BoxOffice® Pro - June 2014

$6.95
JUNE 2014
THE
SOUND
AND THE
FURY
SPECIAL REPORT
ON AUDIO
10 VENDORS SHARE THE
LATEST FROM THEIR LABS
THE MOST IMPORTANT
ADVANCEMENT IN 20 YEARS?
SOUND DESIGNERS
TALK SHOP
Emily Blunt and
Tom Cruise star in
Edge of Tomorrow
opening wide June 6
IMMERSIVE SOUND
POISED TO
DOMINATE
THE
BOXOFFICE
INTERVIEWS
ShowCanada
ELLIS JACOB, CINEPLEX
CineEurope
EDDY DUQUENNE, KINEPOLIS
JOSÉ (PEPE) BATLLE, UCI/CINESA
JEAN MIZRAHI, YMAGIS
MATTHIEU ZELLER, STUDIOCANAL
The Official Magazine of the National Association of Theatre Owners

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Don’t be left behind

Julien Marcel
CEO
BoxOffice Media
LISTEN UP
When you stop to think about it, the
greatest achievement in sound is the
ability to listen to all points of view.
That’s why our goal at BoxOffice is to
keep our ears to the ground for new voices, new ideas,
and new information. This month’s issue, with its special
report on audio technologies, is especially timely, since
sound is at the top of everyone’s agenda. Our special
section adds to the conversation by featuring some of
today’s leading experts in cinema audio.
Our June issue also has us listening closely to our colleagues around the
world, because the future of exhibition depends on our understanding the
dynamics and challenges of our colleagues outside our borders. I’m referring,
of course, to Canada and Europe. Both are mature markets that have much in
common with the United States. It’s also a chance for us to take a sneak peek at
ShowCanada and CineEurope, two of this month’s major industry events.
We’re also excited to present the first in our series of interviews with industry
leaders, starting with Cineplex’s Ellis Jacob. I know you’ll enjoy hearing his
perspective as CEO of one of the most innovative cinema chains in the world.
Interviews with other fascinating, knowledgeable industry insiders will follow
in the next few months.
Enjoy the issue and, as always, feel free to send me your comments and
suggestions. We’re listening..
Julien Marcel
Julien@boxoffice.com
JUNE 2014 BoxOffice ® Pro The Business of Movies 3

JUNE 2014 VOL. 150 NO. 6
3 HELLO by Julien Marcel
6 EXHIBITION BRIEFS
The latest news from the exhibition industry
10 EXECUTIVE SUITE by John Fithian and Mitch Neuhauser
CineEurope, ShowCanada, and the continuing need for exhibitors to
collaborate globally
12 NATO NEWS
NATO welcomes two new staff colleagues
14 3D RELEASE CALENDAR sponsored by RealD
16 REGIONAL NEWS by Phil Contrino
North Central NATO convention, Theatre Owners of New England
conference, New NATO Super Region
18 NEW TECH by Kenneth James Bacon
Now this is Cinerama
20 THAT’S THE TICKET by Phil Contrino
It’s been a busy couple of months at Fandango
22 O CANADA by Laura Silver
It’s showtime in British Columbia for the Movie Theatre Association
of Canada
24 ELLIS JACOB by Daniel Loria
BoxOffice speaks with the CEO and president of Cineplex Entertainment
28 SPECIAL REPORT by Julian Pinn
Is immersive audio the savior of digital cinema sound?
34 SOUND APPEAL by Daniel Loria
Sound designers talk shop at the Tribeca Film Festival
36 IMMERSIVE AUDIO by James A. Cashin and Bill Cribbs
38 WHAT’S NEW?
10 vendors show off the latest from their labs
46 EUROPEAN CINEMA EXHIBITION IN 2014 by Phil Clapp
46 UNIC ANNUAL REPORT 2013/14
50 GILLES JACOB
BoxOffice speaks with the president of the Cannes Film Festival
52 MATTHIEU ZELLER
BoxOffice speaks with the executive vice president of international
marketing, distribution, and business development, StudioCanal
54 TRENDS by Mark de Quervain
European population trends set to impact cinema
57 EUROPEAN LEADERS by Daniel Loria
BoxOffice takes a look at some of the top players in European Exhibition
59 JEAN MIZRAHI
BoxOffice speaks with the CEO of Ymagis
60 DOMESTIC PRODUCTS by Daniel Loria
France and Spain experience a first-quarter boom as local films,
admissions initiatives bring people back to the cinema
63 EDDY DUQUENNE
BoxOffice speaks with the CEO of Kinepolis Group
64 JOSÉ (PEPE) BATLLE
BoxOffice speaks with the former COO of UCI/CINESA
Continental Europe
65 GLOBAL BOX OFFICE
Global highlights from the MPAA 2013 theatrical market statistics report
66 COMING IN JUNE
72 BOOKING GUIDE
80 CLASSIFIEDS
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JUNE 2014 BoxOffice ® Pro The Business of Movies 5

EXHIBITION
BRIEFS
NCM
EMPHASIZES
WIDER REACH
IN UPFRONT
EVENT
by Daniel Loria
Dave Kupiec, executive vice president, sales and marketing with NCM Media Networks at the
NCM Media Networks Bigger Picture Upfront Event on May 14, 2014.
NCM heralded its acquisition
of Screenvision
at its Uprfront presentation
in New York City
in May by promoting its
enhanced reach of over
34,000 screens across all
50 states. The company
appealed to advertisers
by demonstrating that
their current 7.4 Nielsen
rating in the key 18–49
demographic is comparable
to a top-10 prime
time show. That number
is set to increase to a
12.4 Nielsen rating over
the same demographic
as soon as Screenvision
joins the NCM network.
DEALS
NCM TAKES
CENTER STAGE
The on-screen advertising network
looks to shake up the media landscape
following their acquisition of
chief competitor Screenvision
Interview by Phil Contrino
n On May 5, the cinema advertising landscape
changed in a significant way. That was
the day National CinemaMedia announced
that it entered into a definitive merger agreement
with Screenvision for $375 million of
cash and stock on a debt-free, cash-free basis.
According to NCM, this merger “creates a
video advertising network that will cover nearly
all 210 Designated Market Areas® across all
50 states and deliver to approximately 3,900
theaters with over 34,000 screens, reaching
over 1.1 billion annual patrons.”
BoxOffice caught up with National
CineMedia Chairman and CEO Kurt Hall to
discuss this groundbreaking merger.
What will this merger mean for exhibitors
who are currently using pre-show
content from Screenvision?
There are some things that we’re going
to be investing in that have a direct and
indirect impact on the circuits. First of all,
right now Screenvision’s network delivers
advertising and programming to theaters
via four different ways: satellite, broadband,
thumb drives, and there’s a few theaters that
are delivered on 35-millimeter film. One of
the first things we’re going to do is get all of
those screens onto our network as best we can.
Some circuits may have technology in certain
theaters that will make that more difficult, but
we’re starting to explore that now. The idea
is that when we’re done with the integration,
we’ll have a network that looks more like ours
currently does. Our network is 100 percent
digital projection and 80 percent digital cinema
right now, and that number will continue
to go up as people deploy digital cinema or
we decide to take the LCD projector out and
use a digital cinema projector. Ninety-seven
percent of our attendance is delivered via a
satellite or broadband network, and Screenvision’s
percent is much lower than that. For
a theater circuit to work with an organization
that can deliver via a network as opposed to
a disc drive means they have a better product,
because it’s easier to buy for advertisers.
And, hopefully, now that it’s easier to buy,
companies will buy more of it and at a higher
price point. Because of the revenue-sharing
deal that’s in place with circuits, that means
exhibitors will make more money. The ability
of the combined company to deploy technology
more rapidly is a huge advantage.
In order to create our First Look pre-show,
we spend millions of dollars a year, and we
have 70 to 80 people who produce around
50 to 60 versions each month. There’s a big
difference between G, PG, PG-13, and R
versions, and then there are many different
versions based on circuit and interstitials. We
also change out the pre-show content every
two weeks.
Are ad sales going to be more
dynamic?
We can target all the way down to an
individual theater now. That’ll be important.
The ability to target individual audiences
better will make the product better. Right
now we have four basic pre-shows, and we
target audiences based on G, PG, PG-13, and
R-rated films. We also have the ability within
those groups to say, “OK, we’re going to sell
you all the PG-13 films except these films that
don’t fit your demographic, profile, or target
very well.” We do a lot of that. In the future
we are going to be able to target by genre.
The ability to be able to target groups of films
better than we currently do is something we’ve
been working on for a while. That technology
6 BoxOffice ® Pro The Business of Movies JUNE 2014

is in development now, and we’re hoping that
by the end of this year or early next year that
we’ll have the ability to optimize the targeting
much better than cinema is able to do today.
Do you think this merger will lead to a
surge in cinema advertising?
Cinema advertising has been growing very
nicely over the last several years. The market
share shift that we always thought would
happen between television and other avenues
has been ongoing for the last 8 to10 years.
If you look at last year and add our revenue
up with Screenvision’s, revenue was up 6 to
7 percent for cinema advertising, which is a
higher growth rate than TV. Clearly cinema
has continued to rise. I think that this deal
will create a better product and we’ll continue
to see cinema take a bigger chunk out of TV.
The new technologies that are being
provided to consumers focused on controlling
advertisements is a very powerful advantage
for cinema. We are arguably the only video
advertising platform where it isn’t fairly easy
for the consumer to turn it off or get away
from it. As online and mobile continues to
grow, it’s also going to have new technology
introduced where people can skip the ads.
When you look at cinema, it offers both
high-quality programming and the biggest
delivery device, which are both top concerns
for advertisers.
PROMOTIONS
MARCUS THEATRES LAUNCHES
NEW MAGICAL MOVIE REWARDS
LOYALTY PROGRAM
n Marcus Theatres, a division of the Marcus
Corporation, launched a new customer-loyalty
program called Magical Movie Rewards on
March 30. The program was released across
its 55-theater network and exceeded 215,000
members in just one month.
“Thousands of customers are registering
each day to become Magical Movie Rewards
members,” says Rolando B. Rodriguez, president
and chief executive officer of Marcus
Theatres. “We are pleased with this overwhelming
response.”
Guests can register for the loyalty program
one of two ways: by selecting Magical
Movie Rewards using the Marcus Theatres
mobile app, downloadable at the App Store
for iPhone or at Google Play for Android
phones; or by getting a card at the box office
and registering online.
The Magical Movie Rewards loyalty
program allows members to earn points and
access special offers. Points are redeemable
at the box office, concessions, or at Marcus
Theatres’ food-and-beverage venues.
Members of the loyalty program receive
other benefits including:
No fees for online or mobile ticketing
Exclusive advance ticketing and members-only
screening opportunities
Concession offers including free popcorn
on $5 Tuesdays, free refills on fountain drinks
every day, and targeted offers on various
concession purchases
Marcus Magic Surprises including
promotional surprises in-theater, online, or
by phone.
One Marcus Magic Surprise is unique to
the Marcus Theatres’ loyalty program. Each
month, one lucky rewards member will receive
a personal call from Rolando Rodriguez,
the president and CEO. The monthly winner
in May, for example, was awarded 1,000
points ($50) just by getting the call. Prizes
will change over time, encouraging continued
customer involvement.
Marcus Theatres has also partnered with
Movio, a data analysis company. Movio will
allow more targeted communication with
loyalty members. The software helps provide
insight into customer preferences, attendance
habits, and general demographics.
Marcus Magical Movie Rewards is part
of a $50 million investment plan to be completed
by the company across its 55-theatre
circuit by the end of May.
JUNE 2014 BoxOffice ® Pro The Business of Movies 7

EXHIBITION BRIEFS
TRAINING
TECHNICAL TRAINING BY
DOREMI IN CHINA PROVES
VALUABLE FOR CHINESE
PARTNERS
n Doremi Labs, the digital cinema server
technology company, reinforced its position
in the Chinese cinema market by initiating a
series of customer-response training seminars
with several established partners in China.
Doremi is already well established in the
region, and these sessions ensured the company’s
strong influence within the territory as
China’s cinema market continues to flourish.
CFG-Barco, Sony China, Time Antaeus, and
Universal Cinema Services sent a combined
total of 55 technicians to Doremi’s technical
training for in-depth education on how to
better support this vital customer base. The
training was also attended by Emily Flu, owner
of Beijing Instar Trading Co. Ltd., as well
as the company’s entire team. Beijing Instar
Trading is a Doremi dealer and integrator and
has been an extension of Doremi’s efforts in
the region.
The training events were led by Doremi
personnel, Dan Hammond, director of cinema
technical services and Jose Hughes, technician,
cinema technical services. As of this writing,
plans for additional training events are in the
works and are set to commence in May.
ACQUISITIONS
CONVENTIONS
AUSTRALIAN INTERNATIONAL
MOVIE CONVENTION OFFERS
EARLY-BIRD PRICING
n The Australian International Movie
Convention (AIMC) at Jupiters Hotel
and Casino, Gold Coast, Australia, takes
place October 12 through 16, and the
early bird price is still available. Attendees
who book before August 30 will save over
AUD$230 on a full registration.
The AIMC, one of the biggest cinema
industry conventions in the Southern
Hemisphere, provides networking and
business-building opportunities. Approximately
1,000 delegates from film exhibition,
distribution, production, and allied
trades will converge on Queensland’s
Gold Coast for the four-and-a-half-day
event. This year marks the AIMC’s 69th
convention.
Jupiters Theatre will be converted to a
state-of-the-art digital and 3D venue for
the duration of the AIMC, and major and
independent studios will present product
slated for 2014/2015 release—screening
trailers, extended footage, and preview
movies—much of which will be viewed
for the first time.
Panels and keynote speakers will
include international and local leaders
from cinema operation, film distribution,
and marketing and technology companies.
Seminar topics will include how
rapid technological change is affecting the
business; what other industry advances are
in the pipeline; how to benefit from these
threats and opportunities; and how the
industry can present a united voice.
The attractions of the Gold Coast in
Queensland Australia make the region
an ideal destination for conferences, and
many delegates choose to extend their
stay either before or after the convention.
With 300 days of sunshine a year and an
average temperature of 25 degrees Celsius,
the Gold Coast offers a full spectrum of
interactive entertainment—from dazzling
big-budget theme parks to world-renowned
beaches to world-class golfing
facilities and sporting events. Jupiters
Hotel and Casino is located in the heart
of Broadbeach with its shopping, dining
and beach facilities just minutes away.
To find out more about the Australian
International Movie Convention visit
www.movieconvention.com.au
CARMIKE CINEMAS TO ACQUIRE
DIGITAL CINEMA DESTINATIONS
CORP. IN AN ALL-STOCK
TRANSACTION
n Carmike Cinemas Inc., a leading entertainment,
digital cinema, and 3D motion picture exhibitor,
and Digital Cinema Destinations Corp. have announced
that their boards of directors have approved
a definitive agreement for Carmike to acquire
Digiplex. The agreement is a stock-for-stock transaction
in which Carmike will acquire 100 percent of
Digiplex’s 7.93 million shares outstanding.
Since its founding in 2010 by Bud Mayo,
Digiplex has been a fast-growing theatrical exhibitor
dedicated to transforming its movie theaters into
interactive digital entertainment centers. Digiplex
currently operates in 21 locations with 206 screens
and has agreements to acquire another five theaters
with 53 screens.
Digiplex has a 50 percent interest in the DigiNext
distribution platform. The transaction is
expected to close during the third quarter of 2014
and will increase Carmike’s footprint to 280 theaters
and 2,936 screens in 41 states, inclusive of Digiplex’s
acquisition pipeline.
Carmike’s President and Chief Executive Officer
David Passman says, “Carmike strives to be an innovator
in the exhibition industry, and we believe the
addition of the Digiplex circuit will further enhance
those efforts.
“Along with its circuit expansion via opportunistic
acquisitions, Digiplex has built an industry-leading
alternative programming business, generating
approximately 5 percent of admissions revenue, a
significantly higher percentage than their larger peers.
This transaction allows us to combine resources as we
grow together, and we could not be more pleased to
welcome Digiplex to our expanding theater network.”
Digiplex Chairman, Chief Executive Officer,
and Founder Bud Mayo comments, “We view this
transaction as a complementary win-win for both
organizations. Digiplex holders will benefit by receiving
stock in one of the industry-leading exhibitors.
David Passman, his fellow senior executives and their
customer-centric, theater-level teams have together
orchestrated a fantastic, multi-year turnaround—both
operationally and financially.”
(more Exhibition Briefs on page 77)
8 BoxOffice ® Pro The Business of Movies JUNE 2014

EXECUTIVE
SUITE
CineEurope,
ShowCanada,
and the
continuing need
for exhibitors
to collaborate
globally
by John Fithian, NATO President & CEO
Two of my favorite industry gatherings
take place in June this year—ShowCanada
in Whistler, British Columbia (June
3–5), and CineEurope in Barcelona, Spain
(June 16–19). Both shows will involve the
customary set of distributor presentations
of upcoming movies, educational
programming on various industry issues,
and a trade floor with the latest in food
and equipment. Good management
teams and knowledgeable program leaders
will make both events meaningful
and fun. The delegates attending these
events, including a few NATO staff representatives,
will no doubt learn important
information about the motion picture
exhibition and distribution business.
n The primary purpose of our participation
in these events, however, is slightly different.
At NATO we most appreciate the opportunity
to share information and collaborate with
exhibitors and their local association leaders in
their respective territories. Despite our many
differences, exhibitors around the world share
common goals and confront similar challenges.
By keeping in touch and staying united,
exhibition leaders can best advance the causes of
our industry.
NATO serves our members in two fundamental
ways. First, we act as the Washington,
D.C., representatives of our members who
operate in the United States. In Washington
we lobby the federal government and provide
information and analysis for our members about
the policies being considered and adopted in
our nation’s capital. Though exhibitors in other
parts of the world may be interested tangentially
in what happens in Washington, NATO’s work
there primarily serves our domestic membership.
Indeed, exhibitors in the two territories
holding events in June enjoy their own strong
local associational representation. The Movie
Theatre Association of Canada (MTAC) and the
Union Internationale des Cinémas (UNIC) very
ably represent exhibitors on government policy
issues that arise in Ottawa and Brussels. The
three associations (NATO, MTAC, and UNIC)
confront some common and some different
government policy issues in our respective
territories, and we learn from the experiences of
each other.
The second fundamental role of NATO and
our fellow exhibition associations is to represent
exhibitors’ common interests vis-à-vis the world
outside of government, including the movie industry,
the creative community, the media, the
cinema vendor industry, and the public. It is in
this second function that the challenges and opportunities
of exhibitors
everywhere require very
close collaboration.
EXHIBITORS
WORK TOGETHER
TO MANAGE
THE EVOLUTION
OF CINEMA
TECHNOLOGY
The evolution of
cinema technology offers
one primary example of
a common challenge and
the need for exhibitor
unity. Before the turn of
the century, exhibitors
across national boundaries
confronted principally
local issues and
rarely found the need to
work together. With the
dawn of the digital cinema debates, however,
exhibition came together.
NATO led a global outreach in demand of
open technical standards to promote competition,
interoperability, and compatibility of
equipment. Movie cinema associations from 18
different countries and four continents signed
on to a common list of requirements for digital
cinema standards. Exhibitors also came together
to demand business models where the expensive
costs of the equipment would be shared by our
partners in distribution, given how much they
stood to save from the conversion.
On both the technical and business sides, exhibitors
worked with our distribution partners in
bodies such as Digital Cinema Initiatives (DCI)
and the Society of Motion Picture and Television
Engineers (SMPTE), as well as various
third-party digital cinema integrators. The unity
of the exhibition industry and our work with the
distribution and equipment industries led to the
development of technical standards for digital
cinema and the virtual print fee business model.
Today the industry nears the completion of
the conversion from film to digital technologies,
and yet the need to work together on technology
issues only grows. From lasers to immersive
audio to high frame rates to high dynamic range
and beyond, exhibitors and their association
leaders are working together on a global basis. A
joint statement of NATO and UNIC calling for
standards on immersive audio serves as a recent
example of our continuing collaboration on
technology issues.
NATO and UNIC both maintain technology
committees made up of volunteer exhibitor
company representatives. The work of those
committees, along with input from MTAC and
other exhibition bodies, develops positions and
strategies that can be taken to the movie studios
and technology companies.
One need only contemplate the technology
headaches of the
past (think about the
incompatible digital
sound cinema systems,
the Betamax/VHS wars,
or the HD DVD/Blu-
Ray battle, for example)
to appreciate fully how
well the entire industry
worked together on digital
cinema and hopefully
will continue to do so
with new technologies.
MOVIE THIEVES
KNOW NOTHING OF
BORDERS
Movie theft, another
of the industry’s biggest
challenges, also requires
a global response
because movie thieves
know nothing of borders. A movie stolen anywhere
in the world can be quickly distributed
online to any other place on the globe.
In the early days of the war on movie theft,
North America saw all the action. Neither the
United States nor Canada had laws against
camcording, leaving exhibitors to rely on copyright
enforcement by rights holders. Also, most
major Hollywood movies were released first in
North America, followed by subsequent releases
in international territories like Europe. To get
the movies early, the thieves targeted cinemas in
North America.
NATO, MTAC, the MPAA, and other industry
bodies pushed successfully for tough laws
in the United States and Canada. We trained
our staffs and offered them rewards, and we
started intercepting thieves and sending some to
jail. The number of thefts committed in North
America has been cut in half, and the number
of arrests has risen. Though we have more work
to do in North America, strong cooperation
between NATO, MTAC, the MPAA, and our
10 BoxOffice ® Pro The Business of Movies JUNE 2014

espective exhibitor and studio members has produced results.
Many of the most organized thieves, of course, have migrated to
other territories around the world. Exhibitors and their associations have
responded. In Europe, UNIC and the national organizations play a significant
role in tracking, training, and detection. In the United Kingdom, our
partners at the Cinema Exhibitors Association (CEA) and the Federation
Against Copyright Theft (FACT) have virtually eliminated serious movie
theft in that part of the world.
But the thieves keep moving. Eastern Europe and Russia now present a
big challenge. That is one reason why UNIC has prioritized its recruitment
of members in Eastern Europe. And of course theft occurs in other
territories as well. That is why NATO, UNIC, and the MTAC coordinate
with exhibition companies and association leaders in continents outside
of North America and Europe. Australian representatives, for example,
recently joined NATO and UNIC for a round of planning meetings in
Los Angeles to discuss international movie theft issues with our partners
in the labs and studios.
ROBUST THEATRICAL RELEASE WINDOWS MATTER TO EX-
HIBITORS EVERYWHERE
A third, and perhaps most significant reason why exhibitors stand
united around the globe, is the need to preserve robust theatrical release
windows. NATO, UNIC, MTAC, and other exhibition bodies have
worked to track and disseminate data so that our members have the
resources they need to negotiate with their movie suppliers. Our organizations
have worked with the creative community and the trade media
to emphasize the importance of the theatrical release to the entire movie
industry and moviegoing public.
These global efforts have paid off. In the years between 2008 and
2011, windows constituted a bit of a public food fight where distributors
attempted unilateral moves toward inappropriately short windows in
North America and Europe. Since 2011, discussions have become much
more bilateral involving both distributors and exhibitors. These collaborative
efforts have resulted in new market offerings such as “super tickets” in
North America, where exhibitors work with distributors to sell packages
of movie tickets combined with the later ability to access the same movie
at home. Indeed, even in a territory as geographically separated as Australia,
the discussion of windows has become much fairer with all industry
segments involved.
There will be diversity among the exhibitors gathered in Whistler
and Barcelona—from large, multinational circuits to small independent
operators; from urban megaplexes to small-town single screens; and from
different lingual and cultural heritages. But on issues like windows, movie
theft, and technology, there will be unity of purpose. I’m looking forward
to the shows and the dialogue!
At NATO we’re pleased with our international growth.
NATO represents companies that operate in 81 countries
on six continents. The NATO International Committee
explores issues of mutual interest to NATO’s
members doing business outside of North America,
working closely with exhibition and association leaders
worldwide. All International NATO members qualify for
inclusion in the committee, and are encouraged to volunteer
designated personnel. The NATO International
Committee holds biannual meetings where international
members and associations gather to discuss current
issues affecting exhibition on a global level.
JUNE 2014 BoxOffice ® Pro The Business of Movies 11

NATO
NEWS
NATO welcomes two new staff colleagues
NATO’s management team members (Kathy Conroy, Patrick Corcoran, and John Fithian) are very pleased to welcome two new
staff colleagues in our Washington, D.C., headquarters. We asked Esther and Marcie to introduce themselves to the readers of
BoxOffice Pro, NATO’s official magazine.
MEET ESTHER BARUH
NATO’s New Manager, Government Relations
n I joined NATO in March as manager, government relations.
In this capacity, I serve as staff liaison to NATO’s Political
Action Committee (NATO-PAC) Board of Directors, as
well as the Captioning Task Force, Codes Task Force, Credit
Card Fees Task Force, and Food & Beverage Task Force. I am
very excited to be part of NATO’s dynamic team advancing
exhibition’s goals in the legislative and regulatory arenas.
Prior to joining NATO, I worked as a legislative analyst
at the Embassy of Israel. I was responsible for analyzing and
reporting on a wide range of foreign policy and national
security matters to high-level officials at the embassy and in
Jerusalem. I also served as the lead contact on all American
political issues. Before my position at the embassy, I worked
in the public affairs office of a nonprofit organization,
where I advocated for inclusive policies and mobilized our
constituents to lobby their elected officials. My experience
also includes political fund-raising for candidates on state
and local levels.
After a number of years working on foreign policy issues,
I was ready for a new adventure in private sector government
relations. I was interested in focusing on domestic policies
that create business-friendly environments so American companies
can grow and expand. I have lots of fond memories
of going to the movies with my family when I was growing
up—including one memorable occasion when our car decided
to go kaput—and what better industry to join than one
that brings joy, culture, and jobs to communities?
I grew up in New Jersey and earned a bachelor’s in
English literature from Yeshiva University. When I’m not at
work (or the movies), you can find me browsing the used
bookstores in my neighborhood.
MEET MARCIE WILSON
NATO’s New IT Coordinator
n When I was a little girl, my Mother took me
to see Grease at a neighborhood theater, and
I was hooked. I saw Olivia Newton-John up
there, singing her heart out, and said to myself,
“I want to be in the movies!” Well, several
decades later, I may not be in the movies, but
I have been fortunate enough to find myself
working for NATO, supporting the moviegoing
experience that has been and continues to
be a very important part of my life.
My name is Marcie Wilson and I am
NATO’s new IT coordinator. I am originally
from Overland Park, Kansas, and earned a
bachelor of arts in political science and Latin
American studies at the University of Kansas.
After moving to Washington, D.C., I became
interested in information technology, specifically
the management and use of
IT in the nonprofit/association
sector. Prior to joining NATO,
I served as the IT services
coordinator for Holy Trinity
Catholic Church and School
in the Georgetown section of
Washington, D.C. Before that
I was the director of Internet
services for B’nai B’rith International
for 14 years.
My duties at NATO include being the
primary staff member responsible for troubleshooting
hardware (computers, tablets,
phones, printers, etc.), software, and Internet
connectivity issues for all NATO staff and to
resolve difficulties in a timely manner. I manage
NATO’s internal office technology plans,
including researching hardware and software
solutions, interviewing possible
vendors, reviewing invoices
from IT vendors, contracts and
service agreements, software
upgrades, hardware inventory,
and making recommendations
on repair or replacement of
NATO-owned hardware. In
addition, I coordinate services
with IT vendors for proper and
timely installation, upgrades, and maintenance
of hardware and software used by NATO staff
in all NATO offices. I also work with other
NATO staff and website partners to support
our websites.
I am very excited to have the opportunity
to use my skills to work with the amazing staff
here at NATO and do my part to help promote
and expand the moviegoing experience!
12 BoxOffice ® Pro The Business of Movies JUNE 2014

