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JANUARY <strong>2014</strong><br />

IS A<br />

‘DO-NOTHING<br />

CONGRESS’ A<br />

DANGER TO<br />

EXHIBITION?<br />

MEET OUR<br />

EXHIBITOR<br />

OF THE YEAR<br />

A LOOK AT THE HITS<br />

OF SUNDANCE—<br />

AND THE MISSES<br />

WORLD BOX OFFICE<br />

2013: THE COMPLETE<br />

BREAKDOWN<br />

PLUS<br />

THE <strong>2014</strong><br />

CAN CHRIS PINE<br />

JUMP-START<br />

A DORMANT<br />

FRANCHISE?<br />

THE PROSPECTS OF<br />

JACK RYAN:<br />

SHADOW RECRUIT<br />

SUPERNATURAL<br />

PROFITS<br />

PARANORMAL<br />

ACTIVITY<br />

The Official Magazine of the National Association of Theatre Owners


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© 2013 Christie Digital Systems USA, Inc. All rights reserved.


JAN.<br />

<strong>2014</strong><br />

VOL. 150 NO. 1<br />

chris pine and kevin<br />

costner in jack ryan:<br />

shadow recruit<br />

BOXOFFICE ® MEDIA<br />

CHAIRMAN<br />

Peter Cane<br />

CEO<br />

Julien Marcel<br />

EXECUTIVE EDITOR /<br />

CREATIVE DIRECTOR<br />

Kenneth James Bacon<br />

12 BOX OFFICE REPORT<br />

THE GLOBAL TOP 25 BoxOffice looks at the biggest films<br />

worldwide for 2013<br />

16 FESTIVAL CIRCUIT<br />

SUNDANCE BY THE NUMBERS As preparations mount for the latest<br />

edition of the Sundance Film Festival, BoxOffice looks back at its<br />

economic impact<br />

18 GIANTS OF EXHIBITION<br />

THE TOP 50 CIRCUITS Our annual listing of the exhibitors based on<br />

screen count—who’s number one?<br />

28 BIG PICTURE<br />

SUPERNATURAL PROFITS Paramount unleashes two new Paranormal<br />

Activity sequels in <strong>2014</strong>, but is the record-breaking horror franchise a<br />

ghost of its former self?<br />

32 EXHIBITOR OF THE YEAR<br />

MEET BILL CAMPBELL President, Orpheum Theatres<br />

34 FILM FRANCHISE<br />

THE SUM OF ALL FILMS Is it too late for Paramount to revive the Jack<br />

Ryan franchise?<br />

6 EXHIBITION BRIEFS<br />

The latest news from the exhibition industry<br />

10 EXECUTIVE SUITE<br />

A “Do-Nothing Congress”: Good for exhibition now—but a danger in<br />

the long term<br />

36 COMING IN JANUARY<br />

A summary of 12 films coming your way this month<br />

40 BOOKING GUIDE<br />

48 CLASSIFIEDS<br />

BOXOFFICE ® PRO<br />

INDUSTRY CONTRIBUTOR<br />

John Fithian<br />

CONTRIBUTING EDITORS<br />

Daniel Garris<br />

Daniel Loria<br />

Shawn Robbins<br />

COPY EDITOR<br />

Laura Silver<br />

PRODUCTION ASSISTANT<br />

Ally Bacon<br />

BOXOFFICE.COM<br />

EDITOR<br />

Phil Contrino<br />

OVERSEAS EDITOR<br />

Daniel Loria<br />

FORUMS EDITOR<br />

Shawn Robbins<br />

NORTH AMERICAN GROSSES EDITOR<br />

Daniel Garris<br />

ADVERTISING<br />

VP OF ADVERTISING<br />

Susan Uhrlass<br />

9107 Wilshire Blvd., Ste. 450<br />

Beverly Hills, CA 90210<br />

susan@boxoffice.com<br />

310-876-9090<br />

CORPORATE<br />

230 Park Ave., Ste. 1000<br />

New York, NY 10169<br />

212-922-9800 tel<br />

866-902-7750 fax<br />

2 BoxOffice ® <strong>Pro</strong> The Business of Movies JANUARY <strong>2014</strong>


BoxOffice ® Crosses the Atlantic<br />

n We’re starting off <strong>2014</strong> with some big news here at BoxOffice. Our parent company,<br />

BoxOffice Media, LLC, has entered into a strategic partnership with CCG (Côte Ciné Group).<br />

Based in Paris, CCG publishes Côté Cinéma®, France’s leading exhibition trade magazine, and<br />

provides business information and other services to the French film industry.<br />

CCG’s cofounder and CEO, Julien Marcel, will be taking over as CEO of BoxOffice Media<br />

from our new headquarters in Los Angeles. In addition to his experience and success to date, Julien<br />

has a great vision for the future of BoxOffice. I’m pleased and proud to be handing over the reins<br />

to him.<br />

I’ll remain chairman of the company based in our New York office, and I look forward to continuing<br />

to work and play with my friends and colleagues in the film industry.<br />

Our new partnership comes as BoxOffice begins its 94th year of continuous service to the<br />

exhibition industry. We’ve kept you covered from talkies to digital, and the addition of Julien’s<br />

leadership to our current U.S.-based team bodes very well indeed for the next 94 years.<br />

BOXOFFICE.COM<br />

Peter Cane<br />

peter@boxoffice.com<br />

A Message from NATO<br />

n NATO has been engaged in thorough discussions with both Julien Marcel and Peter Cane<br />

and we fully support the new ownership and management team at BoxOffice Media. With his<br />

background in exhibition trade publishing in Europe, and his keen interest in the global unity<br />

of the exhibition industry, Julien brings exciting energy and expertise to the enterprise. We have<br />

valued tremendously our partnership with Peter and his current team, and are delighted that they<br />

will remain involved going forward. Given all of those factors, NATO’s executive board of directors<br />

voted unanimously to continue our sponsorship of <strong>BoxOffice®</strong> <strong>Pro</strong> as NATO’s official magazine.<br />

We look forward to our expanded partnership as we bring vital information to the global exhibition<br />

industry.<br />

John Fithian<br />

jf@natodc.com<br />

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BOXOFFICE ® PRO (ISSN 0006-8527), Volume 150, Number 1, <strong>January</strong> <strong>2014</strong>. BOXOFFICE PRO is published monthly<br />

by BoxOffice Media, LLC, 9107 Wilshire Blvd., Suite 450, Beverly Hills, CA 90210, USA, Phone (212) 922-9800, Fax<br />

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JANUARY <strong>2014</strong> BoxOffice ® <strong>Pro</strong> The Business of Movies 3


UPCOMING 3D MOVIES<br />

<strong>2014</strong><br />

JAN 10 LIONSGATE/SUMMIT THE LEGEND OF HERCULES<br />

JAN 17 OPEN ROAD THE NUT JOB<br />

JAN 24 LIONSGATE I, FRANKENSTEIN<br />

FEB 7 WARNER BROS. THE LEGO MOVIE<br />

FEB 21 SONY / TRISTAR POMPEII<br />

MAR 7 WARNER BROS. 300: RISE OF AN EMPIRE<br />

MAR 7 FOX / DREAMWORKS ANIMATION MR. PEABODY & SHERMAN<br />

APR 4 DISNEY CAPTAIN AMERICA: THE WINTER SOLDIER<br />

APR 4 WARNER BROS./IMAX ISLAND OF LEMURS: MADAGASCAR<br />

APR 11 FOX RIO 2<br />

MAY 2 SONY/COLUMBIA THE AMAZING SPIDER-MAN 2<br />

MAY 9 CLARIUS LEGENDS OF OZ: DOROTHY’S RETURN<br />

MAY 16 WARNER BROS. GODZILLA<br />

MAY 23 FOX X-MEN: DAYS OF FUTURE PAST<br />

MAY 30 DISNEY MALEFICENT<br />

JUN 6 WARNER BROS. EDGE OF TOMORROW<br />

JUN 13 FOX / DREAMWORKS ANIMATION HOW TO TRAIN YOUR DRAGON 2<br />

JUN 27 PARAMOUNT TRANSFORMERS: AGE OF EXTINCTION<br />

JUL 11 FOX DAWN OF THE PLANET OF THE APES<br />

JUL 18 WARNER BROS. JUPITER ASCENDING<br />

JUL 18 DISNEY PLANES: FIRE & RESCUE<br />

AUG 1 DISNEY GUARDIANS OF THE GALAXY<br />

AUG 22 WEINSTEIN/DIMENSION SIN CITY: A DAME TO DIE FOR<br />

SEP 26 FOCUS THE BOXTROLLS<br />

NOV 7 DISNEY BIG HERO 6<br />

NOV 26 FOX / DREAMWORKS ANIMATION HOME<br />

DEC 17 WARNER BROS. THE HOBBIT: THERE AND BACK AGAIN<br />

2015<br />

JAN 16 LIONSGATE NORM OF THE NORTH<br />

FEB 6 UNIVERSAL SEVENTH SON<br />

MAR 27 FOX / DREAMWORKS ANIMATION THE PENGUINS OF MADAGASCAR<br />

MAY 15 WARNER BROS. MAD MAX: FURY ROAD<br />

JUN 5 FOX / DREAMWORKS ANIMATION B.O.O.: BUREAU OF OTHERWORLDLY OPERATIONS<br />

4 BoxOffice ® <strong>Pro</strong> The Business of Movies JANUARY <strong>2014</strong>


JUN 5 WARNER BROS./NEW LINE SAN ANDREAS<br />

JUN 12 UNIVERSAL JURASSIC WORLD<br />

JUN 19 DISNEY INSIDE OUT<br />

JUN 19 FOX THE FANTASTIC FOUR<br />

JUN 26 WARNER BROS. PAN<br />

JUL 10 UNIVERSAL MINIONS<br />

AUG 14 SONY / COLUMBIA THE SMURFS 3<br />

OCT 9 DISNEY THE JUNGLE BOOK<br />

NOV 6 FOX UNTITLED PEANUTS FILM<br />

NOV 25 DISNEY THE GOOD DINOSAUR<br />

DEC 18 DISNEY STAR WARS: EPISODE VII<br />

DEC 23 FOX / DREAMWORKS ANIMATION KUNG FU PANDA 3<br />

2016<br />

FEB 12 UNIVERSAL UNTITLED ILLUMINATION ENTERTAINMENT 2016 PROJECT<br />

MAR 4 DISNEY UNTITLED DISNEY ANIMATION FILM 1<br />

MAR 11 UNIVERSAL WARCRAFT<br />

MAR 18 FOX / DREAMWORKS ANIMATION MUMBAI MUSICAL<br />

MAY 27 DISNEY ALICE IN WONDERLAND 2<br />

JUN 17 DISNEY FINDING DORY<br />

JUN 17 FOX / DREAMWORKS ANIMATION HOW TO TRAIN YOUR DRAGON 3<br />

JUL 1 SONY / COLUMBIA ANGRY BIRDS<br />

JUL 15 FOX ANUBIS<br />

NOV 4 FOX / DREAMWORKS ANIMATION TROLLS<br />

NOV 23 DISNEY UNTITLED DISNEY ANIMATION FILM 2<br />

2017<br />

APR 7 FOX FERDINAND<br />

JUN 16 DISNEY UNTITLED PIXAR ANIMATION FILM 1<br />

NOV 22 DISNEY UNTITLED PIXAR ANIMATION FILM 2<br />

2018<br />

MAR 9 DISNEY UNTITLED DISNEY ANIMATION FILM 3<br />

JUN 15 DISNEY UNTITLED PIXAR ANIMATION FILM 3<br />

NOV 21 DISNEY UNTITLED DISNEY ANIMATION FILM 4<br />

JANUARY <strong>2014</strong> BoxOffice ® <strong>Pro</strong> The Business of Movies 5


