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INSIDE<br />
iron man 3<br />
nato’s new look<br />
the trek franchise<br />
new apps from harkness<br />
mother’s day promos<br />
secret weapon<br />
new<br />
products<br />
<strong>2013</strong><br />
a<br />
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v<br />
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t<br />
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e m<br />
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see us on<br />
page 13<br />
n t<br />
The Official Magazine of the National Association of Theatre Owners
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CinemaCon <strong>2013</strong> – Booth 2103A, Milano 1
may<br />
<strong>2013</strong><br />
VOL. 149 NO. 5<br />
54 NEW PRODUCTS <strong>2013</strong><br />
88 THE BIG PICTURE: IRON MAN 3<br />
10 questions for Tony Stark Robert Downey Jr. gets real about Iron Man’s<br />
post-Avengers PTSD and why he’s willing to keep wearing the suit Tag team Iron<br />
Man 3 director Shane Black and Marvel president Kevin Feige form the ultimate<br />
super duo Super showdown ranking the Marvel moneymakers<br />
6 exhibition briefs<br />
The latest news from the<br />
exhibition industry<br />
14 executive suite<br />
Exciting times at CinemaCon<br />
<strong>2013</strong>: New milestones for the<br />
convention, NATO, and our<br />
members<br />
22 mpaa news<br />
Meet the magicians: TheCredits.<br />
org celebrates Hollywood’s many<br />
unsung heroes<br />
26 Global exhibition<br />
An animated summer: Global box<br />
office totals for animated flicks<br />
are reaching new heights. What<br />
do we have to look forward to<br />
this summer?<br />
30 secret weapon<br />
Meet Karen Killingsworth, the<br />
versatile veteran<br />
24 marquee award I<br />
Driving into the future: Wellfleet<br />
Cinemas’ John Vincent explains<br />
why drive-in theaters are here<br />
to stay<br />
38 marquee award II<br />
Mighty Mouse: Manager Susan<br />
Evans shares the ecstatic highs—<br />
and unexpected hardships—of<br />
her Kickstarter experience<br />
44 box office analysis<br />
Still boldly going: The Star Trek<br />
franchise has had its ups and<br />
downs, but it’s looking good<br />
this month for the crew of the<br />
Starship Enterprise<br />
48 tech tools<br />
Second screen: Harkness<br />
unveils two new apps for the<br />
iPhone, iPad, and PC for digital<br />
optimization and maintenance<br />
52 alternative content<br />
The future is now: Up-andcoming<br />
Digiplex Destinations<br />
fulfills the promise of digital<br />
cinema with alternative content<br />
76 festival seating<br />
Lost in translation: Competing in<br />
Cannes and the North American<br />
market<br />
80 book smart<br />
Required reading: Bringing the<br />
Great American Novel to the<br />
silver screen<br />
82 show business<br />
Five fabulous Mother’s Day<br />
promo ideas<br />
86 charts & graphs<br />
The 20 highest-grossing comic<br />
book moves of all time<br />
108 COMING SOON<br />
Love Is All You Need / The<br />
Iceman / Peeples / Stories We<br />
Tell / Black Rock / Frances Ha<br />
/ Before Midnight / We Steal<br />
Secrets: The Story of Wikileaks /<br />
The East Plus 2 Guns / Elysium<br />
/ Planes<br />
120 booking guide<br />
128 classifieds<br />
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may <strong>2013</strong> BoxOffice ® <strong>Pro</strong> The Business of Movies 3
<strong>2013</strong><br />
upcoming 3d movies<br />
may 3 disney iron man 3<br />
may 10 Warner bros. the great gatsby<br />
<strong>May</strong> 17 Paramount star trek into darkness<br />
<strong>May</strong> 24 Fox Epic<br />
jun 14 warner bros. man of steel<br />
Jun 21 Disney Monsters University<br />
jul 3 universal despicable Me 2<br />
jul 12 warner bros. pacific rim<br />
JUL 17 Fox / DreamWorks Animation turbo<br />
jul 19 universal R.I.P.D.<br />
jul 26 fox the wolverine<br />
Jul 31 Sony / Columbia The Smurfs 2<br />
Aug 2 Warner Bros. 300: rise of an empire<br />
aug 9 picturehouse Metallica Through The Never<br />
aug 9 Disney planes<br />
aug 16 fox percy jackson: sea of monsters<br />
aug 30 sony / tristar ONE DIRECTION: THIS IS US<br />
sep 13 sony / screen gems battle of the year<br />
Sep 13 Lionsgate i, frankenstein<br />
sep 27 Sony / Columbia cloudy WITH A CHANCE OF MEATBALLS 2<br />
Oct 4 Weinstein Sin City: A Dame To Kill For<br />
oct 4 warner bros. gravity<br />
oct 18 warner bros. SEVENTH SON<br />
nov 8 disney Thor: The Dark World<br />
Nov 27 Disney Frozen<br />
nov 27 TBD Postman Pat: The Movie—You Know You’re the One<br />
Dec 13 Warner Bros. The Hobbit: the desolation of smaug<br />
Dec 20 Fox walking WITH DINOSAURS 3D<br />
dec 25 Universal 47 ronin<br />
4 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
2014<br />
2015<br />
feb 7 Warner Bros. the lego movie<br />
mar 7 warner bros. all you need is kill<br />
mar 7 Fox / DreamWorks Animation mr. peabody & sherman<br />
apr 4 Disney Captain America: The Winter Soldier<br />
apr 11 Relativity stretch armstrong<br />
<strong>May</strong> 2 Sony/columbia The Amazing Spider-Man 2<br />
may 16 warner bros. godzilla<br />
may 23 fox Dawn of The Planet of The Apes<br />
<strong>May</strong> 30 Disney The Good Dinosaur<br />
Jun 13 Universal Jurassic Park IV<br />
jun 20 Fox / DreamWorks animation how to train your dragon 2<br />
jul 7 Disney Maleficent<br />
jul 18 fox X-Men: Days of Future Past<br />
Aug 1 Disney Guardians of the Galaxy<br />
sep 26 sony / columbia popeye<br />
oct 17 Focus The Boxtrolls<br />
nov 26 Fox / DreamWorks animation Happy Smekday!<br />
dec 17 warner bros. the hobbit: there and back again<br />
dec 19 Disney tomorrowland<br />
dec 19 Universal Untitled Minions <strong>Pro</strong>ject in 3D<br />
Mar 27 Fox / DreamWorks animation The Penguins of Madagascar<br />
jun 5 Fox / DreamWorks animation trolls<br />
jun 19 Disney iNSIDE OUT<br />
jul 4 universal Untitled Illumination animated 3d <strong>Pro</strong>ject<br />
Jul 24 Sony / Columbia The Smurfs 3<br />
sep 25 Fox / DreamWorks animation b.o.o.: bureau of otherwordly operations<br />
dec 18 Fox / DreamWorks animation mumbai musical<br />
2016<br />
mar 18 Fox / DreamWorks animation kung fu panda 3<br />
jun 18 Fox / DreamWorks animation how to train your dragon 3<br />
may <strong>2013</strong> BoxOffice ® <strong>Pro</strong> The Business of Movies 5
edited by Annlee Ellingson<br />
Soda sales safe<br />
n New York movie theaters can keep<br />
slinging super-sized sodas. New York<br />
Supreme Court Judge Milton Tingling<br />
has enjoined the city’s large-soda ban<br />
supported by <strong>May</strong>or Michael Bloomberg<br />
that would have limited sugar beverages<br />
to 16 ounces. The regulation was introduced<br />
to combat obesity, but the judge<br />
ruled that the health department was<br />
acting outside its jurisdiction.<br />
The decision is a victory for the<br />
National Association of Theatre Owners’<br />
New York branch, which argued<br />
that “concession revenues represent a<br />
significant portion of theater profits and<br />
help stabilize ticket prices,” and without<br />
large-soda sales, ticket prices, staff levels,<br />
and wages would all suffer.<br />
“We are elated with today’s decision,”<br />
the organization says. “This issue was<br />
never about obesity, nor about soda. This<br />
was all about power. The<br />
court rejected the mayor’s<br />
attempt to unilaterally<br />
tell New Yorkers what<br />
to drink and where to<br />
drink it.”<br />
New York City has<br />
appealed the ruling.<br />
Global high<br />
n With $34.7 billion, the worldwide box office<br />
reached a new record in 2012. Global ticket<br />
sales increased 6 percent over 2011, according<br />
to the Motion Picture Association of America’s<br />
annual report, and China overtook Japan to become<br />
the biggest foreign territory in box-office<br />
receipts.<br />
“I am happy to report that in 2012, both<br />
global and domestic box office were up and so<br />
were domestic admissions,” said MPAA chairman<br />
and CEO Chris Dodd. “Great storytelling,<br />
memorable characters, and an ever-innovating<br />
theater experience brought more people<br />
around the world to the movie theater in 2012<br />
than ever before.”<br />
Powered by The Avengers, The Dark Knight<br />
Rises, and The Hunger Games, the domestic box<br />
office was up 6 percent over 2011 with $10.8<br />
billion. Ticket prices remained relatively flat,<br />
so admissions were also up 6 percent to 1.36<br />
billion after declining for two years in a row.<br />
Internationally, ticket sales also increased by 6<br />
percent to $23.9 billion. China busted out with<br />
36 percent growth to $2.7 billion, pushing past<br />
Japan with $2.4 billion. The United Kingdom<br />
and France saw box office receipts of $1.7<br />
billion each.<br />
Satellite on horizon<br />
n Five studios have signed on with the Digital<br />
Cinema Distribution Coalition (DCDC) for<br />
theatrical digital delivery services across North<br />
America. Although 85 percent of theaters have<br />
been converted to digital cinema, physical film<br />
prints have largely just been replaced by physical<br />
hard drives. With satellite delivery, Disney,<br />
Lionsgate, Paramount, Universal, and Warner<br />
Bros. will be able to cut those shipping costs.<br />
“DCDC’s service platform is the state of<br />
the art for digital delivery of various kinds of<br />
content to theaters in North America,” says<br />
DCDC’s Randolph Blotky. “Its business model<br />
will assure long-term, consistent, low-cost pricing<br />
to content providers and exhibitors across<br />
the industry.”<br />
An alliance among exhibitors AMC, Cinemark,<br />
and Regal and studios Universal and<br />
Warner Bros., DCDC’s satellite and terrestrial<br />
network will deliver feature, promotional,<br />
preshow, and live content to theaters reliably<br />
and cost-effectively. Fox and Sony are also in<br />
talks to join.<br />
The first phase of the DCDC network is<br />
expected to roll out by the end of the year.<br />
Kids are all right<br />
n Movie theaters are doing a better job at<br />
turning away underage moviegoers from<br />
R-rated movies. According to an undercover<br />
shopper survey conducted by the Federal Trade<br />
Commission (FTC), “movie theaters have made<br />
marked improvement in box office enforcement.”<br />
Only 24 percent of 13- to 16-year-olds<br />
who tried to buy an R-rated ticket without a<br />
parent were able to, down from 33 percent in<br />
2010—the highest rate of ratings enforcement<br />
since the FTC began its mystery shopper program<br />
in 2000.<br />
“We are proud of the significant improvement<br />
in ratings enforcement at America’s movie<br />
theaters, and we renew our commitment to<br />
parents to continue to improve,” says John<br />
Fithian, president and CEO of the National<br />
Association of Theatre Owners.<br />
“This report reinforces the importance<br />
and effectiveness of our industry’s voluntary<br />
rating system,” adds Chris Dodd, chairman<br />
and CEO of the Motion Picture Association<br />
of America. “But that system is only as good as<br />
its enforcement. The National Association of<br />
Theatre Owners (NATO) has been a tremendous<br />
partner since the creation of the voluntary<br />
rating system. We congratulate them not only<br />
for their dedication to enforcing the system,<br />
but their commitment to America’s families as<br />
well.”<br />
AMC was particularly effective at enforcing<br />
the rating system, turning away 95 percent<br />
of child shoppers trying to buy tickets to an<br />
R-rated movie. Overall, four of the seven major<br />
circuits demonstrated a statistically significant<br />
trend toward increased enforcement at the box<br />
office, Regal and Marcus also among them.<br />
Nordics smell a Ratos<br />
n In a deal worth $420 million, private equity<br />
firm Ratos, which owns Finnish exhibitor Finnkino,<br />
has acquired 60 percent of the Swedish<br />
circuit SF Bio and created the Nordic region’s<br />
largest movie theater chain. The combined<br />
companies operate screens in Sweden, Finland,<br />
Norway, Estonia, Latvia, and Lithuania. SF<br />
Bio is the largest theater owner in Sweden with<br />
43 theaters and 282 screens. The chain also<br />
has sites in Norway. Meanwhile, Finnkino is<br />
the biggest exhibitor in Finland and the Baltic<br />
states with 24 locations and 158 screens.<br />
“The new business will have a dream<br />
position in the European cinema market,” says<br />
SF Bio CEO Jan Bernhardsson, who will head<br />
6 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
the ultimate<br />
picture show<br />
© <strong>2013</strong> Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Features and specifications<br />
are subject to change without notice. Sony, Sony Digital Cinema, their respective logos and the Sony make.believe logo are trademarks of Sony.
exhibition briefs<br />
the new group. “Both SF Bio and Finnkino are<br />
growing profitably today. Together, we gain the<br />
power to invest further.”<br />
Películas en español<br />
n With Hispanics going to the movies more<br />
often than any other demographic, Digiplex<br />
Destinations has launched a Spanish-language<br />
screening program of Hollywood’s biggest<br />
blockbusters. The special engagements started<br />
with G.I. Joe: Retaliation with showtimes on<br />
April 1, 8, and 15.<br />
“The Latino populations in San Diego, San<br />
Bernardino, and Berks Counties have grown<br />
substantially in recent years,” says Digiplex<br />
president and CEO Bud <strong>May</strong>o. “These special<br />
engagements will give multi-generational<br />
Latino families the opportunity to enjoy great<br />
motion picture entertainment together by<br />
bridging language gaps.”<br />
To that end, only G, PG, or PG-13 films<br />
will screen in the program, and many will<br />
feature Spanish audio tracks with English subtitles<br />
so speakers of both languages can enjoy<br />
the films together. Other movies in the series<br />
include Oblivion on April 22 and 29, Iron Man<br />
3 on <strong>May</strong> 6 and 13, Star Trek Into Darkness on<br />
<strong>May</strong> 20, and Epic on <strong>May</strong> 27. Additional titles<br />
will be announced as they become available.<br />
3D Mirage<br />
n In its third deal with a Russian exhibitor,<br />
RealD has pacted with the Mirage Cinema<br />
Group to equip up to 60 auditoriums throughout<br />
the country with 3D technology. The move<br />
follows similar agreements with Karo Films and<br />
Kinomax. Installation has already begun.<br />
“This agreement with Mirage further demonstrates<br />
our continued focus on growth in the<br />
Russian market,” says Robert <strong>May</strong>son, managing<br />
director of RealD Europe. “We look forward to<br />
quickly ramping up our installations across the<br />
Mirage circuit to ensure that Russian cinemagoers<br />
have the opportunity to enjoy a premium, bright,<br />
and realistic RealD 3D visual experience for the<br />
upcoming summer and holiday film seasons.”<br />
The RealD rollout will remove and replace a<br />
competitor’s 3D systems. Mirage operates 10 theaters<br />
with 62 screens in the Russian Federation.<br />
An Imax Imax Imax world<br />
n Imax Corporation is expanding in both<br />
Southeast Asia and Eastern Europe with cinema<br />
deals in Indonesia and Turkey. The large-format<br />
exhibitor has inked to build eight theaters for<br />
Cinema 21, Indonesia’s largest exhibitor. The<br />
circuit already has one Imax screen in Gandaria<br />
City, South Jakarta, and another one on the<br />
way in Kelapa Gading, North Jakarta. And<br />
Imax has pacted with Mars Entertainment<br />
Group to install three theaters in cities throughout<br />
Turkey. Mars already has two Imax screens<br />
in operation in Ankara and Istanbul.<br />
“We continue to deliver on our objective to<br />
GoPicnic and a movie<br />
n For the health-conscious moviegoer, the<br />
concession stand doesn’t traditionally offer<br />
many good-for-you (or at least not badfor-you)<br />
alternatives to popcorn and soda.<br />
Regal has set out to change that with four<br />
healthy ready-to-eat meals from GoPicnic.<br />
The prepackaged menu choices are now<br />
available in more than 500 locations.<br />
“Regal constantly tests new menu<br />
items and listens to our guests,” says<br />
Rob Del Moro, Regal’s chief purchasing<br />
officer. “We found a significant number<br />
of moviegoers who sampled the<br />
gluten-free, lower-calorie GoPicnic meals<br />
were pleased to see this option available<br />
and would be interested in purchasing it<br />
again on their next visit.”<br />
The GoPicnic meals consist of five<br />
individually wrapped food items that are<br />
gluten-free with 400 calories or less and<br />
no artificial colors or flavors, trans fats,<br />
high-fructose corn syrup, or added MSG.<br />
Options include Turkey Stick & Crunch,<br />
Hummus & Crackers, Turkey Pepperoni<br />
& Cheese, and Black Bean Dip &<br />
Plantain Chips.<br />
expand our international footprint,” says IMAX<br />
CEO Richard L. Gelfond. “With a focus on<br />
tailoring our programming in international<br />
markets and partnering with leading international<br />
exhibitors … we expect to set the stage<br />
for continued growth.”<br />
Killer fanticipation<br />
n Want to know what movies your customers<br />
are excited about? Check out “Fanticipation,”<br />
Fandango’s new weekly metric that measures<br />
moviegoer enthusiasm to forecast which films<br />
will connect with consumers at the weekend<br />
box office. The Fanticipation Movie Picks rate<br />
films on a scale of one to 100 to gauge user<br />
buzz about current and upcoming titles. To<br />
come up with the number, Fandango crunches<br />
proprietary consumer data collected from<br />
41 million monthly visitors to its online and<br />
mobile sites, the social media engagement of its<br />
fans, and advance ticket sales.<br />
“Fanticipation captures Fandango’s unique<br />
ability to tap into moviegoer buzz and will be a<br />
great feature for both the industry and consumers,”<br />
says company president Paul Yanover.<br />
The online ticketer has also launched Weekend<br />
Ticket, a new digital video series hosted by<br />
Dave Karger.<br />
“Our goal with Weekend Ticket is to connect<br />
moviegoers with the perfect film based on what<br />
kind of experience they’re looking for,” Karger<br />
says. “Along with my own recommendations on<br />
each week’s releases, I’m excited to have input<br />
from the film’s stars, as well as from Fandango’s<br />
engaged audience and our new data on movie<br />
buzz from Fanticipation.”<br />
Weekend Ticket connects viewers to Fandango’s<br />
advance ticketing for 20,000 screens<br />
nationwide for the films featured on the show.<br />
Laser tag<br />
n In a two-week real-world trial, Christie<br />
installed its laser projection technology at the<br />
AMC Burbank 16 for public showings of G.I.<br />
Joe: Retaliation. Thought to be the world’s first<br />
commercial demonstration of a laser projection<br />
system, the test run projected an image on the<br />
65-foot-wide ETX screen at 14 foot-Lamberts<br />
(fL). 3D movies typically screen at much lower<br />
brightness levels, around 3-4 fL.<br />
“This test of our laser technology will<br />
demonstrate how spectacularly a moviemaker’s<br />
vision can be realized when shown at light<br />
levels normally only possible for 2D movies,”<br />
says Dr. Don Shaw, senior director of product<br />
management at Christie. “Audiences … will<br />
see a significant increase in the typical contrast<br />
ratio for 3D on a crystal-clear 4K projector,<br />
and we’re confident that the average moviegoer<br />
will relish this new level of immersive<br />
experience.”<br />
Laser projection also lowers operating costs,<br />
reduces power consumption compared to<br />
xenon lamps, and increases system life spans.<br />
8 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
WE ARE PROUD TO<br />
SPOTLIGHT<br />
THE <strong>2013</strong><br />
CINEMACON<br />
HONOREES<br />
AND A SPECIAL<br />
CONGRATULATIONS<br />
TO OUR ESTEEMED COLLEAGUE,<br />
CHIEF EXECUTIVE OFFICER,<br />
AND <strong>2013</strong> N.A.T.O.<br />
MARQUEE AWARD<br />
RECIPIENT<br />
CONGRATS, AMY<br />
FROM YOUR FRIENDS<br />
AND FAMILY AT
exhibition briefs<br />
All<br />
aboard!<br />
n In a program<br />
that aims to foster<br />
cinema appreciation<br />
in the next generation<br />
of moviegoers—and<br />
relieve<br />
some summer<br />
cabin fever—Regal<br />
Entertainment is<br />
once again boarding<br />
its Summer Movie<br />
Express. Over the<br />
course of nine<br />
weeks, 296 Regal,<br />
United Artists, and<br />
Edwards theaters<br />
will screen selected<br />
G- or PG-rated<br />
movies for just a<br />
buck. Showtimes<br />
are 10 a.m. on Tuesday<br />
and Wednesday.<br />
Titles on this<br />
year’s slate include<br />
Parental Guidance<br />
and Dr. Seuss’ The<br />
Lorax.<br />
Movers &<br />
shakers<br />
n With the circuit’s<br />
stock up by double<br />
digits last year, Regal<br />
Entertainment<br />
Group rewarded<br />
its executives with<br />
big raises. CEO<br />
Amy Miles saw her<br />
total compensation<br />
increase nearly 31<br />
percent to almost<br />
$4.5 million. Her<br />
salary was up<br />
from $50,000 to<br />
$800,000. She<br />
also received $1.8<br />
million in stock<br />
awards, $1.2 million in nonequity incentive payouts, and $668,409<br />
in other compensation. CFO David Ownby’s compensation was up<br />
from $1.2 million to $1.6 million; COO Gregory Dunn’s increased<br />
by about half a million to $2.3 million; and general counsel Peter<br />
Brandow earned $1.6 million.<br />
Moviead founder and president Emil T. Noah Jr. has retired after<br />
serving the motion picture industry for more than 50 years. Noah<br />
started his career as an usher in Buffalo, N.Y., and later worked as the<br />
director of advertising for Cinemette Corp. in Pittsburgh, Pa. From<br />
there he founded Moviead and created many innovative movie theater<br />
graphic products including an ad slick service and full-color title art.<br />
Former VP of operations E.J. Noah will take over as president and<br />
COO.<br />
Digiplex Destinations continues to fill out its executive team,<br />
adding Dean Gentile as vice president of operations and Doreen<br />
Sayegh as vice<br />
president of alternative<br />
programming.<br />
Gentile had<br />
been overseeing<br />
operations of the<br />
circuit’s locations<br />
in Connecticut,<br />
New Jersey, and<br />
Pennsylvania, previously<br />
working at<br />
Regal, Crown, and<br />
Clearview. Sayegh<br />
was also promoted<br />
from within, previously<br />
managing<br />
the Rialto and<br />
Cranford theaters<br />
in suburban New<br />
Jersey.<br />
Movie<br />
house<br />
news<br />
n Carmike has<br />
opened the doors<br />
to its Boulevard<br />
10 entertainment<br />
complex in Destin,<br />
Fla. Highlights<br />
include a stateof-the-art<br />
BIGD<br />
auditorium with a<br />
wall-to-wall screen<br />
measuring 60 feet<br />
wide and nearly<br />
three stories tall, as<br />
well as the circuit’s<br />
second Ovation<br />
Dining Club, an<br />
upscale in-theater<br />
dining experience<br />
with lush leather<br />
seating, swingaround<br />
tables, a<br />
wide selection of<br />
premium beers<br />
and wine, and full<br />
restaurant-style<br />
service. n The Alamo Drafthouse will launch its first El Paso location<br />
at the upcoming Montecillo Town Center with nine digital screens<br />
and has unveiled plans for a New Braunfels, Texas, location at the<br />
Marketplace Shopping Center with 11 auditoriums. n Marcus Theatres<br />
is adding the circuit’s 15th UltraScreen at the Gurnee Cinema<br />
in Gurnee, Ill. Two of the theater’s 20 screens are being demolished to<br />
make room for a 424-seat auditorium with a 72-by-31-foot screen and<br />
Barco Auro 11.1 audio. n FunTime Cinemas, a specialty exhibitor<br />
with three theaters in Pennsylvania, has converted its Kendig location<br />
to digital cinema with the Christie Solaria One solution designed<br />
especially for independent and community-owned theaters. * Ellis<br />
Jacob, president and CEO of Cineplex Entertainment, and his family<br />
have built a private cinema called the Jacob Family Theatre for the residents,<br />
clients, families, and caregivers at the Baycrest Health Sciences<br />
in Toronto in memory of his mother who resided there.<br />
10 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
executive<br />
suite<br />
New milsestones for the convention,<br />
NATO, and our members<br />
EXCITING TIMES AT<br />
CINEMACON <strong>2013</strong><br />
by John Fithian<br />
NATO President & CEO<br />
n On behalf of the National Association of<br />
Theatre Owners and our members worldwide,<br />
welcome to the <strong>2013</strong> edition of CinemaCon.<br />
You may be reading this important issue of<br />
<strong>BoxOffice®</strong> <strong>Pro</strong> sitting by the Neptune<br />
Pool at Caesars Palace, or in your seat at the<br />
Colosseum just before another exciting studio<br />
product presentation, or as you take a break<br />
from all that networking on the sold-out trade<br />
floor. Or maybe your week in Vegas was so<br />
incredibly busy that you’re reading on the plane<br />
ride home! Either way, the CinemaCon and<br />
NATO teams are thrilled to have brought you<br />
this exciting week. CinemaCon is the official<br />
convention of NATO, and <strong>BoxOffice®</strong> <strong>Pro</strong> is<br />
our official magazine.<br />
The volunteer efforts of many committed<br />
NATO members enable the success of this<br />
convention. We are grateful for the individuals<br />
whose contributions have been extraordinary.<br />
This third annual CinemaCon convention<br />
would not be possible without the leadership<br />
of NATO Conventions Task Force Co-Chairmen<br />
Phil Harris, Signature Theatres and Bill<br />
Stembler, Georgia Theatre Company, and Task<br />
Force members Byron Berkley, Foothills Entertainment;<br />
Rob Del Moro, Regal Entertainment<br />
Group; John McDonald, AMC Entertainment;<br />
and Steve Zuehlke, Cinemark USA. The<br />
Conventions Task Force works closely with<br />
NATO’s professional convention staff headed<br />
by managing director Mitch Neuhauser and<br />
supported by Matt Pollock, Matt Shapiro, and<br />
Cynthia Schuler. A debt of gratitude, too, goes<br />
to NATO’s officers—chairman David Passman,<br />
Carmike Cinemas; vice chairwoman Nora<br />
Dashwood, Pacific Theatres/ArcLight Cinemas;<br />
secretary Mark O’Meara; University Mall<br />
Theatres; and treasurer Byron Berkley, Foothills<br />
Entertainment—and all of NATO’s executive<br />
board members, who have been so supportive<br />
of the convention.<br />
The CinemaCon program schedule is<br />
diverse, informative, and fun. It includes the<br />
largest cinema trade show in the world featuring<br />
the latest advances in cinema technology<br />
and innovations in concessions. NATO is<br />
grateful to Joe DeMeo and the International<br />
Cinema Technology Association (ICTA) and<br />
to John Evans Jr., and the National Association<br />
of Concessionaires (NAC) for their<br />
leadership and support in filling a world-class<br />
trade show floor.<br />
CinemaCon is a great place to recognize<br />
outstanding NATO member volunteers as they<br />
are surrounded by industry colleagues and<br />
friends. This year, Alejandro Ramirez Magaña,<br />
Cinépolis, will receive the Global Achievement<br />
in Exhibition Award; Bob Shimmin, Cinemark<br />
USA, will be honored as the <strong>2013</strong> Bert Nathan<br />
Memorial Award recipient; and Amy Miles,<br />
Regal Entertainment Group, will receive the<br />
NATO Marquee Award. We congratulate these<br />
extraordinary members.<br />
CinemaCon <strong>2013</strong> sets a new record for film<br />
product presentations. During the week, our<br />
CinemaCon delegates will be treated to major<br />
movie product and screening presentations from<br />
eight different studios—more than ever before.<br />
The Colosseum will be busy all week as our studio<br />
partners bring us clips of their coming hits,<br />
(continued on page 16)<br />
14 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
© <strong>2013</strong>, Ricos <strong>Pro</strong>ducts Co., Inc.