UPCOMING 3D MOVIES
2014
JUN 6 WARNER BROS. EDGE OF TOMORROW
JUN 13 FOX/DREAMWORKS ANIMATION HOW TO TRAIN YOUR DRAGON 2
JUN 27 PARAMOUNT TRANSFORMERS: AGE OF EXTINCTION
JUL 11 FOX DAWN OF THE PLANET OF THE APES
JUL 18 WARNER BROS. JUPITER ASCENDING
JUL 18 DISNEY PLANES: FIRE AND RESCUE
JUL 25 LIONSGATE/SUMMIT STEP UP ALL IN
AUG 1 DISNEY GUARDIANS OF THE GALAXY
AUG 8 PARAMOUNT TEENAGE MUTANT NINJA TURTLES
AUG 22 WEINSTEIN/DIMENSION SIN CITY: A DAME TO KILL FOR
SEP 26 FOCUS THE BOXTROLLS
NOV 7 DISNEY BIG HERO 6
NOV 26 FOX/DREAMWORKS ANIMATION HOME
DEC 17 WARNER BROS. THE HOBBIT: THE BATTLE OF THE FIVE ARMIES
2015
JAN 16 LIONSGATE NORM OF THE NORTH
FEB 6 UNIVERSAL SEVENTH SON
FEB 13 PARAMOUNT SPONGEBOB SQUAREPANTS 2
MAR 27 FOX/DREAMWORKS ANIMATION THE PENGUINS OF MADAGASCAR
MAY 1 DISNEY AVENGERS: AGE OF ULTRON
MAY 15 WARNER BROS. MAD MAX: FURY ROAD
JUN 5 FOX/DREAMWORKS ANIMATION B.O.O.: BUREAU OF OTHERWORLDLY OPERATIONS
JUN 5 WARNER BROS./NEW LINE SAN ANDREAS
JUN 12 UNIVERSAL JURASSIC WORLD
JUN 19 DISNEY INSIDE OUT
JUN 19 FOX THE FANTASTIC FOUR
JUL 10 UNIVERSAL MINIONS
JUL 17 WARNER BROS. PAN
SEP 18 UNIVERSAL EVEREST
OCT 2 SONY/TRISTAR UNTITLED ROBERT ZEMECKIS FILM
14 BoxOffice ® Pro The Business of Movies JUNE 2014

OCT 9 DISNEY THE JUNGLE BOOK
NOV 6 FOX PEANUTS
NOV 25 DISNEY THE GOOD DINOSAUR
DEC 18 DISNEY STAR WARS: EPISODE VII
DEC 23 FOX/DREAMWORKS ANIMATION KUNG FU PANDA 3
2016
FEB 12 UNIVERSAL UNTITLED PETS PROJECT
MAR 4 DISNEY UNTITLED DISNEY ANIMATION FILM 1
MAR 11 UNIVERSAL WARCRAFT
MAR 18 FOX/DREAMWORKS ANIMATION MUMBAI MUSICAL
MAR 25 WARNER BROS. GEOSTORM
MAY 27 DISNEY ALICE IN WONDERLAND 2
JUN 17 DISNEY FINDING DORY
JUN 17 FOX/DREAMWORKS ANIMATION HOW TO TRAIN YOUR DRAGON 3
JUL 1 SONY/COLUMBIA ANGRY BIRDS
JUL 1 WARNER BROS. TARZAN
JUL 15 FOX ICE AGE 5
JUL 22 WARNER BROS. KING ARTHUR
AUG 5 SONY/COLUMBIA UNTITLED SMURFS MOVIE
NOV 4 FOX/DREAMWORKS ANIMATION TROLLS
NOV 23 DISNEY UNTITLED DISNEY ANIMATION FILM 2
2017
FEB 10 WARNER BROS. UNTITLED WARNER ANIMATION GROUP PROJECT 1
APR 7 FOX FERDINAND
JUN 16 DISNEY UNTITLED PIXAR ANIMATION FILM 1
NOV 22 DISNEY UNTITLED PIXAR ANIMATION FILM 2
2018
FEB 9 WARNER BROS. UNTITLED WARNER ANIMATION GROUP PROJECT 2
MAR 9 DISNEY UNTITLED DISNEY ANIMATION FILM 3
MAR 23 FOX ANUBIS
JUN 15 DISNEY UNTITLED PIXAR ANIMATION FILM 3
NOV 21 DISNEY UNTITLED DISNEY ANIMATION FILM 4
JUNE 2014 BoxOffice ® Pro The Business of Movies 15

REGIONAL
NEWS
by Phil Contrino
NORTH CENTRAL NATO’S CONVENTION CELEBRATES
15 YEARS WITH A BUMP IN ATTENDANCE FROM
INDEPENDENT EXHIBS
n When you ask North Central NATO’s Jeff Logan what his team tries
to accomplish with their annual convention, his answer is simple.
“The goal of our show is to provide the best content at a low price so
that small exhibitors can attend,” says Logan.
It’s working.
Even though this year’s event lost a small amount of attendees due
to a conflicting meeting—an unavoidable part of convention planning—Logan
celebrates the fact that the convention picked up several
independent exhibitors. A little over 200 professionals gathered at the
Sheraton Minneapolis West Hotel to discuss a wide range of topics from
ADA compliance to whether or not Blended will be a hit this summer—
the Warner Bros. release screened at the Muller Family Theatres’ Willow
Creek location.
Many studios generously donated items, helping to set a
record by raising $1,000 more than last year. Prizes included
tickets to the premiere of 22 Jump Street.
The convention offered a wide variety of events including product
reels from Sony, Relativity, Paramount, Lionsgate, and 20th Century
Fox; a presentation by National NATO’s Belinda Judson and Brigitte
Buehlman; a screening of Justin Ayde’s award-winning short film The
Man in the Booth about longtime projectionist and now manager Dave
Hilsgen; a keynote speech by Joe Schmit, KSTP-TV sports anchor; and
the usual assortment of sponsored cocktail receptions, lunches, and
dinners. There was also a raffle and silent auction that raised money for
scholarships for employees of member theaters. Many studios and other
vendors generously donated items for the auction and raffle, helping to
set a record by raising $1,000 more than last year. Prizes included tickets
to the Hollywood premiere of 22 Jump Street donated by Sony, four
lower-level dugout tickets to a Twins game donated by Coca-Cola, and a
suite at a Timberwolves game donated by the Timberwolves.
The event’s sold-out trade show featured 60 vendors. In order to
encourage attendees to make the rounds at the trade show, those who got
their passports signed by each vendor were entered into a drawing.
Logan cites Muller Family Theatres, Cinema Entertainment Corp.,
and Odyssey Theaters for allowing executives to work on committees to
put in the time it takes to put the convention on.
“We have no shortage of volunteers,” says Logan. “We feel very good
headed into next year.”
THEATRE OWNERS OF NEW ENGLAND’S FUTURE
OF CINEMA CONFERENCE TALKS SUMMER SLATE,
WELCOMES MPAA KEYNOTE SPEAKER
n The Showcase Cinema de Lux at Patriot Place in Foxboro, Massachusetts,
once again played host to the Theatre Owners of New England’s
(TONE) Future of Cinema Conference, a free event for all TONE
members.
The conference is now over 25 years old, but only the last two years
have included a trade show. (Before offering up a trade show, the event
was only a morning seminar.) The change is paying off nicely considering
that the trade show has sold out both years of its existence. This year’s
event hosted 22 vendor tables including Safe Environment Business
Solutions and other major sponsors such as Crystal Commercial Cleaning,
Summit Foods, Dolby, and Veezi. Attendance was as strong as last
year with around 300 attendees.
Joan Graves, SVP of the MPAA and chairman of C.A.R.A., served
as the conference’s keynote speaker. Graves discussed the organization’s
history, modern-day operations, and how parents rely on the rating system
to make educated decisions when buying tickets for young children.
Event sponsor Bob DiNozzi from SEB Security spoke to the importance
of a safe theater environment by sharing some of his theatrical experiences
from the past 24 years. Major sponsors Paul Bonfiglio from Summit
Foods, Matt Lawler from Crystal Commercial Cleaning, Medwyn
Gillespie from Dolby, and Justin Silverman from Veezi all added to the
slate of presentations.
The Future of Cinema Conference also served as a forum to discuss
the summer slate with studios on hand to tout their strongest films.
After more than 25 years, it’s safe to say that the TONE event is
running smoothly.
“I do not plan on making any major changes for next year,” says
Daniel Vieira, TONE’s executive director. “Initial responses from those
in attendance were all positive. We will continue to ask for input from
our members to determine if we need to make any changes.”
NEW NATO “SUPER REGION” IS FORMED
n South Central States NATO and NATO of Kansas and Missouri
have entered into an agreement to merge the two regional associations,
with the new entity to be known as Mid-America NATO. The merger is
expected to be complete by September 2014.
The impetus behind the regional merger came out of a meeting
between Bob Bagby (B&B Theatres) and the Texas Board to discuss the
merger of CineShow and ShowArama. From this initial meeting, and
the subsequent agreement to merge the two trade shows, came further
discussions on joining the six states into one unit, resulting in better
funding for legislative issues, administrative consolidation, a uniform
dues structure, and the ability to employ a full-time executive director.
Upon completion of the merger Rein Rabakukk, executive director
of South Central States NATO, will retire. Rabakukk has served in this
position since 1999 and will be replaced by Todd Halstead, currently
NATO’s deputy director of government affairs. Halstead will bring with
him years of legislative experience that will benefit the new six-state
region. Rabakukk will continue on with the new organization in a consulting
capacity.
ShowArama and CineShow will merge into one much larger regional
show (called ShowArama) in 2015. The first event will be held in New
Orleans and will be held in other key cities in the region such as Dallas,
Kansas City, and Oklahoma City, in subsequent years.
16 BoxOffice ® Pro The Business of Movies JUNE 2014

NEW
TECH
n If you are going to attend a 3D film and want to
know which seat will provide the best experience,
I advise you to do what I did recently and simply
ask Douglas Trumbull. In early May I was one of a
dozen or so enthusiasts who got a sneak peek at his
short film, UFOTOG, before its world premiere at
the Seattle Sci-Fi Festival held at Seahawk owner
Paul Allen’s Cinerama theater in the Belltown district
of the Emerald City. The Cinerama is the best
place to see a film in Seattle—a single-screen facility
with 808 plush rocking seats—though I did get a
parking ticket as my only souvenir.
In 2003, I attended a screening of How the West
Was Won at the Cinerama, one of only three theaters
in the multiverse that can still screen Cinerama
movies in their original three-projector format. The
film required three projectionists—two of whom
were original Cinerama operators specially flown
in. Like Jurassic Park’s John Hammond, Mr. Allen
“spared no expense.” A 90' x 30' custom louvered
screen was installed specifically for the event. I was
amazed at the clarity of the image—it looked like it
had been filmed the prior week and not in 1962—
and I wasn’t surprised to learn why: Allen had paid
for a brand-new print.
Normally the Cinerama
shows Hollywood
tentpoles (Godzilla in
3D is now playing on its
68-foot standard screen),
but it also hosts special
events. This spring’s
Sci-Fi Festival presented
30 classic films over 12
days, including Flash
Gordon (“Ahh-ahh!”)
with guest Sam J. Jones,
Alien with star (and
Seattle resident) Tom
Skerritt, Star Trek: First
Contact with director
Jonathan Frakes, and a
sparkling new 70-millimeter
print of 2001: A
Space Odyssey (originally
a Cinerama-branded
film) with the film’s
special effects magician
Douglas Trumbull in
Special effects icon Douglas Trumbull returns to his Cinerama
roots with the world premiere of UFOTOG at Seattle’s Sci-Fi Festival,
held at the equally iconic Cinerama theater
by Kenneth James Bacon
UFOTOG’s world premiere
was screened to a packed
house at Seattle’s Cinerama
on May 11, 2014.
MGM touted its 1967–68 slate (including 2001: A Space Odyssey) in the
pages of the October 30, 1967, issue of BoxOffice. Stanley Kubrick’s film
was released six months later.
attendance. I imagine you can guess by now why the
print was pristine—again, Mr. Allen.
Trumbull was taking the opportunity presented
by the festival to screen his experimental film for
an audience. In fact it was the first time he had
ever seen his own film outside the confines of his
film studio/mad scientist lab in the Berkshires of
Massachusetts. This facility is where Trumbull
landed after leaving Hollywood in the ’80s, after
his sophomore directorial effort, Brainstorm, was
derailed by the mysterious death of the film’s star,
Natalie Wood.
After years of work on theme-park rides that
utilized high frame rate imagery and other special
projects, Trumbull began focusing exclusively on
immersive cinema: large screens, high frame rates,
high resolution, and 3D. Partnering with Christie
and other vendors, Trumbull experimented and
came up with UFOTOG, his short narrative film
that not only tells a story, but demonstrates how
new technologies can enhance the storytelling.
The film is quite astonishing. As a comparison,
Peter Jackson’s Hobbit trilogy can be seen at 48
fps—UFOTOG was photographed and presented at
120 fps. It was actually
difficult to discern the
screen; the images
appeared to just float
before you. It was the
first 3D film I’ve seen
that didn’t give me a
headache or make me
feel like my eyeballs
were being pulled
around. The Dolby
Atmos soundtrack
added to the remarkable
dimensionality.
Trumbull describes
his work: “[UFOTOG]
has been photographed
in 3D at 4K resolution
and at 120 frames per
second. The process is
called Magi. Trumbull
Studios is a laboratory
workshop for exploring
immersive cinema—
movies projected onto
18 BoxOffice ® Pro The Business of Movies JUNE 2014

large screens with amazing clarity and realism, resulting in a viewer
experience that far exceeds conventional movie quality. I wrote and
directed UFOTOG in order to explore the many issues that emerge when
shooting and projecting at five times the normal frame rate of 24, while
capturing and showing imagery at four times the convention of 2K resolution.
We project using a state-of-the-art Christie Mirage 4K projector
… The result is an immersivness that cannot be described in words.”
On the use of Magi to photograph and exhibit alternative content,
Trumball says: “I cannot wait to photograph a big rock star from two feet
away singing to me. I just think it will be a gas. That’s one of the next
things I want to try to do, because I have all sorts of ideas about extreme
sports, underwater, skydiving, spelunking, outer space … dance is very
high on my agenda.”
The reaction by the packed house was immensely enthusiastic—quite
different than the reaction to The Hobbit at 2012’s CinemaCon, which
left exhibitors somewhat cold and confused.
If Avatar 2 were to be shot and exhibited using Trumbull’s Magi
technology, the experience would likely be, as Cameron might say, out of
this world.
A Christie Mirage 4K35 was
installed at the Cinerama
especially for the UFOTOG
premiere.
Douglas Trumbull has been nominated
for three Academy Awards
(Close Encounters of the Third Kind,
Blade Runner, Star Trek: The Motion
Picture) and was the recipient of the
Academy’s Gordon E. Sawyer Award
in 2011, given each year to “an individual
in the motion picture industry
whose technological contributions
have brought credit to the industry.” A
pioneer in high-frame-rate motion picture
photography, Trumbull is the holder
of nearly two dozen patents including
Showscan, for which he won a special
Oscar for technical achievement. More
recently, Trumbull served as visual effects
consultant for Terrence Malick’s The Tree
of Life (2011).
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THAT’S THE
TICKET
It’s been a busy couple of months at Fandango
Since April the ticketing company has relaunched its website with a new design and logo, acquired MovieClips, and set up
Twitter ticketing for The Amazing Spider-Man 2 and Godzilla. Most recently the company announced that it has added Harkins
Theatres, the nation’s largest independently owned theater chain and a top circuit in key southwestern states, plus the exhibitors
Digiplex Destinations and Premiere Cinemas, to its ever-expanding cinema network.
n Fandango President Paul Yanover says
that feedback on the new site has been very
positive. Users compliment components such
as the overall layout, the color scheme, and
specific movie pages.
“The site’s new look and feel shines a
spotlight on Fandango’s engaging new content:
exclusive photo galleries and features,
character guides, infographics, quizzes, and
original video programming including two
new family-friendly video series, Mom’s Movie
Minute and Reel Kids, says Yanover. “Also
featured on every page of the site are personalized
ticketing widgets that serve up new movie
releases at the user’s favorite local theaters.”
MovieClips is a unique asset for Fandango.
The network consists of MovieClips.com
and 25 YouTube channels, including the No.
1 movie trailers channel. In all, MovieClips
boasts 45,000 curated film clips, trailers, and
original video productions. With more than
7 million subscribers, MovieClips’ YouTube
network averages 200 million video views per
month.
“The MovieClips acquisition will further
serve film fans by enhancing the Fandango
experience across more platforms, offering
ticketing plus the best movie trailers, clips,
and original videos,” says Yanover. “The addition
of MovieClips, along with the launch of
our redesigned website and mobile apps, will
provide film fans an even better way to explore
and share their passion for the movies.”
The launch of Twitter ticketing attaches
movie stills, film facts, and ticketing capabilities
to movie-related tweets. This new feature
makes it easier for the film community to
capitalize on Internet buzz. Says Yanover,
“As Twitter is widely used on mobile devices,
movie fans can quickly buy tickets on Fandango
to nearby theaters in a couple of taps, share
their plans with friends, and then be in their
seats in no time!”
As for the exhibitor acquisitions Yanover
says, “We are thrilled to work with Harkins,
Digiplex, and Premiere to help them reach
even more moviegoers through our expanding
online and mobile ticketing platforms, and
ultimately grow their businesses.” The arrangement
bring Fandango’s ticketing services to an
additional 1,000 screens in a dozen states.
20 BoxOffice ® Pro The Business of Movies JUNE 2014

SHOWCANADA 2014
It’s showtime in British Columbia for the Movie Theatre Association of Canada
by Laura Silver
n ShowCanada, held June 3 through 5 at the
Fairmont Chateau Whistler in spectacular
Whistler, British Columbia, is the film industry’s
only convention in Canada, bringing together
the many sectors of the industry for film
screenings, seminars, and networking events.
ShowCanada 2014 is the 28th convention to
be hosted by the Movie Theatre Association
of Canada (MTAC), and Whistler—Canada’s
premier, year-round destination located in the
magnificent Coast Mountains just
two hours north of Vancouver—
should be the perfect setting.
Of course the highlights of
any film-industry convention are
the films, and, according to Nuria
Bronfman, executive director of
MTAC, this year’s ShowCanada
will be chock full of film
screenings and product reels by
every Hollywood studio, as well as
Canada’s biggest film distributor,
eOne.
In addition to the films, delegates can look
forward to some informative—and potentially
controversial—panels, says Bronfman. NATO’s
John Fithian (president and CEO) and Brigitte
Buehlman (deputy director of industry relations)
will deliver the state of the industry address, and
David Passman, the chair of NATO, will provide
a rundown on what’s happening south of the
border (i.e. the United States), which faces issues
that affect the Canadian industry as well.
Bronfman plans to present the State of the
Industry and MTAC Update, at which she’ll
highlight some of the films that over-performed
and underperformed at the Canadian box
office. Canada typically represents 10 percent
of the North American box office and is nearly
100 percent digitized (although Bronfman says
there may still be a couple of outliers). “We’re
very happy that everybody, including the
independents, have embraced digital cinema,”
she says. “I think the industry is
looking healthy, but I think there’s
absolutely some room for self-reflection,
and, hopefully, we will
be doing some of that this year at
ShowCanada.”
Self-reflection will be on order
at another notable presentation,
MTAC’s State of the Quebec Box
Office report. MTAC will share
the results of its recent survey that
explores the decline in moviegoing
in Quebec, traditionally a province
22 BoxOffice ® Pro The Business of Movies JUNE 2014

with a very strong box office.
“Over the last couple of years,
box office has slipped significantly,”
says Bronfman, “so
we’ve gone out into the field,
we’ve talked to a very healthy
sampling of moviegoers and
asked what’s going on from
their perspective.” Raffaele
Papalia, chair of MTAC and
CEO Cinémas Ciné Entreprise
and Fab Stanghieri, senior
vice president, real estate
and construction, Cineplex Entertainment, will
present the findings.
Bronfman also says she’s particularly excited
about ShowCanada’s Exhibition/Distribution
panel, which she sees as an opportunity to
have a civilized and open conversation about
how the industry can work
together strategically to
improve Canadian theatrical
performance. Bronfman calls
it “a one-of-a-kind panel
that you wouldn’t be able to
see anywhere else except at a
ShowCanada.”
The sold-out trade show
will give distributors, suppliers,
and exhibitor-relations
teams a way to showcase
the latest in equipment and
trends. Returning for the second year is the
popular Artisan’s Alley. Nine local craftspeople
will sell their wares, giving attendees an opportunity
to buy unique, handmade souvenirs.
And what’s a film event without a little glamour?
The opening-night “Snowball” gala dinner
SHOWCANADA 2014
and Showmanship Award presentation
means all-white attire
is requested. On the following
night after its screening, Warner
Bros. will take delegates to
the Bearfoot Bistro, just named
one of the top-ten restaurants
in Canada. And eOne and
ReadD will travel to the top
of Whistler Mountain for
closing-night cocktails and the
unbelievable view.
Says Bronfman, “Whistler
is one of our jewels in Canada; it’s actually
one of the most beautiful and breathtaking
locations in the world.” Whistler has also seen a
growing, year-round population of locals, many
of them cinephiles, who started the Whistler
Film Festival, which takes place in December
each year.
“We’re going to be keeping
our delegates very busy, but
hopefully many of them are
coming early and some are
staying late. It’s a stunning
location and we’re very proud
to be showcasing it, not only
to Canadians but to our
American friends as well,” says
Bronfman.
(photos from ShowCanada 2013
held in Saint John, New Brunswick)
JUNE 2014 BoxOffice ® Pro The Business of Movies 23

SHOWCANADA 2014
ELLIS JACOB
CEO and President
Cineplex Entertainment
THE BOXOFFICE INTERVIEW by Daniel Loria
n Canadian exhibitor Cineplex has been at the
forefront of many of today’s biggest innovations
of the exhibition world. Ellis Jacob, CEO
and president of leading Canadian exhibitor
Cineplex, has been a fixture in the industry
since joining the company in the late 1980s.
BoxOffice spoke to Ellis Jacob ahead of Show-
Canada to get his insights into the Canadian
market, the importance of innovation, and
the changing landscape of today’s exhibition
business.
Over the past few years, Cineplex has
grown its market share in Canada to a
spectacular 77 percent. What have been
the drivers of this growth?
One of the things we as an organization
have done is focused on trying to increase the
incidence of people coming to the movies and
increasing our attendance. The way we’ve done
that is by focusing on the premium offerings
that we have. If you compare us to the U.S. circuits,
we derive a significant part of our revenue
from these premium experiences.
If you look at the regular ticket price, a film
in 2D at Cineplex today costs less than it did
ten years ago. So our big focus has been
on 3D, VIP, UltraAVX, IMAX, and
all those different alternative ways
of viewing. This weekend, when
The Amazing Spider-Man 2 came
out, we got over 70 percent of
our revenue from premium offerings
compared to 40 percent
in the U.S. On an annualized
basis, we ended 2013 with almost
40 percent of our box revenue
coming from these premium
offerings as compared to 3 percent
six years ago.
What are the key differences you see
between the U.S. market and the Canadian
market?
The U.S. market has really been driven by
increased box office pricing, and we’ve really
focused more on giving the guest a better and
broader experience and charging them only an
increased price when the experience is different.
We really haven’t changed from our base ticket
prices, whereas we charge a premium if you go
to a 3D or VIP screening. There needs to be
value for the price change.
In terms of our concession offering, we have
always focused on total revenue per person, and
our U.S. peers seemed to focus on gross margin
and keeping that number as low as possible.
As a result, their concession offerings tended
to be core—soft drinks, popcorn, hot dogs,
nachos, and select candy. At Cineplex, our
approach is more akin to a food court offering,
with numerous retail branded outlets offering
everything from chicken tenders, burgers, and
pizza to frozen yogurt, Tim Hortons doughnuts
and coffee in addition to a wide range of candy
and beverages. This way we earn more from
each person even though our margins are a
little lower.
Cineplex brought us the SuperTicket, a
concept that has begun gaining traction
in the United States. Could you tell us a
bit about its results?
We started with Pacific Rim last summer
with Warner Bros. and have done several films
since then. We’ve seen continued improvement
on the uptake on the SuperTicket. I think
it will become more relevant as more and
more studios start doing it, so the consumer
knows that this is an offering they can avail
themselves. I think it’s a fantastic model where
individuals can watch the movie at the cinema
and also get a digital download. As you can see,
other circuits have started doing it as well. One
of the advantages for us is when the SuperTicket
is purchased, you are actually depositing the
SuperTicket in the Cineplex Locker, which
we’ve created compared to other circuits where
they need to use a third-party service for their
download.
We also have a digital rental program that
we launched, “$2.50 Tuesdays,” that allows
people to match up what we do at the cinemas
by being able to rent a movie for $2.50. It’s
all about innovating so the guest can think of
Cineplex as the place to go when you think
about movies.
24 BoxOffice ® Pro The Business of Movies JUNE 2014

SHOWCANADA 2014
JUNE 2014 BoxOffice ® Pro The Business of Movies 25

SHOWCANADA 2014
Has the SuperTicket been a successful
vehicle to drive your VOD efforts?
We have the SCENE loyalty program where
we now have 5.6 million members. So one out
of seven Canadians are members in our loyalty
program. That gives us phenomenal data that
allows us to communicate with them for things
like the SuperTicket and VOD. What we know
now are consumer habits, and we can basically
link up with that particular guest for that movie
or for another movie that’s coming out. And
it also allows us to sell them library titles that
other exhibitors can’t. There’s a lot of runway
in this business and it’s a business that I think
complements our existing services. It’s a new
business for us, and I see it becoming a “bricksand-clicks”
business in the long-term.
You decided to go with your own inhouse
online ticketing service, where
customers can buy a ticket to see a film
at one of your theaters—or at any of
your competitor’s locations. How did
you decide on this strategy?
We started with our own online ticketing
many years ago. We were trying to create a destination
where Canadians could find tickets by
just going to our website. We have a geo-targeted
app that will tell you the closest theater [for
the film], whether it is a Cineplex theater or
not. Fortunately, most of them are Cineplex.
If you look at the regular
ticket price, a film in 2D
at Cineplex today costs
less than it did ten years
ago. So our big focus
has been on 3D, VIP,
UltraAVX, IMAX, and all
those different alternative
ways of viewing.
Today we have more than 9 million people
who have downloaded our app; 25 percent of
Canada’s population has our app, and we are
now the ninth most popular mobile app in the
country.
At the end of the day, we wanted it to be
seamless for our guests so that whenever Canadians
thought about movies, they’d go to the Cineplex
app or website. That was the whole reason
driving the decision [to open ticketing to third
parties]. We don’t really see ourselves as being
competitive with other chains, we see ourselves
as competitive with what you’re going to do with
your entertainment time and dollars.
Cineplex is more than a theater brand,
it is now an entertainment brand that
offers a holistic media approach with
Cineplex Media. What are the trends you
are envisioning to develop advertising
opportunities around your brand?
The media business has grown for us quite
significantly. There are a lot of links between
the magazine, our website, and the loyalty
program. There is a lot we can do together when
an agency comes to us in order to create a fully
integrated advertising campaign. You’ve got a lot
of additional opportunities with the mobile app,
digital signage, TimePlay—which is another
innovation where we include interactivity as part
of a movie’s pre-show—and we’ve got ShowTime
advertising, lobby advertising, and marketing
partnerships with different Canadian retailers.
We just signed an agreement with 2,200
Tim Hortons locations to add Tim’s TV, and
we’ll be providing them with the installation,
content, and advertising for those locations.
The media business goes well beyond the
theater itself, so we can now do campaigns with
many tentacles that go into several different
areas reaching Canadians from coast to coast.
Our industry is about a best-in-class
consumer experience. What are your
priorities to enhance this experience?
Where do you see the future of the exhibition
industry heading?
From an industry perspective, I think you’ll
26 BoxOffice ® Pro The Business of Movies JUNE 2014

SHOWCANADA 2014
continue to see advancement in both the delivery of film, higher film
rates, better sound systems, laser technology, and more experiments with
4D. In addition to that, at Cineplex we continue to focus on giving
the guest the best experience. I’ve been to a lot of countries and a lot of
cinemas around the world, and I would say that at Cineplex we give our
customers one of the best experiences and a great value proposition. At
the end of the day, its all about making sure that the audience comes
back to the theater to continue to indulge in the movie experience.
A lot of the times when we do alternative content programming like
the Met Opera, it brings back guests to our theaters who probably hadn’t
been for many, many years. They enjoy the experience and they start
coming back to see movies as well.
What are your thoughts on the “hot-button” topics affecting
our industry today: piracy and release windows?
We had a huge issue with piracy in Canada. We worked with the government
and studios and now we have some of the toughest antipiracy
laws in place. It’s now a criminal offense to steal a movie from a theater,
and you can end up in jail over it, which wasn’t the case prior to 2007.
At Cineplex, we take piracy very seriously and have spent hundreds
of thousands of dollars over the years adding security measures to deter
theft. We have a zero-tolerance policy for it, and we have trained our
theater teams on how to handle these situations. They deserve the praise
for their work on the front lines dealing with the issue.
From the perspective of windows, I think it’s really important both
for the studios and ourselves, as it could have a major impact on both
of our businesses if the windows were to continue to shrink as they
have in the last number of years. It has kept close to a steady fourmonth
period—there are exceptions, but on average it has been around
that time frame. We look at it as an important window to maintain,
but we also know we have other windows like VOD where we can
continue to innovate.
JUNE 2014 BoxOffice ® Pro The Business of Movies 27