EXHIBITION<br />

BRIEFS<br />

The cast of Merrily We<br />

Roll Along, which will<br />

be screened in theaters<br />

nationwide now through<br />

February 23.<br />

FROM STAGE TO SCREEN<br />

n SpectiCast will present the encore presentation<br />

of Stephen Sondheim’s acclaimed revival<br />

of Merrily We Roll Along from London’s West<br />

End to American audiences nationwide now<br />

through Sunday, February 23, <strong>2014</strong>. Set over<br />

three decades in the entertainment business,<br />

Merrily We Roll Along charts the relationship<br />

between three close friends, Franklin, Mary,<br />

and Charley. Triple Olivier Award–winner Maria<br />

Friedman makes her directorial debut with this<br />

full-scale production. Traveling backward in<br />

time, this story features some of Stephen Sondheim’s<br />

most well-known songs including “Good<br />

Thing Going,” “Not a Day Goes By,” and “Old<br />

Friends.” Merrily We Roll Along was captured<br />

during the production’s final performances at the<br />

West End’s Harold Pinter Theatre.<br />

SpectiCast is one of the fastest-growing<br />

all-digital distribution companies in the world,<br />

distributing film, cultural arts events, and<br />

alternative-content programs to over 1,600<br />

theatrical and nontheatrical venues in 24<br />

countries on six continents. It markets and<br />

distributes 2D and 3D programs using the<br />

industry’s most advanced technologies. They<br />

distribute programs from some of the world’s<br />

most prestigious cultural arts organizations<br />

including the Paris Opera, the Salzburg Festival,<br />

the Paris Opera Ballet, the Mariinsky Theatre,<br />

and the Philadelphia Orchestra. Their growing<br />

slate of alternative-content and event cinema<br />

includes classic and modern music events from<br />

best-selling artists including Paul McCartney,<br />

the Rolling Stones, Led Zeppelin, Pat Metheny,<br />

Andre Rieu, and Jimi Hendrix, as well as worldclass<br />

theater events including Great Expectations<br />

from London’s Vaudeville Theatre, Stephen<br />

Sondheim’s Company, and The Phantom of the<br />

Opera from the Royal Albert Hall. SpectiCast<br />

also distributes specialty film programs including<br />

its “SpooktiCast” horror genre program,<br />

the Women’s Edge Film Series, the Laugh Out<br />

Loud Film Festival, and many other similar<br />

programs. SpectiCast is based in Philadelphia.<br />

MIX TAPE<br />

n Located on the outskirts of Paris, Dubbing<br />

Brothers is a postproduction center for adapting<br />

major films into foreign languages. Its recently<br />

renovated Dolby Atmos mixing stage is now<br />

equipped with a Meyer Sound system, which<br />

has supported the dubbing and remixing of<br />

films including Escape Plan, Saving Mr. Banks,<br />

and the Dolby Atmos mix of The Hobbit: The<br />

Desolation of Smaug.<br />

“When we decided to update our main 7.1<br />

mixing room to Atmos, we wanted monitoring<br />

of the highest quality,” says Mathieu Taieb, sales<br />

director for Dubbing Brothers. “We knew other<br />

major postproduction houses were using Meyer<br />

Sound for Atmos, so we arranged a session to<br />

listen to a Meyer Sound system. We were very<br />

impressed with what we heard. The sound was<br />

dynamic and precise, warm, and never aggressive.<br />

Both bass and high frequencies exhibited<br />

very high resolution.”<br />

Supplied by Paris-based cinema audio<br />

specialist 44.1, the loudspeaker system was<br />

designed to Dolby Atmos specifications. It<br />

includes three Acheron 80 screen channel<br />

loudspeakers, four X-800C cinema subwoofers<br />

in the front, two X-400C cinema subwoofers<br />

in the rear, and four HMS-12 and 34 HMS-10<br />

cinema surround loudspeakers.<br />

“I enjoy mixing on the system immensely,”<br />

says Taieb. “You can work all day on a<br />

movie with very high dynamic levels, and<br />

not feel tired or mugged by the sound. I’m<br />

continually impressed with the precision and<br />

clarity.”<br />

Designed and supervised by Paul Henri<br />

Wagner of 44.1, the complete technical<br />

renovation of the room includes new wiring,<br />

6 BoxOffice ® <strong>Pro</strong> The Business of Movies JANUARY <strong>2014</strong>


EXHIBITION BRIEFS<br />

a 244-channel/48-fader Avid System 5 mixing<br />

console, and two <strong>Pro</strong> Tools HDX systems.<br />

Founded in 1989 and headquartered in<br />

Saint-Denis, just outside Paris, Dubbing Brothers<br />

has satellite offices in the United States,<br />

Germany, Italy, and Belgium.<br />

SCREENING ROOM<br />

n Harkness Screens has announced that it has<br />

begun making its new passive 3D screen surface<br />

Clarus 170 at its Asian facilities in India and<br />

China.<br />

Designed for use in large-format auditoria<br />

(using two projectors) or in smaller to midsize<br />

theaters where 3D systems using polarized light<br />

are deployed, the Clarus 170 3D surface also<br />

enhances conventional 2D presentation, enabling<br />

DCI compliance with optimized theater<br />

geometry.<br />

“Clarus 170 has already proved an enormous<br />

success,” says Richard Mitchell, worldwide<br />

marketing manager of Harkness Screens. “To<br />

date we’ve installed a significant number of<br />

screens in Europe and this number is growing<br />

daily. The screen’s unique characteristics mean a<br />

richer, deeper, more immersive 3D experience<br />

for consumers.”<br />

According to Mitchell, Clarus provides a wide<br />

viewing angle and significantly increases overall<br />

brightness uniformity across the screen, reducing<br />

visual hot-spotting while maintaining suitable<br />

light on screen for 2D and 3D projection.<br />

“With Clarus 170 3D surface, exhibitors are<br />

able to benefit from more even light distribution<br />

across the screen without the need to<br />

radically alter equipment specification such<br />

as lamp size or lamp power, which lower-gain<br />

3D screens might require. On top of this, the<br />

surface improves color accuracy and contrast,<br />

giving a viewing experience significantly closer<br />

to traditional 2D white screen presentation,”<br />

Mitchell adds.<br />

Specialist aluminum flake–based coating<br />

applied to the base material provides high gain<br />

characteristics, strong signal-to-noise ratios,<br />

generous viewing angles, and optimum color<br />

temperature. Harkness’s seam-welding process<br />

ensures that these screens have no visible seams<br />

under projection conditions.<br />

SMALL SPACE, BIG SOUND<br />

n QSC Audio <strong>Pro</strong>ducts announces three new<br />

loudspeakers for smaller cinemas. All three<br />

models were on display at CineAsia at the Hong<br />

Kong Convention and Exhibition Centre in<br />

December.<br />

The new models include two passive fullrange,<br />

two-way screen channel loudspeakers and<br />

a compact, narrow-profile subwoofer. Optimized<br />

for rooms up to 35 feet (11 meters) from<br />

the screen to the last row of seating, the new<br />

SC-1120 two-way screen channel loudspeaker<br />

features a 12-inch low-frequency driver and<br />

a 1.75-inch voice coil high-frequency driver.<br />

The new SC-1150 two-way screen channel<br />

loudspeaker is designed for rooms up to 45 feet<br />

(14 meters) in length, featuring a single 15-inch<br />

low-frequency driver and a 1.75-inch voice<br />

coil high-frequency driver. Both systems are<br />

fully passive, requiring only a single amplifier<br />

channel per loudspeaker, and both use QSC’s<br />

90-degree axisymmetric waveguide for wide,<br />

even coverage. The new SB-1180 subwoofer<br />

features a single 18-inch extended-bandwidth<br />

low-frequency driver. All three enclosures are<br />

11.7 inches (297 mm) deep, minimizing space<br />

requirements behind the screen.<br />

“It’s a fact that small cinemas simply don’t<br />

require the same output capabilities from their<br />

loudspeakers that larger cinemas require,” says<br />

Barry Ferrell, senior vice president and chief<br />

strategy officer for QSC Audio <strong>Pro</strong>ducts. “But<br />

until now, cinema operators have been forced<br />

to compromise—either by spending too much<br />

on a loudspeaker system that’s too large for<br />

the room, or settling for a small, inexpensive<br />

system that sacrifices both output and sound<br />

quality. The new small-room systems from QSC<br />

solve that dilemma for cost-conscious cinema<br />

operators.”<br />

WALL OF SOUND<br />

n Dolby Laboratories and Grupo Cinemex<br />

have announced that Cinemex will install the<br />

Dolby Atmos cinema sound platform in 20<br />

theaters.<br />

“Dolby Atmos is a major differentiator for<br />

Cinemex audiences. It provides greater definition<br />

and dimension to movies with its unique<br />

object-based approach to sound,” says Rolando<br />

Maggi, infrastructure director, Grupo Cinemex.<br />

“With this achievement, we reinforce our mission<br />

to be the best in entertaining people by offering<br />

state-of the-art technology and exceptional<br />

facilities, as well as providing our clients with<br />

new and innovative concepts for a convenient<br />

and enjoyable moviegoing experience.”<br />

The addition of Dolby Atmos is one part<br />

of the CinemeXtremo concept, which the<br />

company says offers a more realistic and extreme<br />

experience with its giant screens, 100 percent<br />

digital-cinema-projection capabilities, and<br />

ergonomic seats. The Cinemex expansion will<br />

also feature Christie Vive Audio, the world’s first<br />

audio system to be powered by Christie’s innovative<br />

wall-and ceiling-surround speakers, with<br />

their unique ribbon-driver technology.<br />

“Dolby’s introduction of the world’s<br />

first object-based cinema sound<br />

platform marks a giant step forward<br />

in the evolution of movie storytelling,”<br />

says Doug Darrow, senior<br />

vice president, cinema, Dolby Laboratories.<br />

“We are proud to have<br />

pioneered an approach to sound<br />

that delivers a sense of being in the<br />

moment alongside your favorite<br />

film characters.”<br />

ON THE MOVE<br />

n Chuck Goldwater (below) has been promoted<br />

to executive vice president of Digital Cinema<br />

Destinations Corp. Goldwater has been a member<br />

of Digiplex’s board of directors since early<br />

2012 and was appointed senior vice president of<br />

the company in <strong>January</strong> 2013.<br />

Goldwater’s previous posts include seven<br />

years at Cinedigm as president of its Media<br />

Services Group. Prior to his tenure at Cinedigm<br />

he was chief executive officer of Digital<br />

Cinema Initiatives, LLC (DCI), a joint venture<br />

of the seven leading Hollywood studios that<br />

established technical specifications and initial<br />

business planning for the worldwide implementation<br />

of digital cinema. Goldwater has<br />

also held positions at USA Cinemas, National<br />

Amusements, and Loews Theatres, and he<br />

served as president and CEO of Mann Theatres<br />

and president at Clearview Cinemas. In 2012 he<br />

was inducted into the ShowEast Hall of Fame.<br />

Digiplex Chairman and CEO Bud Mayo<br />

says, “Since joining Digiplex’s board less than<br />

two years ago and our executive team in early<br />

2013, Chuck has been instrumental in helping<br />

guide our organization through its early years<br />

of rapid growth and operational success. Given<br />

his tremendous wealth of cinema-industry<br />

experience, Chuck has been a key asset to our<br />

corporate management, as well as to our teams<br />

at the local theater level. With the company’s<br />

goal of ongoing expansion plans, we expect to<br />

continue relying on Chuck’s exhibition-industry<br />

expertise and his unique base of knowledge, especially<br />

on the digital-cinema-deployment and<br />

alternative-programming fronts,” Mayo adds.<br />

Chuck Goldwater<br />

Executive Vice President<br />

Digital Cinema Destinations Corp.<br />

8 BoxOffice ® <strong>Pro</strong> The Business of Movies JANUARY <strong>2014</strong>


EXECUTIVE<br />

SUITE<br />

A “Do-Nothing Congress”:<br />

GOOD FOR EXHIBITION<br />

NOW—BUT A DANGER IN<br />

THE LONG TERM<br />

by John Fithian,<br />

President and CEO, NATO<br />

n On <strong>January</strong> 3, 1975, I stood with my father<br />

on the floor of the United States House of Representatives<br />

as he was sworn in to office for the<br />

first time. A former university history professor,<br />

he taught me to respect our nation’s Congress<br />

as a great legislative body and a pillar of a free<br />

democracy. He also insisted that we respect the<br />

president and the office he held. Despite their<br />

affiliation with different political parties, my<br />

Democratic father and a Republican president,<br />

Gerald R. Ford, became friends and worked<br />

together on several important policy initiatives.<br />

It was a difficult period in our nation’s history.<br />

The Watergate scandal and the resignation<br />

of President Nixon in August 1974 further<br />

soured the mood of a country already torn by<br />

the debate over Vietnam. Some politicians took<br />

advantage of that mood to emphasize partisan<br />

goals and divisions. Most, however, got to work<br />

doing the nation’s business. Despite the fact<br />

that one party held the presidency and the other<br />

party controlled Congress, 205 public bills were<br />

enacted into law in 1975, and another 383 bills<br />

became law in 1976.<br />

In one manner or another, I have been a student<br />

of our government ever since that day in<br />

1975. In high school I spent many hours sitting<br />

in the family gallery of the House of Representatives,<br />

fascinated by the debate. I majored<br />

in government in college, studied legislative<br />

process in law school, and went on to work at<br />

the most influential lobbying firm in Washington,<br />

D.C. C-SPAN is as important to me as are<br />

CNN and ESPN.<br />

I do not come lightly, therefore, to a somber<br />

assessment of our current government in<br />

Washington. But it depresses me to note that<br />

the Congress of 2013–<strong>2014</strong> so far has been,<br />

and will likely continue to be, the most partisan<br />

and least productive of my lifetime. And this<br />

113th Congress comes on the heels of the 112th<br />

Congress (2011–2012), which had already set<br />

the lowest bar for legislative productivity since<br />

World War II.<br />

Consider the legislative record of the past<br />

three years. In 2011, 90 bills became law. The<br />

first year of any two-year Congress typically produces<br />

fewer final measures than the second (or<br />

even) year does. Legislation often takes many<br />

months to wind through the process of introduction,<br />

hearing discussion, committee debate<br />

and vote, floor consideration, reconciliation of<br />

the two bodies, and signature by the president.<br />

Nonetheless, 90 laws is a dismal record. The<br />

average number of bills passed during odd years<br />

from 1947 through 2011 was 242 bills per year,<br />

and in only one year other than 2011 was the<br />

number of bills passed less than 100. In the<br />

odd year of 2013, the first year of the 113th<br />

Congress, the number of enacted bills stands<br />

at 56, with but two weeks to go in the session<br />

at the time this column was written. In other<br />

words, 2013 looks to be the least productive<br />

first session of Congress in modern history.<br />

Nor is it likely that <strong>2014</strong> will make up for<br />

2013, if the previous Congress is any indication.<br />

In 2012, the second session of the 112th Congress,<br />

193 bills became law. That number seems<br />

impressive compared to 2011 or 2013, but not<br />

when compared with other second sessions in<br />

other even years. In every even year since 1948<br />

other than 2012, more than 200 bills have<br />

passed, and the average over that span is 397. In<br />

other words, the 112th Congress was the least<br />

productive since the Second World War, and the<br />

113th Congress looks like it will be even worse.<br />

What has the current Congress accomplished?<br />

Well, the Violence Against Women Act<br />

was renewed after some lengthy debate, but that<br />

legislation has been very bipartisan and an easy<br />

sell in previous years. Legislation was passed to<br />

keep the government’s helium reserves open.<br />

And legislators did finally come to an agreement<br />

on how to fund the government, but only after<br />

more than two weeks of embarrassing shutdown<br />

during the month of October. Among the<br />

actions taken in one chamber but not the other,<br />

the House of Representatives has voted more<br />

than 40 times to repeal the Affordable Care Act,<br />

even though that repeal effort stands absolutely<br />

no chance of passing the Senate.<br />

What has the current Congress failed to do?<br />

Just about everything else. Important immigration<br />

reform remains stalled, despite bipartisan<br />

support from left-leaning human rights groups<br />

and right-leaning big businesses. Minor gun<br />

proposals went nowhere even after several<br />

high-profile acts of gun violence ripped through<br />

the country’s psyche and despite the fact that<br />

the leading proposal (expanded background<br />

checks) had the support of 85 percent of the<br />

nation. A time-sensitive farm bill, which typically<br />

finds support from both parties, seems stuck<br />

in the partisan morass over a debate about food<br />

stamps. And bigger, more important initiatives,<br />

such as long-overdue reforms of the tax code<br />

and the nation’s entitlement programs, stand a<br />

10 BoxOffice ® <strong>Pro</strong> The Business of Movies JANUARY <strong>2014</strong>


snowball’s chance in hell of getting off the starting blocks.<br />

Why has this happened? Well, everyone deserves some blame. The<br />

House Republicans lack any sense of unity, as factional politics driven<br />

by the relatively small Tea Party Caucus prevent the party’s more centrist<br />

leadership from compromising on anything. I believe that House Speaker<br />

John Boehner is a good man who could, under normal circumstances,<br />

find common ground with the Senate Democratic leadership and President<br />

Obama. But the historic and inflexible grassroots movement of the<br />

Tea Party, combined with the radicalizing effects of redistricting, has made<br />

that impossible. Speaker Boehner has been embarrassed several times with<br />

losses on the floor of the House.<br />

The Democrats haven’t helped. President Obama hasn’t blocked Congress<br />

with the veto, which he has only employed twice, but on a broader<br />

scale he has failed to translate his electoral mandate into an effective partnership<br />

with Congress. Though he has tried to woo Republicans lately,<br />

those efforts have come too late. The divide between the parties widened<br />

early in the president’s first term when the Democrats lost patience for<br />

a bipartisan reform of health care and pushed through a partisan result<br />

instead. And as the Tea Party has pulled the Republicans in Congress to<br />

the right, liberal interest groups have responded by pulling the Democrats<br />

to the left. And this divide leaves the reduced number of moderates in<br />

Congress in serious danger of losing re-election.<br />

The good news for exhibitors, of course, is that a “do-nothing” Congress<br />

has done nothing to hurt our industry. <strong>Pro</strong>posals for new gun laws,<br />

as mentioned earlier, could easily serve as a legislative vehicle for restrictions<br />

on violent entertainment. Indeed, the White House specifically<br />

cautioned the MPAA, NATO, and other entertainment leaders about the<br />

likely nexus between the two. But with no real movement on gun legislation,<br />

our industry has not been subjected to damaging legislation either.<br />

<strong>Pro</strong>posals to raise the federal minimum wage have gone nowhere in<br />

Congress yet, despite action in state legislatures and on ballot initiatives.<br />

And despite a national outcry about the rising health impact of obesity,<br />

restrictive proposals on food and beverages have shown no traction in<br />

Congress, even while the states, cities, and federal agencies have moved<br />

forward.<br />

Indeed NATO’s main concern is the policymaking of the administrative,<br />

not the legislative, branch of the government. Menu labeling rules are<br />

imminent from the Food and Drug Administration, while disabilities-access<br />

rules related to captioning and description requirements are pending<br />

action at the Department of Justice. In many ways, the lobbying of<br />

agencies presents greater challenges than attempts to influence Congress,<br />

where grass roots have greater sway.<br />

On balance it is easier to represent an industry like exhibition when<br />

the Congress does very little, because we play defense more often than offense.<br />

In the long term, however, a dysfunctional Congress will be bad for<br />

democracy, and bad for the nation’s economy. The value of the American<br />

dollar, for example, will not remain dominant in global currency markets<br />

if the Congress continues to threaten the full faith and credit of the<br />

government every time the debt limit comes into play. Questions about<br />

government shutdowns threaten economic contracts on a wide scale. And<br />

consumers spend less when they doubt the ability of the government to<br />

carry through on its promises.<br />

Beyond those pains of inaction, there is important work the Congress<br />

must do to protect our economy. The tax code is broken and so are federal<br />

entitlement programs. Yet the Republicans really don’t want to mess with<br />

relatively low taxes by global standards, and the Democrats refuse to<br />

consider any real reforms to their cherished entitlements. Without hard<br />

work to produce serious legislative reform on those two subjects, the<br />

country will not escape sustained budget deficits, as the changing nature<br />

of business and the aging of the population will run the country into the<br />

ground. Simply put, a broken Congress may make it easier for defensive<br />

lobbying groups on discrete issues, but it can cause much greater damage<br />

in the long run.<br />

Let’s hope for restored sanity in Washington in our lifetimes.<br />

JANUARY <strong>2014</strong> BoxOffice ® <strong>Pro</strong> The Business of Movies 11


BOX OFFICE<br />

REPORT<br />

THE GLOBAL<br />

TOP 25<br />

BoxOffice takes a look at the<br />

25 biggest films of 2013.<br />

By Daniel Loria<br />

1 IRON MAN 3<br />

Disney<br />

Budget: $275M<br />

Global: $1.214B<br />

Overseas: $805.7M<br />

Domestic: $409M<br />

The biggest blockbuster of the year was<br />

the only film of 2013 to cross the $1 billion<br />

mark. The third installment in the Iron Man<br />

franchise posted a considerable improvement<br />

over its predecessors, Iron Man<br />

($585 million worldwide) and Iron Man 2<br />

($622 million worldwide). The box office<br />

bump follows the massive success of<br />

Marvel’s The Avengers, the 2012 juggernaut<br />

that collected $1.514 billion from the<br />

global box office. Iron Man 3 soared above<br />

the competition with a $121.2 million tally<br />

from China, its most important overseas<br />

market. There seems to be no stopping<br />

Robert Downey Jr. & Co. with these superhero<br />

movies, especially considering that<br />

the $409.1 million the film collected from<br />

North America only represents a third of<br />

its global total.<br />

Top Five Overseas Territories:<br />

China<br />

South Korea<br />

United Kingdom<br />

Mexico<br />

Brazil<br />

2 DESPICABLE ME 2<br />

Universal<br />

Budget: $140M<br />

Global: $918.3M<br />

Overseas: $551.3M<br />

Domestic: $366.9M<br />

$121.2M<br />

$64.0M<br />

$57.0M<br />

$48.5M<br />

$48.3M<br />

The Minions took over the world in 2013.<br />

The animated sequel became the most<br />

profitable film of all time for Universal<br />

and its second-highest release in history<br />

behind Jurassic Park’s $960 million. The<br />

film nearly doubled the $543 million global<br />

total of the original and is set to surpass<br />

Shrek 2 to become the fourth-biggest<br />

animated film of all time. Universal might<br />

have expected a hit ahead of the film’s release,<br />

but no one imagined that the fledgling<br />

franchise would easily defeat competing<br />

films with built-in pre-awareness or<br />

loftier box office credentials. Despicable<br />

Me 2 will have a shot at the $1 billion mark<br />

with a <strong>January</strong> release in China.<br />

Top Five Overseas Territories:<br />

United Kingdom<br />

Mexico<br />

Germany<br />

France<br />

Brazil<br />

3 FAST & FURIOUS 6<br />

Universal<br />

Budget: $220M<br />

Global: $788M<br />

Overseas: $549.3M<br />

Domestic: $238.6M<br />

$72.1M<br />

$47.7M<br />

$38.2M<br />

$36.4M<br />

$35.6M<br />

Fast 6 sped out of the gate by becoming<br />

Universal’s biggest U.S., overseas, and<br />

global opener of all time. The film hardly<br />

slowed down from its hot start and went<br />

on to hit $788 million worldwide, a franchise<br />

record. Fast 6 is one of only three<br />

films to have crossed the $500 million<br />

mark overseas in 2013.<br />

Top Five Overseas Territories:<br />

China<br />

United Kingdom<br />

Mexico<br />

Russia<br />

Germany<br />

4 MONSTERS UNIVERSITY<br />

Disney<br />

Budget: $270M<br />

Global: $738.8M<br />

Overseas: $470.4M<br />

Domestic: $268.4M<br />

$65.6M<br />

$38.3M<br />

$36.0M<br />

$33.9M<br />

$30.0M<br />

It took Disney Pixar over a decade to<br />

follow up the success of Monsters, Inc.<br />

Audiences didn’t forget about Mike and<br />

Sulley in the 12 years between Monsters,<br />

Inc. and Monsters University, as the Pixar<br />

prequel became Disney’s second-biggest<br />

hit of the year behind Iron Man 3. Monsters<br />

University wasn’t a runaway hit in China,<br />

but an unexpected $89.2 million run in<br />

Japan helped launch the film to big numbers<br />

overseas. Argentina, not known as a<br />

traditionally powerful territory, contributed<br />

a strong $23.6 million to the film’s box<br />

office total.<br />

Top Five Overseas Territories:<br />

Japan<br />

United Kingdom<br />

Mexico<br />

China<br />

Argentina<br />

$89.2M<br />

$46.7M<br />

$37.2M<br />

$33.7M<br />

$23.6M<br />

5 THE HUNGER GAMES: CATCHING FIRE<br />

Lionsgate<br />

Budget: $185M<br />

Global: $673.4M<br />

Overseas: $336.7M<br />

Domestic: $336.7M<br />

The best-selling young-adult novels enjoyed<br />

a blockbuster transition to the big<br />

screen in last year’s The Hunger Games.<br />

The first film of the newly minted franchise<br />

grossed $686.5 million worldwide, a figure<br />

that the sequel is close to surpassing. The<br />

Hunger Games: Catching Fire is still in<br />

release around the world and could possibly<br />

overtake Monsters University for the<br />

number four spot by year’s end.<br />

Top Five Overseas Territories:<br />

United Kingdom<br />

Germany<br />

China<br />

Australia<br />

Russia<br />

6 MAN OF STEEL<br />

Warner Bros.<br />

Budget: $300M<br />

Global: $662.8M<br />

Overseas: $371.8M<br />

Domestic: $291.0M<br />

$42.9M<br />

$30.7M<br />

$27.1M<br />

$25.7M<br />

$22.0M<br />

Superman’s return to the big screen<br />

was a significant improvement over the<br />

franchise’s previous iteration, Superman<br />

Returns, which only grossed $391 million<br />

worldwide. The key factor in the improvement<br />

was the overseas market, where Man<br />

of Steel nearly doubled the cume of its<br />

predecessor. China led the charge outside<br />

of North America with a $63.4 million contribution<br />

to the Caped Crusader’s latest<br />

cinematic effort. Man of Steel’s box office<br />

results were optimistic enough to revalue<br />

the DC brand. The studio is currently<br />

developing a new film featuring Superman,<br />

Batman, and Wonder Woman.<br />

Top Five Overseas Territories:<br />

China<br />

United Kingdom<br />

Australia<br />

Mexico<br />

France<br />

7 GRAVITY<br />

Warner Bros.<br />

Budget: $145M<br />

Global: $631.5M<br />

Overseas: $380.0M<br />

Domestic: $251.5M<br />

$63.4M<br />

$46.5M<br />

$22.5M<br />

$21.3M<br />

$20.3M<br />

12 BoxOffice ® <strong>Pro</strong> The Business of Movies JANUARY <strong>2014</strong>


One of the year’s most pleasant box office<br />

surprises came with this critically lauded<br />

sci-fi epic from Mexican director Alfonso<br />

Cuarón. Gravity reinforces a new blockbuster<br />

formula that was pioneered by Ang<br />

Lee’s Life of Pi ($611.7 million worldwide),<br />

offering audiences a visual spectacle from<br />

a celebrated auteur that maximizes the<br />

potential of IMAX and 3D. Gravity has<br />

already outgrossed Life of Pi around the<br />

world and is likely to finish its global run<br />

above $650 million.<br />

crossed the $400 million mark overseas in<br />

its first outing. Will a sequel produce the<br />

same blockbuster results of Despicable<br />

Me 2?<br />

Top Five Overseas Territories:<br />

China<br />

United Kingdom<br />

Russia<br />

Mexico<br />

Australia<br />

$63.6M<br />

$41.8M<br />

$28.5M<br />

$27.4M<br />

$25.0M<br />

home and abroad for Disney, opening the<br />

possibility for an even-greater return if<br />

the sequel can boost its overseas performance.<br />

Top Five Overseas Territories:<br />

Russia<br />

China<br />

United Kingdom<br />

Japan<br />

Australia<br />

$27.3M<br />

$25.9M<br />

$23.1M<br />

$18.6M<br />

$15.8M<br />

Top Five Overseas Territories:<br />

China<br />

France<br />

United Kingdom<br />

South Korea<br />

Russia<br />

$64.6M<br />

$46.6M<br />

$39.1M<br />

$28.8M<br />

$21.2M<br />

10 WORLD WAR Z<br />

Paramount<br />

Budget: $260M<br />

Global: $539.5M<br />

12 STAR TREK INTO DARKNESS<br />

Paramount<br />

Budget: $250M<br />

Global: $466.9M<br />

8 THOR: THE DARK WORLD<br />

Disney<br />

Budget: $235M<br />

Global: $610.3M<br />

Overseas: $416.7M<br />

Domestic: $193.6M<br />

Marvel’s The Avengers helped push Iron<br />

Man 3 beyond the $1 billion mark, and<br />

the influence of 2012’s top grosser can<br />

also be seen in the box office bump for<br />

Thor: The Dark World. The original Thor<br />

grossed $446 million worldwide, a figure<br />

that Thor: The Dark World surpassed in<br />

a matter of weeks. The sequel breezed<br />

past the $400 million mark overseas and<br />

will be hoping to reach the $500 million<br />

milestone by the end of the month.<br />

Overseas audiences became the catalyst<br />

of this box office surge after the Thor<br />

sequel surpassed the lifetime cume of<br />

most major markets within the first three<br />

weeks of release.<br />

Top Five Overseas Territories:<br />

China<br />

Russia<br />

United Kingdom<br />

Brazil<br />

Mexico<br />

9 THE CROODS<br />

Fox<br />

Budget: $195M<br />

Global: $589.8M<br />

Overseas: $402.6M<br />

Domestic: $187.1M<br />

$51.3M<br />

$36.2M<br />

$31.4M<br />

$27.2M<br />

$23.5M<br />

A new animated franchise was born with<br />

the release of The Croods. The prehistoric<br />

animated feature might have gotten away<br />

with some Ice Age nostalgia from overseas<br />

viewers, but The Croods was able to stand<br />

on its own and deliver a $589.8 million<br />

global cume—the highest of the year for a<br />

nonfranchise animated feature. The Croods<br />

Overseas: $337.2M<br />

Domestic: $202.3M<br />

Many industry insiders speculated that<br />

World War Z would be the box office<br />

fiasco of the year following a turbulent<br />

production, escalating budget, and<br />

costly reshoots stemming from structural<br />

changes to the film’s third act. A Vanity<br />

Fair profile documenting the troubled<br />

project all but buried the film in a<br />

wave of negative press before the film’s<br />

release, and Paramount and exhibitors<br />

braced for what could have been a costly<br />

flop. The result? One of the ten highest-grossing<br />

films at the global box office<br />

with $539.5 million to its name—even<br />

without a Chinese release. Executives<br />

breathed a sigh of relief and exhibitors<br />

weren’t disappointed as Brad Pitt saved<br />

the world from flesh-eating monsters,<br />

stopping only to enjoy a conspicuously<br />

placed can of Pepsi near the end of the<br />

film. The scariest parts of World War Z<br />

might have occurred behind the scenes,<br />

but don’t be surprised to see a (scaleddown)<br />

sequel in the coming years after<br />

the film’s big box office turnout around<br />

the world.<br />

Top Five Overseas Territories:<br />

South Korea<br />

Russia<br />

Mexico<br />

United Kingdom<br />

France<br />

$33.7M<br />

$24.7M<br />

$23.3M<br />

$22.2M<br />

$21.1M<br />

11 OZ: THE GREAT AND POWERFUL<br />

Disney<br />

Budget: $280M<br />

Global: $493.2M<br />

Overseas: $258.3M<br />

Domestic: $234.9M<br />

That Wizard of Oz property is still extremely<br />

valuable for Disney, and the studio<br />

should be commended for rolling out the<br />

right type of vehicle to reboot the classic<br />

film into a modern franchise. Oz: The Great<br />

and Powerful was a balanced success at<br />

Overseas: $238.2M<br />

Domestic: $228.7M<br />

Paramount made it a priority to improve<br />

upon the $127.2 million grossed overseas<br />

by the previous installment of the<br />

Star Trek franchise. The sequel’s release<br />

dates around the world were spread out<br />

throughout the summer as the studio positioned<br />

the film strategically according<br />

to each region’s release windows. The<br />

result was an 87 percent improvement in<br />

the overseas tally with a $238.2 million<br />

cume outside of North America for Star<br />

Trek Into Darkness. The franchise took<br />

a hit when J.J. Abrams jumped ship to<br />

helm Disney’s upcoming Star Wars films,<br />

but Star Trek Into Darkness showed there<br />

is still long-term potential for the Paramount<br />

property.<br />

Top Five Overseas Territories:<br />

China<br />

United Kingdom<br />

Germany<br />

Australia<br />

South Korea<br />

13 THE WOLVERINE<br />

Fox<br />

Budget: $170M<br />

Global: $417M<br />

Overseas: $284.4M<br />

Domestic: $132.5M<br />

$56.9M<br />

$39.5M<br />

$20.7M<br />

$15.8M<br />

$11.4M<br />

Hugh Jackman returned to the role that<br />

made him a star in the sequel to the superhero<br />

spin-off X-Men Origins: Wolverine.<br />

The first spin-off failed to win over fans of<br />

the franchise despite grossing $373 million<br />

worldwide. The Wolverine was unable<br />

to capture significant numbers in North<br />

America, however, and the $132.5 million<br />

gross hindered the sequel’s potential for a<br />

half-million global cume. The X-Men franchise<br />

will go back to focusing on ensemble<br />

pictures with X-Men: Days of Future Past<br />

on May 23, <strong>2014</strong>, and X-Men: Apocalypse<br />

on May 27, 2016.<br />

JANUARY <strong>2014</strong> BoxOffice ® <strong>Pro</strong> The Business of Movies 13