executive suite<br />
If you don’t offer<br />
you don’t have<br />
the tastiest popcorn<br />
in town – period.<br />
13 delicious flavors including:<br />
• White Cheddar<br />
• Ranch<br />
• Parmesan Garlic • Nacho Cheddar<br />
• Kettle Corn<br />
…and more!<br />
Call Megan at<br />
866.328.7672 x440<br />
mthunder@kernelseasons.com<br />
talent and directors from their movies, and introductions by their most<br />
important executives.<br />
In addition to the studio presentations and the trade floor exhibits,<br />
the educational sessions offered at CinemaCon also provide great value to<br />
our attendees. This year our seminars cover a wide range of topics including<br />
theater architecture, the Chinese exhibition market, closed captioning,<br />
meeting customer expectations, concessions issues and opportunities,<br />
theater showmanship (with a panel moderated by some guy named Peter<br />
Cane), new and emerging technologies, and many more.<br />
And of course the convention would not be complete without our<br />
Big Screen Achievement Awards honoring the best talent in the movie<br />
industry and the Gala Poolside Party following the awards, generously<br />
sponsored by our great friends at The Coca-Cola Company.<br />
The strength of our convention reflects the growth of our trade association.<br />
NATO has set a new record for membership this year. The association<br />
has grown to represent the vast majority of domestic exhibitors, with<br />
582 company members operating 30,742 screens in all 50 states. Beyond<br />
the borders of the United States, though, NATO has become a truly<br />
global organization with additional members operating in 61 countries<br />
around the world. Our total global screen count now exceeds 51,000<br />
strong! Our members employ more than 200,000 people.<br />
As our membership continues to grow, we want to give our association<br />
a new look. Given the realities of the digital age, we’ve discarded our old<br />
logo with film sprocket holes! And we also believe that our new website<br />
will provide more information and greater functionality to our members<br />
and the industry generally when we roll it out in the near future.<br />
This year we are also working to give our members better tools to<br />
confront industry challenges. At CinemaCon we’re rolling out a new<br />
ratings compaign to educate America’s parents. NATO and our partners<br />
at the Motion Picture Association of America (MPAA) jointly operate<br />
the movie Classification and Rating Administration. Our voluntary<br />
system of ratings enables parents to make informed decisions about the<br />
moviegoing choices of their children. We’re debuting our new ratings<br />
education materials and public service messages that will be running<br />
in cinemas nationwide. This campaign implements a commitment we<br />
made to Vice President Biden and President Obama earlier this year.<br />
We are also announcing a new message to fight movie theft in our<br />
cinemas. The MPAA and NATO partner in our war against the theft and<br />
illegal sale of movies. Part of this important battle involves our education<br />
of cinema patrons. At CinemaCon we unveil a new and fresh campaign<br />
discouraging the recording of movies in theaters.<br />
In the end, all of the efforts of CinemaCon and NATO are designed to<br />
support one primary objective—driving movie ticket sales. The year 2012<br />
set a new record at the movie box office, taking in $10.79 billion in the<br />
United States and Canada, up 5.9 percent from 2011. Domestic admissions<br />
also experienced strong growth at 1.355 billion, up 5.5 percent from the<br />
previous year. Globally, box office receipts also set a new record with $34.7<br />
billion in 2012. International box office is up 32 percent over five years ago.<br />
The cinema industry serves an increasingly diverse audience, by age,<br />
gender, and ethnicity. The record box office, here and abroad, shows that<br />
when we meet that diversity with a broad range of movies and amenities,<br />
cutting-edge technologies and viewing options, our industry thrives. That<br />
broad range of movies is on display here at CinemaCon. As for amenities<br />
and technologies, they’re here too.<br />
The promise of digital cinema has arrived, with the conversion of<br />
more than 85 percent of domestic screens, and steadily growing penetration<br />
overseas as well. Digital cinema has enabled a better, more consistent<br />
image on our screens; a true 3D experience; and much greater diversity<br />
in alternative programming. But even as we wrap up the digital conversion,<br />
other innovations loom on the horizon, from high frame rates to<br />
immersive audio to laser light sources.<br />
All of these topics will be discussed at CinemaCon as we pack as<br />
much content as we can into four days! We are fortunate to work in such<br />
a dynamic industry. Enjoy the show!<br />
16 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
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Los Angeles Munich London Valencia New Delhi Hong Kong Sao Paulo<br />
Paris
NATO: Rebranded<br />
As you may have noticed while<br />
walking the halls of CinemaCon,<br />
NATO has received a bit of a<br />
facelift. Working with Peach<br />
Digital, a Glasgow-based agency,<br />
our goal was to create a dynamic,<br />
iconic, digital-friendly look<br />
with comprehensive marketing<br />
potential.<br />
In the outset, we wanted a logo<br />
that communicated change and<br />
moving with the times, something<br />
that was both dynamic and<br />
diverse. But we also knew that<br />
we wanted it to be simple, with a<br />
long shelf life, and had some sort<br />
of relevance to NATO.<br />
NATO: Redesigned<br />
After creating our sexy new<br />
logo, we knew we had to update<br />
our circa 2000 website. If you<br />
haven’t yet had the opportunity<br />
to browse the redesigned NATO<br />
site (www.natoonline.org), please<br />
visit our display in the CinemaCon<br />
registration area (Roman<br />
Ballroom, <strong>Pro</strong>menade Level)<br />
or check it out on your mobile<br />
device.<br />
We also wanted to develop a<br />
simple yet punchy tagline that<br />
would reflect our new brand<br />
and tone, give insight into our<br />
business, and apply substance<br />
and meaning relevant to NATO.<br />
NATO is very excited about the<br />
possibilities of our new logo, and<br />
we hope that you feel the same<br />
way.<br />
18 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
OUR WARMEST<br />
CONGRATULATIONS<br />
Amy Miles, Regal Entertainment Group<br />
NATO Marquee Award<br />
Bob Shimmin, Cinemark USA<br />
<strong>2013</strong> Bert Nathan Memorial Award<br />
Jack Cashin, USL, Inc.<br />
Ken Mason Inter-Society Award<br />
Alejandro Ramirez Magana, Cinepolis<br />
Global Achievement Award in Exhibition<br />
David Kornblum,<br />
Walt Disney Studios Motion Pictures<br />
CinemaCon Passepartout Award<br />
Twentieth Century Fox International<br />
Rentrak International Boxoffice<br />
Achievement Award
MPAA<br />
news<br />
TheCredits.org celebrates<br />
Hollywood’s many unsung heroes<br />
Meet the<br />
Magicians<br />
TheCredits.org is an online magazine, sponsored<br />
by the Motion Picture Association of America,<br />
that celebrates the many talented creators and<br />
makers in the film and television industry. The<br />
Credits pulls back the curtain to provide audiences<br />
with a more meaningful understanding of the<br />
hard work that goes into producing the entertainment<br />
we love and the people who make it happen.<br />
n Think back to the very first movie or television<br />
program that swept you away. Another<br />
world, a brand-new realm, a trip via teleportation—it’d<br />
be hard to find anyone who wouldn’t<br />
concede that their first major entertainment<br />
viewing experience could be wrapped up in one<br />
little word: magic.<br />
Of course, we get older, wiser, a little bit<br />
jaded, and a whole lot more skeptical. But the<br />
magic of movies persists. Just look at Avatar,<br />
Life of Pi, or Argo for proof. The difference<br />
between movies at age five and movies at age 35<br />
is that we become aware of the incredibly hard<br />
work it must take to make movies look like a<br />
mere slight of hand.<br />
But just how in tune are we? We all know the<br />
Brad Pitts, the Anne Hathaways, the Steve Spielbergs<br />
of this world. But what about legendary<br />
makeup artist Steve LaPorte, the Burbank-based<br />
icon who has worked up the ranks from clownschool<br />
graduate to Academy Award winner—the<br />
man who made Michael Keaton into Beetlejuice?<br />
Or how about the wonderfully spunky casting<br />
director Pat Moran, who started her career by<br />
partnering with John Waters to create movies<br />
like Cry-Baby and Hairspray, built a legacy in<br />
Baltimore as she eventually cast HBO’s epic ensemble<br />
The Wire, and gifted us with the amazing<br />
characters on HBO’s Veep and Game Change?<br />
Behind a veil of magic, many of Hollywood’s<br />
most impactful, insightful, and talented<br />
by TheCredits.org<br />
professionals have gone unrecognized for far<br />
too long. At The Credits, we’re hoping to<br />
change that.<br />
The Credits is a new kind of industry<br />
website. We don’t care about scandal or celebrity—and<br />
don’t even get us started on dirt. We<br />
care about film and television. Craft. Issues that<br />
affect everyone in our industry—from content<br />
protection, technological advances, educational<br />
initiatives, and location-based tax film<br />
incentives.<br />
Don’t get us wrong—we love the magic of<br />
movies and television (OK, some could say<br />
we’re pretty much obsessed). But we know that<br />
behind every astonishing visual effect, every<br />
incredible dance sequence, and every gorgeous<br />
set design, there are dedicated men and women<br />
who make a living making magic every single<br />
day.<br />
(continued on page 24)<br />
22 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
Congratulations<br />
CinemaCon <strong>2013</strong> Honorees
mpaa news<br />
You could say The Credits is a love letter<br />
to film- and television-making. You could say<br />
we’re pulling back the curtain to give the scores<br />
of magic-makers the spotlight they deserve. You<br />
could say we just love movies and TV, plain<br />
and simple. All of this is true. At six months<br />
young, we know our aspirations of elevating the<br />
profiles of Hollywood’s brilliant creators and<br />
makers are not meager, but we just can’t help<br />
it—we’re fans on a mission. Here are a few of<br />
the stories you can find on our site:<br />
Education<br />
Always looking to educate film lovers, we’ve<br />
spoken with astrophysicists on which of their<br />
favorite space disaster movies got their science<br />
right (note: Deep Impact did the asteroid thing<br />
much better than Armageddon), as well as with<br />
neuroscientists on what actually happens to our<br />
brains when we watch films. We welcomed film<br />
students back to class with a week-long look<br />
behind the scenes of some of the greatest film<br />
schools in America, visiting the American Film<br />
Institute; speaking with Marty Kaplan, the<br />
founding director of the Norman Lear Center<br />
at USC; and going on location at CalArts. We<br />
also covered Journeys in Film, an innovative<br />
new project that provides foreign films and<br />
accompanying curricula to middle-school classrooms,<br />
speaking with veteran stage and screen<br />
actor Tony Shalhoub on the instructive power<br />
of the cinema.<br />
on location<br />
We’ve been on location in Albuquerque and<br />
New Orleans, where television and film have<br />
been helping drive an economic resurgence.<br />
We’ve been to Atlanta to look at the EUE/<br />
Screen Gems studio and traveled to Austin for<br />
a behind-the-scenes look at the Austin Film<br />
Festival. We’ve spent time in Las Vegas for<br />
Variety’s Entertainment Summit at CES and<br />
strolled the massive 100,000-square-foot North<br />
Hollywood warehouse of Western Costume, a<br />
100-year old company that has up to 5 million<br />
pieces of clothing, accessories, and footwear<br />
used in films.<br />
makers<br />
From music supervisor Randall Poster (the<br />
man behind the music in every Wes Anderson<br />
film and the Hangover movies) to casting director<br />
Pat Moran, we’ve been mapping the galaxy<br />
of stars behind the stars everyone knows about.<br />
Stars like makeup artist Steve LaPorte, sound<br />
supervisor Scott Gershin, and Oscar-nominated<br />
costume designer Sarah Greenwood. We’ve<br />
chatted with long-time icons such as X-Files<br />
creator Chris Carter, Forrest Gump screenwriter<br />
Eric Roth, and Bridesmaids director and<br />
Freaks and Geeks creator Paul Feig. We’ve also<br />
spoken with lesser-known shining lights like<br />
The Walking Dead’s zombie guru Jake Garber,<br />
Oscar-nominated screenwriter of The Beast of<br />
the Southern Wild Lucy Alibar, and stuntman<br />
extraordinaire Hugh O’Brien.<br />
innovators<br />
We count innovation in film as one of our<br />
most present subjects. We’ve picked the brains of<br />
Oscar-winning visionary filmmaker and inventor<br />
Douglas Trumbull (2001: A Space Odyssey, Close<br />
Encounters of the Third Kind, Blade Runner)<br />
and Bill Westenhoffer, the Oscar-winning SFX<br />
supervisor who helped create the world of Life of<br />
Pi. We’ve also delved into innovation happening<br />
at the studios, from getting to know Warner<br />
Bros. tech ops president Darcy Antonellis, chatting<br />
with Disney’s chief technology officer Andy<br />
Hendrickson about Wreck-It Ralph, and finding<br />
out about Sony Pictures’ Screen Gems going<br />
green on the set of Think Like a Man.<br />
We’ve not only gone behind the scenes of<br />
films and film studios but inside the cinema—looking<br />
at the burgeoning technological<br />
advancements in movie theaters with the return<br />
of Smell-O-Vision, 4D cinema, the wired<br />
cinema, the brave new world of sensory film,<br />
and the advent of social cinema, covering new<br />
companies such as Tugg.com, which allows<br />
motivated audiences to screen the films they<br />
want to see in their local theaters.<br />
exclusive insights<br />
Not only do we focus on Hollywood’s<br />
unsung heroes, but we also create news<br />
ourselves—notably in conducting our own<br />
presidential survey of 501 voters during the<br />
run-up to the 2012 presidential election,<br />
asking them a host of questions, such as which<br />
fictional president they’d elect, who they might<br />
cast as the president and why, and what their<br />
favorite film about a president was. As for that<br />
first question, none other than CinemaCon<br />
Lifetime Achievement Award Winner Harrison<br />
Ford, as President James Marshall from Air<br />
Force One, was selected—er, elected.<br />
During Oscar season, we weren’t content<br />
with allowing other outlets to take care of<br />
handicapping who might take home a statue—so<br />
in a partnership with Brandwatch, we<br />
created our own Oscars predictive algorithm,<br />
an app called the DataViz, which monitored<br />
online mentions of Oscar nominees and analyzed<br />
the data, predicting the correct winners an<br />
astonishing 83 percent of the time.<br />
promoting important<br />
documentaries<br />
We’ve promoted films that have an opportunity<br />
to effect real change in the world.<br />
From Eugene Jarecki’s documentary about the<br />
prison industrial complex, The House I Live In,<br />
to Robert Robbins’ recently released film on<br />
female education in developing nations, Girl<br />
Rising, these filmmakers and the stories they’ve<br />
told have been prominently featured on the<br />
site.<br />
content protection<br />
We’re not just about spotlighting the work<br />
of the unsung heroes of Hollywood but protecting<br />
it too. From interviews with filmmakers<br />
like music supervisor Randall Poster, production<br />
designer Gavin Bocquet, composers John Ottman<br />
and John Debney, writer-director Derek<br />
Cianfrance, DreamWorks animator T.J. Nabors,<br />
director Michael Apted, studio executives like<br />
Darcy Antonellis, and the movie poster masterminds<br />
from Allied Creative, we’ve introduced<br />
the world to the hard-working professionals<br />
who are directly affected by piracy and gotten<br />
their feedback on how it affects them, their<br />
peers, and their craft.<br />
We’re also keen to call out the increasing<br />
number of options for accessing our favorite<br />
content everywhere. We’re film fans, and it<br />
shouldn’t come as any surprise that our phones,<br />
tablets, and computers are full of films. We<br />
share with readers some of our favorite platforms<br />
for finding these films, from cloud-based<br />
Ultraviolet to the “Netflix of indie films,”<br />
Fandor.<br />
the word is spreading<br />
When we launched in mid-September of<br />
2012, The Los Angeles Times ran a piece on the<br />
launch of the site. Since then, we’ve been written<br />
about or linked to by the New York Times,<br />
USA Today, Esquire, and The Huffington Post, to<br />
name a few. More importantly, we have creators<br />
and makers from across the country reaching<br />
out to us—wanting our help to tell their stories.<br />
We hope you’ll join us as we continue<br />
to revel in and try better to understand the<br />
magicians who make the magic we love. And<br />
after checking us out, more than anything, we<br />
hope the next time you are in the theater that<br />
you’ll savor what little popcorn you have left, sit<br />
back, and stay in the theater until the last of the<br />
credits has rolled.<br />
24 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
global<br />
exhibition<br />
Global box office totals for animated flicks are reaching new<br />
heights. What do we have to look forward to this summer?<br />
an animated summer<br />
by Phil Contrino<br />
Vice President / Chief Analyst<br />
BoxOffice.com<br />
gru’s despicable minions<br />
will have their own<br />
movie this holiday<br />
season titled, well,<br />
minions<br />
n Summer <strong>2013</strong> is shaping up to be full of<br />
animated hits.<br />
Epic is set to do serious damage during<br />
Memorial Day weekend. An all-star voice cast<br />
combined with a plot that promises plenty of<br />
adventure should serve as an excellent bit of<br />
counterprogramming to the two adult-skewing<br />
movies opening during the holiday frame:<br />
Fast & Furious 6 and The Hangover Part III.<br />
Director Chris Wedge—the voice of Scrat in<br />
the Ice Age films as well as the co-director of<br />
the first Ice Age movie—knows how to deliver<br />
family entertainment. Keep a very close eye on<br />
this one.<br />
Monsters University looks poised to turn<br />
into a global behemoth when it opens on<br />
June 21. The original Monsters, Inc. made a<br />
staggering $559 million globally way back in<br />
2001. If a movie made that much today, it<br />
would be viewed as a success, but expectations<br />
will instantly be set above the $600 million<br />
global mark because of the original film’s<br />
achievement. Disney is hoping to lure in fans<br />
who are now in their late teens/early 20s as<br />
well as young children who were introduced to<br />
the film via the 3D release this past fall or on<br />
Blu-ray. Online signs point to another hit for<br />
the Mouse House. The official Monsters, Inc.<br />
Facebook page has been adding likes at a very<br />
rapid pace for months now. More than 300,000<br />
were added during March alone. That kind of<br />
growth is a sure sign that enthusiasm is growing<br />
at a healthy pace.<br />
July is full of animated flicks. Despicable Me<br />
2 hits on July 3, Turbo opens on July 17, and<br />
The Smurfs 2 closes out the month on July 31.<br />
Despicable Me 2 is currently the favorite<br />
to be the number-one animated movie of the<br />
summer, and it could also end up among the<br />
top five global performers of the year. The<br />
two Despicable Me 2 trailers that have been<br />
released as of press time were met with a wave<br />
of support on Facebook and Twitter. The<br />
official Facebook page has added more than 2<br />
million likes during some of its busiest weeks.<br />
That’s an amazing expansion of a brand that’s<br />
already quite healthy. Universal is wisely<br />
rolling out the Minions in full force as the<br />
anchor of the promotional campaign. Those<br />
scene-stealing yellow creatures may be more<br />
valuable than some of the A-list stars working<br />
today.<br />
Turbo also looks promising, but opening<br />
so close to Despicable Me 2 won’t be easy. The<br />
trailers portray the film as Fast & Furious for<br />
Kids, so that means it could tap into the same<br />
audience that flocked to both Cars films.<br />
Sony’s The Smurfs 2 has big shoes to fill. The<br />
first film surprised the industry by posting a<br />
$563.1 million global haul after opening at the<br />
end of July 2011. Sony is now a major player in<br />
the animation game, and it’ll be looking for big<br />
things out of this sequel.<br />
26 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
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secret<br />
weapon<br />
Karen Killingsworth<br />
Position General Manager, Arlington Theatre<br />
Location Santa Barbara, Calif.<br />
Roles and responsibilities Overseeing<br />
the operations and maintaining the historical<br />
grandeur of the 2,000-seat Arlington Theatre<br />
Meet Karen Killingsworth,<br />
Metropolitan Theatres’<br />
do-it-all manager<br />
by Inkoo Kang<br />
What got you into the movie/<br />
theater industry?<br />
I needed a part-time job in college. Working<br />
in a movie theater seemed like it would be fun<br />
and allow a flexible schedule to continue my<br />
education. I started working in the concession<br />
stand at a popular local drive-in, where there<br />
was a playground to entertain the kids and parents<br />
could buy chicken dinners for the family.<br />
What’s an average day for you?<br />
Long. Being a multiuse facility, the type of<br />
function dictates my role for any given day. We<br />
host many types of activities, including movies<br />
and midnight premieres, satellite feeds of special<br />
events, silent movies accompanied by our<br />
1,800-rank Morton Wonder Organ, musical<br />
concerts of all genres, major speakers, and film<br />
festivals.<br />
What was your proudest moment<br />
in the 40 years you’ve been<br />
with Metropolitan?<br />
My proudest moment was being asked to be<br />
the manager at the Arlington Theatre, the flagship<br />
of Metropolitan Theatres. The Arlington is<br />
a single-screen movie palace built in 1930 and<br />
listed on the city’s historical registry. Another<br />
proud moment involved a special Star Wars<br />
promotional event. They needed to bring<br />
their sons to see the new Star Wars movie, The<br />
Phantom Menace, at the same theater where<br />
they viewed the original Star Wars movies as<br />
children. Some traveled as much as 100 miles<br />
to do that. This filled me with a great deal of<br />
pride because it was such a special moment for<br />
them.<br />
The<br />
versatile<br />
veteran<br />
Who was a key mentor for you<br />
and why?<br />
Bruce Corwin, the current chairman of the<br />
board of Metropolitan Theatres. He was a<br />
warm, personable, caring, down-to-earth,<br />
knowledgeable, supportive, and approachable<br />
inspiration during his tenure as president of<br />
Metropolitan Theatres.<br />
How would you describe your<br />
management philosophy?<br />
My philosophy is one of authenticity. I believe<br />
credibility lies in being oneself. I strive to make<br />
corrections where they are needed and to reward<br />
good performance. I am a strong believer<br />
in cross-training. The more people know about<br />
all functions of our operation, the better we are<br />
able to perform.<br />
(continued on page 32)<br />
30 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
Congratulates<br />
the <strong>2013</strong> CinemaCon honorees<br />
global achievement in exhibition award<br />
AlejAndro rAmirez mAgAÑA<br />
Cinepolis<br />
<strong>2013</strong> Bert nathan memorial award<br />
BoB shimmin<br />
Cinemark USA<br />
<strong>2013</strong> Pioneer of the Year<br />
kAthleen kennedy<br />
Lucasfilms<br />
nato marquee award<br />
Amy miles<br />
Regal Entertainment Group<br />
Ken mason inter-society award<br />
jAck cAshin<br />
USL, Inc.<br />
CinemaCon Passepartout award<br />
dAvid kornBlum<br />
Walt Disney Studios Motion Pictures International<br />
lifetime achievement award<br />
hArrison Ford<br />
Director of the Year<br />
justin lin<br />
Female star of the Year<br />
melissA mccArthy<br />
Female star of tomorrow<br />
hAilee steinFeld<br />
Breakthrough Performer of the Year<br />
AuBrey plAzA<br />
award of excellence in acting<br />
elizABeth BAnks<br />
Comedy Duo of the Year<br />
vince vAughn & owen wilson<br />
Cinema icon award<br />
morgAn FreemAn<br />
Breakthrough Filmmaker of the Year<br />
joseph gordon-levitt<br />
male star of the Year<br />
chris pine<br />
male star of tomorrow<br />
Armie hAmmer<br />
rising star of <strong>2013</strong><br />
AsA ButterField<br />
rentrak international Boxoffice achievement award<br />
twentieth century Fox internAtionAl<br />
Fandango Fan Choice award for Favorite movie of 2012<br />
the hunger gAmes
secret weapon<br />
How would you describe<br />
Metropolitan<br />
Theatres’ culture, and<br />
how do you teach that<br />
culture to others?<br />
Our company’s culture is one of<br />
innovation and the incorporation<br />
of the newest technologies. One<br />
of the most exciting times for me<br />
has been our digital conversion,<br />
which reenergized the company.<br />
By involving the staff in learning<br />
these upgrades, it gives them<br />
ownership and incentives to continue<br />
to improve their skills.<br />
You’ve probably been a<br />
manager and a mentor<br />
to hundreds of employees.<br />
Do you feel that<br />
employees today are<br />
different from when<br />
you started your career?<br />
While there are generational<br />
differences, employees today have<br />
the same core needs as when I<br />
started. They want to be paid<br />
fairly, they want to feel like they<br />
can make a difference and to have<br />
What’s your favorite movie<br />
and why?<br />
The Empire Strikes Back created a feeling<br />
that I was there and not just watching<br />
a movie. I relived parts of the movie for<br />
years afterwards.<br />
opportunities for advancement<br />
and learning. Most of all, they<br />
want to be treated with respect<br />
and dignity.<br />
What’s an unexpected<br />
lesson from your long<br />
tenure at Metropolitan?<br />
Movie stars tend to be shorter<br />
in real life than they look on the<br />
screen.<br />
What’s your favorite<br />
concession-stand<br />
snack?<br />
Popcorn, even after 40 years.<br />
Where do you sit in a<br />
movie theater?<br />
In the back, so I can watch our<br />
patrons’ response to the movie and<br />
enjoy feeling their energy.<br />
What do you think of<br />
being named Metropolitan<br />
Theatres’ Secret<br />
Weapon?<br />
It is always an honor to be considered<br />
an asset to the company.<br />
32 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
marquee<br />
award I<br />
Driving into the future<br />
Wellfleet Cinemas’ John Vincent explains why<br />
drive-in theaters are here to stay<br />
by Inkoo Kang<br />
John Vincent cringes when he reads doom-and-gloom predictions for the<br />
drive-in industry. As a co-owner of Wellfleet Cinemas, an indoor/outdoor<br />
hybrid theater in Cape Cod, Mass., he’s turned away enough customers<br />
from sold-out screenings to know that those apocalyptic prophecies are<br />
just plain wrong. But as president of the United Drive-In Theatre Owners<br />
