of Movies 15

CONVENTION
REPORT
SHOWTIME!
n In 1957, the first Show-A-Rama convention burst onto the scene in
Kansas City, Missouri, delivering star power and the magic of Hollywood
to theater owners and exhibitors of the Midwest. The tradition
grew and continued for 28 years before closing the curtain in 1985 as
the appeal of Las Vegas drew convention attendees out West. The fun
and exuberance of Show-A-Rama was seemingly lost from the
central United States as the East and
West Coasts capitalized
on the demand
for large conventions
in particular geographic
areas.
But now, another
28 years later, Show-
A-Rama has returned!
Hosted by NATO of
Missouri/Kansas and
facilitated by the organization’s
president Bob
Bagby, Show-A-Rama
was co-chaired by Bobbie
Bagby Ford, vice president
of marketing for B&B Theatres,
and Megan Hageman,
marketing director for Sonic
Equipment Company, and
the convention emerged
from the past like the proverbial
fiery phoenix.
Held on sites in Kansas
City and Grain Valley, the
newly reopened Show-A-Rama
convention boasted studio
presentations from our friends
at Paramount, Fox, Sony, and
Lionsgate, Vive Audio demonstrations
from Christie Digital,
and as a sold-out trade show
featuring concessions, digital
service, theatrical equipment, and
film production vendors from all
across the nation. The content was
exciting, the tone of the convention
was light and fun, the trade
show was packed (but navigable!),
and the food was delicious!
Representatives from 17 exhibition companies (AMC,
Dickinson, B&B, Mitchell, and several other independent owners)
attended the convention not only to witness the thrilling studio presentations
and brush up on industry innovations, but to participate in
open-forum panel discussions with trade professionals. These industry
experts included local managers, professional marketers, champions
of concessions sales, and even the Grandmaster himself, John Fithian,
president and CEO of the National Association of Theatre Owners.
These panel discussions touched on opportunities to create within
cinema patrons a love and loyalty for the theatrical experience, methods
NATO of Missouri/Kansas puts on a Show-A-Rama
BACK-PAGE AD
BOXOFFICE
FEB. 18, 1963
by Paul Farnsworth,
Show-A-Rama committee member
for maximizing concessions sales, and the importance of women both
as decision makers inside the Hollywood machine and as moviegoing
patrons. Fithian teamed up with Belinda Judson, state government and
regional liaison for NATO, for a special presentation regarding the state
of the industry, NATO’s focused
efforts in defense of exhibitor
rights, and what opportunities
and growth he and NATO
representatives anticipate in the
coming months and years. The
Show-A-Rama attendees had
the wonderful chance to sit in
an intimate and approachable
venue with these industry leaders
to ask questions pertaining
to their locations and specific
situations.
As the convention came
to a close, a blowout dinner
and murder mystery event
was held outdoors under
a heated event tent with a
local 40-piece youth brass
ensemble and a tribute to
Variety—The Children’s
Charity. The generosity of
convention attendees was
made evident as donations
were graciously made,
and more than $3,000
was generated to support
the Kansas City chapter
of Variety. It was truly
a special event, full of
considerate and unified
people who raised
money for a great
cause!
Show-A-Rama was
an homage and tribute
to the convention
of yesteryear but
also a humbling reminder
of just how far the
industry has come. Show-A-Rama coupled the prize
of our here-and-now with the promise of our industry’s
future and the historic significance of our industry’s past.
Miss the 2013 Show-A-Rama? Fear not! On the prospect of subsequent
Show-A-Rama conventions, Bob Bagby says, “The Kansas and
Missouri area has an impressive group of theater exhibition companies
located in these two states including AMC, Dickinson, and Warren
Theatres in Kansas and Wehrenberg and B&B in Missouri, plus a large
group of independent theater owners. Our board hopes to get more
people involved so that Show-A-Rama will grow into a strong regional
convention.”
Show-A-Rama 2014 will be held Oct. 14-16, 2014.
16 BoxOffice ® Pro The Business of Movies DECEMBER 2013

GLOBAL
REPORT
IRON MAN 3
2013 WORLD BOX OFFICE CHAMP
$1.2 BILLION
YEAR-END
WORLDWIDE
BOX OFFICE
ANALYSIS
by Daniel Loria
18 BoxOffice ® Pro The Business of Movies DECEMBER 2013

Aussie Baz Luhrmann had his biggest hit at home
with The Great Gatsby ($28 million) topping
2008’s Australia ($24.3 million)
AUSTRALIA
n Iron Man 3 walked away with the year’s box office crown in
Australia. The superhero film faced little competition, as no other
release in 2013 was able to get anywhere near its $40 million gross.
The film received a boost from The Avengers’ $55 million run from
the previous year, as Robert Downey Jr.’s previous solo outings as
Iron Man had grossed $18.7 million and $24 million, respectively.
Director Baz Luhrmann enjoyed the biggest hit of his career in
Australia with The Great Gatsby. The literary adaptation brought
in $28 million, surpassing the $24.3 million run of Australia in
his home country. Fellow Aussie Hugh Jackman also saw big numbers
for his own superhero franchise. The Wolverine became the
second-highest-grossing film in the X-Men franchise with a $14.6
million take, just under the $15.2 million earned by X-Men: First
Class.
Australia is one of the world’s friendliest markets for Hollywood
comedies. The Hangover Part III grossed $20.5 million in Australia
to become one of the film’s top overseas markets. The figure didn’t
live up to expectations, however, with the franchise’s previous installment
grossing $34.5 million in 2011.
Melissa McCarthy had a breakthrough hit with her acclaimed
supporting role in 2011’s Bridesmaids, a film that collected $28.6
million in Australia. McCarthy’s subsequent outing, Identity Thief,
failed to replicate that success with a $7.3 million take. The Heat,
McCarthy’s second release of 2013, paired her with Sandra Bullock—a
comedy duo that Australian audiences responded to with a
strong $14.2 million. McCarthy seems to excel in Australia in female-oriented
comedies and will look to continue her streak in the
market with similar releases since Bridesmaids and The Heat have
combined for a $519.8 million tally worldwide.
BRAZIL
n The top three films of the year in Brazil are no surprise: Iron Man 3
($47.8 million), Despicable Me 2 ($35.6 million), and Fast & Furious 6
($23.2 million) are also the top three films of the year at the global box office.
No one expected, however, that Hansel & Gretel: Witch Hunters would
finish the year as the number-four film of 2013. The Paramount release
flopped in North America with a $55.7 million take, but found life overseas
that would bump Hansel & Gretel’s global cume to $226.3 million.
Brazil is responsible for slightly more than 10 percent of the film’s global
gross, contributing $23.6 million to its final tally since its January debut.
Domestic comedies showed off their box office muscle in Brazil this
year. De Pernas pro Ar 2 extended its $3.1 million bow during the 2012
holiday season into the current year, finishing its run with a $24.6 million
cume. Vai que dá Certo continued the domestic hot streak at the
box office with a $14.4 million take after opening in late March. Minha
Mãe é uma Peça finished the year as the highest-grossing Brazilian film
with a $21.9 million run despite opening amid heavy social protests in
the country’s major cities while Brazil hosted the biggest international
soccer tournament of the year. The box office resiliency is a hopeful sign
for 2014 and 2016 releases in Brazil, which will have to compete for local
attention as the country hosts the World Cup and Olympics, respectively.
Three other of the year’s biggest hits screened during Brazil’s turbulent
June, further proving that the protests surrounding sporting events
have minimal interference with box office business. The Hangover Part
III opened on May 30 to a $4.1 million bow and went on to gross $16.7
million; Monsters University defeated Minha Mãe é uma Peça on their
June 21 debut with a $3.9 million tally before falling behind to the domestic
comedy with a $16.5 million cume; and World War Z opened to
a $3.4 million bow only days before the national soccer team celebrated
the Confederations Cup title. World War Z would also celebrate at the
end of its run with a $15 million tally.
DECEMBER 2013 BoxOffice ® Pro The Business of Movies 19

2013: WORLD MARKET ANALYSIS
The year’s highest-grossing film in China was
Journey to the West: Conquering the Demons with
an astounding $196.7 million
CHINA
n This year provided further proof of the rise of the Chinese box office
as the most important overseas market. Imax CEO Richard Gelfond has
even gone on to predict that China’s booming film industry will replace
North America’s as the world’s biggest box office by 2018. As Chinese
audiences grow, so does Hollywood’s interest in claiming part of the
market.
Diplomatic ties between the U.S. and Chinese governments worked
to increase the quota of imported films from 20 to 34. The increase in
films being released marked a major victory for Hollywood in China
but did little else to guide studios through many of the market’s other
intricacies. Hollywood studios are still bound by the approval of Chinese
censors, and even if a film is approved, the U.S. companies have no say in
regard to a film’s release window.
The year’s most notorious example of a worst-case-scenario Chinese
release occurred with Quentin Tarantino’s Django Unchained. Tarantino’s
latest was pulled from release seconds into its first screenings across the
country without an official reason to explain the last-minute decision.
Tarantino oversaw a new, less controversial cut of his film, which was
given a May 12 release—only a matter of days after Iron Man 3’s May 1
premiere and Oblivion’s May 10 debut. Django Unchained was unable
to carve its own place in the market and flopped in China with a $2.6
million take.
Other Hollywood flops in China included a disappointing $8.5 million
for Jack the Giant Slayer and a $9.9 million run from Les Misérables.
The musical had scored blockbuster numbers in Asia’s two other key
markets, grossing more than $100 million when combining box office
returns from Japan and South Korea.
Hollywood also learned that star power doesn’t always translate in
China. Leonardo DiCaprio struggled to drive audiences to The Great
Gatsby, which finished its Chinese run with a modest $13.3 million.
Hopes had been set higher for Gatsby after a 3D re-release of Titanic
soared to blockbuster numbers in 2012. Tom Cruise couldn’t replicate
the blockbuster success of Mission: Impossible—Ghost Protocol with two
non-franchise releases: Jack Reacher fell short of the mark with $15 million,
and Oblivion struggled to find significant traction in a crowded
release calendar with $23.8 million.
The year also saw several Hollywood releases gross more in China
than in North America. Pacific Rim struggled in North America with a
$101.8 cume, having to rely on a strong overseas performance to lift its
global total to $407.6 million. China alone was responsible for $112
million of the film’s global gross, making it the most important market
in the world for the Guillermo del Toro popcorn flick. Pacific Rim ranks
behind Iron Man 3’s $121.2 million tally as the highest-grossing Hollywood
release of the year in China. Jurassic Park 3D enjoyed a $45.3 million
re-release in North America, but the real success came with a $55.9
million run in China. And while the Wachowskis’ Cloud Atlas won’t be
able to be seen as a box office success in any context, its Chinese gross of
$27.7 million exceeded the film’s $27.1 million tally in North America.
Escape Plan, the Stallone-Schwarzenegger action vehicle, is on its way to
join the list after a $20.8 million debut in its opening week in China—
only $3 million behind its entire North American run.
The true market leaders of the year in China came from the domestic
front. Chinese cinema has evolved with the expansion of its market, and
2013 saw a significant rise in films marketed toward a young audience.
Journey to the West: Conquering the Demons was the mainstream hit of
the year, earning $196.7 million to become the year’s highest-grossing
film. The film, based on a classic Chinese story, attracted family audiences
for weeks following a $92.4 million opening weekend in February.
Journey to the West: Conquering the Demons used a similar family-friendly
action-comedy tone that propelled Jackie Chan’s Chinese Zodiac to a
$137.1 million total in 2012.
Domestic drama So Young opened a week before Iron Man 3 invaded
theaters across China. Based on a best-selling novel, So Young proved the
20 BoxOffice ® Pro The Business of Movies DECEMBER 2013

In a weak year for home-grown films, Les profs was a bright
spot on the French charts with a strong $32.8 million
potential that China’s emerging youth market can bring to the cinema.
The film competed head-to-head against Iron Man 3 into the summer
and finished with a $114.7 million gross. Tiny Times was another bestseller
that translated into box office magic thanks to younger audiences.
The film grossed $77.6 million after opening in late June. A sequel, Tiny
Times 2.0, was rushed out to theaters by early August and failed to capture
the momentum of the original with a $47.2 million take. Other top
Chinese earners that relied on the new generation of filmgoers include
romantic comedy Finding Mr. Right, which charmed audiences and collected
$82.6 million, and American Dreams in China, which finished its
run with $84.4 million.
FRANCE
n Iron Man 3 conquered the French box office with a $40.1 million
performance, approximately the same amount of money that was earned
by combining the total box office of the franchise’s first two installments.
The superhero film was the only release of the year to break the $40 million
mark in the country.
Despicable Me 2 recorded a $36.4 million gross to become the top
animated release of the year in France. The first film in the series had
grossed $25.3 million in 2010. The only other animated film to break the
annual top 10 was The Croods. A surprise hit at the box office, The Croods
registered a $3.3 million opening weekend that led to a $20 million run
in the territory.
Only one French film ranked among the year’s 10 highest-grossing
releases, making 2013 the year with the least domestic films in the top
10 in a decade. Les profs charmed audiences since its spring debut, recording
a $32.8 million run despite opening only a week ahead of Iron
Man 3.
Now You See Me was the biggest box office surprise among the Hollywood
imports. France became the film’s top overseas market with a $26.2
million take, representing just under 10 percent of the film’s $230.6 million
overseas cume.
GERMANY
n Christoph Waltz has deep links to both Austria and Germany, and
neither country disappointed when it came to the actor’s box office performance
in 2013. Django Unchained was the top film in Austria thanks
to a $6.6 million gross, a considerable sum for the moderately sized
market. It was Germany, however, where Tarantino’s latest film really
excelled. Django Unchained grossed $51.6 million in the country after its
January 17 premiere, making it the year’s top grosser by a considerable
margin and the most important overseas market in the film’s release.
Germany represents roughly 20 percent of Django Unchained’s $262.5
million overseas total.
Animated sequels had a good year in Germany. Despicable Me 2 took
second place in the country’s annual top-10 list with a $38 million outing,
outgrossing the $27.7 million of the original. The Smurfs 2 wasn’t
able to replicate its predecessor’s success, however, finishing its run as one
of the biggest films of the year with $22.9 million—a figure that nevertheless
falls short of the original’s $29.3 million.
Iron Man 3 was the only superhero film to reach blockbuster status in
Germany this year. The latest installment in the Iron Man franchise grossed
$24.5 million, well above the $8 million that each of its predecessors collected
in Germany. This isn’t to say that superhero films underperformed in
Germany this year; it is notable, however, to see films such as The Wolverine
($11.6 million) and Man of Steel ($9.8 million) be so thoroughly outperformed
by releases like The Croods ($22.1 million), World War Z ($18.1
million), The Great Gatsby ($15.7 million), Gravity ($15.6 million), White
House Down ($12.6 million), and We’re the Millers ($12.5 million).
Comedies Kokowääh 2 and Schlussmacher were the best-performing
German films of the year. The Kokowääh sequel performed well below
DECEMBER 2013 BoxOffice ® Pro The Business of Movies 21

