Boxoffice-June.1999

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FADE IN...
Keep reading—as you'll see below, you could become
a prize winner!
No sooner had we put the editorial contents of this
issue to bed than two for-further-reading candidates
arrived in our offices, each having to do with one of
the key topics addressed in these pages. The first is the
advance proofs of "The Tarzan Chronicles," an oversize
tome from Disney publishing house Hyperion.
Written by Howard E.
Green, whom one can imagine
had all the insidethe-
studio assistance and
connections he needed
(Green being Disney's
vice president of studio
communications), "The
Tarzan Chronicles" looks
to be a handsome affair
that will provide its future
readers (street date June
30; price $50) with a fadein-to-fadeout
elucidation
of the making of "Tarzan."
For theatre operators who are so energized by our
five-page coverage of this giant June film that they'd
love not only to book the movie but to read more
about it, here's how you can win BOXOFFICE's copy
of "The Tarzan Chronicles": Mail us photos and descriptions
(Attn: Showmandiser Editor) of your intheatre
promotions in support of "Tarzan." The
winner's efforts will also be enshrined in a coming
issue's Showmandiser section (for an example, see
page 48 of this issue).
Also nicely timed over
the transom was "Cinema iyi^n^i
Under the Stars: America's
Love Affair With the
Drive-In Movie Theatre"
(Cumberland House;
$14.95). This softbound
"history of/valentine to"
the ozoner industry (the
U.'lu:.'.UuAII.>ii.vill.lti< lliuc III
subject of one of our special
sections herein) is
written by Elizabeth
McKeon and Linda Everett,
with a foreword by
Drive-In Theatre Fan Club president Mark Bialek.
We wager that many current exhibition professionals
aka readers of BOXOFFICE retain in their hearts a
special memory of going to the local drive-in. So share
them with us! Take a moment to put into words that
unique evening of long ago (or not so long ago) and
fax (626-396-0248) ore-mail (kimw@boxoffice.com)
it to me. The "drive-in memory" that most strikes our
fancy wins its writer our copy of "Cinema Under the
Stars"—and we'll print a selection of your responses
in a coming issue's Letters section.
Hmm.... Perhaps we should adopt this new ta|
From jungle passions to passion pits, we cover
here at BOXOFFICE.—-A:i>w Williamson
W
JUm 1999 VOL 135, NO. 6 CONCBSSIONSmfVEINS
COVER QUOTE:
What is a family: Tiiat's the piece of Tarzan's story
we decided to M—DISNEY PRODUCER BONNIE ARNOLD
OIPARIMiMIS
6
8
48
50
51
52
53
54
56
58
60
61
62
HOLLYWOOD REPORT
The cameras roll on new movie projects. By Christine James
TRAILERS: JULY
A month with enough giddyap to get giddy. ByAnnlee Ellingson
EXHIBITION BRIEFINGS
Mannhunt; Carmike comeback; Radio Free Dickinson;
Amusements down Argentine way. By Francesca Dinglasan
NATIONAL NEWS
CBS goes dot-com with Hollywood; Diller dallies in distribution;
Universal discovers a second Galaxy. ByAnnlee Ellingson
HOLLYWOOD UPDATES
Working Title finds more work; Bond ambition. ByAnnlee Ellingson
NORTHERN EXPOSURE
Interchange vs. Colossus: Let's get ready to rrrrumble; Bloory
vision; fie on film fee, say foes. ByShlomo Schwartzberg
PACIFIC OVERTURES
More heat for Hoyts; Reading matter; the Beijing bounce;
all quiet on the Hong Kong front. By Francesca Dinglasan
EUROVIEWS
Kinepolis pulls profits; Cinemaxx crosses Danish border; Stella
and a fella pucker for Italian plexes. By Francesca Dinglasan
STUDIO FILM RELEASE CHART
Major releases through October and beyond. By Wade Major
INDEPENDENT FILM RELEASE CHART
Specialized fare through February 2000. By Wade Major
MOVIEGOER REPORT: March
Singles take L.A.; plex plethora in Houston. By Movietone
HOME RELEASE CHART
July loves "Shakespeare," mounts "Rushmore." By George Chronis
FILM REVIEWS
This month's 39 include Palm Springs fest entries, a 1932 'Tarzan"
Flashback, plus the titles below. Compiled by Christine James
"Alegria" 63
"Buena Vista Social Club" 62
"Desert Blue" 66
"Election" 67
"eXistenZ" 67
"Foolish" 69
"Go!" 68
"Hideous Kinky" 68
"Idle Hands" 66
"Leila" 66
"Let It Come Down"
"Life"
"Mascara"
"Never Been Kissed"
"The Out-of-Towners"
"Photographer"
'The Rook"
"1 Things I Hate About You"
"Trailer: The Movie"
'Twin Dragons"
66
68
67
69
71
68
71
70
71
70
BOXOFFICE ONLINE
WEBSITE ADDRESS: http://www.boxoffice.com
E-MAIL ADDRESS: boxoffice@earthlink.net
72
72
"REVERSE ANGLE"
Serving concessions on the fly. By Rick Leddy
CLASSIFIEDS
Including our index to advertisers in this issue.
CIRCULATION INQUIRIES
BOXOFFICE DATA CENTER
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Chicago, IL 60607
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Audit
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Fax: (626) 396-0248
OFFICES
CORPORATE/CLASSIFIEDS
Mailing address:
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SUBSCRIPTION/CIRCULATION
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Chicago, I 60607
(312)922-9326
Fax:(312)922-7209
4 BOXOFFICE

'
PECIAL REPORT: Snack Bar U./NAC Expo '99
this issue, we take our annual look at the concessions side of the exhibition business via
average timecl for the SBU/NAC Expo '99, being held June 7-10 in Anaheim, Calif.
4 SBU/NAC: Welcoming Essay
The president of the National Association of Concessionaires examines two of the
annual gathering's attributes: information and education. By Norman R. Chester
6 SBU/NAC: Schedule of Events
A planning guide to this year's slate of affairs. Compiled by Annlee EUingson
8 CONCESSIONS EXTRA: Maximizing Sales
Inside the Numbers: How customer polls, properly conducted, can help exhibitors
to sell better and sell more. By Christine James
Exhibition's original
online home:
www. boxoffice. com
CONCESSIONS SPECIAL: Manufacturers and Suppliers Directory
From A&A to Your Place, an exhaustive listing of the companies eager to fulfill your foodstand needs
PLUS: New concessions products for the exhibition industry. Compiled by Annlee EUingson
JUNE FEATURES
16 COVER STORY: "Tarzan"
BOXOFFICE takes an exclusive look behind the new
animated classic that Buena Vista expects audiences
to swing in for and go ape over. By Melissa Morrison
46 SPECIAL REPORT: Moviegoer Statistics
The number crunchers at exhibition research firm
ACNielsen EDI provide a precis of who attends when
and goes where—and why. By Christine James
iPECIAL REPORT: DRiVE-IM EXHIBITION
30X0FFICE makes its yearly visit to the ozoner industry and the open-air pleasures it provides
f
i
IB
SO
still vibrant, still t)eloved.
OVERVIEW: The Show Starts at Sunset
Even in the megaplex era, drive-ins carry on the old-time tradition. By Debrean and Lawrence R. "Randy" Loy
DRIVE-IN PROFILE: The Naples
As with many droptop ops, this Florida Gulf theatre is a family affair. By Pat Kramer
DRIVE-IN PROFILE: The Sunset Auto-Vue
An ozoner closed since 1986 is reborn in the tiny farm town of Grangeville, Idaho. By Bob Loeffelbein
DRIVE-IN EXTRA: UDITOA
The new United Drive-ln Theatre Owners Association aims to represent the cause of outdoor exhibitors
throughout the entertainment industry. By Francesca Dinglasan
EDITORIAL STAFF
EDITOR-IN-CHIEF
xoffice.com
MANAGING EDITOR
Christine James christinej@txixoffice.com
ASSOCIATE EDITOR
Francesca Dinglasan francescad@boxoffice.com
ASSISTANT EDITOR
Annlee EUingson annleee@boxoffice.com
EDITORIAL ASSISTANTS
Linda Andrade iindaa@boxoffice.com
Marl Fix
manf@boxoffice.com
CONTRIBUTORS
FEATURE CHARTS EDITOR
Wade Major (310)456-2767
CANADIAN CORRESPONDENT
Shiomo Schwartzberg (416)928-2179
WRITERS
John F. Alien, Bridget Byrne.
Nonnan R. Chesler, George Chronis,
Tim Cogsheli, Kristan Ginther,
Mike Kerrigan, Pat Kramer,
Rick Leddy. Dwayne E. Leslie,
Bob Loeffelbein, Debrean and
Lawrence R. "Randy" Loy, Wade Major,
Melissa Morrison, Michelle Santilli
BUSINESS STAFF
PUBLISHER
Robert L. Dietmeier (773) 338-7007
NATIONAL ADVERTISING DIRECTOR
Robert M. Vale (626)396-0250
ADVERTISING CONSULTANT
Morris Schlozman (8 16) 942-5877
WEST COAST ADVERTISING REP
Gwen Campbell (310)792-9011
BUSINESS MANAGER
Dan Johnson (773) 338-7007
CIRCULATION DIRECTOR
Chuck Taylor (312)922-9326
BOXOFFICE (ISSN 0006-8527). Published monthly by RLD Communications, inc., 203 N. Wabash Ave., Suite 800, Chicago, iL 60601.
Subscriptions: U.S. S40 per year, Canada and Mexico $50, airmail $80; overseas subscriptions (all airmail) $80. Periodical postage paid at
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© Copyright 1999 RLD Communications, Inc. All rights reserved. Reproduction in whole or in part without permission is prohibited.
June, 1999 5

i
HOLLYWOOD
REPORT
MICHELLE YEOH
"Dragon" Lady
JIM CARREY
Allow Myself to
lntroduce..."Myself'
BEN CHAPLIN
Boy Gets "Girl"
"CROUCHING TIGER,
DEN DRAGON" Ang
HID-
Lee
("Ride With the Devil") will direct
Michelle Yeoh ("Tomorrow
Never Dies") in this tale, set in
19th century China, of an
aristocrat's daughter who by
night poses as a subversive outlaw.
Jet Li ("Lethal Weapon 4")
also stars. (Distribution is to be
set)
"FIRST DAUGHTER" Jerry
O'Connell ("Scream 2") makes
his scripting debut with this romantic
comedy, in which he'll
also star. He'll play a government
agent who poses as a college
student to protect the
president's daughter without
ner knowledge; the two end up
falling for each other, until she
discovers his true identity. (Fox)
"OH BROTHER, WHERE ART
THOU?" This 1930s-era comedy/drama
by the Coen Brothers
("The Big Lebowski") will star
George Clooney ("Three
Kings") as the leader of three
escaped convicts trying to elude
authorities. (Buena Vista)
"BLESS THE CHILD" A psychiatric
nurse ("L.A. Confidential's"
Kim Basinger) must protect an
autistic child from a Satanist in
this Chuck Russell ("Eraser")-directed
thriller. (Paramount)
"CHERRY FALLS" Jay Mohr
("Go"), Brittany Murphy ("Drop
Dead Gorgeous"), Michael
Biehn ("The Rock") and Gabriel
Mann ("High Art") will star in
thisfilmaboutaserial killer who
murdersvirgins at the local high
school. Geoffrey Wright
("Romper Stomper") directs.
(October)
"THE HOLLOW MAN" This
take on the Invisible Man mythos
involves three scientists;
when one ("A Stir of Echoes'"
Kevin Bacon) discovers how to
turn himself invisible, he uses
his unusual condition to aggressively
thwart a romance between
the other two. Robert
Downey Jr. ("Friends and Lovers")
and Elizabeth Shue
("Molly") may co-star for director
Paul Vernoeven ("Starship
Troopers"). Andrew Marlowe
("Air Force One") scripts. (Columbia)
"SERVILE ON SUNSET" Based
on Ian Ross's memoirs, this
comedy is about a spoiled English
lord ("An Ideal Husband's"
Rupert Everett) who loses his
fortune and must work as a butler
for a newly wealthy but
dysfunctional family. (Paramount)
"HEAD OVER HEELS" In this
romantic comedy, an art restorer
("The Mod Squad's"
Claire Danes) finds herself attracted
to a man ("She's All
That's" Freddie Prinze Jr.) despite
the fact that she believes
she saw him kill someone. Mark
Waters ("The House of Yes") directs.
(Universal)
"WOMEN TALKING DIRTY" A
vivacious, outspoken single
mother ("Fight Club's" Helena
Bonham Carter) forms an unlikely
friendship with a shy cartoonist
("The Loss of Sexual
Innocence's" Gina McKee) in
this comedy. (Distribution is to
be set)
"MARY JANE'S LAST DANCE"
This teen thriller about a mysterious
murder on a college campus
will star Meredith Monroe
(TV's "Dawson's Creek"), Scott
Bairstow ("Wild America"), Oliver
Hudson ("The Out-of-
Towners"), Mia Kirshner ("The
Crow: City of Angels"), Dominique
Swain ("Lolita") and Taye
Diggs ("Go"). Zoe Clarke-Williams
("Men") scripts and directs.
(MGM)
"KARAOKE KNIGHT" Ben
Stiller ("Mystery Men") plays a
would-be singer with great charisma
and stage presence but an
avW^ul voice in this comedy. A
mentor with an unusual disability
helps him to achieve his dream
(a la "Kingpin"). (Universal)
"REQUIEM FOR A DREAM"
The drug addiction and delusional
dreams of a young man
("Fight Club's" Jared Leto) are
explored in this film, to be
scripted and directed by Darren
Aronofsky ("Pi"). Ellen Burstyn
("Playing By Heart"), Jennifer
Connelly ("Dark City"), Marlon
Wayans ("Senseless") and
Christopher McDonald ("SLC
Punk!") co-star. (Artisan)
"SIN EATER" An ageless man
who assumes the sins of the excommunicated
("The Mask of
Zorro's" Antonio Banderas)
eyes a troubled priest to be his
successor in this supernatural
Brian Helgeland ("Pay-
thriller.
back") scripts and directs. (Distribution
to be set)
"TEXAS RANGERS" This historical
western drama tells the
story of how a group of young
men banded together to get the
West under control after the
Civil War. James Van Der Beek
("Varsity Blues" and Dylan Mc-
Dermott ("Three to Tango") star
for director Steve Miner ("Lake
Placid"). (Miramax)
"ME, MYSELF AND IRENI
"Dumb and Dumber" filmmake
Peter and Bobby Farrelly an
star Jim Carrey will reteam t'l;
this romantic comedy in whic
the twice-titular protagonist su
fers from schizophrenia. Carre
will play a state trooper who;
two personalities each fall f(
the same girl ("One Tru^
Thing's" Renee Zellweger), ar
he ends up in a fervent comp,
tition with himself for her affe
tions. (Fox)
"BIRTHDAY GIRL" A mile
mannered British bank managi
("Lost Souls'" Ben Chaplin) ge
more than he bargained fc
when his Russian mail-ord<
bride ("Eyes Wide Shut's" N
cole Kidman) arrives, only t
have her huge family come t
live with them shortly therea
ter. (Miramax)
"SHANGHAI NOON" Set
the 1 800s, this action/adventur
comedy finds Jackie Chan tra\
ellingtotheWildWesttorescu'
a kidnapped princess. Samm
Hung, who stars on TV's "Ma
tial Law" and directed Chan
1 998 film "Mr. Nice Guy," ma
co-star. Owen Wilson ("Th
Haunting") also stars. (Buen
Vista)
"CHARLIE'S ANGELS" This r(
make of the '70s TV show aboi
"three little girls who went to th
Police Academy," only to bf
come undercover detectives fc
a mysterious employer, will sti
Drew Barrymore ("Never Bee
Kissed") and Cameron Dia
("There's Something AboL
Mary"). (Columbia)
"VERTICAL LIMIT" Marti
Campbel I ("The Mask of Zorro'
will direct this thriller about
mountain-climbing family. /
man gives up the sport after th
death of his father, but must re
turn to it when his sister i
trapped in a cave on the world'
second-highest mountain. (Cc
lumbia)
ET CETERA: "The Mummy's
John Hannah will play a mai
who exacts revenge on nis mob
ster boss for seducing his wife ii
Columbia's "Circus"... Davi(
Spade ("Lost and Found") wil
write and star in this comed'
about an uncouth man lookin;
for his birth parents in Warner'
"The Adventures of Jd
Dirt"... The '60s sitcom "M'
Three Sons," about a father rais
ing three boys with the help o
his gruff but lovable uncle, wil
be remade by New Line witl
Michael Douglas ("A Perfec
Murder") starring.
6 BOXOFFICE