Association (UDITOA), he fears that the easy narrative that journalists love to spin about<br />
drive-ins—that they’re going the way of the poodle skirt and roller-skating waitresses—will<br />
negatively impact member businesses, especially their prospects for commercial loans.<br />
—continued on page 36—<br />
34 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
marquee award I<br />
“Some of the articles<br />
are picking on the driveins,”<br />
Vincent says, “but<br />
there are so many top-performing<br />
theaters.”<br />
It’s an undeniable fact<br />
that the heyday of the<br />
drive-in has come and<br />
gone. There were once<br />
more than 4,000 drive-in<br />
theaters, or “passion pits,”<br />
as they were sometimes<br />
called. Today, 368 driveins<br />
with 606 screens<br />
remain, with another<br />
69 sites and 123 screens<br />
operating overseas.<br />
But Vincent argues<br />
that drive-ins will survive<br />
for one very compelling<br />
reason: “It’s a good<br />
concept,” he says. “If it<br />
was just about nostalgia,”<br />
he adds, “it would burn itself out. But it’s a<br />
worthy business. Drive-ins do decent grosses.<br />
We would not be here if we didn’t.” In tourist-friendly<br />
Cape Cod, the Wellfleet Drive-In,<br />
which is open from Memorial Day to Labor<br />
Day, regularly sells out on Tuesday and Saturday<br />
nights, even with its 710-car capacity.<br />
“We fill a void for people who will only see<br />
a movie at a drive-in,” Vincent explains. Multiplexes,<br />
especially, may seem intimidating or<br />
uninviting to certain customers, like agoraphobics<br />
or bargain hunters. Others just prefer the<br />
privacy of their own cars or perhaps the ability<br />
to control a film’s soundtrack through their car<br />
stereos.<br />
Customers aren’t the only ones who keep<br />
coming back to the drive-in. When Vincent began<br />
working at the Wellfleet as a high schooler,<br />
he never imagined that he would end up spending<br />
his entire adult life there. Despite a stint<br />
in college and in the Marine Corps, Vincent<br />
found himself returning to the Wellfleet time<br />
and again. In 1997, a decade after he started<br />
his first night shift, he became a partner in the<br />
business.<br />
The 56-year-old outdoor theater was built<br />
during the ’50s, the drive-in’s happy days, by<br />
John Jentz and Charlie Zehnder. Over the<br />
years, the Wellfleet has carefully balanced its<br />
retro appeal with the demands of 21st-century<br />
convenience and technological progress. Unlike<br />
the good old days when cars were cars and<br />
truck were trucks, half the field is now reserved<br />
for larger modern vehicles, like minivans and<br />
SUVs. But the Wellfleet’s first real revolution<br />
was much harder to see, or see at all: the<br />
installation of an FM stereo signal in the 1990s.<br />
The drive-in’s previous sound system, monaural<br />
pole speakers that attached to car windows, is<br />
still available to traditionalists, but some of the<br />
yellow metal stalks are today merely decorative.<br />
As the only drive-in theater on Cape Cod<br />
and a local institution with plenty of regional<br />
charm, Wellfleet Cinemas doesn’t have to do<br />
much to attract customers. It helps that tickets<br />
are relatively cheap: adults can watch a first-run<br />
double feature for just nine bucks. In addition<br />
to its 100-by-44-foot screen, the 26-acre property<br />
also houses a four-screen indoor theater<br />
and family-friendly amenities like a mini-golf<br />
course, a playground, a fast-casual restaurant,<br />
and a snack bar. For much of the year, the<br />
drive-in lot hosts a popular flea market during<br />
the daytime.<br />
The Wellfleet’s indoor theater was constructed<br />
in 1986 when distributors began refusing<br />
first-run features to drive-ins. According to<br />
Vincent, that stalled drive-in theaters for a<br />
decade. “It wasn’t necessarily drive-in discrimination,”<br />
he says, “but the rise of the multiplex”<br />
that redirected reels to malls. Business propelled<br />
forward in the ’90s when studios made firstruns<br />
available to drive-ins again. “We can’t live<br />
on playing Grease and Star Wars and Jaws,” he<br />
says.<br />
These days, the Wellfleet even shows a few<br />
films well ahead of their premieres. The <strong>Pro</strong>vincetown<br />
International Film Festival, which<br />
takes place 15 miles northwest of Wellfleet,<br />
Mass., always includes a night at the drive-in.<br />
Film luminaries like John Waters and Kathleen<br />
Turner have come to the Wellfleet to introduce<br />
their newest films in person.<br />
When Vincent isn’t running the theater, his<br />
UDITOA duties keep him on the phone and<br />
on the road. Since 2011, he’s met with all six<br />
major studios and other exhibition industry<br />
reps to champion drive-in theaters around the<br />
globe.<br />
The looming challenge is, of course, digital<br />
conversion. Much like the arrival of FM stereo,<br />
digital projectors are poised to revolutionize the<br />
drive-in business. In addition<br />
to the greater convenience<br />
of digital technology,<br />
UDITOA members<br />
who have converted report<br />
much cleaner sounds<br />
and brighter pictures, the<br />
latter an advantage that<br />
opens the door to earlier<br />
showtimes and more<br />
screenings. Frank Fisher,<br />
the long-time owner of<br />
the Hollywood Drive-In<br />
in Albany, N.Y., and a<br />
member of the UDITOA<br />
board of directors, says,<br />
“When I first looked at<br />
the picture [after installing<br />
my digital projector], it<br />
almost blew my eyeballs<br />
out of my head.”<br />
But the drive-in<br />
industry is a nocturnal<br />
and seasonal one, which makes returns on<br />
investment inevitably slower. Compounding<br />
difficulties is the fact that drive-ins, with their<br />
larger screens and competition with sunlight<br />
and other weather factors, generally require<br />
costlier equipment. In addition, more maintenance<br />
is necessary to create ideal screen gain<br />
conditions.<br />
All of these complications faze Vincent, but<br />
not too much. “The [financial] problem that<br />
drive-ins face is not necessarily unique because<br />
there are many independent [indoor] theaters<br />
that face this problem as well,” he clarifies. As<br />
the world’s biggest defender of drive-in theaters,<br />
he, along with Paul Geissinger, the managing<br />
member of Shankweiler’s Drive-In Theatre in<br />
Orefield, Penn., the oldest surviving drivein,<br />
has helped negotiate a favorable discount<br />
package deal for UDITOA members, as well as<br />
a loan program with Cinedigm and the major<br />
studios to finance the new equipment.<br />
But going digital is just the short-term obstacle.<br />
For most drive-in theaters, the enduring<br />
threat is that of land, or more specifically, rising<br />
property values. Even a small drive-in needs at<br />
least 10 acres, so it isn’t poor ticket sales but<br />
the rising price of land that poses the biggest<br />
danger to the survival of the drive-in industry.<br />
That’s why, explains Vincent, drive-ins today<br />
are concentrated in rust-belt states like Ohio,<br />
Pennsylvania, New York, and Indiana, where<br />
property values haven’t increased as rapidly as<br />
they have in other parts of the country.<br />
Located in fashionable Cape Cod, the<br />
Wellfleet is a prime target for offers from developers.<br />
But Vincent and his co-owners aren’t<br />
interested in going anywhere but into the<br />
future. “We’re quite happy running it like it<br />
is,” he says. “As long as they continue to make<br />
good movies, and people still want to watch<br />
them, we’ll be here.”<br />
36 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
How will I get the money for digital cinema?<br />
Options/Ideas<br />
1. Break into my piggy bank<br />
2. Visit local bank<br />
- Calls not returned<br />
- Doesn’t understand what we want<br />
- Too much paperwork<br />
Not Enough<br />
3. Rob a bank<br />
No - BAD IDEA<br />
4. Bake sale<br />
Can do<br />
Drive-Ins<br />
Too!<br />
5. Call LeaseLogic<br />
- Knows my equipment<br />
- One page application<br />
- Frees up my cash<br />
- 100% financing<br />
- Fast turnaround<br />
- Flexible terms<br />
Deal Done!<br />
Move Us to the Top of Your To-Do List<br />
www.leaselogicus.com<br />
Ernie Tracy<br />
(610) 662-3249<br />
etracy@leaselogicus.com<br />
Al Coury<br />
(734) 652-8495<br />
acoury@leaselogicus.com
marquee<br />
award II<br />
MIGHTY MOUSE<br />
Manager Susan Evans shares the ecstatic highs—and<br />
unexpected hardships—of her Kickstarter experience<br />
by Inkoo Kang<br />
Susan Evans has a mission. As the long-time manager of the 89-year-old<br />
Blue Mouse Theatre in Tacoma, Wash., she intends to make sure the historic<br />
single-screener enjoys an uninterrupted century of film exhibition.<br />
Evans recently gave the Blue Mouse new life by shepherding it through<br />
the do-or-die challenge of digital conversion. Raising nearly $85,000 on<br />
the website Kickstarter was the biggest challenge of her career—and the most rewarding.<br />
38 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
marquee award II<br />
n The Blue Mouse isn’t just a historical landmark;<br />
it’s the kind of neighborhood institution<br />
that makes people care about their community.<br />
Since its grand opening on November 13,<br />
1923, it has attracted love and recognition as<br />
the oldest operating theater in Washington<br />
State, as a building on the National Register of<br />
Historic Places, and as that cute indie theater<br />
with running mice on the neon marquee.<br />
For the last 18 years, the Blue Mouse has<br />
been run by Susan Evans, a Tacoma native<br />
who grew up knowing the movie house as<br />
the Bijou. (The current owners restored the<br />
theater’s original name in 1993.) Evans entered<br />
the exhibition business as an uninspired<br />
19-year-old. “It was just a job,” she explains. “I<br />
had a child, and minimum wage was $3.75.”<br />
But she became more enthusiastic when she<br />
discovered a talent for running the projectors.<br />
Today, she readily admits, “I have a thing for<br />
old theaters.”<br />
Under Evans’ open-minded care, the Blue<br />
Mouse has practically become a community<br />
arts center. Although its normal programming<br />
is second-run films, the theater is also home to rowdy midnight screenings<br />
of The Rocky Horror Picture Show twice a month, as well as the<br />
innovative Sister Cities Film Festival, in which the Blue Mouse presents<br />
films from the countries of Tacoma’s 12 sister cities every Thursday<br />
evening. The handpicked films are often accompanied by live entertainment<br />
and, in previous years, catered food from the featured countries.<br />
Even with its charms, the Blue Mouse couldn’t raise the capital for<br />
a digital projector through ticket sales alone. “I knew we would have to<br />
have an online platform to reach a larger target audience,” Evans says.<br />
“Little fundraisers that we’ve done in the past, we were spending several<br />
thousands of dollars to make several thousands of dollars.”<br />
Evans learned about Kickstarter two years ago when she was asked<br />
to contribute to her nephew’s fundraiser, a $4,000 campaign to send an<br />
Alaskan playwright to the University of Washington, where he would<br />
learn the history of two Native American civil rights organizations and<br />
turn his research into a play. She discovered that some movie theaters<br />
had launched Kickstarter campaigns to subsidize the cost of digital<br />
projectors, many of them successfully, and she started studying those<br />
campaigns.<br />
“It’s nothing to jump into,” she says. “You have to thoroughly think<br />
it out. Some people rush them. Rushing doesn’t always pay off.”<br />
In her case, Evans spent four months preparing for the launch.<br />
Between shifts at the theater, she created a 12-tier reward program. Donors<br />
of $25 or more received a T-shirt and/or a water bottle with a Blue<br />
Mouse logo designed especially for the Kickstarter campaign. Donors<br />
who gave at least $100 also received matted prints of a painting of the<br />
theater. (All the graphic work was gifted to the fundraiser.) The extended<br />
lead time also gave Evans time to talk to patrons about the necessity<br />
for a digital projector and to explain how Kickstarter worked.<br />
But the most time-consuming enterprise was the Blue Mouse’s coordination<br />
with Tacoma Neighborhoods Together (TNT), a nonprofit<br />
business organization. The collaboration between the theater and the<br />
local development group was brokered by one of the Blue Mouse’s<br />
shareholders. (The theater is owned by 15 shareholders who purchased<br />
and renovated the theater in 1993.) Working with TNT allowed Evans<br />
to obtain the new projectors more quickly, since the nonprofit group<br />
bought the equipment before the fundraiser launched. Kickstarter<br />
donations were funneled through TNT, a situation that allowed many<br />
backers to take a tax deduction on their donation. But it took the<br />
TNT some convincing to apply for an account with Amazon Payment<br />
may <strong>2013</strong> BoxOffice ® <strong>Pro</strong> The Business of Movies 39
marquee award II<br />
susan evans offered this print by seattle<br />
artist Sarah Clementson for kickstarter<br />
visitors who pledged more than $100<br />
Essential facts about Kickstarter<br />
The most common donation amount on Kickstarter is $25.<br />
The average pledge on Kickstarter is $71.<br />
Kickstarter’s fundraising model is all-or-nothing. Fundraisers receive no<br />
money—and donor pledges are not processed—unless the goal amount<br />
is met.<br />
An astounding 44 percent of Kickstarter projects have<br />
reached their funding goals.<br />
Kickstarter applies a 5 percent fee to all campaigns. Amazon Payments<br />
levies a second fee of 3-5 percent.<br />
Even Hollywood has gotten into the Kickstarter business.<br />
<strong>Pro</strong>ducer Rob Thomas is currently raising funds<br />
for a film version of his 2004–2007 television mystery<br />
series Veronica Mars. More than 60,000 backers have<br />
pledged in excess of $4 million to date. Premiums available<br />
range from the shooting script ($10) to a speaking<br />
role in the film ($10,000—and already pledged!).<br />
Systems, which handles Kickstarter’s financial<br />
transactions, as well as a credit card to pay for<br />
the digital projectors.<br />
The Blue Mouse’s Kickstarter page finally<br />
went live on November 19, 2012—just a few<br />
days after its 89th birthday. “I put it on our<br />
Facebook page, I put it on my website, and it<br />
just took off,” says Evans. “I was sharing our<br />
story. And I would tell other people, if you<br />
can’t give, can you share our story? If you can’t<br />
give, somebody else will. Then the newspapers<br />
and TV news started contacting me and<br />
interviewing me.”<br />
The donation drive went viral. Contributions<br />
came pouring in from all over the<br />
country, as well as half a dozen foreign nations.<br />
From the start, Evans had been confident<br />
that the community pride the theater fostered<br />
and the greater outreach beyond the Tacoma<br />
area would make the Kickstarter campaign<br />
effective.<br />
But while she was ready to oversee a successful<br />
fundraiser, Evans was utterly unprepared<br />
for how that success would make her<br />
feel. “It just became emotional,” she explains.<br />
“Within minutes of me posting it online, all<br />
I could do was cry. Within the first 12 hours,<br />
(continued on page 42)<br />
40 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
marquee award II<br />
we had $10,000 of pledges. That first day I was an emotional wreck,<br />
watching the emails come in and seeing the outpouring of the community<br />
and receiving the personal emails.” One day, she found a tattered<br />
envelope mailed to the theater with a little picture of a mouse. Inside<br />
were three crinkly dollars and a note in a child’s handwriting that read,<br />
“I hope you get your digital projector. From Murphy Allen from California.”<br />
“At that point I just fell apart,” she says.<br />
The fundraiser had a slight hiccup during the holiday season, when<br />
potential donors are usually busy with other types of gifting. But the<br />
yuletide spirit—or is that spirits?—provided more opportunities to give.<br />
With Evans’ approval, the local Vino Aquino winery made and sold<br />
Blue Mouse-labeled bottles and donated 20 percent of the proceeds to<br />
the campaign.<br />
Ten minutes before ringing in the New Year, Evans reached her<br />
original goal of $75,000 with 15 days to go. (All Kickstarter campaigns<br />
have a maximum lifespan of 60 days.) The donor that carried the Blue<br />
Mouse across the finish line with a $1,000 gift was the 1,000th contributor.<br />
She later let Evans know through a Facebook message that the<br />
theater had been the location of her first date with her husband almost<br />
30 years ago.<br />
But bad news came with the good. When some contributors noticed<br />
that the Blue Mouse had met its goal, they canceled their pledges. Evans<br />
couldn’t believe her eyes. “We started going backward!” she exclaims.<br />
Still, she made an extra push for more donations to upgrade the<br />
theater’s acoustic equipment. By the end of the drive, the Blue Mouse<br />
raised $84,194 with the help of 1,041 backers, though Evans estimates<br />
that after Kickstarter and Amazon Payments took their cuts, her share<br />
was closer to $77,000. The most popular pledge amount had been $40,<br />
which promised four sets of admission tickets, large popcorns, and<br />
32-ounce sodas.<br />
After the two-month-long adrenaline rush came the crash back to reality.<br />
Even with the help of friends and family, Evans spent the next six<br />
weeks bundling and shipping 959 reward packages. Over the course of<br />
the pledge drive, she’d answered thousands of emails from contributors,<br />
well-wishers, and reporters. Now, she had the joyless task of pestering<br />
hundreds of donors to complete their backer surveys so she could get<br />
their mailing addresses and T-shirt sizes. “It was a huge undertaking,”<br />
she says. “I wanted my life back to normal.”<br />
Thus Evans rescued a historic theater from extinction, the investment<br />
of 15 shareholders, and her job. To hear her tell it, though, the<br />
Kickstarter was mostly worth it for the proof of love from the community.<br />
“We pride ourselves on being a great neighborhood theater, a<br />
family theater,” she says. “If it wasn’t for the community, we wouldn’t<br />
be there. The Kickstarter proved the community loves the theater and<br />
wants to support it.” With that kind of love, the Blue Mouse is sure to<br />
host many guests at its 100th birthday party.<br />
42 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
ox office<br />
analysis<br />
The Star Trek franchise has had its ups and downs, but it’s looking<br />
good this month for the crew of the Starship Enterprise<br />
still Boldly Going<br />
by Shawn Robbins<br />
Assistant Editor<br />
BoxOffice.com<br />
Zachary Quinto<br />
returns to fill<br />
Leonard nimoy’s<br />
ears as spock in j.j.<br />
abrams’ star trek<br />
into darkness<br />
n On <strong>May</strong> 17, director J.J. Abrams’ Star Trek<br />
Into Darkness will voyage into theaters after<br />
what has been a long four-year wait for fans of<br />
the series. In fact, given how successful 2009’s<br />
Star Trek was at the domestic box office, the<br />
entire industry has been eager to see Abrams’<br />
continuing vision of the venerable franchise.<br />
That kind of Hollywood interest tends to<br />
follow when a movie rings up nearly $258<br />
million (enough to make it the most attended<br />
reboot of any series to date).<br />
That’s quite a turnaround from a few years<br />
ago. Going into 2009, the Trek franchise was<br />
on life support thanks to the dismal box office<br />
performance of 2002’s Star Trek: Nemesis and<br />
the maligned fifth television series, Star Trek:<br />
Enterprise. Few thought the series had enough<br />
vitality to reach mainstream success. Even<br />
much of the fan base grew skeptical. But when<br />
considering how lucrative the property had<br />
been for decades, it was inevitable that someone<br />
would eventually bring Trek back.<br />
Abrams was that “someone.” For all<br />
intents and purposes, he and his team may<br />
have already pulled off the biggest challenge.<br />
They didn’t just bring it back—they grew the<br />
franchise’s audience to a new peak.<br />
Prior to Abrams’ reboot, the most successful<br />
movies of the franchise (in terms of<br />
ticket sales) were 1979’s Star Trek: The Motion<br />
Picture and 1986’s The Voyage Home; 1982’s<br />
The Wrath of Khan wasn’t far behind.<br />
However, 1998’s Star Trek: Insurrection<br />
grossed a very modest $70 million domestically<br />
(despite 1996’s First Contact reaching<br />
a strong $92 million through great word of<br />
mouth); 2002’s Nemesis really did the series in,<br />
though, with its paltry $43 million. Opening<br />
five days before the mega-successful The Lord<br />
of the Rings: The Two Towers didn’t do it any favors,<br />
but Nemesis also failed on its own merits,<br />
being widely panned by both critics and fans.<br />
That negative history loomed over the<br />
franchise for more than six years. In late 2008,<br />
the first full trailer for Abrams’ reboot arrived<br />
and began convincing fans that Trek was<br />
about to be reborn. A few months and several<br />
well-received trailers later, fans were excited<br />
and general audiences were becoming very<br />
interested in ”that new Star Trek movie.”<br />
Boasting fast-paced action, a character-driven<br />
story, and visual effects that could<br />
stand up to any blockbuster, 2009’s Star<br />
Trek was the recipient of strong reviews from<br />
44 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
ox office analysis<br />
Star trek: The $1 billion franchise<br />
TOTAL<br />
domestic gross<br />
adjusted for<br />
today’s ticket prices<br />
1979 Star Trek: The Motion Picture $82,258,456 $266,424,148<br />
1982 Star Trek II: The Wrath of Khan $78,912,963 $214,729,151<br />
1984 Star Trek III: The Search for Spock $76,471,046 $182,073,919<br />
1986 Star Trek IV: The Voyage Home $109,713,132 $236,578,182<br />
1989 Star Trek V: The Final Frontier $52,210,049 $104,681,802<br />
1991 Star Trek VI: The Undiscovered Country $74,888,996 $142,306,880<br />
1994 Star Trek: Generations $75,671,125 $148,374,754<br />
1996 Star Trek: First Contact $92,027,888 $166,620,611<br />
1998 Star Trek: Insurrection $70,187,658 $119,723,084<br />
2002 Star Trek: Nemesis $43,254,409 $59,661,253<br />
2009 Star Trek $257,730,019 $274,912,020<br />
<strong>2013</strong> Star Trek Into Darkness $346,000,000 (projected)<br />
critics and excellent filmgoer word of mouth. It stole the thunder from<br />
<strong>May</strong> opener X-Men Origins: Wolverine—along with every other movie<br />
that came out that month—on its way to becoming the seventh-highest-grossing<br />
film of 2009.<br />
A sequel was inevitable, but Abrams didn’t want to rush things.<br />
Instead, he next wrote and helmed 2010’s Super 8—a smaller scale<br />
homage to Steven Spielberg’s 1980s-era classic sci-fi flicks. That film<br />
was also a strong performer thanks to word of mouth.<br />
But Trek fans were itching. It’s common for a franchise to take two<br />
or three years in between installments, but it’s rare for a four-year gap to<br />
occur. Will that matter in the long run? Should Paramount, Abrams, and<br />
company have struck a little sooner when the iron was hottest?<br />
<strong>Pro</strong>bably not. Online buzz for Star Trek Into Darkness has been<br />
consistently strong for the past few months as the sequel proves to be<br />
among the year’s most anticipated flicks. Granted, the online audience<br />
is part of Trek’s bread and butter, but the consistency indicates some<br />
significant mainstream interest as well. In other words, buzz is even<br />
higher now than it was at the same point four years ago.<br />
<strong>May</strong> <strong>2013</strong>’s schedule may prove to be more difficult, though.<br />
First and foremost, Iron Man 3 kicks off the summer season when it<br />
opens <strong>May</strong> 3. Regardless of that film’s ultimate reception, it’s guaranteed<br />
to put a bigger ding in the market than Wolverine did four years<br />
ago. Still, the two-week space between Iron Man 3 and Into Darkness<br />
should be enough time for audiences to get their fill of the latest<br />
Marvel sequel. They’ll be ready for the next big summer offering come<br />
<strong>May</strong> 17—when Star Trek Into Darkness is the only new wide release in<br />
North America.<br />
Adding 3D and native Imax footage to its arsenal, Into Darkness has<br />
significant advantages over its predecessor’s financial potential. At the<br />
time of this article’s publishing, we at BoxOffice.com are forecasting<br />
a $128 million opening weekend for the sequel. By comparison, the<br />
2009 entry debuted to $75.2 million (or close to $90 million when<br />
adjusting for inflation and 3D surcharges). It goes without saying that<br />
a sequel to a highly regarded movie should expectedly deliver a much<br />
bigger audience upfront.<br />
At that point, word of mouth and the quality of the product will<br />
take over. Abrams is famous (some say “infamous”) for holding back<br />
as much of his plots as possible. He and his team have taken that to<br />
new heights so far with this film. Some of the movie’s secrets will likely<br />
begin to leak online during the final days before release, but the effort<br />
so far has to be commended. (Fans still speculate whether or not Benedict<br />
Cumberbatch’s lead baddie John Harrison is really the character’s<br />
name or not.)<br />
Worth nothing is that Memorial Day weekend takes place during<br />
the movie’s second weekend. That strategy intentionally mimics that of<br />
past <strong>May</strong> releases like the Star Wars prequels, which used the calendar<br />
to a great deal of success. This year, however, the competition packs a<br />
big punch. Opening on <strong>May</strong> 24 are Fast & Furious 6 and The Hangover<br />
Part III. Audiences will have a lot to choose from, but ultimately if<br />
word of mouth is solid for Trek, then it should still be the box office<br />
favorite among those three films.<br />
As of March 23, the BoxOffice.com team is predicting a $346 million<br />
domestic haul for Star Trek Into Darkness. Even when considering<br />
inflation and 3D price boosts, that would represent the most tickets<br />
sold by any movie in the franchise (topping 2009’s entry). That kind of<br />
figure, when applied to Trek, would have been laughed at five years ago.<br />
The status quo has changed now. J.J. Abrams has transformed Star<br />
Trek into a widely appealing brand. Moreover, interest is still budding<br />
over his decision to next helm Star Wars: Episode VII—meaning general<br />
audiences could follow the lead of genre fans and turn out partly<br />
through curiosity in seeing what he’s done with his latest blockbuster.<br />
Either way, where Star Trek entered <strong>May</strong> 2009 as the underdog, there’s<br />
no mistaking Star Trek Into Darkness as one of the heavyweight box<br />
office contenders for the summer of <strong>2013</strong>.<br />
46 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
tech<br />
tools<br />
Harkness unveils two new apps for the iPad, iPhone, and PC<br />
for digital cinema optimization and maintenance<br />
second screen<br />
Light readings from configuration<br />
in Digital Screen Modeller<br />
n Nowadays you can pretty much download an<br />
app for just about anything. Apps are no longer<br />