SPECIAL
REPORT
IS IMMERSIVE AUDIO
THE SAVIOR OF DIGITAL
CINEMA SOUND?
An analysis of the most important
advancement in sound in over 20 years
by Julian Pinn, Founder, Julian Pinn Ltd
GOOD CINEMA SOUND
By the very end of the 20th century, after
more than a century of cinema sound innovation,
the zenith of sound quality and interoperability
with film was reached. Dolby Digital
(on-film) and DTS (off-disc) offered 5.1 and
6.1 multichannel formats, and Sony Dynamic
Digital Sound offered up to 7.1 by sometimes
utilizing two extra screen speakers located between
left and center and right.
It was feasible and common for single-inventory
prints to be released that featured the
de facto standard analog stereo track plus all
three of these commercially successful digital
innovations.
Regardless of typical combinations of these
digital tracks, all prints featured the analog track
as a minimum, enabling interoperability across
all cinemas from mono to multichannel digital.
This was indeed a format war. However,
there was arguably more value created for cinema
sound during this era of healthy competition
than there were casualties. Exhibitors and studios
had a choice of which digital systems to install
and use and which vendor or combination of
vendors to select; vendors were kept on their toes
and were suitably rewarded for their heavy investment
in providing such significant value-add
to the industry; and standards bodies such as
SMPTE and ISO were able to play an important
role in codifying parameters that enabled
international interchange and coexistence of
competing proprietary formats.
Being proprietary gave the format vendors
control over where, by whom, and how their
formats were used. It also gave the vendors the
economic viability to provide a high level of
servicing and support within the entire workflow
to help optimize the quality of the final experience
associated with their brand in the cinemas’
challenging acoustical environments. In many
cases (not all), exhibitors had trust that sound
would play well at or fairly near reference fader
7, and studios had trust that their detailed care
and attention in mixing would be faithfully
reproduced in many, if not most, cases.
Ultimately, good cinema sound (technology,
quality control services, and standardization) is
able to reproduce near to the complete frequency
and dynamic range experienced in life—and this
has been a critical element in keeping cinema
arguably a more premium, emotionally rewarding,
and awesome experience than non-cinema
forms of entertainment.
DIGITAL CINEMA SOUND
DCI specified and SMPTE and ISO codified
the standards for digital cinema, including the
use of the nonproprietary PCM format in a way
that was electro-acoustically compatible with
the hitherto proprietary digital formats of film.
This was a sensible move and potentially offers
advancement in quality because of the higher
bandwidth of the 24 bit, 48 kHz PCM multichannel
audio format.
Titles have been released typically on both
film and DCP during the transition stage of
digital cinema because significant numbers of
film-only screens have still existed. These releases
will have benefited from having to comply with
the quality-control requirements and services of
at least one of the digital film sound vendors.
However, we have now started to see territories
drop film completely as the number of digital
cinemas has reached the tipping point. Releasing
movies only on DCP enables the bypassing of
many—if not all—of the quality controls set
by the digital film sound vendors. It is evident
that 5.1 PCM mixes are appearing on DCPs
that have not been mixed to normal cinematic
standards. After a well-regulated era, we are now
just starting to experience radical departures
from standard replay levels (fader 4.5) that
disable the Digital Cinema PCM sound format
and system from offering the dynamic range and
quality hitherto enjoyed in the cinema. Some
sound studios are now mixing at fader 4.5; other
A SHORT HISTORY OF
CINEMA SOUND
The first movies with sound
debuted more than 90 years
ago, but companies continue
to improve audio quality. The
latest innovation is Dolby®
Atmos, used in acclaimed
films like Gravity, The Hobbit,
and Life of Pi.
The Talkies Era
Early experiments with adding sound to
films focused on two methods: recording
the sound directly on the film or recording
it on discs that were played simultaneously
with the film. The sound-on-film method
eventually won out.
Photokinema
Recorded sound on
a disc similar to a
phonograph record,
which was played
in tandem with the
movie. Key film:
Dream Street
Movietone®
One of the first
sound-on-film systems,
used on early
feature films and on
some newsreels until
1939. Key film: What
Price Glory?
Vitaphone
Used on The Jazz
Singer, a film whose
wild success guaranteed
the death of
silent films. The last
major system that
recorded sound on
phonograph discs.
28 BoxOffice ® Pro The Business of Movies JUNE 2014

SPECIAL REPORT > AUDIO
MDA OBJECT
AUDIO
WORKFLOW
SOURCE: DTS, INC.
Source Tracks
MDA
PT Plug in
Channel bed audio
MDA object audio
MDA metadata
Object Audio
DCP
Cinema
System
Mixing
Console
Object Panner
& MDA Export
.mda Object
Audio
Soundtrack
Renderer
x.1
B-Chain
Dubbing
Stage
Mixer artistic control
x.1 Speaker Configuration
sound studios are mixing to no particular fader
or cinema electro-acoustical standard by using
techniques more associated with broadcast disciplines.
Inconsistent, poor-quality sound is often
the result and complaints have risen. The system
from content creation to exhibition is now less
controlled.
ENTER IMMERSIVE AUDIO
“Every time throughout all my years
when I start mixing my films, I was
always asking for possibilities in the
mixing room that were not achievable
and now finally, with this system that
is Dolby Atmos, it is this dream come
true in which you really can explode
the possibilities of depth and separation
as never before.”
—Alfonso Cuarón, double Oscarwinning
director of Gravity
“After independently testing both
commercially available immersive
cinema sound solutions, it became
abundantly clear that Auro 11.1 provides
the best complement to the Cinemark
XD experience. We firmly believe that
the fullness and richness of Auro’s
height layer, coupled with the discreetness
of the future and open-standard
object-based capabilities supported by
Auro, will make for the best moviegoing
experience possible.”
—Damian Wardle, vice president of
Worldwide Theatres Technology and
Presentation, Cinemark
These two quotes highlight the choice and
hunger in the market that currently exists regarding
immersive audio. While immersive audio
may not yet be featuring at a cinema near you,
the rate of installations has so far been impressive.
Barco launched Auro-3D to the cinema
market in 2010, and the format’s first title, Red
Tails, was released in January 2012. “We have
200 screens installed today,” says Brian Claypool,
senior director, strategic business development,
entertainment, Barco NV. And according to
a recent Barco press release, another 300 are
committed for deployment in 2014. There are
more than 30 feature films in Auro 11.1 and
another 50-plus titles in the pipeline—including
this summer’s blockbusters The Amazing Spider-Man
2, The Expendables 3, and Transformers:
Age of Extinction. One can think of Auro 11.1
as effectively two layers of 5.1 plus an overhead
channel (except that the .1 sub-woofer channel is
not duplicated).
Dolby Atmos was launched to the cinema
market in June 2012 with its first title, Brave.
There are currently over 600 screens either
installed or committed to Dolby Atmos and over
55 mixing facilities worldwide. Dolby Atmos has
almost twice the adoption rate of Dolby Digital
when comparing each format’s first-year figures
since launch. “We crossed well over a hundred
titles now in Dolby Atmos; every major studio is
releasing content,” says Stuart Bowling, director,
market development, Dolby. “There is no shortage
of titles from big movies to smaller movies;
all the major movies are being released utilizing
the format,” he says. “Foreign versioning is
actually getting better; we’ve got certainly more
facilities around the world now that are capable
of dealing in Atmos, and as we continue to work
with the technology and the studios over workflows,
we’ve been able to refine and improve that
entire process to make it easier for them dealing
with foreign versioning of Atmos titles.”
The uptake of immersive audio is so impressive
and such a radical departure from the
open-standards mentality of digital cinema that
exhibitor representatives NATO and UNIC have
expressed a desire that the industry protect itself
from a return to another proprietary-format war.
The Mono Era
Until the 1970s, almost all movies were
mono, and the quality was little better
than a phone line. Studios experimented
with better sound, but most of the
experiments were short-lived.
The Stereo Era
When audiences in 1977 “heard” the
massive spaceships passing over their
heads in Star Wars (recorded in Dolby
Stereo), the experience forever changed
expectations for cinema sound.
Fantasound
Created for Disney’s
Fantasia, but used in
only 29 US theaters,
a result of the
system’s cost and
the attention and
resources devoted to
World War II.
CinemaScope®
Instead of optical
tracks, represented
the soundtrack in
magnetic stripes
to create four channels
of sound. Key
film: The Robe
Sensurround
Highly amplified
low-frequency rumbles
literally shook
theaters —in some
cases, rattling tiles
off the ceiling. Key
film: Earthquake
Dolby Stereo
Encoding four channels
of sound down to two
channels to record on film,
then decoding them back
to four channels allowed
for stereo in the limited
space on film stock. Key
film: Star Wars
JUNE 2014 BoxOffice ® Pro The Business of Movies 29

SPECIAL REPORT > AUDIO
To that end, the DCI specifications have been
amended to accommodate immersive audio,
and SMPTE has stepped up with the creation
of a working group within its newly formed
Technical Committee Number 25 on Cinema
Sound Systems, TC-25CSS, to standardize
that inclusion to the DCI specs in detail. Chair
of that working group (TC-25CSS-10), Peter
Ludé, CTO of Mission Rock Digital, says,
“Object-based immersive sound is clearly a
benefit to the Hollywood community—audiences
have made it clear through the box office.
The issue is how can we create one release file
that can be played back with artistic integrity in
any auditorium, irrespective of which manufacturer’s
equipment is installed? The good news is
that there is immense support from all sides on
this—everyone is working together to contribute
the technical details necessary for a common
industry standard. I’ve seldom seen this degree of
collaboration to quickly find the solution to an
important new opportunity.”
Barco’s strategy is to align itself closely with
that very request for open standards. “We’re
doing the right things to get positioned into
the marketplace to allow the adoption of
open standards to take place in a more earnest
manner once those standards are complete,” says
Claypool, “and I think globally, what we see is
everybody taking a cautionary step into the business
of immersive sound but really looking to see
how these standards discussions go—how quickly
some of these issues get resolved before they
really step into it in a more earnest manner.”
For Dolby, Bowling states, “All the standards
are being worked through, and we’re very committed
to work with the industry to help provide
a solution that fills the benefits and needs of not
only content creators and distributors but also
for exhibitors. We’ve submitted parts of how
Atmos works to the industry so the industry
can see how Atmos is operating today, being the
only object-based solution that’s currently in
somewhat wide use in our industry today. With
regards to how the ins and outs will work, that’s
all to be decided, but what we have said, and
we will support, is that should an open standard
come to fruition, Dolby will work with the
industry to ensure that we can help make that
play back on Dolby’s audio products.”
A third stakeholder in this format war is
DTS. Having acquired SRS Labs in 2012 along
with its Multi-Dimensional Audio platform,
DTS is offering MDA as an open platform
toward hopeful adoption by SMPTE as the
new open standard for immersive audio. “It’s
an object-based audio framework for content
creation and archiving,” says Ton Kalker, VP of
emerging technologies, DTS. “It doesn’t focus at
all on compression; the audio essence is captured
as a PCM format. It’s all about metadata around
that audio essence and making it available as
a bit stream that can then be played back in a
cinema environment and, hopefully over time,
MDA will have a variance that will move into
the broadcast space and also into home delivery.
The long-term vision is to go beyond cinema,
but right now it’s mostly cinema.”
On the status of 25CSS-10, Kalker continues,
“We are now at the point that we start
drafting the actual metadata that we want to
capture, and then after that we are going to talk
about how this is going to be serialized into an
actual format. We are still early days, still a lot
of education going on within the group; having
said that, the goal is still to have the standard
available or a stable draft at least by the end of
this year.”
On the future of the DCP format, Kalker
says, “The notion of 5.1 or 7.1 will essentially go
away because everything will be an object and
the renderer will decide how to put it on the
channels for a particular speaker layout.” It is
DTS’s expectation that future DCPs would only
Dolby Stereo 70mm
Applying Dolby noise
reduction techniques
to the magnetic
soundtracks on 70mm
film allowed for the
first full surround
sound. Key film: Apocalypse
Now
THX ®
Not a recording
system, but a set of
quality standards to
ensure accurate playback
in theatres and
other venues. Key film:
Return of the Jedi
Dolby Digital
With an ingenious use
of space, provided a .
digital soundtrack and
an analog backup. Key
film: Batman Returns
DTS ®
Placed the
soundtrack not
on the film but
on a separate
CD-ROM. Key
film: Jurassic
Park
Sony Dynamic Digital
Sound (SDDS)
Allowed for as many as
eight channels of sound:
five in front, two side
surround channels, and one
bass channel. Few movies
used all eight channels. Key
film: Last Action Hero
30 BoxOffice ® Pro The Business of Movies JUNE 2014

SPECIAL REPORT > AUDIO
contain an MDA track. However, all current
digital cinemas would need an upgrade to their
systems in order for them to be able to read that
new format regardless of their desire to install
immersive audio. This is a big assumption; all
commercially successful cinema sound format
innovations have featured automatic backward
compatibility inherent in the design, and thus
there will be a long transition stage until this
point is achievable. Moreover, according to
Kalker, MDA does not consider the B-Chain
(the electro-acoustical environment of the auditorium)
except for the XYZ locations of each
speaker.
Both Auro and Atmos have been designed to
be inherently backward compatible. Currently
without this standard, it is conceivable for one
DCP to contain the standard baseline DCI 5.1
compatible PCM audio track plus the imbedded
Auro 11.1 track plus the Dolby Atmos auxiliary
track. In an approach identical to a film print
featuring the baseline analog track plus Dolby
Digital plus SDDS, such a DCP could play anywhere
without any cinema having to upgrade,
and those that have upgraded to immersive
audio can automatically utilize their specific
immersive audio track as an alternative to the
baseline. So interoperability is already built into
both Auro’s and Dolby’s approaches, at least to
the level achieved with analog and digital sound
on film.
What this open standard is aiming to
achieve is to go one step further by defining an
open-standard immersive audio DCP that is
compatible with all immersive audio formats.
The questions are: is this desirable or achievable;
are the current approaches really compatible
with each other; and do we actually agree on
what immersive audio actually is?
“In sound, height is the third dimension,”
says Wilfried Van Baelen, inventor, Auro-3D.
“The addition of height gives that immersive
effect especially the addition of height around
the audience.” He continues, “Immersive sound
is not related to an object- or channel-based
technology, it is about the natural spread of
sound in 3D, and that’s the key, and they are
the big difference between the two concepts.
DOLBY
ATMOS
SURROUND ANGLES
Seated ear
height at 2/3
room length
Let’s say the speaker layout from Auro is more
based on a channel-based approach (which has
many advantages: it sounds more natural), and
using the three layers—where Dolby has only
two layers—we can spread the sound vertical
much better compared to Dolby Atmos. If
people know a little bit more about audio, they
know that you cannot vertically pan sounds. If
you want to create, in the vertical axis, resolution,
you need speakers; you cannot do it with
phantom sources.”
I put the question to Bowling, and he says,
“The definition of immersive audio is the ability
to completely envelop the audience uniformly
across the seating area no matter where you’re
sat and by having the addition of overhead
surrounds, by having the addition of being able
to either statically place sounds in new unique
positions in relationship with the story that is
taking place on and off the screen or the ability
to move a sound naturally through the room,
in that its transition is from speaker to speaker,
as opposed to before, when we were moving in
zones, we were moving an entire sound through
a wall. That to me really is more of the definition
of immersive audio.”
Dolby considers the object-based era to be
the next progression after the channel-based era
E
Greater
than or
equal to
45+ (E/2)
Surround
elevation at
2/3 room
length
of mixing, and Dolby Atmos is a hybrid that offers
both. Dolby specifies angling every surround
speaker so that as much of its high-frequency
reproduction is aiming at more of the audience
in an effort to minimize any changes in timbre
as objects pan through a series of speakers.
Auro uses a channel-based approach that
they say has many advantages over objects. Says
Van Baelen, “Object-based technology is not
required to achieve an immersive sound experience…even
the opposite may be true: it can be
more distractive and, as such, less immersive.”
However, on this point, Claypool clarifies, “The
AP24 as well as the architecture and the design
specifications that were written into Auro from
the beginning were made so that if object-based
audio essence became part of a written standard,
the systems would be upgradeable to be able to
support that.” However, Auro’s bias is for the
surrounds to be more defuse, not to be angled
toward the center of the auditorium, and for
there to be two height layers: one nearer to earheight
and the other at about 30 degrees. Van
Baelen: “There is so much more information
between ear layer [Layer 1] and first height layer
[Layer 2] and that is what is making immersive
sound.” He continues, “That’s what you can
achieve if you have that vertical stereo field; you
The Multichannel Era
Multichannel sound started
with 5.1 (left, right, center, left
surround, right surround, and
subwoofer channels) in Dolby
Stereo ® 70mm.
The Object-based Audio Era
By precisely placing and moving
individual sounds anywhere in the
theater, filmmakers create a virtual
reality of sound that puts moviegoers
in the middle of the movie action.
Dolby Surround 7.1
Uses the bandwidth
available from the
transition to digital
cinema to add two
separate surround
channels in the back
of the theater. Key
film: Toy Story
Barco ® Auro 11.1
Adds a layer of five
height channels to
traditional 5.1 to feel
more immersive. Key
film: Red Tails
Dolby Atmos
Creates a 3D sound experience
so realistic one Time reviewer
said he instinctively ducked at
the sound of objects passing
overhead. Used in more than 70
titles from all the major Hollywood
studios. Key film: Brave
JUNE 2014 BoxOffice ® Pro The Business of Movies 31

SPECIAL REPORT > AUDIO
can even in one channel start to move things
because of the information that our brain is
picking up as delays between the two, but if
that field is too far apart, then that doesn’t work
anymore.” He continues, “Diffused field around
[the audience] and using these three layers, that
makes the big difference.”
Upon completion of the work of TC-
25CSS-10 and upon understanding the nature
of how Barco will offer the necessary upgrades
to the existing Auro 11.1 screens to cope with
object-based DCPs, it is still unclear how
effective the current Auro 11.1 layouts found
in theaters today will be at accurately rendering
objects. Similarly, if Van Baelen is correct, Dolby
Atmos’s lack of two vertical height layers ought
to reduce the accuracy of interaction between
Auro’s important ear-height and first-height
fields. Although to be fair, it has been seen that it
has not always been possible in some (especially
in stadium-seat) auditoriums for Auro to install
both layers to the fullest extent due to height
restrictions.
It has always been the case that the ultimate
in sound quality is achievable when the
creative team are mixing sound in a reference
electro-acoustic environment pertaining to that
same release format and that all the cinemas with
that format aim for their environments to tend
toward that same reference as closely as possible.
That way, the nuances of the format are worked
with and the audiences have an experience that
is as close as possible to the original artistic
intent. An Auro mix is best replayed in an
Auro environment, and an Atmos mix is best
replayed in an Atmos environment. Creating
a range of deliverables that are subsets of the
original mix is a norm in the industry—even if
they all end up on the same DCP. DTS’s aim
with MDA is as Kalker puts it, “The format
should be interoperable as 3D was for anybody.”
However, this analogy has some challenges; 3D
is very simple compared to the complexities of
immersive audio. 3D is effectively the delivery of
two channels to a market that offers competitive
ways to present those two channels to each
eye with minimal bleed between the eyes and
with minimal distortions—perhaps very much
like offering stereo sound to a competitive
headphone market. What MDA is aiming to
achieve is perhaps more akin to ensuring that a
video-rich web page is rendered exactly the same
on all users’ systems regardless of the size, shape,
and pixel resolution (including dead areas) of
the monitor, regardless of browser and operating
system used, and regardless of the Internet-connection
bandwidth.
CONCLUSION
Exhibitors are understandably looking for
ways to differentiate and compete both within
the cinema industry and also with non-cinema
forms of entertainment.
Immersive audio for cinema has received
a comparatively quick uptake not only from
exhibition but also from major filmmakers and
studios. It’s an exciting development that the
industry needs. If history has taught us anything,
it’s surely only a matter of time that non-cinema
versions will become available. At least Auro is
currently moving in this direction, with more
than 150 music albums natively recorded in
Auro 9.1 and tangible interest from the games
and automotive industries.
Any such uptake of immersive audio outside
of cinema is not necessarily a negative for cinema
because it is in the home and mobile spaces
where brands quickly become known and associated
with quality. A publically recognized brand
of superior sound is yet another reason for exhibitors
to select one format over another in order
to sell that experience to their own public. The
best cinemas will always offer a better experience
than anything available outside the cinema, and
movie fans will demand the best from their local
screens—especially if they have the best they can
achieve at home.
The cinema audio environment is a challenging
environment, and it is very easy to make bad
sound for otherwise good cinemas or to experience
bad sound from otherwise good content.
Control between content creation and exhibition
has been necessary to optimize the resulting
experience. Proprietary formats have offered this
commercially viable control of the complete
system by wrapping technology with standards,
recommendations, and end-to-end quality-assurance
services. This is not so readily possible with
open standards as is starting to be witnessed in
some D-Cinema-only territories.
Of the current immersive audio offerings,
each offers its solution from a different approach.
One focuses on the use of physical vertical
height arrays and the interaction between the
different layers to create immersion. The other
focuses on providing uniformly placed matching
loudspeakers over an upper hemisphere of
locations to be able to accurately and smoothly
render objects as well as arrays of channels. Importantly,
both are pledging support in principle
of the work of SMPTE TC-25CSS-10 as that
progresses; both are backward compatible to the
standard 5.1 track; both in principle can coexist
on the same DCP; and both are supported by
content creators at this time.
All this is very positive evidence that the risk
is lessened of an exhibitor picking the wrong
format now to only find its content drying up
in the future. There are indeed many reasons for
cinemas to embrace immersive audio now in
order to maximize their competitive position not
only against their fellow exhibitors in the cinema
space but also from the level of immersion that
may be possible outside of the cinema in the
near future from at least one of the vendors.
If you agree that the answer to the question
raised by the provocative title of this article is
“yes”, then the industry must be very careful in
ensuring healthy competition and choice are
kept available in the market but not necessarily
through the over-application of standardization
in a way where the differences between those
choices are diluted down and merged to the
lowest common denominator or that forces
mass upgrades to existing systems. SMPTE
TC-25CSS (and internationally ISO TC-36)
has a lot of work ahead of it in order for this
balance to be achieved. Both immersive audio
offerings have their merits in their full form,
and their coexistence brings necessary choice,
control, and added value to the industry at
this important time.
I would like to thank Auro Technologies, Barco,
Dolby, and DTS for their lengthy interviews by
way of contribution to this article, which has aimed
to be fair, objective, and neutral at all times.
JULIAN PINN
Managing Director, Julian Pinn Ltd
Julian Pinn has 20 years of experience
in the global motion picture industry as
an audio and 2D & 3D imaging specialist,
consulting on hundreds of international
movies over their techno-artistic optimization
of the medium. He is also a highly
experienced senior business development
and sales and marketing executive operating
globally, often in complex trading
blocs such as China. Among his work on a
broad spectrum of committees, Julian is a
member of the SMPTE, the current chair of
ISO standards committee for cinematography
(TC36), and is a full voting member of
the British Academy of Film and Television
Arts. He holds an honors degree in music
and sound recording from the University
of Surrey’s Tonmeister program and a master’s
in business administration specializing
in marketing and finance from the Open
University. Julian is the owner and managing
director of Julian Pinn Ltd, which
provides technical and strategic consultancy
services to a wide range of international
cinema and media clients.
32 BoxOffice ® Pro The Business of Movies JUNE 2014

SPECIAL REPORT > AUDIO
SOUND
APPEAL
Sound designers talk shop
at the Tribeca Film Festival
by Daniel Loria
Oscar Isaac as a ’60s
Greenwich Village
folksinger in the Joel
and Ethan Coens’
Inside Llewyn Davis
n Dolby recently brought together top
sound professionals to discuss the importance
of sound in film at this year’s Tribeca Film
Festival. Titled “The Art of Sound Design
and Music,” the panel featured moderator
Glenn Kiser, director of the Dolby Institute,
in conversation with a pair of leading sound
professionals: Academy Award–winning sound
designer and mixer Skip Lievsay (Gravity, True
Grit, No Country for Old Men, Inside Llewyn
Davis) and music supervisor Susan Jacobs
(American Hustle, Silver Linings Playbook, Little
Miss Sunshine). The industry veterans screened
clips from some of their most celebrated
work, sharing with the festival audience their
strategies and techniques for using sound as
a storytelling tool and their insights on what
makes sound such a central part of the cinema
experience. BoxOffice Pro shares some of the
highlights from the conversation.
Skip Lievsay on the use of sound during
a pivotal moment in Inside Llewyn Davis:
“We got to a key section of the film . . . I
thought it was a major stepping-off point where
[Llewyn] basically has to confront his art, his
personality, his ability to always say the wrong
thing at the wrong time, and the possibility of
continuing to appear at the Greenwich Village
clubs of the day or go forward to meet this producer—which
is where he is traveling on the
road trip. When he decides to leave the cat behind,
to me that it is when decides to close the
door on that part of his life and go forward.”
Skip Lievsay on his process of working
with the Coen brothers:
“When they finish shooting, they take a
little trip—usually a week or two—and then
they start editing and we start editing at the
same time. While they’re cutting their very
basic assembly, we’re working behind them and
going through what they’ve edited and selected
and try to figure out what they have up their
sleeves, what’s on their minds. We work out
our idea then as well—my crew and sound
designer—we start our own process. This way,
when they get to the end of the edit, they say,
‘Okay, this is our first cut.’ Usually at that point
we’re getting ready to show it to Mr. Rudin or
Mr. Paramount, or somebody who paid for it
is about to be shown the film, so they’re upset
and full of agony—but at least we have a mix
track, and a 5.1 mix, so we’re ready to play the
music and sound effects.”
Susan Jacobs on being a music supervisor:
“As a job definition as a music supervisor,
I really oversee the music department and
help the director find a composer; I help
them find the source material. I am also very
responsible for coming up with marketing
ideas [on the soundtrack]. The record industry
has changed, so there’s not that much of it
in what we do now. And then all the licensing
and the rights, to make sure everything is
legal and clear. The whole department is
really about facilitating a director’s vision.
Julian Schnabel loves music and knows what
he wants in a movie, and we’re there to guide
him along. With Little Miss Sunshine I came
in because the directors have an idea that the
producers weren’t comfortable with, which
was using an unknown band that nobody
knew back then—Devotchka—and [the filmmakers]
wanted them to do the music and the
producers were like, ‘No, this is crazy.’ They
hired me to get rid of that idea, but what I
actually did was to make that idea work.”
Susan Jacobs on the difficulty of source
music and scoring:
“Source music is really, really expensive, so,
basically, if you know the song, or your mother
or grandmother knows the song, you can’t
afford the song. That’s why I love working out
of New York, the inspiration of finding something
or someone new. Knowing the financial
obstacles, we don’t need to spend this much on
a composer; let’s give someone the opportunity
to pour more money into the film’s budget. For
David O. Russell, score is very tough for him,
as well as for Julian Schnabel and Jean Marc
Vallée. I have a lot of directors that don’t use a
lot of score.”
34 BoxOffice ® Pro The Business of Movies JUNE 2014