JULY
TRAILERS
Ifs Summer: Time to Get
Back in the Saddle
A full month post-"Star Wars," Hollywood jumps back on the horse
doing what it does best: blowing things up. Last year at this time, Buena
V''ista's "Armageddon" bowed, going on to garner $550 million worldwide.
Other 7/98 blockbusters included Warner's "Lethal Weapon 4"
iS285 million). Fox's surprise "There's Something About Mary ($360
million) and DreamWorks' "Saving Private Ryan" ($470 million),
which also snagged little Stevie Spielberg another directing Oscar.
Thisjuly is not nearly as ambitious, with "Episode 1" likely still more
menace than phantom at the boxoffice. Warner locked up this Fourth
of July weekend with "Wild Wild West" nearly a year in advance,
setting it up to be the second-most popular hit this season. Miramax
also celebrates ID4 with director Wes Craven's dramatic debut, "50
Violins," and a little French film, "The Lovers of Pont Neuf."
lie teen demo cornered, bowing Columbia's "Dick,"
_Linst and Michelle Williams, and Universal's "American
Pie," in addition to Miramax's stateside release of Japanese anime
overseas-smash "Princess Mononoke." MGM tries to keep the adults
entertained as well with "Stigmata," starring Patricia Arquette.
Eyes will be wide open the weekend of July 1 6, the premiere of the
late Stanley Kubrick's long-anticipated "Eyes Wide Shut," featuring a
naked Tom Cruise and Nicole Kidman. Those preferring at least a bit
of clothing aren't forgotten, however: New Line offers beauty pageant
expose "Drop Dead Gorgeous" this weekend.
Weekend #4 promises a little of everything: Disney's family flick
"Inspector Gadget," DreamWorks' horror film "The Haunting" anrl
Universal's comedy "Bowfinger." But July goes out with a bang come
ihe 5()th, bowing Spike Lee's controversial "Summer of Sam" from
Huena Vista; Columbia's romp "Mufjpels from Space"; Miramax's
"C^utside Providence," written by one of the Farrelly brothers;
P.iramounl's romantic comedy "The Runaway Bride," from the team
that brought you "Pretty Woman"; and Renny Harlin's actioner "Deep
IJlue Sea" from Warner. Annlcc I llingson
JULY 2
Wild Wild West
"Men in Black's" director Barry
Sonnenfeld and star Will Smith
reteam in this sci-fi western about
a pair of government agents assigned
to prevent the assassination
of President Ulysses S. Grant
at the tentacles of a giant mechanical
tarantula. Kevin Kline ("A
Midsummer Night's Dream"),
Kenneth Branagn ("Celebrity")
and Salma Hayek ("54") co-star.
"Short Circuit's" S.S. Wilson and
Brent Maddock script with "How
the Grinch Stole Christmas'" Jeffrey
Price and Peter S. Seaman
and "Mission to Mars'" Jim
Thomas and John Thomas;
Sonnenfeld and Jon Peters ("Rosewood")
produce. (Warner, 7/2)
Exploitips: This promises to be
the second biggest hit of the summer
and will surely dominate the
Fourth ofJuly weekend. Despite a
peculiar trailer unveiled at Sho-
West, unexpected reshoots as late
as this spring and rumors that the
budget had skyrocketed, Sonnenfeld
assures any skeptics that
the film will deliver. To get the
dish directly from the horse's
mouth, check out BOXOFFICE's
April 1 999 issue cover story.
50 Violins
Horrormeister Wes Craven
lays his skeleton masks and black
robes aside in his first dramatic
directorial effort, based on the life
of a suburban music teacher who
moves into Harlem after a messy
divorce. Despite her producing
Carnegie Hall performers, however,
the government opts to shut
her classroom down. Meryl
Streep ("One True Thing"), Aidan
Quinn ("In Dreams"), pop star
Gloria Estefan (in her feature film
debut) and Angela Bassett ("How
Stella Got Her Groove Back")
star. Pamela Gray ("A Walk on
the Moon") scripts; Marianne
Maddalena ("Scream 2") produces.
(Miramax, 7/2)
Exploitips: Based on the Oscarnominated
documentary "Small
Wonders, " "50 Wiolins" originally
had cast Madonna in the leading
role. After three months of violin
lessons with the film's subject Roberta
Tzavaris, however, the material
girl left the production over
"creative differences." (Rumor
has it that the pop diva hadgrown
so close to Tzavaris and her family
that she couldn't stomach the
changes the film was making to
her life story.) Streep, a favorite of
fans and critics alike, is a brilliant
substitute and should power this
film through the holiday weekend
as a viable alternative to the testosterone-charged
"Wild Wild
West" for the distaff set.
The Lovers of Pont Neil
Oscar winner Juliette Binoc
stars in this pre-"English Patiei
French-language picture, orif
nally released in 1991, as
painter forced to live on t
streets of Paris due to her faili
eyesight. She falls in love w
and comes to depend on a felk
vagrant, an alcoholic would-i
circus performer, who fears hi
lose her if she's cured. Denis Li
ant and Klaus-Michael Grut
co-star. Leos Carax directs a
scripts; Christian Fechner pi
duces. (Miramax, 7/2 NY/LA)
Exploitips: Already nearly a C
cade old, this pic's success on f/
side ofthe pond rides on its leadi
lady, who hasn't appeared in
American film since her Osc.
winning performance in "The i
glish Patient" (which, if you ne
to be reminded, upset sentimen
favorite "The Mirror Has 7"v
Faces'" Lauren Bacall).
Stiff Upper Lips
Writer/director/producer Ga
Sinyor spoofs on the British cc
tume drama (specifically the Me
chant Ivory school of filmmakin
in a story about a young Engli:'
lady who pines after a poor s€
vant rather than the Latin-quotii
snob her brother tries to set her i
with. But that's okay, because,
turns out the would-be fian(
may be more interested in tf
brother anyway. Peter Ustinc
("Spartacus"), Prunella Scah
("An Ideal Husband") and Gee
gina Gates ("Clay Pigeons") sta,
Paul Simpkin co-scripts; Jeren
Bolt ("Event Horizon") produce
(Cowboy, 7/2 NY/LA)
Exploitips: Though this fil
mocks the production compan
fans of Merchant Ivory mated
will probably appreciate this se
ire the most. Its release will be tc
limited to attract the demos wt
genuinely dislike the genre.
Dick
JULY 9
Oliver Stone's "Nixon" this
not. Befriending President Nixo
after getting lost during a schoc
field trip to the nation's capito
two girls become his official dc
walkers and secret advisors du
ing the Watergate scandal in th
comedy. Kirsten Dunst ("Sma
Soldiers") and Michelle Willian-
(TV's "Dawson's Creek") star
the wayward girls. Funnyme
Will Ferrell, Dave Foley, Da
Hedaya, Harry Shearer and Jir
Breuer co-star. Andrew Flemin
("The Craft") directs and script:
Sheryl Longin lends a hand scrip
ing; Gale Ann Hurd ("Virus") pre
duces. (Columbia, 7/9)
8 Boxoffice

tiiit
Hore Variety. More Fla.vor.
More Cviztom^rz. M.3.I1,
1 Love TJii^
Business/
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Response No. 15

Exploitips: It's odd that "Dick" wouldgo up
against "Drop Dead Gorgeous," another
Dunst starrer coming outjust a week la ter (see
below). This one could attract a slightly different
crowd, as Saturday Night Live comedians
are enormouslypopular among teenage boys.
Still, look for these two to compete directly in
the demographic arena. Held from April.
American Pie
In another connedy targeted toward teens,
four high school senior boys make a pact to
lose their virginity before graduation. Jason
Biggs, Chris Klein and "The Slums of Beverly
Hills'" Natasha Lyonne star. Frosh Paul Weitz
directs, with a brotherly producer assist from
Chris Weitz (the duo co-scripted "Antz");
Adam Herz makes his scripting debut; Chris
Moore, Craig Perry and Warren Zide also
produce. See our Sneak Preview in our April
1999 issue. (Universal, 7/9 or 7/1 6)
Exploitips: This otherwise run-of-the-mill
offering looks to distinguish itselfas a "There's
Something About Mary" for the teen set, a
demo rarely checked by an R rating. Other
selling points: Lyonne, who will be appearing
in a bevy of pictures in the coming months
(including "Detroit Rock City") and the
Weitzes, whose adult "Antz" was way wittier
than the runaway hit "A Bug's Life. "Held from
spring, when it would have competed with
Drew Barrymore's "Never Been Kissed" and
"10 Things I Hate About You."
Stigmata
"Goodbye, Lover's" Patricia Arquette stars
in this thriller as the victim of unseen attacks.
A priest sent to investigate her affliction firsthand
becomes more interested in saving her
life than debunking her claims. Gabriel Byrne
("An Ideal Husband") and Jonathan Pryce
("Ronin") co-star. Rupert Wainwright directs;
Tom Lazarus and Rick Ramage script; Frank
Mancusojr. ("Ronin") produces. (MGM, 7/9)
Exploitips: The only real adult studio film
this weekend, "Stigmata" could see business
this weekend by default However, unless last
month's "The Thomas Crown Affair" has
proved to be a hit, MGM has seen an unbroken
string of disappointments, particularly
this spring's "The Mod Squad.
Princess IMononolce
Long a genre for cultists only, Japanese
anime comes to the bigscreen bigtime for the
first time this side of the Pacific in this epic
folktale about a princess who was raised by
wolves and fights to save the forest from the
encroachment of industry. Hayao Miyazaki
wrote and directed the original Japanese version,
which was produced by Toshio Suzuki.
Comic bookscribe Neil Gaiman ("Sandman")
scripts the English-language version, which is
voiced by Gillian Anderson ("The X-Files"),
Billy Crudup ("Without Limits"), Claire Danes
("The Mod Squad") and Minnie Driver ("An
Ideal Husband"). (Miramax, 7/9)
Exploitips: Garnering $150+ million at the
boxoffice and selling over 4 million videos,
"Princess Mononoke" is the highest-grossing
Japanese film of all time and should be a huge
hit with the male demo that has made anime
so popular in the video market. Be careful
marketing this one for kids and families, however,
even though it is a cartoon: Anime tends
to be sexually graphic and violent— qualities
that attract the genre's young male fans.
Autumn Tale
In the final installment of his "Tales of the
Four Seasons" series, French New Wave
writer/director/producer Eric Rohmer abandons
his familiar themes of youth to explore
middle-age romance in a story about a widow
in her late 40s who runs her vineyard by
herself after her children flee the nest. A couple
of her girlfriends independently try to
make her life a little less lonely. Rohmer
regulars Marie Riviere and Beatrice Romand
star with Alexia Portal. Francoise Etchegaray
also produces. (October, 7/9 NY, 7/23 exp)
Exploitips: Winner of the best original
screenplay award at the Venice Film Festival,
"Autumn Tale" will be popular among true
cineastes and film students. Run it with the
winter, spring and summer segments of the
series or as part of a Rohmer retrospective to
further encourage his fans.
Fever Pitcli
Football—better known as soccer in the
United States— plays a starring role in this
romantic comedy from Britain. Colin Firth
("Shakespeare in Love") is a thirtysomething
English teacher who has a difficult time
choosing between his leading lady, the Arsenal
football team, and a new love interest.
Ruth Gemmell co-stars as the woman
scorned. David Evans directs; Nick Hornby
adapts his semi-autobiography; Amanda
Posey produces. (Ph.aedra, 7/9)
Exploitips: Even though it's not quite football
season yet, appeal to the sport enthusiast
by offering a discount or prize if he comes in
his favorite team jersey— and an even better
one if he decides to come with his significant
other. Held from February.
Brolcen Vessels
Writer/director/producer Scott Ziehl makes
his debut with this energized drama about an
earnest rookie on his first assignment as a
paramedic. He soon finds out from his seasoned
partner, however, that not all ambulance
drivers are the heroes they're made out
to be. Jason London ("The Rage: Carrie 2") and
Todd Field ("Eyes Wide Shut") star. David Baer
and John McMahon lend a hand on the script;
Roxana ZaI also produces. (Zeitgeist, 7/9)
Exploitips: Though the film doesn't paint
paramedics in the best light, use the opportunity
to invite local ambulance drivers in for a
workshop to demonstrate how it's really done
and set up a drawing for a day oftagging along
in the ER-on-wheeis.
JULY 16
Eyes Wide Shut
As is his style, the late, great Stanley
Kubrick has kept his final film securely under
wraps. Little is known about it, other than that
"Jerry Maguire's" Tom Cruise and wife Nicole
Kidman ("Practical Magic") play married
psychologists mired in sexual obsession
and jealousy. Kubrick directs and produces
as well as scripts (with Frederic Raphael)
from the novel "Traumnovelle" by Arthur
Schnitzler. (Warner Bros., 7/16)
Exploitips: "Eyes Wide Shut" is quickly becoming
one of the year's most hotly anticipated
films due to the auteur's unexpected
death just before the trailer's steamy premiere
at ShoWest. Speculation abounds over
whether the film was completed at the time
of Kubrick's death. (Warner execs say it was
except for a few finishing touches, but the
director was known for tinkering with his
work right up until its release.) There's also a
question whether its explicit sex will garner
an NC- 1 7 rating, in which case the film would
have to be edited to fulfill the director's contract
with the studio to produce an R-rated
movie. (Cruise, however, has indicated that
that would happen over his dead body.) Generally,
Kubrick's films (his last was "Full Metal
Jacket" in 1 987) would appeal mostly to a cult
following, but Cruise and Kidman as well as
the glut of press it's receiving should help
attract hefty crossover demos.
Drop Dead Gorgeous
Beauty pageants come under fire in this
comedy starring Kirstie Alley (TV's
"Veronica's Closet") and Ellen Barkin ("Fear
and Loathing in Las Vegas"). Told in a
mockumentary style, "Dairy Queens" covers
one small
American town's preoccupation
with its local beauty contest and the mom
who will stop at nothing to see her little girl
win. "Small Soldiers'" Kirsten Dunst and
"Wild Things'" Denise Richards co-star. Michael
Patrick Jann directs his feature-film
debut from a script by Lona Williams;
"8mm's" Gavin Polone and Judy Hofflund
produce. (New Line, 7/16)
Exploitips: The plot here has a feminine
slant, so expect teen girls, especially given
that teen stars Dunst and Richards are on
board. The film is really about moms,
though, so look for some joining their
daughters. Just for fun— and to get in the
spirit of the film— invite local beauty pageant
winners to visit your lobby on opening
day. Better yet, hold your own beauty contest,
with categories for the ruffliest dress
and the corniest rendition of "The Wind
Beneath Your Wings. " Held from April.
The Blair Witch Project
Rookies Daniel Myrick and Eduardo Sanchez
direct and script this mock doc/horror
film about a crew of student filmmakers who
venture into Maryland's Black Hills Forest to
document a local legend, the Blair Witch.
They mysteriously disappear, but one year
later their footage is found. Heather
Donahue, Michael Williams and Joshua
Leonard star; Robin Cowie and Gregg Hale
produce. (Artisan, 7/1 6 ltd, 7/30 exp)
10 Boxoffice