BOX OFFICE REPORT<br />

Top Five Overseas Territories:<br />

China<br />

Russia<br />

Brazil<br />

United Kingdom<br />

France<br />

14 PACIFIC RIM<br />

Warner Bros.<br />

Budget: $230M<br />

Global: $407.6M<br />

Overseas: $305.8M<br />

Domestic: $101.8M<br />

$40.5M<br />

$22.2M<br />

$21.7M<br />

$21.0M<br />

$17.5M<br />

A disappointment in North America,<br />

Pacific Rim was single-handedly saved<br />

overseas by China. Guillermo del Toro’s<br />

high-concept tentpole grossed $119.9<br />

million in China, over $10 million more than<br />

its North American cume and more than a<br />

quarter of the film’s global total. Asia alone<br />

represented nearly half of the film’s overseas<br />

total. A blockbuster like Pacific Rim<br />

is a perfect example of how the overseas<br />

box office, led by China’s surging market,<br />

can turn a flop into a hit by year’s end.<br />

Though not yet greenlit, director Guillermo<br />

del Toro is writing a sequel.<br />

Top Five Overseas Territories:<br />

China<br />

Russia<br />

South Korea<br />

Mexico<br />

Japan<br />

15 G.I. JOE: RETALIATION<br />

Warner Bros.<br />

Budget: $190M<br />

Global: $372.5M<br />

Overseas: $250M<br />

Domestic: $122.5M<br />

$119.1M<br />

$20.6M<br />

$18.1M<br />

$16.0M<br />

$15.1M<br />

Originally slated for 2012, G.I. Joe:<br />

Retaliation was pushed to 2013 in order<br />

to accommodate reshoots and a 3D<br />

conversion. The decision proved to be<br />

fortuitous outside of North America, as<br />

a spring 2013 release sidestepped the<br />

previous year’s packed summer slate<br />

and led to a $100 million improvement<br />

above its predecessor’s overseas total.<br />

Additional star power from new cast<br />

additions Dwayne “The Rock” Johnson<br />

and Bruce Willis helped the sequel reach<br />

a bigger audience overseas. A third film<br />

is in the works with Jon M. Chu planning<br />

a return to the director’s chair.<br />

Top Five Overseas Territories:<br />

China<br />

Russia<br />

Mexico<br />

South Korea<br />

United Kingdom<br />

$53.8M<br />

$15.0M<br />

$14.1M<br />

$12.9M<br />

$11.4M<br />

16 THE HANGOVER PART III<br />

Warner Bros.<br />

Budget: $155M<br />

Global: $350.5M<br />

Overseas: $238.3M<br />

Domestic: $112.2M<br />

The first Hangover sequel was critically<br />

panned upon release in 2011 despite<br />

drawing enough crowds to amass a<br />

$581.4 million global cume. The sequel’s<br />

poor reception affected business for the<br />

final entry in The Hangover trilogy; The<br />

Hangover Part III fell $230 million short<br />

of its predecessor’s mark. The $350 million<br />

global cume came in large part from<br />

strong support overseas after the film<br />

only made 44 percent of the business<br />

generated by The Hangover Part II in<br />

North America. Despite the setbacks, The<br />

Hangover Part III finished the year as the<br />

number one comedy in the world, even<br />

though it scored a lowly 19 percent at<br />

review aggregator Rotten Tomatoes.<br />

Top Five Overseas Territories:<br />

Germany<br />

United Kingdom<br />

Australia<br />

Russia<br />

Brazil<br />

17 THE GREAT GATSBY<br />

Warner Bros.<br />

Budget: $160M<br />

Global: $348.8M<br />

Overseas: $204M<br />

Domestic: $144.8M<br />

$31.0M<br />

$29.3M<br />

$19.7M<br />

$17.3M<br />

$16.5M<br />

Baz Luhrmann recovered from Australia<br />

with his 3D adaptation of F. Scott Fitzgerald’s<br />

celebrated novel. The Australian<br />

director’s home country showed the<br />

most enthusiasm for the film, leading the<br />

overseas markets with a $25.8 million<br />

tally. (The government of Australia contributed<br />

financially to the making of the<br />

film with tax subsidies.) The story hit a<br />

chord in Russia where, aided by Leonardo<br />

DiCaprio’s star power, The Great<br />

Gatsby earned $17.6 million. The Great<br />

Gatsby illustrates the potential of a wellknown<br />

literary adaptation under the helm<br />

of an established director and the talent<br />

such a project can attract. In an industry<br />

dominated by special effects bonanzas,<br />

Luhrmann’s Gatsby suggests that dramas<br />

can work in 3D and retain their box office<br />

viability.<br />

Top Five Overseas Territories:<br />

Australia<br />

United Kingdom<br />

Russia<br />

Germany<br />

France<br />

$25.8M<br />

$23.9M<br />

$17.6M<br />

$15.7M<br />

$13.5M<br />

18 NOW YOU SEE ME<br />

Lionsgate<br />

Budget: $105M<br />

Global: $348.4M<br />

Overseas: $230.6M<br />

Domestic: $117.7M<br />

One of the biggest box office surprises of<br />

the year began its run by humiliating M.<br />

Night Shyamalan’s After Earth in a head-tohead<br />

face-off in North America. Now You<br />

See Me would continue to thrive around the<br />

world, carving its own niche in a summer<br />

full of higher-profile and better-publicized<br />

releases. The film was one of the biggest<br />

hits of the year in France, where it earned<br />

$25.6 million. China and Russia each contributed<br />

grosses above $20 million to the<br />

film’s $230.6 million overseas tally.<br />

Top Five Overseas Territories:<br />

France<br />

China<br />

Russia<br />

South Korea<br />

United Kingdom<br />

19 THE SMURFS 2<br />

Sony<br />

Budget: $170M<br />

Global: $347.5M<br />

Overseas: $276.5M<br />

Domestic: $71M<br />

$25.6M<br />

$22.9M<br />

$21.2M<br />

$17.0M<br />

$16.7M<br />

The Smurfs posted a $563 million global<br />

outing in 2011, with over $400 million of<br />

that figure coming from overseas sales.<br />

The sequel is therefore best analyzed<br />

when looking at its overseas numbers<br />

rather than the paltry $71 million it grossed<br />

in North America—about half of its predecessor’s<br />

total in the market. The Smurfs 2<br />

couldn’t replicate the success of the original,<br />

however, ending its overseas run with<br />

a $276.5 million total. The film still proved<br />

to be profitable in what ultimately became<br />

a difficult summer for Sony.<br />

Top Five Overseas Territories:<br />

Germany<br />

China<br />

France<br />

United Kingdom<br />

Brazil<br />

20 THE CONJURING<br />

Warner Bros.<br />

Budget: $50M<br />

Global: $316.6M<br />

Overseas: $179.3M<br />

Domestic: $137.3M<br />

$23.1M<br />

$21.8M<br />

$19.7M<br />

$18.8M<br />

$14.5M<br />

14 BoxOffice ® <strong>Pro</strong> The Business of Movies JANUARY <strong>2014</strong>


It’s always a surprise when a $50 million<br />

film does this well. The Conjuring became<br />

the low-budget gem of the year after<br />

crossing the $300 million mark at the<br />

global box office. The film became the<br />

highest-grossing film of all time in Mexico,<br />

its biggest overseas market with $19 million.<br />

Director James Wan has built himself<br />

a successful reputation as this generation’s<br />

horror auteur after developing similarly<br />

successful franchises with the Saw and<br />

Insidious films. Universal is hoping to have<br />

another profitable Wan release after handing<br />

him the keys to Fast & Furious 7.<br />

Top Five Overseas Territories:<br />

Mexico<br />

United Kingdom<br />

South Korea<br />

Russia<br />

France<br />

21 A GOOD DAY TO DIE HARD<br />

Fox<br />

Budget: $135M<br />

Global: $305.9M<br />

Overseas: $238.6M<br />

Domestic: $67.3M<br />

$19.0M<br />

$16.0M<br />

$15.2M<br />

$10.0M<br />

$9.9M<br />

The latest installment in the Die Hard<br />

franchise barely made an impact in North<br />

America. A Good Day to Die Hard posted<br />

the lowest performance for the John<br />

McClane franchise in North America, only<br />

making half the money of its predecessor,<br />

Live Free or Die Hard. The film’s overseas<br />

performance is a different story altogether.<br />

Bruce Willis is as popular as ever outside<br />

of North America in the role that made<br />

him a star. A Good Day to Die Hard made<br />

77 percent of its $305.9 million global<br />

cume overseas, with China’s $31.6 million<br />

contribution leading the charge. A Good<br />

Day to Die Hard is far from being the box<br />

office flop many analysts predicted after<br />

its lackluster North American debut.<br />

Top Five Overseas Territories:<br />

China<br />

Japan<br />

United Kingdom<br />

France<br />

Germany<br />

22 OBLIVION<br />

Universal<br />

Budget: $165M<br />

Global: $286.4M<br />

Overseas: $197.2M<br />

Domestic: $89.1M<br />

$31.6M<br />

$21.6M<br />

$16.6M<br />

$15.5M<br />

$15.5M<br />

Tom Cruise’s return to sci-fi heralded<br />

flashbacks of the critical and financial<br />

success of Steven Spielberg’s Minority<br />

Report. The 2002 film had wowed<br />

critics and audiences alike on its way to a<br />

$358.3 million global cume. Expectations<br />

were high when TRON: Legacy director<br />

Joseph Kosinski signed to direct Cruise<br />

in Oblivion, but the film never fulfilled its<br />

true blockbuster potential. A $286.1 million<br />

global cume is nevertheless a moderate<br />

success for Universal, considering the film<br />

underperformed in North America with a<br />

mere $89.1 million. Cruise’s star has faded<br />

stateside since his last hit, Mission: Impossible—Ghost<br />

<strong>Pro</strong>tocol. The actor’s previous<br />

release, Jack Reacher, also failed to reach<br />

the $100 million mark in North America.<br />

Name alone won’t be enough to bring<br />

audiences to the next Tom Cruise flick, a<br />

crucial factor as the marketing ramps up<br />

for <strong>2014</strong>’s Edge of Tomorrow.<br />

Top Five Overseas Territories:<br />

China<br />

Russia<br />

United Kingdom<br />

Japan<br />

France<br />

23 ELYSIUM<br />

Sony<br />

Budget: $155M<br />

Global: $286.1M<br />

Overseas: $193M<br />

Domestic: $93M<br />

$23.7M<br />

$18.9M<br />

$16.3M<br />

$13.3M<br />

$11.3M<br />

Neill Blomkamp’s District 9 impressed in<br />

2009 with a $208.1 million global take<br />

from a moderate $63 million budget. The<br />

director was given a shot at a big-budget<br />

summer tentpole with Sony’s Elysium. Matt<br />

Damon and Jodie Foster provided the necessary<br />

star power, but the film wasn’t able<br />

to jump the $100 million hurdle in North<br />

America. The film’s overseas performance<br />

was on par with Oblivion, and the $286.1<br />

million global cume represented a comfortable<br />

profit for Sony’s difficult summer.<br />

Top Five Overseas Territories:<br />

China<br />

Russia<br />

United Kingdom<br />

France<br />

Australia<br />

24 TURBO<br />

Universal<br />

Budget: $165M<br />

Global: $283.4M<br />

Overseas: $200.4M<br />

Domestic: $83M<br />

$25.6M<br />

$15.8M<br />

$14.0M<br />

$13.6M<br />

$10.8M<br />

The animated slate for 2013 proved to be<br />

very competitive with a number of established<br />

franchises and hopeful newcomers<br />

vying for an audience. Turbo made the cut<br />

for inclusion into the year’s top 25 after<br />

crossing the $200 million mark overseas. A<br />

late opening in France gave the film little<br />

competition in its genre and allowed Turbo<br />

to amass $22.1 million in box office.<br />

Top Five Overseas Territories:<br />

France<br />

United Kingdom<br />

China<br />

Russia<br />

Australia<br />

25 WE’RE THE MILLERS<br />

Warner Bros.<br />

Budget: $70M<br />

Global: $269.1M<br />

Overseas: $118.8M<br />

Domestic: $150.3M<br />

$22.1M<br />

$18.2M<br />

$18.1M<br />

$13.9M<br />

$12.1M<br />

We’re the Millers was one of the few new<br />

comedies to have thrived both at home<br />

and abroad. The ensemble comedy delivered<br />

raunchy laughs around the world to<br />

the tune of $269.1 million. The film played<br />

particularly well in Russia, where an $18<br />

million cume led the rest of the overseas<br />

markets.<br />

Top Five Overseas Territories:<br />

Russia<br />

United Kingdom<br />

Germany<br />

Australia<br />

Italy<br />

$18.0M<br />

$13.3M<br />

$12.4M<br />

$8.9M<br />

$5.8M<br />

BREAKDOWN OF THE TOP 25<br />

WORLDWIDE HITS OF 2013<br />

China<br />

United Kingdom<br />

Russia<br />

Mexico<br />

France<br />

South Korea<br />

Australia<br />

Germany<br />

Brazil<br />

Japan<br />

Argentina<br />

Italy<br />

TOTAL<br />

$930.4M<br />

$716.1M<br />

$384.4M<br />

$314.0M<br />

$273.1M<br />

$201.1M<br />

$182.1M<br />

$171.6M<br />

$163.8M<br />

$157.8M<br />

$23.6M<br />

$5.8M<br />

$3,523.8B<br />

The numbers on this report represent grosses as of<br />

December 9, 2013. The budget numbers provided in<br />

this story are a combination of production-budget<br />

figures and estimated domestic P&A costs.<br />

JANUARY <strong>2014</strong> BoxOffice ® <strong>Pro</strong> The Business of Movies 15


FESTIVAL<br />

CIRCUIT<br />

Joseph Gordon-Levitt<br />

and Scarlett Johansson<br />

starred in the Sundance<br />

hit Don Jon<br />

As preparations mount for the<br />

latest edition of the Sundance<br />

Film Festival, BoxOffice looks<br />

back at its economic impact<br />

SUNDANCE<br />

BY THE NUMBERS<br />

by Daniel Loria<br />

THE HITS<br />

n The highest-grossing film from Sundance<br />

2013 was only a moderate success for distributor<br />

Relativity. Don Jon, Joseph Gordon-Levitt’s<br />

directorial debut, screened in the festival’s<br />

Premieres section as one of the most highly<br />

anticipated films in Park City. Relativity bought<br />

distribution rights for the film at around $4 million,<br />

reportedly committing an additional $20<br />

million in marketing to accommodate a wider<br />

release for the indie.<br />

An R-rated romantic comedy about porn<br />

addiction, Don Jon was never going to be an<br />

easy sell to mainstream audiences, even with the<br />

star power of Joseph Gordon-Levitt and Scarlett<br />

Johansson. The $24.3 million haul can’t be<br />

considered disappointing for a film that comes<br />

out of Sundance, but it doesn’t reflect the film’s<br />

potential. Relativity had to be expecting more<br />

from Don Jon but will be happy to walk away<br />

from establishing a working relationship with a<br />

talented star without losing any money.<br />

If Don Jon can be criticized for not being<br />

profitable enough, the opposite has to be said<br />

about the second-highest grossing film from<br />

Sundance 2013. Mud competed for the Palme<br />

d’Or at the 2012 Cannes Film Festival but<br />

walked away without the top honor and, more<br />

problematically, without securing distribution in<br />

North America. Lionsgate and Roadside Attractions<br />

eventually bought the film in August 2012,<br />

ahead of its selection as one of the Spotlight<br />

screenings of Sundance 2013.<br />

Positive festival reviews helped Mud collect a<br />

$2.2 million bow from 363 locations in its limited-release<br />

debut. Word of mouth spread, slowly<br />

but surely, as the film expanded to more theaters<br />

across North America. Lionsgate and Roadside<br />

positioned Mud as a theatrical/VOD hybrid,<br />

following the blueprint success that the strategy<br />

had brought them in their previous releases,<br />

Margin Call and Arbitrage. A $21.5 million<br />

theatrical haul is therefore a great number when<br />

compared with the $7.9 million grossed by Arbitrage<br />

and Margin Call’s $5.3 million final tally.<br />

Celine and Jesse returned for a third time in<br />

Richard Linklater’s Before Midnight. The couple<br />

graced screens at Sundance’s Premieres section<br />

and buzz quickly began to spread, calling it the<br />

strongest in Linklater’s trilogy. Before Midnight<br />

succeeded theatrically as well, grossing a series-best<br />

$8.1 million for Sony Pictures Classics.<br />

Fox Searchlight also acquired a hit after<br />

paying slightly under $10 million for the rights<br />

to The Way, Way Back. The comedy garnered<br />

strong buzz as a Sundance premiere and went on<br />

to post a $525K bow from only 19 theaters in<br />

its theatrical debut. The Way, Way Back doubled<br />

Searchlight’s investment at the box office, recording<br />

a $21.5 million gross.<br />

The revelation of Sundance 2013 was the<br />

film then known simply as Fruitvale. The drama<br />

inspired a bidding war among the top distributors<br />

in attendance at Sundance, only to have the<br />

Weinstein Company emerge as the winner after<br />

a reported $2.5 million bid. Fruitvale left Sundance<br />

with the Grand Jury Prize and was retitled<br />

Fruitvale Station for a summer release. The film<br />

became an art-house hit thanks to the festival<br />

buzz and strong word of mouth, collecting $16<br />

million from its theatrical run.<br />

The Spectacular Now joined Fruitvale as the<br />

only other film from the main competition to<br />

make significant business at the box office. New<br />

distribution outfit A24 continued its busy acquisition<br />

streak at Sundance 2013, scooping up the<br />

rights to the romantic comedy and scheduling it<br />

for a late-summer release. The Spectacular Now<br />

became a moderate hit in limited release with a<br />

$6.8 million gross.<br />

THE DOCUMENTARIES<br />

n Sundance is known to feature some of<br />

the strongest documentaries of the year, and<br />

2013 was no exception. Documentaries have<br />

traditionally been difficult to market theatrically,<br />

with a very small number of them hitting<br />

six-digit figures, let alone millions. The strength<br />

of the 2013 documentary crop at Sundance was<br />

reflected by more than a handful of standouts at<br />

the box office.<br />

The Weinstein Company’s RADiUS label<br />

picked up two hits in Twenty Feet from Stardom<br />

and Inequality for All. The discrepancy in box<br />

office among documentary releases tends to<br />

be highlighted by the rare films that make<br />

it into wide release. This year’s top-grossing<br />

documentary, One Direction: This is Us, led the<br />

category with $28.8 million. Second place went<br />

16 BoxOffice ® <strong>Pro</strong> The Business of Movies JANUARY <strong>2014</strong>


to Sundance favorite Twenty Feet from Stardom,<br />

a fascinating look into the world of back-up<br />

singers, which posted a strong $4.7 million<br />

take from limited release. Inequality for All, the<br />

second RADiUS-TWC acquisition from the<br />

festival, took in a surprising $1.1 million—not<br />

bad for a documentary that focuses on the views<br />

of former labor secretary and UC Berkeley<br />

professor Robert Reich.<br />

Blackfish caused a stir at the festival and was<br />

quickly nabbed for distribution. CNN Films<br />

and Magnolia teamed up for the rights to the<br />

documentary that explores the dangers of putting<br />

killer whales in captivity. The documentary<br />

was released over the summer with a shortened<br />

theatrical window in order to accommodate a<br />

broadcast premiere on the cable network. Blackfish<br />

took $2 million from its theatrical run.<br />

The Gatekeepers and Stories We Tell both<br />

screened as Spotlight selections at Park City with<br />

North American distribution already in place.<br />

The Gatekeepers benefitted from a 2012 Academy<br />

Award nomination in its $2.4 million theatrical<br />

run. Stories We Tell, Sarah Polley’s personal family<br />

documentary, grossed $1.6 million.<br />

Film<br />

Domestic gross<br />

Don Jon $24,309,029<br />

Mud $21,590,086<br />

The Way, Way Back $21,502,690<br />

Jobs $16,131,410<br />

Fruitvale Station $16,098,998<br />

Before Midnight $8,114,627<br />

The Spectacular Now $6,852,971<br />

Twenty Feet from Stardom $4,779,037<br />

In a World... $2,963,902<br />

The Gatekeepers $2,415,727<br />

The East $2,274,649<br />

Austenland $2,140,812<br />

Blackfish $2,073,582<br />

Fill the Void $1,775,316<br />

Stoker $1,703,125<br />

Stories We Tell $1,600,145<br />

The Kings of Summer $1,315,500<br />

Inequality for All $1,179,741<br />

Kill Your Darlings $827,141<br />

Muscle Shoals $640,635<br />

The Inevitable Defeat of Mister and Pete $494,608<br />

Upstream Color $450,618<br />

Sound City $421,187<br />

Ain't Them Bodies Saints $391,611<br />

Dirty Wars $371,245<br />

Lovelace $356,582<br />

Adore $318,982<br />

Linsanity $293,287<br />

The Summit $230,969<br />

Prince Avalanche $205,139<br />

THE FLOPS<br />

n Jobs was one of the most highly anticipated<br />

films to hit Sundance 2013. The biopic<br />

starring Ashton Kutcher didn’t live up to<br />

expectations as the closing-night film in the<br />

festival’s Premieres section. Mixed reviews<br />

quickly seeped in and the film never recovered<br />

from the negative buzz. Apple products might<br />

rule the market, but a $16.1 million cume for<br />

the Steve Jobs biopic is very underwhelming.<br />

If Jobs was a disappointment, Kill Your<br />

Darlings has to be considered a total flop.<br />

The film centers around a crucial time in the<br />

early lives of important figures of the Beat<br />

movement. Kill Your Darlings featured a<br />

lead performance by Hogwarts alum Daniel<br />

Radcliffe, but even he couldn’t muster a spell<br />

to turn a profit for the period piece. The film<br />

crashed out of theaters without hitting the $1<br />

million mark and settled for an $827K from<br />

limited release.<br />

Lovelace was one of the hot properties to<br />

screen in the Premieres section, and RADi-<br />

US-TWC didn’t wait long to add it to its<br />

slate. The film attracted an all-star cast led by<br />

Amanda Seyfried and featuring supporting<br />

performances from Hank Azaria, Adam Brody,<br />

Bobby Cannavale, James Franco, Chloë Sevigny,<br />

Sharon Stone, and Juno Temple. Poor reviews,<br />

however, hampered expectations for the<br />

biopic about adult entertainment icon Linda<br />

Lovelace. Like Kill Your Darlings, Lovelace was<br />

based on true events but couldn’t find a way<br />

to engage audiences. Lovelace finished its commercial<br />

run with a disastrous $356K total.<br />

It’s always hard for a bad indie to make<br />

good money. It is therefore understandable<br />

that the films mentioned above struggled to<br />

find an audience upon their theatrical release.<br />

The same cannot be said, however, about<br />

David Lowery’s Ain’t Them Bodies Saints, one<br />

of the most acclaimed films coming out of<br />

competition at Sundance 2013. IFC took the<br />

rights amid high hopes for the Texas-set drama<br />

starring Rooney Mara and Casey Affleck.<br />

Most of the festival buzz had evaporated by<br />

its mid-August release, however, and Ain’t<br />

Them Bodies Saints never found the support it<br />

deserved. The film finished its theatrical run<br />

with a disappointing $391K gross.<br />

THE 2013 SUNDANCE SCORECARD<br />

Film<br />

Domestic gross<br />

Crystal Fairy $192,441<br />

Afternoon Delight $174,496<br />

Escape from Tomorrow $171,962<br />

Cutie and the Boxer $170,449<br />

We Steal Secrets: The Story of WikiLeaks $166,243<br />

Mother of George $160,337<br />

American <strong>Pro</strong>mise $108,735<br />

Computer Chess $101,718<br />

Blue Caprice $92,336<br />

We Are What We Are $81,381<br />

Narco Cultura $80,407<br />

After Tiller $70,614<br />

Pandora's <strong>Pro</strong>mise $66,680<br />

C.O.G. $55,301<br />

The Square $52,954<br />

Concussion $42,606<br />

God Loves Uganda $41,598<br />

Sightseers $41,039<br />

Touchy Feely $36,128<br />

Big Sur $35,072<br />

Running from Crazy $33,300<br />

I Used to Be Darker $22,214<br />

V/H/S/2 $21,833<br />

Fire in the Blood $18,278<br />

The Look of Love $16,119<br />

Il Futuro $14,001<br />

Charlie Countryman $11,650<br />

Hell Baby $8,785<br />

A Teacher $8,348<br />

SOURCE: BOXOFFICE.COM<br />

JANUARY <strong>2014</strong> BoxOffice ® <strong>Pro</strong> The Business of Movies 17