2013: WORLD MARKET ANALYSIS
The only Japanese film to crack the $100 million mark in the
local market, Hayao Miyazaki’s The Wind Rises has grossed
$118.5 million in the domestic market. The film opens in North
America on February 21, 2014.
the original’s $41.5 million run in 2011 by bringing in $26.4 million
in its theatrical run. Schlussmacher posted a $23.8 million take in its
home country. The biggest comedy of the year, however, came from
Hollywood. The Hangover Part III charmed German audiences and
walked away from the market with a $31 million gross; a positive result
that still fell below the expectations set by The Hangover Part II’s $42.6
million take from 2011. The Hangover Part III finished the year behind
Django Unchained and Despicable Me 2 as the third-biggest release of
2013.
ITALY
n It took a single weekend for Italian comedy Sole a catinelle to become
the highest-grossing film of 2013. The comedy starring Checco Zalone
collected $25.4 million in its debut, leaving the former frontrunner for
the year’s box office title, Iron Man 3, in the dust with a $20.9 million
take.
Italian comedies have had similar juggernaut performances in the
past. The last time a domestic comedy took over the market occurred
with Che bella giornata, a film that never relinquished its box office dominance
after a January 2011 release that culminated with a $59.3 million
gross. The total gross of Che bella giornata was $30 million above the tally
of that year’s second place film, Harry Potter and the Deathly Hallows:
Part 2.
Italian audiences showed support for a number of other domestic
releases throughout the year. Comedies Il principe abusivo and Benevenuto
Presidente! collected $18.9 million and $11.1 million, respectively.
Domestic dramas also connected with audiences; La migliore offerta
featured performances by Geoffrey Rush and Donald Sutherland, along
with a score composed by the legendary Ennio Moricone. The film went
on to earn $12 million in its home country. Paolo Sorrentino, one of
the country’s most acclaimed active filmmakers, collected $8.7 million
with La grande bellezza, the best outing of his career in his home nation.
La grande bellezza is Italy’s submission for best foreign film at this year’s
Academy Awards.
A trio of animated films also found box office success. Despicable Me
2 improved upon the original’s $17.5 million gross with a $20.5 million
run, making it the highest-grossing animated release of the year. The
Croods impressed with a $15 million take, and Monsters University edged
out Monsters, Inc. with a $12 million tally that beat the original’s $11.2
million gross.
JAPAN
n Hayao Miyazaki, the Japanese auteur behind modern classics like
Princess Mononoke, Spirited Away, and Howl’s Moving Castle, announced
his retirement this year. Miyazaki’s films have left an impression on film
history, and his name is on a shortlist of world-renowned animators who
have advanced the art form through their work. Whether The Wind Rises
will truly prove to be Miyazaki’s final film remains to be seen (there have
been rumors suggesting his return), but there is little doubt that Miyazaki’s
swan song was the biggest story at the Japanese box office of 2013.
The Wind Rises became the only film to break the $100 million mark in
Japan this year after the animated film grossed $118.5 million since its
July debut.
Animation is the dominant genre in Japan, overshadowing nearly all
other releases in terms of box office returns. Anime is a particular bright
spot for contemporary Japanese cinema, responsible for some of the year’s
biggest hits. The anime standouts of the year include Doraemon the Movie:
Nobita’s Secret Gadget Museum ($40.5 million); Detective Conan Movie
17: Private Eye in the Distant Sea ($36 million); and Dragonball Z: Kami
to Kami ($31.1 million).
Hollywood’s animated releases were led by a commanding performance
from Monsters University. The Disney/Pixar release was the
second biggest film in the market with $90.1 million, the largest sum
22 BoxOffice ® Pro The Business of Movies DECEMBER 2013

Mexico’s Instructions Not Included became the highestgrossing
Spanish-language film in U.S. history
with a domestic gross of $44.2 million
from any overseas territory for the film. Monsters University grossed a
total of $470 million internationally, making Japan’s contribution account
for around 19 percent of its foreign cume. Despicable Me 2 outperformed
Monsters in nearly every major market, with Japan being a notable
exception. Despicable Me 2 finished its Japanese run with $24 million.
Disney had a great year in Japan to complement the success of Monsters
University. Wreck-It Ralph finished its run with $29.6 million after a March
release. Iron Man 3 didn’t have the same blockbuster muscle as it did in
other markets but still posted a $25.1 million tally in Japan. The Lone
Ranger might have been a major disappointment around the world, but
that was not the case in Japan, where it found a sizable audience, earning
$20.6 million.
The Lone Ranger wasn’t the only surprise Hollywood hit in Japan. Ted
enjoyed a blockbuster $45.5 million run in the market, just a fraction below
the $47.9 million the film earned in its release in the United Kingdom.
A Good Day to Die Hard had to rely on the power of the overseas box office
to overcome a disappointing $67.3 million gross in North America. The
latest installment in the Die Hard franchise received a significant boost
at the overseas box office from strong runs in China ($31.6 million) and
Japan ($21.6 million).
MEXICO
n It’s not a surprise that films like Iron Man 3 and Despicable Me 2 led the
Mexican box office in 2013; the market is generally friendly to superhero
films and animated releases. The biggest story coming out of Mexico, however,
were the juggernaut numbers earned by a pair of domestic comedies.
Nosotros los Nobles broke box office records for a domestic release over the
spring, reaching a $27.1 million cume after word-of-mouth carried its $2.1
million opening to heights no other Mexican film had reached. Few would
guess that Nosotros los Nobles would only get to enjoy its record for a matter
of months.
Instructions Not Included became the breakthrough hit that Pantelion,
a joint venture between Liongate and Mexican broadcast giant Televisa,
had hoped for since its inception. Star Eugenio Derbez has been one of
Mexico’s top comedy stars since the mid-’90s, and his latest crossover effort
resulted in pure gold after a $7.8 million U.S. and Canada debut over
Labor Day weekend. Instructions Not Included went on to become the highest-grossing
Spanish-language release of all time in the English-speaking
North American market and will finish the year among the top-performing
indies in North America.
Mexican audiences had to wait three weeks for the Mexican release
of Instructions Not Included, and it rapidly moved to the top of the
country’s box office. Instructions Not Included shattered the record-setting
run of Nosotros los Nobles in a matter of weeks and might have
enough gas to surpass both Iron Man 3 and Despicable Me 2 as the top
film of the year.
Iron Man 3 finished its Mexican run with $48.6 million, well over the
combined gross of the first two films of the series. Despicable Me 2 walked
away with $47.7 million from Mexico, more than doubling the original’s
run in the country. Instructions Not Included is not far behind with a whopping
$46.5 million and could close in on the record if audiences can keep
it in theaters through the winter season.
The Conjuring was the sleeper hit of the year after recording the biggest
opening weekend of all time for a horror film in Mexico. The $4.7 million
bow from 1,658 screens led the way to a $19.1 million cume in the market.
The success enjoyed by The Conjuring shows the potential for genre
fare in a market traditionally led by family-friendly films.
RUSSIA
n Russia had two domestic films break through in 2013, a pivotal year in
which it further solidified itself as one of the hottest overseas markets in the
industry. Stalingrad, a World War II historical epic distributed in Imax and
DECEMBER 2013 BoxOffice ® Pro The Business of Movies 23

2013: WORLD MARKET ANALYSIS
3D, became the highest-grossing domestic film of all time in Russia. The
film benefitted from a 3D boom in the country, with growing demand for
the format driving international investment to add more screens with the
latest technology.
October was a big month for 3D with the releases of Gravity and Stalingrad
only a week apart. Gravity opened in first place with a $7.5 million
bow on October 3. The momentum for Alfonso Cuarón’s sci-fi film was
stalled a week later with Stalingrad’s whopping $16.2 million premiere—pitting
two 3D sci-fi epics against each other for the rest of the month. Russian
audiences favored the domestic film, and the historical drama went on a
record-breaking hot streak that reignited the blockbuster potential of Russian
cinema. Stalingrad has grossed a total of $50.6 million as of press time,
already ahead of Iron Man 3’s $44.1 million blockbuster run. Gravity was
able to hold its own with a $20.8 million take as of press time, passing Pacific
Rim’s $20.6 million to become the year’s biggest sci-fi release in Russia.
Legend No. 17, a Soviet-set hockey biopic about hockey legend Valeri
Kharlamov, also posted an impressive run in its home country. The sports
flick skated to a successful $29.1 million gross after its April premiere.
The Russian box office proved to be eclectic in 2013, showcasing a
number of hits across several different genres. Animated fare like Despicable
Me 2 ($35.1 million), The Croods ($28 million), and Monsters University
($20.6 million) thrived in the market. Fast & Furious 6 ($34.1 million),
World War Z ($24.7 million), and The Wolverine ($22.2 million) were the
year’s standouts among action films. Hollywood comedies tend to struggle
in non-English-speaking markets, but Russia proved to be an exception
in 2013 with hits like The Hangover Part III ($17.3 million) and We’re the
Millers ($18 million). Sci-fi also proved popular beyond the aforementioned
hits Gravity and Pacific Rim; Oblivion ($19.1 million), Elysium
($15.8 million), and After Earth ($17 million) all enjoyed a bountiful haul
from the market.
SOUTH KOREA
n South Korean audiences continued to be loyal to domestic films at the
box office in 2013. The thriving domestic film industry registered most of
the year’s biggest hits, attracting audiences to films that spanned a variety of
genres. Miracle in Cell No. 7 became the smash hit of the year after grossing
$85.9 million since its January release. The film received blockbuster status
after word-of-mouth carried it through after an average $8.6 million debut.
Iron Man 3 was the second-biggest film of the year but never posed a
challenge to dethrone Miracle in Cell No. 7 from the top spot. The superhero
film finished its run in South Korea with $64.2 million. Historical
drama The Face Reader nearly outgrossed the latest installment in the Iron
Man franchise after finishing with a strong $61 million take.
The biggest opening weekend of the year came from The Host director
Joon-ho Bong’s latest film, Snowpiercer. The thriller featuring an all-star
cast headlined by star Chris Evans posted a $14.8 million opening weekend.
Snowpierecer finished its run in South Korea with $59.8 million.
South Korea was the hottest overseas market for two Hollywood releases
this year. World War Z survived bad press stemming from a troubled
production to go on and gross $539.5 million worldwide. South Korea
was the film’s biggest overseas market with a $33.7 million gross, about 10
percent of its total overseas performance. Red 2 grossed $18.8 million in
South Korea, its highest tally outside of North America. Red 2’s robust take
also represented a vast improvement over the original’s $3.1 million gross
in 2010. South Korea accounts for about a quarter of the total overseas box
office of Red 2.
SPAIN
n A slow year at the Spanish box office put into question the market’s
importance in the coming years. A market that used to deliver multiple
releases over the $25 million mark registered its first year in more than a
decade without a single film reaching $20 million. Animated films fared
best in the market, accounting for three of the top four films of the year.
The Croods was the top earner of 2013 with $18.3 million, only a third of
the total gross of last year’s top grosser, The Impossible.
Despicable Me 2 finished the year in a close second place to The Croods
with $18.1 million. The animated sequel opened slightly behind the original
but went on to outgross Despicable Me’s $17.2 million through a strong
holdover performance.
Two other animated sequels, Monsters University and The Smurfs 2, also
enjoyed success in Spain. Monsters University outgrossed the original’s $14
million with a $14.6 million take. The Smurfs 2 registered a $12.9 million
total to be among the top 10 films of the year, but the Smurfs sequel fell
short of matching the original’s $19.6 million from 2011.
Pedro Almodóvar’s I’m So Excited was the year’s top-grossing domestic
film with $6.5 million. The total gross of the Spanish auteur’s latest film is
well below the $12.3 million record set by Volver, Almodóvar’s highest-performing
film in his home country, but compares to the $6.6 million of his
previous film, 2011’s The Skin I Live In.
Silver Linings Playbook was the surprise hit of the year in Spain with a
$12.3 million take. Spain follows Australia’s $14.5 million to become the
second-biggest market for David O. Russell’s film. Silver Linings Playbook
built its reputation in Spain through strong word-of-mouth after a $1.9
million opening weekend in late January, becoming one of the country’s
biggest releases without once climbing to first place at the box office.
UNITED KINGDOM
n Despicable Me 2 grossed $549.4 million outside of North America to
become the second-highest overseas earner of 2013. The Minions reached
that tally without the help of a Chinese release, making the film’s success
even more extraordinary. Rather than relying on China for a big box office
boost, the Despicable Me sequel conquered the overseas markets by posting
significant gains over the original in every key territory. This was most
evident in the United Kingdom, where Despicable Me 2 posted its highest
overseas performance with a $72 million haul. The sequel more than doubled
the original’s $32.2 million take from 2010.
Les Misérables had a successful transition from the West End to the
silver screen. The musical posted a $13.1 million debut and went on to
gross $64.5 million, making the United Kingdom the film’s second-biggest
market behind Japan’s $65.3 million.
Disney had a great year in the United Kingdom with all but two of
its major releases grossing above the $20 million mark. The biggest disappointment
in Disney’s slate was The Lone Ranger’s paltry $7.1 million take.
Planes didn’t exactly take off with a $13.8 million gross but earned within
the same range as comparable films Cloudy with a Chance of Meatballs 2
($16.2 million), Turbo ($16.7 million), and The Smurfs 2 ($18.6 million).
Disney otherwise found hits with Thor: The Dark World ($22.3 million as
of press time), Oz the Great and Powerful ($23.3 million), and Wreck-It
Ralph (36.1 million). Iron Man 3 and Monsters University lived up to their
blockbuster status in the United Kingdom earning $57 and $47 million
respectively.
Captain Phillips earned $55 million overseas, in large part due to the
United Kingdom’s $21.5 million contribution. The country was responsible
for 42 percent of Captain Phillips’ overseas cume and represents the
film’s strongest market outside of North America. The Paul Greengrass film
will continue adding to that figure by year’s end, showing no signs of slowing
down in its current release.
The United Kingdom came in second only to China for a number of
other important Hollywood releases, reasserting the market’s importance
in the global box office. Other top hits of 2013 in the United Kingdom
include Fast & Furious 6 ($38.3 million), Star Trek Into Darkness ($39.3
million), The Croods ($43.1 million), and Man of Steel ($46.1 million).
24 BoxOffice ® Pro The Business of Movies DECEMBER 2013