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Exploit!ps: Artisan was quick to snatch this
one up, just hours after its world premiere at
Sundance '99, for estimates ranging between
$1 million and $2.5 million as a follow-up to
last year's $500, 000 purchase of "Pi. " Shot on
16mm and video, its unpolished style could
alienate your typical horror audience but
could generate a healthy cult following as
well. BOXOFFICE reviewed "The Blair Witch
Project" in its Sundance coverage in the
April '99 issue, giving it 3 1/2 stars and
reporting that, "in largely improvised performances,
the three-person principal cast of
Heather Donahue, Michael Williams and
Joshua Leonard do such a believable job of
embodying amateur moviemakers that
many attendees at this year's Sundance Fest
were shocked to discover 'The Blair Witch
Project' was a carefully manufactured counterfeit,
rather than the 'actual' documentary
it so closely resembles.
Head On
In her first film following the critically acclaimed
"Shine," producer Jane Scott presents
this day-in-the-life drama that follows a Greek-
Australian youth as he struggles with sex, drugs
and his etnnicity in a 24-nour period. Alex
Dimitriades stars. First-timer Ana Kokkinos directs
and co-scripts; Andrew Bovell and Mira
Robertson co-script from the novel "Loaded"
by Christos Tsiolkas. (Strand, 7/1 6 NY/LA)
Exploitips: Premiering in the Directors Fortnight
at Cannes '98, "Head On" went on to
garner nine 1998 Australian Film Institute
Award nominations, including best picture,
best actor and best director. Dimitriades won
the 1998 best actor award from the Film
Critics Circle of Australia.
JULY 23
Inspector Gadget
Fresh off his leading role in last summer's
blockbuster "Godzilla," here Matthew
Broderick stars in a boxoffice hopeful of a
different vein, a Disneyfamily comedy based
on the animated series about a detective outfitted
with 14,000 mechanical moving parts.
Rupert Everett ("An Ideal Husband") and Joely
Fisner (TV's "Ellen") co-star. David Kellogg
(who made the Jerry Seinfeld/Superman ads
for American Express) directs; Kerry Ehrin
("Mr. Wrong"), Zak Penn ("Small Soldiers")
and Audrey Wells ("George of the Jungle")
script; Jordan Kerner ("George of the Jungle"),
Roger Birnbaum ("Rush Hour") and Andy
Heyward produce. (Buena Vista, 7/23)
Exploitips: Special-effects heavy, "Inspector
Gadget" should be popular summer fare for
families. The first kid-friendly flick this month,
it goes up against "Muppets From Space" next
week. Fans of the original series might be
disappointed in some changes the filmmakers
are making: Gadget is less a humbler than a
smarter, earnestjimmy Stewart-type so, rather
than relying on his niece Penny and her dog,
he's protecting her from the evil Dr. Claw
while seducing a pert surgeon. So much for
"Gadget's" special brand of feminism.
Bowfinger
Steve Martin attempts a comeback after
his coolly received "Out-of-Towners" remake,
scripting and starring in this comedy
as a wannabe producer whose dreams of
making it to the Hollywood bigtime are
thwarted when he fails to land a star for his
latest action film. His idea of an alternative
is to film the actor covertly, making him an
unwitting topliner in the producer's breakthrough
film. Eddie Murphy ("Life") co-stars.
Frank Oz ("In & Out") directs; Brian Grazer
("EDtv") produces. (Universal, 7/23)
Exploitips: Martin's last at-bat, "The Outof-Towners,"
received lukewarm reviews
and underperformed at the boxoffice, but
Martin's pairing with Murphy should encourage
crossover from the strictly babyboomer
demo. The timing here is great, with
no other comedies like this all month.
The Haunting
"Twister's" Jan de Bont directs this horror
adaptation of the Shirley Jackson novel about
an uninhabited mansion plagued by an ominous
past. A professor draws three subjects
there for a freak psychological experiment; as
the house's ghosts seem to focus their attention
on the weakest of the group, the question
becomes, is the house really haunted, or is she
insane? Liam Neeson ("Phantom Menace"),
Lili Taylor ("Pecker") and Catherine Zeta-
Jones ("Entrapment") star. David Self ("Thirteen
Days") scripts; "Forces of Nature's"
Susan Arnold and Donna Roth produce with
Colin Wilson ("The Lost World: Jurassic
Park"). (DreamWorks, 7/23)
Exploitips: Not to be confused with the
similarly titled and themed Warner Bros.'
"The House on Haunted Hill, " starring Geoffrey
Rush and Famkejanssen, this horror flick
has the advantage of coming out first. Last
week's "The Blair Witch Project" is in the
same vein, but lacks the starpower and majorstudio
backing to offer much of a threat. Still,
to attract moviegoers to your theatre, celebrate
Halloween early this year with a haunted
house of your own in the lobby or nearby.
Trick
A gay romantic comedy, "Trick" documents
the trials and tribulations of a struggling
musical theatre writer trying to
culminate his relationship with a hot go-go
boy in a one-night stand. There's just one
problem: They don't have anywhere to go.
Christian Campbell, John Paul Pitoc and
Tori Spelling star. Jim Fall directs a script by
Jason Schafer, and he produces with Eric
d'Arbaloff and Ross Katz. (Fine Line, 7/23
NY/L/VSF/Tor, 8/6 exp, 8/20 exp, 9/10 exp)
Exploitips: Picking it up at Sundance for an
estimated mid-six figures. Fine Line seems
confident that "Trick" will appeal to a crossover
art-house audience as well as the gay
demo. In a three-star review in the April '99
issue, BOXOFFICE says, "Grungy, low-budget
photography fights both the romance and the
comedy, calling the plot predictable is a charity,
and though director Jim Fall does an excellent
job with his two main actors many of
the supportingperformances barely rise about
the level of amateurish." Ouch. Still: "A film
like 'Trick' symbolizes the triumph gay
filmmakers have wrought, where depicting
gay rites of courtship as simple, human, normal
and life-size becomes notan actofradical
cinema but a borderline cliche.
Heart of Liglit
Greenland's Jacob Gronlykke directs this
drama about a man trying to come to terms
with his son's violent crimes and suicide and
his hatred for his own father, who negotiated
the colonization agreement with Denmark a
half-century earlier. Rasmus Lyberth, Vivi
Nielsen and Anda Kristiansen star. Gronlykke
scripts with Hans Anthon Lynge; Henrik i
Moller-Sorensen produces. ^
(Phaedra, 7/23)
Exploitips: Marketing this one could be
tough, as even local Scandinavians may not
be your target audience. Still, try to spark
interest in ethnic pockets, especially in urban
areas. Held from April.
JULY 30
Tlie Runaway Bride
Director Garry Marshall reteams with the
pretty pair that made "Pretty Woman" such
a success nearly a decade ago. Julia Roberts
("Notting Hill") and Richard Gere ("Red Corner")
star as a bride who routinely ditches
grooms at the altar and the cynical reporter
who decides to do a story on her. Sara
Parriott, Josann McGibbon, Leslie Dixon
("The Thomas Crown Affair") and Audrey
Wells ("The Truth About Cats and Dogs")
script; Ted Field, Tom Rosenberg, Scott
Kroopf and Robert Cort ("The Out-of-Towners")
produce. (Paramount, 7/30)
Exploitips: "Pretty Woman" was the topgrossing
film of 1 990 and is a staple of the
home video collection still today, so expect a
huge response for this re-pairing. "The Runaway
Bride" is the only romantic comedy for
weeks, and Universal recently upped its
"Notting Hill" release date from June to late
May to avoid the double dose of Roberts,
who's also been in the news lately for signing
the first $20 million contract for an actress.
Summer of Sam
Writer/director/producer Spike Lee ("He Got
Game") takes us back to the summer of 1977,
when New York City saw its hip Studio 54
clique clash with a new wave of punk rockers,
registered record temps and fel I victim to its first
serial killer, the Son of Sam. John Leguizamo
(HBO's "Freak"), Adrien Brody ("The Thin Red
Line") and Mira Sorvino ("At First Sight") lead
an ensemble cast of urban misfits who attempt
to track down the stalker and cash in on the
Mafia bounty offered for Sam's capture. Actors
Victor Colicchio and Michael Imperioli help
out on the script, with Jon Kilik ("He Got
Game," "Pleasantville") contributing to producing
duties. (Buena Vista, 7/30)
Exploitips: Touchstone Pictures pushed
back the release of this controversial pic.
12 BoxoFncE

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officially to circumvent "the summer glut of
movies. " The move came, however, after an
early screening of the film sparked speculation
that it could garner an NC- 1 7 rating due
to its graphic sex and violence, something
Disney definitely doesn 't want, and Lee is still
at work in the editing room.
Muppets From Space
The question whether we're alone in the
universe has been right under our, ahem,
noses all along. Just take a gander at Gonzo.
In the latest family comedy starring the
Muppets, our big-schnozzed friend realizes
he's descended from aliens and shoots into
space to reunite with his family. Kermit the
Frog, Miss Piggy, Rizzo and Jeffrey Tambor
co-star. Timothy Hill makes his feature helming
debut; Muppet regular Jerry Juhl scripts
with Joseph Mazzarino ("The Adventures of
Elmo in Grouchland"); Jim's son Brian Henson
and Martin G. Baker ("Muppet Treasure
Island") produce. (Columbia, 7/30)
Exploitips: The first Muppet movie not
helmed by a member of the Henson family,
"Muppets From Space" will see its biggest
competition from last week's "Inspector Cadget,
" which is probably why it was pushed
hack a week from its original date ofJuly 23.
The Fight Club
As a follow-up to his ho-hum "Meet Joe
Black," Brad Pitt stars in this drama as the
founder of the Fight Club, a forum for young
men to work out their frustrations by beating
each other to a bloody pulp. Soon his hobby
becomes a cult phenomenon. Academy
Award nominee Edward Norton ("American
History X") and Helena Bonham Carter ("The
Theory of Flight") co-star. David Fincher
("Seven," "The Game") directs; Jim Uhls
scripts from a novel by Chuck Palahniuk; Ross
Bell, Cean Chaffin ("The Game") and Art Linson
("Pushing Tin") produce. (Fox, 7/30)
Exploitips: The stellar cast and crew here
promise a big opening weekend. Heartthrob
Pitt, critically acclaimed Norton and arthouse
favorite Bonham Carter shouldguarantee
crossover among demos. "The Fight
Club's" going to have to duke it out with
"Summer of Sam" and "Outside Providence"
(below) this weekend, however.
Deep Blue Sea
In his first feature since 1996's "The Long
Kiss Goodnight," Renny Harlin helms this
action thriller about genetically engineered
sharks gone awry. Intended as intelligent prey
for wealthy customers, the beasts escape and
threaten a sinking offshore research lab and
its inhabitants. Samuel L. Jackson and Stellan
Skarsgard ("Good Will Hunting") star. Talley
Griffitn and David Walker script; Akiva Golasman
("Lost in Space"), Robert Kosberg and
"The Mod Squaa's" Tony Ludwig and Alan
Riche produce. (Warner Bros., 7/30)
Exploitips: Held from April, when it would
have come up against the studio's own surprisingly
popular "The Matrix, " this actioner
will still see holdover competition from
Warner's "Wild Wild West" as well as this
weekend's "Summer of Sam," "The Fight
Club" and "Outside Providence.
Outside Providence
"There's Something About Mary's" Peter
Farrelly scripts this coming-of-age comedy
from his '70s novel about a poor kid from
Rhode Island who's packed off to an elite New
England prep school. Shawn Hatosy ("The
Faculty"), George Wendt (TV's "Alice in
Wonderland") and Alec Baldwin ("The Edge")
star. Michael Corrente ("American Buffalo")
directs, produces and lends a hand on the
script, as does Farrelly's brother Bobby; the
Farrelly brothers and Randy Finch ("The Substance
of Fire") also produce. (Miramax, 7/30)
Exploitips: The only outright comedy this
weekend, the obvious marketing strategy here
is "From the creators of 'There's Something
About Mary'...." "Outside Providence"
should be popular with the young men who
embraced "Mary's" gross-out humor, but encourage
the film's crossover potential, because
Spike Lee's "Summer of Sam, " "The
Fight Club" and actioner "Deep Blue Sea " will
also be competing for the male demo.
Twin Falls Idaho
Identical twin brothers Mark and Michael
Polish script and star in this drama about
conjoined Siamese twins on a quest to find
the mother who abandoned them. On their
journey, they run into a prostitute whose initial
aversion is replaced by a real affection for
the brothers. Michael Polish makes his directorial
debut; Marshall Persinger and Rena
Ronson produce. (Sony Classics, 7/30 NY/LA)
Exploitips: Sony Classics beat out other
bidders including October Films, Fox Searchlight
and the Samuel Coldwyn Co. to acquire
this indie for an estimated mid-six figures at
Sundance this year.
JULY UNDATED
The First Day
As a follow-up to "Central Station," Walter
Salles directs and scripts this drama about
another mismatched pair who unexpectedly
meet on a rooftop overlooking the Copacabana
beach at the turn of the millennium. He's
a convict who vows to kill his best friend in
exchange for his own freedom; she's been
deserted by the man she loves. Daniela
Thomas co-directs and -scripts; Emanuel Carneiro
also scripts. (Sony Classics, July undated)
Exploitips: Sony Classics pickea up "Central
Station" on the eve of Sundance last year,
and the pic went on to garner a Golden Globe
for best foreign film and an Oscar nomination
for actress Fernando Montenegro. The indie
studio hopes to emulate that success this year,
illustrating its confidence in Salles by picking
up "The First Day" while it was still in post.
LATE MOVIE MOVES,
An Ideal Husband
Oscar nominee Gate Blanchett ("Elizabeth")
stars in this adaptation of the Oscar
Wi Ide comedy as the admiring wife of a handsome,
wealthy, loving, successful gentleman—or
so she thinks. Minnie Driver ("Good
Will Hunting"), Rupert Everett ("A Midsummer
Night's Dream") and Julianne Moore
,
("Cookie's Fortune") star. Oliver Parker
("Othello") directs and scripts; "Spice
World's" Barnaby Thompson and Uri
Fruchtmann produce with Icon's Bruce
Davey ("Payback"). (Miramax, 6/25 NY/LA)
Exploitips: Chockful of best actress Oscar
!
nominees, this is a period piece for the distaff
<
set. Attract your more literate clientele by emphasizing
the Wilde and Parker connections.
Trekkies
Here, documentary filmmaker Roger
Nygard explores the Star Trek universe—from
a fan's perspective, interviewing a man who
changed his name to James T. Kirk in 1 974, a
woman who wore Star Trek regalia to jury
duty and the founder of a school that teaches
Klingon as well as stars of the show and its
spinoffs. Denise Crosby (TV's "Star Trek: The
Next Generation") hosts. W.K. Border produces.
(Paramount, opened 5/21)
Exploitips: Paramount is keeping it all the
family, not about to let this little doc on its
hugely successful franchise get away from it.
Robert Friedman, the studio's motion picture
group vice chairman, insists that the pic isn't
condescending to its subjects, so expect a
huge response from Trekkers, even though it's
challenging "Phantom Menace" for the same
audience. The likelihood is that it will be an
appropriate alternative for Star Wars fans
who're turned away from the sold-out
boxoffice disappointed.
La Cucaracha
Eric Roberts stars in this indie thriller as a
loser who's hit rock bottom but continues to
dig deeper, drinking himself into oblivion in
a small Mexican town. He fails to consider
the possible consequences when the opportunity
arises to kill for cash. Jack Perez directs
a script by James McManus; Michael
A. Candela and Richard Mann produce.
(White Rose, opened 4/23)
Exploitips: Tnis is the first release for White
Rose Entertainment, an independent production
and distribution company headed by
John D. Schofield ("As Good As It Gets"),
Marshall Prichard and Michael R. Zomber
that intends to both acquire indies for distribution
and produce films with budgets of $4
million to $6 million.
MM
DISTRIBUTORS:
Make sure to send press notes, color
and black-and-white photos, and
release information at least four months
in advance to associate editor Annlee
Ellingson at BOXOFFICE, 155 S. El
Molino Ave., Suite 100, Pasadena, CA
91101. Questions? Call (626) 396-0250.
14 BoxoFncE