confined to the personal space or just gimmicks.<br />
More and more businesses are turning<br />
to apps to help their customers make informed<br />
choices about products, and now it’s not just<br />
<strong>BoxOffice®</strong> <strong>Pro</strong> that’s launching new apps for<br />
the cinema industry at CinemaCon.<br />
Harkness Screens has been at the forefront<br />
of technology for more than 80 years, and it<br />
comes as little surprise that the global brand for<br />
cinema screens is blazing a trail with its latest<br />
app offerings. Dubbed as the next generation of<br />
apps for digital cinema, Harkness has built on<br />
its highly respected web-based Digital Screen<br />
Selector tool (which calculates theoretical cost<br />
savings from using gain screens) by offering two<br />
new tools that it claims create an end-to-end<br />
solution for cinema screens.<br />
So what does that mean, and is it truly that<br />
important or just some powerful marketing<br />
messaging?<br />
We at <strong>BoxOffice®</strong> <strong>Pro</strong> were fortunate to get<br />
a sneak preview of these new tools prior to their<br />
launch at CinemaCon <strong>2013</strong>. Dissecting the two<br />
apps, you can clearly see a logical and intelligent<br />
thought process behind them and how they can<br />
assist cinema designers, exhibitors, and service<br />
engineers with the inexact science of theater design,<br />
equipment specification and optimization,<br />
and ongoing theater management. This isn’t just<br />
marketing speak; what Harkness has created is<br />
a powerful set of free-to-download apps that<br />
will no doubt be the forerunner to a range of<br />
cinema-based tools.<br />
Richard Mitchell, Worldwide Marketing<br />
Manager at Harkness and the visionary<br />
behind the apps, explains that “being a leading<br />
technology company means there’s a certain<br />
level of responsibility to set the agenda, to drive<br />
forward new ideas and concepts, and to educate<br />
the industry. Innovation has been at the heart of<br />
Harkness for over 80 years, and we believe the<br />
new apps bring to the fore a new generation of<br />
On-site report showing screen<br />
brightness in Digital Screen<br />
Archiver<br />
creativity and ideas and further demonstrate and<br />
cement our position as the global thought leaders<br />
in screen technology and light on screen.”<br />
What exactly are the apps?<br />
Harkness has released two free iPad/iPhone<br />
and PC apps that address the beginning of the<br />
cinema screen lifecycle (design and optimization)<br />
and the end (ongoing maintenance and<br />
reporting). Coupled with its industry-leading<br />
cinema screens and Digital Screen Checker<br />
luminance meter, Harkness has created that<br />
end-to-end solution, from design to manufacture<br />
and maintenance.<br />
The Digital Screen Modeller is a real-time<br />
rendering 3D simulation tool for iPad, available<br />
on the Harkness Screens website, that allows<br />
architects, engineers, and exhibitors to visualize<br />
and optimize digital cinema scenarios in a virtual<br />
environment. The information-rich model rapidly<br />
created by the Digital Screen Modeller with<br />
staged manual inputs by the user enables key<br />
project stakeholders to rapidly view a proposed<br />
design and equipment choice and make more<br />
informed decisions about the type of digital<br />
cinema screen, projector, and lamp choices.<br />
“It’s primarily a design validation tool,” says<br />
Mitchell. “3D modeling and visualization have<br />
been the mainstay of the construction industry<br />
for a long time, and what we’re doing here<br />
is bringing the same methodology to digital<br />
cinema. Construction companies have used 3D<br />
modeling technology such as BIM (building<br />
information modeling) to sell ideas and concepts<br />
to stakeholders with the intention of gaining<br />
early buy-in on new construction, retrofit, and<br />
48 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
tech tools<br />
refurbishment projects. The Digital Screen Modeller does precisely that but<br />
also has the ability to take away a large degree of uncertainty over theater<br />
design and equipment choices, helping reduce the risk of costly mistakes<br />
on projects whilst ensuring that screen performance adheres to industry<br />
standard (DCI for 2D) brightness levels.”<br />
An app such as this is only of use if the information provided accurately<br />
simulates real-world scenarios. To ensure this, Harkness has carried<br />
out an extensive testing program involving its test facility at its screen<br />
production factory in France and a number of theaters of all shapes and<br />
sizes on both sides of the Atlantic. In fact, with accurate design data<br />
inputted into the Digital Screen Modeller, the app typically returns projected<br />
light readings that match real-world readings to within 1fL.<br />
“We’ve long argued that correctly specifying a screen and optimizing<br />
its design can have a significant positive impact on viewing experience<br />
as well as potentially reducing operating costs. In the Digital Screen<br />
Modeller, we believe the industry now has a way of demonstrating those<br />
theories using the latest data from projector, lamp, screen, and 3D system<br />
manufacturers,” says Mitchell.<br />
The Digital Screen Modeller also has some other great functionality,<br />
notably that registered users can store their theater designs and a free<br />
e-consultancy facility that allows proposed design choices to be sent<br />
to Harkness for further<br />
guidance or assistance with<br />
optimization.<br />
“It’s an indication as to<br />
where we feel we need to be<br />
as a modern manufacturer<br />
in the cinema industry. We<br />
don’t just want to be known<br />
for being the best manufacturer<br />
of screens in the world;<br />
we want to go further and be<br />
the first people architects, engineers,<br />
and exhibitors turn<br />
to for support and advice<br />
on optimizing their theater<br />
designs,” says Mitchell.<br />
So what of the final part<br />
of the cinema screen lifecycle,<br />
maintenance and monitoring?<br />
The free iPhone/iPad<br />
and web-based Digital<br />
Screen Archiver is a secure<br />
cloud-based data capture<br />
and reporting tool that has<br />
iPhone Report submission<br />
functionality in Digital<br />
Screen Archiver<br />
been designed to help projectionists, managers, engineers, and exhibitors<br />
to maintain their digital cinema auditoriums. A smart infrastructure and<br />
easy-to-use interface means that the Digital Screen Archiver can allow<br />
key digital cinema data such as auditorium geometry, power settings,<br />
lamp life, and on-screen brightness to be captured rapidly in a standardized<br />
format during maintenance visits with results updated in real time.<br />
Aligned to this, a range of management tools allows exhibitors to control<br />
user access and utilize extensive back-end reporting tools to monitor the<br />
performance of their entire screen portfolio through one source, schedule<br />
planned and reactive maintenance visits, and automatically benchmark<br />
screen performance against key industry standards. On top of this, Harkness’<br />
automated and manual data monitoring service allows exhibitors to<br />
monitor screen performance as well as ensure data quality.<br />
“After months and months in production and field testing, we’re<br />
delighted to finally let these apps out of the door and hopefully onto<br />
the devices of people within the cinema industry. This is, however, just<br />
the beginning. We’re already a significant way down the line in putting<br />
some further app ideas into production, which will doubtless be of huge<br />
benefit to the industry,” says Mitchell.<br />
50 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
alternative<br />
content<br />
Digiplex Cinema Center<br />
Camp Hill, PENN.<br />
Up-and-coming Digiplex Destinations fulfills ‘the promise of<br />
digital cinema’ with alternative content<br />
What we can do is deliver a theatrical release<br />
with a great deal of dedicated marketing<br />
expertise to support [the] launch [of a film].<br />
Then to follow that launch, we’ll sell the DVDs<br />
and downloads right in our theaters … and<br />
follow on when it gets to TV and cable and<br />
help promote that too because we own it and<br />
because we believe these are quality products<br />
that should be seen.<br />
the future is now<br />
by Annlee Ellingson<br />
n Founded in 2010, Digital Cinema Destinations Corporation (Digiplex)<br />
marks a culmination of sorts for chief Bud <strong>May</strong>o. The concept,<br />
which prioritizes alternative content right alongside traditional Hollywood<br />
programming, combines the expertise he developed as the head<br />
of Cinedigm and before that Clearview Cinemas. For <strong>May</strong>o, Digiplex<br />
makes good on “the promise of digital cinema”—using the technology to<br />
fill seats.<br />
To that end, the circuit has twin businesses in building a theater<br />
chain—Digiplex currently operates 18 cinemas with 178 screens in Arizona,<br />
California, Connecticut, New Jersey, Pennsylvania, and Ohio—and<br />
curating content for those screens both through its DigiNext initiative and<br />
from other sources like Fathom Events.<br />
“It is from an exhibitor’s viewpoint a challenge and an opportunity<br />
because it means in one respect doing a lot more work than we used to,”<br />
he says.<br />
<strong>BoxOffice®</strong> <strong>Pro</strong> chatted with <strong>May</strong>o about the company’s strategies<br />
for circuit growth and content programming.<br />
Why start a new theater chain? What does Digiplex<br />
offer that other exhibitors don’t?<br />
Bud <strong>May</strong>o, chairman and CEO: We love Hollywood movies, and there’s<br />
nothing here we intend to do to change that. What we’re looking to do<br />
is to try to find ways to fill seats that are empty during these off-peak<br />
periods, in particular Monday to Thursday. … Our whole company is<br />
geared to doing it.<br />
What are your expansion goals for the theater<br />
side of the business?<br />
Job number one is to build a circuit, and there our goal is 1,000 screens<br />
in 100 locations in the top 100 DMAs of the country. And we’ve got a<br />
lot of work left to do. This year we hope to get to 300 screens … and<br />
think that’s a very achievable goal. All by acquisition. We’re not building<br />
anything. We’re buying good existing theaters that have made money, in<br />
some cases for decades.<br />
Talk about your joint venture with Nehst, Digi-<br />
Next, which you describe as “a curated series of<br />
independent films.”<br />
Documentaries such as Running<br />
the Sahara, Standing Silent, and<br />
The Standbys seem to be key to<br />
your strategy with DigiNext.<br />
It’s the low-hanging fruit for us, and it’s an<br />
underserved marketplace. We have found that<br />
market, and we have no illusions about what<br />
the theatrical part of the job is. … We’re not thinking about a theatrical<br />
release of $6 million. That would be phenomenal. A million would be<br />
phenomenal. Right now we’re talking about learning as a company how<br />
to introduce this content, how to connect it with audiences, and how to<br />
participate in the marketing of it through its life.<br />
Digiplex recently started screening films in<br />
Spanish.<br />
We’re launching with G.I. Joe a Spanish version of all of the major Hollywood<br />
movies on Monday nights in selected theaters, and we hope to roll<br />
that out in markets that make sense. We’re also looking into some Asian<br />
languages. … There’s no extra cost to the studio, but we will promote it,<br />
and we will find those audiences.<br />
You’ve been hiring additional executives,<br />
including senior VP Chuck Goldwater, chief<br />
marketing officer John Halecky, and general<br />
counsel Warren H. Colodner. What do they bring<br />
to Digiplex?<br />
What they’re doing is formalizing the final pieces of the senior management<br />
team in the<br />
company for the next<br />
hopefully five or 10<br />
years. … We have a<br />
team of people who<br />
can finish each other’s<br />
sentences, and you<br />
can’t get too much<br />
better than that. Now<br />
we have to grow to<br />
deserve that kind of<br />
quality of team, and<br />
that makes it a lot easier.<br />
We finally reached<br />
the point where we<br />
could justify having<br />
those people here on<br />
a full-time basis. … It<br />
was a major step for<br />
us that really makes<br />
our growth much<br />
more seamless going bud mayo<br />
forward.<br />
52 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
American Licorice<br />
>> Sour Punch, maker of those mouth-watering straws, has<br />
brought its Punchies characters to life in a sour, chewy,<br />
soft-shell candy. The new Punchies offer a variety of five<br />
delicious flavors including strawberry, blue raspberry, green<br />
apple, tangerine, and lemon. The wacky Punchies faces are<br />
visible on each chewy, bite-size candy and pack the perfect<br />
punch of fruity sweet and sour. Available sizes include<br />
a two-ounce count good pouch, 3.5-ounce<br />
theater box, and a 14-ounce laydown<br />
bag.<br />
2796 NW Clearwater Dr.<br />
Bend, OR 97701<br />
541-728-6576<br />
liz.negrau@amerlic.com<br />
www.punchiescandy.com<br />
Booth 628F<br />
Bass Industries<br />
>> Bass Industries is unveiling several<br />
new products at CinemaCon: The Aperture<br />
Series is an LED backlit poster case<br />
or LCD monitor enclosure with a perforated<br />
casing with color-changing, glowing<br />
apertures. Deco Borders are snap frames<br />
with changeable borders to brand, market,<br />
and promote. Crowd Control Towers<br />
are four-sided portable towers that hold<br />
advertising, combining crowd control<br />
with marketing, promotion, and branding.<br />
The Stretch & Frame stretches and<br />
frames any size banner, say goodbye to<br />
loose and unattractive banners—Stretch<br />
& Frame makes them “drum tight” and<br />
frames them as well. And the Plank Series<br />
is an LED backlit poster case or LCD<br />
monitor enclosure that “floats” off the<br />
wall and has a perimeter “glow.”<br />
3485 NW 65 St.<br />
Miami, FL 33147<br />
800-346-8575 x105<br />
Cell: 305-799-7717<br />
rmb@bassind.com<br />
www.bassind.com<br />
Booth 637F<br />
54 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
new products <strong>2013</strong><br />
Benchmark Games<br />
>> With Benchmark Games’ ticket-redemption equipment,<br />
players collect tickets on one or more visits to the theater and<br />
then redeem those tickets for prizes.<br />
The company’s Tickets to Prizes<br />
Next Generation machines offer<br />
more variety and capacity than any<br />
other unattended, self-contained<br />
prize vendor on the market. The<br />
single-prize tree has been designed<br />
for a facility just starting out with<br />
redemption games and tickets. The<br />
self-contained unit offers one prize<br />
tree, five large prizes, 65 prize selections,<br />
and 840 small to medium<br />
prizes. The two-prize tree increases<br />
the number of large prizes to seven,<br />
the prize selection to 107, and the<br />
small to medium prizes to 1,400. Both feature storage areas for<br />
stashing stock until the unit needs replenishment.<br />
51 Hypoluxo Rd.<br />
Hypoluxo, FL 33462<br />
561-588-5200<br />
amaniscalco@benchmarkgames.com<br />
rlong@benchmarkgames.com<br />
www.benchmarkgames.com<br />
Best Sanitizers<br />
>> Best Sanitizers introduces its new BrandStand, a trio of<br />
portable hand-sanitizer stands that incorporate the ability to<br />
promote and cross-market<br />
products and services. The<br />
BrandStand comes in three<br />
styles: BrandStand Video,<br />
which features an eight-inch<br />
LED screen that plays full<br />
motion video; the BrandStand<br />
EZ-Change, which uses an<br />
8.5-by-5.5-inch acrylic sign<br />
holder to turn your inkjet<br />
printer into a marketing<br />
machine; and the BrandStand<br />
Standard, which offers a permanent<br />
instructional sign to<br />
encourage good hand hygiene<br />
among customers and employees. The portable nature of these<br />
stands allows you to place them in strategic, high-traffic areas,<br />
which maximizes visibility and customer interaction.<br />
310 <strong>Pro</strong>vidence Mine Rd., Ste. 120<br />
Nevada City CA 95959<br />
888-225-3267 x138<br />
hzimmermann@bestsanitizers.com<br />
www.gobrandstand.com<br />
Booth 134F<br />
Booth 1017F<br />
Chestnut Identity Apparel<br />
>> A first-time exhibitor at CinemaCon, ShowBiz Uniforms by<br />
Chestnut Identity Apparel provides high-quality uniforms for<br />
theaters as well as restaurants and amusement parks. CH-1500<br />
Soft Touch Sport Shirts start at $9.95.<br />
P.O. Box 253<br />
2001 River Rd.<br />
Brookdale, CA 95007<br />
800-336-8977<br />
sales@showbizuniforms.com<br />
www.showbizuniforms.com<br />
Christie<br />
>> Designed to maximize the brightness and reliability of today’s<br />
digital cinema projection solutions, the Christie Superior<br />
Performance Xenolite lamp series uses the latest xenon lamp<br />
technology to provide increased brightness, improved stability<br />
and a longer life span. This increased brightness offers more<br />
captivating 2D and 3D experiences, without a cost to<br />
overall lamp performance. In addition, Superior Performance<br />
Xenolite lamps last 30 percent longer<br />
than comparable xenon lamps while still offering<br />
the same extraordinary 99.999 percent<br />
in-theater uptime.<br />
10550 Camden Dr.<br />
Cypress, CA 90630<br />
714-236-8610<br />
sales-us@christiedigital.com<br />
www.christiedigital.com<br />
Booth 2002A<br />
Booth 2103A, Milano 1<br />
may <strong>2013</strong> BoxOffice ® <strong>Pro</strong> The Business of Movies 55
new products <strong>2013</strong><br />
CineCert<br />
>> CineCert’s Lihue is a DCP volume management appliance<br />
for motion picture distributors, theaters, and service providers.<br />
With Lihue, users can inspect, modify, copy, and analyze<br />
DCP volumes in full compliance with industry standards.<br />
Lihue can also repair DCP errors such as broken or missing<br />
asset maps or packing lists. The basic configuration contains<br />
two CRU-115 drive bays and multiple high-speed USB ports in<br />
a low-profile desktop case. The user interacts with Lihue via an<br />
intuitive browser-based UI optimized for tablet devices. The<br />
Lihue architecture can scale to hundreds of disks, providing a<br />
turnkey solution for virtually any workload.<br />
2840 N. Lima St, Ste. 110A<br />
Burbank CA 91504<br />
818-563-1455<br />
sales@cinecert.com<br />
www.cinecert.com<br />
CinecolorSat<br />
>> Launched in October 2012,<br />
the CinecolorSat satellite<br />
distribution network flexibly,<br />
dependably, and quickly delivers<br />
exhibition content to theaters<br />
in Latin America and the<br />
Caribbean. Simply upload your<br />
content to the company’s NOC<br />
center, and the system will<br />
deliver DCPs; live, pre-recorded,<br />
or time-shifted alternative<br />
programming; advertising; and<br />
trailers to locations from the<br />
Rio Grande in northeast Mexico<br />
to Ushuaia in southeast Argentina. Pay one rate for secure and<br />
reliable service. CinecolorSat is a branch of the Cincolor Group<br />
with offices in Mexico City, Bogota, São Paulo, Buenos Aires,<br />
Lima, and Santiago.<br />
Al. Amazonas, 798<br />
Alphaville, Barueri, SP<br />
BRAZIL 06464-070<br />
55-11-2078-3600<br />
info@cinecolorsat.com<br />
www.cinecolorsat.com<br />
Booth 2011A<br />
Booth 132F<br />
Dolby<br />
>> Dolby’s new<br />
Cinema <strong>Pro</strong>cessor<br />
CP850 brings<br />
the most natural,<br />
realistic, and immersive sound experience to your theater—Dolby<br />
Atmos. Advanced auto EQ makes set-up fast and accurate, and<br />
the CP850’s 12-octave EQ (compared to three-octave used by<br />
other systems) ensures optimum tuning for each room. During<br />
playback of Dolby Atmos content, the CP850 uses specific<br />
speaker performance and location information to render in<br />
real-time a custom mix for that room, accurately replicating the<br />
audio experience intended by the sound mixer. In addition, the<br />
CP850 supports Dolby Atmos playback for up to 64 speaker<br />
feeds, configurable between 16 analog outputs and a Dolby<br />
Atmos Connect output. The CP850 supports Dolby Surround 7.1<br />
and 5.1 digital playback as well as common Dolby formats used<br />
with alternative content in cinemas: Dolby Digital Plus, Dolby E,<br />
and Dolby’s latest up-mixing technology. To ensure proper setup<br />
and playback, each CP850 also includes Dolby’s Commissioning<br />
Service, and the Dolby Atmos platform is open to third parties.<br />
100 Potrero Ave.<br />
San Francisco, CA 94103<br />
415-558-0200<br />
cah@dolby.com<br />
www.dolby.com<br />
Dolphin Seating<br />
>> Dolphin Seating’s new, very comfortable<br />
and good-looking Falcon rocker-back<br />
cinema seat will be on display<br />
during CinemaCon. “The bestselling<br />
seat in the United States and Canada,”<br />
the $100 chair can install at widths<br />
from 21.5 to 23 inches and comes<br />
in both a 38-inch low back<br />
for slope floor<br />
installations and<br />
a 41.5-inch high<br />
back for stadiums. The Falcon<br />
has deluxe moving cup-holder<br />
arms and the same<br />
eight-year warranty as<br />
all Dolphin seats.<br />
900 W. Hobbs St.<br />
Roswell, NM 88201<br />
575-762-6468<br />
Cell: 575-799-0139<br />
samsnell@suddenlink.net<br />
www.dolphinseating.com<br />
Booth 2303A<br />
Booth 528F<br />
56 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
<strong>2013</strong><br />
CinemaCon<br />
Award Recipients<br />
Ricos <strong>Pro</strong>ducts Co., Inc.<br />
Is <strong>Pro</strong>ud to Congratulate<br />
NATO Marquee Award:<br />
AMY MILES, Regal Entertainment Group<br />
<strong>2013</strong> Bert Nathan Memorial Award:<br />
BOB SHIMMIN, Cinemark USA<br />
Ken Mason Inter-Society Award:<br />
JACK CASHIN, USL, Inc.<br />
Global Achievement Award in Exhibition:<br />
ALEJANDRO RAMIREZ MAGAÑA, Cinepolis<br />
CinemaCon Passepartout Award:<br />
DAVID KORNBLUM, Walt Disney Studios Motion Pictures International<br />
© <strong>2013</strong>, Ricos <strong>Pro</strong>ducts Co., Inc.<br />
WWW.RICOS.COM
new products <strong>2013</strong><br />
Doremi Labs<br />
>> The Doremi IMS1000 is a<br />
DCI-compliant<br />
integrated<br />
media<br />
server that<br />
manages and<br />
delivers digital<br />
cinema experiences with<br />
efficiency and flexibility. It includes<br />
digital storage, server capabilities, and a<br />
secured DCI image media block in a compact form that enables<br />
it to fit inside DLP projectors. The IMS is controlled by Ethernet<br />
interface, Doremi’s TMS, or third-party TMS-supporting Doremi<br />
servers. DCP ingest can be done through USB, eSATA, or 1<br />
Gb Ethernet. The IMS1000 supports the highest JPEG 2000<br />
decoding capabilities, including 4K (optional) and 3D HFR, and<br />
accepts alternative content including live stream and 4K inputs<br />
for HDMI and 3G SDI.<br />
1020 Chestnut St.<br />
Burbank, CA 91506<br />
818-562-1101<br />
sam@doremilabs.com<br />
www.doremilabs.com<br />
Embedded <strong>Pro</strong>cessor Designs<br />
>> Embedded <strong>Pro</strong>cessor Designs has introduced the PlexCall<br />
BattSw Lite, a combined menu light and server call button in<br />
one table-top unit for dine-in and VIP cinemas.<br />
1301 Sand Hill Rd., Bldg. 300<br />
Chandler, NC 28715<br />
866-903-7337<br />
cpollak@epdesignsinc.com<br />
www.plexcall.com<br />
Booth 2511A<br />
Booth 305F<br />
Entertainment Supply & Technologies<br />
>> The $499 Ticket Drop Box from<br />
Entertainment Supply & Technologies<br />
is a durable<br />
3/4-inch construction<br />
with plastic<br />
laminate covering<br />
and edge banding<br />
with a schedule<br />
holder, lockable ticket<br />
storage, lockable usher<br />
storage space, and<br />
wheels on the bottom.<br />
The dimensions are<br />
13-by-13-by-36 inches.<br />
4971 Van Dyke Rd.<br />
Lutz, FL 33558<br />
813-960-1646<br />
reiben@ensutec.com<br />
www.ensutec.com<br />
Funacho<br />
>> New PretzelHause Frozen Pretzel Bites from Funacho offer<br />
an alternative to large snack options, allowing moviegoers to dip,<br />
snack, and share without committing to eating an entire pretzel.<br />
Also from Funacho, Flavor Shake’ems gourmet seasonings are<br />
now available in a 0.5-ounce serving in an easy-open pull-tab<br />
cup with a sprinkle lid. These portion-control seasonings are a<br />
versatile way to season and enjoy many traditional snacks like<br />
popcorn, fries, and pretzels. Eliminate waste and mess while<br />
maintaining inventory control and increasing beverage sales.<br />
1253 W. 7th St.<br />
Cincinnati, OH 45203<br />
720-891-2929<br />
michelle@funacho.com<br />
www.funacho.com<br />
Booth 2106A<br />
Booth 337F<br />
58 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
© <strong>2013</strong> Ballantyne Strong, Inc.
new products <strong>2013</strong><br />
Fuyi Acoustics<br />
>> The Fuyi Fabricated<br />
Wall Panel<br />
System with LED<br />
Light successfully<br />
unifies acoustical<br />
design and aesthetics.<br />
All the materials<br />
are high quality,<br />
flame retardant,<br />
and up to international<br />
standards,<br />
with good acoustical properties. Any pattern can be applied to<br />
the fabric with high-definition effect. Easy-installation LED resin<br />
lights can be fitted together with the acoustical panels. Energy-saving,<br />
safe, and environmentally friendly, the long-life LED<br />
light will be a beautiful landscape in any place where it is used.<br />
B-13-D, Jindu Garden<br />
No.37 Donghai West Rd.<br />
Qingdao<br />
CHINA<br />
86-532-85770579<br />
qdfyzh@vip.163.com<br />
www.qdfysx.com<br />
GDC<br />
>> Designed as the perfect solution<br />
to the DCI-compliant SX-3000<br />
Standalone IMB, GDC’s<br />
PSD-3000 Portage<br />
Storage Device<br />
(patent pending)<br />
provides highly<br />
reliable and<br />
lower-cost content<br />
storage. It allows<br />
flexible instant content<br />
transfer between storage<br />
devices and provides up to 6TB<br />
redundant hot swappable storage (applicable to PSD-3000-U).<br />
Its compact size and light weight also allow easy installation.<br />
The innovative PSD-3000 seamlessly integrates with the SX-<br />
3000 to offer premium HFR playback quality, comprehensive<br />
alternative content support, and perfect compatibility with all<br />
DLP Cinema projectors.<br />
1016 W. Magnolia Blvd.<br />
Burbank, CA 91506<br />
818-972-4370<br />
marketing@gdc-tech.com<br />
www.gdc-tech.com<br />
Booth 331F<br />
Booth 2219A<br />
Gold Medal<br />
>> The new hands-free design of Gold Medal’s #2499A Automatic<br />
Popcorn Topping Dispenser keeps things clean and easy.<br />
This automatic dispenser has an infrared beam that guides the<br />
dispenser to release topping when it “sees” popcorn or the container.<br />
The dispenser holds one 35-pound bag of product and<br />
includes an LED sign, a diaphragm<br />
pump, and manual push button.<br />
10700 Medallion Dr.<br />
Cincinnati, OH 45241<br />
800-543-0862<br />
bwilson@gmpopcorn.com<br />
www.gmpopcorn.com<br />
Harkness Screens<br />
>> The Digital Screen<br />
Modeller from Harkness<br />
is a 3D simulation<br />
tool that allows architects,<br />
engineers, and<br />
exhibitors to visualize<br />
and optimize digital<br />
cinema scenarios in a virtual environment. This rapidly created<br />
information-rich model aids decision-making about digital<br />
cinema screen, projector, and lamp choices before they’re even<br />
installed to ensure they comply with industry-standard brightness<br />
levels.<br />
Meanwhile, Harkness’ Digital Screen Archiver is a secure cloudbased<br />