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TECH
TALK
GDC Technology is digitizing the Asia Pacific—
and the world
GLOBAL DIGITAL CINEMA
n Earlier this year, on the eve of CineEurope, Screen Digest predicted
that the global cinema industry would be 90
percent digitized by the end of the year.
That’d be a 31 percent improvement
over 2012, at the end of
which 68.7 percent had been converted,
and if the research firm’s
forecast holds true, more than 20
percent of the world’s screens will have
u
been converted to digital cinema in 2013.
Of course, there’s been more activity in
some parts of the world than others. North
America, for example, was already 84 percent
converted at the end 2012. In the Asia Pacific,
more than 23,000 were digitized last year,
surging by more than half over 2011. The Philippines,
India, and Malaysia all more than
doubled their d-cinema footprint.
By the end of 2012, the market was
59.2 percent digitized—more than 40
percent to go.
That’s where GDC Technology
comes in. With more than 12,000
servers installed in the Asia Pacific by
midyear—including 8,500 in China, 1,100
in Japan, and 1,100 in South Korea—the Hong
Kong company is number-one in market share in
the region with 44 percent. Between the first half of
2012 and the first half of 2013, GDC maintained its leadership
role in established digital markets like China, Japan,
Singapore, and South Korea and surged in emerging markets like
India (where the company’s market share increased from nil to 11.2
percent), Indonesia (3.7 percent to 29.5 percent), Malaysia (5.8 percent
to 33.1 percent), and Thailand (1 percent to 63.3 percent).
GDC’s exhibition partners in the Asia Pacific include number-one
v
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chains Wanda in China, Toho in Japan, CJ CGV in
South Korea, Vieshow in Taiwan, Broadway
in Hong Kong, and Golden
Village in Singapore, as well as
new partnerships with Major
Cineplex in Thailand, Golden
Screen in Malaysia, and Inox
in India.
But GDC isn’t limiting its reach
to its home turf in the Asia Pacific. Latin
America had the most ground to cover at the end of
2012, according to the Screen Digest report, with just over
40 percent of its screens digitized, and GDC is moving in.
The company has established offices in Argentina, Brazil, Mexico,
and Peru as well as a dealer network that will stock server units
and spare parts locally and a 24/7/365 service support
hotline in both Spanish and English. (A Portuguese
hotline is coming soon too.) GDC Technology’s
affiliate GDC Digital Network manages
more than 4,600 screens across 600
VPF agreements with exhibitors
and distributors worldwide and
is now making its VPF program
available to Latin America theaters.
In addition, the firm has organized
technical training classes for 34
resellers and 42 exhibitors in Mexico,
Colombia, Peru, Chile, and Brazil and
offers regular training to exhibitors, resellers, and
partners in both Mexico and Brazil for its complete
product line, including its servers and theater management
systems.
As a result, GDC has partnered with a number of new customers in
the region, including Cinemex in Mexico, to which GDC will supply
servers and IMBs for the chain’s 1,500-screen, circuit-wide digital
n Released earlier this year, the SX-3000 Standalone IMBu, which eliminates the need for a file server, significantly reduces energy consumption
as well as operation and maintenance costs for exhibitors. Equipped with HDMI (for 2D and 3D content), 3D-SGI ports, and
live streaming, the unit displays a wide variety of advertising and alternative content without the need for additional hardware, simplifying
theater operations and reducing investment costs. The SX-3000 supports Dolby Atmos, high-frame-rate (HFR) playback in both 2D and
3D, and 4K resolution.
GDC’s 3TB Expandable Portable Storagev and 8TB Enterprise Storagew are scalable, cost-effective, and reliable solutions that
work well with the SX-3000. They both adopt RAID 5 technology that allows them to remain operational in the event of a single drive
failure at a lower cost than NAS and LMS solutions. Meanwhile, the company’s newly developed Content Library Adapter offers a secure
and complete content backup solution to help exhibitors minimize hard-disk failure and maintain optimal operations.
The company also offers centralized multiplex management through its TMS-1000, QMS-1000, and NOC. The comprehensive Theatre
Management System offers a centralized point of control for an entire multiplex. Reliable and easy to operate, the software helps manage
user security, content, show playlist and scheduling, error, and screen control. Supporting Dolby, Doremi, GDC, and Sony servers as well as
Barco, Christie, NEC, and Sony projectors, GDC’s TMS systems manage 10,600 screens worldwide.
The Quality Management System manages projection quality through automatic detection and data analysis of screen luminance,
chromaticity, and sound-pressure level. Results are generated in report form in a couple of minutes, and the system automatically corrects
projection quality to ensure it’s up to standard.
26 BoxOffice ® Pro The Business of Movies DECEMBER 2013

cinema deplyoment; Espaço Itaú de Cinemas, Cinespaço, and Circuito
Cinearte in Brazil covering 250 screens in more than 50 theaters; and
Multicines Cinestar in Peru and Cinemas Procinal in Colombia across
w
their entire circuits. Between the first half of 2012 and the first half of
2013, GDC’s market share has grown from 1.6 percent to 34.3
percent in Mexico, 2.6 percent to
17.4 percent in Colombia, and less
than 1 percent to 14.1 percent in
Brazil.
If the global rate of digitization
does reach 90 percent this year,
it will be due in no small part to
GDC’s efforts, especially in the
Asia Pacific and Latin America.
And going forward, the company
aims to be instrumental in
the worldwide industry eventually
hitting 100 percent conversion.
x
y
GDC’s Network Operation Centers in China, India, Japan,
and the United States support standardized management of
theaters through a centralized network, offering a 24-hour call
center, System Management Control, and Customer Relationship
Management. The NOC governs cinema operations through defect
alerts, remote maintenance, projection monitoring, and content
distribution, simplifying multiplex management, reducing
labor costs and operation down time, and increasing projection
quality and customer satisfaction.
Finally, GDC’s Espedeo 3D Polarized System uses a unique
polarizer to deliver stunning color fidelity and a fully immersive
cinematic experience in 3D. The Espedeo 3D Polarizerxconnects
to the Espedeo 3D Controllery, which enables robust
and reliable motorized 2D-to-3D lens shift. The system supports
HFR content and 48 and 60 fps per eye and works with all DLP
Cinema projectors.
DECEMBER 2013 BoxOffice ® Pro The Business of Movies 27

International
Exhibitors
Overseas markets have enjoyed the increased attention from
Hollywood studios, as Tinseltown looks abroad in hope of
recovering the profits lost since the proliferation of the DVD
business. BoxOffice takes a look at the leading exhibitors in some
of the world’s most competitive international markets.
by Daniel Loria
28 BoxOffice ® Pro The Business of Movies DECEMBER 2013

POWER 5 > INTERNATIONAL EXHIBITORS
Orange Sky Golden Harvest
began began life as a
film production company
that produced, until
2001, Jackie Chan’s films
including Rumble in the
Bronx (Hung fan kui)
china
ORANGE SKY GOLDEN HARVEST
ENTERTAINMENT
Competitor Dalian Wanda Group stole the headlines this year with its $2.6 billion acquisition of AMC
Entertainment, becoming the largest cinema chain in the world. While the Dalian Wanda Group
conglomerate has the edge in the global market, its smaller regional rival, Golden Harvest, shows the
influence and attention that a regional exhibitor can bring to a market.
The company is based in Hong Kong and has important roots in bringing Hong Kong action cinema to
the West through its production and distribution operations. Orange Sky Golden Harvest operates with
a regional approach to its exhibition business of 74 multiplexes with a combined 552 screens across
mainland China, Hong Kong, Taiwan, and Singapore.
The company’s first cinema dates back to 1977 in Hong Kong. Golden Harvest continued to expand its
exhibition business and reached a major milestone in 2005 with the opening of its first flagship multiplex
in mainland China, located in the city of Shenzhen. As the Chinese market grows, Golden Harvest will
continue to look to capitalize on opportunities through its regional strategy.
DECEMBER 2013 BoxOffice ® Pro The Business of Movies 29

POWER 5 > INTERNATIONAL EXHIBITORS
france
The Gaumont Opéra opened as Théâtre du
Vaudeville in 1868 and is now home to both
Hollywood and homegrown films
CINÉMAS
GAUMONT PATHÉ
The two historical titans of the French exhibition industry are perhaps better known for their
contributions to film history. While Gaumont and Pathé might not be the global powerhouses
they once were in terms of studios, their influence still runs deep in their home country. The Cinémas
Gaumont Pathé is one of France’s leading exhibitors, with 70 cinemas across the nation, including 14
in Paris. Its largest exhibition center, the Gaumont Opéra, has 18 screens that can accommodate up to
4,250 patrons.
Like many other leading exhibitors, the Cinémas Gaumont Pathé stays close to its customers by offering
a variety of loyalty rewards cards to clients. Incentives for French cinephiles include popular deals like
two-for-one nights, discounted tickets, and concessions specials doing their part to keep audiences
coming back for more. The chain publishes its own monthly magazine with coverage highlighting the
month’s coming attractions and their respective release dates and times across the company’s locations
in France. Cinémas Gaumont Pathé’s focus on its customers has helped the chain become a leader in
France’s thriving and eclectic film market.
30 BoxOffice ® Pro The Business of Movies DECEMBER 2013

POWER 5 > INTERNATIONAL EXHIBITORS
india
Last month’s homegrown sci-fi epic
Krrish 3 opened on 3,500 screens in India
with spectacular results for exhibitors
PVR CINEMAS
Australian company Village Roadshow played an integral part in India’s exhibition history. Village
Roadshow became a leading player in India after embarking on a joint venture with Priya Exhibitors
Limited to introduce multiplex culture to the cinema-crazed country. India’s first multiplex opened in
Saket, New Dehli, in 1997 under the PVR Cinemas brand, and the company’s growth hasn’t stopped
since.
PVR bought a controlling stake in competitor Cinemax earlier this year to become the India’s largest
exhibition chain. PVR currently has 30 to 35 percent of the market share of Hollywood films in India,
as well as 20 to 25 percent of the market share of the country’s Bollywood releases. The company will
continue to expand in the coming years, with a reported 500 additional screens expected to bear the
PVR logo by 2015.
DECEMBER 2013 BoxOffice ® Pro The Business of Movies 31

POWER 5 > INTERNATIONAL EXHIBITORS
mexico
Cinépolis has made serious investments in
4DX technology that adds sensory effects to
films: motion, water, spray, and odors
CINÉPOLIS
Cinépolis is the largest cinema chain in Latin America and among the largest in the world. The
Mexican company has a presence in 79 cities of its home country, as well as a strong international
strategy that includes locations across Guatemala, El Salvador, Honduras, Costa Rica, Panama, Colombia,
Peru, Brazil, India, and the United States. Cinépolis is the biggest player in Mexico, where it generates
about 63 percent of the country’s box office admissions.
The company has humble roots that date back to a single Mexico City theater in 1971. Cinépolis turned
into a national leader as the country’s economy improved, providing multiplexes across Mexico to
accommodate a surging middle class. Cinépolis set out to become a regional leader in Central America
after cornering the Mexican market and complemented its international reach with incursions into the
United States, Colombia, Peru, and Brazil.
32 BoxOffice ® Pro The Business of Movies DECEMBER 2013

POWER 5 > INTERNATIONAL EXHIBITORS
united kingdom
The largest screen in
Britain is housed in Odeon’s
BFI IMAX in London
ODEON CINEMAS
Odeon’s presence in the United Kingdom has followed the development of the medium since the
early days of narrative cinema. Odeon has been operating in the United Kingdom and Ireland for
more than 80 years, building a strong reputation while becoming the market’s largest exhibitor. The
company currently operates more than 100 cinemas and more than 850 screens.
The company’s storied history has made Odeon synonymous with filmgoing in the United Kingdom.
Odeon currently has 26 cinemas in London, including one of Europe’s best-known theaters: Odeon
Leicester Square. The Leicester Square cinema is known worldwide for its red-carpet premieres of the
year’s biggest films. The cinema chain has also introduced special VIP sections, areas known as the
Gallery, in select locations across the United Kingdom. Odeon is also part of a partnership that oversees
the operations of the United Kingdom’s largest screen, London’s BFI Imax.
DECEMBER 2013 BoxOffice ® Pro The Business of Movies 33