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"He could spring twentyfeet across space at the dizzy heights oftheforest top, and grasp with unerring precision, and without apparentjar, a
limb waving wildly in the path ofan approaching tornado.
"He could drop twenty feet at a stretch from limb to limb in rapid descent to the ground, or he could gain the utmost pinnacle of the loftiest
tropical giant with the ease and swiftness ofa squirrel. — From "Tarzan of the Apes, " by Edgar Rice Burroughs
Weissmuller looked great in a loincloth, but could he swing 20 feet through the treetops during a tornado? The guy was only human,
Johnny
after all. For a movie Tarzan to do what the book Tarzan can, he needs muscles of sturdy rubber, the dexterity of a trapeze artist and excellent
health insurance.
In other words, he needs an animator. It's amazing no one ever thought of it before.
Actually, someone did: his creator.

.
Disney's count), a comic book,
world of Tarzan (above and beloiv),
a syndicated TV series, and
and the little hoy discovering it; a (Tarol Burnett yodel. He's the
young and gronm Tarzan with tivo of second-most produced subject
his animal confidantes, the mother
of all time, according to Lima
gorilla Kala atid Tantor the elephant
(Dracula being first). Throughout
(p. 18); with hisjimgle love Jane (p. 20);
and battling the deadly Sabor (p. 21).
eyes at Maureen O' Sullivan,
all of a sudden that becomes
the new interpretation of Tarzan.
People knew the Cinderella
story before Disney's
Cinderella.' but that becomes
the defining one. These days, if
you think of Aladdin, most
likely you think of Disney's
Aladdin.' There's sort of the
weight of having to live up to
what's come befwe you,"
Disney veteran Glen Keane
designed Tarzan, Keane being
the man also responsible for
Ariel, the Beast, Aladdin and
Pocahontas. Keane returned
to the Disney drawing board
after a year in Paris studying
anatomy and sculpture. He
drew on his son's skateboarding
feats to make Tarzan
In a 1936 letter. Burroughs wrote, ""The
'surf' the jungle vines rather
than swing on them the old-fashioned way.
loon must be good. It must approximate Tarzan also wins a pop-culture update with
viiey excellence."
Little did he know it would take 60
3re years to come to fruition, says
)nnie Arnold, the producer of "Tarn."
Walt Disney Pictures" 37th addim
to its catalog of animated classic
)ries. The studio's research uncovered
e Burroughs letter, as w ell as a photoaph
of one of the hundreds of actors
iio have played the original King of the
pes in movies and on TV.
"There were all these arrows pointing
50 different injuries this guy had after
!a% ing the character for only one seani."
.Arnold says. "Tarzan is not really
iperman. but he does things that are
Kperhuman: He can leap from tree to
be w ithout care, stalk like a leopard.
Mm. He can do all these things \\ithin
: nimated world that are much easier
ilize as he truly was meant to be."
Co-director Kevin Lima ("A Goof\
lo\ ie") says. "If a human tried to do
hat our Tarzan does, he'd probably break four songs by pop star Phil Collins. W^hen
er) bone in his body.... We can mess Tarzan is not singing, he's voiced by Alex D.
round with his anatomy to show him look Linz ("One Fine Day") as a
ke he was actually raised by apes, down child and by Tony Goldwyn
n all fours, muscles bulging."
WeissmuUer's Tarzan movies of the 1930s
("Ghost") as an adult.
Says Goldwyn, "He's not a
nd '40s were a staple of World War Il-era monosyllabic he-man. He's
hildhood. Later, the children ofthose children very thoughtful, introspective,
atched the movies on Saturday morning TV. romantic and funny.,.. His
•ut Tarzan hasn't received much G-rated atmtion
whole physicality is different
in the past two decades, so whatever this khid of tree-surfing, ex-
)isney came up with would be the ultimate treme-sports kind of guy."
*'ord for this generation of youngsters.
Though the T-man might
"At times, it's bit daunting." Arnold says, never before have been rendered
Disney is going to do the story of Tarzan, and
as a cartoon, he's been
rejxiesented in 43 movies (b\
battled jungle cultists
and white slavers,
raised a son, fought the Nazis, and been
New York's most underdressed tourist. He
has even been seduced by Bo Derek.
In making cinema's most recent version, the
filmmakers responded by going back to the
original 1914 text, Arnold says. Because the
film couldn't encompass Burroughs' complete
epic, they culled the secticm with the most
modem ccxinection—^Tarzan's adoption and
upteinging among creatures difierent than he,
"If you look at the whole adoption story, it
has ccHitempcKary themes," says Arnold, who
previously pHxxluced 'Toy Story." "In today's
world, there are a lot of definitions of family.
Sometimes it's a single parent sometimes it's
stepparents, sometimes it's adoption outri^t....
Sometimes it's families made up of grand^jarents.
Everybody's femily is a litde bit difi"CTenL
"What is a family: That's the piece of
Tarzan's story we decided to tell."
Says Chris Buck, the movie's other directw,
"His parents are killed early on and an dipt
mother adopts him. so he is asked to find
who his real parents are. We deal with
the adoptive child journey. Wlio are
my real parents? Are they the pec^le
genetically connected to you or the
people who raised you?"
'Wo human mother could have
shown more unselfish and sacrificing
devotion than did this poor, wild brute
for the little orphaned waif whom fate
had thrown into her keeping.
Tarzan
is raised by a gorilla
mother, Kala (voiced by
Disney's live-action Cruella,
Glenn Close), and by gorilla dad
Kerchak (Lance Henriksen of
Aliens"). Tarzan sounds like a gorilla
and romps like a gorilla, even if he
doesn't look like a gorilla. He pals
around with the ape Terk (comedienne/talk-show
host Rosie O'Donnell)
and an elephant named Tantor ("Seinfeld"
Newman-nemesis Wayne Knight).
June, 1999 17

"We try not to be overly gory,
but we don't sugarcoat it.
We think it's the forces of
good and evil in our movies
that make them everlasting."
— Kevin Lima (above right),
with co-director Chris Buck
"The bond between Kala and Tarzan is sort
of the heart of our film," Arnold says. "When
I was first talking with Glenn Close about it,
she was so excited to get to play the role of a
mother in a Disney animated film who actually
lives through the whole movie."
Anyone who still suffers trauma at the fate
of Bambi's mother will be relieved to hear that
news. But 'Tarzan" still has its dark moments.
The baby Tarzan's parents are killed by Sabor,
a deadly leopard, for example.
"We're not really afraid of those issues."
Lima says. "We try not to be overly gory, but
we don't sugarcoat it. We think it's the forces
of good and evil in our movies that make
them everlasting."
"Tarzan of the Apes lived on in his wild
jungle existence with little change for several
years, only that he grew stronger and wiser,
and learnedfrom his books more and more of
the strange worlds which lay somewhere outside
his primeval forest.
"He's not a monosyllabic he-man.
He's very thoughtful, introspective,
romantic and funny.... His
whole physicality is different
this kind of tree-surfing, extremesports
kind of guy."— Tony
Goldwyn, the voice of Tarzan
"It's bit daunting. Disney is going
to do the story of Tarzan, and all
of a sudden that becomes the new
interpretation of Tarzan. People
knew the Cinderella story before
Disney's 'Cinderella,' but that
becomes the defining one."
E —Producer Bonnie Arnold
18 BoxomcE

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Response No. 95

for his fighting off the occasional
Except
leopard attack, Tarzan's jungle childhood
is a relatively carefree one of vineswinging
and banana-peeling. When Tarzan
becomes a young man, though, he encounters
the first humans since his parents. Professor
Porter ("The Madness of King George's"
Nigel Hawthome), a gorilla expert on his first
foray into the wild, is accompanied by his
daughter Jane ("Good Will Hunting's" Minnie
Driver), a proper Victorian lady. Their
jungle guide is Clayton (Brian Blessed of
the British sitcom 'The Black Adder"), an
adventurer who doesn't have the best of
intentions. Then Tarzan must choose whether
to remain with his gorilla family or return
to civilization with his fellow humans.
Disney's Jane is spunky like the studio's
other recent heroines—^Mulan, Beauty and the
Little Mermaid. "Jane's look is the opposite
'Tarzan' screening. It was like, 'Hi, Mom!' I
just met Rosie O'Donnell when I did her
show.... I said, 'Rosie, you're my best friend,
and we' ve never met. '"
Acting by his lonesome took some getting
used to. "I leamed to kind of cut loose and
jump around and act Uke an idiot," Goldwyn
says. "It takes a certain kind of freedom to do
it. You get in a weird zone."
The directors agree that acting a cartoon
character is especially tough. Sometimes the
directors would bring another person into
the recording booth to read lines, Lima says,
or use more immediate means. "Other times,
I'll go into the booth and create a physical
situation with the actor. If we're doing a
scene that needs sounds ofhim wrestling, I'll
put Tony in a headlock. Seriously, we wrestle
around as violently as we can"—all to
make the voice sound authentic.
JUNGLE FEVERS
p Disney's might be the first animatec
tarzan, but the King of the Apes ha;
appeared on celluloid at least 43 times
according to the studio. Here are somt
of the highlights and lowlights of the
original swinger's long career:
I • 'Tarzan of the Apes" (1 91 8)
The first-ever movie Tarzan was Elmc
Lincoln, who supposedly really kills i
lion onscreen.
. • 'The Son of Tarzan" (1 920)
This serial starred P. Dempsey Table
and Karia Schramm. Its 15 episodes triec
to stick to the book.
'Tarzan
»•
and the Golden Lion" (1 927
James H. Pierce brought his radio Tar
zan to the big screen. Being Edgar Ria
Burroughs' son-in-law probably helpei
him land the part.
I • "Tarzan the Ape Man" (1 932)
Johnny Weissmuller debuts as th(
screen's most famous Tarzan, with Mau
reen O'Sullivan as his Jane. This is when
Tarzan acquired his monosyllabic "A/|(
Tarzan, you Jane" style of speech.
• 'Tarzan and His Mate" (1 934)
Weissmuller's Tarzan battles Ivor]
hunters. Considered a classic.
¥ • "Tarzan's New York Adventure'
(1942)
Escapades in
jungle.
Manhattan's asphal
t
* • "Tarzan Triumphs" (1 943)
Tarzan beats the Nazis, but he make
a bomb.
• "Tarzan's Magic Fountain" (1949
Lex Barker takes over as the loin
clothed wonder.
from the way she talks," Arnold says. "She's a
prim and proper Victorian woman, but when
she laughs, it's this deep hearty 'ha, ha, ha!'
Jane feels trapped in the confines of Victorian
society.... Tarzan is really a catalyst for change
in her own life." (Just as she is for him.)
The directors cast the voice actors by looking
at drawings of the characters during the
auditions, rather than at the actors themselves.
They chose Goldwyn because of the "animal"
side to his voice. "When Kevin and I first
started thinking about his character, we both
agreed we wanted him to have a mature voice,
not a sort of teenage voice," Buck says.
'Tarzan" was Goldwyn's first animated
feature, which meant three years of acting
without props, costumes—or other actors. He
never worked in the same room with his
co-stars. "I met Glenn for the first time at a
Though Goldwyn can sing, he deferred
Tarzan's musical speeches to Phil ColUns. The
former Genesis (iummer, who became the
'80s equivalent of Celine Dion when he went
solo, wrote five songs for 'Tarzan," and he
sings four of them in the movie. O'Donnell
scats in the fifth number, "Trashin' the Camp,"
where the apes do a fi^-house-style dismemberment
of the Porters' jungle home.
"Phil is a great songwriter but also a great
percussionist," Arnold says, "so he was a great
link to a film about the jungle."
"He saw a patch of greensward surrounded
by a matted mass of gorgeous tropical
plants and flowers,
and, above, the waving
foliage of mighty trees, and, over all, the
blue ofan equatorial sky.
^
• "Tarzan's Hidden jungle" (1955)
Gordon Scott gets off to an inauspi
clous start.
Vera Miles is Jane.
• "Tarzan the Ape Man" (1 981
Bo Derek brings both of her talents b
the classic tale.
# "Creystoke: The Legend of Tarzan
Lord of the Apes" (1 984)
Hollywooa goes back to Burroughs
book. Christopher Lambert trades hi
loincloth for a Scottish kilt when Tarzai
reclaims his Scottish birthright
• "Tarzan and the Lost City" (1 998
Casper Van Dien ("Starship Troopers'
and Jane March ("Color of Night") mak
B-movie jungle love.
— Melissa Morrison
20 BOXOFFICE