SPECIAL REPORT > AUDIO
IMMERSIVE
AUDIO
by James A. Cashin, Founder and President,
and Bill Cribbs, Engineer, USL, Inc.
n There are those who believe that immersive
technology will be a boutique experience with
very limited exposure. We believe immersive
audio is much more likely to become the dominant
method of presenting audio in a dramatic
way to all audiences.
Properly implemented, immersive/object-based
sound has the potential to provide
a better sound experience that more faithfully
represents the original creative intent. The
abstraction provided for in object-based audio
creates a uniformity of audio experience,
regardless of room or speaker configuration.
Cinema needs to differentiate itself more compellingly
from the home-theater experience by
using immersive audio technology to ratchet up
the audio experience.
One of the great benefits of the digital conversion
in cinema is that new technologies like
immersive audio can be adopted on a global
scale in a very short time. However, immersive
audio remains a small part of only a few
theaters worldwide.
Audio has evolved from stereo analog
35-millimeter film to 5.1 and 7.1 full dynamic
range digital. Immersive audio is the next logical
jump in audio technology. We may never
get there unless we have a common foundation
that companies can improve upon.
How do we get to a point where immersive
audio will become ubiquitous? A larger number
of companies collaborating on a common
solution will reduce the cost and improve the
quality of immersive audio technology. Greater
collaboration and competition will bring lower
cost and higher quality that can be implemented
quickly for most of the nonpremium
screens.
Existing standards from DCI, SMPTE, and
others have successfully guided the industry
during the digital transformation. They have
provided critical direction to equipment manufacturers
and are directly responsible for the
stable and interoperable platforms the industry
now relies upon. This foundational work must
continue as the industry moves forward.
The notion that proprietary solutions or
secret sauce is required as an incentive for
future industry investment is really nonsense.
The real question is whether the industry wants
to remain standards based and open for all
manufacturers. The answer to this question is
critical if new digital technologies are to remain
as universal as 35-millimeter film was in the
past.
The standards-based and open approaches
to new technologies encourage innovation
by enabling greater collaboration by a
much-broader base of engineers, fostering the
kinds of new applications that digital technologies
like immersive audio can bring to the
market. This approach also reduces adoption
costs by allowing all manufactures to compete
with their products and certainly provides the
necessary interoperability and stability that is
absolutely critical for the global enterprise of
the cinema industry.
Fortunately, work is already under way
at the standards bodies to address these new
innovations. That work must continue and be
supported by the industry to insure interoperability
and stability in the market.
Immersive audio technology employs the
method of adding metadata to individual
sound elements, which allows each element
to be positioned and moved independently in
the auditorium. Technical demonstrations and
numerous feature films have illustrated the
dramatic impact that immersive audio brings to
motion pictures.
Immersive audio also allows the exhibitor
the opportunity to expand over time with
incremental changes. With immersive audio,
exhibitors may decide on an auditorium-by-auditorium
basis what a cost-effective investment
is and when further incremental expansion is
warranted.
Immersive audio further makes possible the
illusive “single audio mix,” because any number
of speaker configurations can be supported
from the same immersive audio mix—from the
common 5.1 or 7.1 to 11.1 or 13.1 to the most
complex the auditorium will support.
There are a great many reasons to be
encouraged by immersive audio. The costs
of implementation will come down as the
standards are solidified and the manufacturers
become more certain of the requirements. Adopted
standards will bring interoperability and
stability to equipment. Content creators will
increasingly demand immersive sound, because
it expands their creative options and more
faithfully recreates the intended experience. All
of these reasons make the future of immersive
audio for cinema sound very exciting indeed.
36 BoxOffice ® Pro The Business of Movies JUNE 2014

Next Generation
Cinema Media Server
SONY PICTURES
CMS-2200 with Solid State Storage
(Multi-platform Screen Management System)
The innovative Cinema Media Server for the digital
cinema industry supports the JPEG-2000 decoding of
4K and high frame rate 2K images with advanced solid
state storage. The CMS-2200 also supports MPEG-2
decoding and HDMI for alternative content. Two USB
3.0 ports enable the accelerated ingest of content and
enable live-streaming. The system is HDMI 2D & 3D
compliant. The unit comes with a cross-platform
software based screen management system.
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and animals under threat.
181 Bonetti Drive
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(Ph) +1 805.549.0161 (Fax) +1 805.549.0163
uslinc@uslinc.com www.uslinc.com

SPECIAL REPORT > AUDIO
WHAT’S
NEW?
CHRISTIE
Christie Vive Audio offers a full array of speakers,
ceiling speakers, subwoofers, and amplifiers
designed to deliver the full potential of the DCI
digital audio format. Vive Audio uses both line
array speaker design and ribbon driver technology,
providing your viewers a top-of-the-line audio
experience.
Compression
driver speaker
Christie ribbon driver
line array speaker
A typical compression
driver and horn sends
sound in all directions with
reduced clarity
Christie ribbon driver
line arrays produce more
focused linear sound for
better clarity
38 BoxOffice ® Pro The Business of Movies JUNE 2014

SPECIAL REPORT > AUDIO
DOLBY
The Dolby Atmos Cinema Processor CP850 is a versatile solution that works in conjunction with Dolby
Atmos to allow filmmakers to place and move sounds anywhere in a theater. The processor supports
Dolby Atmos playback up to 64 speaker feeds and is configurable between 16 analog outputs and a
Dolby Atmos Connect output. The CP850 also supports Dolby Surround 7.1 and 5.1 digital playback and
Dolby products used for alternative content engagements.
DTS
DTS is very optimistic about its Multi-Dimensional Audio (MDA) platform, developed by SRS Labs to
give consumers a true three-dimensional surround-sound experience. MDA offers an interoperable open
platform solution that can work with both Dolby Atmos and Barco Auro immersive sound systems. A big
cost-effective advantage of MDA is that it has no inherent restriction concerning the number of speakers
it can handle, allowing it to operate through a range of configurations—from stereo to 11.1 and beyond.
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JUNE 2014 BoxOffice ® Pro The Business of Movies 39

SPECIAL REPORT > AUDIO
ENPAR
Comfort and sound
combine in Enpar
Audio’s VIBE seats.
Speakers installed in the
back or bottom of the seat pair with a film’s audio
plan to deliver rumble for audience members—
ideal for action sequences. The seat vibrates
through the subwoofer challenge, adding a new
interactive element for every audience member in
the theater.
KLIPSCH
Klipsch is releasing five new models of their
cinema surround speakers in July, equipped with
molded cabinet designs for a contemporary look
that can fit into any venue—regardless of the size.
Products in the line include 8-inch woofers KPT-
8000-M and KPT-8060-H that join three 12-inch
designs: the KPT-1200-M, KPT-1260-H, and KPT-
1200-VBM. A new KPT-1200-VBM offers Klipsch
Virtual Boundary Array Technology using a pair
of skewed horns that cover 140 degrees, a system
specialized to deliver premium quality results in
large auditoriums.
JBL HARMAN
JBL Harman’s Crown XLC2500 and XLC2800
feature the company’s DriveCore Technology,
designed to save space by reducing the amplifiers’
size—without sacrificing performance. The cost-effective
technology yields better energy efficiency,
delivering the sound quality that JBL Harman has
built its reputation on. The amplifiers work especially
well with small-format cinema applications
and are compatible with the CXM2000 Monitor/
Crossover System and JBL Cinema speakers.
40 BoxOffice ® Pro The Business of Movies JUNE 2014

SPECIAL REPORT > AUDIO
MEYER SOUND
The HMS-15 is a versatile product from Meyer Sound,
designed to meet the demands of theatrical auditoriums
as well as post-production facilities and more intimate
screening rooms. The HM-15 delivers quality performance
in 5.1 and 7.1 formats, but its real potential is
untapped when pairing it with immersive sound technologies
like Dolby Atmos and Barco Auro. The product
is designed to be mounted on either walls or ceilings,
allowing maximum versatility when installing the immersive
sound technology in your theater. The HMS-15
comes in two models: the 48 V DC version (available October
2014), powered by the MPS-488HP external power
supply, which eliminates the need for wiring conduits,
and the HMS-15AC model (available July 2014), a perfect
fit for installations with an accessible AC power supply.
JUNE 2014 BoxOffice ® Pro The Business of Movies 41

SPECIAL REPORT > AUDIO
QSC
QSC’s new SR-1290 is the latest addition to the company’s SR Series
of loudspeakers. The speaker was specifically designed to respond
to the standards of new immersive audio formats. Its coaxial design
gives the SR-1290 a small enclosure, allowing for easier mounting
and aiming. That makes overhead mounting of the product accessible
without sacrificing power or quality, a key factor to consider
when upgrading to immersive sound technology. The SR-1290 will
be available in September 2014.
SLS
SLS is currently offering several different packages for Dolby Atmos using their patented Ribbon Driver
technology, designed to service theaters from 200 to 400 seats. The company will be launching a new
series of cost-effective surround speakers designed primarily for the ceiling installation required in new
immersive audio technologies in September of this year. The new immersive audio line from SLS is designed
to cut installation time and cost by as much as 75 percent when compared to similar products.
USL
USL offers digital cinema CM series booth monitors
with the CM-8E and CM-16E, a pair of compact tworack
units designed for remote-level and remote-audio
monitoring. The products feature a bar graph
display that allows projectionists to see the accurate
auditorium levels throughout an entire cinema. USL
also offers the JSD-60, a digital sound processor that
includes six standard formats and an additional configure
format. The JSD-60 also has a built-in bypass
audio circuit to ensure premium sound performance.
42 BoxOffice ® Pro The Business of Movies JUNE 2014

FOCUS ON EUROPE
EUROPEAN CINEMA
EXHIBITION
IN 2014
A Global Player
by Phil Clapp, President, International Union of Cinemas (UNIC)
Omar Sy and François Cluzet in the
2011 international hit Intouchables
n At a time when attention seems mainly
to focus on the role that China in particular
is playing in driving global growth in
cinema, the significant contribution that the
European market continues to make to those
headline figures should not be overlooked.
Despite a very small drop in revenue
and admissions in 2013, UNIC territories
contribute more than a quarter of global box
office and have started 2014 in good health.
The last year has confirmed the continuing
importance to European cinema of key
titles from the U.S. studios, but also the
major boost that European films provide to
box office. Often this is associated with a
domestic production, as was the case in 2013
with the film Sole a catinelle in Italy and in
particular Stalingrad in Russia. Sometimes a
film produced in one European territory will
perform spectacularly well in another. Such
was the case last year in Portugal with La cage
dorée, a French film about Portuguese immigrants,
repeating the success seen previously
with another French film—Intouchables—in
several European territories in 2012.
Away from the headline numbers, the digital
revolution—or more accurately, the first
wave of that revolution—is quietly reaching
its end-game. Because while most European
territories are (with the exception of some
economically challenged parts of southern
Europe) approaching full digitization, that
change has, in fact, hastened a new era of
upgrades and improvements to the cinemagoing
experience.
With barely a chance to draw breath
after a period of unparalleled investment,
operators are now being faced with a range
of choices in content innovation—including
higher frame rates, immersive sound, and
now higher dynamic range experiences—as
well as understanding the full potential of
greater programming flexibility around film
and other content.
And outside of the cinema auditorium,
new ways to engage with audiences through
social media and other emerging means of
communication proliferate alongside innovations
in retail and hospitality.
All of that change presents as many
challenges as it does opportunities, so while
UNIC cannot make the necessary business
decisions for any individual operator, it sees
part of its role as acting as a “trusted guide”
through this increasingly congested and confusing
terrain, enabling European exhibitors
to speak with one voice on issues of shared
concern and thereby also encouraging a more
coordinated approach across the industry.
Added to that sense of dynamism around
European cinema, we are also in a period of
rapid change in the European political landscape
as it relates to the sector—another area
in which UNIC has a key role.
2013 saw us engage with the European
Commission and Parliament, and with key
industry partners, across a range of complex
issues. These included consideration of the
following: the state aid rules that govern
what support national governments are
allowed to give the industry, be it exhibition,
distribution, or production; the copyright
framework necessary to protect the interests
of creative rights holders while still meeting
the needs of audiences in a rapidly evolving
consumer market; the treatment of film as
more than just a commercial commodity;
and the questionable role of the Commission
in intervening in longstanding and beneficial
film-release practices that meet audience
preferences across various European territories.
And 2014 promises, if anything, more
change, with EU elections leading to new
faces, new roles, and new portfolios, and the
need for renewed education and engagement.
UNIC will use that opportunity to
restate its position that while the need for an
expanding legal online offer of film content is
understood, the challenge for all elements of
the value chain is to grow the pie together—
not cannibalize one at the expense of another,
nor inflict material damage on the main pillar
of the film industry (exhibition) at a time when
home entertainment revenues are down and
online is not yet taking up the slack.
One way forward would be for those
promoting online offers to be more open
about the numbers. In contrast to cinema exhibition—which
bares its financial soul on a
weekly basis—the lack of transparency from
VOD and other similar platform providers
makes it impossible to judge the value those
elements bring and their potential to provide
more. Another would be for those providers
to buy into the creative process, offering
investment in production and transparency
in terms of their tax affairs in the territories
in which they operate.
UNIC will continue through 2014 and
beyond to argue its case on these and many
other important issues, to increase its own—
and its members’—understanding of the
technological and political change ahead, and
to remind policy makers and the public of
the economic, cultural, and social contribution
that cinemas make to communities in
every European territory.
44 BoxOffice ® Pro The Business of Movies JUNE 2014

SONY PICTURES ENTERTAINMENT
Proudly Supports
CineEurope 2014
And congratulates all of this year’s honorees.
www.sonypicturesreleasing.com
© 2014 Sony Pictures Entertainment Inc.
All Rights Reserved.

FOCUS ON EUROPE
UNIC ANNUAL REPORT 2013/14
BoxOffice brings you excerpts from UNIC’s annual exhibition report,
providing key insight into the latest figures and trends from the
European market.
KEY FIGURES
CINEMA-GOING IN 2013
Moderate Drop in Box Office and Admissions
across UNIC Territories after
Strong Previous-Year Results
2013 was characterized by a moderate drop
in box office revenues and cinema admissions
across most UNIC territories. This followed a
period when the European cinema exhibition
sector—despite significant regional differences—benefited
from generally positive results
in 2012. In 2013, total box office revenues in
UNIC territories declined by 2 percent and
admissions declined by 1.6 percent.
BOX OFFICE 2012–13
(in millions €)
11.7%
3.3%
-2.2%
-7.4%
-4.0%
= 2012 = 2013
Weaker Results in Some Territories
France, the U.K., and Germany witnessed
slightly less successful performances in 2013
after impressive results in 2012. Box office revenues
decreased by 1.6 percent in the U.K. and
1 percent in Germany. Admissions dropped
by 5.3 percent for France and by 4 percent
for both the U.K. and Germany. Smaller
territories across Western Europe—with the
exception of the Netherlands (box office +2
percent; admissions +0.8 percent)—had similar
experiences.
2013 Success Stories
Several success stories stood out in 2013,
showing how varied the situation was across
UNIC territories. Russia saw another period
of sustained growth, with an increase in box
office revenues of 10.2 percent and admissions
growth of 10.4 percent. The Turkish and
Israeli markets also grew by 7.7 percent and
1.5 percent in box office revenues as well as
by 13.5 percent and 7.5 percent in admissions
respectively. It was primarily these growth
markets that helped ensure that cinema exhibition
across UNIC territories overall remained
robust in 2013.
n/d
n/d
1.5%
12.6%
-3.4%
2.0%
-1.3%
-7.4%
-11.5%
1.5%
5.0%
-1.0%
Data
presented
throughout this
report covers the
year 2013, while
qualitative assessments
cover 2013
through mid-
2014.
10.2%
Italy Upbeat, Dramatic Results in Spain
While most southern European territories
continued to experience very difficult conditions,
the Italian exhibition sector bounced
back with a small increase in box office
revenues (1.5 percent) and a healthy increase of
6.6 percent in admissions. Spain, on the other
hand, continued to suffer economic difficulties,
to which were added in 2013 ill-advised government
tax initiatives. As a result, box office
revenues in that territory decreased by 16.3 percent
and admissions decreased by 15.4 percent.
-11.4%
-11.3%
7.7%
-16.3%
-1.6%
46 BoxOffice ® Pro The Business of Movies JUNE 2014

Average 1.6 Visits to the Cinema per
Year
The average annual number of cinema
visits decreased marginally by 0.1 to 1.6 visits
per capita across UNIC territories in 2013. In
growth markets such as Israel (1.7), Italy (1.6),
Russia (1.2), and Turkey (0.7) cinema-going
increased. The rate was highest in Ireland (3.2).
While admissions per capita remained stable in
Denmark (2.5) and the Netherlands (1.8), it
slightly decreased in other UNIC territories.
TAKING STOCK AND
LOOKING FORWARD
REVIEW OF KEY MARKET
TRENDS
How do we assess key market trends in
European cinema exhibition in the context of
an increasingly global motion picture value
chain, technological innovations, and consumer
trends?
Clear Need for a Strong European Voice
in an International Industry
European cinemas operate in an increasingly
international landscape. Global box office
returns in 2013 increased by 4 percent to a total
of €25.9 billion, spurred in the main by growth
in the Asia-Pacific region. UNIC territories
together made up for more than 25 percent of
those revenues and, despite a slight dip in 2013,
represented a robust and resilient market. International
industry partners that only focus their
attention on developing markets such as China
and neglect the diverse audience preferences and
opportunities across Europe, arguably lose out.
In this context, it is important to recognize
that European cinema exhibition is defined, and
at the same time united, by its diversity. The
fragmentation of our sector along cultural and
linguistic lines demands that we must work to
speak with one voice and articulate our shared
economic relevance vis-à-vis our partners. This
need for one voice is the raison d’être of UNIC.
Benefiting from Innovation and Change
Digital cinema has developed into the
game changer that it was always meant to be.
Cinemas across UNIC territories have invested
more than €1.5 billion in digital cinema over
the past decade. As a result, they are able to
benefit from diverse innovations in content,
operational efficiencies, increased flexibilities,
and new economies of scale. And the commitment
to continuous innovation is ongoing.
Recent developments include immersive audio,
High Dynamic Range (HDR) projection as well
as 4D cinema. All of these have the potential to
further upgrade the cinema-going experience.
Theater owners across Europe are able to
experiment with new ways of programming
FOCUS ON EUROPE
and audience engagement thanks to digital
technology and are thereby increasingly able to
meet the new demands of fragmented yet also
increasingly connected audiences. The growing
number of specialized screenings and alternative
content in cinemas illustrates how the sector
benefits from this increased flexibility. There is
also a strong impetus to release films more strategically
throughout the year as delivery bottlenecks
in film distribution disappear. Intelligent
cross-sector partnerships with leading brands,
more data-driven customer engagement, and
further innovations in social networking and
mobile applications are important prerequisites
for competitiveness in this new landscape.
UNIC, together with its members, is seeking
to identify and analyze these trends at an early
stage in order to ensure that cinemas remain in
the driver’s seat when it comes to deciding how
the industry might benefit from technological
change.
Cinemas and Video on Demand—Growing
Markets Together
The development of an attractive online film
offer across Europe strengthens the entire cinema
sector and is welcomed by cinema exhibitors
on condition that important business principles
of value creation and exclusivity are respected.
However, for video on demand to become
a significant player, existing operators have to
JUNE 2014 BoxOffice ® Pro The Business of Movies 47

FOCUS ON EUROPE
ADMISSIONS 2012–13
(in millions)
-4.3%
-1.1%
-1.1%
-3.3%
-8.9%
7.8%
-3.4%
-4.7%
-5.0%
7.5%
-2.7%
-9.4%
0.8%
-10.1%
-11.5%
-5.2%
= 2012 = 2013
6.7%
-15.4%
-4.0%
10.4%
-5.3%
to 24 years old (OHIM, Nov. 2013). There
is a strong need for cinema exhibitors to help
ensure that investments in film production,
distribution, and exhibition continue to be
rewarded and that Europe’s culturally diverse
and competitive film sectors continue to thrive.
Next to our advocacy commitments—described
further below—UNIC coordinates collaboration
between rights holders and cinema
exhibitors when it comes to fighting illegal
film recordings in theaters, and promotes film
literacy and awareness campaigns among its
members.
Opportunities for Local and European
Films
While major studio “tentpoles” as well as
less mainstream U.S. films will continue to
entertain European audiences, the internationalization
of the sector further spurred by
technological change also provides great opportunities
for local and European films.
Europe’s cinemas strongly rely on European
films that do well on the big screen. Last year’s
local box office successes such as The Hunt
(DK), Fack ju Göhte (DE), Sole a catinelle (IT),
Stalingrad (RU), and Düğün Dernek (TK) show
the way and should be an encouragement.
While the European film industry is fragmented
along linguistic and cultural lines, local hits
and successful co-productions have also proven
that European stories can travel, and that the
big screen is the best place to promote European
storytelling across borders. In this context,
UNIC notes that pan-European hits tend to
first do well in a specific territory, hence pointing
toward the need to enable the development
of strong national markets for cinematographic
works.
13.5%
prove that their business models contribute
to the prosperity and the cultural diversity of
Europe’s film industry. New stakeholders have
so far been unwilling to invest in creation and
share some of the risks that are inherent in the
creative industries. Many major online operators
are also successfully avoiding paying taxes in
Europe. More commitment and participation is
therefore required from these new stakeholders
in order to enable truly creative partnerships
that could unleash innovations to the benefit of
European audiences and reveal much-needed
consumer insights.
Cinema exhibitors are observing with interest
shifting patterns in home entertainment.
Given the clear lack of evidence with regard to
the profitability of many VOD platforms, and
considering the continued strength of theatrical
exhibition and its unique social and cultural
-4.0%
value, it seems clear that films made for the big
screen—whatever their origin—should benefit
from a sustainable and exclusive theatrical
window at the beginning of the release schedule.
When it comes to promoting films more
effectively across various version markets, the
onus is clearly on new stakeholders to be more
transparent and collaborative.
Rewarding Creativity
None of the above will bear fruit if we cannot
limit the devastating impacts that film theft
and illegal film viewing have on our industry
and on the diversity of our offer. According
to a recent pan-European study, 42 percent of
Europeans consider it acceptable to download
or access copyright-protected content illegally
when it is for personal use. This number rises
by 15 points to 57 percent among citizens 15
Engaging Audiences
What remains is to attract an ever-growing
and diverse audience to enjoy films together
and on the big screen. Cinemas are approaching
this opportunity head on, continuously
upgrading their theaters and their offer, as well
as their audience engagement strategies. Digital
technology offers a myriad of innovative ways
to reach out to and engage with audiences
by exploring the unique social and cultural
features of cinema-going. UNIC members
also strongly support film literacy programs
across Europe. Film literacy has a fundamental
socio-cultural role to play as films carry an
important societal value, be it through the
values they convey, their historic or contemporary
significance, or their artistic dimension.
Cinemas are the natural place to introduce
young people to film. There is also a proven
correlation between access to film education
and cinema-going frequency. Sharing these
experiences and lessons learned in the context
of ever-developing audience trends will be a key
focus for UNIC in 2014 and 2015.
48 BoxOffice ® Pro The Business of Movies JUNE 2014

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ADMISSIONS PER CAPITA 2013
JUNE 2014 BoxOffice ® Pro The Business of Movies 49

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GILLES JACOB
President
Cannes Film Festival
THE COTÉCINÉMA INTERVIEW translated by Daniel Loria
You were mostly a critic
who encouraged people to
like films.
My boss, Jean-Louis Bory,
was a critic who loved to communicate
his passion for going
to the movies, which is what
good critics do. That being said,
he could be harsh at times. I
remember a harsh comparison
between Catherine Deneuve and
some kind of bovine…
Can a critic be a good curator
of cinema?
Of course, because it’s
exactly the same thing! The only
difference is that the curator
doesn’t write. If they come from
criticism, they can feel a bit
frustrated since they are tasked
with the screenings and the
negotiations that don’t come
with writing. To a certain extent,
critics feel like they are directors
themselves. They always have a
tendency to comment on and
critique a selection.
n Under Gilles Jacob’s reign, the Cannes Film Festival has become the
biggest film festival in the world—even if he can barely believe it himself.
BoxOffice’s parent company, Côté Cinéma, met with Gilles Jacob,
considered one of the most respected figures in French cinema, as the
modest cinephile prepares to leave his post as the head of the Cannes
Film Festival at the end of this year’s event. Jacob shares his memories of
Cannes and speaks about what’s in store for his future.
You were originally on track to follow a more “serious” industrial
career that your father had traced out for you, but as you
were studying the humanities, you discovered your love for
cinema and founded the cinema journal Raccord. Could you
tell us about that adventure that began back in 1949?
I have to mention that at the time there were only two specialized
journals: the excellent Revue du cinema, which began before the war, and
the weekly L’Ecran Français, which was considered the bible of cinema.
My friends and I didn’t exactly agree with the views in either of them. We
put together a small journal; it was mimeographed at the beginning, and
then printed on glossy paper at la Roche-sur-Yon, so it would be 2,000
francs cheaper! We published 12 or 13 editions. That’s how, bit by bit, I
became a professional critic at L’Express, giving me the chance to attend
the Cannes Film Festival for the first time in 1964.
What was the Cannes Film
Festival of your youth like?
You can’t even imagine! The
screenings were held in a single
theater that could seat 1,200 at
the old Palais, which you could only access through a small, dangerous
set of stairs that you would trip on frequently.
Above all, the festival is a mundane event: Cocteau and his friends—
I’m a hundred years old—arrived from Paris to put on a screening,
and then suddenly demanded the event be stopped so they could order
dinner and have it resume when they returned. But I have to remind you
that at the time, a screening was composed of a short, a documentary,
and a feature film and could last up to three hours.
Afterward the jury members, usually poets, came up with marvelous
ideas: The Lyrical Film Prize (Prix du film lyrique) in 1952, the Good
Humor Prize” (Prix du film de la bonne humeur) and even the Prize for
Best Visual Storytelling” (Prix du film le mieux raconté par l’image) in
1953. It was all very nice, but there was really nothing at stake.
Who was in charge of the film selection at the time?
The countries would select their own films themselves—and usually
on friendly terms. And if by any chance one country would say something
bad about another (we were in the middle of the Cold War), the
offended country would threaten to drop out. In order not to affect diplomacy,
each country would receive a prize so everyone was sure to win!
The festival suffered from this inextricable situation for a very long
time. Then in 1972, my predecessor, Maurice Bessy, had the courage
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to decree that the festival would select its own films. It wasn’t an easy
decision to make; it failed to convince the governments, the diplomats…
but soon enough the global festivals followed our lead and it would never
be the same.
My small contribution throughout these 28 years was to make the
festival independent. Its artistic integrity, political, professional, and
financial independence has been aided by three key factors: the film
market, television, and partnerships.
What was your initial function in the Cannes Film Festival staff
that you joined in 1976?
At first I had none…among the people who thought I had nothing to
do there! Afterward I became assistant to the general delegate, which isn’t
the same as assistant general delegate. The assistant general delegate is
one day supposed to become the general delegate, making the job of the
assistant to the general delegate very expendable! [laughs]
Over the years, seeing you well dressed on the red carpet welcoming
everyone has been one of the highlights of the festival. How has the red
carpet become such an iconic part of Cannes?
The inaugural year of the new Palais (in 1983), we realized that our
guests had to elbow their way through the crowds, fans, tourists, and
photographers. The following year, I asked [French television news
anchor] Yves Mourousi for advice on organizing the changes. Since then,
the Cannes red carpet has become a worldwide obsession! Some of our
competitors tease, “Cannes is wonderful! They have the red carpet—and
we have the films!” [laughs]
The controversial Lars von Trier would call you Dad; the discreet Aki
Kaurismäki said you were a gentleman. In picking the films, you have a
direct line to the world’s greatest filmmakers. But how do you turn down
a film and still preserve a good relationship with one of these auteurs?
It’s very painful for an artist who is putting together a movie to hear
that he didn’t make it in the selection. This should not be considered a
failure, although they often consider it as one—even if the film is just a
rough cut.
I have two pieces of advice for future festival directors. The first is to
show that you know cinema and to explain to filmmakers the reasons
why you think it isn’t a good idea, for the film itself, to be shown. For example,
if you think the critics will bring it down in flames, or if the public
is going leave the theater by the hundreds. My second advice would be
to never lie, but to always say what you think. But you always need to be
very prudent in doing so, and say so humbly and very delicately.
Did you ever have a conflict with a filmmaker who was left
out?
If you can make them understand the reasons why their film wasn’t
selected, you can remain, if not friends, at least on good terms. The problem
comes if, with the next film, the filmmaker is again turned down in
a similar way. Then the person starts to become a bit paranoid and tell
themselves, “This guy has banned me.” And if it happens a third time,
then it’s all finished! The solution is then to make sure they don’t submit
a third time! [laughs]
With that setback, are there certain directors who you think
you overlooked in your selections?
Yes, many! I reserve the right to make mistakes. The important thing
is to mess up less than the others! There are only five or six A-list international
film festivals that all compete with one another to get the best
filmmakers. But you know, it’s not really difficult to show the latest film
by Alain Resnais. The hardest part is discovering Jane Campion when she
hasn’t done anything more than three shorts, or to include in the competition
a film by Nanni Moretti shot in Super 8 [Ecce Bombo in 1978]
and screen it at the big theater. After contributing to the discoveries of
Lars Von Trier, Kieślowski, the Coen brothers, I tell myself that I have
come to understand a thing or two in this business.
There have been several controversial award winners at the
festival. What’s your position on communicating with the
jury?
My predecessors thought they had to interact with the jury to voice
their own opinion. It used to make waves, like the famous situation
with Françoise Sagan, who strongly argued against awarding a prize
to Apocalypse Now since she wanted to vote for Le Tambour. The two
films eventually were awarded ex-aequo.
Once I became head of the festival, I gave my team formal instructions:
you should not influence the jury in any case whatsoever. We silently
attend the deliberations, just in case we need to clarify any rules.
That doesn’t prevent us from sometimes boiling inside, thinking that
the jury has made a monumental mistake. But if there is any pressure
on them, it does not come from the festival; we never say a thing.
It’s the same the other way around. When juries ask me what I
think for certain awards, I never respond with anything more than a
polite smile.
Juries allow themselves certain whims. What do you think
about Spielberg’s choice last year to award the triple crown
to Blue is the Warmest Color?
That wasn’t a whim. That had never happened before—and in my
view it was a bit excessive. But I respected it—to award the Palme to
the director and the two actresses. Spielberg wanted to give them acting
awards on top of the Palme d’Or; the rules don’t allow that. They
found a makeshift solution, but it should be avoided in the future.
You have access to the best of global cinema. Can you still
be a “normal” viewer who goes to the movies on a rainy
Sunday?
Rain or shine, I go to the cinema every day. But since I’ve been
working in the industry for a long time, I can’t go see a film at 2 p.m.
without feeling a bit guilty, just like when I used to be a critic.
Going to the cinema has always been a pleasure and diversion for
me. I’ve never had the idea that the cinema was my “job.” I try to keep
a fresh perspective, feeling, or surprise. Overall, I try to discover new
talents, which is the greatest part about this job.
You will not be seen on the red carpet anymore; does it
mean you’re getting ready to retire?
I hate the word “retirement.” I understand that those with difficult
jobs dream of retiring when they turn 60. On my part, I should have
retired 23 years ago, but it would have been a mistake. I have noticed
that people who stop all their activity suddenly tend to wear down and
die quickly!
I’m still the head of the Cinéfondation. That way, after helping find
the first films to create the Camera d’Or, I try to help directors even
earlier in their careers by following students through the moment they
decide to become filmmakers!
You have also been very active as a writer after having authored
Les Visiteurs de Cannes, Livre d’or, and Les Pas perdus.
Have you always been a writer, even when you weren’t
being published?
I wrote my first book in the ’60s, Un jour une mouette, published
by Grasset, which is, fortunately, impossible to find today! I’ve always
been an active writer: speeches, letters (I communicate more through
letters with filmmakers who are on the other end of the world). All my
subsequent writing has been collected in a folder labeled “Jacob—Festival
de Cannes” that will be donated to a library. Writing is something
else; one needs to work and progress, something I do every day. I’ve
written four book in five years. I am in the process of writing a new
one. The transition is quite natural and it will keep me busy; that’s
what matters.
JUNE 2014 BoxOffice ® Pro The Business of Movies 51