OF EXHIBITION<br />

Exhibitors ranked by domestic screen<br />

count as of December 12, 2013. Data<br />

supplied by NATO and the individual<br />

circuits. The figures do not include<br />

acquisitions that were not finalized at<br />

press time. Giants of Exhibition will be<br />

updated each month at BoxOffice.com.<br />

Corrections and adjustments should be<br />

sent to ken@boxoffice.com<br />

1<br />

REGAL<br />

ENTERTAINMENT<br />

GROUP<br />

LAST YEAR SCREENS SITES<br />

1 7,382 579<br />

7132 Regal Lane<br />

Knoxville, TN 37918<br />

Tel: 865-922-1123<br />

Fax: 865-922-3188<br />

www.regmovies.com<br />

EXECUTIVE ROSTER<br />

Amy E. Miles, CEO<br />

Gregory W. Dunn, Pres. & COO<br />

Peter B. Brandow, Exec. VP, Sec. & Gen. Csl.<br />

David Ownby, Exec. VP, CFO & Treasurer<br />

Corey Coggin, Sr. VP/Finance<br />

Ted Cooper, Sr. VP/Film<br />

Todd Boruff, Sr. VP/Real Estate<br />

Rob Del Moro, Sr. VP & CPO<br />

Dave Doyle, Sr. VP & CIO<br />

Bob Engel, Sr. VP/Film Finance<br />

Ronald Kooch, Sr. VP/Const.<br />

Ray Nutt, Sr. VP/Bus. Rels.<br />

Neal Pinsker, Sr. VP/Ops.<br />

Randy Smith, Chief Admin. Off. & Csl.<br />

Ken Thewes, Sr. VP & CMO<br />

YEAR FOUNDED 1989<br />

SCREENS LAST YEAR 6,607<br />

SITES LAST YEAR 521<br />

THEATER EMPLOYEES 23,672<br />

CORPORATE EMPLOYEES 511<br />

LOCATIONS 42 states & DC, Guam, Saipan,<br />

American Samoa: AK, AL, AR, AZ, CA, CO, CT,<br />

DE, FL, GA, HI, ID, IL, IN, KS, KY, LA, MA, MD,<br />

ME, MI, MN, MO, MS, MT, NC, NE, NH, NJ,<br />

NM, NV, NY, OH, OK, OR, PA, SC, TN, TX, VA,<br />

WA, WV<br />

2 AMC<br />

ENTERTAINMENT<br />

LAST YEAR SCREENS SITES<br />

2 4,988 344<br />

920 Main St.Kansas City, MO 64105<br />

Tel: 816-221-4000<br />

Fax: 816-480-4617<br />

www.amcentertainment.com<br />

EXECUTIVE ROSTER<br />

Gerardo “Gerry” I. Lopez, CEO & Pres.<br />

Craig R. Ramsey, Exec. VP & CFO<br />

John D. McDonald, Exec. VP/Ops.<br />

Mark A. McDonald, Exec. VP/Dvlp.<br />

Elizabeth Frank, Exec. VP & Chief Content &<br />

<strong>Pro</strong>gramming Off.<br />

Robert J. Lenihan, Pres./<strong>Pro</strong>gramming<br />

Christina Sternberg, Sr. VP/Corp. Strategy<br />

Kevin M. Connor, Sr. VP, Gen. Csl. & Sec.<br />

Keith P. Wiedenkeller, Sr. VP & Chief People<br />

Off.<br />

Stephen Colanero, Chief Mktg. Off.<br />

Michael Czinege, CIO<br />

YEAR FOUNDED 1920<br />

SCREENS LAST YEAR 4,804<br />

SITES LAST YEAR 332<br />

THEATER EMPLOYEES 16,600<br />

CORPORATE EMPLOYEES 400<br />

LOCATIONS 33 States & DC: AL, AR, AZ, CA, CO,<br />

CT, FL, GA, IA, IL, IN, KS, KY, LA, MA, MD, MI,<br />

MN, MO, NC, NE, NJ, NV, NY, OH, OK, PA, SC,<br />

TX, UT, VA, WA, WI<br />

3<br />

CINEMARK USA<br />

LAST YEAR SCREENS SITES<br />

3 4,400 330<br />

3900 Dallas Pkwy., Ste. 500<br />

Plano, TX 75093<br />

Tel: 972-665-1000<br />

Fax: 972-665-1004<br />

www.cinemark.com<br />

EXECUTIVE ROSTER<br />

Lee Roy Mitchell, Chairman<br />

Tim Warner, CEO & Pres.<br />

Tandy Mitchell, Exec. VP & Asst. Sec.<br />

Valmir Fernandes, Pres./Cinemark Intl.<br />

Robert Copple, Exec. CFO & Asst. Sec.<br />

Mike Cavalier, Sr. VP, Gen. Counsel & Sec.<br />

Tom Owens, Sr. VP/Real Estate<br />

Rob Carmony, Sr. VP/New Technologies<br />

Walter Hebert, Sr. VP/Purchasing<br />

Don Harton, VP/Construction<br />

James Meredith, VP/Mktg. & Comm.<br />

Steve Zuehlke, VP/Ops.<br />

Steve Bunnell, VP/Film Licensing<br />

YEAR FOUNDED 1984<br />

WORLDWIDE SCREENS 5,453<br />

WORLDWIDE SITES 468<br />

WORLDWIDE SCREENS LAST YEAR 5,096<br />

WORLDWIDE SITES LAST YEAR 448<br />

THEATER EMPLOYEES (U.S.) 8,100<br />

CORPORATE EMPLOYEES 250<br />

LOCATIONS 39 States: AK, AR, AZ, CA, CO, DE,<br />

FL, GA, IA, IL, IN, KS, KY, LA, MA, MD, MI,<br />

MN, MO, MS, MT, NC, NJ, NM, NV, NY, OH,<br />

OK, OR, PA, SC, SD, TN, TX, UT, VA, WA, WV,<br />

WI; Argentina; Brazil; Chile; Colombia; Costa<br />

Rica; Ecuador; El Salvador; Guatemala; Honduras;<br />

Mexico; Nicaragua; Panama; Peru; Taiwan<br />

4 CARMIKE<br />

CINEMAS<br />

LAST YEAR SCREENS SITES<br />

4 2,418 247<br />

1301 First Ave.<br />

Columbus, GA 31901<br />

Tel: 706-576-3400<br />

Fax: 706-576-3433<br />

www.carmike.com<br />

EXECUTIVE ROSTER<br />

S. David Passman III, Pres. & CEO<br />

18 BoxOffice ® <strong>Pro</strong> The Business of Movies JANUARY <strong>2014</strong>


Fred W. Van Noy, Sr. VP/Ops. & COO<br />

Richard B. Hare, Sr. VP/Fin. & CFO<br />

Daniel E. Ellis, Sr. VP, Gen. Counsel & Sec.<br />

Rob Lehman, Sr. VP/Beverage & Food<br />

Jeffrey A. Cole, Asst. VP/Controller<br />

YEAR FOUNDED 1982<br />

SCREENS LAST YEAR 2,242<br />

SITES LAST YEAR 232<br />

LOCATIONS 35 states: AL, AR, CO, DE, FL, GA,<br />

IA, ID, IL, IN, KS, KY, MI, MN, MO, MT, NC,<br />

ND, NE, NM, NY, OH, OK, OR, PA, SC, SD, TN,<br />

TX, UT, VA, WA, WI, WV, WY<br />

5 CINEPLEX<br />

ENTERTAINMENT<br />

LAST YEAR SCREENS SITES<br />

5 1,635 161<br />

1303 Yonge St.<br />

Toronto, ON M4T 2Y9<br />

CANADA<br />

Tel: 416-323-6600<br />

Fax: 416-323-6683<br />

www.cineplex.com<br />

EXECUTIVE ROSTER<br />

Ellis Jacob, Pres. & CEO<br />

Dan McGrath, COO<br />

Gord Nelson, CFO<br />

Jeff Kent, CTO<br />

Michael McCartney, Exec. VP/Film<br />

<strong>Pro</strong>gramming<br />

Michael Kennedy, Exec. VP/Filmed Ent.<br />

Salah Bachir, Pres./Cineplex Media<br />

Susan Mandryk, Sr. VP/Cust. Strategies<br />

Heather Briant, Sr. VP/HR<br />

George Sautter, Sr. VP/Merch. & Strategic<br />

Planning<br />

Anne Fitzgerald, Chief Legal Officer<br />

Thomas Santram, VP/Legal<br />

Pat Marshall, VP/Comm. & IR<br />

Bill Tishler, VP/Design & Const.<br />

Brad LaDouceur, VP/Alt. <strong>Pro</strong>gramming<br />

Susan Campbell, VP/Finance<br />

Monica Duhatschek, VP/Planning & Bus. Dvlp.<br />

Rick Klama, VP/Interactive Media<br />

Paul Nonis, Sr. VP/Natl. Ops.<br />

Daniel Seguin, VP/Ops. of Eastern Canada &<br />

GM/Quebec<br />

Kevin Watts, VP/Ops.<br />

Ian Shaw, VP/Purchasing<br />

Fab Stanghieri, Sr. VP/Real Estate &<br />

Construction<br />

Richard Wood, VP/Lease Administration<br />

Robert Brown, VP/Cineplex Media<br />

Scott Hughes, VP/Infrastructure & POS<br />

Decio Silva, VP/Software Solutions<br />

Jason Fulsom, VP/Film<br />

John Tsirlis, VP/Sales, Cineplex Media<br />

Sarah Lewthwaite, VP/Mktg.<br />

Darren Solomon, VP/Entertainment Content<br />

Scott Behnke, VP/Risk Mgmt.<br />

Steve Harris, VP & GM/Cineplex Digital<br />

Solutions<br />

Lori Legault, Sr. VP/Sales, Cineplex Media<br />

Malcolm Clark, VP/Digital Commerce<br />

YEAR FOUNDED 2003<br />

SCREENS LAST YEAR 1,437<br />

SITES LAST YEAR 133<br />

EMPLOYEES 10,000<br />

LOCATIONS 6 provinces: Alberta, British Columbia,<br />

Manitoba, Ontario, Quebec, Saskatchewan<br />

6 MARCUS<br />

THEATRES<br />

LAST YEAR SCREENS SITES<br />

7 685 55<br />

100 E. Wisconsin Ave.<br />

Milwaukee, WI 53202<br />

Tel: 414-905-1000<br />

Fax: 414-905-2189<br />

www.marcustheatres.com<br />

EXECUTIVE ROSTER<br />

Steve H. Marcus, Chairman/The Marcus<br />

Corporation<br />

Gregory S. Marcus, Pres. & CEO/The Marcus<br />

Corporation<br />

Rolando B. Rodriguez Pres & CEO/Marcus<br />

Theatres Corporation<br />

Mark Gramz, Exec. VP<br />

Jeff Tomachek, Exec. VP<br />

Samuel “Sonny” Gourley, Sr. VP/Film<br />

Rick Neals, VP/Film<br />

Bob Menefee, VP/Concessions<br />

Kim Lueck, Chief Info. Tech. Off.<br />

YEAR FOUNDED 1935<br />

SCREENS LAST YEAR 687<br />

SITES LAST YEAR 55<br />

EMPLOYEES 2,800<br />

LOCATIONS 7 states: IL, IA, MN, ND, NE, OH, WI<br />

7 HARKINS<br />

THEATRES<br />

LAST YEAR SCREENS SITES<br />

11 440 31<br />

7511 E. Mcdonald Dr.<br />

Scottsdale, AZ 85250<br />

Tel: 480-627-7777<br />

Fax: 480-443-0950<br />

www.harkinstheatres.com<br />

EXECUTIVE ROSTER<br />

Dan Harkins, Owner & CEO<br />

Mike Bowers, Pres. & COO<br />

Greta Newell, CFO<br />

Racheal Wilson, Sr. VP<br />

Tyler Cooper, VP<br />

Kirk Griffin, Dir./Engineering<br />

Barry Bruno, Head Film Buyer<br />

Bryan Laurel, Dir./Mktg.<br />

Gina Thompson, Dir./HR<br />

Aron Barr, Dir./IT<br />

Fred DiNapoli, Dir./Facilities<br />

Richard Lustiger, Legal Counsel<br />

YEAR FOUNDED 1933<br />

SCREENS LAST YEAR 428<br />

SITES LAST YEAR 30<br />

THEATER EMPLOYEES 1,800<br />

CORPORATE EMPLOYEES 68<br />

LOCATIONS 5 states: AZ, CA, CO, OK, TX<br />

Bryan Laurel, BryanLaurel@harkins.com<br />

8 SOUTHERN<br />

THEATRES<br />

LAST YEAR SCREENS SITES<br />

15 433 36<br />

305 Barrone St., Ste. 900<br />

New Orleans, LA 70112<br />

Tel: 504-297-1133<br />

Fax: 504-297-1138<br />

www.thegrandtheatre.com<br />

EXECUTIVE ROSTER<br />

George Solomon, CEO<br />

Ronald Krueger II, COO<br />

James Wood, CFO<br />

Douglas Whitford, Film Buyer<br />

YEAR FOUNDED 2002<br />

SCREENS LAST YEAR 301<br />

SITES LAST YEAR 21<br />

THEATER EMPLOYEES 1,100<br />

CORPORATE EMPLOYEES 28<br />

LOCATIONS 9 states: AL, FL, GA, KY, LA, MS, NC,<br />

SC, TX<br />

9 NATIONAL<br />

AMUSEMENTS<br />

LAST YEAR SCREENS SITES<br />

9 423 32<br />

846 University Ave.<br />

Norwood, MA 02062<br />

Tel: 781-461-1600<br />

Fax: 781-322-0218<br />

www.nationalamusements.com<br />

www.showcasecinemas.com<br />

EXECUTIVE ROSTER<br />

Shari E. Redstone, Pres.<br />

Thaddeus Jankowski, Sr. VP & Gen. Csl.<br />

George Levitt, Sr. VP/Film Booking<br />

Richard Sherman, Sr. VP/Fin. & Admin.<br />

John Bilsborough, Sr. VP/Ops. Intl.<br />

Amber Stepper, VP/Mktg. & Adv.<br />

Bill LeClair, VP/Concessions<br />

Joe Mollo, VP/MIS<br />

William J. Moscarelli, VP/Real Estate<br />

Elaine Purdy, VP/U.S. Mktg.<br />

Mark Walukevich, VP/Film Intl.<br />

Steve Horton, VP/Ops. Domestic<br />

Duncan Short, VP/Ops. Intl.<br />

Patricia Reeser, VP & Deputy Gen. Csl.<br />

Shawn Sullivan, VP/Legal & Bus. Affairs<br />

John Zawalich, VP/Sales & Bus. Dvlp.<br />

Mike Kszystyniak, VP/Fin.<br />

YEAR FOUNDED 1936<br />

WORLDWIDE SCREENS 960<br />

JANUARY <strong>2014</strong> BoxOffice ® <strong>Pro</strong> The Business of Movies 19