In this bonus installment of our multi-part series, BoxOffice highlights
eight more young executives shaping the future of exhibition
by Annlee Ellingson
Megan
Hageman
DIRECTOR OF
MARKETING AND
CORPORATE EVENTS
SONIC EQUIPMENT
COMPANY
n In less than five years
at Sonic, Megan Hageman
has quickly risen to
the top. Overseeing
the development and
execution of all marketing
strategies, she has played
a vital role in the increased
visibility and success of
the company. In October,
Hageman applied her
passion for event planning
when she was selected
by NATO of Missouri/
Kansas to co-direct the
revitalization of Show-A-
Rama.
Adrian Mijares Elizondo
CHIEF EXECUTIVE OFFICER
CINÉPOLIS LUXURY CINEMAS
n After heading Cinépolis’ procurement and supply chain division in
Morelia, Mexico, for two years, Adrian Mijares Elizondo has led Cinépolis
Luxury Cinemas from Los Angeles for more than a year. In that time, the
upscale chain has redesigned its website (www.cinepolisusa.com) and
opened a beautiful theater in Rancho Santa Margarita. The circuit was
also named one of San Diego’s best theaters by the San Diego Union-
Tribune.
Kelly Hawkins
DIRECTOR OF LOYALTY AND PROMOTIONS
REGAL ENTERTAINMENT GROUP
n Kelly Hawkins started at Regal in 2001 as an intern working on
grassroots marketing and new business development. She was hired
full-time later that year and became an integral part of the advertising
department and regional marketing team before transitioning to the
loyalty program in 2004. Since 2012, she has focused in her current role
on studio promotions, third-party partnerships, and the Regal Crown
Club.
34 BoxOffice ® Pro The Business of Movies DECEMBER 2013

40 UNDER 40
Shaun Barber
SENIOR VICE PRESIDENT & ASSISTANT
GENERAL SALES MANAGER OF DOMESTIC
FILM DISTRIBUTION
LIONSGATE
n At Lionsgate, Shaun Barber oversees all
aspects of film sales across the United States.
His career spans 17 years, working at both major
and independent studios on some of the biggest
blockbusters, including the Hunger Games,
Twilight, Harry Potter, and Matrix franchises. He
also serves on the boards of directors for Variety
Children’s Charity of Southern California and Boys
and Girls Club of Boyle Heights.
Cami Reynolds
SENIOR MANAGER OF STRATEGIC
PARTNERSHIP MARKETING IN CINEMA
COCA-COLA
n Cami Reynolds is Coca-Cola’s new lead for
the Global Cinema Channel. She’ll manage
Coca-Cola’s relationship with Carmike Cinemas
(following Kristin Wilson, a previous BoxOffice
40 Under 40 honoree), as well as the company’s
partnerships with NATO, CinemaCon, ShowEast,
and all the major studios. Previously, Reynolds
has managed a variety of Coca-Cola’s Strategic
Partnership Marketing relationships including
Blockbuster, Universal Studios Theme Parks, and
InterContinental Hotels Group.
Tom Schwartz
SENIOR DIRECTOR OF OPERATIONS/
MANAGED SERVICES
CHRISTIE
n During 11 years at Christie, Tom
Schwartz has advanced from being the
company’s first field cinema engineer to
senior director of Managed Services. He
oversees the daily operation of Christie’s
deployment and service organization:
planning and project management,
the Network Operation Center, field
emergency service and maintenance,
inventory and logistics, billing, and general
administration. This work covers all of
North America and is expanding into
Europe and Australia.
36 BoxOffice ® Pro The Business of Movies DECEMBER 2013

Stephanie
Baldwin
DIRECTOR OF REAL
ESTATE
AMC THEATRES
n Stephanie Baldwin
began her AMC career
as director of properties,
renegotiating leases
to reduce portfolio
occupancy costs, divesting
of nonstrategic assets, and
supporting ongoing lease
administration activities.
In her current role as
director of real estate,
she identifies and pursues
new location opportunities
as well as repositions
existing assets within the
company’s portfolio to
innovative and dynamic
new concepts, including
improved comfort, sight/
sound, and food/beverage
experiences.
Ronnie Ycong
VICE PRESIDENT OF
EXHIBITOR RELATIONS
SPOTLIGHT CINEMA
NETWORKS
n Ronnie Ycong joined
Spotlight Cinema
Networks in 2011, creating
and launching an exhibitor
relations department
focused on maintaining
and growing the Spotlight
network. Since then, the
network has grown 49
percent by forging new
partnerships with specialty
upscale exhibitors such
as LOOK Cinemas and
Cinépolis Luxury Cinemas.
A 20-year veteran of the
cinema business, he has
also worked for Mann
Theatres, National Cinema
Network, and Screenvision.
CC_1111_BoxOffice_StephanieBaldwin_Ad_01.indd 4
11/20/13 5:09 PM
DECEMBER 2013 BoxOffice ® Pro The Business of Movies 37

The box office
legacy of a
timeless icon
by Shawn Robbins
When tasked with the
notion of writing a
story about “the” Tom
Hanks, I found myself
elated … and intimidated.
As one of the most respected actors
to ever grace Hollywood, his upcoming
Saving Mr. Banks has the distinguished
actor taking on the role of another historical
figure—arguably, his most recognizable
one yet: Walt Disney.
Set around the fruition of 1964’s Mary
Poppins, the film is sure to continue what
Captain Phillips started in terms of bringing
Hanks back to the cultural forefront
of cinema, a place that no actor has entertained
from more than he. “Our generation’s
Jimmy Stewart,” as Hanks is often
praised, boasts a box office career that, in
this writer’s opinion, can hardly be done
justice. But let’s give it a shot.
(continued on page 40)
38 BoxOffice ® Pro The Business of Movies DECEMBER 2013

Two-time Oscar winner Tom Hanks
as the avuncular Walt Disney with
two-time winner Emma Thompson
as prickly Mary Poppins author P.L.
Travers in the December release
Saving Mr. Banks
DECEMBER 2013 BoxOffice ® Pro The Business of Movies 39

BOSOM BUDDIES
It’s been 30 years since Tom
Hanks jumped from the small
screen to the big screen with
two starring roles in 1984:
Ron Howard’s Splash and
Neal Israel’s Bachelor Party
(pictured here)
SPLASH
As many are aware, Hanks came up in the
industry as a comedic actor through his
roles in TV’s Bosom Buddies and early films
such as Splash, Bachelor Party, The Money Pit,
and Dragnet. It was Penny Marshall’s Big that
propelled him to stardom—bringing to moviegoers’
attention in 1988 that he had dramatic
chops.
An Oscar nomination later, Hanks endured
a chain of misfires (The ’Burbs and The Bonfire
of the Vanities included) at the box office with
only Turner & Hooch coming out a memorable
success.
Enter Marshall, who again was behind the
camera for Hanks’ return to a dynamic role
in 1992’s A League of Their Own—winner of
$107.5 million at the domestic box office. One
summer later, he won over date-night crowds
with the romantic comedy Sleepless in Seattle.
It was the actor’s highest grosser to-date ($127
million).
Later in 1993, Hanks shattered all preconceptions
and delivered a powerhouse performance
in Jonathan Demme’s Philadelphia. His
portrayal of AIDS-stricken Andrew Beckett
won him his first Academy Award for Best Actor
and laid the groundwork for an exceedingly
rare string of successful work. Philadelphia was
a more modest financial hit than his previous
comedy-driven roles, but its $78 million
domestic run was impressive for a film whose
subject matter was highly controversial at the
time.
Of course, the opposite couldn’t have been
truer for the 1994 phenomenon that was Forrest
Gump. Critically, financially, culturally—his
timeless effort as the title character succeeded
across the board, proven when the film won
Hanks a second consecutive Oscar trophy for
Best Actor in a Leading Role. He was the first
actor to accomplish such a feat since Spencer
Tracy in 1938 and 1939.
Gump totaled a massive $330 million
domestically and $677 million around the
globe, more than any other film that year. To
put those numbers into perspective, a movie
selling as many tickets today as Gump did
would net more than $630 million in North
America alone. When adjusting for inflation,
Forrest Gump currently ranks as the 24th-highest-grossing
movie in history—fittingly, just
ahead of Mary Poppins in 25th place.
Hanks faced a daunting task after 1994.
Following Gump and two Oscars was quite a
standard to bear, but there was no stopping
(continued on page 42)
40 BoxOffice ® Pro The Business of Movies DECEMBER 2013

FORREST GUMP
Hanks has
worked with
Steven Spielberg
three times:
Saving Private Ryan,
The Terminal, and
Catch Me If You Can
TOY STORY
his momentum. For the fourth consecutive
summer, Hanks delivered a crowd-pleasing hit
when he reteamed with Ron Howard—the
man who gave him his big-screen break in
Splash—for 1995’s Apollo 13. It outgrossed
every summer movie except Batman Forever.
Late 1995 also saw the feature-film debut
of Pixar, which cast Hanks and Tim Allen as
Woody and Buzz for Toy Story. The first entirely
computer-generated animated movie in history
earned $192 million at home and $362 million
globally. Hanks became the star of back-to-back
box office champs.
After dabbling in writing and directing with
1996’s That Thing You Do!, Hanks returned to
the summer box office in Steven Spielberg’s
Saving Private Ryan, a film that yielded the already-beloved
actor another Oscar nomination.
You’ve Got Mail, Toy Story 2, and The Green
Mile proceeded to become hits between 1998
and 1999, followed by 2000’s holiday blockbuster
Cast Away (which gave Hanks his fifth
lead-acting nomination from the Academy).
By this point, what else was left for Hanks
to do? His streak of commercially successful
hits continued on through Road to Perdition
and two more team-ups with Spielberg in Catch
Me If You Can and 2004’s more modest hit The
Terminal. The Coen Brothers’ 2004 remake of
The Ladykillers unfortunately marked Hanks’
first box office flop in eight years (and only his
second since 1990).
This point effectively marked a transition
for the veteran’s box office career. Taking fewer
roles and for more personal reasons, Hanks
churned out another animated favorite in
2004’s The Polar Express. After the disappointing
run of Charlie Wilson’s War, he landed his first
live-action franchise with 2006’s The Da Vinci
Code—a $218 million domestic/$758 million
global blockbuster. Audiences weren’t as thrilled
with the adaptation of the popular book, leading
to lower—but still respectable—returns for the
2009 follow-up, Angels & Demons.
Over the last few years, Hanks has again
seen the highs and lows of the box office. Larry
Crowne, Extremely Loud & Incredibly Close,
and Cloud Atlas all performed below hopes and
expectations. Conversely, 2010’s Toy Story 3
gave the venerable actor the highest-grossing
movie of his career with $415 million domestically
and $1.06 billion overall (topping Gump,
although certainly not when accounting for
inflation).
With very few dramatic roles since 2000’s
Cast Away, Hanks recently snapped the cold
42 BoxOffice ® Pro The Business of Movies DECEMBER 2013

THE GREEN MILE CAST AWAY CAPTAIN PHILLIPS
spell in Paul Greengrass’ Captain Phillips
Year Title Role Domestic Gross
(which will be close to $100 million domestically
1984 Splash Allen Bauer $69,821,334
upon the publishing of this story). Critics
lauded the actor’s unapologetic return to an
1984 Bachelor Party Rick Gassko $38,435,947
emotionally driven character, and odds are that 1985 Volunteers Lawrence Whatley Bourne III $19,875,740
he could be greeted with his first Oscar nod 1985 The Man with One Red Shoe Richard Harlan Drew $8,645,411
in 13 years and sixth overall. (Fun fact: Jimmy 1986 Nothing in Common David Basner $32,324,557
Stewart was also awarded with five nominations
1986 The Money Pit Walter Fielding Jr. $37,499,651
throughout his career.)
Audiences will next see Hanks in December’s
1986 Every Time We Say Goodbye David Bradley $278,623
aforementioned Saving Mr. Banks, 1987 Dragnet Det. Pep Streebek $57,387,516
based on the true tale of Mary Poppins author
1988 Punchline Steven Gold $21,042,667
P.L. Travers (Emma Thompson) and how her
story came to be in the hands of Walt Disney
1988 Big Josh Baskin (adult) $114,968,774
(Hanks). Naturally, early buzz for the film indicates
1989 Turner & Hooch Det. Scott Turner $71,079,915
a crowd-pleaser and a likely holiday hit. 1989 The ‘Burbs Ray Peterson $36,601,993
The inspired casting combined with the brand
power behind it will surely make for a favorite
1990 Joe Versus the Volcano Joe Banks $39,404,261
choice among older crowds during the busy 1990 The Bonfire of the Vanities Sherman McCoy $15,691,192
Christmas moviegoing season.
1992 A League of Their Own Jimmy Dugan $107,533,928
Looking ahead, Hanks will reprise the role 1993 Sleepless in Seattle Sam Baldwin $126,680,884
of The Da Vinci Code’s Robert Langdon in
1993 Philadelphia Andrew Beckett $77,446,440
2015’s Inferno. Look for that one to become
yet another global success. For now, though, 1994 Forrest Gump Forrest Gump $329,694,499
Hanks is simply reminding his fans why we fell 1995 Toy Story Woody (voice) $191,796,233
in love with him in the first place and continue
1995 Apollo 13 Jim Lovell $173,837,933
to seek out any productions he’s involved with.
His venturing behind the camera, dating back
1996 That Thing You Do! Mr. White $25,857,416
to HBO’s From the Earth to the Moon and Band 1998 You’ve Got Mail Joe Fox $115,821,495
of Brothers to the more recent Game Change, 1998 Saving Private Ryan Captain John H. Miller $216,540,909
has even landed him a number of Emmys in
recent years.
1999 Toy Story 2 Woody (voice) $245,852,179
Never mind the titanic $8.2 billion generated
1999 The Green Mile Paul Edgecomb $136,801,374
by his movies around the world. Never mind 2000 Cast Away Chuck Noland $233,632,142
that 22 of his movies adjust to more than $100 2002 Road to Perdition Michael Sullivan, Sr. $104,454,762
million in domestic box office grosses (and a
2002 Catch Me If You Can FBI Agent Carl Hanratty $164,615,351
whopping 7 over $300 million) using today’s
ticket prices. Audiences have shown that they’re 2004 The Terminal Viktor Navorski $77,872,883
ready to laugh and cry with Hanks all over 2004 The Polar Express Multiple (voice/motion capture) $183,373,735
again, a relatable component in this business
2004 The Ladykillers Professor G.H. Dorr $39,799,191
that tends to get overlooked by the number
crunchers. What may be most impressive about
2006 The Da Vinci Code Professor Robert Langdon $217,536,138
such success is that he didn’t rely on franchises 2007 Charlie Wilson’s War Charlie Wilson $66,661,095
to achieve it (having only ever starred in three 2008 The Great Buck Howard Mr. Gable $750,587
sequels).
Blessed with the ability to convey the “everyman”
2009 Angels & Demons Professor Robert Langdon $133,375,846
to a large number of moviegoers over 2010 Toy Story 3 Woody (voice) $415,004,880
the last three decades, Hanks has frequently 2011 Larry Crowne Larry Crowne $35,608,245
bucked the “one for them, one for me” mentality
that most actors (even highly successful ones)
2011 Extremely Loud & Incredibly Close Thomas Schell $31,847,881
2012 Cloud Atlas Multiple $27,108,272
are forced to embrace just to keep steady work
in Hollywood. His career, with many years still 2013 Saving Mr. Banks Walt Disney Dec. 20, 2014*
ahead, is already storied, and we’ve long passed 2013 Captain Phillips Captain Richard Phillips $97,617,000*
the point of needing to compare his legacy to
2015 Inferno Professor Robert Langdon Dec. 18, 2015
other icons. Tom Hanks isn’t just “our Jimmy
Stewart”… he’s our Tom Hanks.
* projected to exceed $100 million source: boxoffice.com
DECEMBER 2013 BoxOffice ® Pro The Business of Movies 43