FOCUS ON EUROPE
MATTHIEU ZELLER
Executive Vice-President International
Marketing, Distribution & Business
Development
StudioCanal
Interview by Daniel Loria
are doing quite well, in fact. We are in the three most favorable and solid
markets in Europe.
We are starting to have more and more common lineups because we
are developing a lot more international production. Our international
lineup is far more important today. We have strong releases that we are
coordinating among all three territories, and it works well, I have to say.
Non-Stop has been a big success from the beginning of this year, and
that’s a big example of what we can do when we are doing big releases
across Europe.
What trends do you see from European audiences;
what are they looking for? What works in Europe?
We know that U.S. blockbusters and the superhero
movies are doing quite well and are still [performing]. At
least in Europe there is still a demand for what I would
say, “smarter,” movies for a “movie-lover” audience—those
frequent moviegoers that are looking for a little bit more
elaborative movies with more [dialogue] and maybe less
action or violence, maybe more intrigue or plot and strong
and smart actors, maybe a bit older than the actors that we
see in the superhero and action movies. There is room for
these kinds of movies in Europe as there is room for them
all across the world, but in Europe we have this audience
that is still going to the theaters and is waiting for those
types of movies.
The movies we have [slated] are mainly based on
European IPs with European talents lined up. When we are
working on Our Kind of Traitor, based on a John le Carré
novel, that’s a European IP with a story based all across Europe.
Paddington is a strong European IP; Shaun the Sheep
as well. The Gunman, with Sean Penn, Javier Bardem, and
Idris Elba was also shot in Europe and is a European story
adapted from a French novel.
We are building strong universal stories with strong
international potential that are based on European stories,
European IPs, and European talents. It brings something
else, a taste that is a little bit different from what the major
Hollywood studios are proposing to the audience.
n Matthieu Zeller joined StudioCanal from the iconic French cosmetics
label L’Oréal in 2012 as the executive vice-president in charge of strategic
marketing and French and international distribution. He was promoted
to supervise StudioCanal’s international marketing, distribution, and
business development in 2014.
StudioCanal is present in three of Europe’s key markets:
France, the U.K., and Germany. Could you tell me a bit about
your view of each of those markets?
The French market has been very dynamic at the beginning of the
year thanks to the big successes of French comedies and local products.
That was the weakness of the market last year, so that makes the difference.
The U.K. market is quite solid; it’s always been a solid market. U.K.
productions have been a bit less successful than usual, but this is a market
that is quite dynamic. I think the U.K. market is quite positive.
The German market has been really good and strong over the last
couple of years, and it continues to be very sturdy. In all three markets we
We hear that the European audience is graying,
but you have two upcoming projects—Paddington
and Shaun the Sheep—that look to drive in more
kids to the theater. What can the European industry
do to bring the children back to the movies?
It seems as if StudioCanal is betting on this youth
market.
We are betting on a family audience, we are not targeting the kids or
the children. We are targeting the families, and that’s a little bit different
in the way we are producing and marketing the movies. Obviously we
want the families to go to the cinema together; it allows us and exhibition
to get [up to] six tickets for a movie.
When you talk about Paddington, that’s a key property: a family
comedy with Hugh Bonneville and Nicole Kidman, produced by David
Heyman, and it will be fun for the parents and the adults. Shaun the
Sheep and Aardman Animations, the kind of humor they are proposing
is really universal that adults also love. It’s really important for us not to
make only kids movies but also family movies.
You have a lot of properties coming from the U.S. studios that are really
interesting, that are really strong, but I think the European audience
is really interested in adding an alternative to that. Paddington can talk to
the European audience, particularly the British audience, of course, but
also the European audience as a whole. There are cultural elements and
references that are maybe a bit more European than the references they
can have in some other family movies.
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COMING
SOON FROM
STUDIOCANAL
StudioCanal is betting big on
strong films with European
roots and stellar talent.
THE 100-YEAR-OLD
MAN WHO CLIMBED
OUT THE WINDOW AND
DISAPPEARED
Director: Felix Herngren
Starring: Robert Gustafsson
Based on Jonas Jonasson’s
international bestseller, the film tells
the story of a century-old man who
decides he wants a fresh start.
UNTITLED STEPHEN
FREARS PROJECT
Director: Stephen Frears
Starring: Ben Foster, Chris
O’Dowd, Guillaume Canet,
Jesse Plemons, Dustin
Hoffman
Oscar-nominated director Stephen
Frears (The Queen, Philomena) directs
this take on the real-life story of the
rise and fall of controversial cyclist
Lance Armstrong. The film is based
on the award-winning book Seven
Deadly Sins by David Walsh.
OUR KIND OF TRAITOR
Director: Susanna White
Starring: Ewan McGregor
The latest adaptation of Tinker Tailor
Soldier Spy author John le Carré brings
us another European-centered spy tale
with Ewan McGregor leading the cast.
SHAUN THE SHEEP
Directors: Richard Starzak
and Mark Burton
Animation favorites Aardman
Animations brings one of their
popular characters, Shaun the Sheep,
to the big screen.
PADDINGTON
Director: Paul King
Starring: Hugh Bonneville,
Sally Hawkins, Julie
Walters, Peter Capaldi, Jim
Broadbent, Nicole Kidman,
and Colin Firth as the voice
of Paddington
The beloved children’s book gets the
big-screen treatment as the famous
bear from the train station arrives in
theaters worldwide.
THE GUNMAN
Director: Pierre Morel
Starring: Sean Penn, Javier
Bardem, Jasmine Trinca,
Idris Elba, Ray Winstone
This new action thriller from Taken
director Pierre Morel brings an A-list
cast to a film spanning numerous
European locales.
SERENA
Director: Susanne Bier
Starring: Jennifer Lawrence,
Bradley Cooper, Rhys Ifans,
Toby Jones
Jennifer Lawrence and Bradley
Cooper reignite the chemistry that
made them irresistible in David
O. Russell’s films (Silver Linings
Playbook, American Hustle) in this
epic romance directed by Academy
Award–winner Susanne Bier.
THE TWO FACES OF
JANUARY (above)
Director: Hossein Amini
Starring: Viggo Mortensen,
Kirsten Dunst, Oscar Isaac
This adaptation of a Patricia
Highsmith novel brings together a
strong Hollywood cast with Oscarnominated
writer Hossein Amini at
the helm.
JUNE 2014 BoxOffice ® Pro The Business of Movies 53

FOCUS ON EUROPE
EUROPEAN
POPULATION
TRENDS SET TO
IMPACT CINEMA
by Mark de Quervain, Action Marketing Works Ltd.
n Should we be concerned with and start planning now for changes in
populations in our respective countries? This article examines briefly the
key trends across the European Union (EU) countries and discusses how
any of these changes could significantly impact the cinema business up to
2020 and as late as 2060.
The projected population from 2013 to 2020 is set to increase in total
across all EU28 countries by just 1 percent to 512.4 million and by just
over 3 percent from 2013 to 2060. However, these figures hide significant
changes between individual nation states (Table 1).
Many Baltic and Eastern European states are trending with negative
population growth due in large part to migration. Germany and Spain
are worth noting as two major EU countries with predicted significant
population decline, while the United Kingdom, Italy, France, and Belgium
all have significant future population growth. Norway and Sweden
also predict growth but less than these others.
It is projected from 2015 onward that births will not outnumber
deaths across EU27, hence population growth caused by natural
increase will cease. Population changes, both increases and decreases,
will be down to net migration between countries. This
may have implications on the films we show and other services we
provide (including employment) for migrant families and workers,
which could impact certain cinema catchment conurbations.
TABLE 1 COUNTRIES IN THE EU28 WITH LARGEST NET
CHANGES IN ACTUAL POPULATION (2013 VS. 2020 EST.)
Population Change
Country
% Change
2013–2020 (000)
U.K. 2,797 4.4%
Italy 2,276 3.8%
France 2,080 3.2%
Belgium 662 5.9%
Switzerland 630 7.8%
Germany (1,383) (1.7%)
Spain (933) (2.0%)
Greece (359) (3.2%)
Portugal (347) (3.3%)
Romania (333) (1.7%)
Population in- and outflows will clearly have an impact on some of the
key measures we use in our industry, including population by screen,
attendance per capita, and potential overall admissions growth. Planning
locations for new cinemas and refurbishments may also be influenced to
some extent by population changes in terms of mix, culture, and numbers.
In order to get a better understanding of population changes, this
article will look at the following two key factors:
• Aging [Table 3]: Changes in old-age dependency defined as people over
65 and the impact of changes in the size of the working population
• Youth [Table 4]: Changes in youth population, 0- to 14-year-olds
Implications of aging population
As populations grow older, the implications on our business will
almost certainly be significant, including from major countries like
Germany and Italy (Table 3) where over 20 percent of the population
is predicted to be over 65 by 2020. Aging baby boomers, while having
been brought up on films and cinemas of the multiplex era, will, due to
their maturity, naturally develop new tastes and pastimes that in turn will
impact their choices of what to see. This might trigger changes in the mix
of titles in the top 30; more sophisticated movies could achieve greater
box office success than in the past decade or more. Suffice to say, we are
seeing trends for films of this type along with the continuing growth of
alternative content including opera, ballet, and theater.
Cinema environments will likely need to adapt to this target group,
with more of a focus on quality, comfort, and providing a more welcoming,
friendly, and service-orientated environment.
Their taste for the traditional fodder of popcorn and fizzy drinks may
change, and cinemas will have to respond with more refined fare that
offers choice, quality, and smaller portions.
Their availability for cinema-going may also change depending on
their employment status and whether they are pension/state dependent
and/or in part-time work to supplement their income, partly driven in
some countries by the rising of pension age. New pricing structures may
need to be considered to be more aligned with their needs.
TABLE 2 COUNTRIES IN THE EU28 WITH THE BIGGEST %
CHANGES IN THEIR POPULATION (2013 VS. 2020 EST.)
Population Change
Country
% Change
2013–2020 (000)
Luxembourg 95 17.8%
Norway 496 9.8%
Switzerland 630 7.8%
Sweden 582 6.1%
Belgium 662 5.9%
Lithuania (301) (10.1%)
Latvia (143) (7.1%)
Bulgaria (309) (4.2%)
Portugal (347) (3.3%)
Greece (359) (3.2%)
DATA SOURCE All the population data and references have been drawn from various reports produced by Eurostat,
which can be located at the following website: epp.eurostat.ec.europa.eu/portal/page/portal/eurostat/home/
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TABLE 3 AGING—OVER 65 YEARS: BY THE YEAR 2020, THE OVER-65 POPULATION IS SET TO RISE IN
THE 27 EU COUNTRIES BY 15.9 PERCENT. AS WITH THE POPULATION INFORMATION ABOVE,
THERE ARE SIGNIFICANT CHANGES BY COUNTRY.
Country
2010
% Pop.
2020
% Pop.
Change % points Change %
MOST AGING
Total
Population 2020
(000)
Over-65
Population 2020
(000)
Malta 14.76% 20.34% 5.58% 37.80% 427 87
Poland 13.56% 18.22% 4.66% 34.37% 37,960 6,917
Slovak Republic 12.29% 16.44% 4.15% 33.77% 5,432 893
Czech Rep. 15.39% 20.22% 4.83% 31.38% 10,543 2,132
Finland 17.06% 22.41% 5.35% 31.36% 5,501 1,233
LEAST AGING
Germany 20.57% 22.79% 2.22% 10.79% 81,472 18,568
Estonia 16.99% 18.77% 1.78% 10.48% 1,311 246
Austria 17.56% 19.36% 1.80% 10.25% 8,723 1,689
Lithuania 16.05% 17.57% 1.52% 9.47% 3,220 566
Spain 16.69% 18.18% 1.49% 8.93% 51,108 9,292
Latvia 17.36% 18.57% 1.21% 6.97% 2,151 399
OTHER TERRITORIES (ALPHABETICAL ORDER)
Belgium 17.22% 19.51% 2.29% 13.30% 11,322 2,209
Denmark 16.37% 20.11% 3.74% 22.85% 5,661 1,138
France 16.74% 20.19% 3.45% 20.61% 65,607 13,248
Italy 20.34% 22.68% 2.34% 11.50% 61,421 13,931
Netherlands 15.33% 19.80% 4.47% 29.16% 16,8961 3,346
Portugal 17.79% 20.08% 2.29% 12.87% 16,896 2,230
Sweden 18.16% 20.81% 2.65% 14.59% 11,108 2,050
U.K. 16.38% 18.29% 1.91% 11.66% 9,853 12,011
NOVEMBER 2013 BoxOffice ® Pro The Business of Movies 57
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JUNE 2014 BoxOffice ® Pro The Business of Movies 55
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FOCUS ON EUROPE
Country
TABLE 4 CHANGE IN YOUTH POPULATIONS (0–14 Y/O), 2010 VS. 2020
% Population
2010
% Population
2020
Var. Percentage
Points
2010 vs. 2020
Var. % of
Population
2010 vs. 2020
Population
2020 est.
(000)
No. 0–14 y/o
2020 est.
(000)
LARGEST POSITIVE CHANGE—YOUTH 0–14 Y/O, 2010 TO 2020
Estonia 15.1% 16.9% 1.8% 12.2% 1,311.0 221.6
Latvia 13.7% 15.3% 1.6% 12.1% 2,151.4 329.2
Bulgaria 13.5% 14.3% 0.8% 5.9% 7,187.7 1,024.5
Sweden 16.5% 17.4% 0.9% 5.5% 9,853.0 1,718.1
Czech Rep 14.1% 14.7% 0.6% 4.1% 10,543.4 1,548.3
Spain 15.0% 15.5% 0.5% 3.3% 51,108.6 7,924.2
LARGEST NEGATIVE CHANGE—YOUTH 0–14 Y/O, 2010 TO 2020
Portugal 15.3% 14.5% (0.9%) (5.6%) 11,108.2 1,605.3
Luxembourg 17.9% 16.9% (1.0%) (5.7%) 551.0 93.3
Germany 13.4% 12.6% (0.8%) (6.3%) 81,471.6 10,264.1
Malta 15.6% 14.6% (1.0%) (6.5%) 427.0 62.3
Denmark 18.1% 16.7% (1.4%) (7.5%) 5,661.1 947.7
Netherlands 17.5% 15.7% (1.8%) (10.4%) 16,895.7 2,649.1
OTHER TERRITORIES (ALPHABETICAL ORDER) 0–14 Y/O, 2010 TO 2020
Belgium 16.8% 16.7% (0.1%) (0.3%) 11,321.7 1,895.5
France 18.4% 18.2% (0.2%) (1.2%) 65,606.6 11,932.1
Italy 14.0% 13.4% (0.6%) (4.6%) 61,421.0 8,216.7
Poland 15.0% 14.8% (0.2%) (1.4%) 37,959.8 5,606.5
U.K. 17.3% 17.7% 0.4% 2.2% 65,683.1 11,646.9
Working-Age Population
In 2008 in the EU27 there were four people of working age (15–64
years old) for every person aged 65; it is forecast that by 2060, the ratio
will be halved to just 2:1. It is therefore possible that the 65-plus age
group will become a key focus for employment in cinemas, which in turn
could radically change the service we offer and how this group will see
cinemas in the future.
The reality of these numbers is worse than the 2:1 ratio because of
the way the EU has presented the data, which includes 15- to 18-yearolds
in their working population numbers. This group will be in fulltime
education. This skew is further increased by the high and growing
numbers of university students who enter the job market from their
early to mid-20s.
Overall, the over-65 age group represents a key growth opportunity
for our business over the next 40 years and, as such,
needs to be considered a priority for our planning, particularly
as they will be significantly bigger in numbers than the 0- to
14-year-old group. In actual terms the 0–14 age group fall is
10 times less than the percent rise in the 65-plus age group
between 2010 and 2020, with this rate change getting bigger
up to and including 2060.
Implications of changes in youth (0–14 years old) population
Young age dependency within the EU27 is set to fall very moderately
by -1.6 percent (2010 vs. 2020) and continue to be nearly flat for
the foreseeable future, so the numbers of children will remain relatively
steady, which will hopefully maintain the current demand for family
content.
Changes are taking place in the traditional family unit. It is beyond
the scope of this article to provide detailed statistics that are available on
changes in the family; however there is an increasing number of lone-parent
families driven by two key categories: unmarried young mothers, who
are more prevalent in countries such as the U.K., Germany, and Norway;
and divorced couples, of which there has been a significant rise in some
southern European countries such as Spain.
Implications of increasing lone-parent families will no doubt affect
their spending power and their ability to go as frequently as perhaps they
would like. Pricing strategies for this group will undoubtedly need to be
reviewed moving forward.
Working single parents will almost certainly be more time poor, and
there could also be a greater reliance on the support from the wider family
unit, friends, and other external support groups.
Overall this group is critical to our future, and, despite being relatively
stable in terms of total numbers, it is possible that it could prove a
challenge to maintain their attendance frequency and spending levels in
cinemas.
Conclusion
I hope this article has provided you with food for thought. Changing
populations across so many countries is difficult to summarize in a short
article, but the trends are clear. In the EU27, we are facing increasing
aging populations (over 65 years old), lower birth rates than deaths, a
relatively steady level of youth population even if impacted by changes
in the family unit, and shifting populations with some countries set to
expect proportionately higher levels of migration.
All of this will, I am sure, have an impact on our business. These are
not short-term changes but ones that will be with us for the foreseeable
future (2060). If you wish to know more about specific changes in your
country, the EU has a lot of data that is freely accessible and will help
inform you on what actions you wish to take (if any). It is a fascinating
subject with possible far-reaching implications in our business and warrants,
in my view, a more detailed study, which I am planning to do and
make available in the near future.
For more information please contact: Mark de Quervain, Action
Marketing Works Ltd., markdeq@actionmarketingworks.com
56 BoxOffice ® Pro The Business of Movies JUNE 2014

FOCUS ON EUROPE
EUROPEAN LEADERS
BoxOffice takes a look at
some of the top players in
European exhibition
Nordic Cinema Group’s
Filmstaden Sergel,
Stockholm, Sweden
ODEON/UCI
n Odeon/UCI is Europe’s top exhibition chain, with 239 cinemas and
2,191 screens across seven countries, as of December 2013. The company
is a top player in the United Kingdom and Ireland, Germany, Spain,
Italy, Austria, Poland, and Portugal. The company has a stronghold
in four key European territories: the United Kingdom (114 cinemas,
881 screens); Spain (43 cinemas, 511 screens); Italy (43 cinemas, 445
screens); and Germany (23 cinemas, 203 screens). Odeon/UCI is looking
forward to an important 2014 under the leadership of newly appointed
CEO Paul Donovan, and stands to gain from the current rebound of the
Spanish market.
CINEWORLD
n Cineworld was founded in 1995 and has since grown to be the No. 2
exhibitor in all of Europe in terms of screen count. The company reached
this level after the 2012 acquisition of Picturehouse and this year’s merger
with Cinema City, adding operations in Poland, Israel, Hungary, the
Czech Republic, Bulgaria, Romania, and Slovakia to its established U.K.
presence. Cineworld now operates 201 sites and 1,852 digital screens
across Europe. Cineworld is the leading exhibitor of Bollywood releases in
the United Kingdom, commanding the space with a market share above
50 percent. The company finished 2013 with 51.5 million admissions and
earnings of £406.1 million.
VUE CINEMAS
n The Vue brand was introduced in 2003 in the United Kingdom with
38 cinemas and quickly grew to become the pan-European player it is
PHOTO: NORDIC CINEMA GROUP
today. The company has grown tremendously over the past decade and
operates 1,368 screens across 151 sites as of February 2014. The United
Kingdom is the exhibitor’s top market, with 790 screens across 83 sites.
Vue’s growth in recent years has come in part through important acquisitions,
such as the Apollo UK circuit and Germany’s CinemaxX in 2012,
along with the summer 2013 acquisition of Multikino. Vue currently
operates in nine territories worldwide: the United Kingdom, Germany,
Ireland, Denmark, Portugal, Poland, Latvia and Lithuania, and Taiwan.
CINÉMAS GAUMONT PATHÉ
n French production and distribution giants Gaumont and Pathé have
been powerhouses with a long, admirable tradition steeped in film history.
The two companies joined forces in 2000 to launch a joint venture into
the exhibition business and have grown to operate 1,008 screens across
three territories as of December 2013. Cinémas Gaumont Pathé is strongest
in its home market of France, where it manages 771 screens, followed
by the Netherlands (167 screens) and Switzerland (70 screens). The
company registered a total of 64.2 million admissions in 2013, including
47.1 million in France alone.
NORDIC CINEMA GROUP
n The group operates 590 screens across 103 cinemas in 80 cities of the
Nordic and Baltic regions, making it the biggest exhibitor in both those
regions since its establishment in 2013. The company brought in 27.1 million
admissions in 2013 through its four different brands across six different
markets: SF Bio in Sweden, SF Kino in Norway, Finnkino in Finland, and
Forum Cinemas in Estonia, Latvia, and Lithuania. Sweden’s SF Bio brand
JUNE 2014 BoxOffice ® Pro The Business of Movies 57

FOCUS ON EUROPE
Kinepolis Ghent
Ghent, Belgium
operates 244 screens in 36 theaters at 22 locations with 68 percent of the
country’s market share and has been in business since 1909. Norway’s SF
Kino is the No. 2 exhibitor in the country with 67 screens in 10 theaters
at 9 locations and 25 percent of the market share. Finnkino is the leading
exhibitor in Finland with 96 screens in 14 cinemas at 10 locations and 70
percent of the country’s market share. Forum Cinemas is Nordic Cinema
Group’s brand in Estonia, Latvia, and Lithuania and operates 70 screens in
10 cinemas at 9 locations in the region. It is the top exhibition circuit in the
Baltic countries with an 80 percent market share in Lithuania, 52 percent
market share in Estonia, and 42 percent market share in Latvia.
UGC
n UGC is a leading exhibitor in the French market, where it operates 393
screens in cities like Paris, Lyon, Bordeaux, Lille, Nantes, and Toulouse,
among others. UGC is a familiar brand across the French capital with 22
cinemas in Paris and the surrounding metropolitan area. UGC also has a
presence in Belgium, where it operates a total of 43 screens in Brussels and
Antwerp. The company is also a leading provider of alternative content in
France, where it offers live broadcasts of select operas and ballets from the
Opéra National de Paris.
KINEPOLIS
n Kinepolis was incorporated in 1997 and has since grown to become
an influential player in continental Europe, boasting a presence of 317
screens across 23 cinemas in 5 countries. The company is mainly concentrated
in Belgium, where it operates 138 screens in 11 cinemas. Kinepolis
also has outposts in France (7 cinemas, 87 screens) and Spain (3 cinemas,
64 screens). Kinepolis saw a 7.9 percent decline in admissions from 2013
when compared to the previous year, but was still able to generate a
€37.5 million profit above the previous year’s results—a reflection of the
company’s ability to adapt and thrive in a changing exhibition landscape
in Europe.
THE SPACE CINEMA
n The Space Cinema was created when Warner Village Cinema and Medusa
joined forces in 2009 to create a new brand in Italian exhibition. The
company is currently owned by Alessandro Benetton and Mediaset RTI, a
partnership that has led the Space Cinema to become the leading player in
the Italian exhibition market. The company has an extensive reach across
Italy, operating 362 screens in 36 cinemas across the length of the country.
The Space Cinema recently agreed to install 40 additional RealD screens
in its 100 existing locations, a sign of the company’s confidence in the
resurgent Italian market.
CGR CINEMAS
n CGR is a veteran player in French exhibition, having been in business
since 1966. The company is now the No. 3 French exhibitor, with an
extensive presence throughout the country, operating 413 screens across
35 cities. CGR is still owned by the Raymond family and headquartered
in their hometown of La Rochelle. Under the leadership of CEO Jocelyn
Bouyssy (European Exhibitor of the Year in 2008), the company was an
early adopter of digital in 2007 and has been very proactive since then,
particularly with Côté Diffusion, its alternative content division.
KARO
n The Russian exhibitor has been in business since 1997 and currently
operates 189 screens across 28 cinemas in its home country. Karo is looking
forward to a bright future in the Russian market by investing $150
million in renovating its current theaters and bringing new megaplexes to
Russian cities. The new direction will begin with this summer’s inauguration
of Karo’s Vegas 22 Megaplex in southern Moscow, an entertainment
center that signals a move to a larger, consumer-driven offering that includes
amenities like VIP screening rooms and bowling alleys. Karo plans
to expand the concept to St. Petersburg and Siberia by 2016.
CINEMA PARK
n Cinema Park began its operations in Russia in 2004 with the opening
of their first cinema in Moscow. Ten years later the company is a fixture
in the Russian capital, where it operates 84 screens across 8 cinemas. The
company is the leading exhibitor in Russia, with 281 screens throughout
18 cities, including 226 theaters with 3D capability. Cinema Park averages
more than 18 million admissions per year.
CINESTAR CINEMAS
n CineStar Cinemas is the leading exhibitor in Germany, with 405
screens across 42 cities, including 51 screens in the nation’s capital. The
company has an established heritage in Germany, where it has been in operation
since 1948. A longtime fixture of the German exhibition market,
CineStar has proved to be a resilient and innovative player in the business
for over six decades.
58 BoxOffice ® Pro The Business of Movies JUNE 2014