GIANTS OF EXHIBITION<br />

WORLDWIDE SITES 77<br />

SCREENS LAST YEAR 437<br />

SITES LAST YEAR 32<br />

THEATER EMPLOYEES 4,800 (U.S. 2,800; Intl.<br />

2,000)<br />

CORPORATE EMPLOYEES more than 150<br />

LOCATIONS 6 states: CT, MA, NJ, NY, OH, RI;<br />

Argentina; Brazil; England; Scotland; Wales<br />

10<br />

BOW TIE<br />

CINEMAS<br />

LAST YEAR SCREENS SITES<br />

32 388 59<br />

641 Danbury Rd.<br />

Ridgefield, CT 06877<br />

Tel: 203-659-2600<br />

Fax: 203-659-2601<br />

www.bowtiecinemas.com<br />

EXECUTIVE ROSTER<br />

Charles B. Moss, Owner<br />

Ben Moss, Owner<br />

Joseph Masher, COO<br />

Ike Rivera, VP Operations<br />

Robert Schmiedel, VP Controller<br />

Jenifer Pellegrino, VP Human Resources<br />

John Connelly, VP Information Technologies<br />

Nesa Hassanein, VP Real Estate<br />

Steve Ventor, Dir. Ops. – New York<br />

Ted Lazor, Dir. Ops. – New Jersey<br />

Tonya Priest, Reg. Mgr. – Connecticut<br />

Dan Herrle, Reg. Mgr. – Mid Atlantic<br />

Hank Lightstone, President, Film Group<br />

Denis Foley, Senior Film Buyer<br />

John Molson, Senior Film Buyer<br />

Tatiana Alafouzo, Film Analyst<br />

YEAR FOUNDED 1900<br />

SCREENS LAST YEAR 177<br />

SITES LAST YEAR 21<br />

THEATER EMPLOYEES 1300<br />

CORPORATE EMPLOYEES 25<br />

LOCATIONS 6 states: CO, CT, MD, NJ, NY, VA<br />

11 LANDMARK<br />

CINEMAS<br />

CANADA<br />

LAST YEAR SCREENS SITES<br />

46 359 54<br />

14505 Bannister Rd. SE, Ste. 100<br />

Calgary, AB T2X 3J3<br />

CANADA<br />

Tel: 403-262-4255<br />

Fax: 403-266-1529<br />

www.landmarkcinemas.com<br />

EXECUTIVE ROSTER<br />

Brian F. McIntosh, Pres.<br />

Neil H. Campbell, COO<br />

Damien Cheng, CFO<br />

Kevin Norman, VP/Film Ent.<br />

Nathan Cooney, VP Operations<br />

Fran Holy, VP Marketing & Communications<br />

Sherry Chappell, VP Administration<br />

James Mason, Dir., Food Services<br />

Mike Charbonneau, Dir. Creative Services &<br />

Interactive<br />

Alan Lui, Dir., Distributor Relations<br />

Don Langkaas Manager, Advertising & Special<br />

<strong>Pro</strong>grams<br />

Drew Campbell, Dir. Guest Strategy & Services<br />

YEAR FOUNDED 1965<br />

SCREENS LAST YEAR 125<br />

SITES LAST YEAR 31<br />

THEATER EMPLOYEES 1500<br />

CORPORATE EMPLOYEES 50<br />

LOCATIONS 6 provinces: Alberta, British Columbia,<br />

Manitoba, Saskatchewan, Ontario, Yukon<br />

12 MALCO<br />

THEATRES INC.<br />

LAST YEAR SCREENS SITES<br />

12 348 32<br />

5851 Ridgeway Center Pkwy.<br />

Memphis, TN 38120<br />

Tel: 901-761-3480<br />

Fax: 901-681-2044<br />

www.malco.com<br />

EXECUTIVE ROSTER<br />

Stephen Lightman, Chair, Pres. & CEO<br />

Robert Levy, Executive VP<br />

James Tashie, Executive VP<br />

David Tashie, Sr. VP Ops. & Construction<br />

Robert Harrington, VP CFO<br />

Larry Etter, Sr. VP Food Services<br />

Jeff Kaufman, Sr. VP Film & Film Marketing<br />

James Lloyd, VP<br />

Mike Thomson, VP<br />

Wes Lunsford, VP Digital Ops.<br />

Don Burchett, VP Western Area Region<br />

Donald Terry, VP Memphis Area Region<br />

Alan Denton, VP Corporate Comm. & Human<br />

Resources<br />

Karen Scott, Dir. of Mktg.<br />

Mallory Lightman, Mktg. & Design Coord.<br />

Jeff Martin, Film Dept. Assist.<br />

Nathan McDaniel, Eastern Area Regional Mgr.<br />

Kiran Hanumaiah, Dir. of Info. Tech.<br />

Jimmy Beckford, Dir. of Digital Ops.<br />

Scott Barden, Regional Dir. of Digital Ops.<br />

John Tashie, Website Admin.<br />

YEAR FOUNDED 1915<br />

SCREENS LAST YEAR 323<br />

SITES LAST YEAR 30<br />

LOCATIONS 5 states: AR, KY, MO, MS, TN<br />

13 STARPLEX<br />

CINEMAS INC.<br />

LAST YEAR SCREENS SITES<br />

22 344 33<br />

12750 Merit Dr., Suite 800<br />

Dallas, TX 75251<br />

Tel: 214-692-6494, 877-884-6494<br />

Fax: 214-692-8982<br />

www.starplexcinemas.com<br />

EXECUTIVE ROSTER<br />

Steve Holmes, CEO & Pres.<br />

Tammy Flores, Film Buyer<br />

A.J. Roquevert, Film Buyer<br />

Elle Beith, Dir./HR<br />

YEAR FOUNDED 1995<br />

SCREENS LAST YEAR 235<br />

SITES LAST YEAR 22<br />

THEATER EMPLOYEES 787<br />

CORPORATE EMPLOYEES 36<br />

LOCATIONS 11 states: CA, OH, IL, IN, NJ, OK,<br />

TX, WA, KS, MO, NE<br />

14 GEORGIA<br />

THEATRE<br />

COMPANY<br />

LAST YEAR SCREENS SITES<br />

13 326 32<br />

50 Cinema Ln.<br />

St. Simons Island, GA 31522<br />

Tel: 912-634-5192<br />

Fax: 912-634-5195<br />

www.georgiatheatrecompany.com<br />

EXECUTIVE ROSTER<br />

William J. Stembler, CEO & Pres.<br />

Jeff Mobley, COO<br />

Bo Chambliss, Exec. VP & Gen. Csl.<br />

C.F. Kip Smiley, VP/Film<br />

Dennis Merton, VP/Finance<br />

Joan Mannheim, Treasurer<br />

YEAR FOUNDED 1991<br />

SCREENS LAST YEAR 310<br />

SITES LAST YEAR 31<br />

THEATER EMPLOYEES 600<br />

CORPORATE EMPLOYEES 9<br />

LOCATIONS 4 states: GA, FL, SC, VA<br />

15 FRANK<br />

THEATRES<br />

LAST YEAR SCREENS SITES<br />

16 282 25<br />

1003 W. Indiantown Rd., Ste. 210<br />

Jupiter, Florida 33458<br />

Tel: 561-776-4747<br />

Fax: 561-776-2340<br />

www.franktheatres.com<br />

EXECUTIVE ROSTER<br />

Al Frank, Emeritus<br />

Bruce Frank, Pres. & CEO<br />

Rob Reynolds, COO & CFO<br />

20 BoxOffice ® <strong>Pro</strong> The Business of Movies JANUARY <strong>2014</strong>


GIANTS OF EXHIBITION<br />

Joyce Frank, Sr. VP<br />

Deborah Frank, Sr. VP<br />

Larry Collins, Exec. VP/Film<br />

YEAR FOUNDED 1921<br />

SCREENS LAST YEAR 282<br />

SITES LAST YEAR 25<br />

THEATER EMPLOYEES 800<br />

CORPORATE EMPLOYEES 15<br />

LOCATIONS 7 states: FL, GA, NJ, NC, PA, SC, WV<br />

16 LANDMARK<br />

THEATRES<br />

LAST YEAR SCREENS SITES<br />

24 278 58<br />

2222 S. Barrington Ave.<br />

Los Angeles, CA 90064<br />

Tel: 310-473-6701<br />

Fax: 310-312-2364<br />

www.landmarktheatres.com<br />

EXECUTIVE ROSTER<br />

Ted Mundorff, CEO & Pres.<br />

Schuyler Hansen, CFO<br />

Jason Sachs, CAO<br />

Mike McClellan, SVP & Head Film Buyer<br />

Michael Fant, SVP/Real Estate & Development<br />

Chuck Delagrange, VP/Theater Ops.<br />

Bryan Linnington, VP/Tech.<br />

Marilyn Joslyn, Dir./Creative & Mktg.<br />

YEAR FOUNDED 1974<br />

SCREENS LAST YEAR 227<br />

SITES LAST YEAR 50<br />

THEATER EMPLOYEES 1,192<br />

CORPORATE EMPLOYEES 70<br />

LOCATIONS 17 states & DC: AZ, CA, CO, GA, IL,<br />

IN, MA, MD, MI, MN, MO, NY, OK, PA, TX,<br />

WA, WI<br />

17 GOODRICH<br />

QUALITY<br />

THEATRES<br />

LAST YEAR SCREENS SITES<br />

17 277 30<br />

4417 Broadmoor SE<br />

Grand Rapids, MI 49512<br />

Tel: 616-698-7733<br />

Fax: 616-698-7220<br />

www.gqti.com<br />

EXECUTIVE ROSTER<br />

Robert E. Goodrich, Pres.<br />

Ross Pettinga, CFO<br />

Martin Betz, COO<br />

Wanda Holst, Film Buyer & Office Mgr.<br />

Kelly Nash, Mktg. Mgr. & Creative Dir.<br />

Brian Nuffer, Director of Concessions<br />

Darren Pitcher, CIO<br />

YEAR FOUNDED 1930<br />

SCREENS LAST YEAR 277<br />

SITES LAST YEAR 30<br />

THEATER EMPLOYEES 1,150<br />

CORPORATE EMPLOYEES 35<br />

LOCATIONS 4 states: IL, IN, MI, MO<br />

18 PREMIERE<br />

CINEMA CORP.<br />

LAST YEAR SCREENS SITES<br />

18 254 22<br />

109 W. Fourth St.<br />

Big Spring, TX 79720<br />

Tel: 432-267-6450<br />

Fax: 432-267-9609<br />

www.pccmovies.com<br />

EXECUTIVE ROSTER<br />

Gary Moore, Pres. & CEO<br />

Joel Davis, VP & COO<br />

Martin Watson, Special Ops.<br />

Debra Calobreves, CFO & Treasurer<br />

Tim Patton, Booking<br />

Rick Slaughter, Booking<br />

Michelle Tubb, HR<br />

Larry Delaney, CTO<br />

Rich Klorres, Dir./Bldg. Srvcs.<br />

Kristi Davis, Internet Mktg.<br />

Brian Tietlebaum, Webmaster<br />

Vince Bienek, Dir./IT<br />

YEAR FOUNDED 1985<br />

SCREENS LAST YEAR 252<br />

SITES LAST YEAR 22<br />

LOCATIONS 4 states: AL, FL, TX, NM<br />

19<br />

DIGITAL CINEMA<br />

DESTINATIONS<br />

CORP. (DBA DIGIPLEX)<br />

LAST YEAR SCREENS SITES<br />

33 253 26<br />

250 E. Broad St.<br />

Westfield, NJ 07090<br />

Tel: 908-396-1360<br />

Fax: 908-396-1361<br />

www.digiplexdest.com<br />

EXECUTIVE ROSTER<br />

A. Dale “Bud” Mayo, Chairman & CEO<br />

Chuck Goldwater, Exec. VP<br />

Brian Pflug, CFO<br />

Jeff Butkovsky, CTO<br />

Warren Colodner, Gen. Counsel<br />

John Halecky, Chief Mktg. Officer<br />

Dean Gentile, VP/Ops.<br />

Doreen Sayegh, VP/Alt. <strong>Pro</strong>gramming<br />

Brett Marks, Dir./Development<br />

Jill Solomon, Dir./In-Theater Marketing<br />

Jody Grayson, Dir./Admin.<br />

Tim Keefner, Dir./Field Ops.<br />

YEAR FOUNDED 2010<br />

SCREENS LAST YEAR 162<br />

SITES LAST YEAR 19<br />

THEATER EMPLOYEES 500+<br />

CORPORATE EMPLOYEES 18<br />

LOCATIONS 9 states: AZ, CA, CT, FL, MD, NH,<br />

NJ, OH, PA<br />

20<br />

B&B THEATRES<br />

LAST YEAR SCREENS SITES<br />

22 237 33<br />

P.O. Box 129<br />

Liberty, MO 64069<br />

Tel: 816-407-7469<br />

www.bbtheatres.com<br />

EXECUTIVE ROSTER<br />

Robert E. Bagby, Pres. & Owner<br />

Elmer Bills, Chairman & Owner<br />

Bobbie Bagby, VP/Mktg.<br />

Michael Hagan, VP/Finance<br />

Dan VanOrden, Circuit GM<br />

Dennis McIntire, Dir./Ste. Planning<br />

Brittanie Bagby, Dir./Business Affairs<br />

Jesse Baker, Dir./Design and Brand Mgmt.<br />

Brock Bagby, Director of <strong>Pro</strong>gramming & Bus.<br />

Dev.<br />

Jerry Dittmer, Financial Analyst<br />

Tyler Rice, Circuit Operations Mgr.<br />

Brad Bills, Film Buyer<br />

YEAR FOUNDED 1924<br />

SCREENS LAST YEAR 233<br />

SITES LAST YEAR 32<br />

THEATER EMPLOYEES 1,100<br />

CORPORATE EMPLOYEES 23<br />

LOCATIONS 5 states: FL, KS, MO, OK, TX<br />

21 READING<br />

CINEMAS USA<br />

LAST YEAR SCREENS SITES<br />

21 236 22<br />

6100 Center Dr., Ste. 900<br />

Los Angeles, CA 90045<br />

Tel: 213-235-2240<br />

Fax: 213-235-2229<br />

www.readingrdi.com<br />

EXECUTIVE ROSTER<br />

James J. Cotter, Chairman & CEO<br />

Margaret Cotter, Pres.<br />

Robert F. Smerling, Pres./Domestic Cinemas<br />

YEAR FOUNDED 2002<br />

TOTAL SCREENS 236<br />

TOTAL SITES 22<br />

LOCATIONS 6 states: CA, HI, NJ, NY, TX, VA;<br />

Australia and New Zealand<br />

22<br />

COBB THEATRES<br />

LAST YEAR SCREENS SITES<br />

19 235 20<br />

2000B South Bridge Pkwy., Ste. 100<br />

Birmingham, AL 35209<br />

Tel: 205-802-7766<br />

Fax: 205-802-7771<br />

www.cobbtheatres.com<br />

22 BoxOffice ® <strong>Pro</strong> The Business of Movies JANUARY <strong>2014</strong>


EXECUTIVE ROSTER<br />

Robert M. Cobb, Pres. & CEO<br />

Jeremy P. Welman, COO<br />

Ricky Thomas, CFO<br />

Jeff Cobb, VP/Real Estate<br />

Freddie Dobbs, VP/Construction<br />

Loretta Thomas, VP/Purchasing<br />

Guy Austin, Dir./Theater Ops.<br />

Fred Meyers, Dir./Cinebistro Ops.<br />

Jennifer Gossett, Dir./HR<br />

Eddie Messick, Dir./IT Ops.<br />

YEAR FOUNDED 2000<br />

SCREENS LAST YEAR 253<br />

SITES LAST YEAR 21<br />

THEATER EMPLOYEES 1,200<br />

CORPORATE EMPLOYEES 18<br />

LOCATIONS 5 states: AL, CO, FL, GA, VA<br />

23 WEHRENBERG<br />

THEATRES<br />

LAST YEAR SCREENS SITES<br />

26 210 15<br />

12800 Manchester Rd.<br />

St. Louis, MO 63131<br />

Tel: 314-822-4520<br />

Fax: 314-822-8032<br />

www.wehrenberg.com<br />

EXECUTIVE ROSTER<br />

Ronald P. Krueger, Chairman & CEO<br />

OMNITERM-7.5x5 Dec10.pdf 1 13-12-10 10:55 AM<br />

William E. Menke, Exec. VP & COO<br />

Jeff Brands, CFO<br />

Robert A. Weiss, VP/Film<br />

Kelly Hoskins, VP/Mktg.<br />

Brett Havlik, Dir./Concessions<br />

YEAR FOUNDED 1906<br />

SCREENS LAST YEAR 210<br />

SITES LAST YEAR 15<br />

THEATER EMPLOYEES 1,000<br />

CORPORATE EMPLOYEES 40<br />

LOCATIONS 4 states: IA, IL, MN, MO<br />

24 REGENCY<br />

THEATRES INC.<br />

LAST YEAR SCREENS SITES<br />

25 196 29<br />

26901 Agoura Rd., Ste. 260<br />

Calabasas, CA 91301<br />

Tel: 818-224-3825<br />

Fax: 818-224-2173<br />

www.regencymovies.com<br />

EXECUTIVE ROSTER<br />

Lyndon Golin, Pres.<br />

Andrew Golin, VP<br />

Monica Golin, CFO<br />

Jim Ferguson, Controller<br />

Sally Panteleon, Box Office & Purchasing<br />

Specialist<br />

Angie Haziza, Mktg. Mgr.<br />

Heidi Garcia, Mktg. & Ops. Admin. Mgr.<br />

Terry Otis, Dir. of Concessions<br />

Veronica Moreno, Director of Ops.<br />

Dwight Morgan, Ops.<br />

Andrew Gualtieri, Ops.<br />

Larry Porricelli, Ops.<br />

YEAR FOUNDED 1996<br />

SCREENS LAST YEAR 197<br />

SITES LAST YEAR 30<br />

LOCATIONS 2 states: CA, NV<br />

TIE<br />

25<br />

LARRY H. MILLER<br />

MEGAPLEX<br />

THEATRES<br />

LAST YEAR SCREENS SITES<br />

30 178 17<br />

301 W. South Temple<br />

Salt Lake City, UT 84101<br />

Tel: 801-304-4505<br />

Fax: 801-325-2768<br />

www.megaplextheatres.com<br />

EXECUTIVE ROSTER<br />

Blake Andersen, Sr. VP<br />

Greg Miller, CEO<br />

YEAR FOUNDED 1999<br />

SCREENS LAST YEAR 178<br />

SITES LAST YEAR 17<br />

EMPLOYEES 1,400<br />

LOCATIONS 2 states: NV, UT<br />

JANUARY <strong>2014</strong> BoxOffice ® <strong>Pro</strong> The Business of Movies 23


GIANTS OF EXHIBITION<br />

TIE<br />

25 DICKINSON<br />

THEATRES<br />

LAST YEAR SCREENS SITES<br />

30 178 16<br />

6801 W. 107th St.<br />

Overland Park, KS 66212<br />

Tel: 913-432-2334<br />

Fax: 913-432-9507<br />

www.dtmovies.com<br />

EXECUTIVE ROSTER<br />

Ron Horton, Pres. & CEO<br />

Ed Carl, COO & Head Film Buyer<br />

Bruce Whittman, CFO<br />

Tom Woolery, VP/Ops.<br />

Kevin White, VP/Purch., Maint. & Conc.<br />

YEAR FOUNDED 1920<br />

SCREENS LAST YEAR 210<br />

SITES LAST YEAR 18<br />

THEATER EMPLOYEES 500<br />

CORPORATE EMPLOYEES 12<br />

LOCATIONS 7 states: AZ, AR, KS, MO, NE, OK, TX<br />

27 MARQUEE<br />

CINEMAS<br />

LAST YEAR SCREENS SITES<br />

28 173 18<br />

552 Ragland Rd.<br />

Beckley, WV 25801<br />

Tel: 304-255-4036<br />

Fax: 304-252-0526<br />

www.marqueecinemas.com<br />

EXECUTIVE ROSTER<br />

Curtis E. McCall, Chairman, Pres. & CEO<br />

James M. Cox, VP & Construction/Dvlp.<br />

Cindy Ramsden, CFO<br />

Harry L. Newman, Dir./Ops.<br />

Robin P. Shumate, Dir./Mktg.<br />

Rob Thomspon, Ops.<br />

John Mitchell, Ops.<br />

YEAR FOUNDED 1979<br />

SCREENS LAST YEAR 184<br />

SITES LAST YEAR 19<br />

THEATER EMPLOYEES 500<br />

CORPORATE EMPLOYEES 10<br />

LOCATIONS 9 states: CT, FL, KY, NJ, NY, NC, PA,<br />

VA, WV<br />

28 PACIFIC<br />

THEATRES/<br />

ARCLIGHT CINEMAS<br />

LAST YEAR SCREENS SITES<br />

29 171 14<br />

120 N. Robertson Blvd., 3rd Fl.<br />

Los Angeles, CA 90048<br />

Tel: 310-657-8420<br />

Fax: 310-657-6736<br />

www.pacifictheatres.com<br />

www.arclightcinemas.com<br />

EXECUTIVE ROSTER<br />

Christopher Forman, CEO & Pres.<br />

Nora Dashwood, Chief Branding Off.<br />

YEAR FOUNDED 1946<br />

SCREENS LAST YEAR 177<br />

SITES LAST YEAR 13<br />

LOCATIONS 1 state: CA<br />

29<br />

PHOENIX BIG<br />

CINEMAS<br />

MANAGEMENT<br />

LAST YEAR SCREENS SITES<br />

26 169 19<br />

9111 Cross Park Dr., Ste. #E-275<br />

Knoxville, TN 37923<br />

Tel: 865-692-4061<br />

Fax: 865-692-4065<br />

www.phoenixbigcinemas.com<br />

EXECUTIVE ROSTER<br />

Phil Zacheretti, Pres. & CEO<br />

Chris Gehring, VP/Ops.<br />

Alexander Ellis, VP & Head Film Buyer<br />

Cindy Taylor, VP/Finance<br />

Karen Lane, VP/Mktg. & Adv.<br />

Moya Myers, Dir./Purchasing<br />

Denise Ferro, Dir./Food & Beverage<br />

Vince Emmons, Dir./Capital Improvements<br />

Christine West, Dir./HR & Compliance<br />

YEAR FOUNDED 2001<br />

SCREENS LAST YEAR 210<br />

SITES LAST YEAR 26<br />

THEATER EMPLOYEES 550<br />

CORPORATE EMPLOYEES 22<br />

LOCATIONS 14 states: CA, FL, GA, IL, KS, MD,<br />

NC, OH, NJ, NY, NV, PA, TN, VA<br />

30<br />

STUDIO MOVIE<br />

GRILL<br />

LAST YEAR SCREENS SITES<br />

UNRANKED 160 15<br />

8350 North Central Expy., Ste. 400<br />

Dallas, TX 75206<br />

Tel: 972-388-7888, 866-766-8187<br />

Fax: 214-751-3980<br />

www.moviestudiogrill.com<br />

EXECUTIVE ROSTER<br />

Brian Schultz, CEO<br />

YEAR FOUNDED 2000<br />

LOCATIONS 7 states: AZ, GA, IL, IN, NC, OH, TX<br />

31 CELEBRATION!<br />

CINEMA<br />

LAST YEAR SCREENS SITES<br />

34 155 12<br />

2121 Celebration Dr. NE<br />

Grand Rapids, MI 49525<br />

Tel: 616-447-4200<br />

Fax: 616-447-4201<br />

www.celebrationcinema.com<br />

EXECUTIVE ROSTER<br />

John D. Loeks, Chairman & CEO<br />

J.D. Loeks, Pres. & COO<br />

Nancy Hagan, Treas. & CFO<br />

Michelle Felker, Sec.<br />

Steve Forsythe, VP/People<br />

Roger Lubs, VP/Facilities & Const.<br />

Ron Van Timmeren, VP/<strong>Pro</strong>gramming<br />

Steve VanWagoner, VP/Mktg.<br />

Kenneth Baas, VP & CTO<br />

Kenyon Shane, VP/Ops. & Revenue Dvlp.<br />

YEAR FOUNDED 1944<br />

SCREENS LAST YEAR 154<br />

SITES LAST YEAR 12<br />

LOCATIONS 1 state: MI<br />

svanwagoner@celebrationcinema.com<br />

32<br />

MJR THEATRES<br />

LAST YEAR SCREENS SITES<br />

40 153 10<br />

41000 Woodward Ave., Ste. 135<br />

East Bloomfield Hills, MI 48304<br />

Tel: 248-548-8282<br />

Fax: 248-548-4706<br />

www.mjrtheatres.com<br />

EXECUTIVE ROSTER<br />

Michael Mihalich, Pres.<br />

Tony Penchoff, Exec. Asst. to Pres.<br />

Dennis Redmer, VP/Ops.<br />

Candi Mihalich, VP & Film Buyer<br />

Robin Hansen, Dir./ Mktg. & Adv.<br />

YEAR FOUNDED 1980<br />

SCREENS LAST YEAR 137<br />

SITES LAST YEAR 9<br />

THEATER EMPLOYEES 480<br />

CORPORATE EMPLOYEES 13<br />

LOCATIONS 1 state: MI<br />

33 MUVICO<br />

THEATRES<br />

LAST YEAR SCREENS SITES<br />

35 152 9<br />

3101 N. Federal Hwy., 6th Fl.<br />

Fort Lauderdale, FL 33306<br />

Tel: 954-564-6550<br />

Fax: 954-564-6553<br />

www.muvico.com<br />

EXECUTIVE ROSTER<br />

Neil F. Bretan, Pres. & CEO<br />

James E. Herd Jr., COO<br />

Alan Rainbeau, VP/Finance<br />

David Thollander, VP/Purchasing & Facilities<br />

Mollie Raymond, VP/Controller<br />

YEAR FOUNDED 1984<br />

SCREENS LAST YEAR 152<br />

SITES LAST YEAR 9<br />

LOCATIONS 3 states: CA, FL, IL<br />

24 BoxOffice ® <strong>Pro</strong> The Business of Movies JANUARY <strong>2014</strong>


TIE<br />

34 CINEMA<br />

ENTERTAINMENT<br />

CORP.<br />

LAST YEAR SCREENS SITES<br />

36 151 19<br />

1621 W. Division St.<br />

St. Cloud, MN 56302<br />

Tel: 320-251-9131<br />

Fax: 320-251-1003<br />

www.cectheatres.com<br />

EXECUTIVE ROSTER<br />

Robert Ross, Pres.<br />

Tony Tillemans, VP<br />

Anthony Ross, VP/Finance<br />

Dwight Gunderson, Dir./Film Buying & Mktg.<br />

Greg Carter, Gen. Ops. Mgr.<br />

Andrew Bergstrom, Concessions & Equip. Buyer<br />

Craig Seidenkranz, <strong>Pro</strong>jection Tech.<br />

YEAR FOUNDED 1961<br />

SCREENS LAST YEAR 151<br />

SITES LAST YEAR 19<br />

THEATER EMPLOYEES 375<br />

CORPORATE EMPLOYEES 13<br />

LOCATIONS 4 states: IA, MN, NE, WI<br />

TIE<br />

34 COMING<br />

ATTRACTIONS<br />

THEATRES INC.<br />

LAST YEAR SCREENS SITES<br />

37 151 18<br />

2200 Ashland St.<br />

Ashland, OR 97520<br />

Tel: 541-488-1021<br />

Fax: 541-482-9290<br />

www.catheatres.com<br />

EXECUTIVE ROSTER<br />

John C. Schweiger, Chairman & CEO<br />

Al Lane, Senior VP & COO<br />

Lee Fuchsmann, VP/Film<br />

Desaree Hall, VP & Controller<br />

James Sandberg, Director of Operations<br />

Kim Neufeld, Dir./Marketing & Sales <strong>Pro</strong>mo.<br />

Sarah Heiken, Dir./HR<br />

Mark Edwards, Dir./Purchasing & Snack Bar<br />

Maint.<br />

Roy <strong>Pro</strong>bst, Dir./Facility Repair & Maint.<br />

YEAR FOUNDED 1985<br />

SCREENS LAST YEAR 151<br />

SITES LAST YEAR 19<br />

THEATER & CORPORATE EMPLOYEES 275<br />

LOCATIONS 4 states: AK, CA, OR, WA<br />

36 NEIGHBORHOOD<br />

CINEMAS GROUP<br />

(NCG)<br />

LAST YEAR SCREENS SITES<br />

40 147 15<br />

314 E. Comstock<br />

Owosso, MI 48867<br />

Tel: 989-725-8755<br />

Fax: 989-723-0359<br />

www.ncgmovies.com<br />

EXECUTIVE ROSTER<br />

Jeff Geiger, President<br />

Mark Henning, COO<br />

Shelly Davis, CFO & Film Buyer<br />

Gary Geiger, Exec. Officer<br />

Steve Smith, Exec. Officer<br />

Jason Brown, District Mgr.<br />

Tim Dilts, District Mgr.<br />

Carol Douglas, Dir./Concess.<br />

YEAR FOUNDED 1985<br />

SCREENS LAST YEAR 125<br />

SITES LAST YEAR 13<br />

THEATER EMPLOYEES 750<br />

CORPORATE EMPLOYEES 11<br />

LOCATIONS 4 states: GA, IN, MI, TN<br />

37 UNITED<br />

ENTERTAINMENT<br />

CORP.<br />

LAST YEAR SCREENS SITES<br />

44 143 16<br />

3601 18th St. S.<br />

St. Cloud, MN 56301<br />

Tel: 320-203-1003<br />

Fax: 320-203-1229<br />

www.uecmovies.com<br />

EXECUTIVE ROSTER<br />

Mike Ross, Pres. & CEO<br />

John Shorba, VP/Ops.<br />

Steve Ross, Theater Ops.<br />

Mike Daniels, Dvlp. Mgr.<br />

John Zemer, <strong>Pro</strong>d. Mgr.<br />

Carol Bowman, Controller<br />

YEAR FOUNDED 1993<br />

SCREENS LAST YEAR 124<br />

SITES LAST YEAR 14<br />

CORPORATE EMPLOYEES 400<br />

LOCATIONS 10 states: CA, IN, MI, MN, MS, NC,<br />

OH, PA, TN, UT<br />

38<br />

CINÉMA GUZZO<br />

LAST YEAR SCREENS SITES<br />

39 142 10<br />

1055 Chemin du Coteau<br />

Terrebonne, PQ J6W 5Y8<br />

CANADA<br />

Tel: 450-961-2945<br />

Fax: 450-961-9349<br />

www.cinemasguzzo.com<br />

EXECUTIVE ROSTER<br />

Angelo Guzzo, Chairman & Owner<br />

Vincenzo Guzzo, Exec. VP, COO & Owner<br />

Maria Guzzo, Sec. & VP/Community Affairs<br />

Jose Bruzzese, Treas.<br />

Mario Quattrociocche, Dir./Constr.<br />

James Dambreville, Dir./Ops. & Mktg.<br />

Vito Franco, Film Buyer<br />

YEAR FOUNDED 1974<br />

SCREENS LAST YEAR 142<br />

SITES LAST YEAR 10<br />

THEATER EMPLOYEES 625<br />

CORPORATE EMPLOYEES 45<br />

LOCATIONS 1 province: Quebec<br />

39 SANTIKOS<br />

LAST YEAR SCREENS SITES<br />

42 129 9<br />

18402 US Hwy. 281 N., Ste. 229<br />

San Antonio, TX 78259<br />

Tel: 210-496-1300<br />

Fax: 210-496-2720<br />

www.santikos.com<br />

EXECUTIVE ROSTER<br />

John Santikos, Owner & Operator<br />

YEAR FOUNDED 1967<br />

SCREENS LAST YEAR 129<br />

SITES LAST YEAR 9<br />

LOCATIONS 1 state: TX<br />

40 GALAXY<br />

THEATRES<br />

LAST YEAR SCREENS SITES<br />

45 126 13<br />

15060 Ventura Blvd., Ste. 350<br />

Sherman Oaks, CA 91403<br />

Tel: 818-986-9000<br />

www.galaxytheaters.com<br />

EXECUTIVE ROSTER<br />

Frank Rimkus, CEO<br />

Rafe Cohen, COO<br />

Lee Josselyn, VP/Film<br />

YEAR FOUNDED 1998<br />

SCREENS LAST YEAR 111<br />

SITES LAST YEAR 11<br />

THEATER EMPLOYEES 500<br />

CORPORATE EMPLOYEES 19<br />

LOCATIONS 4 states: CA, NV, TX, WA<br />

41 YOUR<br />

NEIGHBORHOOD<br />

THEATRES<br />

LAST YEAR SCREENS SITES<br />

46 125 17<br />

55 Cambridge Parkway<br />

Cambridge, MA 02142<br />

Tel: 617-499-2700<br />

Fax: 617-225-0897<br />

www.yourneighborhoodtheatre.com<br />

EXECUTIVE ROSTER<br />

Mark Benvenuto, President<br />

Deborah Belisle, VP/Ops.<br />

Brad Brown, Reg. Dir.<br />

YEAR FOUNDED 1985<br />

THEATER EMPLOYEES 275<br />

CORPORATE EMPLOYEES 12<br />

LOCATIONS CT, ME, MA, NH, NY, RI<br />

JANUARY <strong>2014</strong> BoxOffice ® <strong>Pro</strong> The Business of Movies 25