THE
YEAR
AHEAD
48 FILMS
TO LOOK
FORWARD
TO IN 2014
Angelina Jolie as
the Mistress of All Evil, Maleficent,
opening May 30, 2014
44 BoxOffice ® Pro The Business of Movies DECEMBER 2013

Matt Damon and George Clooney in
The Monuments Men,
opening Feb. 7, 2014
January
PARANORMAL ACTIVITY: THE MARKED ONES
n Black magic, missing tapes and strange forces all have a role in this
continuation of the found-footage franchise. To date, the Paranormal
Activity films have grossed more than $700 million worldwide.
DISTRIBUTOR Paramount CAST Andrew Jacobs, Richard Cabral DI-
RECTOR Christopher B. Landon RELEASE DATE January 3
JACK RYAN: SHADOW RECRUIT
n Following in the stealthy footsteps of Alec Baldwin, Harrison Ford,
and Ben Affleck, Star Trek’s captain Chris Pine jumps into the role of
Tom Clancy’s CIA analyst Jack Ryan.
DISTRIBUTOR Paramount CAST Chris Pine, Kevin Costner, Kenneth
Branagh DIRECTOR Kenneth Branagh RELEASE DATE January 17
LONE SURVIVOR
n Hoping to bounce back from the bomb that was Battleship, director
Peter Berg brings his own script to the screen based on the real-life
exploits of Seal Team 10 and a failed mission in Afghanistan.
DISTRIBUTOR Universal CAST Mark Wahlberg, Taylor Kitsch, Eric
Bana DIRECTOR Peter Berg RELEASE DATE January 10
LABOR DAY
n Set in 1987, this thriller (based on the Joyce Maynard novel) has
Kate Winslet playing a single mom who offers to help an injured man
(Josh Brolin) who turns out to be an escaped convict.
DISTRIBUTOR Paramount CAST Kate Winslet, Josh Brolin, Gattlin
Griffith DIRECTOR Jason Reitman RELEASE DATE January 31 (wide)
February
THE MONUMENTS MEN
n Delayed from a late 2013 release date, George Clooney’s latest is
based on the true exploits of a team of experts tasked with the identification
and protection of valuable artifacts during World War II.
DISTRIBUTOR Sony CAST George Clooney, Matt Damon, Bill Murray
DIRECTOR George Clooney RELEASE DATE February 7
WINTER’S TALE
n A supernatural tale set both in the past and present day, Winter’s Tale
follows a thief (Colin Farrell) who is saved from a gang led by Russell
Crowe by a mysterious Andalusian stallion.
DISTRIBUTOR Warner Bros. CAST Colin Farrell, Russell Crowe, Jessica
Brown Findlay DIRECTOR Akiva Goldsman RELEASE DATE February 14
ROBOCOP
n A remake of the classic Paul Verhoeven sci-fi actioner, this new iteration
of the RoboCop franchise stars Swedish actor Joel Kinnaman in the
icon role of half-man/half-robot/all-cop Alex Murphy.
DISTRIBUTOR Sony CAST Joel Kinnaman, Gary Oldman, Michael Keaton
DIRECTOR José Padilha RELEASE DATE Febriary 14
NON-STOP
n Liam Neeson stars as an air marshall on a transatlantic flight who is
believed to be a hijacker when mysterious text messages implicate him
in a extortion plot in which passengers are killed every 20 minutes.
DISTRIBUTOR Universal CAST Liam Neeson, Julianne Moore, Michelle
Dockery DIRECTOR Jaume Collet-Serra RELEASE DATE February 28
DECEMBER 2013 BoxOffice ® Pro The Business of Movies 45

THE YEAR AHEAD
March
Tracy Morgan, George Lopez, and Jesse
Eisenberg lend their vocal talents to Rio 2,
opening April 11, 2014
GRACE OF MONACO
n This biopic covers the early years of Grace Kelly’s marriage to Rainier
III, Prince of Monaco. Their children have lambasted the screenplay
(which was very highly regarded in Hollywood) as a fiction.
DISTRIBUTOR Weinstein CAST Nicole Kidman, Tim Roth, Frank Langella
DIRECTOR Olivier Dahan RELEASE DATE March 14
STRETCH
n Stretch stars Patrick Wilson as a down-on-his-luck limousine driver
who lucks out when he and his stretch are hired by an odd billionaire
played by Ed Helms. Hilarity no doubt ensues.
DISTRIBUTOR Universal CAST Patrick Wilson, Chris Pine, Brooklyn
Decker, Ed Helms DIRECTOR Joe Carnahan RELEASE DATE March 21
MUPPETS MOST WANTED
n The Muppets go on a globetrotting performance tour and become
entangled in a caper involving Kermit’s evil doppelganger, Constantine,
who is the world’s number-one criminal. And there’s singing!
DISTRIBUTOR Disney CAST Kermit the Frog, Ricky Gervais, Ty Burrell,
Tina Fey DIRECTOR James Bobin RELEASE DATE March 21
NOAH
n An end-of-the-world story to end all end-of-the-world stories? Or, as
the trailer suggests, is the end only the beginning? A high-profile cast
watches the skies for signs of inclement weather.
DISTRIBUTOR Paramount CAST Russell Crowe, Jennifer Connelly, Anthony
Hopkins DIRECTOR Darren Aronofsky RELEASE DATE March 28
April
CAPTAIN AMERICA: THE WINTER SOLDIER
n Taking place after the events of Marvel’s The Avengers, this entry in
the Marvel Universe master plan finds Cap teaming with Black Widow
to fend off new adversary the Winter Soldier, a man from Cap’s past.
DISTRIBUTOR Disney CAST Chris Evans, Scarlett Johansson DIREC-
TORS Anthony and Joe Russo RELEASE DATE April 4
HEAVEN IS FOR REAL
n Based on events Pastor Todd Burpo claims to be true, Heaven is for
Real concerns the Burpo family’s reaction to their young son’s claim to
have visited Heaven while undergoing emergency surgery.
DISTRIBUTOR Sony CAST Greg Kinnear, Kelly Reilly, Connor Corum
DIRECTOR Randall Wallace RELEASE DATE April 16
RIO 2
n Blu and Jewel leave the gaiety and color of Rio de Janeiro for the
rainforests of the Amazon where Jewel finds her long-lost father. No
doubt Nigel the cockatoo (Jemaine Clement) flies into their path.
DISTRIBUTOR Fox CAST Jesse Eisenberg, Anne Hathaway, Leslie
Mann DIRECTOR Carlos Saldanha RELEASE DATE April 11
THE OTHER WOMAN
n This comedy may be noteworthy for being Trinidadian performer
Nicki Minaj’s first live-action film appearance. And, yes, the director is
the son of John Cassavetes and Gena Rowlands.
DISTRIBUTOR Fox CAST Cameron Diaz, Nikolaj Coster-Waldau, Nicki
Minaj DIRECTOR Nick Cassavetes RELEASE DATE April 25
46 BoxOffice ® Pro The Business of Movies DECEMBER 2013

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THE YEAR AHEAD
May
Jamie Foxx as Max Dillon,
aka Electro, in The Amazing Spider-Man 2,
opening May 2, 2014
THE AMAZING SPIDER-MAN 2
n Peter Parker (Andrew Garfield), as Spider-Man, battles two new
foes: Electro (Jamie Foxx) and The Rhino (Paul Giamatti). No doubt
Stan Lee will be in their somewhere.
DISTRIBUTOR Sony CAST Andrew Garfield, Emma Stone, Jamie
Foxx, Sally Field DIRECTOR Marc Webb RELEASE DATE May 2
GODZILLA
n Didn’t we just do this? Yes—just 15 years ago. But the iconic Japanese
kaiju comes stomping back in this reimagining co-written by The
Walking Dead’s Frank Darabont.
DISTRIBUTOR Warner Bros. CAST Aaron Taylor-Johnson, Bryan Cranston
DIRECTOR Gareth Edwards RELEASE DATE May 16
CHEF
n Iron Man director Jon Favreau helms and stars in this comedy about
a down-on-his-luck chef who plans to get his mojo back after finding
himself operating a food truck in Miami.
DISTRIBUTOR Open Road CAST Jon Favreau, Robert Downey Jr.,
Scarlett Johansson DIRECTOR Jon Favreau RELEASE DATE May 9
MALEFICENT
n The Sleeping Beauty tale told from the perspective of the Mistress of
All Evil. A bit of a troubled shoot—the entire opening was reshot—the
film is production designer (Avatar) Robert Stromberg’s first film.
DISTRIBUTOR Disney CAST Angelina Jolie, Elle Fanning, Sharlto Copley
DIRECTOR Robert Stromberg RELEASE DATE May 30
June
EDGE OF TOMORROW
n Tom Cruise’s recent Oblivion was a bit of a box office disappointment
domestically. Will a change in title (from All You Need Is Kill)
and new release date hamper this sci-fi followup?
DISTRIBUTOR Warner Bros. CAST Tom Cruise, Emily Blunt, Lara Pulver,
Jeremy Piven DIRECTOR Doug Liman RELEASE DATE June 6
JERSEY BOYS
n The hit Broadway musical comes to the big screen. The story follows
the formation and rise of the great sixties boy band The Four Seasons.
John Lloyd Young re-creates his stage role as Frankie Valli.
DISTRIBUTOR Warner Bros. CAST John Lloyd Young, Erich Bergen,
Vincent Piazza DIRECTOR Clint Eastwood RELEASE DATE June 20
22 JUMP STREET
n Now that their cover is blown in every high school in town,
Schmidt and Jenko go undercover at a local college to infiltrate a crime
ring at a frat house.
DISTRIBUTOR Sony CAST Jonah Hill, Channing Tatum, Ice Cube DI-
RECTORS Phil Lord, Chris Miller RELEASE DATE June 13
TRANSFORMERS: AGE OF EXTINCTION
n Jettisoning the cast of the first three films, Michael Bay brings his
Pain & Gain star Mark Wahlberg in to battle the bots. Bay had to
battle real-life extortionists on the Hong Kong set.
DISTRIBUTOR Paramount CAST Mark Wahlberg, Nicola Peltz, Jack
Reynor DIRECTOR Michael Bay RELEASE DATE June 27
48 BoxOffice ® Pro The Business of Movies DECEMBER 2013

THE YEAR AHEAD
July
Phase 2 of Marvel’s Cinematic Universe
continues with Guardians of the Galaxy
, opening Aug. 1, 2014
TAMMY
n Melissa McCarthy’s husband Ben Falcone takes the reins of this
comedy about a fired woman (McCarthy) who takes her alcholic
grandmother (Susan Sarandon) on a cross-country trip.
DISTRIBUTOR Warner Bros. CAST Melissa McCarthy, Susan Sarandon,
Dan Aykroyd DIRECTOR Ben Falcone RELEASE DATE July 2
DAWN OF THE PLANET OF THE APES
n Motion-capture savant Andy Serkis returns without James Franco in
this follow-up to the 2011 surprise critical hit. The story picks up 10
years later as Caesar leads his troop against a band of humans.
DISTRIBUTOR Fox CAST Gary Oldman, Jason Clarke, Andy Serkis,
Keri Russell DIRECTOR Matt Reeves RELEASE DATE July 18
FAST & FURIOUS 7
n The $3 billion franchise adds a new chapter with new villain Jason
Statham joining the cast as the brother of Fast 6’s baddie, played by
Luke Evans, out for revenge.
DISTRIBUTOR Universal CAST Vin Diesel, Paul Walker, Dwayne Johnson
DIRECTOR James Wan RELEASE DATE July 11
JUPITER ASCENDING
n The Wachowskis (The Matrix, Cloud Atlas) dip into the sci-fi well
again with this story of a lowly Russian immigrant (Ukranian-born
Mila Kunis) who becomes the target of the Queen of the Universe.
DISTRIBUTOR Warner Bros. CAST Mila Kunis, Channing Tatum, Sean
Bean DIRECTOR Lana and Andy Wachowski RELEASE DATE July 25
August
GUARDIANS OF THE GALAXY
n Marvel brings some of its strangest galactic characters to the multiplex
including a genetically engineered, gun-toting raccoon (voiced by
Bradley Cooper).
DISTRIBUTOR Disney CAST Chris Pratt, Zoe Saldana, Dave Bautista,
Lee Pace DIRECTOR James Gunn RELEASE DATE August 1
THE EXPENDABLES 3
n Mel Gibson continues his villainous ways after his wild turn in
Machete Kills. Joining the returning cast of mercenaries are Harrison
Ford and Wesley Snipes.
DISTRIBUTOR Lionsgate CAST Sylvester Stallone, Jason Statham, Jet
Li DIRECTOR Patrick Hughes RELEASE DATE August 15
BASIC MATH
n Little is known about this film other than it concerns a married
couple that embark on a frantic search for a sex tape (the film’s prevous
title) that has gone missing.
DISTRIBUTOR Sony CAST Cameron Diaz, Jason Segel, Jack Black
DIRECTOR Jake Kasdan RELEASE DATE August 1
THE GIVER
n The famed (and controversial) Newbery Award-winning book comes
to the screen. Three other books take place in the same universe: are we
seeing a franchise in the making?
DISTRIBUTOR Weinstein CAST Jeff Bridges, Brenton Thwaites, Meryl
Streep DIRECTOR Phillip Noyce RELEASE DATE August 15
50 BoxOffice ® Pro The Business of Movies DECEMBER 2013