Tell us a bit about Ymagis.
We started seven years ago with two businesses: a digital lab in Paris
and a VPF program for Europe. Ymagis first signed VPF contracts with
the six U.S. studios and then with local distributors in Europe. We’ve
now deployed close to 3,000 screens in Europe.
Starting from there, we expanded our content business. After Paris,
we have now digital labs in our offices in Berlin and Barcelona, and we
plan to have one later this year in London. We also started a delivery
business, bringing digital content to cinemas. Recently we purchased a
majority stake in a company called SmartJog, which is delivering content
through satellite and landlines. And even more recently, we purchased
the cinema network managed by Arqiva in the U.K. and Italy. We now
manage, on the content side, a network using two satellite transponders
as well as landlines with more than 2,500 cinemas connected in Europe.
We provide a range of services for exhibitors, including NOC services;
we are connected to around 500 cinemas in Europe for which we
provide technical and software assistance, log management, and so on.
We do provide installation and maintenance services, and we have a team
of engineers and technicians who can install and maintain equipment.
We provide these installation services in France, Benelux, and Germany.
Last but not least, we develop software for the exhibition industry.
We’ve developed a theater management system. We recently developed an
application solution to automate all the electrical processes in the cinema,
so we can now provide solutions towards a fully automated cinema including
electricity, air conditioning, switching on and off the projection
equipment. We will be developing more and more software solutions for
the exhibition industry in the future.
FOCUS ON EUROPE
JEAN MIZRAHI
CEO, YMAGIS
THE BOXOFFICE INTERVIEW by Daniel Loria
Do you believe the satellite space will become consolidated in
the coming years?
I believe there isn’t much space for many players in this market. It’s
a network industry, so we need to spend money on infrastructure, on
satellite capacity. It is not economically viable to have several players
developing satellite networks to distribute content. In the end, I think
that even though the situation may differ from one country to another,
there should be one player for satellite services and several local players
for landlines, because local content in Europe is a substantial part of the
content delivery business.
What are your thoughts on the European exhibition market
today?
The European market is much less concentrated compared to the
U.S.; we have a handful of large exhibitors. The largest exhibitors in
Europe manage around 2,000 screens, whereas in the U.S. they are
substantially bigger.
Small circuits and independent cinemas dominate a large faction of
the market, which basically makes a very big difference—it is fragmented,
so you need to have a presence in each country with people who
speak the local languages.
That fragmentation in the European market comes in part
from the success of domestic films supporting their local markets.
Is pan-European distribution the next frontier?
In terms of film distribution, there are very few European distributors
that are pan-European; they don’t tend to serve the whole of Europe.
They have a presence in different countries, but they are not yet at the
stage where they could cover all countries the way the U.S. studios do. I
would say today the only completely pan-European players are the
U.S. studios.
Also, there is no day-and-date release for European movies
across Europe. Personally, I expect this market to evolve
into a more coordinated distribution for content—but we
are not yet there and it will take some time mainly because
a lot of players are national players that don’t have the ability
to distribute widely to different countries in Europe. There
are few players with the capacity to expand their presence in
different countries, so I would expect the European exhibition
industry to continue being fragmented.
We also must consider the cultural aspect. U.S.
content is well accepted almost everywhere in Europe.
European content is very national and has a hard time
crossing the borders and getting to other countries.
Out of the 1,500 films that are produced and distributed
every year in Europe, less than 200 have a
“European life.”
JUNE 2014 BoxOffice ® Pro The Business of Movies 59

FOCUS ON EUROPE
DOMESTIC
PRODUCTS
France and Spain experience
a first-quarter boom as local
films, admissions initiatives
bring people back to the
cinema
by Daniel Loria
Clara Lago and Dani Rovira in
Emilio Martínez-Lázaro’s Ocho
apellidos vascos
n Facing yet another year of losses at the box
office, the Spanish exhibition industry realized
it needed to do something big to bring people
back to the cinema. Admissions in Spain
experienced a 27 percent slide from 2009 to
2013, as piracy problems and an economic
crisis chipped away at what had once been one
of Europe’s marquee markets. The solution was
only partial and it seemed like a feeble attempt
to cover a hemorrhage with a Band-Aid; the Fiesta
del Cine was introduced in cinemas across
the country—a coordinated campaign to offer
tickets for just under €3 over a three-day span
in October 2013.
The program was an overwhelming success,
revitalizing popular interest in the theatrical experience
following a number of major setbacks,
such as a 21 percent tax applied on top of ticket
prices since September 2012. The reduced
ticket price was a major appeal to consumers,
and it was only a matter of time before similar
campaigns would be approved to cover a larger
span of time. Spanish audiences got their wish
with the implementation of a reduced-ticket-prices
program coordinated in cinemas
across the country, allowing filmgoers to attend
a function for under €5 every Wednesday from
mid-January to mid-April of 2014.
Spanish director Emilio Martínez-Lázaro’s
culture-clash comedy Ocho apellidos vascos
(Spanish Affair) opened in its home market on
March 14. The film took the No. 1 spot on
its opening weekend with $3.9 million. It has
since gone on to dominate the market, finishing
as the top film in Spain for nine consecutive
weekends and grossing over $72 million,
as of press time. Ocho apellidos vascos not only
survived the release of studio tentpoles like
Captain America: The Winter Soldier, Noah, Rio
2, and The Amazing Spider-Man 2—it thrived
as the No. 1 film in the market throughout
their respective theatrical runs; none of those
films will be able to claim a single weekend as
the No. 1 film in Spain. Only three months after
finishing a dismal year, Spain had its biggest
domestic release of all time—in both box office
revenue and admissions—and the No. 2 release
in box office history behind Avatar.
Spain can recuperate a lot of the lost ground
from the past five years with a slew of promising
domestic titles in the coming months.
Established franchises like Torrente 5 and [REC]
4: Apocalypse make a return to theaters this year,
and beloved comic book characters Mortadelo
and Filemón return to the big screen in their
first 3D animated film in November. We might
be looking at a record year for Spanish cinema
in terms of market share by the end of 2014.
A sequel for Ocho apellidos vascos, tentatively
titled Nueve apellidos catalanes, has already been
announced.
The example from Spain reveals the notso-secret
strategy behind boosting admissions
in today’s European market. A combination of
admissions initiatives, coordinated between distributors
and exhibitors, along with the resiliency
of a domestic hit can make all the difference
for any individual European territory.
France has followed a similar approach
in 2014 to positive results. The French box
office kicked off the year with three months of
increased attendance when compared to 2013,
resulting in an 18.6 percent increase over last
year’s numbers in the first quarter alone. The
first trimester numbers provide slightly better
results, according to an announcement by
CNC Director of Studies and Statistics Benoît
Danard on Twitter; France has enjoyed an 18.9
percent increase in admissions in 2014 over the
previous year.
As in Spain, a possible catalyst for this
growth can be attributed to a national admissions
initiative that allows any child under the
age of 14 to attend any screening of any film in
the country for €4. The program has been active
since January 2014. The success of domestic
fare has also been vital for France’s growth.
2014 has already provided two blockbuster hits
for the French film industry: Supercondriaque,
which has grossed more than $45 million at
home since its February premiere, and Qu’est-ce
qu’on a fait au Bon Dieu?, a culture-clash comedy
(see a pattern here?) that earned more than
$42 million in its first three weekends at the
French box office.
Last year’s doom-and-gloom headlines
should neither be forgotten nor taken for
granted. The success of both the French and
Spanish markets prove, however, that the power
of the business continues to be concentrated
in providing customers great product at an
accessible price point. While strong domestic
films don’t necessarily translate to a healthy
exhibition industry, these case studies from
France and Spain prove that a multi-tiered
strategy in attracting viewers back to theaters
can prove to be a formula for recovery and
continued success.
60 BoxOffice ® Pro The Business of Movies JUNE 2014

FOCUS ON EUROPE
SELECTED AUDIENCE-
DEVELOPMENT INITIATIVES
IN EUROPE
FRANCE
Reduced ticket price of €4 for all children under 14
since January 2014 • Cellphone provider Orange offers a
branded campaign every Tuesday that provides two-for-one
tickets.
ITALY
Festa del Cinema campaign offered reduced ticket prices
May 8–15 of this year. Prices went down to €3 and €5 for
3D films.
NETHERLANDS
A one-week campaign is scheduled for September 2014
that will offer reduced ticket prices and special events.
NORWAY
A National Cinema Day is scheduled for November, when
tickets will be offered at half price.
SPAIN
Miércoles al Cine campaign offered tickets ranging from €4
to €5 every Wednesday from January to April of this year.
UNITED KINGDOM
Orange Wednesdays has been a two-for-one branded
program from the cellphone and Internet provider since
2004.
EUROPEAN CINEMA HIGHLIGHTS FROM 2013
DENMARK
Denmark’s domestic productions
experienced great success at home,
taking up four of the country’s
top five annual titles. The Hunt,
starring Mads Mikkelsen (pictured),
was the No. 2 film of the
year in Denmark and scored an
Academy Award nomination for
best foreign language film.
ITALY
Sole a catinelle drove admissions
in Italy and was the country’s
No. 1 film of 2013 with $70
million in box office. In contrast,
Despicable Me 2, the No. 2 film
of the year, grossed a total of
$22.8 million in Italy—less than a
third the amount of the domestic
blockbuster.
RUSSIA
Stalingrad became the highest-grossing film of all time at the Russian box office, with $52
million. The film found an audience in China as well, where it grossed $11.5 million.
Stalingrad took a total of $68.3 million worldwide in its release.
TURKEY
Turkish films enjoyed 47 percent of the market share in their home country in 2013, with
nine domestic productions among the nation’s top ten titles of the year.
JUNE 2014 BoxOffice ® Pro The Business of Movies 61

BOXOFFICE CONGRATULATES THE
2014 CINEEUROPE HONOREES
Exhibition [is facing] big challenges. Things are changing very fast in several
parts of the business, in technology, in marketing, in the relations with distribution,
in the issues on piracy etc.…there are many things that exhibition has
to consider to gain the battle and keep bringing people to the cinemas.
CineEurope is the best place for European exhibitors to hear new ways to
approach business, learn about best practices in [every] field, to see the new
pictures to be released, and hear the production plans of studios and distributors.
It’s the best place to meet international distributors, other exhibitors,
suppliers, and new technological inventions among many others.
In a global world, exhibitors that don’t want to see other territories’ practices
and new ways to approach the business are condemned to fail.
—José “Pepe” Batlle
Former CEO UCI/Cinesa Spain
COO Continental Europe
2014 UNIC Achievement Award Recipient
INTERNATIONAL EXHIBITOR OF THE YEAR
· ALAN MCNAIR ·
Deputy CEO and CFO
Vue Entertainment
INTERNATIONAL DISTRIBUTOR OF THE YEAR
· DUNCAN CLARK ·
President, Distribution
Universal Pictures International
UNIC ACHIEVEMENT AWARD
· JOSÉ “PEPE” BATLLE ·
Former CEO UCI/Cinesa Spain, COO Continental Europe
INDEPENDENT FILM AWARD
· CONSTANTIN FILM ·
62 BoxOffice ® Pro The Business of Movies JUNE 2014

n Eddy Duquenne entered the exhibition business after establishing a
proven track record in the tourism industry with Sunparks Group NV.
Duquenne began his tenure as co-CEO of Kinepolis in 2008 and has
since led the Belgian exhibition chain to a strong resurgence during one
of the most difficult economic climates of our generation.
BoxOffice Pro spoke to Duquenne to get more insight into the
management techniques he instituted at Kinepolis to drive growth for
the Belgian exhibitor.
FOCUS ON EUROPE
EDDY DUQUENNE
CEO, KINEPOLIS
GROUP
THE BOXOFFICE INTERVIEW by Phil Contrino
What were some of the first things you discovered when you
transitioned into the exhibition business?
Coming out of the tourism industry, I was amazed by how everyone
was talking in terms of tickets and not in terms of customers. When I
[became CEO], we immediately set up sales and marketing departments
with a focus on introducing direct-marketing techniques.
In Europe we have a population growing grayer, so you have
less and less youngsters, and I would ask myself about the
long-term evolution of cinema, which is clearly not a growth
business when paired with the demographics of a population
growing grayer.
What was the strategy behind reaching out to
consumers directly?
Could we increase frequency knowing the preferences
and the taste of each individual customer? For that reason we
started introducing CRM techniques, customer-relationship
management, and we started pushing online ticket selling
and ticket selling through automatic ticket machines. That
way you have a digital moment with your customer so you
can start identifying who your customer is.
On average we sell 20 million tickets at Kinepolis; we
have about 5.5 million unique customers and we have e-mail
addresses for 2.4 million of them. [We track] based on their
behavior—what they’re buying, when they come to the
movies, who they come to the movies with. For instance, a
transaction with two adults and two children for Frozen on a
Sunday afternoon or an individual ticket for Wolf of Wall Street
on Friday night can be the same customer but in different
circumstances, so we started looking at why [people] come to
the movies—which genres they like, which directors, which cast?
And based on that, we have been building algorithms that take
those three elements into account and are now trying to push new
content.
How did you go about restructuring the company’s operations?
We have 23 theaters, of which we operate 22 ourselves, and we came
to a new organizational structure where we created budget ownership,
and now we have someone responsible for box office, someone responsible
for in-theater sales, for experience—meaning the cleaning, infrastructure,
projection, sound, and security—and someone responsible for business
to business. On top of that structure we have the theater manager.
We introduced a new management reporting tool where we
only highlight those revenues and costs that each of them
can have an impact on. We benchmark between the
different budget owners throughout the cinemas
and find there’s always someone who is doing
better. Based on their approach, we try to
lower our break-even point from year to
year and we incentivize them with a bonus
system. We try to lower our break-even
point by making profit plans based on 5
percent less tickets but resulting in the
same bottom line.
JUNE 2014 BoxOffice ® Pro The Business of Movies 63

FOCUS ON EUROPE
JOSÉ (PEPE) BATLLE
FORMER COO, UCI/CINESA
CONTINENTAL EUROPE
THE BOXOFFICE INTERVIEW by Daniel Loria
n José Batlle is the former COO of UCI/
Cinesa in continental Europe. He was responsible
for overseeing management and direction
in five key European territories: Spain, Portugal,
Italy, Germany, and Austria. A 28-year veteran
of the exhibition industry, Batlle retired
from his post earlier this year.
BoxOffice Pro recently spoke with Batlle
in a wide-ranging conversation about his career
and the state of the global exhibition market.
How did you come to work in this industry?
Michael Forman was in charge of Pacific
Theatres in 1986 and was also overseeing Cinesa
in Spain. Cinesa had finished 1985 with
heavy losses and Michael decided to change
the management. I was selected by Spencer
Stuart Management Consultants to restructure
and reorganize Cinesa and see if we could
generate profits.
Those profits happened at the end of 1986,
and in 1989 we opened the first multiplex.
From 1989 to 1991 we opened additional
multiplexes in Spain, and I approached
Michael with an aggressive expansion plan
to build even more multiplexes across Spain.
He thought it was a great idea but wanted to
go in with a partner because he wasn’t keen
on investing so much money in Spain at that
time. That’s when we came into contact with
Paramount and Universal; they operated UCI
and were building multiplexes in England and
Ireland and had begun an expansion into Germany.
They had also just started to look into
Spain, and that’s how we came up with our
joint venture—Cinesa UCI—for the Spanish
market.
In 1992, Michael Forman decided to
sell his 50 percent of the company to UCI.
This meant that Cinesa went from being a
family-owned company to a multinational
corporation.
In 1995, the executives at Paramount and
Universal asked me to open multiplexes in Brazil.
So while we were undergoing an aggressive
expansion in Spain, we were simultaneously
expanding aggressively in Brazil as well. I spent
seven years of my life traveling between Spain
and Brazil, where I opened 111 screens.
I was asked to take over Italy in 1998,
where we didn’t have a single multiplex at the
time. We opened our first multiplex there the
following year, and today we have 450 screens
in Italy.
In 2003 they asked me to take over Germany
and Austria, which were coming off big
losses. But in 2004, Paramount and Universal
sold UCI to Terra Firma without including
Brazil in the deal. This took me from working
at a multinational into working for a private
equity firm. By that time, I was already senior
vice president of continental Europe, and Terra
Firma made me COO of the same region.
We started growing rapidly because of
acquisitions. From 2004 until I retired this year,
we acquired 10 companies in Italy, Germany,
Portugal, and Spain. We now have more than
1,200 screens across continental Europe, and we
are the largest exhibitor in the whole of Europe.
What is the biggest change you’ve
noticed since you began your career in
the industry?
There have been several changes. When I
first started in the industry, cinema was in a
downswing. The arrival of multiplexes changed
that, and the sector began to grow rapidly.
Secondly, there were too many small exhibitors
all across Europe. The market is more
uniform now. For example, the U.K. has three
important players, Spain has two or three, Italy
has two, and Germany has three. This wasn’t
the case before; there used to be a lot more
regional players in every country.
I have also seen a dip in admissions, and
it has been a big shift for our markets. The
way we watch movies has changed so much.
Consumers can easily access a movie anywhere
they want, even through piracy.
I can’t forget to include the influence of
digitalization. The analog era is over in our
business; everything is digital today.
There have been extraordinary changes in
the industry throughout my 28 years working
in exhibition.
What is your perspective on the European
market today?
It’s hard to speak about the “European
market” as such; we have to speak about
each country individually. When I arrived
in Germany, the market was in a crisis. Now
Germany is showing big gains and exhibitors
in the market are working better. There were
no multiplexes when I arrived in Italy and now
it’s a healthy market.
Spain is a very different case. We entered
a very serious financial crisis as soon as there
was a surge in multiplexes, and attendance
dwindled soon thereafter; in 2004 attendance
was around 145 million, and today it’s down
to 78 million. The market shrank in half from
2003 to 2014.
What are the drivers of sustained
growth in a market?
Disposable income and purchasing power
are very important, as is the cultural environment:
a university presence, the number of
people living in urban versus rural areas. The
quality of an exhibitor’s installations is also an
influence.
The key factor, however, rests with national
film production. Italy has a very healthy
production industry; about 30 to 35 percent
of the country’s annual attendance comes from
national films. Germany has good years and
not-so-good years but maintains a consistently
good level of quality in its productions. Unfortunately,
that is not the case in Spain. Spanish
cinema has not been able to attract enough of
its own audience.
The current economic crisis is also playing
a big role. We used to say that the exhibition
business was immune to a country’s economic
problems. That is no longer the case. People
today have more alternatives and the quality
of in-home entertainment has grown tremendously.
Exhibition will have to completely
reinvent itself in order to convince people to
64 BoxOffice ® Pro The Business of Movies JUNE 2014

FOCUS ON EUROPE
leave their homes and watch the same film at
the cinema.
Which markets show the most potential
for growth?
You have to enter the market when commodities
are low and sell when they are high.
Spain is at a very low point right now, so I
consider it to be a market that can grow again
in the future. I think Germany and Italy still
have strong potential for growth, too.
I’d approach England with caution. There
are a lot of multiplexes being built and they
have to be careful not to make the same
mistake as Spain, where there were too many
screens built in relation to the country’s population.
Brazil has grown a great deal. The country
has doubled is attendance figures since
I arrived there in 1995, and I believe it can
continue growing. Every day in Brazil you have
more people joining the middle class.
China is an impressive market. I think that
it will grow in a tremendous way. The issue
there has to do with the business climate,
where entering the market can be complicated.
There’s also great potential for growth in
Russia.
What is the current situation with exhibition
in Spain?
In Spain you have a combination of several
factors. Firstly, Spain should never have tried
to reach 145 million spectators. I think the
normal figure for Spain is around 100 million.
Why was that estimate so high? Because
there was a big real estate boom and a large
number of shopping centers were built, and
every shopping center had to have its own
multiplex.
We have had as many as 4,600 screens in
Spain. That is just stupid. The capacity according
to the number of people living in Spain
should not be more than 2,500 screens. Right
now we have 3,800, so I believe there should
be even more closures until we get to 2,500,
maybe 3,000 tops, but that’s pushing it.
The economic crisis is affecting attendance.
People have less disposable income and
they stay home instead. Pricing is therefore
important.
Perhaps the most important factor, however,
is piracy. Spain is the most piratical country
in Europe and among the most piratical in
the world. The culture around piracy in Spain
is horrible; even schoolteachers educate with
illegally downloaded material. The consumer
doesn’t see piracy as a bad thing, and that’s
fatal. There need to be firm laws in place that
work against piracy. We also have to educate
people to understand that downloading
content without paying for it is the same as
stealing from Macy’s or Wal-Mart—it’s exactly
the same thing; you’re stealing.
GLOBAL HIGHLIGHTS FROM THE MPAA 2013
THEATRICAL MARKET STATISTICS REPORT
U.S. /
Canada
Global Box Office (Billions)
2009 2010 2011 2012 2013
% Change:
’13 vs. ’12
% Change:
’13 vs. ’09
$10.6 $10.6 $10.2 $10.2 $10.2 1% 3%
Overseas $18.8 $21.0 $22.4 $23.9 $25.0 5% 33%
Total $29.4 $31.6 $32.6 $34.7 $35.9 4% 22%
Overseas box office has grown 33% over the last five years.
Overseas box office currently accounts for 70% of the global box office total
Europe,
Middle East
& Africa
International Box Office by Region (Billions)
2009 2010 2011 2012 2013
% Change:
’13 vs. ’12
% Change:
’13 vs. ’09
$10.6 $10.6 $10.2 $10.2 $10.2 1% 3%
Asia Pacific $18.8 $21.0 $22.4 $23.9 $25.0 5% 33%
Latin
America
$18.8 $21.0 $22.4 $23.9 $25.0 5% 33%
Total $29.4 $31.6 $32.6 $34.7 $35.9 4% 22%
Box office in Latin America grew by 78% over the last 5 years, fueled by a surging middle
class and a new string of domestic hits in booming markets like Brazil and Mexico.
China became the first market to cross the $3 billion mark in annual box office. The
country’s booming box office combines with traditionally strong markets like Japan and
South Korea to overpass EMEA as the No. 1 region in overseas box office.
2013 TOP OVERSEAS MARKETS (Billions)
China $3.6
Japan $2.4
United Kingdom $1.7
France $1.6
India $1.5
South Korea $1.4
Russia $1.4
Germany $1.3
Australia $1.1
Mexico $0.9
JUNE 2014 BoxOffice ® Pro The Business of Movies 65

COMING IN
JUNE
EDGE OF TOMORROW
n Tom Cruise stars in this adaptation of the Japanese sci-fi novel All
You Need is Kill. Cruise will test his sci-fi box office muscle once again,
following last year’s $287.5 million global gross of Oblivion. The film’s
futuristic battle sequences and trippy time-warp elements recall a
sort of hybrid between Elysium and 12 Monkeys. Indie alum Doug
Liman (Swingers, Go) continues his newfound love for big-budget
productions (The Bourne Identity, Mr. and Mrs. Smith) at the helm
of this sci-fi star vehicle.
JUN
6
DISTRIBUTOR Warner Bros. CAST Tom Cruise, Emily Blunt, Bill Paxton
DIRECTOR Doug Liman WRITERS Christopher McQuarrie, Jez Butterworth,
John-Henry Butterworth GENRE Action | Sci-Fi RATING PG-13
RUNNING TIME TBD
66 BoxOffice ® Pro The Business of Movies JUNE 2014

COMING IN JUNE > WIDE RELEASES
THE FAULT IN OUR STARS
n Shailene Woodley follows her star-making role in the
spring blockbuster Divergent with this romantic story
about two young teens who fall in love at a cancer support
group. Woodley expressed her satisfaction with the
studio at this year’s CinemaCon after seeing that her
character’s nasal cannula (a breathing tube attached
to an oxygen tank) was not obscured in the film’s
advertising. The film is based on John Green’s
best-selling novel.
DISTRIBUTOR Fox CAST: Shailene Woodley,
Ansel Elgort, Willem Dafoe DIRECTOR Josh Boone
WRITERS Scott Neustadter, Michael H. Weber GENRE
Drama | Romance RATING PG-13 RUNNING TIME TBD
JUN
6
22 JUMP STREET
n The baby-faced cops are back in this comedy sequel
to the big-screen reboot of the 1980’s TV show.
Jonah Hill and Channing Tatum reprise their roles as
undercover cops posing as underage students as part of
a narcotics investigation. Raunchy laughs led the 2012
original to $202 million in global box office. The
detectives are sent to college in this sequel, which
also brings back fan favorites from the original
like Dave Franco, Nick Offerman, Ice Cube, and
Ron Riggle.
DISTRIBUTOR Sony / Columbia CAST Channing
Tatum, Jonah Hill, Ice Cube DIRECTORS Phil Lord,
Christopher Miller WRITERS Michael Bacall, Oren
Uziel, Rodney Rothman GENRE Comedy RATING Not
Rated RUNNING TIME TBD
JUN
13
HOW TO TRAIN YOUR DRAGON 2
n The sequel to the beloved animated film from Fox finally
gets a sequel this summer. The first film surprised
viewers and garnered strong reviews in 2010. The sequel
finds the dragons and the Vikings living in a time
of peace and unity, and brings the familiar cast of characters
together to protect that communion as soon
as peace is threatened. Jay Baruchel, Kristen Wiig,
Gerard Butler, and Cate Blanchett are among the
stars that supply voice talent for the film.
DISTRIBUTOR Fox / DreamWorks Animation
CAST Jay Baruchel, Kristen Wiig, America Ferrera
DIRECTOR Dean DeBlois WRITER Dean DeBlois
GENRE Animated RATING Not Rated RUNNING TIME
TBD
JUN
13
JUNE 2014 BoxOffice ® Pro The Business of Movies 67

COMING IN JUNE > WIDE RELEASES
JERSEY BOYS
n Clint Eastwood directs this adaptation of the popular
Tony Award–wining Broadway musical. Jersey Boys tracks
the rise of popular 1960s pop band the Four Seasons and
their front man Frankie Valli. Jon Favreau was originally
slated to direct the film before Eastwood took the helm
on the musical biopic. Eastwood’s film, which should
include numerous period touches, promises to be a
JUN summer box office crowd-pleaser.
20
DISTRIBUTOR Warner Bros. CAST John Lloyd
Young, Christopher Walken, Erich Bergen
DIRECTOR Clint Eastwood WRITERS Marshall Brickman,
Rick Elice GENRE Musical RATING R RUNNING TIME
TBD
JUN
20
THINK LIKE A MAN TOO
n The first Think like a Man film scored a successful
$91.4 million at the North American box office. The
sequel gets the Vegas treatment with a summer release,
putting the cast from the original on the Las Vegas
strip for more adventures. Kevin Hart is the hot name
in Hollywood comedy right now, and this sequel
could prove his box office muscle to headline an
ensemble film. Think like a Man Too is angling
itself as a $100 million film and could spawn the
next summer comedy franchise.
DISTRIBUTOR Sony / Screen Gems CAST Kevin Hart
DIRECTOR Tim Story WRITERS Keith Merryman, David
A. Newman GENRE Comedy RATING PG-13 RUNNING
TIME: TBD
JUN
27
TRANSFORMERS:
AGE OF EXTINCTION
n A new cast leads the latest Transformers sequel from
director Michael Bay. The director is back for his
fourth installment of the action-figure franchise despite
claiming he would walk away after completing a trilogy
of Transformers films. Bay has cited a strong, new
screenplay as the reason he returned to helm a new
film in the franchise. Mark Wahlberg co-stars
with newcomers Nicola Peltz and Jack Reynor in
a film that promises to be closer to a Transformers
reboot than a Transformers sequel.
DISTRIBUTOR Paramount CAST Mark Wahlberg, Nicola
Peltz, Jack Reynor DIRECTOR Michael Bay WRITER
Ehren Kruger GENRE Action | Sci-Fi RUNNING TIME
TBD RATING PG-13
68 BoxOffice ® Pro The Business of Movies JUNE 2014