}ima and Buck say 'Tarzan" doesn't
feature any particular graphic style ex-
_^cept naturalism. Unlike other Disney
1 ^. such as "Hercules." whose characters
stamped with the look of British artist
..:J Scarfe. "Tarzan" doesn't feature the
:i lint of a single illustrator.
Says Lima, 'It brings you one step closer to
Uve-action filmmaking."
Another influence on the film's style was a
trip the directors and other artistic staff took in
1996 to Kenya and Uganda. Buck was able to
reward his lifelong fascination with gorillas by
watching the real creatures up close.
families. "It was one of the most amazing
experiences of my life," Lima says. "At
those moments, being with those gorillas,
we realized what we were trying to say
about family was absolutely true.
"You locJced into their eyes, and saw tfie
community they were making."
We wanted people to feel like they could
:! 1> go to this place painted on this screen,
. t as close to the real experience so they
». iia connect in a deeper way." Lima says.
3ne way they made the jungle more real
\ s with a technique called "deep canvas,"
( eloped by art director Dan St. Pierre. The
I hnique allows the camera to move through
t
tu o-dimensional paintings.
"It was incredible," Buck says now at the
recollection. "There you were, five feet
away from these guys. They were very calm
and they would watch us very carefully....
They're very majestic, huge, strong creatures,
but extremely gentle."
The filmmakers say that the expedition
confirmed their instincts in making Disney's
'Tarzan" at its heart to be a movie about
"Tarzan. " Voices by Tony Goldwyn,
Glenn Close, Minnie Driver, Nigel Hawthorne,
Rosie O'Donnell, Wayne Knight
and Lance Henriksen. Directed by Kevin
Lima and Chris Buck. Written by Tab Murphy,
Bob Tzudiker and Noni White. Songs
by Phil Collins. Produced by Bonnie Arnold.
A Buena Vista release. Animated.
Opens wide June 18.
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Response No. 14
June, 1999 21

SPECIAL REPORT: Drive-Ins
THE SHOW STARTS AT SUNSET
In an Era of Megaplexing and New Millennium, Drive-Ins
Continue the Tradition of Showing Movies Under a Starlit Sky
by Debrean and Lawrence R. "Randy" Loy
With
the excitement being generated
by the curtent trend toward building
high-tech megaplexes, and the continued
globalization of the exhibition industry,
it is often easy to overlook the "Utde guys," the
independent exhibitors whose theatres, both of
the indoor and outdoor variety, dot the main
streets and side roads of towns small and large.
But a part of that group of independents is
causing a stir that is making both the pubUc and
the movie industry sit up and take notice.
Although the number of drive-in theatres
has dropped immensely during recent decades,
fueled mostly by rising land values and, in
many cases, tiie passing or retirement of owners
with nobody waiting in the wings to take
over the opCTation oftheir theatres, there seems
to be a renaissance of interest in ozoners. Long
considered a dying part of the exhibition family,
the specialized field of drive-in theatre
operation is experiencing a renewed interest by
both the pubUc and theatre owners.
Why would someone in today's very competitive
motion picture theatre business climate
operate a theatre that is subject to the
whims of nature and probably has only one
screen? Because, as Scott Zimmerman of the
Cinderella Drive-hi in Denver puts it, "It's in
my blood." That seems to be die resounding
theme among many owners and operators,
whether bom into the business or not. There is
something about the drive-in that takes hold of
you and won't let go.
Many owners, such as Cindy Deppe of
Becky's Drive-In (Berlinsville, Pa.) and Elwood
Haarof Haar's Drive-In (Dillsburg, Pa.)
are continuing the legacy their fathers built.
Deppe shares management duties with her
brothers Dennis and Darrell Beck and her sister
Mary Mayberry at the drive-in their father
opened in 1946. Husband Dean is the projectionist.
Deppe says there are also two non-related
families that have woriced at the theatre
for more than 20 years. One couple who worics
there met at Becky's, and have now been
married more than 40 years. One obvious characteristic
of drive-ins is that many are familyowned
and operated, with the unrelated staff
becoming like family to the owners.
Haar's Drive-In has been continuously
owned and operated by the Haar family since
1952. Elwood Haar recalls that his late father.
Vance, equipped a panel truck with loudspeakers,
16mm projector, portable generator, and
screen, allowing the Haar family to take movies
to the theatreless rural communities near
Harrisburg, Pa. in the 1940s and early 1950s,
prior to building Haar's Drive-In. Today,
Haar's is owned by Haar, his brother George
and sister Claribel Lacrone. With their grandchildren
now helping at the theatre, four generations
ofthe Haar family have been involved
with the business to date.
But
not all owners were bom into the
business. Some, such as Scott Zimmerman
and Jim Goble, started working in
drive-ins as teenagers. Goble says the height
of the fun of his teenage years was working at
Denver's North Drive-In. Both Zimmerman
and Goble recall being enamored by drive-ins
since childhood. Goble developed a particular
fascination with projection; at age 12, he ran
his first solo show on the carbon arc Brenkert
projectors at the West Drive-In in Cody, Wyo.
After spending his early adulthood as a
projectionist at various drive-ins, Goble pursued
a career that took him away from the
business for nearly two decades, but his
passion for outdoor exhibition was again
sparked when he met Zimmerman in 1994.
They began sharing stories of their drive-in
memories and it was akin to "striking an
arc," Goble says, laughing. When Goble and
partners Jeff Kohler and Ken Obom assumed
the lease on the Cinderella Drive-In,
Zimmerman established Kiddieland, a small
carnival ride park next door.
In addition to being a partner in the twinscreen
Cinderella, Goble also now owns the
Starlite Drive-In (formerly the Landmark
Twin) in Wichita, Kan. He and Zimmerman
are also partnering to buy the four-screen
DeAnza Drive-In in Tucson, Ariz., which prior
to the acceptance of their bid was destined to
become a shopping center. Juggling multiple
screens in three states is not an easy task, but
ozoner owners are known for their ingenuity.
Perii^s
one ofthe finest examples ofsuch
ingenuity is the Silver Lake Drive-In in
Perry, N.Y., owned by Rick Stefanon.
When Stefanon's father, Jake, bought the then
16-year-old theatre in 1965, it was very primitive
with wooden speaker poles. As Stefanoi
relays, "It was just a country drive-in, but h
saw potential." Noticing that other businesse
capitalize on the drive-in draw by buildinj
close by, Jake Stefanon decided to beat then
to the punch. His plan was to build the Silve
Lake into a family entertainment complexand
he more than succeeded.
His complex now consists of a grill-styli
restaurant, pizzeria, ice cream parlor, arcade
party rooms, outside stage, and 18-hole min
iature golf course, in addition to the drive-ir
Son Rick, who bought the property from hi
father six years ago, says the added attraction
at the Silver Lake "give pations an incentiv
to come a little bit earUer to enjoy themselve
and make a night out of the drive-in theatre
because going to the drive-in is "an event, nc
just a night out to see a movie."
Not that attending a drive-in was ever a
about watching a movie. The food alone draw
many patrons. Menus are often elaborate, wit
homemade delicacies and theme names. Ad
ditionally, owners incorporate other aspects c
showmanship into the evening. "Being an ir
dependent allows one the freedom to do spe
cial things," says Don Brown, who has opei
ated the Diamond State Drive-In in Feltor
Del. with partners Patty and Dave Creigh sine
1995. Don's philosophy is to "incorporate ciu
rent first-run
product with some of the ol
attractions and features of the nostalgic days c
the drive-in, such as the intermission trailer
shorts, and dusk-to-dawns."
At his Galaxy and Moonlite ozoners (i
Vandergrift and Brookville, Pa.), Jim Lipum
incorporates the national anthem, merchai
trailers and special promotions of the movie
into his lineup. He likes to think of ways t
make it fun and memorable for patrons, t
make them laugh and forget their problemsthings
such as buying a pig to keep at th
drive-in for the movie "Babe," or asking ps
trons to all get out of one side of their cars an
to get back in on the other side.
Pony rides for the children are an adde
attraction at Becky's Drive-In. Additional!;
Becky's staffoften dress as characters ft"om th
movies they are showing, and an artist frien
ftiequentiy designs wooden cutouts with th
movie's theme. Some of the popular movie
thus themed have been "The Flintstones,
22 BOXOETICE

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"George of the Jungle" and "Independence
Day." The Silver Lake Drive-In also tries to tie
in tiie theme for the big movies such as "Men
In Black" and "Armageddon." For Disney
movies, Stefanon presents a stage show and
sing-along for children, as well as a parade and
promotional giveaways.
Another trait common to
these often independently
owned dieatres is tiheir sense
of community and friendship.
Becky's operators host
an annual benefit for seriously
ill children, and they
have made the drive-in
available for church activities.
Others have hosted
similar events. It's a setting
made for such interaction:
At the drive-in, patrons
greet owners by name, and
vice versa. Patrons, settling
in for a double feature under
the stars, talk to people they
meet at the drive-in, and
children playing on the
playgrounds make friends
with others for the evening.
Being outside on a
summer night with
the stars twinkling
overhead is relaxing. That is
a big part of the appeal of
drive-ins. Other advantages are that it is an
affordable entertainment option for the whole
family. But, as the Galaxy and Moonlite's
Lipuma says, "It's not about saving the dollar;
it's
about what drive-ins offer." Patrons will
drive several hours, even sometimes coming
from states away to attend outdoor theafres.
Some drive-ins permit patrons to bring their
dogs along (a fact elaborated on in the
May/June 1 998 issue ofDogGone newsletter).
Patrons can talk, smoke and control the volume
of their own speaker or radio.
Owners also enjoy special freedoms. What
other job gives one the chance while working
to watch the sun set and to count shooting
stars? Being at the drive-in is one of Ufe's
simple and incomparable pleasures.
Yet the outdoor nature creates a lot of work
and expense for owners and sometimes puts
the drive-in in jeopardy. Owners handle grading
and surfacing the lot, mowing and weeding—not
to mention painting that giant screen
Being out in the elements makes operating a
drive-in problematic. Owners deal with fog,
rain, heat, and even unseasonable snow.
Nearly every ozoner has lost a screen from a
storm sometime in its history. Another major
problem is hiring staff who enjoy customers
and can handle the extensive menu, hot conditions,
and late hours. Financially, owners can
have it tough due to the seasonal aspect of
outdoor exhibition in cold-weather states.
Managing a drive-in can be a gamble, but it's
a gamble that operators are willing to take
because they love what they do.
They also take great pride in their presentation
and appearance. When asked what the key
24 BOXOFHCE
to his success is, John Mellor of the recently
closed Bucks County Drive-In near Philadelphia
states, ' 'You ' ve got to put money back into
the business." During the nine years that
Mellor operated the Bucks, his attendance
more than doubled. He attributes the increase
FAMILY AFFAIR: (Above) Pink neon bathes two children who've set up camp
in front of the projection booth at Shankweiler's, the oldest surviving ozoner;
(Below) Six-year-old Matthew Haar is the youngest exhibition professional
at his family's drive-in. (Photos by Lawrence R. Loy)
to the booking of family films, improvements
to the snack bar and restrooms, as well as
upgrading the equipment. He lost the drive-in
last year when the landlord sold it to a developer,
but he intends to stay in the business and
is actively searching for a new site.
Mellor's sentiments about putting money
back into the business are echoed by other
owners. An equally important factor is maintaining
the equipment and providing a good
picture. Goble of the Cinderella and Starlite
considers this a critical factor to keeping one's
patronage and good reputation. One of his
screens at the Starlite is 98 feet wide and has
an 800-foot throw, but he maintains a bright
picture by using a 7,000-watt lamphouse.
Some owners were bom into the business;
others worked at drive-ins as teenagers
to gain their knowledge of the industry.
But some owners are newcomers. Richarc
Boaz had never considered operating a drive
in until he stopped to photograph what remained
of the long-closed Monetta Drive-In ir
Monetta, S.C. Upon seeing the theatre, whicl
closed in 1 986, he imagined James Earl Jones
voice saying, "Build it anc
they will come." With nc
prior experience in the business
but prompted by a lifelong
love for drive-ins
Boaz sought the assistance
of Martin and Marsha Murray,
who had reopened the
Badin Road Drive-In ir
North Carolina.
Martin Murray describes
the reopening oi
Boaz's theatre as almost i
new build. It required i
new screen tower, almosi
complete rebuilding of the
concession/projectior
building, installation of al
necessary projection anc
concession equipment
and a new fence.
That experience wil
come in handy for the Mur
rays, however, given tha
they are planning to reopei
two other closed Carolin;
sites: the Auto Drive-In ii
Greenwood, S.C. and th(
former Albemarle Drive-In in Albemarle
N.C., where they also operate the Badin Roat
Drive-In. The imminent reopening of the Aut(
will allow South Carolina to boast of thr&
operating drive-ins, in contrast to the om
drive-in that has been operating there prior t(
the Monetta's opening this March. Regardinj
the Monetta, Boaz says, "As long as we cai
have fun with it and the thing pays for itsell
we're going to go with it. There are very fev
ways you can make a mark on the world, if yoi
think about it, but this is one way you can."
Mi
'aking a mark in the exhibition busi
ness together with long-time opera
-tors and owners who have reopene(
long-shuttered drive-ins are owners of new
builds. The Sand Mountain Twin, Roanok
(Argo) Drive-In, and Cinemagic are all nev
Alabama drive-ins built since 1996. The Vin
tage Drive-In in New York was built in 1 99'y
More are being planned for other states.
Despite the fact that by one count there ar
only 524 operating drive-ins in the Unitei
States with a total of 750 screens (figure
provided by Jim Kozak of NATO), or perhap
because of it, owners are networking and help
ing one another. It is nice to know that thi
dedication and hard work ofthese independer
exhibitors will allow drive-ins to endure. Ma;
their theatres long continue to bring die magi'
ofthe movies to their patrons, and may the star
of Hollywood long play beneath the stars o
the sky upon their fields of dreams.
Hi
(For info on the new United Drive-In The
atre Owners Association, seep. 49.— Ed.)