data capture and reporting tool that aids maintenance of<br />
digital cinema auditoriums. Quick and easy to use, it helps monitor<br />
the performance of an entire screen portfolio through one<br />
source, schedule planned and reactive maintenance visits, and<br />
benchmark screen performance against key industry standards.<br />
10 Harkness Blvd.<br />
Fredericksburg, VA 22401<br />
540-370-1590<br />
r.mitchell@harkness-screens.com<br />
www.harkness-screens.com<br />
Booth 707F<br />
Booth 2411A<br />
60 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
DIGITAL SOUND PROCESSOR<br />
The cost-efficient JSD-60 is specially designed for digital<br />
cinema applications. The JSD-60 includes six standard<br />
formats, plus one that is completely configurable. The<br />
unit features automatic equalization for quick installation<br />
and customizable outputs to accommodate various<br />
venues such as drive-in theatres. A built in<br />
bypass audio circuit ensures that the<br />
presentation continues.<br />
A Global Supplier of Quality <strong>Pro</strong>ducts for the Cinema Industry<br />
Visit our website at: www.uslinc.com - 181 Bonetti Drive, San Luis Obispo, CA 93401-7397 - Tel (805) 549-0161 - Fax (805) 549-0163
new products <strong>2013</strong><br />
Inorca Seating<br />
>> Add another<br />
dimension to the<br />
moviegoer experience<br />
with 4 TD<br />
Vibrosound from<br />
Inorca Seating.<br />
These chairs generate<br />
a tactile feel<br />
by converting audio<br />
signals into vibrations by actuators installed on the backrest<br />
and seat. An efficient cost of investment, the Vibrosound optimizes<br />
total cost of ownership with no license fees or variable<br />
cost. Installation is easy and doesn’t affect original theater<br />
capacity. The experience is compatible with most genres and<br />
doesn’t require soundtrack synchronization. Vibrosound seats<br />
consume low power and optimize component use.<br />
Avenida Canasgordas<br />
54, Calle 18 No. 118.85<br />
Cali (Valle), 57<br />
COLOMBIA<br />
011-57-2-489-6999<br />
javier@inorca.com.co<br />
www.inorca.com.co<br />
Irwin Seating<br />
>> Irwin Seating<br />
has upgraded its<br />
line of Signature<br />
cinema seating.<br />
The plush, fixedseat<br />
rocker creates<br />
a bridge between a<br />
standard chair and<br />
a VIP seating. This<br />
chair features full<br />
seat-to-seat width,<br />
flip-up armrests,<br />
and that smooth,<br />
comfortable rocker<br />
motion moviegoers<br />
love. This chair can<br />
be paired with any of Irwin<br />
Seating’s Signature back styles to meet the design requirements<br />
of any circuit.<br />
3251 Fruit Ridge Ave. NW<br />
Grand Rapids, MI 49544<br />
616-574-7400<br />
bruce.cohen@irwinseating.com<br />
www.irwinseating.com<br />
Booth 913F<br />
Booth 201F<br />
JBL<br />
>> JBL has introduced two spatially cued<br />
surround speakers, models SCS12 and<br />
SCS8. The new SCS12 is a two-way,<br />
full-range, 400-watt surround<br />
ideal for multichannel surround<br />
applications. It is designed for<br />
overhead installation as well as<br />
on-wall installs and features<br />
a high-power coaxial 12-inch<br />
low-frequency driver and a<br />
one-inch high-frequency driver<br />
with a 100-by-100-degree coverage<br />
pattern. The SCS8, also<br />
designed for overhead installation,<br />
is a 250-watt, full-range coaxial<br />
surround with 120-by-120-degree<br />
coverage. Both models feature extraordinary<br />
clarity and extended frequency response.<br />
8500 Balboa Blvd.<br />
Northridge, CA 91329<br />
818-894-8850<br />
mike.mccarthy@harman.com<br />
www.jblpro.com<br />
Klipsch<br />
>> Klipsch introduced a proprietary technology<br />
several years ago using patented<br />
skew horns to accomplish<br />
ultra-wide horizontal dispersion<br />
(up to 140 degrees). Dubbed Virtual<br />
Boundary Array Technology<br />
(VBAT), the advent of new advanced<br />
high-resolution formats<br />
for premium sound has brought<br />
the KPT-12-VB into focus as a<br />
near ideal surround solution,<br />
delivering full-range frequency<br />
response (-3db at 47 Hz), 126 db<br />
continuous output capability (1<br />
meter), and ultra-wide horizontal dispersion. Additionally, the<br />
VB-12 has a vertical coverage pattern of 60 degrees to better<br />
project sound to the distant side of a large auditorium. Each<br />
individual 12-VB is capable of delivering the SPL currently required<br />
by an array of surround speakers, ideal for Dolby Atmos.<br />
3502 Woodview Trace<br />
Indianapolis, IN 46268<br />
310-940-1325<br />
dan.taylor@klipsch.com<br />
www.klipsch.com<br />
Booth 301F<br />
Booth 2514A<br />
62 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
new products <strong>2013</strong><br />
>> Magna-Tech announces<br />
the 5-Star DCP-2000 for a<br />
complete 3D digital cinema<br />
solution. The compact and<br />
efficient unit works with all<br />
kinds of DLP digital cinema<br />
projectors, is easy to set<br />
up and simple to use, and<br />
provides a crisp and clear<br />
image. Additional features<br />
include an optimized 3D<br />
LCD filter that reduces<br />
ghosting, a cooling fan<br />
to prolong 3D filter life,<br />
compatibility with standard<br />
circular polarized 3D<br />
glasses, and full support of<br />
3D high frame rates.<br />
1998 NE 150th St.<br />
North Miami, FL 33181<br />
786-299-5830<br />
arturo@myiceco.com<br />
www.myiceco.com<br />
Magna-Tech<br />
Max-R<br />
>> Max-R’s<br />
triple top-load<br />
recycling station<br />
features<br />
large openings<br />
for popcorn<br />
buckets and<br />
other types<br />
of waste. The<br />
multicolored<br />
tops also help<br />
reinforce the<br />
appropriate<br />
waste for each<br />
enclosure.<br />
Hinged doors<br />
allow bins to be easily serviced. The units are made of maintenance-free,<br />
pure recycled plastic.<br />
W248 N5499 Executive Dr.<br />
Sussex, WI 53089<br />
888-868-6297<br />
glaugavitz@max-r.net<br />
www.max-r.ne<br />
Booth 2415A<br />
Booth 2710A<br />
Omniterm<br />
>> Omniterm has expanded<br />
its online ticketing module<br />
within its Out-of-Scope PCI<br />
Compliance products with<br />
OmniWEB, offering theaters<br />
the ability to sell tickets from<br />
their own websites while<br />
maintaining an out-of-scope<br />
environment. OmniWEB offers a flexible look and feel to the<br />
interface with automatic updates directly from the theater<br />
schedule. All transactions are processed securely without any<br />
cardholder data being passed through Omniterm.<br />
Meanwhile, Omniterm has also expanded its financial accounting<br />
interfaces with an Accounts Payable Export application.<br />
Having the ability to automatically import theater invoice<br />
details into your accounting program will eliminate days of data<br />
entry work.<br />
2785 Skymark Ave., Unit #11<br />
Mississauga, ON L4W 4Y3<br />
CANADA<br />
866-629-4757<br />
sales@omniterm.com<br />
www.omniterm.com<br />
Photo Research<br />
>> Photo Research’s latest<br />
product, the new Cinebrate,<br />
is designed for the<br />
calibration and verification<br />
of digital cinema<br />
projectors, including<br />
those manufactured<br />
by Barco, Christie,<br />
and Sony. Cinebrate’s<br />
spectrally based measurements<br />
render it one of<br />
the most accurate products<br />
available for determining the<br />
white point of digital projectors<br />
at any brightness level at accuracies<br />
that meet or exceed DCI and SMPTE<br />
specifications. It’s easy to use and cost-effective at less than<br />
$10,000.<br />
9731 Topanga Canyon Pl.<br />
Chatsworth, CA 91311<br />
818-725-9750<br />
jadu.t@photoresearch.com<br />
www.photoresearch.com<br />
booth 625F<br />
Booth 2120A<br />
64 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
new products <strong>2013</strong><br />
<strong>Pro</strong>ctor Companies<br />
>> <strong>Pro</strong>ctor Companies’ MicroMatic Wine Tap Systems<br />
provide a more profitable, fresher, greener way to serve<br />
wine by the glass. The unique wine tap provides serving<br />
efficiencies combined with virtually zero waste as well<br />
as eliminating packaging with the use of a reusable keg<br />
container. Wine keg dispensing ensures product quality<br />
and pour consistency and keeps wine fresh for 60 days.<br />
Improve your ROI and operating efficiencies by eliminating<br />
corks to pull, bottles to stock, and recycle and<br />
shelf-life degradation or oxidation.<br />
In addition, the <strong>Pro</strong>ctor Design Service now includes<br />
quality commercial furniture solutions to enhance<br />
your guests’ experience. To ensure that every product<br />
can live up to strict quality standards, <strong>Pro</strong>ctor<br />
only sources materials, furniture, and fixtures from a<br />
network of suppliers that share the same high-quality<br />
standards to create beautiful restaurants and foodservice<br />
spaces.<br />
<strong>Pro</strong>motion in Motion<br />
>> Toggi fine European wafers are<br />
all-natural, crispy, and airy chocolate-covered<br />
European treats. They<br />
come in delicious milk chocolate,<br />
chocolate peanut butter, dark chocolate,<br />
and chocolate hazelnut varieties.<br />
The 200g (seven-ounce) stand-up<br />
bag is packed eight per case.<br />
25 Commerce Dr.<br />
Allendale NJ, 07401<br />
201-784-5800<br />
jscudillo@ promotioninmotion.com<br />
www.toggiwafers.com<br />
10497 Centennial Rd.<br />
Littleton, CO 80127<br />
303-973-8989<br />
bproctor@proctorco.com<br />
www.proctorco.com<br />
Booth 109F<br />
Booth 212F<br />
QSC<br />
>> QSC announces the availability of its new loudspeaker series<br />
for immersive surround-sound formats in cinema applications.<br />
For large theater applications requiring high output capability,<br />
the AcousticPerformance series offers three models: AP-5102,<br />
AP-5122, and AP-5152. All AP loudspeakers feature Directivity<br />
Matched Transition (DMT), a QSC design approach that matches<br />
LF and HF coverage in the crossover region, resulting in<br />
remarkably consistent coverage and smooth, accurate reproduction<br />
on- and off-axis. AcousticPerformance grilles are unadorned<br />
to present a clean look and are lined with acoustically<br />
transparent backing to enhance the enclosure’s professional<br />
appearance. For surround applications requiring low-frequency<br />
extension, QSC also announces two new subwoofers designed<br />
for overhead suspension or floor placement in the theater: the<br />
GP-118 and GP-218 subwoofers.<br />
1675 MacArthur Blvd.<br />
Costa Mesa, CA 92626<br />
800-854-4079<br />
714-754-6175<br />
info@qscaudio.com<br />
www.qsccinema.com<br />
Red Hot Chicago<br />
>> Red Hot Chicago introduces Ditka-brand sausages. A legend<br />
both locally and nationally, Mike Ditka brings the true taste of<br />
Chicago to you theater with two uniquely flavored sausages:<br />
Chicken Sausage filled with the flavors of sun-dried tomatoes,<br />
fresh mozzarella cheese, basil, and garlic, and Hot Beef Polish<br />
Sausage with a spicy punch that customers will love. Both<br />
eight-inch sausages weigh in at one-third pound.<br />
2501 N. Damen Ave.<br />
Chicago, IL 60647<br />
303-588-8402<br />
sandreakos@viennabeef.com<br />
www.redhotchicago.com<br />
Booth 613F<br />
Booth 936F<br />
66 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
new products <strong>2013</strong><br />
Retriever Software<br />
>> Retriever Software<br />
supplies comprehensive<br />
ticketing and point-of-sale<br />
solutions for movie theater<br />
operators, offering integrated<br />
solutions for box office<br />
sales, concession sales, inventory,<br />
labor management,<br />
digital signage, website<br />
management, and corporate controls. The company continues<br />
to develop product enhancements for improved functionality<br />
and ease of use. Recently launched modules include a mobile<br />
Internet ticketing app, mobile real-time revenue monitor,<br />
enhanced barcoded single-use ticket vouchers, image delivery<br />
services for digital box office signage, split tender function for<br />
multiple forms of credit payment, day and time pricing for concessions<br />
and table-service restaurant items, and schedule XML<br />
updates for digital projection, signage, and film-gross reporting.<br />
2525 S. Broadway<br />
Denver, CO 80210<br />
888-988-4470<br />
phil@retrieversoftwareinc.com<br />
www.retrieversoftwareinc.com<br />
SCA Tissue<br />
>> SCA’s Tork Xpressnap<br />
napkin dispenser performs<br />
double-duty for your<br />
business, reducing napkin<br />
use by 25 percent with<br />
its patented one-napkin<br />
dispensing technology.<br />
That means fewer refills,<br />
lower labor costs, better<br />
hygiene for customers,<br />
and a smaller footprint<br />
for the environment. The<br />
versatile tabletop display<br />
also offers customization<br />
opportunities including a<br />
diverse palette of designer<br />
colors, custom print<br />
napkins, and AD-a-Glance display panels that boost your brand,<br />
promote products, and make money.<br />
6318 Hanover Ct.<br />
Fishers, IN 46038<br />
317-407-5494<br />
annemarie.guba@sca.com<br />
www.sca.com<br />
Booth 829F<br />
booth 827F<br />
Schüttler-Technik<br />
>> Why spend time changing paper movie posters at your cinema?<br />
The SchüttlerCinema system presents posters and trailers/<br />
animation on 27-inch to 82-inch screens designed particularly<br />
for this purpose, both indoors and outdoors. Use the advanced<br />
technology to display your own advertising spots as well, and<br />
control your displays from anywhere in the world.<br />
Shake N’ Share<br />
>> New patented Shake N’ Share popcorn bucket lids allow<br />
moviegoers to enjoy and share fully seasoned popcorn. With<br />
the clear dome lid snapped over the popcorn bucket, the<br />
popcorn seasoning and butter can now easily be distributed<br />
throughout the popcorn with just a few shakes. The lid becomes<br />
a bowl for sharing, and when the show is over, moviegoers<br />
can snap the lid back on and take home their remaining<br />
popcorn to enjoy later, so large buckets will no longer end up in<br />
your trash or spilled over on your floor. Increase popcorn sales<br />
and grow revenue while improving your customers’ experience.<br />
1521 Eastpointe Dr.<br />
Mount Pleasant, MI 48858<br />
Cell: 989-928-5817<br />
popcornbucketlids@gmail.com<br />
www.shake-n-share.com<br />
Sulzbrunnenstr. 11<br />
74564 Crailsheim<br />
GERMANY<br />
07951-27894-0<br />
m.schuettler@schuettler-technik.de<br />
www.schuettlercinema.com<br />
Booth 2022A<br />
Booth 1026F<br />
68 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
new products <strong>2013</strong><br />
Sony Digital Cinema<br />
>> Sony Digital Cinema Solution’s<br />
Content Exchange Platform<br />
is an online marketplace<br />
designed to create a new model<br />
for distributing and accessing<br />
alternative, independent, and<br />
repertory content. It can bring together content owners, cinema<br />
exhibitors, and promoters in a secure and easy-to-use environment.<br />
It is designed to provide exhibitors with easy access to<br />
programming, facilitate scheduling flexibility, and increase revenue<br />
by creating exciting new viewing experiences for cinema<br />
audiences. This web-based platform can create new opportunities<br />
for distributing and exchanging independent, repertory, and<br />
alternative content, with future plans including the distribution of<br />
live 4K content. The Sony Content Exchange Platform provides<br />
exhibitors with a broad view of all content available and gives<br />
content owners an easy and standardized distribution model<br />
for reaching exhibitors. The platform will make a vast catalog of<br />
content available for exhibitors and aggregators/curators to use<br />
in a range of applications.<br />
1 Sony Dr. MD 3C3<br />
Park Ridge, NJ 07656<br />
201-358-4416<br />
dianne.laguardia@am.sony.com<br />
www.sony.com/digitalcinema<br />
Soundfold<br />
>> Soundfold’s new 30-inch black pleating bracket is easier<br />
and safer to use than metal. Because it’s plastic, it won’t rust,<br />
and the decreased weight saves shipping costs. The bracket<br />
forms uniform pleats and fullness as fabric is stapled into place;<br />
54-inch fabric pleats to a 36-inch finish width. Meanwhile, the<br />
SB-Swivel + Tilt surround speaker bracket offers a level mount<br />
or +/- 5-, 10-, and 15-degree tilt options with approximately 120<br />
degrees of side-to-side swivel and a telescoping shaft for depth<br />
off the wall. It’s easy for one person to install at multiple tilt<br />
options and solid and safe with a 55-pound load rating. Finally,<br />
the Suspended Speaker Bracket for ceiling-mounted surround<br />
speakers offers level or variable cant and tilt mounting scenarios<br />
and four tie points for maximum<br />
safety and adjustment.<br />
Features include a low-profile<br />
design, nearly invisible<br />
mounting, and virtually<br />
unlimited speaker aiming<br />
options.<br />
9200 N. State Rt. 48<br />
Centerville, OH 45458<br />
800-782-8018<br />
tsickels@soundfold.com<br />
www.soundfold.com<br />
2701A, Neopolitan 1-2<br />
Booth 316F<br />
SPFM<br />
>> SPFM is bringing<br />
Takis Chips, a crunchy,<br />
seasoned, rolled-up<br />
corn chip snack, to theaters.<br />
Already established<br />
in the grocery<br />
retail industry, Takis<br />
outsell other leading<br />
brands among snack<br />
foods and draw 12-to-<br />
24-year-olds. Offered<br />
in both spicy and tangy<br />
alternatives, Takis are<br />
packaged in a variety<br />
of sizes and can be enjoyed with cheese sauce.<br />
In addition, Lucas Candy, already popular in the Hispanic market,<br />
is as enjoyable as a standalone treat or as an enhancement<br />
to flavor popcorn and nachos.<br />
4310 West Ave.<br />
San Antonio, TX 78213<br />
720-891-2929<br />
michelle@funworldfoods.com<br />
www.funworldfoods.com<br />
Star Screen<br />
>> In order to meet<br />
the audience’s<br />
increasing need for<br />
huge-screen movies,<br />
Star Screen has<br />
planned to increase<br />
four screen production<br />
lines, including<br />
a huge screen with<br />
a maximum frame<br />
of 72-by-12 meters.<br />
The optimization<br />
of the huge Star Screen will make 3D and 4D effects more<br />
distinct. Favorable sound transmission enables the audience in<br />
any location of the theater to feel the lifelike sound quality. An<br />
extra-wide viewing angle and world’s leading polarization ratio<br />
is the best choice for modern theaters.<br />
Xinqiao Industrial Zone<br />
Ma’anshan, Anhui <strong>Pro</strong>vince 241008<br />
CHINA<br />
86-555-6827667<br />
whyxym@263.net<br />
www.yingxng.net<br />
Booth 434F<br />
Booth 2426A<br />
70 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
new products <strong>2013</strong><br />
Taste of Nature<br />
>> Despicable Me 2 sour gummies from Taste of Nature will<br />
start shipping to exhibitors in <strong>May</strong>. The treats will be available in<br />
a 3.1-ounce theater box adorned with the lovable Minion characters.<br />
The animated sequel from Universal opens on July 3.<br />
2828 Donald Douglas Loop N., Ste. A<br />
Santa Monica, CA 90405<br />
310-396-4433<br />
s.samet@candyasap.com<br />
www.candayasap.com<br />
Tempo<br />
>> Tempo Industries introduces<br />
the SWIII Aisle,<br />
Step, and Pathway Lighting<br />
luminaire. The SWIII<br />
is the latest generation<br />
of Tempo’s cutting-edge<br />
wall lights now utilizing<br />
a three-emitter board,<br />
which provides 30<br />
percent more light than<br />
the previous two emitter<br />
boards while increasing efficiency with less wattage. <strong>Pro</strong>viding<br />
a wide, smooth, and uniform distribution of light with no<br />
distracting uplight or glare, the SWIII now offers an easy-to-apply<br />
baffle feature that eliminates any additional side glare from<br />
the emitters while providing optimal light direction. Delivered<br />
to the jobsite fully assembled and designed for ease of installation,<br />
the SW3 family also includes a full range of mounting and<br />
finishing accessories.<br />
1961 McGaw Ave.<br />
Irvine, CA 92614<br />
949-442-1601<br />
kirks@tempoindustries.com<br />
www.tempoindustries.com<br />
Booth 320F<br />
Booth 525F<br />
Ultra Stereo Labs<br />
>> USL will showcase<br />
the IMS-1200<br />
Integrated<br />
Media Server<br />
with High<br />
Frame Rate<br />
(HFR) at CinemaCon.<br />
This<br />
advanced HFR media server supports JPEG 2000 decoding of<br />
4K and HFR 2K images with state-of-the-art 1.536 TB solid-state<br />
storage. Features include JPEG 2000 and MPEG-2 decoding,<br />
AES-128 decryption/HMAC-SHA1, ingest through USB 3.0 or<br />
eSATA, two HD-SDI inputs and two HDMI inputs, sync input<br />
and output for dual projectors, an auxiliary control port (RJ45),<br />
built-in six-port automation, and 16-channel digital audio. The<br />
IMS-1200 is a compact, projector-mounted unit and comes with<br />
a clear, concise operation manual for smooth, efficient installations.<br />
181 Bonetti Dr.<br />
San Luis Obispo, CA 93401<br />
805-549-0161<br />
clint@uslinc.com<br />
www.uslinc.com<br />
Volfoni<br />
>> Volfoni will be showcasing at CinemaCon its new polarization<br />
modulator for passive 3D in theaters. SmartCrystal Cinema<br />
Horizontal is compact in size for an easy booth-less setup. The<br />
unit has an innovative design, making it very lightweight. The<br />
system is HFR-compatible, approved by Hollywood studios, and<br />
will be available in spring <strong>2013</strong>.<br />
3450 Cahuenga Blvd. W. #504<br />
Los Angeles, CA 90068<br />
323-969-8478<br />
jtestut@volfoni.com<br />
www.volfoni.com<br />
Booth 313F<br />
Booth 2809A<br />
72 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
SONY PICTURES ENTERTAINMENT<br />
<strong>Pro</strong>udly Supports<br />
CINEMACON <strong>2013</strong><br />
And congratulates all of this year’s honorees<br />
Global Achievement Award in Exhibition<br />
Alejandro Ramirez Magana<br />
Cinepolis<br />
<strong>2013</strong> Pioneer of the Year Award<br />
Kathleen Kennedy<br />
Lucasfilm<br />
CinemaCon Awards<br />
NATO Marquee Award<br />
Amy Miles<br />
Regal Entertainment Group<br />
Ken Mason Inter-Society Award<br />
Jack Cashin<br />
USL, Inc.<br />
Rentrak International Boxoffice<br />
CinemaCon Passepartout Award<br />
Achievement Award<br />
David Kornblum<br />
Twentieth Century Fox International Walt Disney Studios Motion Pictures International<br />
<strong>2013</strong> Bert Nathan Memorial Award<br />
Bob Shimmin<br />
Cinemark USA<br />
Cinema Icon Award<br />
Morgan Freeman<br />
Male Star of the Year<br />
Chris Pine<br />
Male Star of Tomorrow<br />
Armie Hammer<br />
Rising Star of <strong>2013</strong><br />
Asa Butterfield<br />
Comedy Duo of the Year<br />
Vince Vaughn and Owen Wilson<br />
CinemaCon Award of Excellence in Acting<br />
Elizabeth Banks<br />
Big Screen Achievement Awards<br />
Lifetime Achievement Award<br />
Harrison Ford<br />
Female Star of the Year<br />
Melissa McCarthy<br />
Female Star of Tomorrow<br />
Hailee Steinfeld<br />
Breakthrough Filmmaker of the Year<br />
Joseph Gordon-Levitt<br />
Breakthrough Performer of the Year<br />
Aubrey Plaza<br />
Director of the Year<br />
Justin Lin<br />
www.sonypicturesreleasing.com<br />
© <strong>2013</strong> Sony Pictures Entertainment Inc.<br />
All Rights Reserved.
new products <strong>2013</strong><br />
West World Media<br />
>> Rewritten from<br />
the ground up<br />
using the latest<br />
technology, West<br />
World Media’s<br />
Mobile Site 3.0<br />
offers customers<br />
a native app<br />
experience right<br />
from their mobile<br />
web browsers—without<br />
the cost to exhibitors.<br />
Content includes showtimes,<br />
ticketing links,<br />
trailers, swipable posters<br />
and stills, iPhone 5 support,<br />
a coming-soon list, improved<br />
GPS functionality, and custom content pages.<br />
63 Copps Hill Rd.<br />
Ridgefield, CT 06877<br />
203-438-8389<br />
info@westworldmedia.com<br />
www.westworldmedia.com<br />
>> White Castle now offers<br />
steam-grilled Jalapeno<br />
Cheeseburgers to<br />
theater operators<br />
for a little spicy<br />
flavor kick.<br />
They’re a great<br />
addition to<br />
the traditional<br />
White Castle<br />
hamburgers<br />
and cheeseburgers,<br />
and<br />
they’re popular<br />
with an ice-cold<br />
beverage too. All White<br />
Castle Sliders are 100 percent<br />
USDA-inspected beef.<br />
555 W. Goodale St.<br />
P.O. Box 1498<br />
Columbus, OH 43215<br />
614-559-2647<br />
collinsk@whitecastle.com<br />
www.whitecastle.com<br />
White Castle<br />
Booth 914F<br />
Booth 125F<br />
XPanD<br />
YuYu Lighting<br />
>> New xenon lamps from YuYu Lighting are suited for all 2K<br />
and 4K digital projectors Get a 48H solution and better service<br />
for an exciting price.<br />
No. 178, Xiaoliu Hutang, Wujin<br />
Changzhou 213164<br />
86-519-8652-9262<br />
sale@czyuyu.com<br />
www.czyuyu.com<br />
>> XPanD now offers passive and active 3D solutions with<br />
adult- and children-size 3D glasses that have a sleek design and<br />
comfortable fit.<br />
1017 Cole Ave.<br />
Los Angeles, CA 90038<br />
310-309-6705<br />
alexis.costa@xpandcinema.com<br />
www.xpandcinema.com<br />
Booth 2003A<br />
Booth 2424A<br />
74 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
© <strong>2013</strong> Christie Digital Systems USA, Inc. All rights reserved.<br />
To all recipients of the prestigious<br />
CinemaCon <strong>2013</strong> Awards.<br />
Congratulations on your award and continuous<br />
contributions to the world of cinema.<br />
christiedigital.com
festival<br />
SEATing<br />
Carey Mulligan and leonardo<br />
DiCaprio star in aussie baz<br />
Luhrmann’s take on the great<br />
american novel the great<br />
gatsby, which opens this month’s<br />
cannes film festival<br />
lOST in translATion<br />
Competing in Cannes and the North American Market<br />
by Daniel Loria<br />
Overseas Editor<br />
BoxOffice.com<br />
n The Cannes Film Festival is the epicenter<br />
of the festival circuit. Founded in 1946 in<br />
post-war France, it has played a major role in<br />
putting a spotlight on foreign and independent<br />
cinema. It is the launching pad for the most<br />
anticipated films from the world’s best-known<br />
international filmmakers.<br />
This year’s edition will take place <strong>May</strong><br />
15–26 and is sure to feature many of the films<br />
that will dominate the year’s critical dialogue.<br />
Apart from the competition, the festival adds<br />
variety with specialized parallel programs designed<br />
to bring in a wider variety of films. Baz<br />
Luhrmann’s take on The Great Gatsby will open<br />
the <strong>2013</strong> festival, just as other studio films<br />
have done in the past outside of the official<br />
competition.<br />
The headline-grabbing section of the festival<br />
occurs in the competition, as films from<br />
all over the world compete for the top prize,<br />
the coveted Palme d’Or. The films selected for<br />
competition might arrive with a lofty reputation<br />
but have no guarantees of translating<br />
into North American box office success. The<br />
niche nature of the specialty market emphasizes<br />
the importance of marketing campaigns,<br />
screen counts, and release strategies. A $5<br />
million gross might be otherwise overlooked<br />
as a failure in these pages but can represent a<br />
strong return across the many art-house movie<br />
theaters in the United States.<br />
Taking a look back at the last five years of<br />
the festival, we can see several different trends<br />
and varying degrees of success when competition<br />
films at Cannes are distributed in North<br />
America.<br />
STAR POWER<br />
Cannes helps Hollywood stars looking to<br />
branch out to more serious fare, but the results<br />
have been inconsistent over the past five years.<br />
Two of Brad Pitt’s weakest-grossing films at<br />