COMING IN JUNE > LIMITED RELEASES
THE SACRAMENT
n Indie horror hero Ti West (The
House of the Devil) returns to direct
this found-footage fright-fest that
premiered at the 2013 Venice Film
Festival. The Sacrament tells the story
of a group of journalists who travel
to a religious commune where they
hope to find the sister of one of their
companions. The journalists find the
woman, who appears happy, healthy,
and serene. It wouldn’t be a Ti West
film, however, if there weren’t a deep,
dark secret behind the commune’s
appearance.
DISTRIBUTOR Magnolia
CAST Joe Swanberg, Kate Lyn Sheil,
Amy Seimetz
DIRECTOR Ti West
WRITER Ti West
GENRE Horror
RATING R
RUNNING TIME 95 min.
RELEASE DATE June 6
BORGMAN
n This Dutch thriller was featured in the competition
for the Palme d’Or at the 2013 Cannes
Film Festival. The film, written and directed
by Alex van Warmerdam, stars Jan Bijvoet as a
vagrant who enters the lives of an upper-class
family, setting off a psychological chain reaction.
Borgman was selected by the Netherlands as its
official entry at the most recent Academy Awards.
DISTRIBUTOR Drafthouse
CAST Jan Bijvoet, Hadewych Minis, Jeroen
Perceval
DIRECTOR Alex van Warmerdam
WRITER Alex van Warmerdam
GENRE Thriller
RATING Not Rated
RUNNING TIME 113 min.
RELEASE DATE June 6
BURNING BLUE
n This drama is adapted from an off-Broadway
play by writer-director D.M.W. Greer, who
based the work on his own experiences as a naval
aviator. The passion project tells the story of
a U.S. Navy pilot spotted at a gay club during
a government investigation of accidental deaths
on an aircraft carrier.
DISTRIBUTOR Lionsgate
CAST Trent Ford, Tammy Blanchard, Morgan
Spector
DIRECTOR D.M.W. Greer
WRITER D.M.W. Greer, Helene Kvale
GENRE Drama
RATING R
RUNNING TIME 96 min.
RELEASE DATE June 6
OBVIOUS CHILD
n Upstart distributor A24 nabbed this film
after its premiere in the Next section of the
2014 Sundance Film Festival. Obvious Child
stars Jenny Slate as a pregnant Brooklyn comedian
who gets fired and dumped just before
Valentine’s Day. Gillian Robespierre wrote and
directed the film after adapting it from one of
her short films.
DISTRIBUTOR A24
CAST Jenny Slate, Jake Lacy, Gaby Hoffmann
DIRECTOR Gillian Robespierre
WRITER Gillian Robespierre
GENRE Comedy
RATING Not Rated
RUNNING TIME 83 min.
RELEASE DATE June 6
JUNE 2014 BoxOffice ® Pro The Business of Movies 69

COMING IN JUNE > LIMITED RELEASES
SUPERMENSCH: THE LEGEND
OF SHEP GORDON
n Mike Myers might not be donning the
Austin Powers costume anytime soon, but the
comedian will be back on screens this June in
his directorial debut. Supermensch is a documentary
about Hollywood ultra-insider and
talent manager Shep Gordon, who represented
clients as diverse as shock rocker Alice Cooper
and celebrity chef Emeril Lagasse. The film
had successful screenings on the festival circuit,
gaining positive reactions from audiences at
Toronto, Sarasota, and Tribeca.
DISTRIBUTOR Weinstein Company
DIRECTOR Mike Myers
GENRE Documentary
RATING R
RUNNING TIME 84 min.
RELEASE DATE June 6
HELLION
n Breaking Bad’s Aaron Paul had a rocky
transition to the big screen in this year’s Need
for Speed but should find his strengths as an
actor better suited in Kat Candler’s Hellion. The
film follows an emotionally absent father and
his delinquent 13-year-old son as they work
to overcome their faults after child protection
services places the father’s youngest son in the
custody of his aunt. Hellion competed at the
2014 Sundance Film Festival.
DISTRIBUTOR IFC Films
CAST Aaron Paul, Josh Wiggins
DIRECTOR Kat Candler
WRITER Kat Candler
GENRE Drama
RATING Not Rated
RUNNING TIME 94 min.
RELEASE DATE June 13
THE ROVER
n The Rover is Australian writer-director David
Michôd’s eagerly anticipated follow-up to his
explosive 2010 debut, Animal Kingdom. For
his sophomore feature, Michôd stays within
the crime genre that made him one of today’s
most exciting directors. The Rover is a futuristic
western set in the Australian outback (traces of
The Road Warrior, anyone?) that tells the story
of a man (Guy Pearce) set on exacting revenge
on a group of bandits.
DISTRIBUTOR A24
CAST Guy Pearce, Robert Pattinson
DIRECTOR David Michôd
WRITER David Michôd
GENRE Drama | Sci-Fi
RATING R
RUNNING TIME 100 min.
RELEASE DATE June 13 (Ltd) | June 20 (Wide)
THE SIGNAL
n A group of M.I.T. students find themselves
in captivity after being lured to the middle of
the desert by a rival hacker. The Signal premiered
at the 2014 Sundance Film Festival and
is director William Eubank’s second feature.
The film stars Laurence Fishburne, Brenton
Thwaites, and Olivia Cooke.
DISTRIBUTOR Focus
CAST Laurence Fishburne, Brenton Thwaites
DIRECTOR William Eubank
WRITERS William Eubank, Carlyle Eubank,
David Frigerio, Sebastian Gutierrez
GENRE Sci-Fi | Thriller
RATING PG-13
RUNNING TIME 95 min.
RELEASE DATE June 13 (Ltd) | June 20 (Expands)
THIRD PERSON
n The latest film from Academy Award–winning
writer-director Paul Haggis (Crash) boasts
an all-star cast featuring Mila Kunis, James Franco,
Olivia Wilde, Liam Neeson, Kim Bassinger,
Adrien Brody, and Maria Bello. The film intertwines
three different narratives—love stories
set in Rome, Paris, and New York. Third Person
premiered at the 2013 Toronto Film Festival.
DISTRIBUTOR Sony Pictures Classics
CAST Mila Kunis, James Franco, Olivia Wilde
DIRECTOR Paul Haggis
WRITER Paul Haggis
GENRE Drama
RATING R
RUNNING TIME 137 min.
RELEASE DATE June 20 (New York | Los
Angeles)
VENUS IN FUR
n Legendary auteur Roman Polanski adapts
the two-person stage play from playwright
David Ives. Polanski’s French-language screen
adaptation premiered in competition at the
2013 Cannes Film Festival. Venus in Fur is
Polanski’s second consecutive stage adaptation
following 2011’s Carnage.
DISTRIBUTOR IFC Films
CAST Emmanuelle Seigner, Mathieu Almaric
DIRECTOR Roman Polanski
WRITERS David Ives, Roman Polanski
GENRE Drama
RATING Not Rated
RUNNING TIME 96 min.
RELEASE DATE June 20
70 BoxOffice ® Pro The Business of Movies JUNE 2014

COMING IN JUNE > LIMITED RELEASES
YVES SAINT LAURENT
n This biopic of the iconic French fashion
designer starts out in 1958, when Saint Laurent
(Pierre Niney) met his lover and business partner
Pierre Bergé (Guillaume Gallienne). The
film was screened as part of the 2014 Berlin
Film Festival and has already grossed $17.8
million overseas ahead of its North American
premiere.
DISTRIBUTOR Weinstein Company
CAST Pierre Niney, Guillaume Gallienne,
Charlotte Le Bon
DIRECTOR Jalil Lespert
WRITERS Jalil Lesper, Jacques Fieschi,
Jérémie Guez, Marie-Pierre Huster
GENRE Drama
RATING Not Rated
RUNNING TIME 106 min.
RELEASE DATE June 25
SNOWPIERCER
n South Korean director Joon-ho Bong (The
Host) is one of his country’s most revered
contemporary filmmakers. His latest film is an
adaptation of a French sci-fi comic book and
pairs South Korean actors Kang-ho Song and
Ah-sung Ko with Hollywood names like Chris
Evans, Jamie Bell, and Tilda Swinton. It has
already grossed more than $80 million overseas,
including a blockbuster $59.8 million run in
South Korea. Snowpiercer is Bong’s English-language
debut.
DISTRIBUTOR Radius-TWC
CAST Chris Evans, Jamie Bell, Tilda Swinton
DIRECTOR Joon-ho Bong
WRITERS Joon-ho Bong, Kelly Masterson
GENRE Sci-Fi | Action
RATING Not Rated
RUNNING TIME 126 min.
RELEASE DATE June 27
THEY CAME TOGETHER
n David Wain has been a cotemporary indie
cult comedy hero for the last 15 years. The
director’s offbeat slate of comedies (Wet Hot
American Summer, Wanderlust) has its own
loyal following of fans. They Came Together pits
an executive from a big corporate developer
(Paul Rudd) against a local candy-store owner
(Amy Poehler) trying to protect her business
from being shut down. This romantic comedy
is infused with Wain’s own brand of absurdist
humor.
DISTRIBUTOR Lionsgate
CAST Amy Poehler, Paul Rudd, Ed Helms
DIRECTOR David Wain
WRITERS David Wain, Michael Showalter
GENRE Comedy
RATING R
RUNNING TIME 83 min.
RELEASE DATE June 27
Because of you,
we never
received a bill.
Because of you, families never receive
a bill from St. Jude Children’s Research
Hospital ® for treatment, travel, housing or
food. Because all a family should worry
about is helping their child live.
Because of you, there is St. Jude.
Visit stjude.org to join our mission.
©2014 ALSAC/St. Jude Children’s Research Hospital
Brent | at age 9
cancer of the
nervous system
JUNE 2014 BoxOffice ® Pro The Business of Movies 71

BOOKING
GUIDE
Compiled by Daniel Garris
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
CBS FILMS LAUREN DOUGLAS / 310-575-7052 / LAUREN.DOUGLAS@CBS.COM
DANIEL RADCLIFFE,
WHAT IF
FRI, 8/1/14 EXCL NY/LA
MICHAEL DOWSE PG-13 ROM/COM DOLBY DIG
ZOE KAZAN
DISNEY 818-560-1000 / ASK FOR DISTRIBUTION
DANE COOK, JULIE
PLANES: FIRE & RESCUE
FRI, 7/18/14 WIDE
ROBERTS GANNAWAY NR ANI/ADV/FAM 3D/DOLBY DIG
BOWEN
GUARDIANS OF THE GALAXY
THE HUNDRED-FOOT JOURNEY
ALEXANDER & THE TERRIBLE,
HORRIBLE, NO GOOD, VERY BAD
DAY
BIG HERO 6
MCFARLAND
INTO THE WOODS
CINDERELLA
MONKEY KINGDOM
AVENGERS: AGE OF ULTRON
FRI, 8/1/14 WIDE
FRI, 8/8/14 WIDE
FRI, 10/10/14 WIDE
FRI, 11/7/14 WIDE
FRI, 11/21/14 WIDE
THU, 12/25/14 WIDE
FRI, 3/13/15 WIDE
FRI, 4/17/15 WIDE
FRI, 5/1/15 WIDE
FOCUS FEATURES MINGUN KIM / 818-777-3071
THE SIGNAL
WISH I WAS HERE
THE BOXTROLLS
KILL THE MESSENGER
THEORY OF EVERYTHING
SELFLESS
FRI, 6/13/14 LTD.
FRI, 7/18/14 EXCL NY/
LA
FRI, 9/26/14 WIDE
FRI, 10/10/14 LTD.
FRI, 11/7/14 LTD.
FRI, 2/27/15 WIDE
CHRIS PRATT, ZOE
SALDANA
HELEN MIRREN,
MANISH DAYAL
ED OXENBOULD, STEVE
CARELL
KEVIN COSTNER,
MARIA BELLO
MERYL STREEP,
JOHNNY DEPP
LILY JAMES, RICHARD
MADDEN
ROBERT DOWNEY JR.,
CHRIS EVANS
BRENTON THWAITES,
OLIVIA COOKE
ZACH BRAFF, KATE
HUDSON
BEN KINGSLEY, ISAAC
HEMPSTEAD WRIGHT
JEREMY RENNER,
MARY ELIZABETH
WINSTEAD
EDDIE REDMAYNE,
FELICITY JONES
RYAN REYNOLDS,
NATALIE MARTINEZ
JAMES GUNN NR ACT/ADV/SF
LASSE HALLSTRÖM NR DRA
MIGUEL ARTETA PG COM/FAM
DON HALL, CHRIS
WILLIAMS
3D/IMAX/
DOLBY ATMOS
NR ANI/ACT/ADV 3D
NIKI CARO NR DRA/SPORT
ROB MARSHALL NR MUS/FAN
KENNETH BRANAGH NR ADV/DRA/FAN
ALASTAIR FOTHERGILL,
MARK LINFIELD
NR
DOC
JOSS WHEDON NR ACT/ADV
3D/IMAX/
DOLBY ATMOS
WILLIAM EUBANK PG-13 SF/THR DOLBY DIG
ZACH BRAFF NR COM/DRA DOLBY DIG
GRAHAM ANNABLE,
ANTHONY STACCHI
NR ANI/ADV/FAM 3D/DOLBY DIG
MICHAEL CUESTA NR CRI/DRA/THR
JAMES MARSH NR DRA
TARSEM SINGH NR SF/THR
INSIDIOUS CHAPTER 3 FRI, 4/3/15 WIDE NR HOR/THR
FOX 310-369-1000 / 212-556-2400
SHAILENE WOODLEY,
THE FAULT IN OUR STARS
FRI, 6/6/14 WIDE
JOSH BOONE PG-13 DRA/ROM DOLBY DIG
ANSEL ELGORT
HOW TO TRAIN YOUR DRAGON 2
DAWN OF THE PLANET OF THE
APES
LET’S BE COPS
THE MAZE RUNNER
GONE GIRL
BOOK OF LIFE
THE SECRET SERVICE
HOME
FRI, 6/13/14 WIDE
FRI, 7/11/14 WIDE
WED, 8/13/14 WIDE
FRI, 9/19/14 WIDE
FRI, 10/3/14 WIDE
FRI, 10/17/14 WIDE
FRI, 10/24/14 WIDE
WED, 11/26/14 WIDE
JAY BARUCHEL,
GERARD BUTLER
ANDY SERKIS, JASON
CLARKE
JAKE JOHNSON,
DAMON WAYANS JR.
DYLAN O’BRIEN, WILL
POULTER
BEN AFFLECK,
ROSAMUND PIKE
CHANNING TATUM,
ZOE SALDANA
COLIN FIRTH, TARON
EGERTON
JIM PARSONS,
RIHANNA
DEAN DEBLOIS PG ANI/ADV/FAM
MATT REEVES NR ACT/SF
3D/DOLBY
ATMOS
3D/DOLBY
ATMOS
LUKE GREENFIELD NR ACT/COM DOLBY DIG
WES BALL NR SF/THR DOLBY DIG
DAVID FINCHER NR DRA/THR DOLBY DIG
JORGE R. GUTIERREZ NR ANI/ADV
MATTHEW VAUGHN NR ACT/THR
TIM JOHNSON NR ANI/ADV/SF 3D
72 BoxOffice ® Pro The Business of Movies JUNE 2014

BOOKING GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
EXODUS: GODS AND KINGS
FRI, 12/12/14 WIDE
CHRISTIAN BALE, JOEL
EDGERTON
RIDLEY SCOTT NR DRA
NIGHT AT THE MUSEUM 3
TAKEN 3
POLTERGEIST
UNTITLED VINCE VAUGHN MOVIE
THE PENGUINS OF
MADAGASCAR
FRI, 12/19/14 WIDE
FRI, 1/9/15 WIDE
FRI, 2/13/15 WIDE
FRI, 3/6/15 WIDE
FRI, 3/27/15 WIDE
BEN STILLER, OWEN
WILSON
LIAM NEESON, MAGGIE
GRACE
SAM ROCKWELL,
ROSEMARIE DEWITT
VINCE VAUGHN, TOM
WILKINSON
TOM MCGRATH, JOHN
DIMAGGIO
SHAWN LEVY
NR
ADV/COM/
FAM
OLIVIER MEGATON NR ACT/THR
GIL KENAN NR HOR/THR
KEN SCOTT NR COM
SIMON J. SMITH NR ANI/COM/FAM 3D
THE LONGEST RIDE FRI, 4/3/15 WIDE SCOTT EASTWOOD GEORGE TILLMAN JR. NR DRA/ROM
FOX SEARCHLIGHT 212-556-2400
MICHAEL PITT, BRIT
I ORIGINS
FRI, 7/18/14 LTD.
MIKE CAHILL NR SF/DRA DOLBY DIG
MARLING
CALVARY
THE DROP
BIRDMAN
THE BEST EXOTIC MARIGOLD
HOTEL 2
LIONSGATE 310-309-8400
BURNING BLUE
THEY CAME TOGETHER
STEP UP ALL IN
THE EXPENDABLES 3
JESSABELLE
ADDICTED
THE HUNGER GAMES:
MOCKINGJAY - PART 1
NORM OF THE NORTH
LAZARUS
MORTDECAI
INSURGENT
OPEN ROAD FILMS 310-696-7504
FRI, 8/1/14 LTD.
FRI, 9/19/14 LTD.
FRI, 10/17/14 LTD.
FRI, 3/6/15 LTD.
FRI, 6/6/14 LTD.
FRI, 6/27/14 LTD.
FRI, 7/25/14 WIDE
FRI, 8/15/14 WIDE
FRI, 8/29/14 WIDE
FRI, 10/10/14 WIDE
FRI, 11/21/14 WIDE
FRI, 1/16/15 WIDE
FRI, 1/30/15 WIDE
FRI, 2/6/15 WIDE
FRI, 3/20/15 WIDE
BRENDAN GLEESON,
CHRIS O’DOWD
TOM HARDY, NOOMI
RAPACE
MICHAEL KEATON,
ZACH GALIFIANAKIS
JUDI DENCH, MAGGIE
SMITH
TRENT FORD, MORGAN
SPECTOR
PAUL RUDD, AMY
POEHLER
RYAN GUZMAN,
BRIANA EVIGAN
SYLVESTER STALLONE,
JASON STATHAM
SARAH SNOOK, MARK
WEBBER
SHARON LEAL, BORIS
KODJOE
JENNIFER LAWRENCE,
JOSH HUTCHERSON
ROB SCHNEIDER, KEN
JEONG
OLIVIA WILDE, MARK
DUPLASS
JOHNNY DEPP,
GWYNETH PALTROW
SHAILENE WOODLEY,
THEO JAMES
JOHN MICHAEL
MCDONAGH
NR
COM/DRA
MICHAËL R. ROSKAM R CRI/DRA DOLBY DIG
ALEJANDRO G.
IÑÁRRITU
JOHN MADDEN NR COM
R COM DOLBY DIG
D.M.W. GREER R DRA/ROM
DAVID WAIN R COM
TRISH SIE
NR
DRA/ROM/
DANCE
PATRICK HUGHES NR ACT/ADV DOLBY ATMOS
KEVIN GREUTERT PG-13 HOR/THR
BILLE WOODRUFF NR DRA
FRANCIS LAWRENCE NR ACT/ADV/SF IMAX
ANTHONY BELL NR ANI/COM/FAM 3D
DAVID GELB NR HOR/THR
DAVID KOEPP NR ACT/COM
ROBERT SCHWENTKE NR ACT/ADV/SF
THE FLUFFY MOVIE FRI, 7/11/14 WIDE GABRIEL IGLESIAS MANNY RODRIGUEZ NR
THE GREEN INFERNO
PARAMOUNT 323-956-5000
TRANSFORMERS: AGE OF
EXTINCTION
HERCULES
TEENAGE MUTANT NINJA
TURTLES
FRI, 9/5/14 WIDE
FRI, 6/27/14 WIDE
FRI, 7/25/14 WIDE
FRI, 8/8/14 WIDE
LORENZA IZZO, ARIEL
LEVY
MARK WAHLBERG,
NICOLA PELTZ
DWAYNE JOHNSON,
IAN MCSHANE
MEGAN FOX, WILLIAM
FICHTNER
COM/CON/
DOC
ELI ROTH R HOR/THR
MICHAEL BAY NR ACT/ADV/SF
3D
3D/IMAX/
DOLBY ATMOS
BRETT RATNER NR ACT/ADV QUAD
JONATHAN LIEBESMAN NR ACT/ADV 3D/DOLBY DIG
PARANORMAL ACTIVITY 5 FRI, 10/24/14 WIDE KATIE FEATHERSTON GREGORY PLOTKIN NR HOR
INTERSTELLAR
FRI, 11/7/14 WIDE
MATTHEW
MCCONAUGHEY, ANNE
HATHAWAY
CHRISTOPHER NOLAN NR SF IMAX
JUNE 2014 BoxOffice ® Pro The Business of Movies 73

BOOKING GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
HOT TUB TIME MACHINE 2
THU, 12/25/14 WIDE
ROB CORDDRY, CRAIG
ROBINSON
STEVE PINK R COM
PROJECT ALMANAC
FRI, 1/30/15 WIDE
JONNY WESTON, SOFIA
BLACK-D’ELIA
DEAN ISRAELITE NR SF/THR
SPONGEBOB SQUAREPANTS 2
FRI, 2/13/15 WIDE
TOM KENNY, BILL
FAGERBAKKE
PAUL TIBBITT NR ANI/COM/FAM 3D
FRIDAY THE 13TH FRI, 3/13/15 WIDE NR HOR
RELATIVITY 310-724-7700 / ASK FOR DISTRIBUTION
EARTH TO ECHO WED, 7/2/14 WIDE TEO HALM, ASTRO DAVE GREEN PG ADV/SF DOLBY DIG
DESERT DANCER
FRI, 8/15/14 LTD.
FREIDA PINTO, REECE
RITCHIE
RICHARD RAYMOND NR DRA
THE NOVEMBER MAN
WED, 8/27/14 WIDE
PIERCE BROSNAN,
OLGA KURYLENKO
ROGER DONALDSON R ACT/THR
HECTOR AND THE SEARCH FOR
HAPPINESS
THE BEST OF ME
BLACKBIRD
JANE GOT A GUN
SONY 212-833-8500
FRI, 9/26/14 LTD.
FRI, 10/17/14 WIDE
FRI, 11/14/14 WIDE
FRI, 2/20/15 WIDE
22 JUMP STREET FRI, 6/13/14 WIDE
THINK LIKE A MAN TOO
DELIVER US FROM EVIL
SEX TAPE
WHEN THE GAME STANDS TALL
NO GOOD DEED
THE EQUALIZER
THE INTERVIEW
FURY
ANNIE
UNTITLED CAMERON CROWE
PROJECT
KITCHEN SINK
FRI, 6/20/14 WIDE
WED, 7/2/14 WIDE
FRI, 7/25/14 WIDE
FRI, 8/22/14 WIDE
FRI, 9/12/14 WIDE
FRI, 9/26/14 WIDE
FRI, 10/10/14 WIDE
FRI, 11/14/14 WIDE
FRI, 12/19/14 WIDE
THU, 12/25/14 WIDE
FRI, 1/9/15 WIDE
SIMON PEGG, TONI
COLLETTE
MICHELLE
MONAGHAN, JAMES
MARSDEN
GUGU MBATHA-RAW,
NATE PARKER
NATALIE PORTMAN,
EWAN MCGREGOR
CHANNING TATUM,
JONAH HILL
KEVIN HART, MICHAEL
EALY
ERIC BANA, ÉDGAR
RAMÍREZ
CAMERON DIAZ,
JASON SEGEL
JIM CAVIEZEL, LAURA
DERN
IDRIS ELBA, TARAJI P.
HENSON
DENZEL WASHINGTON,
CHLOË GRACE MORETZ
JAMES FRANCO, SETH
ROGEN
BRAD PITT, SHIA
LABEOUF
JAMIE FOXX,
QUVENZHANÉ WALLIS
BRADLEY COOPER,
EMMA STONE
NICHOLAS BRAUN,
MACKENZIE DAVIS
PETER CHELSOM NR DRA
MICHAEL HOFFMAN NR DRA/ROM
GINA PRINCE-
BYTHEWOOD
NR
DRA
GAVIN O’CONNOR NR WES/ACT
PHIL LORD, CHRIS
MILLER
NR ACT/COM QUAD
TIM STORY PG-13 ROM/COM
SCOTT DERRICKSON NR CRI/HOR/THR QUAD
JAKE KASDAN NR COM QUAD
THOMAS CARTER NR DRA/SPORT
SAM MILLER NR DRA/THR
ANTOINE FUQUA NR ACT/THR
EVAN GOLDBERG, SETH
ROGEN
NR
COM
DAVID AYER NR ACT/DRA/WAR
WILL GLUCK NR MUS/FAM
CAMERON CROWE
NR
ROM/COM/
DRA
ROBBIE PICKERING NR COM/HOR
THE WEDDING RINGER FRI, 1/16/15 WIDE KEVIN HART, JOSH GAD JEREMY GARELICK NR COM
CHAPPIE
FRI, 3/6/15 WIDE
HUGH JACKMAN,
SHARLTO COPLEY
NEILL BLOMKAMP NR SF/ACT/COM
PAUL BLART: MALL COP 2
FRI, 4/17/15 WIDE
KEVIN JAMES, RAINI
RODRIGUEZ
ANDY FICKMAN NR COM/FAM
SONY PICTURES CLASSICS TOM PRASSIS / 212-833-4981
THIRD PERSON
FRI, 6/20/14 EXCL NY/
LA
LIAM NEESON, MILA
KUNIS
PAUL HAGGIS R DRA/ROM DOLBY DIG
LAND HO!
FRI, 7/11/14 EXCL NY/
LA
PAUL EENHOORN, EARL
LYNN NELSON
AARON KATZ, MARTHA
STEPHENS
NR
ADV/COM
MAGIC IN THE MOONLIGHT
FRI, 7/25/14 EXCL NY/
LA
COLIN FIRTH, EMMA
STONE
WOODY ALLEN PG-13 COM
LOVE IS STRANGE
FRI, 8/22/14 EXCL NY/
LA
JOHN LITHGOW,
ALFRED MOLINA
IRA SACHS NR DRA
THE NOTEBOOK
FRI, 8/29/14 EXCL NY/
LA
ANDRÁS GYÉMÁNT,
LÁSZLÓ GYÉMÁNT
JÁNOS SZÁSZ R DRA
74 BoxOffice ® Pro The Business of Movies JUNE 2014

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
FOXCATCHER
FRI, 11/14/14 LTD.
CHANNING TATUM,
MARK RUFFALO
BENNETT MILLER NR DRA
UNIVERSAL 818-777-1000
THE PURGE: ANARCHY
FRI, 7/18/14 WIDE
FRANK GRILLO, ZACH
GILFORD
JAMES DEMONACO NR HOR/THR/SF QUAD
GET ON UP
FRI, 8/1/14 WIDE
CHADWICK BOSEMAN,
VIOLA DAVIS
TATE TAYLOR NR DRA QUAD
LUCY
FRI, 8/8/14 WIDE
SCARLETT JOHANSSON,
MORGAN FREEMAN
LUC BESSON NR ACT/THR QUAD
AS ABOVE, SO BELOW
FRI, 8/15/14 WIDE
PERDITA WEEKS, BEN
FELDMAN
JOHN ERICK DOWDLE NR HOR/THR
THE LOFT
FRI, 8/29/14 WIDE
KARL URBAN, JAMES
MARSDEN
ERIK VAN LOOY R THR
SEARCH PARTY
FRI, 9/12/14 WIDE
THOMAS
MIDDLEDITCH, T.J.
MILLER
SCOT ARMSTRONG R COM
A WALK AMONG THE
TOMBSTONES
DRACULA UNTOLD
OUIJA
DUMB AND DUMBER TO
UNBROKEN
UNTITLED MICHAEL MANN
PROJECT
THE BOY NEXT DOOR
SEVENTH SON
FIFTY SHADES OF GREY
FAST & FURIOUS 7
WARNER BROS. 818-977-1850
EDGE OF TOMORROW
JERSEY BOYS
TAMMY
JUPITER ASCENDING
INTO THE STORM
IF I STAY
THE GOOD LIE
THIS IS WHERE I LEAVE YOU
DOLPHIN TALE 2
UNTITLED NEW LINE HORROR
FILM
THE JUDGE
HORRIBLE BOSSES 2
FRI, 9/19/14 WIDE
FRI, 10/17/14 WIDE
FRI, 10/24/14 WIDE
FRI, 11/14/14 WIDE
THU, 12/25/14 WIDE
FRI, 1/16/15 WIDE
FRI, 1/23/15 WIDE
FRI, 2/6/15 WIDE
FRI, 2/13/15 WIDE
FRI, 4/10/15 WIDE
FRI, 6/6/14 WIDE
FRI, 6/20/14 WIDE
WED, 7/2/14 WIDE
FRI, 7/18/14 WIDE
FRI, 8/8/14 WIDE
FRI, 8/22/14 WIDE
FRI, 9/10/14 LTD.
FRI, 9/12/14 WIDE
FRI, 9/19/14 WIDE
LIAM NEESON, DAN
STEVENS
LUKE EVANS, DOMINIC
COOPER
OLIVIA COOKE,
DOUGLAS SMITH
JIM CARREY, JEFF
DANIELS
JACK O’CONNELL,
DOMHNALL GLEESON
CHRIS HEMSWORTH,
VIOLA DAVIS
JENNIFER LOPEZ, RYAN
GUZMAN
JEFF BRIDGES, BEN
BARNES
DAKOTA JOHNSON,
JAMIE DORNAN
VIN DIESEL, DWAYNE
JOHNSON
TOM CRUISE, EMILY
BLUNT
JOHN LLOYD YOUNG,
CHRISTOPHER WALKEN
MELISSA MCCARTHY,
SUSAN SARANDON
CHANNING TATUM,
MILA KUNIS
RICHARD ARMITAGE,
SARAH WAYNE CALLIES
CHLOË GRACE
MORETZ, JAMIE
BLACKLEY
REESE WITHERSPOON,
COREY STOLL
JASON BATEMAN, TINA
FEY
NATHAN GAMBLE,
HARRY CONNICK JR.
SCOTT FRANK R ACT/THR
GARY SHORE NR ACT/HOR
STILES WHITE NR SF/THR
BOBBY FARRELLY,
PETER FARRELLY
NR
COM
ANGELINA JOLIE NR DRA/WAR QUAD
MICHAEL MANN NR CRI/THR
ROB COHEN NR THR
SERGEY BODROV PG-13 ADV/FAN 3D/IMAX/QUAD
SAM TAYLOR-JOHNSON NR DRA/ROM
JAMES WAN NR ACT/CRI
DOUG LIMAN PG-13 ACT/SF
3D/IMAX/
DOLBY ATMOS/
QUAD
CLINT EASTWOOD R MUS/DRA QUAD
BEN FALCONE R COM QUAD
ANDY WACHOWSKI,
LANA WACHOWSKI
NR ACT/ADV/SF 3D/IMAX/QUAD
STEVEN QUALE PG-13 ACT/THR QUAD
R.J. CUTLER NR DRA
PHILIPPE FALARDEAU PG-13 DRA
SHAWN LEVY R COM/DRA
CHARLES MARTIN
SMITH
NR
DRA/FAM
FRI, 10/3/14 WIDE NR HOR
FRI, 10/10/14 WIDE
WED, 11/26/14 WIDE
ROBERT DOWNEY JR.,
ROBERT DUVALL
JASON BATEMAN,
JASON SUDEIKIS
DAVID DOBKIN NR DRA
SEAN ANDERS NR COM
JUNE 2014 BoxOffice ® Pro The Business of Movies 75