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THE YEAR AHEAD
September
Dylan O’Brien joins other “runners”
in the sci-fi thriller The Maze Runner,
opening Sept. 19, 2014
DOLPHIN TALE 2
n The story of the dolphin Winter continues in this sequel to the 2011
family drama. The returning cast is joined by Winter’s baby, Hope.
Surfer Bethany Hamilton (Soul Surfer) appears as herself.
DISTRIBUTOR Warner Bros. CAST Harry Connick Jr., Ashley Judd
DIRECTOR Charles Martin Smith RELEASE DATE September 19
THE EQUALIZER
n Based on the 1980s television series that starred Edward Woodward,
this retelling reunites Training Day’s Denzel Washington (as ex-CIA
vigilante Robert McCall) with director Antoine Fuqua.
DISTRIBUTOR Sony CAST Denzel Washington, Chloë Grace Moretz,
Marton Csokas DIRECTOR Antoine Fuqua RELEASE DATE September 26
THE MAZE RUNNER
n Just how many young-adult dystopian novels are there? Add The
Maze Runner to your list. In this story, a group of boys must work
together to battle electronic monsters in a vast glade.
DISTRIBUTOR Fox CAST Dylan O’Brien, Patricia Clarkson, Thomas
Brodie-Sangster DIRECTOR Wes Ball RELEASE DATE September 19
SELFLESS
n A wealthy old man has his consciousness transported to the body of
a young man and soon discovers that all may not be as it seems. The
mononymed Tarsem is sure to bring his usual visual flourish.
DISTRIBUTOR Focus CAST Ryan Reynolds, Natalie Martinez DIRECTOR
Tarsem RELEASE DATE September 26
October
GONE GIRL
n This thriller, adapted from the highly regarded novel, concerns a
man whose wife has gone missing and who may or may not be responsible
for her disappearance.
DISTRIBUTOR Fox CAST Ben Affleck, Rosamund Pike, Tyler Perry
DIRECTOR David Fincher RELEASE DATE October 3
THE JUDGE
n Wedding Crashers director David Dobkin adds a little drama to this
comedy about a lawyer (Robert Downey Jr.) who returns to his hometown
to find he has to defend his father, a judge, against a murder charge.
DISTRIBUTOR Warner Bros. CAST Robert Downey Jr., Robert Duvall,
Vera Farmiga DIRECTOR David Dobkin RELEASE DATE October 10
ALEXANDER AND THE TERRIBLE, HORRIBLE,
NO GOOD, VERY BAD DAY
n This live-action comedy, based on the 32-page picture book (that
you no doubt own), is expanded to fill a 90-minute-or-so running
time.
DISTRIBUTOR Disney CAST Steve Carell, Jennifer Garner, Ed Oxenbould
DIRECTOR Miguel Arteta RELEASE DATE October 10
BUSINESS TRIP
n Little is known about this still-shooting comedy about a businessman
who goes on a trip to Europe. The director’s Delivery Man with
Vince Vaughn opens this month.
DISTRIBUTOR TBD CAST Dave Franco, Vince Vaughn, Sienna Miller
DIRECTOR Ken Scott RELEASE DATE October 24
52 BoxOffice ® Pro The Business of Movies DECEMBER 2013

THE YEAR AHEAD
November
Evangeline Lilly as Tauriel in
The Hobbit: There and Back Again,
opening Dec. 17, 2014
INTERSTELLAR
n The most hush-hush film of 2014. All that is known is that it includes
wormholes, spacetime and Matthew McConaughey. Christopher
Nolan’s follow-up to the Dark Knight trilogy.
DISTRIBUTOR Paramount CAST Matthew McConaughey, Anne Hathaway
DIRECTOR Christopher Nolan RELEASE DATE November 7
THE HUNGER GAMES: MOCKINGJAY—PART 1
n Dividing the final book of the Hunger Games trilogy into two parts
(of course!), the producers return director Francis Lawrence to the set
to guide Katniss as she leads the districts of Panem in rebellion.
DISTRIBUTOR Lionsgate CAST Jennifer Lawrence, Josh Hutcherson
DIRECTOR Francis Lawrence RELEASE DATE November 21
FURY
n Brad Pitt stars as a World War II Sherman tank commander named
Wardaddy behind enemy lines with his five-man crew. Outnumbered
and outgunned, he and his men battle for supremacy.
DISTRIBUTOR Sony CAST Brad Pitt, Shia LaBeouf, Logan Lerman
DIRECTOR David Ayer RELEASE DATE November 14
HORRIBLE BOSSES 2
n Nick, Dale, and Kurt open their own business but must battle an
evil investor (Christoph Waltz) and his son. Jamie Foxx returns as the
character we can’t name in these family-friendly pages.
DISTRIBUTOR Warner Bros. CAST Jason Bateman, Charlie Day, Jason
Sudeikis DIRECTOR Sean Anders RELEASE DATE November 26
December
EXODUS
n Following in the footsteps of Charlton Heston (The Ten Commandments),
Christian Bale stars as Moses in this epic retelling of the
biblical story of the Exodus.
DISTRIBUTOR Fox CAST Christian Bale, Joel Edgerton, Aaron Paul
DIRECTOR Ridley Scott RELEASE DATE December 12
INTO THE WOODS
n Classic fairy tales take a musical turn in this adaptation of Stephen
Sondheim’s Tony-winning Broadway classic featuring Cinderella, Little
Red Riding Hood, Rapunsel, and other familiar characters.
DISTRIBUTOR Disney CAST Meryl Streep, Emily Blunt, James Corden
DIRECTOR Rob Marshall RELEASE DATE December 25
THE HOBBIT: THERE AND BACK AGAIN
n The epic trilogy concludes. With the first grossing more than $1 billion
worldwide, the conclusion is a sure bet to surpass every milestone
in its path to box office gold.
DISTRIBUTOR Warner Bros. CAST Martin Freeman, Ian McKellen DI-
RECTOR Peter Jackson RELEASE DATE December 17
UNBROKEN
n The true story of Olympic runner Louis Zamperini who spent 47
days adrift at sea after crashing his plane in the Pacific during the Second
World War then survived two-and-a-half years as a POW.
DISTRIBUTOR Universal CAST Jack O’Connell, Garrett Hedlund, Jai
Courtney DIRECTOR Angelina Jolie RELEASE DATE December 25
54 BoxOffice ® Pro The Business of Movies DECEMBER 2013

CHARTS &
GRAPHS
The
Hobbit
Trilogy
1 Hobbit: Bilbo Baggins
1 Dragon: Smaug
1
Crew member whose sole job on set was to look after
prosthetic hands
1 Elvenking: Thranduil
2 Wizards: Gandalf and Radagast
3 Number of children belonging to Bard
3 Films in the trilogy
4
Inches that 15-year-old actor John Bell (Bain) grew over
the length of production
4 Tons of silicon used to generate the facial prosthetics
5
5
Hours to complete hair, make-up, prosthetics, and
wardrobe for each of the 13 dwarves
Average number of doubles used for each main character,
including scale, stunt, and riding doubles
6 Number of weeks it took to build Beorn’s house
7 Kilometers of toupe tape used to attach beards to faces
8 Legs on the giant spiders infesting Mirkwood Forest
9 Weeks of location filming on the trilogy
10 Kilograms of human hair for wigmaking
10 Average days it took to renew a studio with a new set
13
13
14
25
Dwarves: Thorin, Balin, Dwalin, Fili, Kili, Bofur, Bombur,
Bifur, Oin, Gloin, Dori, Nori, and Ori
Empty wine barrels in which the dwarves escape
Thranduil’s realm
Tons of silicone used to mold all of the armor and weapons
for all cultures
Number of worker-years the textures department at Weta
Digital worked on Smaug’s skin
26 Average number of days shooting on a single set
32
Polystyrene trees, used in various configurations, to make
the Mirkwood set
40 Buildings on casters that make up the Lake-town set
48 Frames-per-second used for the trilogy
60 2nd unit studio crew
65
Number of people it took—including actors, doubles, and
stunt men—to portray 13 dwarves
80
Age of the oldest vintage microphone used to record the
score for The Hobbit: The Desolation of Smaug
88 Microphones used in the film’s scoring session
91 Wigs created for the dwarves
94 Set models created for the trilogy
95
Number of musicians in the New Zealand Symphony
Orchestra recording the film’s score
99 Number of studio sets built for the trilogy
100 Hobbit feet for Bilbo
100 Total 2nd unit location crew
100 Total costume department crew
115
Number of drivers needed to transport the cast and crew
to New Zealand locations
250 Approximate population of the trilogy’s art department
263 Beards made for the production
300 Bottles of spirit gum used in the production
350 Off-set crew
400 Costumes created for Lake-town
450 Main unit studio crew
547 Traveling weapons for the 13 dwarves
800 Crew traveling on location between two units
860 Bottles of isopropyl alcohol used to remove prosthetics
752 Wigs—nearly everyone in the film is wigged
1,200 Extras that needed to be cast for the trilogy
2,000 Hand-spun goblets created for Smaug’s lair
3,000 Props recorded in the furniture catalogue for Lake-town
5,000 Approximate population of Lake-town
8,900
Approximate number of continuous hours the art
department worked to build, decorate, and tear down sets.
This involved different crews working 24/7
11,862 Prosthetics made for the trilogy
140,000
170,000
Cups of coffee made by craft services throughout
production
Punched aluminum gold-plated coins trickled over Smaug’s
lair
DECEMBER 2013 BoxOffice ® Pro The Business of Movies 55

BOOKING
GUIDE
compiled by Daniel Garris
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
CBS FILMS Lauren Douglas / 310-575-7052 / lauren.douglas@cbs.com
INSIDE LLEWYN DAVIS Fri, 12/6/13 LTD. Oscar Isaac, Carey Mulligan Ethan Coen, Joel Coen R Dra Quad
DISNEY 818-560-1000 / Ask for Distribution
SAVING MR. BANKS Fri, 12/13/13 LTD. Emma Thompson, Tom Hanks John Lee Hancock PG-13 Com/Dra Dolby Dig
THE WIND RISES Fri, 2/21/14 LTD. Hideaki Anno, Mirai Shida Hayao Miyazaki PG-13 Ani/Dra Dolby Dig
NEED FOR SPEED Fri, 3/14/14 WIDE Aaron Paul, Dominic Cooper Scott Waugh NR Act Quad
MUPPETS MOST WANTED Fri, 3/21/14 WIDE Ricky Gervais, Tina Fey James Bobin PG Adv/Com/Fam
CAPTAIN AMERICA:
THE WINTER SOLDIER
BEARS
Fri, 4/4/14 WIDE
Fri, 4/18/14 WIDE
Chris Evans, Scarlett Johansson
Anthony Russo, Joe
Russo
Alastair Fothergill,
Keith Scholey
NR Act/Adv 3D
NR Doc Dolby Dig
MILLION DOLLAR ARM Fri, 5/16/14 WIDE Jon Hamm, Bill Paxton Craig Gillespie NR Dra/Sport
MALEFICENT Fri, 5/30/14 WIDE Angelina Jolie, Elle Fanning Robert Stromberg NR Fan 3D
PLANES: FIRE & RESCUE Fri, 7/18/14 WIDE Dane Cook NR Ani/Adv/Fam 3D
GUARDIANS OF THE GALAXY Fri, 8/1/14 WIDE Chris Pratt, Zoe Saldana James Gunn NR Act/Adv/SF 3D
THE HUNDRED-FOOT JOURNEY Fri, 8/8/14 WIDE Helen Mirren, Manish Dayal Lasse Hallström NR Dra
ALEXANDER AND THE TERRIBLE,
HORRIBLE, NO GOOD, VERY BAD Fri, 10/10/14 WIDE Ed Oxenbould, Steve Carell Miguel Arteta NR Com/Fam
DAY
BIG HERO 6 Fri, 11/7/14 WIDE Don Hall NR Ani/Act/Adv 3D
MCFARLAND Fri, 11/21/14 WIDE Kevin Costner, Maria Bello Niki Caro NR Dra/Sport
FILMDISTRICT Deborah Johnson / 646-380-4497 / djohnson@filmdistrict.com
THAT AWKWARD MOMENT Fri, 1/31/14 WIDE Zac Efron, Michael B. Jordan Tom Gormican R Rom/Com Dolby Dig
FOCUS FEATURES Mingun Kim / 818-777-3071
WALK OF SHAME Fri, 3/14/14 WIDE Elizabeth Banks, James Marsden Steven Brill R Rom/Com
BAD WORDS Fri, 3/21/14 EXCL NY/LA Jason Bateman, Kathryn Hahn Jason Bateman NR Com
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56 BoxOffice ® Pro The Business of Movies NOVEMBER 2013