GIANTS OF EXHIBITION<br />

42 ALAMO<br />

DRAFTHOUSE<br />

CINEMAS<br />

LAST YEAR SCREENS SITES<br />

UNRANKED 113 12<br />

13809 N. Highway 183<br />

Austin, TX 78750<br />

Tel: 512-219-7800<br />

www.drafthouse.com<br />

EXECUTIVE ROSTER<br />

Tim League, Founder, CEO<br />

Henri Mazza, CCO<br />

Mike Sherrill, COO<br />

Sarah Pitre, <strong>Pro</strong>grammer<br />

Greg MacLennan, <strong>Pro</strong>grammer/Video Editor<br />

YEAR FOUNDED 1997<br />

LOCATIONS 7 states: TX, VA, CO, MI, MO, NY, CA<br />

43 FLAGSHIP<br />

CINEMAS<br />

LAST YEAR SCREENS SITES<br />

UNRANKED 112 14<br />

55 Cambridge Parkway, Ste. 200<br />

Cambridge, MA 02142<br />

Tel: 508-998-4942<br />

Fax: 508-998-4977<br />

www.flagshipcinemas.com<br />

EXECUTIVE ROSTER<br />

John J. Crowley Jr., Pres.<br />

Paul Wenger, VP<br />

Andrew Poore, Dir./Ops.<br />

Pauline Mickle, Asst. VP/Admin.<br />

YEAR FOUNDED 1996<br />

SCREENS LAST YEAR 103<br />

SITES LAST YEAR 11<br />

THEATER EMPLOYEES 300<br />

CORPORATE EMPLOYEES 6<br />

LOCATIONS 6 states: MA, ME, MD, FL, PA, VT<br />

44<br />

ALLEN THEATRES<br />

LAST YEAR SCREENS SITES<br />

48 107 16<br />

133 Wyatt Dr. #3<br />

Las Cruces, NM 88005<br />

Tel: 575-524-7933<br />

Fax: 575-527-0068<br />

www.allentheatresinc.com<br />

EXECUTIVE ROSTER<br />

Larry F. Allen, Pres. & Co-Owner<br />

Lane E. Allen, VP & Co-Owner<br />

Russell Allen, VP/Ops.<br />

Nathan Allen, VP/Finance<br />

Heather Gandy, Mktg.<br />

YEAR FOUNDED 1912<br />

SCREENS LAST YEAR 105<br />

SITES LAST YEAR 16<br />

LOCATIONS 2 states: CO, NM<br />

44 WESTATES<br />

LAST YEAR SCREENS SITES<br />

UNRANKED 107 22<br />

1111 Brickyard Rd., Ste. 106<br />

Salt Lake City, UT 84106<br />

Tel: 801-487-6233<br />

www.westatestheatres.com<br />

EXECUTIVE ROSTER<br />

Tony Jay Rudman, Pres.<br />

Shonnie Tornow, VP<br />

SCREENS LAST YEAR 107<br />

SITES LAST YEAR 22<br />

LOCATIONS 4 states: AZ, ID, NV, UT<br />

46 CLASSIC<br />

CINEMAS<br />

TIE<br />

LAST YEAR SCREENS SITES<br />

49 104 13<br />

603 Rogers St.<br />

Downers Grove, IL 60515<br />

Tel: 630-968-1600<br />

Fax: 630-968-1626<br />

www.classiccinemas.com<br />

EXECUTIVE ROSTER<br />

Willis Johnson, Pres.<br />

Chris Johnson, VP/Ops.<br />

Bill Budig, CIO<br />

Lou Michael, Booking/Great Lakes Theatre<br />

Service<br />

Shirley Johnson, Corporate Secretary<br />

YEAR FOUNDED 1978<br />

SCREENS LAST YEAR 104<br />

SITES LAST YEAR 13<br />

THEATER EMPLOYEES 450<br />

CORPORATE EMPLOYEES 20<br />

LOCATIONS 1 state: IL<br />

46<br />

TIE<br />

MULLER FAMILY<br />

THEATRES<br />

LAST YEAR SCREENS SITES<br />

49 104 8<br />

20653 Keokuk Ave.<br />

Lakeville, MN<br />

Tel: 952-469-2883<br />

Fax: 952-985-5643<br />

www.mullerfamilytheatres.com<br />

EXECUTIVE ROSTER<br />

Mike S. Muller, Pres. & Partner<br />

Robert Muller, VP & Partner<br />

Dale Haider, Dir./Ops.<br />

YEAR FOUNDED 1978<br />

SCREENS LAST YEAR 104<br />

SITES LAST YEAR 8<br />

THEATER EMPLOYEES 300<br />

CORPORATE EMPLOYEES 6<br />

LOCATIONS 1 state: MN<br />

48 SR<br />

ENTERTAINMENT<br />

GROUP<br />

LAST YEAR SCREENS SITES<br />

UNRANKED 102 11<br />

917 College Ave.<br />

Santa Rosa, CA 95404<br />

Tel: 707-523-1586<br />

Fax: 707-523-1799<br />

www.srentertainmentgrp.com<br />

EXECUTIVE ROSTER<br />

Dan Tocchini, Pres.<br />

Amy Tocchini, Sec. & Treas.<br />

Neil Pearlmutter, VP/Ops. & Tech.<br />

YEAR FOUNDED 1983<br />

SCREENS LAST YEAR 102<br />

SITES LAST YEAR 11<br />

THEATER EMPLOYEES 310<br />

CORPORATE EMPLOYEES 12<br />

LOCATIONS 1 state: CA<br />

49<br />

R.L. FRIDLEY<br />

THEATRES<br />

LAST YEAR SCREENS SITES<br />

UNRANKED 100 22<br />

1321 Walnut St.<br />

Des Moines, IA 50309<br />

Tel: 515-282-9287<br />

Fax: 515-282-8310<br />

www.fridleytheatres.com<br />

EXECUTIVE ROSTER<br />

Robert L. Fridley, Pres. & Treasurer<br />

Brian R. Fridley, VP<br />

YEAR FOUNDED 1974<br />

SCREENS LAST YEAR 94<br />

SITES LAST YEAR 22<br />

THEATER EMPLOYEES 350<br />

CORPORATE EMPLOYEES 9<br />

LOCATIONS 2 states: IA, NE<br />

50 KRIKORIAN<br />

PREMIERE<br />

THEATRES<br />

LAST YEAR SCREENS SITES<br />

UNRANKED 92 7<br />

2275 W. 190th St., Ste. 201<br />

Torrance, CA 90504<br />

Tel: 310-856-1270<br />

Fax: 310-856-1299<br />

www.kptmovies.com<br />

EXECUTIVE ROSTER<br />

George Krikorian, Pres.<br />

Todd Cummings, VP. & GM<br />

YEAR FOUNDED 1984<br />

SCREENS LAST YEAR 89<br />

SITES LAST YEAR 7<br />

THEATER EMPLOYEES 350<br />

CORPORATE EMPLOYEES 9<br />

LOCATIONS 1 state: CA<br />

26 BoxOffice ® <strong>Pro</strong> The Business of Movies JANUARY <strong>2014</strong>


BIG<br />

PICTURE<br />

Kathryn Newton starred as Alex in the<br />

most recent edition of the franchise,<br />

Paranormal Activity 4<br />

Paramount unleashes<br />

two new Paranormal Activity<br />

sequels in <strong>2014</strong>, but is the<br />

record-breaking horror<br />

franchise a ghost of<br />

its former self?<br />

by Shawn Robbins<br />

Assistant Editor<br />

BoxOffice.com<br />

28 BoxOffice ® <strong>Pro</strong> The Business of Movies JANUARY <strong>2014</strong>


Horror franchises tend to come in waves. The late 1970s<br />

and ’80s saw the rise of Michael Myers, Jason Voorhees,<br />

and Freddy Krueger. The late ’90s begat genre entries<br />

even more teen-specific with Scream and its iconic<br />

Ghostface, to be followed by a brief run of Japanese<br />

horror remakes—popularized by The Ring and The Grudge. But unlike<br />

the aforementioned staples of the late 20th century, their sequels failed to<br />

scare up big business. Traditional scream fests were left by the wayside in<br />

favor of “gore porn” like the Saw franchise, whose run carried the entire<br />

horror genre’s torch for half a decade starting in 2004.<br />

And then came director Oren Peli with Paranormal Activity, a shoestring-budgeted<br />

($15,000 for production costs) minimalist supernatural<br />

flick that he shot in his own house. A couple of years later, Steven Spielberg<br />

screened the film himself and helped get Peli’s flick a distribution<br />

deal through Paramount and DreamWorks, which used unconventional<br />

methods to build word of mouth. The film debuted in 12 college towns<br />

in September 2009, building the kind of grassroots buzz that studios<br />

dream about for an unknown pic with zero star power.<br />

That’s when the Internet started taking notice. Movie communities<br />

heard rumblings of the little horror movie that was traumatizing (in a<br />

good way) audiences as the film expanded into 33 theaters for its second<br />

weekend and 160 for its third, when it earned a stunning $49,379 per<br />

location. Those were numbers unseen by any horror flick since 1999.<br />

That was when The Blair Witch <strong>Pro</strong>ject haunted the nation with $56,002<br />

and $63,811 location averages in its first two weekends.<br />

Paramount knew it had a massive hit on its hands. By its 28th day of<br />

release, Paranormal Activity had banked $40.5 million without playing in<br />

more than 760 theaters. The film then saturated the nationwide market,<br />

taking first place in its fifth weekend and adding locations through its<br />

eighth week, the buzz now reaching beyond horror fans and into the<br />

mainstream.<br />

The movie accumulated $108 million domestically and another $85.4<br />

million overseas—all against just $17 million in negative costs (virtually<br />

all of which was spent on marketing).<br />

Thus, a franchise was born.<br />

One year later, Paranormal Activity 2 rode the still-surging wave of<br />

the first film to a massive $40.7 million opening weekend. Paranormal<br />

Activity 3 followed in 2011 with a record October bow of $52.6 million<br />

in its first three days. Last year’s Gravity recently surpassed that mark with<br />

$55.8 million.<br />

The Paranormal Activity brand has since become known as one of the<br />

most profitable franchises in cinema history. Paramount has wisely kept<br />

production costs at $5 million or less for the three sequels, meaning total<br />

costs between $27 million and $32 million after marketing. To date, each<br />

film has made back its total budget by the end of opening weekend.<br />

The series became an annual Halloween tradition (picking up where<br />

Saw left off), but in 2012, the demand hit a wall. After the third film’s record<br />

debut and $104 million domestic run, mainstream audiences decided<br />

the series was no longer a major event for them. Paranormal Activity<br />

4 posted a $29 million debut—far below expectations—and ultimately<br />

topped out just under $54 million by the time it left theaters. Granted,<br />

those numbers are still fantastic for Paramount’s bottom line, but North<br />

American theater owners saw half as many people show up for the fourth<br />

movie as its predecessors—meaning half the concessions sales, too.<br />

On the brighter side of the fence, international audiences didn’t seem<br />

to mind the consistency: Paranormal Activity 4 earned $88.5 million outside<br />

of its home country, not much less than the $92.5 million and $97<br />

million foreign grosses of the second and third films, respectively.<br />

Where does the series go now?<br />

Instead of launching a new entry for Halloween in 2013, Paramount<br />

pushed the release of its spin-off, Paranormal Activity: The Marked Ones, to<br />

<strong>January</strong> 3, <strong>2014</strong>. The first weekend of the year isn’t known for producing hits<br />

DECEMBER 2013 BoxOffice ® <strong>Pro</strong> The Business of Movies 29


BIG PICTURE<br />

The orginal Paranormal Activity<br />

grossed $107,918,810 domestically on a<br />

production budget of just $15,000<br />

as moviegoers are still catching up on holdovers<br />

from the holidays. The recent exception to that<br />

was 2012’s The Devil Inside (also from Paramount),<br />

which rode a strong viral campaign to<br />

an unexpected $33.7 million opening. Although<br />

word of mouth via Twitter quickly killed its legs (it<br />

earned $53.3 million stateside, nearly 32 percent<br />

of which came from opening day), the film struck<br />

financial gold in large part due to its appeal to<br />

Latino audiences. The Marked Ones follows suit by<br />

featuring an all-Latino cast.<br />

Unfortunately, typical spin-off box office<br />

behavior can probably be expected. The<br />

sharply declining interest in 2012’s fourth film<br />

occurred at a similar point in the franchise’s life<br />

cycle as it did for Saw, whose final three movies<br />

in the seven-film series dropped 36 percent or<br />

more from the $87 million peak of Saw II.<br />

Lacking any major connection to the first<br />

four Paranormal Activity efforts (outside of a<br />

supporting character from the second flick),<br />

The Marked Ones is unlikely to win back<br />

audiences. Online buzz metrics are at a series<br />

low (as of November 30, 2013) and fans of<br />

the franchise are more skeptical than ever—especially<br />

with this being the first of two new<br />

Paranormal movies to come in the new year. A<br />

proper sequel, Paranormal Activity 5, is set to<br />

debut on October 24, <strong>2014</strong>.<br />

Just over one month from release, we’re<br />

forecasting a domestic opening under $20 million<br />

and a final haul in the range of $30 million<br />

for The Marked Ones. As release weekend<br />

approaches, those numbers will continue to be<br />

refined as necessary on BoxOffice.com.<br />

Does Paramount have anything to worry<br />

about? Financially, the answer is a resounding<br />

no. The studio knows how to keep their cash<br />

cow effectively priced, so another combined<br />

cost of $30 million or less should mean the<br />

spin-off proves to be worth their efforts in the<br />

long run—especially if the movie can continue<br />

retaining most of its international audience.<br />

Still, that’s no solace for North American exhibitors<br />

who are hoping for Hollywood to find<br />

a new horror-based cash cow in the near future<br />

before the Paranormal Activity franchise burns<br />

off the rest of its hard-earned goodwill.<br />

THE PARANORMAL ACTIVITY SCORECARD<br />

DOMESTIC GROSS<br />

PARANORMAL ACTIVITY $107,918,810<br />

PARANORMAL ACTIVITY 2 $84,752,907<br />

PARANORMAL ACTIVITY 3 $104,028,807<br />

PARANORMAL ACTIVITY 4 $53,921,300<br />

PARANORMAL ACTIVITY: THE MARKED ONES $31,000,000*<br />

PARANORMAL ACTIVITY 5<br />

RELEASE DATE: OCTOBER 24, <strong>2014</strong><br />

SOURCE: BOXOFFICE.COM<br />

*PROJECTED<br />

30 BoxOffice ® <strong>Pro</strong> The Business of Movies JANUARY <strong>2014</strong>


Interview by Daniel Loria<br />

HOW DID YOU GET YOUR START IN THE BUSINESS?<br />

I was born into it. My dad was born in 1922, and by 1930 he was<br />

begging Fox Intermountain for the job. He ended up taking over<br />

some theaters here in Sheridan in 1953. I was born in 1962, and it’s<br />

been in my blood since I was born.<br />

BILL CAMPBELL<br />

President<br />

Opheum Theatres<br />

Sherdian, Wyoming<br />

TELL ME ABOUT ORPHEUM THEATRES AND YOUR ROLE<br />

IN THE COMPANY.<br />

The Orpheum Theatre is the first we purchased in Sheridan in 1953.<br />

It was just a small single-screen, 200-seat house. My father ran it in<br />

Sheridan until Fox Intermountain had to get out of their lease, and<br />

then he took over another single-screen called the WYO Theater; he<br />

had that the year I was born. My first jobs were fixing seats and popping<br />

popcorn at the WYO Theater. In 1976 he built a twin theater<br />

called the Centennial, and we closed the WYO in 1983. We kept<br />

adding screens to the Centennial and we are now a six-plex.<br />

TELL ME A BIT ABOUT THE MARKET IN YOUR REGION<br />

AND WHAT MAKES IT DIFFERENT THAN ANYWHERE<br />

ELSE IN THE COUNTRY.<br />

The nice thing is the lack of any competition close by. They call<br />

[Sheridan] a big city around here and it’s 17,000 people. Billings,<br />

Montana, is a-hundred-something-thousand people and it’s 120<br />

miles away. Everything is hundreds of miles away, so competition<br />

among independents isn’t as fierce as it is in some other markets in<br />

more metropolitan regions.<br />

Other than that, small-town theaters are almost more important as<br />

an entertainment value than many of the large theaters in cities where<br />

there are so many different venues trying to get [an audience] for<br />

things like basketball games or ballet. Small towns don’t have that—<br />

people just end up going to the local movie theater.<br />

WHAT ADVICE WOULD YOU GIVE TO NEW INDEPEN-<br />

DENT THEATER OWNERS?<br />

You have to understand the market and how the industry works.<br />

Starting with booking patterns, in small towns just because you open<br />

a theater doesn’t mean you’re going to get product day-and-date with<br />

everybody in the nation. Many people think that’s just going to happen<br />

automatically by opening a screen. You need to know how the<br />

process works. Knowing your population base and what to expect,<br />

that’s the biggest challenge for independent theaters in small towns—<br />

many times they simply don’t have the population base needed to run<br />

a viable business.<br />

YOU’VE BEEN AN EARLY CHAMPION OF DIGITIZATION.<br />

NOW THAT THE TECHNOLOGY IS WIDESPREAD, WHAT<br />

BENEFITS HAS THE TECHNOLOGY GIVEN INDEPENDENT<br />

EXHIBITORS?<br />

The easiest thing to see is the quality of the presentation. Many of the<br />

theaters in towns like Sheridan would take prints off larger markets.<br />

The prints would arrive scratched a lot of the time, not pristine<br />

prints by any means. The fact that now everything looks scratch-free<br />

and the soundtrack always sounds wonderful, you’re giving a better<br />

product and a better presentation.<br />

WHAT CHANGES WOULD YOU LIKE TO SEE THAT<br />

WOULD MAKE IT EASIER FOR INDEPENDENT THEATERS<br />

IN THE MARKET?<br />

I suppose more flexibility, understanding that viewing patterns may<br />

change; instead of having weekly contracts, maybe some screens will<br />

have split weeks to bring in more product. Have more turns of different<br />

product over the year instead of the long-term commitments we<br />

are seeing.<br />

WHAT ARE THE NEW CHALLENGES FACING INDEPEN-<br />

DENT EXHIBITORS TODAY AND IN THE FUTURE?<br />

[Release] windows are always going to be a concern. With independent<br />

theaters, if you don’t take something on break there’s a chance<br />

you’re not going to have room for it. Some of the smaller theaters<br />

don’t get prints until six or eight weeks out, and if windows keep<br />

tightening, the value of watching a movie in the theater goes down.<br />

Retaining the windows is very, very important.<br />

WHAT IS YOUR OPINION OF VOD? HAS IT BECOME AN<br />

OBSTACLE TO PROGRAMMING SPECIALTY FARE LIKE<br />

INDEPENDENT AND FOREIGN FILMS IN YOUR THE-<br />

ATERS?<br />

We try to do a film festival where we bring in, not necessarily<br />

absolutely obscure independent movies, but even movies that just<br />

won’t be able to play for three or four weeks in Sheridan but still have<br />

some commercial value. If films open on VOD I hesitate bringing<br />

them in, considering how many people are in my town anyway. It is<br />

a challenge. The windows seem to work, but everyone wants to push<br />

things because we are in a world of instant gratification. Everyone<br />

wants to rush and burn through things quicker, but I’d like to see<br />

the windows respected and VOD pushed late into theatrical run, not<br />

day-and-date.<br />

WE KEEP HEARING ABOUT CORD CUTTING IN THE<br />

TELEVISION INDUSTRY. DO YOU SEE LIVE EVENTS LIKE<br />

SPORTS OR THEATRICAL PERFORMANCES PLAYING A<br />

SIGNIFICANT ROLE FOR EXHIBITORS IN THE FUTURE?<br />

Alternative content has always been talked about as this big thing<br />

that’s going to change the business. I hope for it but I haven’t seen it<br />

yet. There is a huge potential for streaming live events with satellite,<br />

but I haven’t seen it take off quite yet.<br />

WHAT’S ON YOUR MIND HEADING INTO THE FUTURE?<br />

I’m more worried, come a few years, when we see whether or not<br />

the digital projection technology will have the longevity over 10<br />

years. The machines we took out were rock solid, 50-year-old<br />

machines, and I’m not sure we’ll get that again. My biggest concern<br />

going ahead is what’s going to happen when we need to replace<br />

projectors again.<br />

32 BoxOffice ® <strong>Pro</strong> The Business of Movies JANUARY <strong>2014</strong>


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FILM<br />

FRANCHISE<br />

Is it too late for Paramount to revive the<br />

Jack Ryan franchise?<br />

THE SUM OF ALL FILMS<br />

by Daniel Loria<br />

n There is a simple brilliance to the poster for The Hunt for Red October.<br />

Sean Connery’s face, colored in a red hue, stares at you from a pitchblack<br />

background, with the top of a submarine slightly to the left corner<br />

of his mouth. It’s one of those posters that tells you all you need to know:<br />

Sean Connery is in this movie; there is also a submarine in this movie; do<br />

you like Sean Connery? How about Sean Connery on a submarine? I like<br />

to imagine filmgoers in 1990 gladly buying their movie tickets based on<br />

the poster alone. Who cares about plot when there’s a chance to see Sean<br />

Connery on a submarine?<br />

The Hunt for Red October grossed $122 million to become one of the<br />

hottest films of 1990. Of course, it also helped that The Hunt for Red<br />

October was adapted from a best-selling book by Tom Clancy. The author<br />

went on to write a series of novels featuring Jack Ryan, an important<br />

character in Red October, thus opening the potential for a feature-film<br />

franchise. With a hit film already in its hands, Paramount saw an opportunity<br />

to turn Jack Ryan into the American James Bond.<br />

Harrison Ford, the studio’s first choice for Ryan in The Hunt for Red<br />

October, replaced Alec Baldwin in the role for 1992’s Patriot Games. The<br />

second film in the Jack Ryan series grossed $83.3 million domestically.<br />

Ford would continue to portray Ryan two years later in Clear and Present<br />

Danger. The third entry became the most successful in the franchise, with<br />

a $122.1 million take. Harrison Ford’s face dominated the poster of his<br />

two Jack Ryan films, just as Sean Connery’s had in the poster for the first<br />

installment of the franchise. Star power had helped establish Jack Ryan as<br />

a moneymaker for Paramount, but the studio wouldn’t roll out another<br />

Ryan adventure for another eight years.<br />

Ben Affleck became the new Jack Ryan with the 2002 reboot The Sum<br />

of All Fears. Released less than a year after the attacks of 9/11, The Sum<br />

of All Fears became one of the first films to<br />

explore terrorist threats in a new era<br />

of American life. The Sum of All<br />

Fears grossed $118.9 million<br />

domestically, not a poor<br />

result but nowhere near the<br />

blockbuster potential of a franchise coming off three established hits.<br />

Ben Affleck’s career would go into a nosedive soon thereafter, with his<br />

name appearing across glossy tabloid magazines and his next films taking<br />

critical and commercial beatings. The Jack Ryan franchise never really<br />

took after the ’90s, with The Sum of All Fears relegated to the status of a<br />

moderate hit rather than transitioning the franchise into a new decade.<br />

The absence of a new Jack Ryan film since 2002 has made the Tom<br />

Clancy brand more recognizable in the video game industry than in<br />

cinema. Hollywood missed out on a great opportunity in building a<br />

Tom Clancy cinematic universe to go along with the highly successful<br />

Rainbow Six, Ghost Recon, and Splinter Cell video games inspired by the<br />

author’s works. Paramount will try its hand at rebooting the Jack Ryan<br />

franchise once again with the upcoming release of Jack Ryan: Shadow<br />

Recruit, but how much of the property’s pre-awareness remains after all<br />

these years?<br />

Universal’s Jason Bourne franchise proved that the spy genre will<br />

welcome an American hero, but even that series stumbled in its latest<br />

box office outing. The Bourne Legacy tried to push the Jason Bourne films<br />

to new territories by retaining all the ingredients of the formula—with<br />

the exception of two crucial factors: neither the franchise’s star nor its<br />

original protagonist was featured. Jeremy Renner replaced Matt Damon<br />

in a spin-off that Universal hoped would continue the box office success<br />

of the original trilogy. Audiences weren’t buying it; Legacy became the<br />

worst performing Bourne film in the series, coming in more than $100<br />

million under its immediate predecessor, The Bourne Ultimatum, in<br />

North America.<br />

Whether anyone under the age of 30 can still recognize Jack Ryan is<br />

another matter altogether. Films titled on anonymous-sounding names<br />

like John Carter and Jack Reacher both flopped at the box office despite<br />

being based on popular literary characters. The title Jack Ryan: Shadow<br />

Recruit at least gives new viewers a vague idea of what the film might be<br />

about. Moreover, Shadow Recruit is the first film in the series not to be<br />

based on a Clancy novel. The new film also raises questions in terms of<br />

star power. Chris Pine has taken over the title role, but his profile is significantly<br />