BOOKING GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
INHERENT VICE
THE HOBBIT: THE BATTLE OF THE
FIVE ARMIES
THE MAN FROM U.N.C.L.E.
RUN ALL NIGHT
FOCUS
HEART OF THE SEA
GET HARD
FRI, 12/12/14 WIDE
WED, 12/17/14 WIDE
FRI, 1/16/15 WIDE
FRI, 2/6/15 WIDE
FRI, 2/27/15 WIDE
FRI, 3/13/15 WIDE
FRI, 3/27/15 WIDE
WEINSTEIN CO./DIMENSION 646-862-3400
YVES SAINT LAURENT
BEGIN AGAIN
THE GIVER
SIN CITY: A DAME TO KILL FOR
WED, 6/25/14 LTD.
FRI, 7/4/14 EXCL NY/LA
FRI, 8/15/14 WIDE
FRI, 8/22/14 WIDE
JOAQUIN PHOENIX,
JOSH BROLIN
IAN MCKELLEN,
MARTIN FREEMAN
HENRY CAVILL, ARMIE
HAMMER
LIAM NEESON, JOEL
KINNAMAN
WILL SMITH, MARGOT
ROBBIE
CHRIS HEMSWORTH,
BENJAMIN WALKER
WILL FERRELL, KEVIN
HART
PIERRE NINEY,
GUILLAUME
GALLIENNE
KEIRA KNIGHTLEY,
MARK RUFFALO
JEFF BRIDGES,
BRENTON THWAITES
JOSH BROLIN, EVA
GREEN
UNDERDOGS WED, 8/27/14 WIDE RUPERT GRINT
ONE CHANCE
TRACKS
ST. VINCENT
PADDINGTON
AMITYVILLE
FRI, 8/29/14 LTD.
FRI, 9/19/14 LTD.
FRI, 10/24/14 WIDE
FRI, 12/12/14 WIDE
FRI, 1/2/15 WIDE
JAMES CORDEN,
ALEXANDRA ROACH
MIA WASIKOWSKA,
ADAM DRIVER
BILL MURRAY, NAOMI
WATTS
COLIN FIRTH, HUGH
BONNEVILLE
JENNIFER JASON
LEIGH, BELLA THORNE
PAUL THOMAS
ANDERSON
NR
CRI/COM/DRA
PETER JACKSON NR ACT/ADV/FAN
GUY RITCHIE NR ACT/ADV/COM
JAUME COLLET-SERRA NR ACT/CRI/THR
GLENN FICARRA, JOHN
REQUA
NR
ROM/COM/CRI
RON HOWARD NR DRA
ETAN COHEN NR COM
3D/IMAX/
DOLBY ATMOS
JALIL LESPERT NR DRA DOLBY DIG
JOHN CARNEY
R
MUS/COM/
DRA
PHILLIP NOYCE NR SF/DRA
FRANK MILLER, ROBERT
RODRIGUEZ
JUAN JOSÉ
CAMPANELLA
DAVID FRANKEL
DOLBY DIG
NR ACT/CRI/THR 3D/DOLBY DIG
NR ANI/COM/FAM DOLBY DIG
PG-13
MUS/COM/
DRA
DOLBY DIG
JOHN CURRAN PG-13 ADV/DRA DOLBY DIG
THEODORE MELFI PG-13 COM
PAUL KING NR ANI/COM/FAM
FRANCK KHALFOUN NR HOR/THR
Mark Wahlberg
leads an all-star
cast in an inspiring
film based on true
acts of courage in
LONE SURVIVOR,
the action-packed
story of heroism,
courage and
survival. Directed
by Peter Berg
and also starring
Taylor Kitsch,
Ben Foster and
Emile Hirsch.
LONE SURVIVOR is available on
Blu-ray, DVD and Digital HD with
UltraViolet on June 3, 2014
During a
transatlantic flight,
U.S. Air Marshal
Bill Marks (Liam
Neeson) receives
a series of cryptic
text messages
threatening to
kill a passenger
every 20
minutes unless
$150 million is
transferred into
an off-shore
account.
NON-STOP is available on
Blu-ray, DVD and Digital HD with
UltraViolet on June 10, 2014
76 BoxOffice ® Pro The Business of Movies JUNE 2014

EXHIBITION BRIEFS
BUILDS
STUDIO MOVIE GRILL
RELAUNCHING COPPERFIELD
LOCATION FOLLOWING
COMPLETE REDESIGN AND
RENOVATION
n Studio Movie Grill Copperfield (SMG)
has announced that its first Houston location,
originally opened in 2006, has been
completely renovated to match the style of
the current SMG brand. Highlights of the
Copperfield location include the storefront,
box office, bar-lounge, lobby, and auditoriums,
plus custom fixtures and soft seating.
Housing eight screens and 1,500 seats,
the newly redesigned theater will offer
guests spacious auditoriums with fixed
lounge seats. The contemporary, casual
lounge and bar areas, including a full-service
lobby bar, will allow guests to enjoy
a drink and socialize before or after the
movie.
“We couldn’t be more thrilled to
introduce new guests and existing fans to
the newest embodiment of our concept
and the very best SMG has to offer,” says
Studio Movie Grill Founder/CEO Brian
Schultz. “The growth and success of the
brand enables us to reinvest in the guest
experience, giving people a reason to keep
coming back.”
When SMG Copperfield opened its
doors in May, it also launched its signature
Cans Film Festival benefitting the Houston
Food Bank. Guests who donated two or
more nonperishable food items during the
weekend of May 16 to 19 received a free
admission ticket. “We appreciate the efforts
of Studio Movie Grill to help put food on
the tables of the hungry in Houston,” says
Brian Greene, president/CEO of Houston
Food Bank.
In addition to new movie releases, SMG
Copperfield offers a variety of alternate
programming with coordinated concessions
specials including Brews-N-Views, Girls’
Night Out, Special Needs Screenings, and
SMG Toons.
SMG will also host several other
screening series that feature documentaries,
concerts, advance screenings, independent
films, film series, Game Day (local and
national sports), and original programming.
OPENINGS
ADMISSIONS
CARMIKE CINEMAS’ FIRST QUARTER REVENUE RISES 22.9% TO
$158.9 MILLION
n Carmike Cinemas, Inc., an entertainment, digital cinema, and 3-D motion picture
exhibitor, recently reported a box office admissions increase of 20.4 percent and an attendance
increase of 16.9 percent for the period ending March 31, 2014. Concessions and
other per patron spending rose for the 17th consecutive quarter.
“Carmike’s theater circuit outperformed box office and attendance gains in Q1, as
well as our 17th straight quarter of higher year-over-year concessions and other per patron
spending,” says David Passman, Carmike Cinemas’ president and chief executive officer.
“The company’s per screen admissions revenue and attendance grew approximately 12
percent and 9 percent respectively, versus the prior-year period. This compares to reported
domestic industry box office revenue and attendance growth of approximately 6 percent
and 5 percent respectively during the quarter.
“A more compelling, diverse, and well-spaced film slate versus the comparable period,
positive contributions from the first full quarter of operating results from the nine theaters
and 147 screens we acquired from Muvico in late 2013, as well as several recently opened
Carmike locations, drove strong top-line financial performance in Q1.”
During the quarter, Carmike announced plans to open three state-of-the-art theaters
in Fayetteville, North Carolina, Spring Hill, Tennessee, and Traverse City, Michigan, and
has a total of six announced locations under construction. Subsequent to quarter end,
Carmike also completed a remodel of its Mount Lebanon, Pennsylvania, theater in the
Pittsburgh suburbs and opened the Tiger 13 in Opelika, Alabama, not far from the Auburn
University campus. A number of other new builds are in the planning or advanced
negotiations stages.
MALCO THEATRES’ GONZALES
CINEMA SET TO OPEN
n Malco Theatres has announced the opening
of the new Malco Gonzales Cinema in Ascension
Parish, Louisiana. The cinema is the chain’s
first theatrical venture into Louisiana.
Malco’s lobby will showcase a cinema lounge
with fireplace and sitting area. The Gonzales
Cinema will also have all-stadium seating with
luxurious oversized seats, state-of-the-art Dolby
7.1 digital surround sound and 3D projection,
and wall-to-wall curved screens. Additional
amenities include an expanded concession
menu, reloadable gift cards, birthday parties,
group discounts (select days and times), corporate
rentals, and worship space. Lobby kiosks
will allow for online- and advance-ticketing
redemption.
The theater hosted a soft opening May 12
through May 14 with a limited film schedule
and special one dollar admission with proceeds
benefiting area children’s charities. The grand
opening ribbon cutting, hosted by the Ascension
Chamber of Commerce, included screenings
of Godzilla, Million Dollar Arm, Neighbors,
Moms’ Night Out, and The Amazing Spider-Man
2, and others.
“With the opening of the Malco cinema,
Gonzales now has our first state-of-the-art family
entertainment center, complete with bowling,
gaming, food service, and now the final piece is
in place, the cinema, says Jimmy Tashie, executive
VP of theater operations. “The end product
is something the community will be very proud
to have and enjoy for many years to come.”
Malco recently completed the renovation
of the Ridgeway Cinema Grill (formerly the
Ridgeway Four Cinema) in Memphis, the Forest
Hill Cinema in Germantown, Tennessee, and
the newly acquired Winchester Cinema in Winchester,
Kentucky. Upcoming projects include
Millington, Tennessee, and Jackson, Tennessee.
Memphis, Tennessee–based Malco Theatres
is a fourth-generation family owned and operated
business that will reach its 100th anniversary
in 2015. Malco Theatres operates over 330
screens at 32 locations across the mid-South,
as well as bowling and family entertainment
centers in Louisiana.
JUNE 2014 BoxOffice ® Pro The Business of Movies 77

EXHIBITION BRIEFS
AUDIO
CMS-2200 “NEXT GENERATION”
CINEMA MEDIA SERVER
IMPRESSES EUROPEAN CINEMA
OWNERS • PERFORMANCE
AND EASE OF INSTALLATION
PLEASES INTEGRATORS
n USL, Inc.’s innovative CMS-2200 Cinema
Media Server with solid-state drives and patented
immersive audio technology is receiving
outstanding reviews from cinema owners,
engineers, and integrators, as new installations
continue to grow on a global level. The
CMS-2200 will be on display during the
CineEurope convention in Barcelona, Spain,
June 16–19.
Clint Koch, USL’s sales director, states,
“The comments from our dealers, cinema
engineers, and integrators have been very
positive.” One dealer wrote, “The CMS-2200
is a very easy-to-use system. The interface is
very intuitive and straightforward. With the
added CMSA Automation unit, it feels like
there is nothing we can’t do. I love knowing
that we have the best possible technology for
our theaters. The solid-state drives make this
very fast and reliable.” Another dealer wrote,
“USL did it again. Put together the CMS-
2200, CMSA-100, and a JSD processor in
each auditorium and the whole operation
can be run from a single laptop with the USL
SMS/TMS software. Simple, fast, friendly, and
efficient without any compromise on features.
Good job, USL.”
Founder, President, and Chief Technical
Designer Jack Cashin, says, “We continue
to upgrade the CMS-2200. We listen to our
customers and add features that they recommend.
The response has been very positive and
encouraging for our hardworking engineering
team at USL.” Cashin adds, “Every CMS-
2200 supports our patented immersive audio
technology.”
Updated features include cloud-based
TMS Showshare technology, license-free
software installs, 3D HDMI (with HDMI
3D compliance), hot swappable USB 3.0 and
eSATA ports, faster ingest times, scheduling
of alternative content, and direct play from
external storage.
This “next-generation” server features a
cross-platform Android, xOS (MAC), iOS
(Apple), Linux, and Windows-based Screen
Management System (SMS) and built-in automation
with an optional CMSA-100 expansion
unit. It supports 4K, High Frame Rate
2K, and is HDMI 2D and 3D compliant.
Two USB 3.0 ports allow accelerated ingest of
content and enable live streaming. The CMS-
2200 is a compact, projector-mounted unit,
which comes with a clear, concise operation
manual and online videos for smooth, efficient
installation. Also supported in the CMS-2200
is MPEG 2 for alternative content.
OPENINGS
4DX LAUNCHES 100TH CINEMA WITH CINÉPOLIS IN
MEXICO CITY
n CJ 4DPLEX, the world’s first 4D cinema company for feature films,
launched its 100th 4DX theater at BuenaVista Forum shopping mall
in Mexico City on April 18. 4DX is CJ group’s movie platform that
integrated the concept and technology of theme park rides with movie
theaters to offer an immersive cinema experience.
The BuenaVista Forum site is CJ group’s 20th location in Mexico
and the third biggest site for Cinépolis in Mexico. Cinépolis opened its
first 4DX theater in Paseo Acoxpa, Mexico, in 2011.
Since the CJ 4DPLEX launched the first theater in Beijing, China,
it took less than four years to reach the 100th site, which means more
than two theaters have opened per month in that span of time. “This is
a monumental achievement for CJ 4DPLEX, and we are thrilled at the
reception our technology has received,” says Byung Hwan Choi, CEO
of CJ 4DPLEX.
CJ 4DPLEX has set a target to increase the number of theaters
from the current 100 in 24 countries to 200 in 35 countries within the
next 12 months by prioritizing
its expansion in the
United States. Last month
at CinemaCon 2014, CJ
4DPLEX announced its first
U.S. location at the Regal
Cinemas L.A. LIVE Stadium
14 Theaters in Los Angeles.
The site is set to open to the
public this summer.
CJ 4DPLEX hopes to
deploy its 4DX technology in
300 theaters within two years.
“With 300 theaters, the business
can start to turn around,
and 4DX has the potential to
become a global brand that
consumers can immediately
associate with the movie
industry, like IMAX today,”
Choi says. “We are doing a lot
of networking with Hollywood
directors and major studios
with hopes of not only getting
them interested in making
movies in 4DX but also possibly
getting involved in film
preproduction in the future.”
78 BoxOffice ® Pro The Business of Movies JUNE 2014

AD INDEX
AMERICAN CINEMA
EQUIPMENT
1927 N. Argyle Street
Portland, OR 97217
www.cinequip.com
PG 7
AMERICAN COMPUTER
OPTICS, INC.
(PORT WINDOW GLASS)
240 Goddard
Irvine, CA 92618-4625
www.portwindowglass.com
PG 61
CARDINAL SOUND &
MOTION PICTURE SYSTEMS
6330 Howard Ln.
Elkridge, MD 21075
www.cardinalsound.com
PG 80
CHRISTIE DIGITAL SYSTEMS
10550 Camden Dr.
Cypress, CA 90630
www.christiedigital.com
INSIDE FRONT COVER
KLIPSCH
3502 Woodview Trace, Ste. 200
Indianapolis, IN 46268
www.klipsch.com
PG 9
MAGNA-TECH ELECTRONIC
CO. INC.
1998 NE 150th St.
Miami, FL 33181
www.myiceco.com
PG 17
MAROEVICH, O’SHEA &
COUGHLAN
44 Montgomery St., 17th Fl.
San Francisco, CA 94104
www.mocins.com
PG 3
MEYER SOUND
LABORATORIES
2832 San Pablo Ave.
Berkeley, CA 94702
www.meyersound.com
PG 43
RETRIEVER SOFTWARE
7040 Avenida Encinas
Ste. 104-363
Carlsbad, CA 92011
www.retrieversoftware.com
PG 49
SCRABBLE VENTURES
10550 Camden Dr.
Cypress CA 90630
www.scrabbleventures.com
PG 2
SCREENVISION
1411 Broadway 33rd Fl.
New York, NY 10018
www.screenvision.com
BACK COVER
SENSIBLE CINEMA
SOFTWARE
7216 Sutton Pl.
Fairview, TN 37062
www.sensiblecinema.com
PG 80
BOXOFFICE ® MEDIA
CHAIRMAN
Peter Cane
CEO
Julien Marcel
EXECUTIVE EDITOR /
CREATIVE DIRECTOR
Kenneth James Bacon
BOXOFFICE ® PRO
INDUSTRY CONTRIBUTOR
John Fithian
CONTRIBUTING EDITORS
Phil Contrino
Mark de Quervain
Daniel Garris
Daniel Loria
Julian Pinn
Laura Silver
CINEMA EQUIPMENT &
SUPPLIES
12457 SW 130th St.
Miami, FL 33186
www.cinemaequip.com
PG 4
DOLBY LABORATORIES
100 Potrero Ave.
San Francisco, CA 94103
www.dolby.com
INSIDE BACK COVER
DOLPHIN SEATING
313 Remuda St.
Clovis, NM 88101
www.dolphinseating.com
PG 53
DOREMI LABS
1020 Chestnut St.
Burbank, CA 91506
www.doremilabs.com
PG 13
ENPAR AUDIO
www@enparaudio.com
PG 39
HARKNESS SCREENS
Unit A, Norton Road
Stevenage, Herts
SG1 2BB UK
www.harkness-screens.com
PG 23, 25, 27
KERNEL SEASONS
1958 N. Western Ave.
Chicago, IL 60647
www.kernelseasons.com
PG 41
MOBILIARIO S.A. DE C.V.
Calle Del Sol #3 Col./
San Rafael Champa
Naucalpan de Juarez
53660 Mexico
5255-5300-0620
www.mobiliarioseating.com
PG 21
OMNITERM DATA
TECHNOLOGY
2785 Skymark Ave., Unit 11
Mississauga, ON L4W 4Y3
www.omniterm.com
PG 19
PRODUCED BY
CONFERENCE
www.producedbyconference.com
PG 77
QSC AUDIO
1665 MacArthur Blvd.
Costa Mesa, CA 92626
www.qscaudio.com
PG 33
READY THEATRE SYSTEMS
4 Hartford Blvd.
Hartford, MI 49057
www.rts-solutions.com.com
PG 47
REALD
100 North Crescent Dr., Ste. 200
Beverly Hills, CA 90210
www.reald.com
PG 14-15
SLS AUDIO
1650 West Jackson St.
Ozark, MO 65721
www.slsloudspeakers.com
PG 35
SONY PICTURES
ENTERTAINMENT
10202 West Washington Blvd.
Culver City, CA 90232
www.sonypictures.com
PG 45
USHIO AMERICA, INC.
5440 Cerritos Ave.
Cypress, CA 90630
www.ushio.com
PG 11
USL INC.
181 Bonetti Dr.
San Luis Obispo, CA 93401
www.uslinc.com
PG 37
VISTA SOFTWARE
SOLUTIONS
323-944-0470
www.vistausa.com
www.veezi.com
PG 1
WHITE CASTLE
555 West Goodale St.
Columbus, OH 43215
www.whitecastle.com
PG 55
COPY EDITOR
Laura Silver
PRODUCTION ASSISTANT
Ally Bacon
BOXOFFICE.COM
VP, CHIEF ANALYST
Phil Contrino
OVERSEAS EDITOR
Daniel Loria
FORUMS EDITOR
Shawn Robbins
NORTH AMERICAN GROSSES EDITOR
Daniel Garris
ADVERTISING
VP, ADVERTISING
Susan Uhrlass
9107 Wilshire Blvd., Ste. 450
Beverly Hills, CA 90210
susan@boxoffice.com
310-876-9090
SUBSCRIPTIONS
Lucia Borja
Stark Services
12444 Victory Blvd., 3rd Floor
North Hollywood, CA 91606
lucia@starkservices.com
818-985-2003
BOXOFFICE ® PRO (ISSN 0006-8527), Volume 150, Number 6, June 2014. BOXOFFICE ® PRO is published monthly
by BoxOffice Media, LLC, 11911 San Vicente Blvd., Ste. 355, Los Angeles, CA 90049, USA. corporate@boxoffice.com.
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JUNE 2014 BoxOffice ® Pro The Business of Movies 79

BUYING & SELLING
MARQUEE LETTERS. Buying and selling.
New and Used marquee letters all types.
We buy old. We sell new. All styles. Trade
in your old letters and get new letters. Turn
those old letters into cash. Your source for
new Pronto, Zip-Change, Snap Lok, Slotted.
mike@pilut.com 800-545-8956
DRIVE-IN CONSTRUCTION
DRIVE-IN SCREEN TOWERS since 1945.
Selby Products Inc., P.O. Box 267, Richfield,
OH 44286. Phone: 330-659-6631.
EQUIPMENT WANTED
ASTER AUDITORIUM SEATING & AUDIO.
We offer the best pricing on good used
projection and sound equipment. Large
quantities available. Please visit our website,
www.asterseating.com, or call 888-
409-1414.
AMERICAN ENTERTAINMENT PROD-
UCTS LLC is buying projectors, processors,
amplifiers, speakers, seating, platters.
If you are closing, remodeling or have
excess equipment in your warehouse and
want to turn equipment into cash, please
call 866-653-2834 or email aep30@comcast.net.
Need to move quickly to close a
location and dismantle equipment? We
come to you with trucks, crew and equipment,
no job too small or too large. Call
today for a quotation: 866-653-2834. Vintage
equipment wanted also! Old speakers
like Western Electric and Altec, horns,
cabinets, woofers, etc., and any tube audio
equipment. Call or email: aep30@
comcast.net.
COLLECTOR WANTS TO BUY: We pay
top money for any 1920-1980 theater
equipment. We’ll buy all theater-related
equipment, working or dead. We remove
and pick up anywhere in the U.S. or Canada.
Amplifiers, speakers, horns, drivers,
woofers, tubes, transformers; Western
Electric, RCA, Altec, JBL, Jensen, Simplex
and more. We’ll remove installed equipment
if it’s in a closing location. We buy
projection and equipment too. Call today:
773-339-9035; cinema-tech.com; email
ILG821@aol.com.
FOR SALE
BARCO 3D/DIGITAL EQUIPMENT FOR
SALE: Purchase for $55K. Equipment list
provided upon request. Contact seller at
mschwartz@pennprolaw.com.
PREFERRED SEATING COMPANY, your
source for new, used and refurbished theater
and stadium seating. Buying and selling
used seating is our specialty. Call toll-free
866-922-0226 or visit our website www.
preferred-seating.com.
12 PLEX THEATER FOR SALE with stadium
seating. 6 acres of Land. Selling at
below land value. $2,000,000. Located
in Huntsville AL, at the University Mall.
Please call 407-948-6751.
TWO CHRISTIE DIGITAL PROJECTORS
CP2000SB, Two Dolby DSS100, Two Dolby
Show Player, Two Christie Series 1 ACT
& Four Dolby Filter Wheel and Projector
Assembly. All in very good condition. Call
360-993-0010.
USED DIGITAL PROJECTORS AVAIL-
ABLE. Barco dcp2000 and others slightly
used. Don’t close your theater conversion
is cheaper than you think. Call Stetson
Snell 505-615-2913
18 SETS OF USED 35MM AUTOMATED
PROJECTION SYSTEM (comes with Projector,
Console, Automation Unit and Platter)
comprising of 10 sets of Christie and 8
sets of Strong 35mm system available on
‘as is where is’ basis in Singapore. Contact
seller at engthye_lim@cathay.com.sg
HELP WANTED
THEATRE MANAGEMENT POSITIONS
AVAILABLE Pacific Northwest Theatre
Company. Previous management experience
required. Work weekends, evenings
and holidays. Send resume and salary history
to movietheatrejobs@gmail.com
THEATRE MANAGEMENT POSITION
AVAILABLE. Xscape Theatres is looking
for managers. Previous theatre experience
is required. Must be able to work evenings,
weekends, and holidays. Send resumes,
references, and salary requirements to cewing@alianceent.com
or mail to Aliance
Management Co. LLC 825 Northgate Blvd.
Suite # 203 New Albany, IN 47150. Will
conduct interviews at CinemaCon 2014.
WE CLEAN THEATERS
EXCLUSIVELY!
From coast to coast for 35 YEARS.
Let us give you our references.
www.maintenancecooperative.com
or call 770-503-1102
SERVICES
DULL FLAT PICTURE? RESTORE YOUR
XENON REFLECTORS! Ultraflat repolishes
and recoats xenon reflectors. Many reflectors
available for immediate exchange.
(ORC, Strong, Christie, Xetron, others!)
Ultraflat, 20306 Sherman Way, Winnetka,
CA 91306; 818-884-0184.
ALLSTATE SEATING specializes in refurbishing,
complete painting, molded foam,
tailor-made seat covers, installations and
removals. Please call for pricing and spare
parts for all types of theater seating. Boston,
Mass.; 617-770-1112; fax: 617-770-1140.
CONSOLIDATED THEATRE SERVICES,
LLC has a wide variety of theatre sound
equipment available at competitive prices.
Our extensive inventory includes amplifiers,
processors, speakers and sound
racks from makers such as JBL, Dolby,
Ashly, Klipsch, Crown and more. You are
welcome to call us at 305-908-1613 for
further information.
THEATER SPACE FOR LEASE
AN 8,400 SQ. FT. SPACE containing two
movie theaters is available for lease in
Frankfort, KY, at a very reasonable lease
rate. It would be perfect for the new concept
of eating in the theater. The theaters
are located in the middle of a major shopping
center. The center owners would
prefer an operating movie theater rather
than convert the space into retail use.
Contact Alexa at 859-221-9921 or email
her at alexarkelley@gmail.com for more
information.
DIRECTOR OF FOOD AND BEVERAGE METROPOLITAN THEATRES, a fourth-generation, family-owned company
based in Los Angeles, is seeking a self-motivated professional to ensure premiere
guest service and optimize food and beverage profit at its 17 locations in California,
Colorado, Idaho, Utah, and British Columbia, Canada. Goal-oriented and budgetminded
candidates must have prior senior concessions experience, be available
for limited travel and possess excellent analytical, leadership and communication
skills. Please send resume and salary requirements to: jobs@metrotheatres.com
80 BoxOffice ® Pro The Business of Movies JUNE 2014

DOLBY ATMOS®
With more than 100 titles and counting,
Dolby Atmos ®
is transforming the world of
motion pictures. The CP850 is the complete
audio solution for today’s digital cinemas.
AVAILABLE
NOW!
SONY PICTURES
dolby.com/atmos
Dolby and the double-D symbol are registered trademarks of Dolby Laboratories. Dolby Atmos is a trademark of Dolby Laboratories. © 2014 Dolby Laboratories, Inc. All rights reserved. S14/27774/28010