BOOKING GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
FIFTY SHADES OF GREY Fri, 8/1/14 WIDE Dakota Johnson, Jamie Dornan Sam Taylor-Johnson NR Dra/Rom
THE BOXTROLLS Fri, 9/26/14 WIDE Ben Kingsley, Isaac Hempstead Wright
Graham Annable,
Anthony Stacchi
NR Ani/Adv/Fam 3D/Dolby Dig
SELFLESS Fri, 9/26/14 WIDE Ryan Reynolds, Natalie Martinez Tarsem Singh NR SF/Thr
FOX 310-369-1000 / 212-556-2400
WALKING WITH DINOSAURS Fri, 12/20/13 WIDE Charlie Rowe, Angourie Rice
Neil Nightingale, Barry
Cook
NR Ani/Adv/Fam 3D
THE SECRET LIFE OF WALTER MITTY Wed, 12/25/13 WIDE Ben Stiller, Kristen Wiig Ben Stiller PG Adv/Com/Dra Dolby Atmos
DEVIL’S DUE Fri, 1/17/14 WIDE Zach Gilford, Allison Miller
Matt Bettinelli-Olpin,
Tyler Gillett
NR Hor/Thr
SON OF GOD Fri, 2/28/14 WIDE Diogo Morgado, Roma Downey Christopher Spencer NR Dra
MR. PEABODY & SHERMAN Fri, 3/7/14 WIDE Ty Burrell, Max Charles Rob Minkoff NR Ani/Com/Fam 3D/Dolby Atmos
RIO 2 Fri, 4/11/14 WIDE Anne Hathaway, Jesse Eisenberg Carlos Saldanha NR Ani/Adv/Fam 3D/Dolby Atmos
THE OTHER WOMAN Fri, 4/25/14 WIDE Cameron Diaz, Leslie Mann Nick Cassavetes NR Com
X-MEN: DAYS OF FUTURE PAST Fri, 5/23/14 WIDE Hugh Jackman, James McAvoy Bryan Singer NR Act/Adv 3D/Dolby Atmos
THE FAULT IN OUR STARS Fri, 6/6/14 WIDE Shailene Woodley, Ansel Elgort Josh Boone NR Dra/Rom
HOW TO TRAIN YOUR DRAGON 2 Fri, 6/13/14 WIDE Jay Baruchel, Gerard Butler Dean DeBlois NR Ani/Adv/Fam 3D
DAWN OF THE PLANET OF THE APES Fri, 7/18/14 WIDE Andy Serkis, Gary Oldman Matt Reeves NR Act/SF 3D/Dolby Atmos
THE MAZE RUNNER Fri, 9/19/14 WIDE Dylan O’Brien, Will Poulter Wes Ball NR SF/Thr
GONE GIRL Fri, 10/3/14 WIDE Ben Affleck, Rosamund Pike David Fincher NR Dra/Thr
BOOK OF LIFE Fri, 10/17/14 WIDE Channing Tatum, Zoe Saldana Jorge R. Gutierrez NR Ani
THE SECRET SERVICE Fri, 11/14/14 WIDE Colin Firth, Taron Egerton Matthew Vaughn NR Act/Thr
HOME Wed, 11/26/14 WIDE Jim Parsons, Rihanna Tim Johnson NR Ani/Adv/SF 3D
FOX SEARCHLIGHT 212-556-2400
THE GRAND BUDAPEST HOTEL Fri, 3/7/14 LTD. Ralph Fiennes, Tony Revolori Wes Anderson NR Com/Dra
DOM HEMINGWAY Fri, 4/4/14 LTD. Jude Law, Richard E. Grant Richard Shepard R Com/Cri/Dra
BELLE Fri, 5/2/14 LTD. Gubu Mbatha-Raw, Tom Wilkinson Amma Asante NR Dra Dolby Dig
LIONSGATE / 310-309-8400
A MADEA CHRISTMAS Fri, 12/13/13 WIDE Tyler Perry, Kathy Najimy Tyler Perry PG-13 Com
HOURS Fri, 12/13/13 LTD. Paul Walker, Genesis Rodriguez Eric Heisserer PG-13 Dra/Thr
DECEMBER 2013 BoxOffice ® Pro The Business of Movies 57

BOOKING GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
I, FRANKENSTEIN Fri, 1/24/14 WIDE Aaron Eckhart, Bill Nighy Stuart Beattie PG-13 Act/Hor/Thr
3D/IMAX/Dolby
Atmos/Quad
NURSE 3D Fri, 2/7/14 LTD. Paz de la Huerta, Katrina Bowden Doug Aarniokoski NR Hor/Thr 3D
ADDICTED Fri, 3/14/14 WIDE Sharon Leal, Boris Kodjoe Bille Woodruff NR Dra
DIVERGENT Fri, 3/21/14 WIDE Shailene Woodley, Theo James Neil Burger NR Adv/Dra/SF IMAX/Dolby Dig
CESAR CHAVEZ:
AN AMERICAN HERO
Fri, 4/4/14 LTD. Michael Peña, America Ferrera Diego Luna PG-13 Dra
THE QUIET ONES Fri, 4/11/14 WIDE Jared Harris, Sam Claflin John Pogue PG-13 Hor
SINGLE MOMS CLUB Fri, 5/9/14 WIDE Tyler Perry, Nia Long Tyler Perry NR Com/Dra
THE EXPENDABLES 3 Fri, 8/15/14 WIDE Sylvester Stallone, Jason Statham Patrick Hughes NR Act/Adv
JESSABELLE Fri, 8/29/14 WIDE Sarah Snook, Mark Webber Kevin Greutert NR Hor/Thr
THE HUNGER GAMES:
MOCKINGJAY - PART 1
Fri, 11/21/14 WIDE Jennifer Lawrence, Josh Hutcherson Francis Lawrence NR Act/Adv/SF IMAX
OPEN ROAD FILMS 310-696-7504
JUSTIN BIEBER’S BELIEVE Wed, 12/25/13 WIDE Justin Bieber, Scooter Braun Jon M. Chu PG Con/Doc 3D
THE NUT JOB Fri, 1/17/14 WIDE Will Arnett, Brendan Fraser Peter Lepeniotis NR Ani/Com/Fam 3D/Dolby Dig
A HAUNTED HOUSE 2 Fri, 3/28/14 WIDE Marlon Wayans, Jaime Pressly Michael Tiddes NR Com/Hor
SABOTAGE
Fri, 4/11/14 WIDE
Arnold Schwarzenegger, Sam Worthington
David Ayer NR Act/Cri/Thr
CHEF Fri, 5/9/14 WIDE Jon Favreau, Sofía Vergara Jon Favreau NR Com
PARAMOUNT 323-956-5000
ANCHORMAN 2:
THE LEGEND CONTINUES
Fri, 12/20/13 WIDE Will Ferrell, Steve Carell Adam McKay NR Com Quad
LABOR DAY Wed, 12/25/13 LTD. Kate Winslet, Josh Brolin Jason Reitman PG-13 Dra Dolby Dig
THE WOLF OF WALL STREET Wed, 12/25/13 WIDE Leonardo DiCaprio, Jonah Hill Martin Scorsese NR Cri/Dra Dolby Dig
PARANORMAL ACTIVITY:
THE MARKED ONES
Fri, 1/3/14 WIDE Andrew Jacobs, Catherine Toribio Christopher Landon NR Hor
JACK RYAN: SHADOW RECRUIT Fri, 1/17/14 WIDE Chris Pine, Keira Knightley Kenneth Branagh NR Act/Thr IMAX/Quad
ALMANAC Fri, 2/28/14 WIDE Jonny Weston, Sofia Black-D’Elia Dean Israelite NR SF/Thr
NOAH Fri, 3/28/14 WIDE Russell Crowe, Jennifer Connelly Darren Aronofsky NR Dra
58 BoxOffice ® Pro The Business of Movies DECEMBER 2013

BOOKING GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
TRANSFORMERS:
AGE OF EXTINCTION
Fri, 6/27/14 WIDE Mark Wahlberg, Nicola Peltz Michael Bay NR Act/Adv/SF 3D/IMAX
HERCULES: THE THRACIAN WARS Fri, 7/25/14 WIDE Dwayne Johnson, Rufus Sewell Brett Ratner NR Act/Adv Quad
TEENAGE MUTANT NINJA TURTLES Fri, 8/8/14 WIDE Megan Fox, William Fichtner Jonathan Liebesman NR Act/Adv
PARANORMAL ACTIVITY 5 Fri, 10/24/14 WIDE Gregory Plotkin NR Hor
INTERSTELLAR
Fri, 11/7/14 WIDE
Matthew McConaughey, Anne
Hathaway
Christopher Nolan NR SF IMAX
RELATIVITY Mara Buxbaum / 323-822-4800 / relativity@id-pr.com
OUT OF THE FURNACE Fri, 12/6/13 WIDE Christian Bale, Woody Harrelson Scott Cooper R Dra/Thr Dolby Dig
THREE DAYS TO KILL Fri, 2/21/14 WIDE Kevin Costner, Hailee Steinfeld McG NR Act/Thr
ECHO Fri, 4/25/14 WIDE Teo Halm, Astro Dave Green PG Adv/Fam
THE BEST OF ME Fri, 10/17/14 WIDE Michelle Monaghan Michael Hoffman NR Dra/Rom
SONY 212-833-8500
AMERICAN HUSTLE Fri, 12/13/13 LTD. Christian Bale, Bradley Cooper David O. Russell NR Cri/Dra/Thr Quad
THE MONUMENTS MEN Fri, 2/7/14 WIDE George Clooney, Matt Damon George Clooney NR Adv/Com/Dra Quad
ROBOCOP Wed, 2/12/14 WIDE Joel Kinnaman, Gary Oldman José Padilha NR Act/Cri/SF IMAX/Quad
ABOUT LAST NIGHT Fri, 2/14/14 WIDE Kevin Hart, Michael Ealy Steve Pink NR Com/Dra/Rom
POMPEII Fri, 2/21/14 WIDE Kit Harington, Emily Browning Paul W.S. Anderson NR Act/Adv/Dra 3D/Quad
HEAVEN IS FOR REAL Wed, 4/16/14 WIDE Greg Kinnear, Kelly Reilly Randall Wallace NR Dra/Fam
THE AMAZING SPIDER-MAN 2 Fri, 5/2/14 WIDE Andrew Garfield, Emma Stone Marc Webb NR Act/Adv 3D
22 JUMP STREET Fri, 6/13/14 WIDE Channing Tatum, Jonah Hill Phil Lord, Chris Miller NR Act/Com
THINK LIKE A MAN TOO Fri, 6/20/14 WIDE Kevin Hart, Michael Ealy Tim Story NR Rom/Com
SEX TAPE Fri, 7/18/14 WIDE Cameron Diaz, Jason Segel Jake Kasdan NR Com
NO GOOD DEED Fri, 9/12/14 WIDE Idris Elba, Taraji P. Henson Sam Miller NR Dra/Thr
WHEN THE GAME STANDS TALL Fri, 9/19/14 WIDE Jim Caviezel, Laura Dern Thomas Carter NR Dra/Sport
THE EQUALIZER
Fri, 9/26/14 WIDE
Denzel Washington, Chloë Grace
Moretz
Antoine Fuqua NR Act/Thr
THE INTERVIEW Fri, 10/10/14 WIDE Seth Rogen, James Franco
Seth Rogen, Evan
Goldberg
NR Com
KITCHEN SINK Fri, 10/24/14 WIDE Nicholas Braun, Mackenzie Davis Robbie Pickering NR Com/Hor
DECEMBER 2013 BoxOffice ® Pro The Business of Movies 59

BOOKING GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
FURY Fri, 11/14/14 WIDE Brad Pitt, Shia LaBeouf David Ayer NR Act/Dra
SONY PICTURES CLASSICS Tom Prassis / 212-833-4981
THE PAST Fri, 12/20/13 EXCL NY/LA Bérénice Bejo, Tahar Rahim Asghar Farhadi PG-13 Dra
THE INVISIBLE WOMAN Wed, 12/25/13 EXCL NY/LA Ralph Fiennes, Felicity Jones Ralph Fiennes R Dra/Rom Dolby Dig
TIM’S VERMEER Fri, 1/31/14 EXCL NY/LA Tim Jenison Teller NR Doc
THE LUNCHBOX Fri, 2/28/14 EXCL NY/LA Irrfan Khan, Nimrat Kaur Ritesh Batra NR Dra/Rom
JODOROWSKY’S DUNE Fri, 3/7/14 EXCL NY/LA Alejandro Jodorowsky Frank Pavich NR Doc
ONLY LOVERS LEFT ALIVE Fri, 4/11/14 EXCL NY/LA Tom Hiddleston, Tilda Swinton Jim Jarmusch NR Dra/Rom Dolby Dig
FOR NO GOOD REASON Fri, 4/25/14 EXCL NY/LA Johnny Depp, Ralph Steadman Charlie Paul NR Doc
UNIVERSAL 818-777-1000
47 RONIN Wed, 12/25/13 WIDE Keanu Reeves, Hiroyuki Sanada Carl Rinsch PG-13 Act/Adv/Dra 3D/Quad
LONE SURVIVOR Fri, 12/27/13 EXCL NY/LA Mark Wahlberg, Taylor Kitsch Peter Berg R Act/Thr Quad
RIDE ALONG Fri, 1/17/14 WIDE Kevin Hart, Ice Cube Tim Story PG-13 Act/Com Quad
ENDLESS LOVE Fri, 2/14/14 WIDE Alex Pettyfer, Gabriella Wilde Shana Feste NR Dra/Rom Quad
NON-STOP Fri, 2/28/14 WIDE Liam Neeson, Julianne Moore Jaume Collet-Serra NR Act/Thr Quad
STRETCH Fri, 3/21/14 WIDE Patrick Wilson, Ed Helms Joe Carnahan NR Act/Com
NEIGHBORS Fri, 5/9/14 WIDE Seth Rogen, Zac Efron Nicholas Stoller R Com Quad
A MILLION WAYS TO
DIE IN THE WEST
Fri, 5/30/14 WIDE Seth MacFarlane, Charlize Theron Seth MacFarlane NR Com/Wes
FAST & FURIOUS 7 Fri, 7/11/14 WIDE Vin Diesel, Paul Walker James Wan NR Act/Cri
THE LOFT Fri, 8/29/14 WIDE Karl Urban, James Marsden Erik Van Looy R Thr
SEARCH PARTY Fri, 9/12/14 WIDE Thomas Middleditch, T.J. Miller Scot Armstrong NR Com
DRACULA UNTOLD Fri, 10/3/14 WIDE Luke Evans, Dominic Cooper Gary Shore NR Act/Hor
GET ON UP Fri, 10/17/14 WIDE Chadwick Boseman, Octavia Spencer Tate Taylor NR Dra
WARNER BROS. 818-977-1850
THE HOBBIT:
THE DESOLATION OF SMAUG
Fri, 12/13/13 WIDE Ian McKellen, Martin Freeman Peter Jackson NR Act/Adv/Fan
3D/IMAX/Dolby
Atmos
HER Wed, 12/18/13 LTD. Joaquin Phoenix, Amy Adams Spike Jonze R Rom/Com/SF Quad
ONLINE FORUM COMMENTS AND COUNTING
CONGRATULATIONS TO BOXOFFICE.COM FORUMS EDITOR
SHAWN ROBBINS FOR HEADING UP THE MOST VIBRANT ONLINE
MOVIE COMMUNITY IN THE EXHIBITION INDUSTRY
Online Engagement Twitter Followers Facebook Likes Forum Members
BoxOffice ® 12,016 13,710 21,506
as of November 21, 2013
JOIN THE CONVERSATION AT FORUMS.BOXOFFICE.COM
60 BoxOffice ® Pro The Business of Movies DECEMBER 2013