the North American box office have come<br />
out of Cannes. His presence wasn’t heavily<br />
marketed for The Tree of Life, so the film’s $13<br />
million take can be better understood in light<br />
of director Terrence Malick’s loyal following<br />
and its multiple Academy Award nominations.<br />
Last year’s Killing Them Softly, however, was<br />
marketed with an image of the actor holding<br />
a shotgun against a black background. His<br />
name received top billing above the film’s title<br />
in the poster, but it was only able to gross<br />
$15 million domestically. The film has the<br />
dubious honor of being one of the few movies<br />
to have ever received an F audience rating from<br />
CinemaScore.<br />
Lee Daniels found critical and financial<br />
success with a difficult narrative in 2009’s Precious<br />
but was unable to hit the million-dollar<br />
mark in the domestic box office last year with<br />
Cannes competition film The Paperboy, starring<br />
Nicole Kidman, Zac Efron, and Matthew<br />
McConaughey. David Cronenberg was unable<br />
to hit the same mark with Cosmopolis, starring<br />
Twilight boy wonder Robert Pattinson.<br />
This isn’t to say that stars haven’t helped<br />
propel Cannes competition titles lately. Ryan<br />
Gosling anchored the marketing for Nicolas<br />
Winding Refn’s Drive, helping the film reach<br />
$35 million in North America and $76 million<br />
globally.<br />
Directors with a more accessible following<br />
for North American audiences have also fared<br />
well. Wes Anderson’s latest ensemble comedy,<br />
Moonrise Kingdom, grossed $45 million<br />
in North America. Quentin Tarantino films<br />
(continued on page 78)<br />
76 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
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festival seating<br />
the artist was the darling of<br />
cannes in 2011. Jean Dujardin<br />
and Bérénice Bejo chramed<br />
france, the oscars, and<br />
audiences worldwide<br />
are often in competition at Cannes and have<br />
strong drawing power on a global level. Inglourious<br />
Basterds was his last film to be an official<br />
selection and went on to gross more than $321<br />
million worldwide.<br />
AWARDS<br />
The top prize at Cannes rarely goes to the<br />
most marketable film in competition. Juries<br />
across the years have continually rewarded<br />
unconventional films from visionary directors.<br />
This can make a Palme d’Or winner harder to<br />
market on a theatrical release.<br />
The best recent example of this is Apichatpong<br />
Weerasethakul’s Uncle Boonmee Who<br />
Can Recall His Past Lives, distributed in North<br />
America by Strand Releasing a year after<br />
winning the Palme d’Or in 2010. Strand has<br />
experience in getting the most out of tough-tomarket<br />
niche releases, including other Cannes<br />
competition films like Lucrecia Martel’s<br />
pensive The Headless Woman, Carlos Reygadas’<br />
experimental feature Post Tenebras Lux, and<br />
Markus Schleinzer’s Michael, a film about a pedophile’s<br />
relationship with the abducted child<br />
he keeps in his basement. A slow, meditative<br />
film with surrealist qualities, Uncle Boonmee<br />
had little more than critical adulation and a<br />
great poster to find a wide audience. The film<br />
grossed<br />
$184, 292 in North America.<br />
Sony Pictures Classics has distributed<br />
three of the last five Palme d’Or winners in<br />
North America. Dylan Leiner, the company’s<br />
executive vice-president of acquisitions and<br />
production, emphasizes the award’s importance<br />
for a film’s release:<br />
“The awards in Cannes aren’t as valuable [in<br />
North America] as in other parts of Western<br />
Europe,” he admits. “But people here do<br />
recognize the value of a Palme d’Or. It gives<br />
the public an idea that it is an important film.<br />
Prizes in Cannes can definitely help; they don’t<br />
necessarily impact the box office directly, but<br />
it creates a snowball effect of people hearing<br />
about the film and wanting to discover it.”<br />
Being part of that dialogue is especially<br />
important for these films to pick up traction<br />
heading to a North American release. Sony<br />
Pictures Classics views its Cannes strategy as a<br />
platform to launch and acquire projects.<br />
“It has always been an important festival<br />
for us in terms of launching and acquiring<br />
movies. Last year we had Rust and Bone and<br />
Amour going to the festival in the official selection<br />
as high-profile titles that launched out of<br />
Cannes,” explains Leiner.<br />
“It’s also a great place for people to discover<br />
movies. There are so many different voices<br />
commenting on the films—programmers, critics,<br />
audiences—making it a great environment<br />
to acquire movies when you’re around that<br />
much feedback.”<br />
The two most recent SPC titles to win the<br />
Palme d’Or have come from Austrian filmmaker<br />
Michael Haneke. The White Ribbon won the<br />
prize in 2009 and scored an Academy nomination<br />
for best foreign film, leading to a North<br />
American gross of $2.2 million. Last year’s<br />
winner, Amour, was able to gain Academy<br />
nominations for Best Picture, director, actress,<br />
and original screenplay. It won the Oscar for<br />
best foreign film and has grossed more than $6<br />
million in North America as of press time.<br />
The awards exposure has helped make<br />
Amour the highest-grossing film of Haneke’s<br />
career. This is the sort of dialogue that can help<br />
propel a Palme d’Or-winning film to a strong<br />
box office performance in the United States.<br />
Malick’s The Tree of Life divided audiences<br />
during its theatrical run but was buoyed by<br />
its Palme d’Or and Academy nominations for<br />
Best Picture, directing, and cinematography on<br />
its way to grossing $13 million domestically.<br />
The biggest Cinderella story for Cannes<br />
competition films of the last five years occurred<br />
in 2011, when the Weinstein Company<br />
aggressively pursued the distribution rights for<br />
a period-set silent French film. The Artist is one<br />
of the most unlikely box office success stories<br />
to ever come out of Cannes. Despite only<br />
winning a best actor award at the festival, The<br />
Artist quietly began picking up steam through<br />
awards season, culminating with an Academy<br />
Award for Best Picture. Audiences around the<br />
world responded to the film, propelling it to a<br />
$132 million global gross.<br />
The box office success of a film like The<br />
Artist is a reminder of the potential that<br />
even the most hard-to-market titles from the<br />
Cannes competition can break through at the<br />
North American box office. There are no secret<br />
formulas or magic strategies to tracking a film’s<br />
financial possibilities. The specialty market<br />
does, however, offer interesting chances to<br />
overlap with more mainstream exhibitors in<br />
offering audiences new and exciting art-house<br />
films from around the world. All bets are open<br />
to what this <strong>May</strong> will bring in terms of titles.<br />
Perhaps the next success story is only months<br />
away from being embraced by audiences.<br />
78 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
ook<br />
smart<br />
Bringing the Great American Novel to the silver screen<br />
required reading<br />
by Daniel Loria<br />
Overseas Editor<br />
BoxOffice.com<br />
n Walk into any (remaining) bookstore in this<br />
country, and one of the first tables you’ll find<br />
will include a selection of classic American<br />
novels. You’ll be able to find everything from<br />
favorites plucked out of a high school reading<br />
list to challenging works from more contemporary<br />
authors. It’s also where Baz Luhrmann<br />
turned for his next project.<br />
Luhrmann’s previous film, Australia,<br />
floundered at the North American box office<br />
in 2008. Running at a bloated 165 minutes,<br />
Luhrmann’s epic was unable to find the same<br />
success his gaudy visual style has generated previously.<br />
But industry hopes are riding high on<br />
his upcoming The Great Gatsby. F. Scott Fitzgerald’s<br />
seminal novel has frequently been cited<br />
among the best works of American fiction. The<br />
last time The Great Gatsby hit cinemas was in<br />
1974, starring Robert Redford and Mia Farrow<br />
in their prime. In today’s studio atmosphere, a<br />
property like The Great Gatsby can’t sit on the<br />
shelf for too long.<br />
Luhrmann has tackled important works of<br />
literature before. His modern-day version of<br />
Romeo + Juliet updated Shakespeare’s iconic<br />
play with a contemporary setting and popular<br />
young actors. He kept the Bard’s dialogue<br />
mostly untouched, but the film is otherwise his<br />
own, adorned with visual bravura and pastiche<br />
touches that have characterized him as a director.<br />
The film grossed $147 million globally and<br />
helped launch Leonardo DiCaprio’s career as a<br />
major movie star. DiCaprio will rejoin Luhrmann<br />
as the title character in Gatsby.<br />
A number of other films based on<br />
American novel classics have had multiple<br />
adaptations as well, with varying results. We<br />
look at some adaptations that follow previous<br />
efforts, as well as recent examples where beloved<br />
books have had trouble translating into<br />
popular films.<br />
LOLITA (1997)<br />
Original author: Vladimir Nabokov<br />
Directed by: Adrian Lyne<br />
n It’s not easy to follow up a film made famous<br />
by Stanley Kubrick, especially when the<br />
book’s author adapted the screenplay himself.<br />
Adrian Lyne’s take on Lolita, however, avoided<br />
comparison to Kubrick’s film and went for a<br />
closer reading of the source material. The result<br />
was too much for any company to handle;<br />
nearly every American distributor in the market<br />
reportedly rejected the film. A very limited<br />
theatrical run resulted in a return just north of<br />
$1 million and a subsequent television premiere<br />
on Showtime.<br />
lolita<br />
of mice and men<br />
on the road<br />
revolutionary road<br />
fear and<br />
loadthing in las vegas<br />
OF MICE AND MEN (1992)<br />
Original author: John Steinbeck<br />
Directed by: Gary Sinise<br />
n This adaptation of John Steinbeck’s novel<br />
came nearly 60 years after a much beloved 1939<br />
version. Gary Sinise produced and directed the<br />
film, co-starring with John Malkovich. The<br />
passion project couldn’t stir up enough interest<br />
at the box office, with a paltry $5 million return.<br />
ON THE ROAD (2012)<br />
Original author: Jack Kerouac<br />
Directed by: Walter Salles<br />
n Francis Ford Coppola wrote the screenplay<br />
for the 1974 version of The Great Gatsby and<br />
bought the rights to Jack Kerouac’s classic<br />
coming-of-age novel in 1979, more than two<br />
decades after a proposed adaptation starring<br />
Marlon Brando failed to take off. The inherent<br />
difficulty of the production required balancing<br />
the book’s bohemian spirit with the nuances<br />
of a period piece. Brazilian director Walter<br />
Salles proved he was the perfect man for the<br />
job after accomplishing that exact feel with<br />
The Motorcycle Diaries in 2004. Stars like Kristen<br />
Stewart, Amy Adams, and Kirsten Dunst<br />
slashed their salary demands to appear in<br />
the production. Middling reviews at Cannes<br />
hurt the film’s advance buzz coming off the<br />
festival. IFC gave the film a limited release in<br />
December 2012, hoping to gain momentum<br />
through awards season, but the nominations<br />
never came. On the Road didn’t receive an<br />
expanded release until Marc <strong>2013</strong>, almost as<br />
an afterthought, and has grossed $256,695 at<br />
press time.<br />
REVOLUTIONARY ROAD (2008)<br />
Original author: Richard Yates<br />
Directed by: Sam Mendes<br />
n American Beauty and Skyfall director Sam<br />
Mendes helmed this adaptation of Richard Yates’<br />
novel, the first film starring Leonardo DiCaprio<br />
and Kate Winslet as a couple since the juggernaut<br />
success of Titanic. Revolutionary Road is not<br />
exactly a love story, at least not one with a happy<br />
ending. The film was nominated for major<br />
awards at the Golden Globes but was overlooked<br />
at the Academy Awards with only three nominations<br />
in smaller categories. It was nevertheless a<br />
strong enough draw for an adult drama, grossing<br />
$75 million in North America.<br />
FEAR AND LOATHING IN LAS VEGAS<br />
(1998)<br />
Original author: Hunter S. Thompson<br />
Directed by: Terry Gilliam<br />
n A long development process stalled the<br />
adaptation of Hunter S. Thompson’s novel<br />
for decades before Terry Gilliam was able to<br />
bring the project to fruition. Gilliam infused<br />
the project with a free-flowing manic style<br />
that recalls the book’s stream-of-consciousness<br />
writing. The film’s $10 million domestic gross<br />
was a disappointment, but Fear and Loathing<br />
in Las Vegas has since found new life as a cult<br />
favorite.<br />
80 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
show<br />
business<br />
all about the<br />
Five fabulous promo ideas for Mother’s Day<br />
by Inkoo Kang<br />
Mother’s Day is a great occasion for families to enjoy a relaxed day together. Founded just under a century<br />
ago in 1914, it’s also one of the biggest gift-giving days of the year. Though the traditional ways to celebrate<br />
maternal love and devotion are flowers, cards, and jewelry, a trip to the movie theater has long been an<br />
essential Mother’s Day tradition for many families. Here are 5 promotional ideas to help fathers and children<br />
treat the hardest-working women in their lives with some Hollywood-style fun and pampering.<br />
The Classics There’s a reason the standards are the standards:<br />
they work. Chunky’s Cinema Pub in New England knows this,<br />
which is why it offer the always welcome offer of free admission and<br />
popcorn to moms on their day. Gift certificates are another tried-andtrue<br />
lure—and their convenience makes them a particularly attractive<br />
draw for the quarter of Mother’s Day shoppers who buy their holiday<br />
gifts online. And everyone loves freebies. Corporate sponsorship helped<br />
Fox Searchlight make the Keri Russell romantic comedy Waitress a<br />
sleeper hit, partly by drawing in female audiences with Mother’s Day<br />
gift bags full of lotion, lipstick, and Sara Lee pie.<br />
Food &Film No Mother’s Day is complete without<br />
a meal with mom. The California-based Cinépolis Luxury Cinemas<br />
allows mothers to enjoy the extravagance of a slow brunch—or an<br />
extra-decadent moviegoing experience—with their opulent Mother’s<br />
Day menu. The $26 pre-set, three-course feast includes a balsamic-glazed<br />
pear-and-goat cheese crostini appetizer, a veggie-burger wrap<br />
entrée, chocolate-covered strawberries for dessert, and a medium soda,<br />
bottled water, or glass of wine. For more budget-conscious consumers,<br />
the Reduxion Theatre Company in Oklahoma City offers a different<br />
kind of indulgence. For just $16, mothers can relish two cupcakes and<br />
two glasses of bubbly, either to share with a fellow mother or to treat<br />
themselves to an extra-fun show.<br />
(continued on page 84)<br />
82 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
show business<br />
Fun with Photos Photo contests offer great incentives<br />
to get customers involved and bring them and their friends to a<br />
business’ Facebook page. Mother’s Day is a great occasion for a local<br />
“Moms Who Look Like Celebrities” or “‘Mommy and Me’ Movie<br />
Costumes” contest and/or pre-trailer slideshow. Alternatively, an emcee<br />
for a preshow quiz could give out prizes to patrons for successfully<br />
matching actors in current movies—like Robert Downey Jr. and Gwyneth<br />
Paltrow in Iron Man 3, Leonardo DiCaprio and Tobey Maguire in<br />
The Great Gatsby, and Robert De Niro and Katherine Heigl in The Big<br />
Wedding—with photos of their mothers. Or follow the example of The<br />
Holiday Star Theater in Park Forest, Ill., and offer free family photos<br />
from an onsite photographer.<br />
Bringing in Baby Of the many sacrifices new<br />
moms have to give up for their children, going to the movies shouldn’t<br />
have to be one of them. Cinephiles with infants and toddlers can now<br />
bring their little ones to the regularly scheduled baby-friendly screenings<br />
at Lincoln Square Cinemas in Bellevue, Wash., the Coolidge<br />
Corner Theatre in Brookline, Mass., or select AMC locations without<br />
forking over extra cash to a babysitter or worrying about their babies<br />
making noise. These special “mommy movies” are presented with the<br />
lights up and the sound down so that moms and babies can both enjoy<br />
some peace of mind. But moms’ physical comfort are accommodated<br />
too. AMC offers a stroller valet, while Lincoln Square Cinemas has a<br />
special food service, where mothers can order concessions from a menu<br />
and have them delivered to their seats by servers. Mother’s Day just<br />
might be the perfect time to test how popular these matinee programs<br />
are at your location.<br />
TheMusicMom<br />
Although parents and children frequently disagree<br />
on what kind of music to listen to in the<br />
car, most families bond through shared songs.<br />
To satisfy both generations, the El Capitan<br />
Theatre on the Hollywood Walk of Fame frequently<br />
stages live shows where singers dressed<br />
as Disney characters belt out musical numbers<br />
from classic Disney films before screenings.<br />
(The live show surcharge runs from $7 to $10.)<br />
A more affordable rendition could be done<br />
with a local chorus or band performing hits<br />
from classic musicals. Alternatively, Mother’s<br />
Day could be the perfect event for a movie<br />
sing-a-long. The Sound of Music—with songs<br />
everyone knows and a lovable future mom at its<br />
center—is a perennial favorite. (Just don’t invite<br />
Christopher Plummer, who’s apparently just as<br />
grouchy as his character, Captain Von Trapp,<br />
was in the film. Plummer once famously called<br />
the movie The Sound of Mucus.) Mary Poppins,<br />
The Wizard of Oz, and The Little Mermaid are<br />
also great choices for a group karaoke session<br />
that will make this Mother’s Day a memorable<br />
experience for all.<br />
Have Mother’s Day plans for your theater?<br />
Send us your pictures and tell us your stories!<br />
Send to: inkoo@boxoffice.com<br />
84 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
Join Us!<br />
Where Hollywood<br />
Meets the Heartland<br />
Be a part of the Midwest’s largest convention<br />
for exhibitors, vendors & studios.<br />
October 8-9-10, <strong>2013</strong> | Grand Geneva Resort & Spa | Lake Geneva, WI<br />
ATTENTION<br />
VENDORS:<br />
Register by July 1<br />
to receive your<br />
trade show<br />
booth discount.<br />
Screenings | Seminars | Awards | Trade Show<br />
Presented by<br />
<strong>2013</strong> Geneva Convention<br />
OCTOBER 8, 9, 10 <strong>2013</strong> | Grand Geneva Resort & Spa | Lake Geneva, Wisconsin<br />
Register at GenevaConvention.com or call 262-532-0017.<br />
Offi cial Media Sponsor<br />
BOXOFFICE
charts &<br />
graphs<br />
source: boxoffice.com<br />
$623.3<br />
Marvel’s The Avengers 2012<br />
$559.9<br />
The Dark Knight 2008<br />
$556.8<br />
Spider-Man 2002<br />
Batman 1989 $503.6<br />
the<br />
$481.2<br />
Spider-Man 2 2004<br />
$458.8<br />
Superman 1978<br />
$448.1<br />
The Dark Knight Rises 2012<br />
highestgrossing<br />
comic book<br />
movies of<br />
all time<br />
$391.3<br />
Spider-Man 3 2007<br />
domestic<br />
grosses<br />
adjusted to<br />
current ticket<br />
prices<br />
$354.7<br />
Iron Man 2008<br />
in millions<br />
$338.4<br />
Batman Forever 1995<br />
86 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
Scarlett Johansson as<br />
black widow in<br />
marvel’s the avengers<br />
X-Men: The Last Stand 2006<br />
$322.0<br />
Iron Man 2 2010<br />
$316.7<br />
Batman Returns 1992<br />
$313.8<br />
Superman II 1981<br />
$311.2<br />
X2: X-Men United 2003<br />
$285.1<br />
The Amazing<br />
Spider-Man<br />
2012<br />
$262.0<br />
Batman Begins 2005<br />
$258.1<br />
Superman<br />
Returns<br />
2006<br />
$244.3<br />
X-Men 2000<br />
$233.4<br />
Fantastic Four 2005<br />
$193.0<br />
may <strong>2013</strong> BoxOffice ® <strong>Pro</strong> The Business of Movies 87
ig<br />
picture<br />
questions for<br />
tony stark<br />
Robert Downey Jr. gets real about<br />
Iron Man’s post-Avengers PTSD<br />
and why he’s willing to keep<br />
wearing the suit<br />
1<br />
BoxOffice: In the Iron Man movies, you are, naturally, the<br />
lead. In The Avengers, however, you’ve got those other guys<br />
co-starring. Do you miss having them around?<br />
Robert Downey Jr.: I don’t have to be the lead in Iron Man if that’s<br />
going to make everyone comfortable. But hell is other people. Somebody<br />
said that, and sometimes I think, “What if that guy’s right? All I do is<br />
hang out with other people! And I’m another person to them?”<br />
(continued on page 90)<br />
88 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
ig picture > iron man 3<br />
may <strong>2013</strong> BoxOffice ® <strong>Pro</strong> The Business of Movies 89
ig picture > iron man 3<br />
“Let’s face it—this is not the worst<br />
thing you’ve caught me doing.”<br />
—Tony Stark to Pepper Potts<br />
Iron Man (2008)<br />
2<br />
How did The Avengers raise the bar as far as<br />
action sequences for Iron Man 3?<br />
There’s people who are, strangely, smarter than<br />
me making these decisions, I’m told. The funny<br />
thing is, Iron Man 3 is simultaneously a much<br />
smaller storytelling style, but it also feels that way<br />
personally. I’m not on the mountaintop with Thor<br />
and Loki in Cleveland—I mean New York—with<br />
Cap and Black Widow and Hawkeye and all that.<br />
I’m in every second of every action scene in this<br />
movie. I’ve never done so much action in my life.<br />
The scope feels really, really big. I think Marvel’s<br />
intention is to defy expectations again.<br />
3<br />
Did you have any trepidation about coming<br />
back to this character for the fourth time?<br />
I was kinda looking forward to it. I don’t want<br />
to say “kinda.” That’s tepid. You know that thing<br />
of it’s spring break or summer or winter and you<br />
have these plans? You want to go to Sedona, right?<br />
This is, to me, the kind of grab-bag wish list of<br />
things we’ve always wanted to do and haven’t had<br />
the chance. I put so much onus on Iron Man 3.<br />
Iron Man 3 was supposed to answer all the questions<br />
for the audience, cure all my uncomfortable<br />
moments in the past playing this character, and<br />
get in every idea that fell by the wayside in the last<br />
three movies. Then we shot the movie, and I feel<br />
like there’s still a number of other things we have<br />
to do.<br />
90 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
Don Cheadle returns to the<br />
Marvel fold after sitting<br />
out The Avengers as James<br />
Rhodes, aka War Machine<br />
big picture > iron man 3<br />
4<br />
Does the fact that you’re so connected to<br />
it make you want to stay around as long as<br />
you can?<br />
The thing about playing this kind of inherent<br />
narcissist, whenever you kill one of Tony’s egos,<br />
another one just pops up. I’ve had that experience,<br />
but I’ve found the whole thing to be a very quieting<br />
journey for me. It’s been remarkably humbling. You<br />
realize you’re just kind of part of this thing. I think<br />
the problems begin when any one person involved<br />
in anything—particularly anything successful—<br />
decides that they have some sense of ownership to<br />
it. This is really something that Stan Lee scratched<br />
down going on 50 years now. He touched on something<br />
really, really cool with Iron Man, and strangely,<br />
Iron Man was a sort of second-tier superhero who<br />
laid the groundwork for these other guys and gals.<br />
Where I’m at right now is that I’ve always thought of<br />
myself—particularly since I’ve been married to this<br />
high-functioning Jewish girl from the Midwest—I<br />
think of myself as being a company man. The funny<br />
thing is that, though I can be quick-witted, I tend<br />
to have a slow take experientially for things. These<br />
five or six years have not been enough time for me to<br />
process what has happened.<br />
may <strong>2013</strong> BoxOffice ® <strong>Pro</strong> The Business of Movies 91
ig picture > iron man 3<br />
5<br />
We saw Tony Stark go through<br />
a lot in The Avengers. How did<br />
the events of that movie wind up<br />
changing him for this one?<br />
The combined<br />
worldwide gross<br />
for Downey Jr.’s<br />
Iron Man and<br />
Sherlock Holmes<br />
franchises is<br />
$2,276,984,650<br />
Well, we had to do something, you<br />
know? I thought, “Isn’t it odd that<br />
he had this experience? And why was<br />
he suddenly just in New York for one<br />
summer?” We know why he was there:<br />
Stark Tower. But what he was doing<br />
there really was building an architect<br />
for a third-act set piece. I wanted him<br />
back home, and I thought, “What if<br />
that happened to any of us—wouldn’t<br />
we be a little tripped out? You’d be<br />
watching your back.” Then I thought<br />
about this 21st-century reality and<br />
kind of oddball zeitgeist of America<br />
and terrorism and all the weirdo stuff<br />
that this country seems to generate<br />
and co-create. So I thought I should be<br />
a little freaked out.<br />
6<br />
There’s a sense in this film that<br />
Stark’s pride gets in the way, like<br />
when he taunts the Mandarin and<br />
gives out his home address.<br />
I know. It’s that problem too where<br />
you’re like, “What are you going to do<br />
about it?” If you’re a little bit traumatized,<br />
you become a little more reactive,<br />
right?<br />
92 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
ig picture > iron man 3<br />
7<br />
There was a lot of groundwork that Iron Man<br />
2 had to lay for The Avengers. Since Iron<br />
Man 3 is the start of phase two, is there still<br />
a lot of groundwork that has to be laid out<br />
for future films, or is this one more able to<br />
tell a story all its own?<br />
More than any of the other three that I’ve been<br />
involved in, it seems to be very uninhibited. I’m just<br />
not used to working this way. Fortunately, Shane<br />
and all the other creatives and myself banged out a<br />
story that, quote-unquote, “earned” it. We had The<br />
Avengers and had something where we all loved how<br />
it turned out. We thought, “Let’s not get indulgent<br />
now, but let’s go back to Tony and Pepper.” This<br />
one is Tony’s journey from A to Z chasing the bad<br />
guy. It’s a bad guy who draws him out to places that<br />
he’s never been before, and I think that that was<br />
what was attractive to Shane. He said, “I’d like to<br />
see him crashing in mid-America. I’d like to see him<br />
interacting with some kid who kind of doesn’t really<br />
relate to him as anything but Iron Man.”<br />
may <strong>2013</strong> BoxOffice ® <strong>Pro</strong> The Business of Movies 93
ig picture > iron man 3<br />
Ben Kingsley<br />
challenges Iron<br />
Man as Marvel<br />
Comics’ super<br />
villain The<br />
Mandarin<br />
8<br />
Iron Man is very grounded in reality, but over<br />
the course of the films, they’ve moved to a<br />
very different world. How has playing Tony<br />
against that been?<br />
The nice thing is that it is fairly compartmentalized<br />
and, I think, pretty seamlessly so. He lives in this<br />
cocoon of his own world, anyway. All he really cares<br />
about is Pepper and his Dummy. He doesn’t care<br />