lower than that of Baldwin, Ford, and Affleck. While Pine has<br />

enjoyed success as the new Captain Kirk in Paramount’s Star Trek reboot,<br />

the actor has never opened a film on his own shoulders.<br />

The iconic poster for The Hunt for Red October is one of the most<br />

recognizable one sheets of the ’90s. Filmgoers looking at the poster for<br />

Jack Ryan: Shadow Recruit will see an image of Chris Pine crouched down<br />

and holding a gun. Will they see all they need to know, or will they ask<br />

the most troubling question possible: Jack who?<br />

BoxOffice is currently projecting a $26 million four-day opening<br />

for Jack Ryan: Shadow Recruit and a domestic total in the $70 million<br />

range.<br />

Chris Pine as<br />

Jack Ryan with<br />

Keira Knightley as<br />

Cathy Ryan<br />

THE JACK RYAN SCORECARD<br />

THE HUNT FOR RED OCTOBER<br />

Alec Baldwin<br />

PATRIOT GAMES<br />

Harrison Ford<br />

CLEAR AND PRESENT DANGER<br />

Harrison Ford<br />

THE SUM OF ALL FEARS<br />

Ben Affleck<br />

JACK RYAN: SHADOW RECRUIT<br />

Chris Pine<br />

$122,012,815<br />

$83,351,979<br />

$122,187,590<br />

$118,907,992<br />

$70,000,000*<br />

*PROJECTED<br />

34 BoxOffice ® <strong>Pro</strong> The Business of Movies JANUARY <strong>2014</strong>


COMING<br />

IN JANUARY<br />

WIDE<br />

n Boasting a whopping 91 percent at Rotten<br />

Tomatoes, Her stars Globe-nominee Joaquin<br />

Phoenix as professional letter writer Theodore<br />

Twombly who is lost and alone after a<br />

long-term relationship ends. The new operating<br />

system on his computer features a Siri-like<br />

female voice named Samantha (voiced<br />

by Scarlett Johansson) that has the ability to<br />

so customize its responses to Twombly that<br />

he finds himself falling in love with Her.<br />

DISTRIBUTOR Warner Bros. CAST Joaquin Phoenix,<br />

Scarlett Johansson, Amy Adams, Olivia<br />

Wilde, Rooney Mara DIRECTOR/SCREENWRITER<br />

Spike Jonze GENRE Comedy | Drama | Romance<br />

| Sci-Fi RATING R for language, sexual<br />

content and brief graphic nudity RUNNING TIME<br />

120 min. RELEASE DATE <strong>January</strong> 10<br />

WIDE<br />

THE LEGEND OF HERCULES<br />

n It’s been 15 years since director Renny<br />

Harlin’s last major hit (1999’s Deep Blue Sea)<br />

and this version of the Hercules story will<br />

have some competition when Dwayne “The<br />

Rock” Johnson dons the sandals this summer<br />

in Hercules: The Thracian Wars. This modestly<br />

budgeted film, shot in Bulgaria, stars Twilight’s<br />

Kellan Lutz as the mythical hero who is the<br />

son of Zeus and a mortal woman, Alcmene<br />

(Roxanne McKee, Game of Thrones).<br />

DISTRIBUTOR Summit CAST Kellan Lutz, Gaia<br />

Weiss, Scott Adkins, Roxanne McKee, Liam<br />

Garrigan DIRECTOR Renny Harlin SCREEN-<br />

WRITERS Daniel Giat, Giulio Steve, Renny<br />

Harlin, Sean Hood GENRE Action | Adventure<br />

RATING TBD RUNNING TIME TBD RELEASE DATE<br />

<strong>January</strong> 10<br />

WIDE<br />

LONE SURVIVOR<br />

n The true story of a failed SEAL Team<br />

10 mission in Afghanistan (Operation Red<br />

Wings), Lone Survivor is based on the memoir<br />

of Navy Cross recipient Marcus Luttrell (Mark<br />

Wahlberg). In addition to spending a year with<br />

Navy Seals, writer-director Peter Berg (Battleship)<br />

invited the real Luttrell to live with him<br />

and act as a consultant while he developed the<br />

script. Taylor Kitsch (John Carter) plays Medal<br />

of Honor recipient Michael P. Murphy.<br />

DISTRIBUTOR Universal CAST Mark Wahlberg,<br />

Taylor Kitsch, Emile Hirsch, Ben Foster, Eric<br />

Bana, Alexander Ludwig DIRECTOR/SCREEN-<br />

WRITER Peter Berg GENRE Comedy RATING<br />

R for strong bloody war violence and pervasive<br />

language RUNNING TIME TBD RELEASE<br />

DATE <strong>January</strong> 10<br />

WIDE<br />

DEVIL’S DUE<br />

n The found-footage horror genre has a new<br />

entry with Devil’s Due, a film assembled from<br />

“home movies.” Newlyweds Zach and Samantha<br />

McCall (Zach Gilford, Allison Miller) learn<br />

that they experienced a “lost night” during their<br />

idyllic honeymoon. When Samantha discovers<br />

she is expecting, Zach decides to record the pregnancy.<br />

As Samantha’s behavior becomes erratic,<br />

it soon becomes clear that something is in store<br />

for them that they weren’t expecting. Could it be<br />

the Antichrist?<br />

DISTRIBUTOR Fox CAST Allison Miller, Zach<br />

Gilford, Sam Anderson DIRECTORS Matt<br />

Bettinelli-Olpin,Tyler Gillett SCREENWRITER<br />

Lindsay Devlin GENRE Horror RATING R for<br />

language and some bloody images RUNNING<br />

TIME 89 min. RELEASE DATE <strong>January</strong> 17<br />

36 BoxOffice ® <strong>Pro</strong> The Business of Movies JANUARY <strong>2014</strong>


WIDE<br />

JACK RYAN: SHADOW RECRUIT<br />

n The fifth film to feature the Tom Clancy character, Jack Ryan: Shadow<br />

Recruit is not based on any Clancy novel, but is instead an original story<br />

that reboots the series and delivers a younger Jack Ryan who is more<br />

newbie spy than seasoned CIA analyst. Star Trek’s Chris Pine is the<br />

fourth actor to play the role (see story on page 34) and features the film’s<br />

director, Kenneth Branagh, as nefarious Russian business man Viktor<br />

Cherevin.<br />

DISTRIBUTOR Paramount CAST Chris Pine, Kevin Costner, Kenneth<br />

THE NUT JOB<br />

n Liam Neeson (Taken) brings his very particular set of skills to the animation<br />

world this year with two films, February’s The Lego Movie and this<br />

month’s The Nut Job. In this Canadian feature, Neeson voices a raccoon<br />

while star Will Arnett (Arrested Development) voices Surly, a squirrel set<br />

on cobbling together a gang of critters to rob Maury’s Nut Store and thus<br />

set himself up in high style for the winter.<br />

DISTRIBUTOR Open Road CAST Will Arnett, Brendan Fraser, Gabriel<br />

Iglesias, Liam Neeson, Katherine Heigl DIRECTOR Peter Lepeniotis<br />

Branagh, Keira Knightley DIRECTOR Kenneth Branagh SCREENWRITERS SCREENWRITERS Peter Lepeniotis, Lorne Cameron, Daniel Woo GENRE<br />

Adam Cozad, David Koepp GENRE Action | Drama | Thriller RATING Animation RATING PG for mild action and rude humor RUNNING TIME<br />

TBD Harkness_Android_iPad_Ad_half RUNNING TIME TBD RELEASE DATE 7.25x4.75" <strong>January</strong> (Box_Office_USA):Layout 17<br />

1 02/10/2013 TBD RELEASE 10:34 DATE <strong>January</strong> Page 1 17<br />

WIDE<br />

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JANUARY <strong>2014</strong> BoxOffice ® <strong>Pro</strong> The Business of Movies 37


COMING IN JANUARY<br />

WIDE<br />

RIDE ALONG<br />

n Fast-talking security guard Ben (comedian Kevin Hart, Grudge Match)<br />

joins his cop soon-to-be brother-in-law James (Ice Cube, 21 Jump Street)<br />

on a 24-hour patrol of Atlanta in order to prove himself worthy of marrying<br />

Angela, James’s sister. Hart and director Tim Story also have Think<br />

Like a Man Too in the hopper for this summer.<br />

DISTRIBUTOR Universal CAST Ice Cube, Kevin Hart, John Leguizamo,<br />

Bruce McGill, Bryan Callen, Tika Sumpter DIRECTOR Tim Story<br />

SCREENWRITERS Greg Coolidge, Jason Mantzoukas, Phil Hay, Matt<br />

Manfredi GENRE Action | Comedy RATING PG-13 for sequences of violence,<br />

sexual content, and brief strong language RUNNING TIME 100<br />

min. RELEASE DATE <strong>January</strong> 17<br />

LTD.<br />

LIKE FATHER, LIKE SON<br />

n Ryota Nonomiya (Masaharu Fukuyama) is a successful businessman<br />

driven by money. When he learns that his biological son was switched<br />

with another child after birth, he must make a life-changing decision<br />

and choose his true son or the boy he raised as his own. Like Father, Like<br />

Son (Soshite Chichi ni Naru) won the Jury Prize at the 2013 Cannes Film<br />

Festival where it drew the attention of Steven Spielberg and Dreamworks,<br />

which has acquired the U.S. remake rights.<br />

DISTRIBUTOR Sundance Selects CAST Masaharu Fukuyama, Yoko Maki,<br />

Jun Kunimura, Machiko Ono DIRECTOR Hirokazu Koreeda SCREEN-<br />

WRITER Hirokazu Koreeda GENRE Drama RATING TBD RUNNING TIME 120<br />

min. RELEASE DATE <strong>January</strong> 17<br />

WIDE<br />

I, FRANKENSTEIN<br />

n Mary Shelley’s 1818 monstrous creation returns to the screen for the<br />

umpteenth time in this adaptation of Kevin Grevioux’s recent graphic<br />

novel. Aaron Eckhart (The Dark Knight) stars as Adam, the reanimated<br />

assemblage of corpses stitched together by Victor Frankenstein. In this<br />

retelling, the creature finds himself embroiled in a battle between warring<br />

demons and gargoyles. Underworld veteran Bill Nighy costars as demon<br />

leader Naberius.<br />

DISTRIBUTOR Lionsgate CAST Aaron Eckhart, Bill Nighy, Yvonne Strahovski,<br />

Miranda Otto, Socratis Otto DIRECTOR/SCREENWRITER Stuart<br />

Beattie GENRE Action | Fantasy | Sci-Fi RATING PG-13 for sequences<br />

of intense fantasy action and violence throughout RUNNING TIME 93<br />

min. RELEASE DATE <strong>January</strong> 24<br />

LTD.<br />

GIMME SHELTER<br />

n Inspired by true events, Gimme Shelter stars an almost unrecognizable<br />

Vanessa Hudgens (High School Musical) as a pregnant teen with an abusive<br />

mother (an aganist-type Rosario Dawson) who leaves home to find the father<br />

she never knew, a Wall Street broker (Brendan Fraser). Circumstance<br />

brings her under the care and guidance of a hospital chaplain (James Earl<br />

Jones) and the operator of a homeless shelter (Anne Dowd).<br />

DISTRIBUTOR Roadside Attractions CAST Vanessa Hudgens, Brendan<br />

Fraser, Rosario Dawson, James Earl Jones DIRECTOR/SCREENWRIT-<br />

ER Ron Krauss GENRE Drama RATING PG-13 for mature thematic<br />

material involving mistreatment, some drug content, violence and<br />

language—all concerning teens RUNNING TIME TBD RELEASE DATE<br />

<strong>January</strong> 24<br />

38 BoxOffice ® <strong>Pro</strong> The Business of Movies JANUARY <strong>2014</strong>


WIDE<br />

THAT AWKWARD MOMENT<br />

n Zac Efron (Me and Orson Welles), Miles Teller (The Spectacular Now),<br />

and Michael B. Jordan (Fruitvale Station) play three friends commited to<br />

staying single when one of them (Jordan) breaks up with his girlfriend.<br />

Try as they might, women pop into the picture posing the question<br />

“when does a hookup turn into a relationship?” The red-band trailer<br />

promises raunch galore with Viagra jokes aplenty.<br />

DISTRIBUTOR Focus Features CAST Zac Efron, Michael B. Jordan,<br />

Jessica Lucas, Imogen Poots, Miles Teller, Parker Block DIRECTOR/<br />

SCREENWRITER Tom Gormican GENRE Comedy | Romance RATING R<br />

for sexual content and language throughout RUNNING TIME 94 min.<br />

RELEASE DATE <strong>January</strong> 31<br />

WIDE<br />

LABOR DAY<br />

n Up in the Air director (and four-time Oscar nominee) Jason Reitman<br />

adapted the Joyce Maynard novel about single mother Adele (Kate<br />

Winslet) who encounters a bloodied man (Josh Brolin) while shopping<br />

with her teenage son (Gattlin Griffith) and takes him into her home only<br />

to learn that he is an escaped convict. With the police on the pursuit over<br />

the 1987 Labor Day weekend, Adele slowly begins to fall for the mysterious<br />

man. Tobey Maguire narrates as the now-adult son.<br />

DISTRIBUTOR Paramount CAST Kate Winslet, Josh Brolin, Gattlin<br />

Griffith, Tobey Maguire DIRECTOR/SCREENWRITER Jason Reitman<br />

GENRE Drama RATING PG-13 for thematic material, brief violence, and<br />

sexuality RUNNING TIME 111 min. RELEASE DATE <strong>January</strong> 31<br />

JANUARY <strong>2014</strong> BoxOffice ® <strong>Pro</strong> The Business of Movies 39


BOOKING<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 />

THE WIND RISES Fri, 2/21/14 LTD. Hideaki Anno, Mirai Shida Hayao Miyazaki PG-13 Ani/Dra Dolby Dig<br />

NEED FOR SPEED Fri, 3/14/14 WIDE Aaron Paul, Dominic Cooper Scott Waugh NR Act Dolby Atmos/Quad<br />

MUPPETS MOST WANTED Fri, 3/21/14 WIDE Ricky Gervais, Tina Fey James Bobin PG Adv/Com/Fam Dolby Dig<br />

CAPTAIN AMERICA: THE WINTER<br />

SOLDIER<br />

BEARS<br />

Fri, 4/4/14 WIDE<br />

Fri, 4/18/14 WIDE<br />

Chris Evans, Scarlett Johansson<br />

Anthony Russo, Joe<br />

Russo<br />

Alastair Fothergill, Keith<br />

Scholey<br />

NR Act/Adv 3D<br />

NR Doc Dolby Dig<br />

MILLION DOLLAR ARM Fri, 5/16/14 WIDE Jon Hamm, Bill Paxton Craig Gillespie PG Dra/Sport<br />

MALEFICENT Fri, 5/30/14 WIDE Angelina Jolie, Elle Fanning Robert Stromberg NR Adv/Fan 3D/Dolby Dig<br />

PLANES: FIRE & RESCUE Fri, 7/18/14 WIDE Dane Cook Bobs Gannaway NR Ani/Adv/Fam 3D/Dolby Dig<br />

GUARDIANS OF THE GALAXY Fri, 8/1/14 WIDE Chris Pratt, Zoe Saldana James Gunn NR Act/Adv/SF 3D<br />

THE HUNDRED-FOOT JOURNEY Fri, 8/8/14 WIDE Helen Mirren, Manish Dayal Lasse Hallström NR Dra<br />

ALEXANDER & THE TERRIBLE,<br />

HORRIBLE, NO GOOD, VERY BAD DAY<br />

Fri, 10/10/14 WIDE Ed Oxenbould, Steve Carell Miguel Arteta NR Com/Fam<br />

BIG HERO 6 Fri, 11/7/14 WIDE Don Hall NR Ani/Act/Adv 3D<br />

MCFARLAND Fri, 11/21/14 WIDE Kevin Costner, Maria Bello Niki Caro NR Dra/Sport<br />

INTO THE WOODS Thu, 12/25/14 WIDE Meryl Streep, Johnny Depp Rob Marshall NR Mus/Fan<br />

FOCUS FEATURES Mingun Kim / 818-777-3071<br />

THAT AWKWARD MOMENT Fri, 1/31/14 WIDE Zac Efron, Miles Teller Tom Gormican R Rom/Com Dolby Dig<br />

BAD WORDS Fri, 3/14/14 LTD. Jason Bateman, Kathryn Hahn Jason Bateman R Com<br />

THE BOXTROLLS Fri, 9/26/14 WIDE Ben Kingsley, Isaac Hempstead Wright<br />

Graham Annable,<br />

Anthony Stacchi<br />

NR Ani/Adv/Fam 3D/Dolby Dig<br />

FOX 310-369-1000 / 212-556-2400<br />

DEVIL’S DUE Fri, 1/17/14 WIDE Zach Gilford, Allison Miller<br />

Matt Bettinelli-Olpin,<br />

Tyler Gillett<br />

R Hor/Thr<br />

SON OF GOD Fri, 2/28/14 WIDE Diogo Morgado, Roma Downey Christopher Spencer PG-13 Dra<br />

The Sweet Sound of Saving Money...<br />

Average Savings of More Than 50%<br />

on Entire Sound System<br />

3 year warranty. 100% Satisfaction Guaranteed<br />

$<br />

$ $<br />

$ $ $<br />

$<br />

$ $ $ $<br />

$ $ $<br />

Stetson Snell<br />

stetsonsnell@enparaudio.com<br />

505-615-2913<br />

Audio<br />

40 BoxOffice ® <strong>Pro</strong> The Business of Movies NOVEMBER 2013


BOOKING GUIDE<br />

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS<br />

MR. PEABODY & SHERMAN Fri, 3/7/14 WIDE Ty Burrell, Max Charles Rob Minkoff NR Ani/Com/Fam 3D/Dolby Atmos<br />

RIO 2 Fri, 4/11/14 WIDE Anne Hathaway, Jesse Eisenberg Carlos Saldanha NR Ani/Adv/Fam 3D/Dolby Atmos<br />

THE OTHER WOMAN Fri, 4/25/14 WIDE Cameron Diaz, Leslie Mann Nick Cassavetes NR Com Dolby Dig<br />

X-MEN: DAYS OF FUTURE PAST Fri, 5/23/14 WIDE Hugh Jackman, James McAvoy Bryan Singer NR Act/Adv 3D/Dolby Atmos<br />

THE FAULT IN OUR STARS Fri, 6/6/14 WIDE Shailene Woodley, Ansel Elgort Josh Boone NR Dra/Rom<br />

HOW TO TRAIN YOUR DRAGON 2 Fri, 6/13/14 WIDE Jay Baruchel, Gerard Butler Dean DeBlois NR Ani/Adv/Fam 3D<br />

DAWN OF THE PLANET OF THE APES Fri, 7/11/14 WIDE Andy Serkis, Gary Oldman Matt Reeves NR Act/SF 3D/Dolby Atmos<br />

THE MAZE RUNNER Fri, 9/19/14 WIDE Dylan O’Brien, Will Poulter Wes Ball NR SF/Thr<br />

GONE GIRL Fri, 10/3/14 WIDE Ben Affleck, Rosamund Pike David Fincher NR Dra/Thr<br />

BOOK OF LIFE Fri, 10/17/14 WIDE Channing Tatum, Zoe Saldana Jorge R. Gutierrez NR Ani<br />

UNTITLED VINCE VAUGHN MOVIE Fri, 10/24/14 WIDE Vince Vaughn, Tom Wilkinson Ken Scott NR Com<br />

HOME Wed, 11/26/14 WIDE Jim Parsons, Rihanna Tim Johnson NR Ani/Adv/SF 3D<br />

EXODUS Fri, 12/12/14 WIDE Christian Bale, Joel Edgerton Ridley Scott NR Dra<br />

NIGHT AT THE MUSEUM 3 Thu, 12/25/14 WIDE Ben Stiller, Robin Williams Shawn Levy NR Adv/Com/Fam<br />

FRANKENSTEIN Fri, 1/16/15 WIDE Daniel Radcliffe, James McAvoy Paul McGuigan NR Hor/SF<br />

FOX SEARCHLIGHT 212-556-2400<br />

THE GRAND BUDAPEST HOTEL Fri, 3/7/14 LTD. Ralph Fiennes, Tony Revolori Wes Anderson R Com/Dra<br />

DOM HEMINGWAY Fri, 4/4/14 LTD. Jude Law, Richard E. Grant Richard Shepard R Com/Cri/Dra<br />

BELLE Fri, 5/2/14 LTD. Gugu Mbatha-Raw, Tom Wilkinson Amma Asante PG Dra Dolby Dig<br />

LIONSGATE / 310-309-8400<br />

THE LEGEND OF HERCULES Fri, 1/10/14 WIDE Kellan Lutz, Gaia Weiss Renny Harlin PG-13 Act/Adv 3D<br />

I, FRANKENSTEIN Fri, 1/24/14 WIDE Aaron Eckhart, Bill Nighy Stuart Beattie PG-13 Act/Hor/Thr<br />

3D/IMAX/Dolby<br />

Atmos/Quad<br />

ENEMIES CLOSER<br />

Fri, 1/24/14 LTD.<br />

Jean-Claude Van Damme, Tom Everett<br />

Scott<br />

Peter Hyams R Act/Thr<br />

NURSE 3D Fri, 2/7/14 LTD. Paz de la Huerta, Katrina Bowden Doug Aarniokoski NR Hor/Thr 3D<br />

REPENTANCE Fri, 2/28/14 LTD. Forest Whitaker, Anthony Mackie Philippe Caland R Thr<br />

THE SINGLE MOMS CLUB Fri, 3/14/14 WIDE Tyler Perry, Nia Long Tyler Perry NR Com/Dra<br />

DIVERGENT Fri, 3/21/14 WIDE Shailene Woodley, Theo James Neil Burger NR Adv/Dra/SF IMAX/Dolby Dig<br />

JANUARY <strong>2014</strong> BoxOffice ® <strong>Pro</strong> The Business of Movies 41


BOOKING GUIDE<br />

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS<br />

CESAR CHAVEZ Fri, 3/28/14 MOD. Michael Peña, America Ferrera Diego Luna PG-13 Dra<br />

DRAFT DAY Fri, 4/11/14 WIDE Kevin Costner, Jennifer Garner Ivan Reitman R Dra/Sport<br />

THE QUIET ONES Fri, 4/25/14 WIDE Jared Harris, Sam Claflin John Pogue PG-13 Hor<br />

THE EXPENDABLES 3 Fri, 8/15/14 WIDE Sylvester Stallone, Jason Statham Patrick Hughes NR Act/Adv<br />

JESSABELLE Fri, 8/29/14 WIDE Sarah Snook, Mark Webber Kevin Greutert NR Hor/Thr<br />

ADDICTED Fri, 9/5/14 WIDE Sharon Leal, Boris Kodjoe Bille Woodruff NR Dra<br />

THE HUNGER GAMES:<br />

MOCKINGJAY - PART 1<br />

Fri, 11/21/14 WIDE Jennifer Lawrence, Josh Hutcherson Francis Lawrence NR Act/Adv/SF IMAX<br />

NORM OF THE NORTH Fri, 1/16/15 WIDE Rob Schneider, Ken Jeong Anthony Bell NR Ani/Com/Fam 3D<br />

OPEN ROAD FILMS 310-696-7504<br />

THE NUT JOB Fri, 1/17/14 WIDE Will Arnett, Brendan Fraser Peter Lepeniotis PG Ani/Com/Fam 3D/Dolby Dig<br />

A HAUNTED HOUSE 2 Fri, 3/28/14 WIDE Marlon Wayans, Jaime Pressly Michael Tiddes NR Com/Hor<br />

SABOTAGE<br />

Fri, 4/11/14 WIDE<br />

Arnold Schwarzenegger, Sam<br />

Worthington<br />

David Ayer NR Act/Cri/Thr Dolby Dig<br />

CHEF Fri, 5/9/14 WIDE Jon Favreau, Sofía Vergara Jon Favreau NR Com<br />

PARAMOUNT 323-956-5000<br />

PARANORMAL ACTIVITY: THE<br />

MARKED ONES<br />

Fri, 1/3/14 WIDE Andrew Jacobs, Catherine Toribio Christopher Landon NR Hor<br />

JACK RYAN: SHADOW RECRUIT Fri, 1/17/14 WIDE Chris Pine, Keira Knightley Kenneth Branagh NR Act/Thr IMAX/Quad<br />

LABOR DAY Fri, 1/31/14 WIDE Kate Winslet, Josh Brolin Jason Reitman PG-13 Dra Dolby Dig<br />

WELCOME TO YESTERDAY Fri, 2/28/14 WIDE Jonny Weston, Sofia Black-D’Elia Dean Israelite NR SF/Thr<br />

NOAH Fri, 3/28/14 WIDE Russell Crowe, Jennifer Connelly Darren Aronofsky NR Adv/Dra<br />

TRANSFORMERS:<br />

AGE OF EXTINCTION<br />

Fri, 6/27/14 WIDE Mark Wahlberg, Nicola Peltz Michael Bay NR Act/Adv/SF<br />

3D/IMAX/Dolby<br />

Atmos<br />

HERCULES Fri, 7/25/14 WIDE Dwayne Johnson, Rufus Sewell Brett Ratner NR Act/Adv Quad<br />

TEENAGE MUTANT NINJA TURTLES Fri, 8/8/14 WIDE Megan Fox, William Fichtner Jonathan Liebesman NR Act/Adv<br />

PARANORMAL ACTIVITY 5 Fri, 10/24/14 WIDE Gregory Plotkin R Hor<br />

INTERSTELLAR<br />

Fri, 11/7/14 WIDE<br />

Matthew McConaughey, Anne<br />

Hathaway<br />

Christopher Nolan NR SF IMAX<br />

42 BoxOffice ® <strong>Pro</strong> The Business of Movies JANUARY <strong>2014</strong>


BOOKING GUIDE<br />

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS<br />

RELATIVITY Mara Buxbaum / 323-822-4800 / relativity@id-pr.com<br />

3 DAYS TO KILL Fri, 2/21/14 WIDE Kevin Costner, Hailee Steinfeld McG NR Act/Thr<br />

EARTH TO ECHO Fri, 4/25/14 WIDE Teo Halm, Astro Dave Green PG Adv/Fam<br />

JANE GOT A GUN Fri, 8/29/14 WIDE Natalie Portman, Ewan McGregor Gavin O’Connor NR Wes/Act<br />