BOOKING GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
GRUDGE MATCH Wed, 12/25/13 WIDE Robert De Niro, Sylvester Stallone Peter Segal PG-13 Com/Sport Quad
THE LEGO MOVIE Fri, 2/7/14 WIDE Chris Pratt, Will Ferrell Phil Lord, Chris Miller NR Ani/Adv/Fam 3D/Quad
WINTER’S TALE Fri, 2/14/14 WIDE Colin Farrell, Jessica Brown Findlay Akiva Goldsman NR Dra/Fan/Rom
300: RISE OF AN EMPIRE Fri, 3/7/14 WIDE Sullivan Stapleton, Eva Green Noam Murro R Act
3D/IMAX/Dolby
Atmos/Quad
ISLAND OF LEMURS: MADAGASCAR Fri, 4/4/14 LTD. Morgan Freeman David Douglas G Doc 3D/IMAX
TRANSCENDENCE Fri, 4/18/14 WIDE Johnny Depp, Paul Bettany Wally Pfister NR Act/SF
GODZILLA Fri, 5/16/14 WIDE Aaron Taylor-Johnson, Ken Watanabe Gareth Edwards NR Act/Adv/SF 3D/IMAX
BLENDED Fri, 5/23/14 WIDE Adam Sandler, Drew Barrymore Frank Coraci NR Rom/Com
EDGE OF TOMORROW Fri, 6/6/14 WIDE Tom Cruise, Emily Blunt Doug Liman NR Act/SF 3D/IMAX/Quad
JERSEY BOYS Fri, 6/20/14 WIDE John Lloyd Young, Christopher Walken Clint Eastwood NR Mus/Dra
TAMMY Wed, 7/2/14 WIDE Melissa McCarthy, Susan Sarandon Ben Falcone NR Com
JUPITER ASCENDING Fri, 7/25/14 WIDE Channing Tatum, Mila Kunis
Andy Wachowski, Lana
Wachowski
NR Act/Adv/SF 3D
INTO THE STORM Fri, 8/8/14 WIDE Richard Armitage, Sarah Wayne Callies Steven Quale NR Act/Thr
DOLPHIN TALE 2 Fri, 9/19/14 WIDE Nathan Gamble, Harry Connick Jr. Charles Martin Smith NR Dra/Fam
THE JUDGE Fri, 10/10/14 WIDE Robert Downey Jr., Robert Duvall David Dobkin NR Dra
HORRIBLE BOSSES 2 Wed, 11/26/14 WIDE Jason Bateman, Jason Sudeikis Sean Anders NR Com
WEINSTEIN CO./DIMENSION 646-862-3400
AUGUST: OSAGE COUNTY Wed, 12/25/13 LTD. Meryl Streep, Julia Roberts John Wells R Com/Dra Dolby Dig
ONE CHANCE Fri, 12/27/13 EXCL NY/LA James Corden, Alexandra Roach David Frankel PG-13 Mus/Com Dolby Dig
VAMPIRE ACADEMY Fri, 2/14/14 WIDE Zoey Deutch, Lucy Fry Mark Waters NR Fan/Rom Dolby Dig
GRACE OF MONACO Fri, 3/14/14 WIDE Nicole Kidman, Tim Roth Olivier Dahan NR Dra Dolby Dig
ST. VINCENT Fri, 4/11/14 WIDE Bill Murray, Naomi Watts Theodore Melfi NR Com
THE GIVER Fri, 8/15/14 WIDE Jeff Bridges, Meryl Streep Phillip Noyce NR Dra/Fan
SIN CITY: A DAME TO KILL FOR Fri, 8/22/14 WIDE Josh Brolin, Eva Green
Frank Miller, Robert
Rodriguez
NR Act/Cri/Thr 3D

AD INDEX
AMC ENTERTAINMENT
P.O. Box 725489
Atlanta, GA 31139-9923
www.amctheatres.com
PG 37
CARDINAL SOUND & MOTION
PICTURE SYSTEMS
6330 Howard Ln.
Elkridge, MD 21075
cardinal@cardinalsound.com
www.cardinalsound.com
PG 64
CHRISTIE DIGITAL SYSTEMS
10550 Camden Dr.
Cypress, CA 90630
www.christiedigital.com
INSIDE FRONT COVER
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 61
DOREMI
1020 Chestnut St.
Burbank, CA 91506
818-562-1101
www.doremicinema.com
PG 49
ENPAR AUDIO
Stetson Snell
505-807-2154
505-615-2913
stetsonsnell@enparaudio.com
PG 56
ENTERTAINMENT SUPPLY &
TECHNOLOGIES, LLC
4971 Van Dyke Road
Lutz, FL 33558
813-960-1646
www.ensutec.com
PG 25
GDC TECHNOLOGY LLC
3500 W OLIVE AVE., Ste. 940
Burbank, CA 91505
818-972-4370
www.gdc-tech.com
PG 53
HARKNESS SCREENS
Unit A, Norton Road
Stevenage, Herts
SG1 2BB UK
+44 1438 725200
sales@harkness-screens.com
www.harkness-screens.com
PG 13, 15
KLIPSCH
3502 Woodview Trace, Ste. 200
Indianapolis, IN 46268
317-860-8100
www.klipsch.com
PG 11
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
MOVING IMAGE TECHNOLOGIES
17760 Newhope St.
Fountain, Valley, CA 92708
714-751-7998
www.movingimagetech.com
PG 17
PHILIPS LIGHTING
200 Clarendon St.
Boston, MA 02116
Dina Munchback
617-449-4127
617-449-4127
www.philips.com
PG 41
QSC AUDIO PRODUCTS, LLC
1675 MacArthur Blvd.
Costa Mesa, CA 92626
800-854-4079
www.qsc.com
PG 1
READY THEATRE SYSTEMS
4 Hartford Blvd.
Hartford, MI 49057
Mary Snyder
865-212-9703x114
sales@rts-solutions.com
www.rts-solutions.com.com
PG 57
REALD
100 North Crescent Dr., Ste. 200
Beverly Hills, CA 90210
310-385-4000
realdglasses@reald.com
www.reald.com
PG 4-5
REGAL ENTERTAINMENT GROUP
7132 Regal Ln.
Knoxville, Tennessee 37918
865-922-1123
www.regmovies.com
PG 35
RETRIEVER SOFTWARE
7040 Avenida Encinas
Ste. 104-363
Carlsbad, CA 92011
760-929-2101
www.retrieversoftware.com
PG 58
SCRABBLE VENTURES
10550 Camden Dr.
Cypress, CA 90630
855-503-7322
www.scrabbleventures.com
PG 9
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 64
SONIC EQUIPMENT COMPANY
900 West Miller Rd.
Iola KS, 66749
800-365-5701
www.sonicequipment.com
PG 59
STRONG CINEMA PRODUCTS
(a 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 47
USHIO AMERICA, INC.
5440 Cerritos Ave.
Cypress, CA 90630
800-838-7446
www.ushio.com
PG 27
USL
181 Bonetti Dr,
San Luis Obispo, CA 93401
805-549-0161
usl@uslinc.com
www.uslinc.com
PG 61
RUNNER RUNNER
Justin Timberlake and Ben
Affleck star in this high-stakes
crime thriller. The lure of easy
money is the riskiest bet of all.
When Princeton grad student
Richie Furst (Timberlake)
believes he’s been swindled by
an online poke site, he heads
to Costa Rica to confront
gambling tycoon Ivan Block
(Affleck), the man he thinks is
responsible. Rated R.
ON BLU·RAY
January 7, 2014
62 BoxOffice ® Pro The Business of Movies DECEMBER 2013

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
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.
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.
FOR SALE
TWO USED BARCO 20C DIGITAL PRO-
JECTORS WITH GDC SERVERS. Located in
Roswell, NM. Purchased new and installed
July 2012. This 10 plex cinema opened September
2012 with 2 Digital and ten 35 Film
projectors, 2 digital and 2 35 Film were in-
FOR SALE
STARLITE TWIN DRIVE-IN, WICHI-
TA, KS. Mar-Oct 2013 gross near $1.2
million excluding sales tax. Barco 4-K
digitals in 988 s/f booth/storage/
workroom. 26,000 Facebook Likes,
12,000 on weekly email list. 800 and
500 car lots provide unused capacity
most weekend nights. 24+ acres includes
2-acre undeveloped prime corner
and 2 acres undeveloped on 4-lane
connector to nearby Spirit (Boeing)
AeroSystems. Built in 1974, 7,720
s/f brick building has two full-service
lanes (4 registers), large restrooms in
A-1 condition, two large storerooms
downstairs, one upstairs, two offices,
nine-camera internet accessible security
system. All building areas have ample
refrigerated a/c and gas heat. All
6,732 s/f of main floor is “accessible”.
Large sprinklered lawn with manicured
landscaping, ideal for playground or
mini-golf. Three air-conditioned brick
box offices (6 lanes), metal scope-ratio
screens in excellent condition.
All original features fully maintained:
Speakers on all poles, checked weekly;
also FM stereo. All poles have color-coded
lights for parking control by
vehicle height. Perimeter lights (exit
arrows) every 75 feet around both
single-ramped, weed-free gravel lots.
Numbered center-aisle lights. No ambient
light problem. Hundreds of feet
of colored entrance driveway lights
welcome patrons to this large, unique,
pristine theatre. Long-term local management
flexible for future. Two types
of photos at www.starlitefun.com. Offers
over $900,000 considered. Jim
Goble 303-333-6625
stalled side by side. Cinema converted February
2013 to 10 Sony 515 digital projector VPF
deal. The Barco’s for sale are still installed side
by side with Sony’s. They can be run showing
movies showing that they work perfectly.
Also for sale installed with these Barco’s are 2
Master Image 3-D units, they also work very
well. Each Barco-GDC-Master Image set cost
$79,000.00 New. Please call Stetson Snell
cell 505-615-2913 to to make an offer or to arrange
to see the equipment operating. Sellers
are MOTIVATED to sell, they understand
this is now used equipment, all offers will be
considered. Don’t miss out on this opportunity
to purchase “working like new” these 2
used sets.
BARCO 3D/DIGITAL EQUIPMENT FOR SALE:
Purchase for $55K. Equipment list provided
upon request. Contact seller at mschwartz@
pennprolaw.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.
TWIN DRIVE IN THEATRE FOR SALE or
lease w/option to buy. Located N.E. Indiana,
Huntington. 20 miles from Ft. Wayne.
Pop. draw 250,000. 16.86 acres commercial
I-1. Call John @ 219-742-4801 for more info.
www.huntingtondrivein.com.
WE CLEAN THEATERS
EXCLUSIVELY!
From coast to coast for 35 YEARS.
Let us give you our references.
www.maintenancecooperative.com
or call 770-503-1102
12 PLEX THEATER FOR SALE with stadium
seating. 6 acres of Land. Selling at below land
value. $2,000,000. Located in Huntsville AL,
at the University Mall. Please call 407-948-
6751.
TWO CHRISTIE DIGITAL PROJECTORS
CP2000SB, Two Dolby DSS100, Two Dolby
Show Player, Two Christie Series 1 ACT & Four
Dolby Filter Wheel and Projector Assembly.
All in very good condition. Call 360-993-0010.
HELP WANTED
THEATRE MANAGEMENT POSITIONS
AVAILABLE Pacific Northwest Theatre Company.
Previous management experience required.
Work weekends, evenings and holidays.
Send resume and salary history to movietheatrejobs@gmail.com
SERVICES
DULL FLAT PICTURE? RESTORE YOUR XE-
NON 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.
CONSOLIDATED THEATRE SERVICES, LLC
has a wide variety of theatre sound equipment
available at competitive prices. Our extensive
inventory includes amplifiers, processors,
speakers and sound racks from makers
such as JBL, Dolby, Ashly, Klipsch, Crown and
more. You are welcome to call us at 305-
908-1613 for further information.
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.
64 BoxOffice ® Pro The Business of Movies DECEMBER 2013

AVAILABLE
NOW!