about any of his material stuff except some robots,<br />
this girl, and his one friend. I think he became<br />
friendly with Bruce [Banner] maybe a little more<br />
than the others, but it’s like he went and did a big<br />
action movie and then came back and lives in Kansas<br />
or something.<br />
9<br />
The Tony Stark character is very linked to<br />
you. That’s not to say they couldn’t one day<br />
recast the role—<br />
I’m sure they’ve thought about it. I feel like I got<br />
sold to Disney for $4 billion.<br />
10<br />
So there will be an Iron Man 4?<br />
I don’t know.<br />
94 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
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ig picture > iron man 3<br />
Tag team<br />
Iron Man 3 director Shane Black<br />
and Marvel President Kevin<br />
Feige form the ultimate<br />
super duo<br />
robert downey jr. and<br />
marvel chief kevin Feige<br />
on the set of iron man 2<br />
n Marvel’s The Avengers’ $1.5 billion global<br />
haul is great advertising for Iron Man 3. It’s<br />
also a lot of pressure. Being the first individual<br />
flick to follow in The Avengers’ wake can’t help<br />
but be humbling, even if you’re Tony Stark.<br />
“The touchstone of the first meeting was<br />
that we can’t go bigger than we’ve just gone,”<br />
says Shane Black, the Lethal Weapon scribe who<br />
wrote and directed Robert Downey Jr.’s 2005<br />
comeback thriller Kiss Kiss Bang Bang. Now for<br />
his sophomore flick, he has his hands on the<br />
helm of Marvel’s most popular solo spin-off.<br />
Marvel president Kevin Feige, the man who<br />
masterminded the entire juggernaut, agrees.<br />
“No Nick Fury, no Black Widow—those were<br />
really the only parameters,” he says, adding,<br />
“The only real connective tissue we wanted<br />
from Avengers in this movie was Avengers’ effect<br />
on Tony’s psyche.” Which, understandably, has<br />
been severely rattled.<br />
“Tony Stark, who is the s--t and always<br />
thought of himself as top dog, now has been<br />
to outer space, nearly got killed by freaking<br />
aliens, has encountered a god that can smash<br />
him across the forest with a hammer, has<br />
encountered a guy that his father used to talk<br />
about from 1945,” lists Feige. “It’s no mistake<br />
that we meet Tony at the beginning of this<br />
movie. He’s just building suits, putting himself<br />
in the suit—he’s much more comfortable when<br />
he’s in the suit. And a lot of this movie is about<br />
Tony learning to become Tony Stark again<br />
outside the armor.”<br />
While Iron Man seemed to dominate The<br />
Avengers—that is, he had the biggest mouth—<br />
underneath the armor, Tony Stark secretly<br />
feels like he doesn’t measure up. Even being<br />
the big hero who flew into the solar system to<br />
dispose of an atomic bomb doesn’t rebuild his<br />
self-esteem.<br />
“He’s in a world where all of the sudden,<br />
without this armor, there’s elements with<br />
which he cannot hope to compete. He feels<br />
like unless he can build the perfect man, he’s<br />
going to be outdone and outshone by these<br />
people who are literally gods,” explains Black.<br />
“That was the impetus for this movie: rip<br />
everything off him and say, ‘Yes, you’re alone<br />
with these incredible forces aligned against<br />
you, and you don’t even have your armor.’”<br />
In a way, Iron Man 3 isn’t so much a<br />
trilogy capper as a back-to-basics reboot of<br />
what worked in the first film, which surprised<br />
audiences and industry watchers with its<br />
$318 million domestic take—still the biggest<br />
solo-flick box office in the franchise. Sure, it<br />
seems like an obvious hit now. But remember<br />
this: in <strong>May</strong> 2008, people were paying more<br />
attention to June’s The Incredible Hulk, not a<br />
second-tier character spin-off starring a pedigreed,<br />
but publicly troubled, actor whose films<br />
hadn’t broken past the $100 million domestic<br />
benchmark, well, ever. Feige and Black’s strategy<br />
to recapture the original Iron Man’s magic:<br />
destroy everything safe.<br />
“We wanted to blow up his life and see<br />
how he deals with a nemesis without his suits<br />
working—get him back metaphorically to the<br />
cave with box of scraps, like the first movie,”<br />
says Feige. “If we wanted to do a big ‘It<br />
connects to The Avengers and then Nick Fury<br />
comes in and stuff,’ I don’t think Shane would<br />
have been interested in that, and I don’t think<br />
he would have been the right guy for it. But<br />
to take a Tony Stark journey and explore his<br />
character deeper than we had since the first act<br />
of the first film, he was the man.”<br />
How did Feige know to trust Black, especially<br />
when Black hasn’t directed a film in seven<br />
years? Because for years, Black had been behindthe-scenes<br />
advising on the Iron Man scripts,<br />
thanks to his own resume of hit action flicks<br />
and long-term friendship with Downey Jr.<br />
“Jon [Favreau, the director of Iron Man<br />
and Iron Man 2] and he would come over<br />
kind of grumpy, sort of groping for ways to<br />
fix the script,” says Black. “I don’t think that I<br />
contributed anything too terribly important,<br />
although Robert’s been kind enough to cite it<br />
as having been helpful.” And Favreau returned<br />
the favor during the Iron Man 3 shoot, where<br />
he still turned up regularly to play Tony Stark’s<br />
friend Happy Hogan. “He had every opportunity<br />
to be kind of weird or resentful, like ‘I<br />
did these pictures for four years and now you’re<br />
doing them?’” adds Black. “But instead he was<br />
the nicest guy in the world and was extremely<br />
beneficial in helping—like, ‘What would you<br />
do here Jon?’”<br />
Also getting a dose of realism: Iron Man’s<br />
nemesis The Mandarin, played here by<br />
(continued on page 98)<br />
96 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
ig picture > iron man 3<br />
69-year-old Oscar winner Ben Kingsley. In the<br />
comics, The Mandarin has near-superpowers,<br />
thanks to two fistfuls of rings that each has its<br />
own special power. Not so in Iron Man 3—<br />
now, Kingsley’s charged with being a formidable<br />
nemesis for the man made of metal even<br />
without an evil boost from space magic.<br />
“I hate to break it to you, but he’s not<br />
from space in this,” admits Black. “The rings<br />
are rings. They’re showmanship. They’re accoutrements.<br />
They’re paraphernalia of warfare<br />
that he sort of drapes himself with.”<br />
To The Mandarin, image is everything.<br />
Like Bane in The Dark Knight Rises, he’s a<br />
shrewd, media-aware terrorist bent on destroying<br />
hope and heroism.<br />
“We used as the example Colonel Kurtz<br />
from Apocalypse Now,” says Black. “Someone<br />
who is out there doing fieldwork, supervising<br />
atrocities for the intelligence community, who<br />
went nuts in the field and became this sort of<br />
devotee of war tactics, and now has surrounded<br />
himself with a group of people over which<br />
he presides—and the only thing that unifies<br />
them is this hatred of America. So he’s the ultimate<br />
terrorist, but he’s also savvy. He’s been<br />
in the intelligence world. He knows how to<br />
use the media. And taking it to a real-world<br />
level like that was a lot fun for us.”<br />
Christopher Nolan seems to have been a<br />
major influence in this pared-down, darker<br />
threequel, both in forcing the lead hero to<br />
shane black and robert<br />
downey jr. on the set of<br />
black’s kiss kiss bang bang<br />
rebuild himself from scratch and in pitting him<br />
against a showman who exposes his weaknesses.<br />
Elaborates Black, “One of the joys for me has<br />
always been seeing how you take a villain from<br />
the comic book and realize him in a slightly<br />
more realistic way for the movie that’s recognizable,<br />
but different. Like the Joker in The Dark<br />
Knight is not the Joker from the comic book,<br />
but there’s just enough of him that you recognize<br />
him and go, ‘Wow, what a creative way of<br />
interpreting the Joker for motion pictures.’ So<br />
that was our task here too. The fans love this<br />
character of The Mandarin, and we just said,<br />
‘Well, what we don’t want is this potentially<br />
racist stereotype of a Fu Manchu villain just<br />
waving his fist.’”<br />
“Grounding it in reality is most important,”<br />
says Feige. “Even in the comics, that’s<br />
the difference between caring about a comic<br />
book character and not: if their emotional<br />
response is believable and is appropriate.”<br />
Believable and appropriate? That, Feige<br />
and Black can do. Now all Iron Man 3 has to<br />
do is keep pace with its predecessors, both of<br />
which made more than $500 million worldwide.<br />
And, of course, wait for its biggest<br />
franchise test: now that fans have been spoiled<br />
by The Avengers, will they want to see Tony<br />
Stark without his homeboys? Feige is feeling<br />
confident.<br />
“If you’re reading a standalone Iron Man<br />
comic, they don’t spend every page explaining<br />
where every other Marvel hero is. The audience<br />
kind of accepts that there are times when<br />
they’re on their own and there are times when<br />
they are together,” insists Feige. “I’m betting<br />
that movie audiences will feel the same way.”<br />
98 Boxoffice pro may <strong>2013</strong>
ig picture > iron man 3<br />
Super Showdown<br />
Ranking the Marvel moneymakers<br />
n How successful was The Avengers? It made<br />
nearly as much money as Iron Man and Iron Man<br />
2 combined. And in turn, the Iron Man series<br />
dwarfs its competition with Thor, which narrowly<br />
summoned more cash than Captain America.<br />
Alas, poor Hulk is still the Avengers’ weakest link<br />
(that is, if you’re already discounting Black Widow<br />
and Hawkeye from getting their own solo<br />
projects), but Joss Whedon’s genius recasting of<br />
Mark Ruffalo as good-natured, if hot-tempered,<br />
Bruce Banner has reawakened interest in giving<br />
the Hulk his third star turn in a decade.<br />
source: BoxOffice.com<br />
opening weekend domestic gross worldwide gross<br />
1<br />
Marvel's<br />
The Avengers 2012<br />
$207,438,708 $623,357,910 $1,511,757,910<br />
2 Iron Man 2008 $98,618,668 $318,412,101 $585,174,222<br />
3 Iron Man 2 2010 $128,122,480 $312,433,331 $623,933,331<br />
4 Thor 2011 $65,723,338 $181,030,624 $449,326,618<br />
5<br />
Captain America:<br />
The First Avenger 2011<br />
$65,058,524 $176,654,505 $368,608,363<br />
6<br />
The Incredible<br />
Hulk 2008<br />
$55,414,050 $134,806,913 $263,427,551<br />
100 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
irwin seating
JUNE 8 th and 9 th , <strong>2013</strong><br />
20 th Century Fox Studios, Los Angeles<br />
For sponsorship opportunities contact Diane Salerno:<br />
diane@sixdegreesglobal.com<br />
310-994-7294
may <strong>2013</strong> BoxOffice ® <strong>Pro</strong> The Business of Movies 105
coming<br />
soon<br />
by Inkoo Kang<br />
Love Is All You Need<br />
Spy another day<br />
n Pierce Brosnan spent the late<br />
’90s and early ’00s as every male’s<br />
fantasy: James Bond. Since giving up<br />
his license to kill, the Irish actor has<br />
switched tacks, using his salt-andpepper<br />
allure to appeal to female<br />
audiences—first in Mamma Mia!<br />
and now in Love Is All You Need, a<br />
grown-up romance from Oscar-winning<br />
director Susanne Bier (In Another<br />
World). As an uptight workaholic in<br />
cosmopolitan Copenhagen, Brosnan<br />
meets an attractive woman when she<br />
backs into his car—and she turns out<br />
to be the mother of his son’s fiancée.<br />
The dialogue flits between English,<br />
Danish, and—when the awkward<br />
wedding scenes take the characters to<br />
picturesque Sorrento—Italian.<br />
DISTRIBUTOR Sony Classics CAST<br />
Pierce Brosnan, Trine Dyrholm, Molly<br />
Blixt Egelind, Sebastian Jessen,<br />
Paprika Steen, Kim Bodnia DIRECTOR<br />
Susanne Bier SCREENWRITER Anders<br />
Thomas Jensen PRODUCERS Sisse<br />
Graum Jørgensen, Vibeke Windeløv<br />
GENRE Romantic comedy/Foreign<br />
RATING R RUNNING TIME 117 min. RE-<br />
LEASE DATE <strong>May</strong> 3 ltd.<br />
The Iceman<br />
Badfella<br />
n Real-life mafioso Richard Kuklinski<br />
(Michael Shannon) murdered more<br />
than 100 people before getting caught<br />
by authorities in 1986. The Iceman is<br />
his suitably grim biopic, which fills<br />
in the details surrounding that brutal<br />
statistic: the contract killer’s struggles<br />
with money, his devotion to his wife<br />
(Winona Ryder) and kids, his abusive<br />
upbringing, and the climate of “kill or<br />
be killed” in blue-collar New Jersey.<br />
Eventually, Kuklinski pairs up with<br />
another killer for hire (Chris Evans,<br />
far from his previous role as Captain<br />
America)—a fatal mistake that endangers<br />
his innocent family.<br />
DISTRIBUTOR Millennium CAST Michael<br />
Shannon, Winona Ryder, James<br />
Franco, Ray Liotta, Chris Evans,<br />
David Schwimmer, Robert Davi<br />
DIRECTOR Ariel Vroman SCREENWRIT-<br />
ERS Morgan Land, Ariel Vromen<br />
PRODUCERS Ehud Bleiberg, Ariel<br />
Vromen GENRE Drama/Thriller RAT-<br />
ING R RUNNING TIME 103 min. RELEASE<br />
DATE <strong>May</strong> 3<br />
108 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
coming soon<br />
n In this loose update of Meet the<br />
Parents, Wade (Craig Robinson) is an<br />
average guy eager to propose to his<br />
girlfriend Grace (Kerry Washington)<br />
but unsettled that she hasn’t introduced<br />
him to her well-off clan yet. To<br />
kill two birds with one stone, Wade<br />
crashes a family event to ask Grace<br />
for her hand and to finally meet her<br />
parents, “the chocolate Kennedys.”<br />
Grace’s father (David Alan Grier), a<br />
federal judge, is instantly disapproving,<br />
leading Wade to simultaneously<br />
try to get in his good graces while<br />
waging a secret war against his future<br />
dad-in-law.<br />
DISTRIBUTOR Lionsgate CAST Kerry<br />
Washington, Craig Robinson, Tyler<br />
James Williams, Ana Gasteyer, Kali<br />
Hawk, S. Epatha Merkerson, David<br />
Alan Grier DIRECTOR/SCREENWRIT-<br />
ER Tina Gordon Chism PRODUCERS<br />
Matt Moore, Tyler Perry, Paul Hall,<br />
Stephanie Allain, Ozzie Areu GENRE<br />
Comedy RATING PG-13 RUNNING TIME<br />
TBD RELEASE DATE <strong>May</strong> 10<br />
Peeples<br />
Laying down the in-law<br />
may <strong>2013</strong> Boxoffice pro 109
coming soon<br />
n Every family has a story. Oscar-nominated<br />
actress-director Sarah<br />
Polley (Take This Waltz, Away from<br />
Her) roots through her family tree to<br />
find her family’s stories, in particular<br />
the ones about her elusive mother<br />
Diane, an actress who passed away<br />
in 1987. Polley interviews several<br />
members of her family to get the truth<br />
about Diane, while also turning the<br />
camera on herself as the interviewer/<br />
director in order to examine how the<br />
filmmaking process shapes the answers<br />
she receives. The result is an intensely<br />
revealing documentary that peels back<br />
family secrets layer by layer—including<br />
the revelation that Polley’s father is<br />
not her own.<br />
DISTRIBUTOR Roadside Attractions<br />
DIRECTOR/SCREENWRITER Sarah Polley<br />
PRODUCER Anita Lee GENRE Documentary<br />
RATING PG-13 RUNNING TIME<br />
108 min. RELEASE DATE <strong>May</strong> 17 ltd.<br />
Stories We Tell<br />
Rashomom<br />
Black Rock<br />
Woman: the most dangerous game<br />
n Three lifelong female friends<br />
revisit the Maine island where they<br />
vacationed as kids—and end up running<br />
for their lives. The long-awaited<br />
reunion between Abby (Katie<br />
Aselton), Sarah (Kate Bosworth), and<br />
Lou (Lake Bell) is interrupted by the<br />
discovery that three ex-Marines are<br />
illegally hunting on the island and<br />
that the women know one of the men,<br />
Henry (Will Bouvier), from high<br />
school. When Henry gets too friendly<br />
with Sarah, she defends herself and<br />
accidentally kills him. Henry’s two<br />
friends then come after the female<br />
friends as payback for their buddy’s<br />
death, forcing Abby, Sarah, and Lou<br />
to flee—then fight back.<br />
DISTRIBUTOR LD Entertainment<br />
CAST Katie Aselton, Lake Bell, Kate<br />
Bosworth, Will Bouvier, Jay Paulson,<br />
Anslem Richardson DIRECTOR Katie<br />
Aselton SCREENWRITER Mark Duplass<br />
PRODUCER Adele Romanski GENRE<br />
Thriller RATING R RUNNING TIME 83<br />
min. RELEASE DATE <strong>May</strong> 17<br />
110 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
coming soon<br />
n Move over, Woody Allen. With<br />
Frances Ha, writer-director Noah Baumbach<br />
(The Squid and the Whale) and<br />
star-co-writer Greta Gerwig (Damsels in<br />
Distress, To Rome with Love) are laying<br />
claim to the ground Allen once reigned<br />
over: the New York-centric quirky<br />
romantic comedy. Gerwig, whose star<br />
arrival has been long delayed, makes<br />
the strongest bid for screen glory yet as<br />
the titular character, a broke, semi-professional<br />
dancer with a desperate plan<br />
for success. But the daffy and insecure<br />
Frances has a penchant for babbling<br />
her way into corners, especially with<br />
men. And things get worse when her<br />
roommate kicks her out, and temporary<br />
homelessness threatens to dampen her<br />
perennial optimism.<br />
DISTRIBUTOR IFC CAST Greta Gerwig,<br />
Mickey Summer, Adam Driver,<br />
Patrick Heusinger, Michael Zegen<br />
DIRECTOR Noah Baumbach SCREEN-<br />
WRITERS Noah Baumbach, Greta<br />
Gerwig PRODUCERS Noah Baumbach,<br />
Scott Rudin, Rodrigo Teixeira, Lila<br />
Yacoub GENRE Comedy RATING R<br />
RUNNING TIME 86 min. RELEASE DATE<br />
<strong>May</strong> 17 ltd.<br />
Frances Ha<br />
Damsel in distress (about her career)<br />
may <strong>2013</strong> Boxoffice pro 111
coming soon<br />
n Almost 20 years ago, Jesse (Ethan<br />
Hawke) and Celine (Julie Delpy)<br />
met on an overnight train to Vienna<br />
in Before Sunrise and reunited for an<br />
afternoon in Paris nine years later in<br />
Before Sunset. The third installment<br />
of director Richard Linklater’s epically<br />
romantic Before series finds the<br />
two chatty lovers walking and talking<br />
again, this time on a Greek getaway.<br />
Jesse and Celine talk like any longtime<br />
couple, discussing their kids,<br />
jobs, and daily responsibilities, but<br />
manage to transcend the drudgery in<br />
their lives by rekindling their passion<br />
in middle age.<br />
Before Midnight<br />
They Were Young Once<br />
DISTRIBUTOR Sony Classics CAST<br />
Ethan Hawke, Julie Delpy, Seamus<br />
Davey-Fitzpatrick, Ariane Labed,<br />
Athina Rachel Tsangari DIRECTOR<br />
Richard Linklater SCREENWRITERS<br />
Richard Linklater, Julie Delpy, Ethan<br />
Hawke PRODUCERS Christos V. Konstantakopoulos,<br />
Richard Linklater,<br />
Sara Woodhatch GENRE Drama/Romance<br />
RATING TBD RUNNING TIME 108<br />
min. RELEASE DATE <strong>May</strong> 24<br />
n Julian Assange, the founder of<br />
the information-sharing website<br />
Wikileaks, is the subject of the<br />
latest film by prolific Oscar-winning<br />
documentarian Alex Gibney (Taxi to<br />
the Dark Side, Mea Maxima Culpa).<br />
Gibney brings to light the contradiction<br />
that is Assange—a hacker who<br />
aims to distribute confidential government<br />
and corporate documents to<br />
the masses, as well as a megalomaniac<br />
with a secretive streak (and alleged<br />
sexual assaulter). But the film reaches<br />
its emotional highs during its scenes<br />
with the confused Bradley Manning,<br />
the former Army soldier who carried<br />
Wikileaks to the front page and ended<br />
up in solitary confinement, as friendless<br />
and alone as he had ever been.<br />
DISTRIBUTOR Focus World DIRECTOR/<br />
We Steal Secrets:<br />
The Story of Wikileaks<br />
Hacktivist extraordinaire<br />
SCREENWRITER Alex Gibney PRODUC-<br />
ERS Alexis Bloom, Marc Shmuger<br />
GENRE Documentary RATING TBD<br />
RUNNING TIME 127 min. RELEASE DATE<br />
<strong>May</strong> 24 ltd.<br />
112 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
coming soon<br />
n When an environmental group<br />
called The East threatens war on<br />
three pharmaceutical companies,<br />
they hire Sarah (Brit Marling), a<br />
security consultant, to go undercover<br />
and expose the activist group.<br />
Though the eco-terrorist cell’s actions<br />
are brazenly violent, Sarah slowly<br />
comes over to their side. Meanwhile,<br />
The East’s charismatic leader<br />
Benji (Alexander Skarsgård of TV’s<br />
True Blood) starts wanting out of<br />
the group but doesn’t know how to<br />
make his exit without betraying his<br />
convictions or his followers. Things<br />
get heated when The East follows<br />
through on its threat of war—and<br />
Sarah and Benji fall in love without<br />
knowing the truth about the other.<br />
DISTRIBUTOR Fox Searchlight CAST<br />
Brit Marling, Alexander Skarsgård,<br />
Ellen Page, Julia Ormond, Patricia<br />
Clarkson DIRECTOR Zal Batmanglij<br />
SCREENWRITERS Zal Batmanglij, Brit<br />
Marling PRODUCERS Ridley Scott, Brit<br />
Marling, Tony Scott, Michael Costigan,<br />
Jocelyn Hayes GENRE Drama/<br />
Thriller RATING PG-13 RUNNING TIME<br />
116 min. RELEASE DATE <strong>May</strong> 31 ltd.<br />
The East<br />
Eco-maniacs<br />
may <strong>2013</strong> BoxOffice ® <strong>Pro</strong> The Business of Movies 113
coming soon<br />
2 Guns<br />
Spy vs. spy<br />
n During his three decades in Hollywood, Denzel Washington<br />
has played many memorable characters, from a<br />
boxer imprisoned for murder (The Hurricane) to Malcolm<br />
X to, most recently, a superstar pilot with a drinking<br />
problem (Flight). But Washington’s most famous role to<br />
date is that of a crooked LAPD cop in Training Day, for<br />
which he won an Academy Award. The actor picks up<br />
a badge again in 2 Guns, this time as DEA agent Bobby<br />
Trench, whose assignment is to infiltrate the mob. Trench<br />
is particularly wary of his partner of the past year, Marcus<br />
Stigman (Mark Wahlberg), unaware that Stigman is an<br />
undercover Naval Intelligence officer. When they bumble<br />
a law-enforcement mission, they not only are disowned by<br />
their agencies but also become targets of the mob. Trench<br />
and Stigman go on the lam, clueless that the other is also<br />
a lawman. (Let’s hope Hollywood soon reinterprets this<br />
premise as a comedy.) Directed by Contraband helmer<br />
Baltasar Kormákur and adapted from a graphic novel of<br />
the same name, 2 Guns might not inspire a great deal of<br />
trust in governmental competence, but audiences will<br />
believe in the star power of Washington and Wahlberg.<br />
DISTRIBUTOR Universal CAST Mark Wahlberg, Denzel<br />
Washington, James Marsden, Paula Patton, Bill<br />
Paxton, Edward James Olmos DIRECTOR Baltasar<br />
Kormákur SCREENWRITER Blake Masters PRODUC-<br />
ERS Andrew Cosby, Randall Emmett, George Furla,<br />
Norton Herrick, Marc Platt, Ross Richie GENRE Action/<br />
Drama RATING TBD RUNNING TIME TBD RELEASE DATE<br />
August 2<br />
114 Boxoffice pro may <strong>2013</strong>
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Elysium<br />
Occupy the future<br />
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n According to Greek mythology, Elysium is where<br />
a few noble heroes, chosen by the gods, reside after<br />
death. The one-percenters of the year 2159, however,<br />
have chosen themselves to live on Elysium, an immaculate<br />
space station, while the rest of humanity struggles<br />
to survive on an overcrowded, devastated Earth.<br />
The 99 percent hope for a better world—specifically,<br />
that of Elysium, where crime and poverty is nil and<br />
medical care plentiful—but many up above believe<br />
in maintaining the strict anti-immigration policies<br />
that keep the Earthlings in their place. Max (Matt<br />
Damon), an ordinary planet-dweller with a life-threatening<br />
illness, is desperate enough to attempt breaching<br />
the space station, but Elysium’s fearsome Secretary<br />
Delacourt (Jodie Foster) knows that a proverbial hole<br />
in the fence could spell the fall of the wall dividing<br />
the two societies—an outcome she’d do anything to<br />
prevent. Sci-fi writer-director Neill Blomkamp continues<br />
to explore the issues of immigration, segregation,<br />
and violence that he first examined in his impressive<br />
debut District 9. But instead of alien insects, he tells<br />
his story with Hollywood A-listers like Damon and<br />
Foster, as well as Brazilian superstars Wagner Moura<br />
and Alice Braga.<br />
DISTRIBUTOR Sony/TriStar CAST Matt Damon, Jodie<br />
Foster, Sharlto Copley, Wagner Moura, Alice Braga<br />
DIRECTOR/screenwriter Neill Blomkamp PRODUCERS<br />
Simon Kinberg, Bill Block GENRE Action/Sci-fi RATING<br />
TBD RUNNING TIME TBD RELEASE DATE August 9<br />
C<br />
M<br />
Y<br />
CM<br />
MY<br />
CY<br />
CMY<br />
K<br />
116 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
coming soon<br />
planes<br />
Cars with wings!<br />
n In Hollywood today, the closest thing to a sure bet is<br />
Pixar. So it’s not surprising that Pixar’s parent studio, Disney,<br />
would bet on Pixar again and again, this time with<br />
a Cars spin-off, the plainly named Planes. A lowly crop<br />
duster named Dusty (Dane Cook) has dreams of competing<br />
in an around-the-world aerial race. Unfortunately,<br />
Dusty isn’t designed for speed, and worse, he’s afraid<br />
of heights. With the support of a World War II fighter<br />
named Skipper (Stacy Keach), Dusty qualifies—just<br />
barely—to enter the race. But the reigning champion of<br />
the race, Ripslinger, won’t give up his title easily. Though<br />
it’s a Disney production, the film has an ace in the hole<br />
with Pixar veteran John Lasseter, director of the first two<br />
Cars films, the first two Toy Story films, and A Bug’s Life,<br />
in the producer’s seat. And it’s clearly got studio support:<br />
Disney announced two sequels for Planes months before<br />
the first film would be released. Since the long-rumored<br />
Cars 3 is yet to be confirmed, perhaps Planes will finally<br />
answer the burning question at the heart of the Cars<br />
universe: how and why automobiles (and planes) exist in<br />
a driver-less, inventor-less world.<br />
DISTRIBUTOR Disney CAST Dane Cook, Stacy Keach,<br />
Brad Garrett, Carlos Alazraqui, Roger Craig Smith,<br />
Julia Louis-Dreyfus, John Cleese, Cedric the Entertainer,<br />
Val Kilmer, Anthony Edwards DIRECTOR Klay<br />
Hall screenwriter TBD PRODUCERS Traci Balthazor-Flynn,<br />
Tony Cosanella, John Lasseter, Kip Lewis<br />
GENRE Adventure/Animated RATING TBD RUNNING TIME<br />
TBD RELEASE DATE August 9<br />
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118 Boxoffice pro may <strong>2013</strong>
ooking<br />
guide<br />
compiled by Daniel Garris<br />
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS<br />
DISNEY 818-560-1000 / Ask for Distribution<br />
IRON MAN 3 Fri, 5/3/13 WIDE Robert Downey Jr., Guy Pearce Shane Black NR Act/Adv<br />
3D/IMAX/Dolby<br />
Atmos/Quad<br />
MONSTERS UNIVERSITY Fri, 6/21/13 WIDE Billy Crystal, John Goodman Dan Scanlon NR Ani/Com/Fam 3D/Dolby Atmos/Quad<br />
THE LONE RANGER Wed, 7/3/13 WIDE Johnny Depp, Armie Hammer Gore Verbinski NR Act/Adv/Wes Quad<br />
PLANES Fri, 8/9/13 WIDE Dane Cook Klay Hall NR Ani/Adv/Fam 3D<br />
THE DELIVERY MAN Fri, 10/4/13 WIDE Vince Vaughn, Cobie Smulders Ken Scott NR Com<br />
THOR: THE DARK WORLD Fri, 11/8/13 WIDE Chris Hemsworth, Natalie Portman Alan Taylor NR Act/Adv 3D/Quad<br />
THE FIFTH ESTATE<br />
Fri, 11/15/13 WIDE<br />
Benedict Cumberbatch,<br />
Daniel Brühl<br />
Bill Condon NR Dra<br />
FROZEN Wed, 11/27/13 WIDE Kristen Bell, Idina Menzel Chris Buck, Jennifer Lee NR Ani/Adv/Fam 3D/Quad<br />
SAVING MR. BANKS Fri, 12/20/13 WIDE Tom Hanks, Emma Thompson John Lee Hancock NR Dra<br />