Radiant's innovative technology
matches the vision Regal has set
for their success and growth. '^
at Radiant feel fortunate to have
partnered witii Regal at such an
early stage for both of our companies,"
says Craig Chapin, Business
Development Director at Radiant
jementing new technology takes many forms
nvolves many questions:
-:w do we increase our efficiency and
j:5ductivity?
\ w do we achieve greater management
( ntrois over our business?
I w do we improve communication and
i vice with our theatres and our patrons?
r
^w do we drive sales and growth?
f Cinemas, the worlds largest movie picture
u
stor, considered all of these factors in launch-
-1 innovative technology initiative within their
Founded in 1989, Regal began searching for
i^iovative technology provider who could be a
tgic partner in understanding & helping to
:ment a solution to meet their needs. Their
»tive was to improve the marketability and permce
of the chain. Ultimately, Regal wanted to
Mse the enjoyment level of patrons during
^ovie going experience.
I
turned to Radiant Systems to supply a com-
(back office, box office and kiosk point-of-sale
ion. Regal first installed Radiant's
itainment solution in their theatres in 1995
me addition of a customer activated kiosk &
(!
-service point of sale solution at their first
ape location in Chesapeake, Virginia. Regal
3 nee maintained their commitment to Radiant
italling an average of 55 theatre sites per year
/ Regal has grown to approximately 3,600
^ns and 401 sites in 30 states nationwide. Regal
rts to install approximately 50 new sites and
?rt 130 acquired ACT III sites during 1999 with
adiant Solution.
Response No. 516
"We liked the vision offered by Radiant," said J.E.
Henry, Sr Vice President and CIO for Regal. "When
we first began working with Radiant they had a
very effective back office system that allowed for a
broad range of reporting capabilities which
enabled us to grow our business more effectively
and efficiently.
It has been interesting to watch the
growth of our companies. It is amazing what you
can do when you have a very strong partnership."
After achieving success in over 180 sites with
Radiant's Entertainment Solution, Regal continues
to renew their commitment to Radiant with both
existing and new technology ventures. "We see
many new innovative technology frontiers ahead of
us, and will work closely with Radiant," said Henry.
"Radiant has best in class products, services and
features to offer the motion picture exhibitor. We
are glad to be on the forefront of this technology."
For Regal, the Radiant solution enabled them to
allow for credit card transactions, perform advance
day sales, provided them with more flexibility, faster
employee training and stability. "The infrastructure
at Radiant to support our needs was really important
to us," said Curtis Woods, Director of Networks
& Technical Computer Services, for Regal. "We place
a great deal of emphasis on customer service. All
our theatres are able to call the Radiant help desk
for software support, and Radiant has done
an exceptional job of responding to our
needs."
Regal & Radiant meet on a frequent basis to
plot a course for continued success. Both of
these growing companies realize change is
inevitable, and want to make sure that the direction
they are moving in is going to continue to revolutionize
the entertainment industry. The innovation
and commitment is vital to the success of Radiant
and the future of the entertainment industry.
"Our strategic partnership continues
to drive both our products and
services to meet the rapidly
changing needs of the theatre
technology solution. Our goal has
ahvays been to exceed our
customer's expectations. We wai
to revolutionize the consumer
experience through consumer
activated and traditional management
&POS tools."
'|
1
Radiant
SYSTEMS
For more information, call us at
1-800-229-0991
or visit our web site at
www.'.radiantsystems.com

j
SPECIAL REPORT: Drive-ins
SEE AIR
Ozoner Flourishes on the Florida Gulf
by Pat Kramer
Naples,
Fla. isn't a major city by any
means. Better known as a winter retirement
resort for the wealthy, it becomes
somewhat drowsy during the summer
as the temperatures rise. Located 140 miles
south of Tampa on the southem Gulf coast of
Horida and on the western edge of the Everglades,
Naples is a city that, like any southem
city, is slow to change. And, yet, it is also a
place for new beginnings, as in the case ofJack
Hegarty Jr., who five years ago purchased the
Naples Drive-In Theatre as a first-time owner.
"I heard it was available, and it was an
opportunity to do what I always wanted to do:
own my own drive-in," recalls Hegarty. After
more than 30 years ofworking in the exhibition
business, primarily managing drive-in theatres,
the small twin-screen outdoor theatre was
a dream come true for him.
Hegarty 's first memory of a drive-in theatre
was at the tender age of 2 or 3 when his dad,
Jack Hegarty St., was managing an ozoner in
Deerfield Beach, Fla outside of Fort Lauderdale:
"I remember watching him driving a
fogging truck up and down the aisles between
the cars during a feature." Back in the '50s, that
was standard operating procedure for keeping
the insect population down; now people are
much more careful with insecticide. "Tlie city
of Naples has been really good about spraying
whenever I need it. They come in early in the
morning while people are sleeping and spray
the grounds." He adds, "Sometimes, before
people come in, I'll use a hand-held spray
because, being so close to the Everglades, there
is more of a problem with mosquitoes."
Jack Sr. spent his entire career in the exhibition
field, starting in the silent film days as an
usher for Warner BrosTFirst National at one of
its theatres in New Jersey. He continued to
work for the company as assistant manager and
manager until Warner exited the exhibition
business in the '40s. He then joined Floyd
Theatres as a fihn booker. At the time, Floyd
had 17 theatres— 10 conventional and seven
drive-ins. Jack booked films for the drive-ins
fix)m 1951 to 1956, while also managing the
Deerfield Beach drive-in. It was during this
time that his third child. Jack Jr., was bom.
In 1960, Jack Sr. began woricing for General
Cinema, and over the next four years he
opened six new theatres for the circuit in Florida.
Later, he became manager of the Sunrise
Cinema in Fort Lauderdale, a four-screen theatre,
which he managed until retiring in 1980.
Now Uving in the Orlando suburb of Wmter
Springs, Jack Hegarty Sr. continues to keep
tabs on the exhibition business through frequent
calls to his son and visits to what he refers
to as "my competition"—^Regal Cinemas,
AMC and his former home, General Cinema.
Not surprisingly. Jack Jr. aspired to walk in
his father's footsteps after having spent his
upbringing in and around the business. At age
14, he landed his firstjob: an usher for General
ALL IN THE
FAMILY: Jack
Jr. with Sr. (left),
and with Jason
and Betty
Hegarty at the
concessions stand.
Cinema's Fort Lauderdale theatre. Within a
few years, he became assistant manager for the
circuit's theatre in Pompano before hiring on
with Florida Management, a partnership that
owned eight ozoners in central Florida. His
main job was as an ad man, writing promotional
copy, but his wife Betty notes, "Whenever
you get hired by one of these operations,
you're involved in many other types of work."
Over the next 10 years. Jack also supervised
and managed several of the company's driveins,
most notably the Airport Hi-Way ninescreener
across from the international airport.
"We had planes flying overiiead all the time,"
Betty says. Jack adds, "What an experience it
was to run a nine-screen drive-in !" In 1982, the
Hi-Way was closed when Broward County
took over the land for airport expansion.
Around the same time. Jack was offered a
post by one of the partners of Rorida Management,
Harold Turbiefield, starting flea markets
as a second business for the independent. He
j
also managed its Haines City Drive-in, then the
|
Playtime Drive-In, in the working-class Na\y \
town of Jacksonville, from 1986 to 1994.
He loved the work involved with managing
the drive-ins, but Jack notes that the business
was often dependent on good weather At his
i;
last drive-in, he recalls, a tomado came through
|:
one moming, tearing down one oftwo screens.
I
"One month later, we put the screen back up
j
and added another. Till today, that drive-in
does better than some indoor theatres. For $5,
you can see a movie, then when it's over you i
can drive to the other side and watch another!"
In 1994, when the Naples Drive-in came on i
the market, Jack was ready to buy his own.
drive-in. After scouting the Naples area for a
i
home, he decided instead on buying a mobile (
home so that he could be close to his business.
Then he sold his home in Jacksonville and,
along with his wife and four children, made the
j
seven-hour joumey to their new home.
i
However, despite his excitement about
owning a new business, there was a lot of work
to be done, both physically and public relations-wise.
Opened in 1974 as a twin, the!
drive-in had fallen on hard times over thei
years. With space for 250 cars on one side and
j
350 on the other, it suffered from competition
from two other nearby ozoners—a situation
that perhaps led to the former owner's decision
to capture a different market by booking adult
films. When that didn' t generate enough profit,
the Naples began showing family films again.
The demise of the two competing drive-ins in
the mid-' 80s helped boost the business, but by
the '90s the drive-in was showing sub-run
films—a fact that. Jack beUeves, might have
caused the locals to go elsewhere.
But the worst part was that the drive-in
remained closed during the summer months,
opening only October through April for the
tourist traffic. Jack notes that this policy hurt
the business the most and left him with a
negative legacy to overcome. "When 1 opened,
I knew we had to change that policy. We
needed the support of the local residents to
keep the drive-in open. I was more concerned
with the local people: Where do they go for
entertainment? What do they do?'
|
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Where the locals went was to the competition:
Regal's 20-screen megaplex, 10-screen
multi and six-screen "dollar" theatre, all within
a 10-mile radius of the Naples Drive-in. With
the hardtops' admission priced at $6.50 ($4.50
for matinees), Hegarty says, there was a section
of the population that wasn't being served.
'1 knew, from having worked in Jacksonville,
that there were famiUes who couldn't
afford the indoor theatres. I knew it had to be
the same down here. We charge $3 for admission,
and our concession prices are about half
of what the indoors charge. For families, it's
more affordable, and they can bring babies and
young children to the drive-in. It's a way for
families to spend time together"
Since taking over. Jack says there's been a
learning curve to knowing the market. "We
had to watch what we booked in the beginning.
It took us about six months to figure out what
would play well here and what to go after.
What I discovered was that teenage-oriented
films didn't do as well as I thought they would.
'Teenagers don't go to drive-ins as much as
when I went to high school, 25 years ago.
There's more available for them to do today [in
the city]. From what we gather in the papers,
now they go to the multiplexes because they
can hang around in the parking lots and see
their friends. Here, it's a nice area, but there's
not much for the kids to do. I guess I just
haven't tapped into that market."
What he has discovered is that, despite the
hot, sweltering weather, the best months foi
business are May through October, when children
are out of school. After that, he says, it's
mosdy weekend business at his seven-nightsa-week
operation. Not surprisingly, PG-rated
family and action films tend to do best with his'
demographics, although he notes that could be;
change if the city keeps growing.
"It used to be a retirement area here," he
states. "People came down in the winter
months, primarily. But now there's a lot of
development of homes and golf courses, and
we're losing a lot of the woods. We have more
golf courses here than anywhere I've
Each housing development has its
seen.,
own golf;
course. [The way it's going,] we're going to be
i
the next Fort Lauderdale."
If that were to happen. Jack says, he would;
Go ahead, ask them anything. They'll know
the answer.
Because our customer service
specialists are the best in the
business; knowledgeable,
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So the next time you need concession
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1 VJ% Piuclui Cuiiipaiiies
Response No. 461
likely move to another locale, as there is no
\
room to expand at his current address. He'si
looking at potential sites in Orlando and Lake
City, Fla., both holdovers from the Floyd's
chain that was acquired by Carmike in 1972.
He recalls, "[Carmike wasn't] interested in the \
drive-ins. Central Florida lost a lot of drive-ins
when they bought the chain, which at its height
had over 20 outdoor theatres."
Although he still loves running his own
drive-in. Jack admits that some of the costs
involved came as a shock, particularly the high
liability insurance required to be in this business.
To keep his costs down, he and his family
cover a lot of the work required: His wife takes
tickets on weekends, his 1 8-year-old son Jason
runs the swap meet on the drive-in's grounds
each weekend, and Jack covers the projection
booth. All in all, they employ five staffers,
including a film booker and concession
counter help for their three stands.
As at many of the ozoners he previously
managed, the swap meet generates additional
income for the business, the big attraction
being the farm-fresh produce each weekend.
He promotes the drive-in's attractions witli
flyers highlighting discounts like free admission
for the driver. Jack also takes out ads in
the local papers to advertise his movies, which
generally run for about two weeks.
This summer, in honor of the Naples Drivein's
25th anniversary. Jack is planning some
extra-special promotions. As a way of commemorating
the moment, he's looking at offering
an early-bird admission or a "car-load"
night admission for 25 cents.
As he looks to the year 2000 as a "milestone"
for his drive-in, Jack says that the job of
ownership keeps him going through lean
times. "I get to make my own decisions about
what fihns to book and how to run the business.
But my favorite part is having the chance to
interact with and get to know my customers.
"At indoor theatres, you don't have as many
opportunities to connect with them as you do
outside. You greet them when they buy their
tickets, then again at intermission when they
come to the concessions counters. I like the
business. It's a nostalgic, sentimental type of
thing. Sometimes it's hard work, other times
it's not. When your whole team works together,
everything goes smoothly."
WM
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30 BOXOFFICE
SPECIAL REPORT: Drive-Ins
REINCARNATION
A Dead Drive-In Comes Back to Life
by Bob Loeffelbein
Chris
Wagner's father, Al "Port"
Wagner, and grandfather, Al Wagner
Sr., built the 350-space Sunset Auto-
Vue in Grangeville, Idaho, in 1955. It died
in July 1986. Now third-generation theatre
owner Chris has—to public demand, he
says—^reincarnated it.
"I'd been back in GrangeviUe five years,"
he says, "and I got several people a week
asking me, 'When are you
going to reopen the drivein?'
Well, the drive-in drew
an appreciable crowd in its
day, but it was never a big
moneymaker, because the
weather is cooler here than
in the valleys.
"Besides, my dad has always
told me that memories
of those days still give him
a headache. Teenagers often
hid in car trunks or otherwise
sneaked in, and there
were beer and drug problems.
People often drove off
and forgot to take the speakers
out of their windows,
which cost $12 to $20 to
repair or replace. It was the
place to raise a lot of hell,
was the way he put it."
Toward the end of the
1970s and into the 1980s,
drive-in theatres around the
country began to shut down.
By last year, when Chris
started replacing the weathered
sections of the 36-by-72-foot screen,
graveling the paiidng area and boarding up the
perimeter, there were only 850 drive-ins left in
the United States, with six of those in Idaho.
Those, according to Alan Porter's report ftx)m
the Idaho Department of Commerce, are
Caldwell's Terrace Drive-In, Driggs' Spud
Drive-In, Idaho Falls' Motor Vu Drive-In,
Pocatello's Sunset Drive-In and Twin Falls'
Grand-Vu and Motor Vu Drive-ins.
Why, then, is Wagner reopening?
"The biggest reason," he answers, "is that
70 percent of your big releases are opening
from June through the end of August and, with
a single screen in town [the family-owned Blue
Fox, which he and his dad mn together], you
can't really play everything." And, even
though most ozoners have gone the way of the
full-service gas station, he says that nostalgia,
along with repeat-heavy summer TV fare, is
ALL ABOARD: The 350-space Sunset Auto-Vue in Grangeville,
reborn after a 13-year closure by 50-year theatre man Al 'Port"
his son Chris, both pictured on thefollowing page.
bringing people back. That, plus the fact the
whole family can attend together, talk as much
as they want and not have to hire a babysitter.
And, of course, it is obvious why dating teenagers
like it, especially given that there isn't a
lot for teens to do in a small rural wheat-andlivestock
town, population 3,642.
lot,
Because the family still owned the drive-in
located about a half-mile east of town, it
proved cheaper and easier than either constructing
another hardtop or expanding the
existing one. "One of the reasons for the demise
of many drive-ins," Wagner adds, "waj
that most of them were on five-acre or largei
lots and, as towns and cities expanded, thest
parcels of land became too valuable to keep a'!
drive-ins. But this didn't happen here, fortui
nately or unfortunately for the family, depending
on how you want to look at it."
Idaho, has been
Wagner and
car to
w:
agner, who has
done some research
on the history
of drive-ins, added that
the largest one ever constructed
was at Natick
Mass., covering 25 acres,
with a screen nine times the
size of a normal theatre. UPlI
reported it accommodated
1,350 cars and had an audi-|
ence of about 4,000 persons
nightly during its heyday.
The first drive-in, ac-
mer in a 1957 article in the
cording to Peter Oppenhei-
Family Weekly, was
opened in 1932 at Culver
City, Calif But other film
historians have the first one
debuting on June 6, 1933,
showing "Wife Beware"
starring Adolph Menjou.
Richard Hollingshead Jr.,
who had experimented ear-
Uer by mounting a movie
projector on the roof of his
show home movies on the side of a
building, built it on a 10-acre plot in Camden,
NJ. (see our July 1998 issue, p. 1 17).
The Camden accommodated 500 cars, with
one huge loudspeaker originally servicing all
spectators. (It was almost two years before the
individual speaker became standard equipment.)
Six hundred people paid a quarter per
car plus a quarter per person admission.
That long-ago summer, Wilson
Shankweiler passed through Camden, saw

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Response No. 508 '
©Lucasfilm Ud. & TM. AlKights reserved.
Used under authorization.