THE BEST OF ME Fri, 10/17/14 WIDE Michelle Monaghan Michael Hoffman NR Dra/Rom<br />

BLACKBIRD Fri, 11/14/14 WIDE Gugu Mbatha-Raw, Nate Parker Gina Prince-Bythewood NR Dra<br />

SONY 212-833-8500<br />

THE MONUMENTS MEN Fri, 2/7/14 WIDE George Clooney, Matt Damon George Clooney NR Adv/Com/Dra Quad<br />

ROBOCOP Wed, 2/12/14 WIDE Joel Kinnaman, Gary Oldman José Padilha PG-13 Act/Cri/SF IMAX/Quad<br />

ABOUT LAST NIGHT Fri, 2/14/14 WIDE Kevin Hart, Michael Ealy Steve Pink NR Com/Dra/Rom<br />

POMPEII Fri, 2/21/14 WIDE Kit Harington, Emily Browning Paul W.S. Anderson NR Act/Adv/Dra 3D/Quad<br />

HEAVEN IS FOR REAL Wed, 4/16/14 WIDE Greg Kinnear, Kelly Reilly Randall Wallace PG Dra/Fam<br />

THE AMAZING SPIDER-MAN 2 Fri, 5/2/14 WIDE Andrew Garfield, Emma Stone Marc Webb NR Act/Adv 3D<br />

22 JUMP STREET Fri, 6/13/14 WIDE Channing Tatum, Jonah Hill Phil Lord, Chris Miller NR Act/Com<br />

THINK LIKE A MAN TOO Fri, 6/20/14 WIDE Kevin Hart, Michael Ealy Tim Story NR Rom/Com<br />

BEWARE THE NIGHT Wed, 7/2/14 WIDE Eric Bana, Olivia Munn Scott Derrickson NR Hor/Thr<br />

SEX TAPE Fri, 7/25/14 WIDE Cameron Diaz, Jason Segel Jake Kasdan NR Com<br />

WHEN THE GAME STANDS TALL Fri, 8/22/14 WIDE Jim Caviezel, Laura Dern Thomas Carter NR Dra/Sport<br />

NO GOOD DEED Fri, 9/12/14 WIDE Idris Elba, Taraji P. Henson Sam Miller NR Dra/Thr<br />

THE EQUALIZER Fri, 9/26/14 WIDE Denzel Washington, Chloë Grace Moretz Antoine Fuqua NR Act/Thr<br />

THE INTERVIEW Fri, 10/10/14 WIDE Seth Rogen, James Franco<br />

Seth Rogen, Evan<br />

Goldberg<br />

NR Com<br />

FURY Fri, 11/14/14 WIDE Brad Pitt, Shia LaBeouf David Ayer NR Act/Dra/War<br />

ANNIE Fri, 12/19/14 WIDE Quvenzhané Wallis, Jamie Foxx Will Gluck NR Mus/Fam<br />

KITCHEN SINK Fri, 1/9/15 WIDE Nicholas Braun, Mackenzie Davis Robbie Pickering NR Com/Hor<br />

SONY PICTURES CLASSICS Tom Prassis / 212-833-4981<br />

TIM’S VERMEER Fri, 1/31/14 EXCL NY/LA Tim Jenison, Penn Jillette Teller PG-13 Doc<br />

THE LUNCHBOX Fri, 2/28/14 EXCL NY/LA Irrfan Khan, Nimrat Kaur Ritesh Batra NR Dra/Rom<br />

JANUARY <strong>2014</strong> BoxOffice ® <strong>Pro</strong> The Business of Movies 43


BOOKING GUIDE<br />

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS<br />

JODOROWSKY’S DUNE Fri, 3/7/14 EXCL NY/LA Alejandro Jodorowsky Frank Pavich NR Doc<br />

ONLY LOVERS LEFT ALIVE Fri, 4/11/14 EXCL NY/LA Tom Hiddleston, Tilda Swinton Jim Jarmusch NR Dra/Rom Dolby Dig<br />

FOR NO GOOD REASON Fri, 4/25/14 EXCL NY/LA Johnny Depp, Ralph Steadman Charlie Paul R Doc<br />

UNIVERSAL 818-777-1000<br />

LONE SURVIVOR Fri, 1/10/14 WIDE Mark Wahlberg, Taylor Kitsch Peter Berg R Act/Thr Quad<br />

RIDE ALONG Fri, 1/17/14 WIDE Ice Cube, Kevin Hart Tim Story PG-13 Act/Com Quad<br />

ENDLESS LOVE Fri, 2/14/14 WIDE Alex Pettyfer, Gabriella Wilde Shana Feste NR Dra/Rom Quad<br />

NON-STOP Fri, 2/28/14 WIDE Liam Neeson, Julianne Moore Jaume Collet-Serra PG-13 Act/Thr Quad<br />

STRETCH Fri, 3/21/14 WIDE Patrick Wilson, Ed Helms Joe Carnahan R Act/Com<br />

NEIGHBORS Fri, 5/9/14 WIDE Seth Rogen, Zac Efron Nicholas Stoller R Com Quad<br />

A MILLION WAYS TO DIE IN THE WEST Fri, 5/30/14 WIDE Seth MacFarlane, Charlize Theron Seth MacFarlane NR Com/Wes<br />

THE PURGE 2 Fri, 6/20/14 WIDE Frank Grillo James DeMonaco NR Hor/Thr<br />

FAST & FURIOUS 7 Fri, 7/11/14 WIDE Vin Diesel, Dwayne Johnson James Wan NR Act/Cri<br />

GET ON UP Fri, 8/1/14 WIDE Chadwick Boseman, Octavia Spencer Tate Taylor NR Dra<br />

LUCY Fri, 8/8/14 WIDE Scarlett Johansson, Morgan Freeman Luc Besson NR Act/Thr<br />

THE LOFT Fri, 8/29/14 WIDE Karl Urban, James Marsden Erik Van Looy R Thr<br />

SEARCH PARTY Fri, 9/12/14 WIDE Thomas Middleditch, T.J. Miller Scot Armstrong NR Com<br />

DRACULA UNTOLD Fri, 10/17/14 WIDE Luke Evans, Dominic Cooper Gary Shore NR Act/Hor<br />

DUMB AND DUMBER TO Fri, 11/14/14 WIDE Jim Carrey, Jeff Daniels<br />

Bobby Farrelly, Peter<br />

Farrelly<br />

NR Com<br />

UNBROKEN Fri, 12/25/14 WIDE Jack O’Connell, Domhnall Gleeson Angelina Jolie NR Dra/War<br />

WARNER BROS. 818-977-1850<br />

HER Fri, 1/10/14 WIDE Joaquin Phoenix, Amy Adams Spike Jonze R Rom/Com/SF Quad<br />

THE LEGO MOVIE Fri, 2/7/14 WIDE Chris Pratt, Will Ferrell Phil Lord, Chris Miller PG Ani/Adv/Fam 3D/Quad<br />

WINTER’S TALE Fri, 2/14/14 WIDE Colin Farrell, Jessica Brown Findlay Akiva Goldsman PG-13 Dra/Fan/Rom Quad<br />

300: RISE OF AN EMPIRE Fri, 3/7/14 WIDE Sullivan Stapleton, Eva Green Noam Murro R Act<br />

3D/IMAX/Dolby<br />

Atmos/Quad<br />

44 BoxOffice ® <strong>Pro</strong> The Business of Movies JANUARY <strong>2014</strong>


BOOKING GUIDE<br />

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS<br />

VERONICA MARS Fri, 3/14/14 LTD. Kristen Bell, Jason Dohring Rob Thomas NR Com/Cri<br />

ISLAND OF LEMURS: MADAGASCAR Fri, 4/4/14 LTD. Morgan Freeman David Douglas G Doc 3D/IMAX<br />

TRANSCENDENCE Fri, 4/18/14 WIDE Johnny Depp, Paul Bettany Wally Pfister NR Act/SF<br />

GODZILLA Fri, 5/16/14 WIDE Aaron Taylor-Johnson, Ken Watanabe Gareth Edwards NR Act/Adv/SF<br />

BLENDED Fri, 5/23/14 WIDE Adam Sandler, Drew Barrymore Frank Coraci NR Rom/Com<br />

3D/IMAX/Dolby<br />

Atmos<br />

EDGE OF TOMORROW Fri, 6/6/14 WIDE Tom Cruise, Emily Blunt Doug Liman NR Act/SF 3D/IMAX/Quad<br />

JERSEY BOYS Fri, 6/20/14 WIDE John Lloyd Young, Christopher Walken Clint Eastwood NR Mus/Dra<br />

TAMMY Wed, 7/2/14 WIDE Melissa McCarthy, Susan Sarandon Ben Falcone NR Com<br />

JUPITER ASCENDING Fri, 7/18/14 WIDE Channing Tatum, Mila Kunis<br />

Andy Wachowski, Lana<br />

Wachowski<br />

NR Act/Adv/SF 3D<br />

INTO THE STORM Fri, 8/8/14 WIDE Richard Armitage, Sarah Wayne Callies Steven Quale NR Act/Thr<br />

THIS IS WHERE I LEAVE YOU Fri, 9/12/14 WIDE Jason Bateman, Tina Fey Shawn Levy R Com/Dra<br />

DOLPHIN TALE 2 Fri, 9/19/14 WIDE Nathan Gamble, Harry Connick Jr. Charles Martin Smith NR Dra/Fam<br />

THE JUDGE Fri, 10/10/14 WIDE Robert Downey Jr., Robert Duvall David Dobkin NR Dra<br />

HORRIBLE BOSSES 2 Wed, 11/26/14 WIDE Jason Bateman, Jason Sudeikis Sean Anders NR Com<br />

THE HOBBIT:<br />

THERE AND BACK AGAIN<br />

Wed, 12/17/14 WIDE Ian McKellen, Martin Freeman Peter Jackson NR Act/Adv/Fan 3D/IMAX<br />

WEINSTEIN CO./DIMENSION 646-862-3400<br />

ONE CHANCE Fri, 2/7/14 LTD. James Corden, Alexandra Roach David Frankel PG-13 Mus/Com Dolby Dig<br />

VAMPIRE ACADEMY Fri, 2/14/14 WIDE Zoey Deutch, Lucy Fry Mark Waters NR Fan/Rom Dolby Dig<br />

GRACE OF MONACO Fri, 3/14/14 WIDE Nicole Kidman, Tim Roth Olivier Dahan NR Dra Dolby Dig<br />

ST. VINCENT Fri, 4/11/14 WIDE Bill Murray, Naomi Watts Theodore Melfi NR Com<br />

THE GIVER Fri, 8/15/14 WIDE Jeff Bridges, Meryl Streep Phillip Noyce NR Dra/Fan<br />

SIN CITY: A DAME TO KILL FOR Fri, 8/22/14 WIDE Josh Brolin, Eva Green<br />

Frank Miller, Robert<br />

Rodriguez<br />

NR Act/Cri/Thr 3D<br />

PADDINGTON Fri, 12/12/14 WIDE Nicole Kidman, Colin Firth Paul King NR Ani/Com/Fam<br />

NOVEMBER 2013 BoxOffice ® <strong>Pro</strong> The Business of Movies 57


AD INDEX<br />

CARDINAL SOUND & MOTION<br />

PICTURE SYSTEMS<br />

6330 Howard Ln.<br />

Elkridge, MD 21075<br />

cardinal@cardinalsound.com<br />

www.cardinalsound.com<br />

PG 48<br />

CHRISTIE DIGITAL SYSTEMS<br />

10550 Camden Dr.<br />

Cypress, CA 90630<br />

www.christiedigital.com<br />

INSIDE FRONT COVER<br />

DOLBY LABORATORIES<br />

100 Potrero Ave.<br />

San Francisco, CA 94103<br />

Christie Ventura / 415-558-2200<br />

cah@dolby.com<br />

www.dolby.com<br />

INSIDE BACK COVER<br />

DOLPHIN SEATING<br />

313 Remuda St.<br />

Clovis, NM 88101<br />

575-762-6468<br />

www.dolphinseating.com<br />

PG 29<br />

ENPAR AUDIO<br />

Stetson Snell<br />

505-807-2154<br />

505-615-2913<br />

stetsonsnell@enparaudio.com<br />

PG 40<br />

HARKNESS SCREENS<br />

Unit A, Norton Rd.<br />

Stevenage, Herts<br />

SG1 2BB UK<br />

+44 1438 725200<br />

www.harkness-screens.com<br />

PG 37, 39<br />

IRWIN SEATING COMPANY<br />

3251 Fruit Ridge NW<br />

Grand Rapids, MI 49544<br />

866-464-7946<br />

www.irwinseating.com<br />

PG 35<br />

KLIPSCH<br />

3502 Woodview Trace, Ste. 200<br />

Indianapolis, IN 46268<br />

317-860-8100<br />

www.klipsch.com<br />

PG 27<br />

MAROEVICH, O’SHEA &<br />

COUGHLAN<br />

44 Montgomery St., 17th Fl.<br />

San Francisco, CA 94104<br />

Steve Elkins<br />

800-951-0600<br />

selkins@maroevich.com<br />

www.mocins.com<br />

PG 3<br />

MOBILIARIO S.A. DE C.V.<br />

Calle del Sol # 3<br />

Col. San Rafael Chamapa<br />

Naucalpan, Estado de México<br />

México CP 53660<br />

877-8472-127<br />

www.mobiliarioseating.com<br />

PG 9<br />

ODELL’S<br />

8543 White Fir St. #D-1<br />

Reno, NV 89523<br />

odells@popntop.com<br />

www.popntop.com<br />

PG 46<br />

OMNITERM<br />

2785 Skymark Avenue, Unit 11<br />

Mississauga, Ontario<br />

Canada, L4W 4Y3<br />

866-629-4757<br />

www.omniterm.com<br />

PG 23<br />

PACKAGING CONCEPTS INC.<br />

9832 Evergreen Industrial Dr.<br />

St. Louis, MO 63123<br />

John Irace / 314-329-9700<br />

www.packagingconceptsinc.com<br />

PG 41<br />

PLUSRITE<br />

2000 S. Grove Ave. Building B<br />

Ontario, CA 91761<br />

909-930-6868<br />

www.plusriteusa.com<br />

PG 31<br />

PROCTOR COMPANIES<br />

10497 Centennial Rd.<br />

Littleton, Colorado 80127<br />

303-973-8989<br />

www.proctorco.com<br />

PG 43<br />

QSC AUDIO PRODUCTS, LLC<br />

1675 MacArthur Blvd.<br />

Costa Mesa, CA 92626<br />

800-854-4079<br />

www.qsc.com<br />

PG 1<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 44<br />

SCRABBLE VENTURES<br />

10550 Camden Dr.<br />

Cypress, CA 90630<br />

855-503-7322<br />

www.scrabbleventures.com<br />

PG 7<br />

SCREENVISION<br />

1411 Broadway 33rd Fl.<br />

New York, NY 10018<br />

Darryl Schaffer<br />

212-497-0480<br />

www.screenvision.com<br />

BACK COVER<br />

SENSIBLE CINEMA SOFTWARE<br />

7216 Sutton Pl.<br />

Fairview, TN 37062<br />

Rusty Gordon<br />

615-799-6366<br />

rusty@sensiblecinema.com<br />

www.sensiblecinema.com<br />

PG 48<br />

USHIO AMERICA, INC.<br />

5440 Cerritos Ave.<br />

Cypress, CA 90630<br />

800-838-7446<br />

www.ushio.com<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 42<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<br />

PG 11<br />

WEST WORLD MEDIA<br />

63 Copps Hill Rd.<br />

Ridgefield, CT USA 06877<br />

203-438-8389<br />

PG 21<br />

WHITE CASTLE<br />

555 West Goodale St.<br />

Columbus, OH 43215<br />

614-559-2453<br />

carrollt@whitecastle.com<br />

www.whitecastle.com<br />

PG 45<br />

ON BLU·RAY <strong>January</strong> 7, <strong>2014</strong><br />

Justin Timberlake and Ben<br />

Affleck star in this highstakes<br />

crime thriller. The lure<br />

of easy money is the riskiest<br />

bet of all. When Princeton<br />

grad student Richie Furst<br />

(Timberlake) believes he’s<br />

been swindled by an online<br />

poke site, he heads to Costa<br />

Rica to confront gambling<br />

tycoon Ivan Block (Affleck),<br />

the man he thinks is responsible.<br />

Rated R.<br />

46 BoxOffice ® <strong>Pro</strong> The Business of Movies JANUARY <strong>2014</strong>


BUYING & SELLING<br />

MARQUEE LETTERS. Buying and selling. New<br />

and Used marquee letters all types. We buy old.<br />

We sell new. All styles. Trade in your old letters<br />

and get new letters. Turn those old letters into<br />

cash. Your source for new <strong>Pro</strong>nto, Zip-Change,<br />

Snap Lok, Slotted. mike@pilut.com 800-545-<br />

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<br />

44286. Phone: 330-659-6631.<br />

EQUIPMENT WANTED<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 />

AMERICAN ENTERTAINMENT PRODUCTS<br />

LLC is buying projectors, processors, amplifiers,<br />

speakers, seating, platters. If you are closing,<br />

remodeling or have excess equipment in<br />

your warehouse and want to turn equipment<br />

into cash, please call 866-653-2834 or email<br />

aep30@comcast.net. Need to move quickly to<br />

close a location and dismantle equipment? We<br />

come to you with trucks, crew and equipment,<br />

no job too small or too large. Call today for a<br />

quotation: 866-653-2834. Vintage equipment<br />

wanted also! Old speakers like Western Electric<br />

and Altec, horns, cabinets, woofers, etc.,<br />

and any tube audio equipment. Call or email:<br />

aep30@comcast.net.<br />

COLLECTOR WANTS TO BUY: We pay top<br />

money for any 1920-1980 theater equipment.<br />

We’ll buy all theater-related equipment, working<br />

or dead. We remove and pick up anywhere<br />

in the U.S. or Canada. Amplifiers, speakers,<br />

horns, drivers, woofers, tubes, transformers;<br />

Western Electric, RCA, Altec, JBL, Jensen,<br />

Simplex and more. We’ll remove installed<br />

equipment if it’s in a closing location. We buy<br />

projection and equipment too. Call today: 773-<br />

FOR SALE<br />

STARLITE TWIN DRIVE-IN, WICHI-<br />

TA, KS. Mar-Oct 2013 gross near $1.2<br />

million excluding sales tax. Barco 4-K<br />

digitals in 988 s/f booth/storage/<br />

workroom. 26,000 Facebook Likes,<br />

12,000 on weekly email list. 800 and<br />

500 car lots provide unused capacity<br />

most weekend nights. 24+ acres includes<br />

2-acre undeveloped prime corner<br />

and 2 acres undeveloped on 4-lane<br />

connector to nearby Spirit (Boeing)<br />

AeroSystems. Built in 1974, 7,720<br />

s/f brick building has two full-service<br />

lanes (4 registers), large restrooms in<br />

A-1 condition, two large storerooms<br />

downstairs, one upstairs, two offices,<br />

nine-camera internet accessible security<br />

system. All building areas have ample<br />

refrigerated a/c and gas heat. All<br />

6,732 s/f of main floor is “accessible”.<br />

Large sprinklered lawn with manicured<br />

landscaping, ideal for playground or<br />

mini-golf. Three air-conditioned brick<br />

box offices (6 lanes), metal scope-ratio<br />

screens in excellent condition.<br />

All original features fully maintained:<br />

Speakers on all poles, checked weekly;<br />

also FM stereo. All poles have color-coded<br />

lights for parking control by<br />

vehicle height. Perimeter lights (exit<br />

arrows) every 75 feet around both<br />

single-ramped, weed-free gravel lots.<br />

Numbered center-aisle lights. No ambient<br />

light problem. Hundreds of feet<br />

of colored entrance driveway lights<br />

welcome patrons to this large, unique,<br />

pristine theatre. Long-term local management<br />

flexible for future. Two types<br />

of photos at www.starlitefun.com. Offers<br />

over $900,000 considered. Jim<br />

Goble 303-333-6625<br />

339-9035; cinema-tech.com; email ILG821@aol.<br />

com.<br />

FOR SALE<br />

TWO USED BARCO 20C DIGITAL PROJEC-<br />

TORS WITH GDC SERVERS. Located in Roswell,<br />

NM. Purchased new and installed July<br />

2012. This 10 plex cinema opened September<br />

2012 with 2 Digital and ten 35 Film projectors,<br />

2 digital and 2 35 Film were installed side by<br />

side. Cinema converted February 2013 to 10<br />

Sony 515 digital projector VPF deal. The Barco’s<br />

for sale are still installed side by side with<br />

Sony’s. They can be run showing movies showing<br />

that they work perfectly. Also for sale installed<br />

with these Barco’s are 2 Master Image<br />

3-D units, they also work very well. Each Barco-GDC-Master<br />

Image set cost $79,000.00<br />

New. Please call Stetson Snell cell 505-615-2913<br />

to to make an offer or to arrange to see the<br />

equipment operating. Sellers are MOTIVATED<br />

to sell, they understand this is now used equipment,<br />

all offers will be considered. Don’t miss<br />

out on this opportunity to purchase “working<br />

like new” these 2 used sets.<br />

BARCO 3D/DIGITAL EQUIPMENT FOR SALE:<br />

Purchase for $55K. Equipment list provided<br />

upon request. Contact seller at mschwartz@<br />

pennprolaw.com.<br />

WE CLEAN THEATERS<br />

EXCLUSIVELY!<br />

From coast to coast for 35 YEARS.<br />

Let us give you our references.<br />

www.maintenancecooperative.com<br />

or call 770-503-1102<br />

PREFERRED SEATING COMPANY, your<br />

source for new, used and refurbished theater<br />

and stadium seating. Buying and selling<br />

used seating is our specialty. Call tollfree<br />

866-922-0226 or visit our website www.<br />

preferred-seating.com.<br />

12 PLEX THEATER FOR SALE with stadium<br />

seating. 6 acres of Land. Selling at below land<br />

value. $2,000,000. Located in Huntsville AL, at<br />

the University Mall. Please call 407-948-6751.<br />

TWO CHRISTIE DIGITAL PROJECTORS<br />

CP2000SB, Two Dolby DSS100, Two Dolby<br />

Show Player, Two Christie Series 1 ACT & Four<br />

Dolby Filter Wheel and <strong>Pro</strong>jector Assembly. All<br />

in very good condition. Call 360-993-0010.<br />

HELP WANTED<br />

THEATRE MANAGEMENT POSITIONS AVAIL-<br />

ABLE Pacific Northwest Theatre Company.<br />

Previous management experience required.<br />

Work weekends, evenings and holidays. Send<br />

resume and salary history to movietheatrejobs@gmail.com<br />

SERVICES<br />

DULL FLAT PICTURE? RESTORE YOUR XE-<br />

NON REFLECTORS! Ultraflat repolishes and<br />

recoats xenon reflectors. Many reflectors available<br />

for immediate exchange. (ORC, Strong,<br />

Christie, Xetron, others!) Ultraflat, 20306 Sherman<br />

Way, 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;<br />

fax: 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,<br />

speakers and sound racks from makers such<br />

as JBL, Dolby, Ashly, Klipsch, Crown and more.<br />

You are welcome to call us at 305-908-1613 for<br />

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,<br />

KY, at a very reasonable lease rate. It would<br />

be perfect for the new concept of eating in the<br />

theater. The theaters are located in the middle<br />

of a major shopping center. The center owners<br />

would prefer an operating movie theater rather<br />

than convert the space into retail use. Contact<br />

Alexa at 859-221-9921 or email her at alexarkelley@gmail.com<br />

for more information.<br />

48 BoxOffice ® <strong>Pro</strong> The Business of Movies JANUARY <strong>2014</strong>


AVAILABLE<br />

NOW!

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