NEED FOR SPEED Fri, 3/14/14 WIDE Aaron Paul, Imogen Poots Scott Waugh NR Act<br />
THE MUPPETS … AGAIN! Fri, 3/21/14 WIDE Ricky Gervais, Tina Fey James Bobin NR Com/Fam<br />
CAPTAIN AMERICA: THE WINTER<br />
SOLDIER<br />
BEARS<br />
Fri, 4/4/14 WIDE Chris Evans, Sebastian Stan Anthony Russo, Joe Russo NR Act/Adv 3D<br />
Fri, 4/18/14 WIDE<br />
Alastair Fothergill, Keith<br />
Scholey<br />
THE GOOD DINOSAUR Fri, 5/30/14 WIDE Bob Peterson NR Ani/Fam 3D<br />
FILMDISTRICT Deborah Johnson / 646-380-4497 / djohnson@filmdistrict.com<br />
INSIDIOUS: CHAPTER 2 Fri, 9/20/13 WIDE Rose Byrne, Patrick Wilson James Wan NR Hor<br />
OLDBOY Fri, 10/11/13 WIDE Josh Brolin, Elizabeth Olsen Spike Lee NR Act/Thr<br />
FOCUS FEATURES Christopher Ustaszewski / 818-777-3071<br />
THE WORLD'S END Fri, 8/23/13 WIDE Simon Pegg, Nick Frost Edgar Wright NR Com/SF Dolby Dig<br />
CLOSED CIRCUIT Wed, 8/28/13 WIDE Eric Bana, Rebecca Hall John Crowley R Thr Dolby Dig<br />
FOX 310-369-1000 / 212-556-2400<br />
EPIC Fri, 5/24/13 WIDE Amanda Seyfried, Josh Hutcherson Chris Wedge NR Ani/Adv 3D/Dolby Atmos<br />
THE INTERNSHIP Fri, 6/7/13 WIDE Vince Vaughn, Owen Wilson Shawn Levy NR Com Dolby Dig<br />
THE HEAT Fri, 6/28/13 WIDE Sandra Bullock, Melissa McCarthy Paul Feig R Act/Com Dolby Dig<br />
TURBO Wed, 7/17/13 WIDE Ryan Reynolds, Paul Giamatti David Soren NR Ani 3D<br />
THE WOLVERINE Fri, 7/26/13 WIDE Hugh Jackman, Will Yun Lee James Mangold NR Act/Adv 3D/Dolby Atmos/Quad<br />
PERCY JACKSON: SEA OF MONSTERS Fri, 8/16/13 WIDE Logan Lerman, Alexandra Daddario Thor Freudenthal NR Act/Adv/Fan 3D/Dolby Atmos<br />
RUNNER, RUNNER Fri, 9/27/13 WIDE Ben Affleck, Justin Timberlake Brad Furman NR Cri/Thr<br />
HAUNT Fri, 10/11/13 WIDE Liana Liberato, Harrison Gilbertson Mac Carter NR Hor<br />
THE COUNSELOR Fri, 11/15/13 WIDE Michael Fassbender, Brad Pitt Ridley Scott NR Dra/Thr<br />
WALKING WITH DINOSAURS 3D Fri, 12/20/13 WIDE Charlie Rowe, Angourie Rice<br />
Neil Nightingale, Barry<br />
Cook<br />
NR<br />
Doc<br />
NR Ani/Act/Adv 3D<br />
THE SECRET LIFE OF WALTER MITTY Wed, 12/25/13 WIDE Ben Stiller, Kristen Wiig Ben Stiller NR Adv/Com/Dra<br />
THE BOOK THIEF Fri, 1/17/14 WIDE Sophie Nélisse, Geoffrey Rush Brian Percival NR Dra<br />
THE MAZE RUNNER Fri, 2/14/14 WIDE Wes Ball NR SF/Thr<br />
MR. PEABODY & SHERMAN Fri, 3/7/14 WIDE Ty Burrell, Max Charles Rob Minkoff NR Ani/Com/Fam 3D<br />
RIO 2 Fri, 4/11/14 WIDE Anne Hathaway, Jesse Eisenberg Carlos Saldanha NR Ani/Adv/Fam<br />
DAWN OF THE PLANET OF THE APES Fri, 5/23/14 WIDE Andy Serkis, Keri Russell Matt Reeves NR Act/SF 3D<br />
FOX SEARCHLIGHT 212-556-2400<br />
THE EAST Fri, 5/31/13 LTD. Brit Marling, Alexander Skarsgård Zal Batmanglij PG-13 Dra/Thr<br />
THE WAY, WAY BACK Fri, 7/5/13 LTD. Liam James, Sam Rockwell Nat Faxon, Jim Rash PG-13 Com/Dra<br />
BAGGAGE CLAIM Fri, 9/27/13 WIDE Paula Patton, Derek Luke David E. Talbert NR Rom/Com<br />
BLACK NATIVITY Wed, 11/27/13 WIDE Jacob Latimore, Forest Whitaker Kasi Lemmons NR Dra/Mus<br />
120 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS<br />
LIONSGATE / 310-309-8400<br />
CINCO DE MAYO, LA BATALLA Fri, 5/3/13 LTD. Kuno Becker, Angélica Aragón Rafa Lara R Dra/War<br />
PEEPLES Fri, 5/10/13 WIDE Craig Robinson, Kerry Washington Tina Gordon Chism PG-13 Com Quad<br />
NOW YOU SEE ME Fri, 5/31/13 WIDE Jesse Eisenberg, Mark Ruffalo Louis Leterrier NR Thr Dolby Dig<br />
MUCH ADO ABOUT NOTHING Fri, 6/7/13 LTD. Amy Acker, Alexis Denisof Joss Whedon NR Com/Dra/Rom<br />
KEVIN HART: LET ME EXPLAIN Wed, 7/3/13 LTD. Kevin Hart Leslie Small, Tim Story NR Com/Con/Doc<br />
GIRL MOST LIKELY Fri, 7/19/13 WIDE Kristen Wiig, Annette Bening<br />
Shari Springer Berman,<br />
Robert Pulcini<br />
RED 2 Fri, 7/19/13 WIDE Bruce Willis, John Malkovich Dean Parisot NR Act/Com<br />
YOU'RE NEXT Fri, 8/23/13 WIDE Sharni Vinson, Joe Swanberg Adam Wingard NR Hor/Thr<br />
I, FRANKENSTEIN Fri, 9/13/13 WIDE Aaron Eckhart, Bill Nighy Stuart Beattie NR Act/Hor 3D/Quad<br />
THE TOMB<br />
Fri, 9/27/13 WIDE<br />
Sylvester Stallone, Arnold<br />
Schwarzenegger<br />
PG-13<br />
Com<br />
Mikael Hafstrom NR Act/Thr<br />
ENDER'S GAME Fri, 11/1/13 WIDE Harrison Ford, Abigail Breslin Gavin Hood NR Act/Thr IMAX<br />
THE HUNGER GAMES: CATCHING FIRE Fri, 11/22/13 WIDE Jennifer Lawrence, Josh Hutcherson Francis Lawrence NR Act/Adv/SF IMAX/Dolby Dig<br />
A MADEA CHRISTMAS Fri, 12/13/13 WIDE Tyler Perry, Larry the Cable Guy Tyler Perry NR Com<br />
GHOSTS Fri, 1/10/14 WIDE Sarah Snook, Mark Webber Kevin Greutert NR Hor<br />
DIVERGENT Fri, 3/21/14 WIDE Shailene Woodley, Theo James Neil Burger NR Adv/Dra/SF<br />
SINGLE MOMS CLUB Fri, 5/9/14 WIDE Tyler Perry, Nia Long Tyler Perry NR Com/Dra<br />
OPEN ROAD FILMS 310-696-7504<br />
MACHETE KILLS Fri, 9/13/13 WIDE Danny Trejo, Michelle Rodriguez Robert Rodriguez NR Act<br />
TEN<br />
Fri, 1/24/14 WIDE<br />
Arnold Schwarzenegger, Sam<br />
Worthington<br />
David Ayer NR Act/Thr<br />
booking guide<br />
may <strong>2013</strong> BoxOffice ® <strong>Pro</strong> The Business of Movies 121
ooking guide<br />
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS<br />
PARAMOUNT 323-956-5000<br />
STAR TREK INTO DARKNESS Fri, 5/17/13 WIDE Chris Pine, Zachary Quinto J.J. Abrams NR Act/Adv/SF<br />
3D/IMAX/Dolby<br />
Atmos/Quad<br />
WORLD WAR Z Fri, 6/21/13 WIDE Brad Pitt, Mireille Enos Marc Forster NR Act/Hor 3D/Quad<br />
PARANORMAL ACTIVITY 5 Fri, 10/25/13 WIDE NR Hor<br />
THE WOLF OF WALL STREET Fri, 11/15/13 WIDE Leonardo DiCaprio, Jonah Hill Martin Scorsese NR Cri/Dra<br />
ANCHORMAN: THE LEGEND CONTINUES Fri, 12/20/13 WIDE Will Ferrell, Steve Carell Adam McKay NR Com Quad<br />
JACK RYAN Wed, 12/25/13 WIDE Chris Pine, Keira Knightley Kenneth Branagh NR Act/Thr<br />
NOAH Fri, 3/28/14 WIDE Russell Crowe, Jennifer Connelly Darren Aronofsky NR Dra Quad<br />
RELATIVITY Mara Buxbaum / 323-822-4800 / relativity@id-pr.com<br />
PARANOIA Fri, 10/4/13 WIDE Liam Hemsworth, Gary Oldman Robert Luketic NR Thr Dolby Dig<br />
MALAVITA Fri, 10/18/13 WIDE Robert De Niro, Michelle Pfeiffer Luc Besson NR Cri/Thr<br />
FREE BIRDS Fri, 11/1/13 WIDE Owen Wilson, Woody Harrelson Jimmy Hayward NR Ani/Fam/Com 3D<br />
STRETCH ARMSTRONG Fri, 4/11/14 WIDE Breck Eisner NR Act/Adv 3D<br />
SONY 212-833-8500<br />
AFTER EARTH Fri, 6/7/13 WIDE Will Smith, Jaden Smith M. Night Shyamalan NR Act/Adv/SF Quad<br />
THIS IS THE END Fri, 6/14/13 WIDE Seth Rogen, James Franco<br />
Evan Goldberg, Seth<br />
Rogen<br />
NR Com Quad<br />
WHITE HOUSE DOWN Fri, 6/28/13 WIDE Channing Tatum, Jamie Foxx Roland Emmerich NR Act/Thr Quad<br />
GROWN UPS 2 Fri, 7/12/13 WIDE Adam Sandler, Kevin James Dennis Dugan NR Com<br />
THE SMURFS 2 Wed, 7/31/13 WIDE Neil Patrick Harris, Hank Azaria Raja Gosnell NR Ani/Com/Fam 3D<br />
ELYSIUM Fri, 8/9/13 WIDE Matt Damon, Jodie Foster Neill Blomkamp NR Act/SF<br />
THE MORTAL INSTRUMENTS:<br />
CITY OF BONES<br />
Fri, 8/23/13 WIDE Lily Collins, Lena Headey Harald Zwart NR Act/Adv/Dra Quad<br />
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122 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS<br />
ONE DIRECTION: THIS IS US Fri, 8/30/13 WIDE Niall Horan, Zayn Malik Morgan Spurlock NR Con/Doc 3D<br />
BATTLE OF THE YEAR Fri, 9/13/13 WIDE Josh Holloway, Laz Alonso Benson Lee NR Dra 3D/Quad<br />
CLOUDY WITH A CHANCE<br />
OF MEATBALLS 2<br />
Fri, 9/27/13 WIDE Bill Hader, Anna Faris Cody Cameron, Kris Pearn NR Ani/Adv/Fam 3D/Quad<br />
CAPTAIN PHILLIPS Fri, 10/11/13 WIDE Tom Hanks, Catherine Keener Paul Greengrass NR Act/Dra Quad<br />
CARRIE Fri, 10/18/13 WIDE Chloë Grace Moretz, Julianne Moore Kimberly Peirce NR Hor/Thr<br />
UNTITLED DAVID O. RUSSELL PROJECT Fri, 12/13/13 LTD. Bradley Cooper, Jennifer Lawrence David O. Russell NR Dra/Thr<br />
THE MONUMENTS MEN Wed, 12/18/13 WIDE George Clooney, Daniel Craig George Clooney NR Dra<br />
NO GOOD DEED Fri, 1/17/14 WIDE Idris Elba, Taraji P. Henson Sam Miller NR Dra/Thr<br />
ROBOCOP Fri, 2/7/14 WIDE Joel Kinnaman, Gary Oldman José Padilha NR Act/Cri/SF Quad<br />
ABOUT LAST NIGHT Fri, 2/14/14 WIDE Kevin Hart, Michael Ealy Steve Pink NR Com/Dra/Rom<br />
THE EQUALIZER Fri, 4/11/14 WIDE Denzel Washington NR Act/Thr<br />
THE AMAZING SPIDER-MAN 2 Fri, 5/2/14 WIDE Andrew Garfield, Emma Stone Marc Webb NR Act/Adv 3D<br />
SONY PICTURES CLASSICS Tom Prassis / 212-833-4981<br />
LOVE IS ALL YOU NEED<br />
BEFORE MIDNIGHT<br />
FILL THE VOID<br />
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BLUE JASMINE<br />
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Fri, 5/3/13 EXCL<br />
NY/LA<br />
Fri, 5/24/13 EXCL<br />
NY/LA<br />
Fri, 5/24/13 EXCL<br />
NY/LA<br />
Fri, 6/28/13 EXCL<br />
NY/LA<br />
Fri, 7/26/13 EXCL<br />
NY/LA<br />
Pierce Brosnan, Trine Dyrholm Susanne Bier R Rom/Com Dolby Dig<br />
Ethan Hawke, Julie Delpy Richard Linklater R Dra/Rom Quad<br />
Hadas Yaron, Yiftach Klein Rama Burshtein PG Dra<br />
Javier Cámara, Raúl Arévalo Pedro Almodóvar R Com<br />
Alec Baldwin, Cate Blanchett Woody Allen NR Com/Dra<br />
booking guide<br />
FAST & FURIOUS 6 Fri, 5/24/13 WIDE Vin Diesel, Paul Walker Justin Lin NR Act Quad<br />
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may <strong>2013</strong> BoxOffice ® <strong>Pro</strong> The Business of Movies 123
ooking guide<br />
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS<br />
THE PURGE Fri, 5/31/13 WIDE Ethan Hawke, Lena Headey James DeMonaco R SF/Thr<br />
DESPICABLE ME 2 Wed, 7/3/13 WIDE Steve Carell, Kristen Wiig<br />
Pierre Coffin, Chris<br />
Renaud<br />
NR Ani/Com/Fam 3D/Quad<br />
R.I.P.D. Fri, 7/19/13 WIDE Ryan Reynolds, Jeff Bridges Robert Schwentke NR Act/Com/Hor 3D/Quad<br />
2 GUNS Fri, 8/2/13 WIDE Denzel Washington, Mark Wahlberg Baltasar Kormákur NR Act/Cri/Dra<br />
KICK-ASS 2<br />
Fri, 8/16/13 WIDE<br />
Aaron Taylor-Johnson, Chloë Grace<br />
Moretz<br />
Jeff Wadlow NR Act/Com Quad<br />
RIDDICK Fri, 9/6/13 WIDE Vin Diesel, Karl Urban David Twohy R Act/SF IMAX<br />
RUSH Fri, 9/20/13 WIDE Chris Hemsworth, Daniel Brühl Ron Howard R Act/Dra<br />
ABOUT TIME Fri, 11/1/13 LTD. Rachel McAdams, Domhnall Gleeson Richard Curtis R Rom/Com/SF<br />
THE BEST MAN HOLIDAY Fri, 11/15/13 WIDE Taye Diggs, Nia Long Malcolm D. Lee NR Com/Dra<br />
47 RONIN Wed, 12/25/13 WIDE Keanu Reeves, Hiroyuki Sanada Carl Rinsch NR Act/Adv/Dra 3D/Quad<br />
RIDE ALONG Fri, 1/17/14 WIDE Kevin Hart, Ice Cube Tim Story NR Act/Com<br />
WARNER BROS. 818-977-1850<br />
THE GREAT GATSBY Fri, 5/10/13 WIDE Leonardo DiCaprio, Carey Mulligan Baz Luhrmann NR Dra 3D/IMAX/Quad<br />
THE HANGOVER PART III Fri, 5/24/13 WIDE Bradley Cooper, Zach Galifianakis Todd Phillips NR Com Quad<br />
MAN OF STEEL Fri, 6/14/13 WIDE Henry Cavill, Amy Adams Zack Snyder PG-13 Act/Adv<br />
PACIFIC RIM Fri, 7/12/13 WIDE Charlie Hunnam, Idris Elba Guillermo del Toro NR Act/Adv/SF<br />
THE CONJURING Fri, 7/19/13 WIDE Vera Farmiga, Patrick Wilson James Wan NR Hor/Thr<br />
3D/IMAX/Dolby<br />
Atmos/Quad<br />
3D/IMAX/Dolby<br />
Atmos/Quad<br />
300: RISE OF AN EMPIRE Fri, 8/2/13 WIDE Eva Green, Rodrigo Santoro Noam Murro NR Act 3D/IMAX<br />
WE'RE THE MILLERS Fri, 8/9/13 WIDE Jennifer Aniston, Jason Sudeikis Rawson Marshall Thurber NR Com<br />
GETAWAY Fri, 8/30/13 WIDE Ethan Hawke, Selena Gomez<br />
Courtney Solomon, Yaron<br />
Levy<br />
PRISONERS Fri, 9/20/13 WIDE Hugh Jackman, Jake Gyllenhaal Denis Villeneuve NR Thr<br />
NR<br />
Act/Cri<br />
124 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS<br />
GRAVITY Fri, 10/4/13 WIDE Sandra Bullock, George Clooney Alfonso Cuarón PG-13 Dra/SF 3D/IMAX/Dolby Atmos<br />
SEVENTH SON Fri, 10/18/13 WIDE Jeff Bridges, Ben Barnes Sergey Bodrov NR Adv/Fan 3D/IMAX<br />
THE HOBBIT:<br />
THE DESOLATION OF SMAUG<br />
Fri, 12/13/13 WIDE Ian McKellen, Martin Freeman Peter Jackson NR Act/Adv/Fan 3D/IMAX/Dolby Atmos<br />
GRUDGE MATCH Fri, 1/10/14 WIDE Sylvester Stallone, Robert De Niro Peter Segal NR Com/Sport<br />
THE LEGO MOVIE Fri, 2/7/14 WIDE Chris Pratt, Will Ferrell Phil Lord, Chris Miller NR Ani/Act/Adv 3D<br />
ALL YOU NEED IS KILL Fri, 3/7/14 WIDE Tom Cruise, Emily Blunt Doug Liman NR Act/SF 3D/IMAX<br />
TRANSCENDENCE Fri, 4/25/14 WIDE Johnny Depp, Paul Bettany Wally Pfister NR SF<br />
GODZILLA Fri, 5/16/14 WIDE Aaron Taylor-Johnson, Ken Watanabe Gareth Edwards NR Act/Adv/SF 3D/IMAX<br />
WEINSTEIN CO./DIMENSION 646-862-3400<br />
POPULAIRE Fri, 5/17/13 LTD. Romain Duris, Déborah François Régis Roinsard NR Com<br />
UNFINISHED SONG Fri, 6/21/13 LTD. Terence Stamp, Gemma Arterton Paul Andrew Williams PG-13 Com/Dra<br />
FRUITVALE Fri, 7/26/13 LTD. Michael B. Jordan, Melonie Diaz Ryan Coogler NR Dra<br />
HAUTE CUISINE Fri, 8/16/13 LTD. Catherine Frot, Jean d'Ormesson Christian Vincent NR Com Dolby Dig<br />
RANDOM Fri, 8/30/13 WIDE Haley Bennett, Ashley Greene Oliver Blackburn NR Hor<br />
SALINGER Fri, 9/6/13 LTD. Shane Salerno NR Doc<br />
SIN CITY: A DAME TO KILL FOR Fri, 10/4/13 WIDE Josh Brolin, Eva Green<br />
Robert Rodriguez, Frank<br />
Miller<br />
THE BUTLER Fri, 10/18/13 WIDE Forest Whitaker, Oprah Winfrey Lee Daniels NR Dra<br />
NR Act/Cri/Thr 3D<br />
AUGUST: OSAGE COUNTY Fri, 11/08/13 LTD. Meryl Streep, Julia Roberts John Wells NR Com/Dra<br />
MANDELA: LONG WALK TO FREEDOM Fri, 11/29/13 LTD. Idris Elba, Naomie Harris Justin Chadwick NR Dra<br />
GRACE OF MONACO Fri, 12/27/13 LTD. Nicole Kidman, Tim Roth Olivier Dahan NR Dra<br />
THE AMITYVILLE HORROR:<br />
THE LOST TAPES<br />
Fri, 1/3/14 WIDE David Bruckner NR Hor<br />
VAMPIRE ACADEMY: BLOOD SISTERS Fri, 2/14/14 WIDE Zoey Deutch, Danila Kozlovskiy Mark Waters NR Fan/Rom<br />
booking guide<br />
BOOTH #1033F
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Lutz, FL 33558<br />
813-960-1646<br />
www.ensutec.com<br />
PG 67<br />
FANDANGO<br />
12200 West Olympic Blvd, Ste.<br />
400<br />
Los Angeles, CA 90064<br />
Robert.Macias@Fandango.com<br />
PG 19<br />
GDC Technology LLC<br />
3500 W Olive Ave. Suite<br />
940<br />
Burbank, CA 91505<br />
818-972-4370<br />
www.gdc-tech.com<br />
PG 83<br />
geneva convention<br />
W168 N8936 Appleton Ave.<br />
Menomonee Falls, WI 53051<br />
262-532-0017<br />
nato@natoofwiup.org<br />
www.natoofwiup.org<br />
PG 85<br />
GLASSFORM<br />
P.O. Box 776<br />
Batavia, IL 60510<br />
Cyndi Gardner<br />
800-995-8322<br />
glassform@aol.com<br />
PG 128<br />
GOLD MEDAL PRODUCTS<br />
10700 Medallion Dr.<br />
Cincinnati, OH 45241-4807<br />
Erin Meyer / 513-769-7676<br />
info@gmpopcorn.com<br />
www.gmpopcorn.com<br />
PG 113<br />
HARKNESS SCREENS<br />
Unit A, Norton Road<br />
Stevenage, Herts<br />
SG1 2BB UK<br />
+44 1438 725200<br />
sales@harkness-screens.com<br />
www.harkness-screens.com<br />
PG 50, 91, 93<br />
Harman International<br />
400 Atlantic St.<br />
Stamford, CT 06901<br />
203-328-3500<br />
www.harman.com<br />
PG 79<br />
inorca<br />
Calle 18 No. 118-85 Avenida<br />
Cañasgorda Casa 54 Cali<br />
Colombia<br />
713-331-2064<br />
www.inorca.com.co<br />
PG 97<br />
internet video archive<br />
207 White Horse Pike<br />
Haddon Heights, NJ 08035<br />
856-310-1981<br />
www.internetvideoarchive.com<br />
PG 81<br />
IRWIN SEATING<br />
3251 Fruit Ridge N.W.<br />
Grand Rapids, MI 49544<br />
Bruce Cohen / 866-574-7400<br />
sales@irwinseating.com<br />
www.irwinseating.com<br />
PG 99<br />
KERNEL SEASONS<br />
1958 N. Western Ave.<br />
Chicago, IL 60647<br />
Krystal LaReese-Gaul<br />
773-292-4576<br />
info@kernelseasons.com<br />
www.kernelseasons.com<br />
PG 16<br />
klipsch<br />
3502 Woodview Trace, Ste. 200<br />
Indianapolis, IN 46268<br />
317-860-8100<br />
www.klipsch.com<br />
PG 101<br />
liberty studios<br />
www.walkingwiththeenemy.com<br />
PG 33<br />
Lightspeed design<br />
1611 116th Ave. NE, Ste. 112<br />
Bellevue, WA 98004<br />
425-637-2818<br />
www.depthq.com<br />
PG 123<br />
MAGna-tech electronic<br />
co.<br />
1998 NE 150th Street<br />
Miami, FL 33181<br />
305-573-7339<br />
digital@myiceco.com<br />
www.myiceco.com<br />
PG 71<br />
marcus theatres<br />
100 E. Wisconsin Ave, Ste. 2000<br />
Milwaukee, WI 53202<br />
800-274-0099<br />
www.marcustheatres.com<br />
PG 23<br />
MAROEVICH, O’SHEA &<br />
COUGHLAN<br />
44 Montgomery St., 17th Fl.<br />
San Francisco, CA 94104<br />
Steve Elkins / 800-951-0600<br />
selkins@maroevich.com<br />
www.mocins.com<br />
PG 3<br />
Mars, Incorporated<br />
100 International Drive<br />
Mount Olive, NJ 07828<br />
www.mars.com<br />
PG 25<br />
media motion<br />
2832 San Pablo Ave.<br />
Berkeley, CA 94702<br />
510-486-1166<br />
sales@meyersound.com<br />
www.meyersound.com<br />
PG 114<br />
MOBILIARIO S.A. DE C.V.<br />
Calle Del Sol #3 Col./<br />
San Rafael Champa<br />
Naucalpan de Juarez<br />
53660 Mexico<br />
5255-5300-0620<br />
Claudia Gonzalez<br />
877-847-2127<br />
mobisa@netra.net<br />
www.mobiliarioseating.com<br />
PG 63<br />
moving image<br />
technologies<br />
17760 Newhope St.<br />
Fountain, Valley, CA 92708<br />
714-751-7998<br />
www.movingimagetech.com<br />
PG 103<br />
ODELL’S<br />
8543 White Fir St. #D-1<br />
Reno, NV 89523<br />
odells@popntop.com<br />
www.popntop.com<br />
PG 121<br />
OMNITERM DATA<br />
TECHNOLOGY<br />
2785 Skymark Ave., Unit 11<br />
Mississauga, ON L4W 4Y3<br />
gregcoman@omniterm.com<br />
www.omniterm.com<br />
PG 116<br />
PACkaging concepts, inc.<br />
9832 Evergreen Industrial Dr.<br />
St. Louis, MO 63123<br />
John Irace / 314-329-9700<br />
jji@packagingconceptsinc.com<br />
www.packagingconceptsinc.com<br />
PG 42<br />
126 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
ad index<br />
paradigm design<br />
550 3 Mile Rd., NW, Ste. B<br />
Grand Rapids, MI 49544<br />
616-785-5656<br />
www. paradigmae.com<br />
PG 126-127<br />
paramOUNT<br />
5555 Melrose Ave.<br />
Los Angeles, CA 90038<br />
323-956-5000<br />
www.paramount.com<br />
PG 49<br />
PHILIPS LIGHTING<br />
200 Clarendon St.<br />
Boston, MA 02116<br />
Dina Munchback<br />
617-449-4127<br />
www.philips.com<br />
PG 77<br />
photo research<br />
9731 Topanga Canyon Pl.<br />
Chatsworth, CA 91311-4135<br />
818-725-9750<br />
www.photoresearch.com<br />
PG 98<br />
pirateeye<br />
858-751-7575<br />
info@pirateeye.com<br />
www.pirateeye.com<br />
PG 125<br />
plusrite<br />
2000 S. Grove Ave, Building B<br />
Ontario, CA 91761<br />
888-758-7443<br />
info@fanlightinc.com<br />
www.pluslight.com<br />
PG 20-21<br />
PROCTOR COMPANIES<br />
10497 Centennial Rd.<br />
Littleton, CO 80127-4218<br />
303-973-8989<br />
sales@proctorco.com<br />
www.proctorco.com<br />
PG 47<br />
progressive cinema<br />
solutions<br />
42423 Grand River Ave., Ste. 200<br />
Farmington, MI 48336<br />
248-478-7188<br />
info@progressivecs.net<br />
www.progressivecs.net<br />
PG 37<br />
produced by conference<br />
chris.dehaan@42west.net<br />
PG 102<br />
PROMOTION IN MOTION<br />
3 Reuten Dr., P.O. Box 558<br />
Closter, NJ 07624<br />
Felicia Bompane<br />
201-784-5800<br />
mail@promotioninmotion.com<br />
www.promotioninmotion.com<br />
PG 41<br />
QSC<br />
1665 MacArthur Blvd.<br />
Costa Mesa, CA 92626<br />
Francois Godfrey<br />
714-754-6175<br />
francois_godfrey@qscaudio.com<br />
www.qscaudio.com<br />
PG 28-29<br />
QUBE Cinema, inc.<br />
4640 Lankershim Blvd., Ste. 601<br />
North Hollywood, CA 91602<br />
818-392-8155<br />
nigel@qubecinema.com<br />
www.qubecinema.com<br />
PG 45<br />
QUEST CINEMA<br />
866-933-7486<br />
www.questcinema.com<br />
PG 84<br />
ready theatre systems<br />
4 Hartford Blvd.<br />
Hartford, MI 49057<br />
Mary Snyder<br />
865-212-9703x114<br />
sales@rts-solutions.com<br />
www.rts-solutions.com.com<br />
PG 124<br />
reald<br />
100 North Crescent Dr., Ste. 200<br />
Beverly Hills, CA 90210<br />
310-385-4000<br />
realdglasses@reald.com<br />
www.reald.com<br />
PG 4,-5, 31<br />
Regal Entertainment<br />
Group<br />
7132 Regal Ln.<br />
Knoxville, Tennessee 37918<br />
865-922-1123<br />
www.regmovies.com<br />
PG 9, 117<br />
retriever software<br />
7040 Avenida Encinas<br />
Ste. 104-363<br />
Carlsbad, CA 92011<br />
760-929-2101<br />
www.retrieversoftware.com<br />
PG 122<br />
REYNOLDS & REYNOLDS<br />
300 Walnut St., Ste. 200<br />
Des Moines, IA 50309-2244<br />
Darlene Fischer / 515-243-1724<br />
info@reynolds-reynolds.com<br />
www.reynolds-reynolds.com<br />
PG 51<br />
RICOS PRODUCTS<br />
621 S. Flores<br />
San Antonio, TX 78204<br />
210-222-1415<br />
info@ricos.com<br />
www.ricos.com<br />
PG 15, 57<br />
screenvision<br />
1411 Broadway 33rd Fl.<br />
New York, NY 10018<br />
Darryl Schaffer<br />
212-497-0480<br />
back cover<br />
sensible cinema<br />
software<br />
7216 Sutton Pl.<br />
Fairview, TN 37062<br />
Rusty Gordon / 615-799-6366<br />
rusty@sensiblecinema.com<br />
www.sensiblecinema.com<br />
PG 128<br />
SONIC EQUIPMENT<br />
COMPANY<br />
900 W Miller Rd.<br />
Iola,KS 66749<br />
00-365-5701<br />
www.sonicequipment.com<br />
PG 13<br />
SONY ELECTRONICS<br />
One Sony Dr.<br />
Park Ridge, NJ 07656<br />
201-476-8603<br />
www.sony.com/professional<br />
PG 7<br />
sony pictures<br />
10202 W Washington Blvd.<br />
Culver City, CA 90232<br />
310-244-4000<br />
www.sonypictures.com<br />
PG 73<br />
STADIUM SAVERS<br />
550 3 Mile Rd. N.W.<br />
Grand Rapids, MI 49544<br />
William Brunner<br />
616-785-5598<br />
www.stadiumsavers.com<br />
PG 10<br />
St. Jude Children’s<br />
Research Hospital<br />
262 Danny Thomas Pl.<br />
Memphis, TN 381055<br />
901-495-3300<br />
www.stjude.com<br />
PG 32<br />
STRONG CINEMA PRODUCTS<br />
(Division of Ballantyne Inc.)<br />
4350 McKinley St.<br />
Omaha, NE 68112<br />
Ray Boegner<br />
402-453-4444<br />
ray.boegner@btn-inc.com<br />
www.ballantyne-omaha.com<br />
PG 59<br />
summit foods<br />
www.summit-foods.com<br />
PG 105<br />
tempo industries<br />
1961 McGaw Avenue<br />
Irvine, CA 92614<br />
949-442-1601<br />
info@tempoindustries.com<br />
www.tempoindustries.com<br />
PG 95<br />
USHIO America, Inc.<br />
5440 Cerritos Ave.<br />
Cypress, CA 90630<br />
800-838-7446<br />
www.ushio.com<br />
PG 105<br />
USL<br />
181 Bonetti Dr.<br />
San Luis Obispo, CA 93401<br />
805-549-0161<br />
usl@uslinc.com<br />
www.uslinc.com<br />
PG 61<br />
vantiv<br />
8500 Governors Hill Dr.<br />
Symmes Township, OH 45249<br />
www.vantiv.com<br />
PG 27<br />
varieTY clubs<br />
5757 Wilshire Blvd., Ste. 445<br />
Los Angeles, CA 90036<br />
www.usvariety.org<br />
PG 65<br />
vip cinema seating<br />
PO Box 3668<br />
Tupelo, MS 38803<br />
662-841-5866<br />
www. vipcinemaseating.com<br />
PG 11<br />
vip cinema seating<br />
589 Coley Rd.<br />
Tupelo, MS 38801<br />
662-841-5866<br />
www.vipcinemaseating.com<br />
PG 11<br />
volfoni<br />
3450 Cahuenga Blvd W, Unit 506<br />
Los Angeles, CA 90068<br />
213-304-5054<br />
www.volfoni.com<br />
PG 17<br />
white castle<br />
555 West Goodale St.<br />
Columbus, OH 43215<br />
Timothy Carroll<br />
614-559-2453<br />
carrollt@whitecastle.com<br />
www.whitecastle.com<br />
PG 118<br />
will rogers institute<br />
10045 Riverside Drive, Third Floor<br />
Toluca Lake, CA 91602<br />
877-957-7575<br />
www.wrinstitute.org<br />
PG 106-107<br />
xpand 3d<br />
1017 Cole Ave.<br />
Los Angeles, CA 90038<br />
310.309.6705<br />
www. xpand.me<br />
PG 69<br />
may <strong>2013</strong> BoxOffice ® <strong>Pro</strong> The Business of Movies 127
uying & selling<br />
Marquee Letters. Buying and selling. New and<br />
Used marquee letters all types. We buy old. We<br />
sell new. All styles. Trade in your old letters and<br />
get new letters. Turn those old letters into cash.<br />
Your source for new <strong>Pro</strong>nto, Zip-Change, Snap<br />
Lok, Slotted. mike@pilut.com 800-545-8956<br />
DRIVE-IN CONSTRUCTION<br />
DRIVE-IN SCREEN TOWERS since 1945. Selby<br />
<strong>Pro</strong>ducts Inc., P.O. Box 267, Richfield, OH 44286.<br />
Phone: 330-659-6631.<br />
equipment wanted<br />
AMERICAN ENTERTAINMENT PRODUCTS LLC is<br />
buying projectors, processors, amplifiers, speakers,<br />
seating, platters. If you are closing, remodeling<br />
or have excess equipment in your warehouse<br />
and want to turn equipment into cash, please<br />
call 866-653-2834 or email aep30@comcast.net.<br />
Need to move quickly to close a location and dismantle<br />
equipment? We come to you with trucks,<br />
crew and equipment, no job too small or too<br />
large. Call today for a quotation: 866-653-2834.<br />
Vintage equipment wanted also! Old speakers<br />
like Western Electric and Altec, horns, cabinets,<br />
woofers, etc., and any tube audio equipment. Call<br />
or email: aep30@comcast.net.<br />
COLLECTOR WANTS TO BUY: We pay top money<br />
for any 1920-1980 theater equipment. We’ll<br />
buy all theater-related equipment, working or<br />
dead. We remove and pick up anywhere in the<br />
U.S. or Canada. Amplifiers, speakers, horns, drivers,<br />
woofers, tubes, transformers; Western Electric,<br />
RCA, Altec, JBL, Jensen, Simplex and more.<br />
We’ll remove installed equipment if it’s in a closing<br />
location. We buy projection and equipment<br />
too. Call today: 773-339-9035; cinema-tech.com;<br />
email ILG821@aol.com.<br />
ASTER AUDITORIUM SEATING & AUDIO. We<br />
offer the best pricing on good used projection<br />
and sound equipment. Large quantities available.<br />
Please visit our website, www.asterseating.com,<br />
or call 888-409-1414.<br />
for sale<br />
BARCO 3D/DIGITAL EQUIPMENT FOR SALE:<br />
Purchase for $55K. Equipment list provided upon<br />
request. Contact seller at mschwartz@pennprolaw.com.<br />
Preferred Seating Company, your source for<br />
new, used and refurbished theater and stadium seating.<br />
Buying and selling used seating is our specialty.<br />
Call toll-free 866-922-0226 or visit our website www.<br />
preferred-seating.com.<br />
Twin Drive In Theatre For Sale or lease w/<br />
option to buy. Located N.E. Indiana, Huntington.<br />
20 miles from Ft. Wayne. Pop. draw 250,000.<br />
16.86 acres commercial I-1. Call John @ 219-742-<br />
4801 for more info. www.huntingtondrivein.com<br />
help wanted<br />
Theatre Management positions available<br />
Pacific Northwest Theatre Company. Previous<br />
management experience required. Work<br />
weekends, evenings and holidays. Send resume<br />
and salary history to movietheatrejobs@gmail.<br />
com<br />
services<br />
DULL FLAT PICTURE? RESTORE YOUR XENON<br />
REFLECTORS! Ultraflat repolishes and recoats<br />
xenon reflectors. Many reflectors available for<br />
immediate exchange. (ORC, Strong, Christie,<br />
Xetron, others!) Ultraflat, 20306 Sherman Way,<br />
Winnetka, CA 91306; 818-884-0184.<br />
ALLSTATE SEATING specializes in refurbishing,<br />
complete painting, molded foam, tailor-made<br />
seat covers, installations and removals. Please<br />
call for pricing and spare parts for all types of<br />
theater seating. Boston, Mass.; 617-770-1112; fax:<br />
617-770-1140.<br />
CONSOLIDATED THEATRE SERVICES, LLC<br />
has a wide variety of theatre sound equipment<br />
available at competitive prices. Our extensive<br />
inventory includes amplifiers, processors, speakers<br />
and sou‐nd racks from makers such as JBL,<br />
Dolby, Ashly, Klipsch, Crown and more. You are<br />
welcome to call us at 305-908-1613 for further information.<br />
theater space for lease<br />
an 8,400 sq. ft. space containing two movie<br />
theaters is available for lease in Frankfort, KY,<br />
at a very reasonable lease rate. It would be perfect<br />
for the new concept of eating in the theater.<br />
The theaters are located in the middle of a major<br />
shopping center. The center owners would prefer<br />
an operating movie theater rather than convert<br />
the space into retail use. Contact Alexa at 859-<br />
221-9921 or email her at alexarkelley@gmail.com<br />
for more information.<br />
128 BoxOffice ® <strong>Pro</strong> The Business of Movies may <strong>2013</strong>
• Comprehensive cinema ad sales<br />
• Innovative new pre-show, The Limelight,<br />
designed to entertain<br />
• Leading edge technology and flexibility<br />
with any digital installation system<br />
• Totally turnkey execution<br />
• Lobby <strong>Pro</strong>motions<br />
• Alternative Content <strong>Pro</strong>gramming<br />
To learn more, contact us today<br />
David Ostrander<br />
212-497-0490<br />
dostrander@screenvision.com<br />
www.screenvision.com