Hollingshead's operation, returned to his home
in Orefield, hung a giant sheet between two
poles, erected a speaker, and America's next
drive-in was bom. When HoUingshead's
closed in the 1 980s, Shankweiler 's became the
nation's oldest still operating.
According to NATO, the
largest number of drive-ins
was reached in 1958, with
4,063. The biggest drop off
was in 1988-89, when 400
shut down.
Wagner
has set his
showing season
from mid-May
(or earUer, depending on the
weather) through September,
Thursdays through
Sundays, starting at sunset.
"I can start the season earUer
than we used to," he says,
"since all cars have heaters
now. And the movie
soundtracks are fed through
auto RVl radios [AM availabihty
will added this season],
so car windows don't
have to be lowered to hold
outside speakers."
Featured fihns are first-run family fare, with
admissions set at $5 for adults, $3 for children.
Early and late in the season, he also offers a
special $10-per-car rate. (The record earful, he
says, was when a vintage Packard drove 18
passengers into a theatre.)
Wagner had thought about reinstating the
former children's playground, but that possibility
was short-circuited when a lawyer
started telling him about Uability insurance.
"So now we just play music until the show
starts. Kids can brina their own in-car ^ames
and toys," he says, "or visit the concession
stand, which offers several kinds of hot dogs,
popcom, candy, coffee and espresso.
"At present, I plan only one special event to
hype attendance," Wagner admits. "That will
be the season's grand opening the first real
summer weekend in June." He plans to ha\ t
the region's car clubs put on a Show-N-Shin(
in the afternoon, then have a Uve band play i
couple hours before showing a free movie—
first-come, first-served until all the spaces m
taken. He thinks he might show tlie Jamej
Dean classic "Rebel Without
a Cause."
A seasoned ozoner.
Wagner is familiar with a
number of promotions tried
at other places, like the onscreen
video marriage proposal
(which got such a
vociferous greeting from
patrons that the owner kept
it on the screen for a week)
and letting all cars of one
make in free (subsidized by
the auto dealer in town selling
that make). One operator
gave away a jalopy,
another has been giving free
biscuits for family dogs, and
others furnish a bottlewarming
service for babies
and give coupons for a free
gallon of gas if used on the
way home at a specific service
station. "I'll keep those
in mind, just in case," he says with a smile.
And, to eUminate those headaches his dad
complained about, Wagner has employed an
off-duty policeman as a roving security guard.
"Didn't have a single problem all
last summer."
he says.
WM
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www.boxoffice.com/
backissues.html.
m?'BciKX¥KXi
There and elsewhere
on our site, you'll
find a wealth of
industry information
awaiting you!

Patrons today want their show information NOW!
Tte most important piece of equipment you have in your cinema is the telephone answering chine^
This is what your patrons use to find convenient show times. If they have to listen to t,ve minutes o, messages,
it can get frustrating. Or, if they cannot get through because your phone ines are constantly busy^
thev may go elsewhere.-Thg^new^MovieTimeS digital answering SN'^tem cuts right to the chase. Touch-torn
right to Ihe information thev Wnt! Other information like directions, special ticket prices, commg attractions
are available on demand. The MT2.16 makes it easy to change show messages, even remotely. 1
rl^nutes of information. For a real demonstration of how fas, this system is call ^770) 449-4940 any t,n.e.
Of* fiet the infomation they want faster which means more peak time calls, or fewer telephone lines.
SMABUJewcftl Inc. • Norcross, GA 30071 • (800) 45-SMART or (770) 449-6698
..«

34 BOXOFFICE
Snack Bar University/NAC Expo 1999
Information and Education
by Norman R. Chesler
President
National Association of Concessionaires
is no greater commodity than information,
and no greater tool tiian
There
education,
hiformation is what drives every industry; the
exchange of ideas and flow of information is what
keeps businesses growing.
The concessions industry is certainly no different,
hi fact, we may rely on that flow of communication
more than most. Our industry has historically
been one based on relationships, of sharing information
among each other for the good of all. That's
also what makes NAC such a valuable organization.
We have roots in the exhibition industry and count the
exhibitors and suppUers among our strongest supporters.
The information both gained through our
theatre members and given to them has strengthened
NAC and theatre concessions for 55 years.
The flow of information extends far past the
theatre industry, however. NAC represents all types
of concessionaires: operators in stadiums and arenas,
colleges and universities, amusement parks, ice
and roller rinks, park and recreation departments,
zoos, family entertainment centers, airports and
others, as well as the companies who supply them.
The diversity of our members
is our strength.
Snack Bar University/
EXPO is a perfect example
of how that diversity and
flow of information manifests
itself. The gathering of
concession professionals at
SBU/EXPO is unlike any
>l7a^M
other gathering of concession
leaders. Nowhere else can you find the scope
and magnitude of companies and venues. That
scope leads to an exchange of information that
hasn't been duplicated anywhere else.
But information alone isn't enough. Education,
NAC's core mission, is vital to the growth and
sustenance of the concessions industry. NAC
strives to accomplish that mission throughout the
year with the Concession Manager Certification
Course, a comprehensive four-day course on concession
management; the Video Training Tape Series
for front-line workers and managers; the
Regional Seminar Series, a series of one-day seminars
across North America; and articles in NAC's
award-winning publications, Concessionworks
and Concession Profession.
But nowhere is education more focused than the
three days of Snack Bar University. SBU was
designed 18 years ago to provide a forum for
concessions education. Over those years, attendees
have been educated, informed and stimulated by
the variety and breadth of presenters and sessions.
And that education is further extended through
small group workshops and interaction between Ihei
various types of concession venues.
This year's SBU speakers are top-notch, startingi
with the keynote speaker on June 8. Michael P.i'
Berry, senior vice president of operations for Dis-f
neyland Resorts, is first and foremost a foodservice
person at heart, hi his keynote, "Over the Top;
Service: A Competitive Advantage to Business,"i
Berry will discuss how, in an increasingly competitive
world, the difference between success and if
failure comes from passion and focus.
Harris Plotkin of The Plotkin Group, an international
management consulting and training group,
will present "Building a Winning Team" in two
parts on Tuesday, June 8 and Wednesday, June 9.
This interactive workshop will focus on how to
recruit, hire, train, manage and retain employees.
The presentation wiU concentrate on how to reduce
employee theft and turnover, as well as how to[
increase employee retention.
\
On Wednesday, June 9, Ira Blumenthal will present
on the changes, challenges and choices facing
businesses today in "Change
is hievitable. Growth is Optional."
Blumenthal will discuss
how you can capitalize
on change by creating strategic
alliances. Blumenthal is a
food industry expert and president
of Co-Opportunities, an
Atlanta-based business development
company. He is the
author of "Ready, Blame, Fire: Myths and Misses
in Marketing" and is a recipient of the George
Washington Honor Medal for literary excellence.
He grew up in the concessions industry and his
father Larry is an NAC Lifetime Honorary Board
Member and a former NAC vice president. As
Blumenthal's family tree demonstrates, the energy
and dynamic offerings of the SBU attendees can
create not only solutions to issues and concems, but
lifelong relationships that cross venue lines. NAC
members stay connected.
So the flow of information can translate directly
into education. I don't think that an organization
can have a much better goal for itself. 1 have no
doubt that this diversity and exchange of ideas
will occur again this year at Snack Bar University/
EXPO in Anaheim, as well as at other NAC events
and functions throughout the year. If you haven't
experienced this type of "cross-pollination" of
ideas, maybe it's time you should. You never know
what information you'll receive, or what you'll
learn.
HI
t

WE'RE MAKING
THE ENTERTAINMENT
INDUSTRY SIT UP.

SNACK BAR UNIVERSITY/
EXPO '99 TRADE SHOW
June 7-10, 1999
Disneyland Hotel, Anaheim, CA
FRIDAY, JUNE 4
8:30 a.m. - 5 p.m.:
Concession Manager Certification Course
(pre-registration and payment necessary)
SATURDAY, JUNE 5
8:30 a.m. - 5 p.m.:
Concession Manager Certification Course
SUNDAY, JUNE 6
8:30 a.m. - 5 p.m.:
Concession Manager Certification Course
8 a.m. - 4 p.m.:
NAC Board and Committee meetings
Evening: Board and SBU sponsors dinner
MONDAY, JUNE 7
8 a.m.: NAC Golf Outing (pre-registration and payment
necessary), Anaheim Golf Course
10:30 a.m. -12:15 p.m.:
Business Session: "Building a Winning Team, Part 1,"
Harris Plotkin, Plotkin Group
12:15 p.m.: Luncheon
2 - 5:30 p.m.: EXPO '99 Trade Show
Evening: Event at Medieval Times
sponsored by Pepsi-Cola
WEDNESDAY, JUNE 9
8 a.m.: Breakfast
8:30 -10:30 a.m.:
Business Session: "Building a Winning Team, Part 2,"
Harris Plotkin, Plotkin Group
10:30 a.m.- 12:15 p.m.:
Business Session: "Change Is Inevitable, Growth Is Optional,"
Ira Blumenthal, Co-Opportunities
12:15 p.m.: NAC Annual Membership Lunch
2-5:30 p.m.: EXPO '99 Trade Show
Evening: On your own
8:30 a.m. - 5 p.m.: Concession Manager Certification Course
12 p.m.: Trade Show installation begins
Evening: Opening Night Beach Party
TUESDAY, JUNE 8
8 a.m.: Breakfast
9 - 10:30 a.m.: Business Session:
"Over the Top Service: A Competitive Advantage
for Business," Michael P. Berry, Disneyland Resorts
THURSDAY, JUNE 10
8 a.m.: Breakfast
9 - 10:30 a.m.: Business Session: "Concession Stand Design"
10:30 a.m. - 12:15 p.m.:
Business Session: "Interactive Breakout Sessions"
2-11 p.m.: Event at Disneyland sponsored by Coca-Cola
w
Ail events will be attneuisni^iant
fdm
unless otherwise noted.
36 BOXOFFICE

VHAT TO DO AT SBU
Even before the Snack Bar University and
\iPO '99 Trade Show officially kick off.
National Association of Concessionires
has activities planned, starting with a
ur-day Concession Manager Certification
jurse beginning on Friday. Led by NAC
irector of Education Shelley Feldman, the
ogram features practical management and
>st-cutting techniques that students can
imediately use in their operations.
Earlybirds not participating in the Manager
ertification Program can enjoy a round of
3lf Monday morning at the Anaheim Hills
olf Course. Transportation will be provided,
id the S 1 35 fee includes a continental breakist.
greens fees, a cart, lunch and tournament
rizes. That night, Anheuser-Busch is spon-
5ring a Festive Opening Beach Party at the
>isneyland Hotel.
Tuesday morning it's down to business at
a.m. sharp with the SBU keynote address
y Michael Berry, Disneyland Resorts' seior
VP of operations. Berry is presenting
Over the Top Service: A Competitive Adantage
to Business," discussing how in an
icreasingly competitive world, the differnce
between success and failure comes
rom passion and focus. Then Harris Plotkin
f the Plotkin Group, an international mangement
consulting and training group, will
lost the first half of an interactive workshop
ailed "Building a Winning Team." He will
ocus on how to recruit, hire, train, manage
Jid retain employees.
At 2 p.m., the EXPO '99 Trade Show
loor opens, giving visitors an opportunity
o sample the best and latest in concession
bod and beverage products as well as check
)ut innovative new equipment and services.
Tuesday night, Pepsi is sponsoring an eveling
event at Medieval Times, where atteniees
will feast on an authentic four-course
banquet and enjoy sword fights andjousting
natches.
Wednesday, after Plotkin wraps up his
ieminar, Ira Blumenthal, president of Co-
Dpportunities, is presenting "Change Is Inevitable,
Growth Is Optional," a talk on the
:hanges, challenges and choices facing
businesses today. NAC's annual membership
lunch, where incoming president Skip
Stefansen will be sworn in, is at noon, followed
by another afternoon on the trade
show floor and an evening on your own.
Fmally, SBU wraps up on Thursday with a
business session on concession stand design,
offering tips on how to develop the right combination
of function, aesthetics and design.
The interactive breakout sessions that follow
are an opportunity to exchange ideas and information.
Coca-Cola wraps up SBU by sponsoring
a Disneyland package, granting
attendees access to the park (including the
newly redesigned Tomorowland area), a jmvate
dinner and a westem show.
Further details—such as an interactive
trade show floor map—can be found on
NAC's newly launched website:
www.naconline.org. Annlee Ellingson
Snuggling movie patrons suggest
romance is in the air cold and
humid air. that is. You know, the kind
of air that harbors fungi and bacteria.
If you aren't already using our
MakeupAire desiccant solution to
eliminate the damp, moldy conditions
produced by conventional cooling
systems, then romance may be a
necessity and not an option at
your theater.
Fortunately, Munters' MakeupAire
is the perfect solution for uncomfortably
cold theaters. In fact, MakeupAire's
energy recovery system is designed to
provide your tfieater with 300% more
Response No. 521
ventilation, help reduce your energy
consumption and provide consistently
comfortable indoor conditions.
So, for all of your patrons without
the comfort of a warm arm, keep them
from shivering with MakeupAire from
Munters. And stop worrying about
"making up" those lost ticket sales.
Munters
Call us today to learn more.
800-229-8557
THE REVIEWS ARE INI!
SOS IS A
BREAKAWAY HIT!
Ticketing & Concession Systems
used in over 1 000
theatres worldwicle
Networked System includes:
• One Box Office Point of Sole
• Two Concession Points ofSole
• Monager's Office Computer
Only $4,1 5500
NEW FEATURES:
Inexpensive On-site Installation
Windows Based Management Information System
Let SOS take your theatre
into the New Kiillennium
^^"^
System Operating Solutions
'
^^ng
800''434'3098 www.sosticketing.com
Response No. 480
'$i'^
June, 1999 37

38 BOXOFFICE
NAG EXTRA: Survey Says
SURVEYING THE
CANDYLAND
Customer Polls Can Help Exhibitors
Maximize Concession Sales by Christine james
In
the concessions game, a "sample" usually
refers to the free tidbits given out to
entice customers to buy more. But at
Nestle's ShoWest breakfast seminar, the candy
and ice cream manufacturer's director of market
intelligence, Cynthia Yelvington, discussed
a different sort of sample, though one
with the same goal. Yelvington imparted advice
to exhibitors regarding how to effectively
select an accurate sample ofmoviegoers to poll
on such issues as which concession products
each demographic is buying and what could
be done to increase sales.
Exhibitors can hire a professional research
company to design a study, write the questionnaire,
hire interviewers, tabulate and interpret
the data and make recommendations, or tiiey
can do it themselves. Yelvington's presentation
was aimed at assisting those opting for the
latter, and outlined the following steps:
1. Define objectives. Goals could include
discovering which demographic groups are
the best concession customers; how to tempt
customers into buying more; whether patrons
feel there is enough or too much variety in
snack selection; how sales would be affected
if high-labor items were dropped; and if there
are products or services consumers want that
are not currently being offered.
2. Select a sample. The sample must be a
microcosm of one's entire customer base, with
regard to such factors as age, gender and moviegoing
frequency. An exhibitor must determine
if he or she wants to poll all theatregoers,
or just those who buy concessions. Other useful
information can include the survey-taker's
economic class, the genre of film he or she is
most likely to see and the days of the week he
or she is likely to visit a theatre. To ensure an
accurate sample, one needs a minimum of 100
completed surveys.
3. Write questions. Questions should be
predominantly in multiple choice form, as
these are the easiest to complete and therefore
the most likely to get answered. Be very specific
and avoid asking two questions in one
(e.g., "Do you think popcorn is too unhealthy
and expensive?"). Ask questions that will
allow sorting by subgroups, like the number of
moviegoers in the party, how many children in
the party, items purchased and the location of
the theatre (if the survey is being conducted by
a circuit). Test the first draft on several people,
get their feedback and make changes as appropriate.
Entrance/exit polls are not
generally recommended as
traffic flow can he
problematic. Patrons are
nsually in a hurry to get
into the theatre or to
leave, and people aren't
always truthful when their
responses are public.
Response cards andphone
interviews are more effective.
4. Choose the survey method: entrance/exit
polls, response cards or telephone
interviewing.
• Entrance/exit polls are not generally recommended
as traffic flow can be problematic.
Patrons are usually in a hurry to get into the
theatre or to leave, and people aren't always
truthful when their responses are public (for
example, some respondents might feel concessions
are too expensive, but wouldn't say so
for fear of sounding penurious in front of their
friends).
• Response cards are more effective, though
only if an incentive, such as free soda or popcorn
coupons or a sweepstakes to win movie
passes or other prizes, is awarded to participants.
The reason for this is that only certain
types ofpeople are inclined to fill out commen
cards without reward, rendering the sample
inaccurate—^that is, not truly reflective of one's
customer base. Response cards must be kepi
very short to ensure their completion. Be sure
to have a designated area for filling the cardj
out, replete with pens and pencils.
• Yelvington feels that phone interviews arej
the most effective in yielding accurate anc|
informative data. They are particularly gooc
for nationwide studies, and incentives are noi
needed. Another benefit is that the interviews
can clarify vague responses, thereby obtaining
more useflil information. These surveys still neec
to be short—^less than 10 minutes. For this,
method, one must hire a professional telemarket-j
ing company, which usually will employ random-digit
diahng for a truly unbiased sample.
5. Tabulate the data. It's best to pay a
professional to do this, says Yelvington, and
the cost is relatively inexpensive. Those who
choose to do this themselves should enter the
data in the computer spreadsheet program
Excel, Yelvington suggests, to facilitate reorganizing
the results by various subgroups.
6. Interpret the results. Refer back to objectives,
look at differences by subgroup, consider
the implications, share the results with
employees and take any appropriate actions to
maximize sales and customer satisfaction. ^
In addition to her recommendations regarding
the polling process, Yelvington also discussed
some of the results of Nestle's most
recent survey, which took place from October
7-11, 1998. Conducted by a telemarketing
company, the nationwide poll's sample included
1 ,200 frequent moviegoers (those who
see one movie or more a month) aged 12-59.
The objectives of Nestle's survey were:
• General learning (who buys what);
• To discover obstacles to increasing sales;

'
'
\/\/
• To gauge interest in a new concept—the
sesCafe coflFee bar.
The interviewees
were asked what they
>ought, how much they bought, what causes
hem not to buy more, and whether they would
^e
interested in an in-theatre NesCafe coffee
lar serving cappuccino, hot chocolate and the
ike. Nesde found that 87 percent of frequent
noNiegoers buy something from the conces-
-ion stand. Of that number, 78 percent buy a
old beverage, 68 percent buy popcorn and 43
percent buy candy. Teens buy the most of
nerything, and those patrons 50 years and
Mder buy the least of everything. Older cusomers
are also less keen on soda and candy
ind are more likely to buy popcorn than youn-
:er moviegoers. (Yelvington postulated that
older customers may simply not like the selection
of candy offered, but might buy other
kinds of sweets were they available; she added
that this might be something Nesde will explore
in its next survey.) Other snacks, such as
'
Witen asked why they
don't buy more concessions,
respondents replied the
prices are too high
(66 percent); they aren't
hungry or thirsty
(17 percent); the offerings
are not healthy
(eight percent); they don't
have enough time before
the film (four percent); the
sizes are too big
(three percent); or they
bring their own
(three percent).
nachos and hot dogs, appeal almost exclusi\ely
to the under-25 set, according to the
study, which also found that few people buy
"main dish items." However, Yelvington admits
the survey did not clarify what exactiy
a "main dish item" is, so that data is not
usable—a good example of what to look for
when fine-tuning and testing out survey
questions. Nesde was pleased to fmd that more
than half of those polled would "definitely"
or "probably" visit a NesCafe coffee bar.
"W "X Then asked why they don't buy more
concessions, respondents rephed
T T that prices are too high (66 percent);
they aren't hungry or thirsty (17 percent); the
offerings are not healthy (eight percent); they
don't have enough time before the film (four
percent); the sizes are too big (three percent);
or they bring their own (three percent). Though
cost is by far the top reason given, Nesde does
not suggest lowering prices, but instead recommends
giving customers a way to feel better
about the expense, such as adding value
through free refills or combo meals; adding
excitement through contests; and exceeding
expectations by providing top-quality, alwaysfresh
fare.
^H
Response No. 62
INSURING CLIENTS NATIONWIDE
Ao:
MAROEVICH, O'SHEA & COGHLAN
San Francisco, CA
(415)957-0600
TOLL FREE (800) 951-0600
License No. 0569960
SUPPLIERS • PRODUCERS
www.maroevich.com
Response No. 70
READY THEATRE SYSTEMS
SOFTWARE FOR TICKETING, CONCESSIONS &
COMPLETE INVENTORY CONTROL
800 676-9303 616 463-8458
www.mooretheatres.com/rts
Response No. 130
June, 1999 39

40 BoxoFncE
Concessions Manufacturers/Suppliers Director)
Compiled by Annlee Ellingson
A&A PARKWAY MACHINE CORP.
2301 York Rd., Timonium, MD 21093
(410) 252-1020; FAX: (410) 252-7137
Ed Kovens, President
A&A NORTH:
132-12 nth Avenue
CoUege Point, NY 11357
(718) 747-3025; FAX: (718) 747-3029
Michael Kinsley, Mgr.
Vending machines and supplies
AAMI/TDS(THEATRONMFG.
LICENSEE)
P.O. Box 4142, Seal Beach, CA 90740
(562) 434-1627; (562) 434-9947
FAX: (562) 434-9948
R.B. Hoffman, Chairman
URL: www.theatron.net
Computerboxoffice/intra-internet
systems, computerized LEDS,
drive-in ttieatre systems, ticl

,
call
j
info@gvvproducts;
I
NEW CONCESSION PRODUCTS
C. Cretors introduces its Pop and
oc-N-Roll unit, a combination of a
tatlonary popping unit with a Roll-
)ut-Cornditioner. Concessionaires
an now pop corn directly into the
emovabie "cornditioner" bin that
oids and easily moves up to 64 servigs
(15 lbs.) of popcorn. Write 3243
vi. California Ave., Chicago, !L
|»061 8-5890; call (773) 588-1 690; fax
773) 588-2171; or logon to
IWvav.cretors.com.
Response Number 301.
Proctor designed its Pass-Thru Pop-
:orn Warmer for high-volume coni:ession
stands, allowing for
)re-packing of tubs and bags from
x)th sides of the warmer and reducing
\ )rep time by 75 percent. Write 10497
llentennial Rd., Littleton, CO 80127;
! :all (303) 973-8989; or fax (303) 973-
\ 3884.
i Response Number 302.
^ Cold Medal has developed the
72396 Remote Bag-in-a-Box Buttery
Topping Dispenser, its newest selfjerve
butter-flavored-topping dispenser
for high capacity theatres.
Write 10700 Medallion Drive, Cincinnati,
OH 45241-4807; call (513)
769-7676 or (800) 543-0862; fax
,513) 769-8500 or (800) 542-1496;
e-mail goldme19@eos.net; or logon
to vvvvw.gmpopcorn.com.
i Response Number 303.
Great Western Products offers
Gehl's sealed-system Hot Top 2 dispenser,
which pumps cheese and chili
sauces with absolutely no mess or
hassle. Write 30290 U.S. Hvvv. 72,
P.O. Box 466, Hollywood. AL 35752;
(256) 259-3578 or l800) 239-
2143; fax (256) 574-2116; e-mail
or logon to
gwproducts.com.
Response Number 304.
Integrated Food Systems introduces
the patented EZPro 1 20, a ventless,
portable automatic frying
system. Taking up just two square feet
of counter space, it requires no hoods
or vents, is designed for maximum operator
safety and includes its own fire
suppression system. Write 6929 N.
Hayden Rd., Ste. C-4 475, Scottsdale,
AZ 85250; call (602) 315-9278; fax
(602) 861-2708; e-mail
fmathes@aoI.com or montfam®
home.com; or logon to www.ifscorp.com.
Response Number 305.
Star Manufacturing announces its
Star Grill-Max line of roller grills,
incorporating
a bun drawer into the design.
This combo saves space, lowers
the equipment to a more accessible
height and keeps the hot dog buns
warm in one grill. Write 10 Sunnen
Drive, P.O. Box 430129, St. Louis,
MO 63143; call (800) 264-7827; or
fax (800) 264-6666.
Response Number 306.
j&l Snack Foods has rolled out ICEE
Squeeze-Up Tubes, offering cherry,
blue raspberry and lemonade ICEE
flavors as a four-ounce frozen treat.
Write 6000 Central Highway. Pennsauken,
NJ 08109; or logon to
vvwvv.jjsnack.com
Response Number 307.
Coffee Inns presents the first two
units in its new Liqui-Line series of
dispensers for shelf-stable bag-in-box
hot beverages. Models LL-3 and LL-2
dispense regular, decaffeinated and
flavored coffees, cappuccino and hot
chocolate. Write 3617 E.
LaSaile St.,
Phoenix. AZ 85040-3975; call (800)
528-0552; or fax (602) 437-2270.
Response Number 308.
Necco has launched CyberSpeak
candy. Patterned after Sweethearts
Conversation Hearts, these computerdisk
shaped wafers include savings
such as "Let's Chat," "Mega Byte" and
"E-Mail Me." Write 254 .Massachusetts
Ave., Cambridge, MA 02 1 39; call (61 7)
876-4700; fax (617) 876-2356; or
logon to www.necco.com.
Response Number 309.
Rio Syrup Company presents five
new flavors—orchata, blue cotton
candy, strawberry kiwi, cappuccino
and egg custard—as well as a sugarfree
syrup to which you can add any
flavor. Write 231 1 Chestnut, St. Louis,
MO 63101-2298; call i800! 325-
7666: iax (314) 436-7707; e-mail
snocones@riosyrup.com; or logon to
v^-ww. riosyrup.com.
Response Number 310.
jarco Industries announces its Pronto
Deluxe Wamer. This unit's radiantheated
upper compartment and hot-aircirculating
lower compartment hold
pre-packed nachos and/or popcorn.
Write P.O. Box 1 59, 98 Park Ave., Babylon,
NY 11702-0159; call (516) 422-
9000; iax (516) 422-9005 or logon to
www.concessionstands.com.
Response Number 311.
Every Seat In The House
Is A Great Seat With
The
CinemaSeat TM
The CinemaSeat^'^ is a lightweight
durable booster seat made
especially for young movie goers. It
provi(Jes a secure seat for small
children by hol(Jing (jown the spring
loade(J theater seat.
Velcro safety
strips hold the seat firmly in place
ensuring the safety of the child.
The CinemaSeat covers the
theater seat upholstery, keeping
shoes from tearing and soiling the
material. The lip on the edge of the
seat holds
spills away
from the
fabric. This
safe and
sturdy
'booster
seat' is a
must for -r^ „
The CinemaSeat is
t r II
theater, tail
today.
offered separately or In
^^.^ convenient package
jf^^ ^y^j^^ ^g
• Use as a concessions holder
• Lightweight, self-nesting
• Available in four colors
• Easy to clean
Smart Products, Inc,
•LEADERS IN CHILD SAFETY"
2330 T(X)mey Avenue
Charlotte. NC 28203
Order Information
l-8-343-3635 (.r l-704-347-

,
place
EISENBERG SAUSAGE CO.
3531 North Elston Ave.
Chicago, IL 60618
(773) 588-2882
FAX: (773) 588-0810
Ed Weinshenker, Sales Mgr.
Gourmet beef franks
EMERALD iSLE
21718 S. Vermont Ave., Suite 201
Torrarice, CA 90502
(310) 533-5936; FAX: (310) 533-5952
Spencer L.M. Chun, Pres. & CEO
F>MAIL: emerald@exo.com
Frozen frest) fruit drinks and California
smoothies
EURO-AMERICAN BRANDS INC.
15 Prospect Street
Paramus, NJ 07652
(201)368-2624
FAX: (201) 368-2512
EHte W. Van Clief, President
Importer of Bahlsen gummi bears and
assorted gummi products; Bahlsen
cookies
FLOMATIC INTERNATIONAL
5924 S.E. 47th Ave.
Portland, OR 97206
(503) 775-2550; (800) 435-2550
FAX: (503) 771-0068
John Cochran, VP & COO
Post-mix dispensing valves, parts and
accessories
FONDA GROUP INC.
P.O. Box 2038
Osh Kosh, WI 54903
(920) 235-9330; FAX: (920) 235-1642
Popcorn cups, holders, paper cold
and hot cups, food trays
FRITO-LAYINC.
5080 Spectrum Dr.
Ste. 200E, MS6W-005
Dallas, TX 75248
(972) 376-7233
FAX: (972) 334-5280
Snack foods and Chips
FUNACHO
2165 Central Parkway
Cincinnati, OH 45214
(800) 386-2246
(513) 241-9300
FAX: (513) 352-5122
Michael Grause, President
E-MAIL: mike@funacho.com
URL: www.funacho.com
Nacho chips, cheese sauce, chili and
salsa; 3. 75 oz. cup cheese
GEHL'S GUERNSEY FARMS INC.
N. 116 W. 15970 Main St.
P.O. Box 1004
Germantown, WI 53022-2600
(414) 251-8570
(414) 251-8572
FAX: (414) 251-9597
Cindy Jach, Customer Service Rep.
Dairy-based foods: cheese sauces,
puddings, evaporated milk and iced
cappucino
GOETZE'S CANDY CO., INC.
3900 E. Monument St.
Baltimore, MD 21205-2980
(800) 638-1456; (888) 638-1456
Spaulding A. Goetze, SR, CEO
Mitchell Goetze, Dir., Admin. &
Sales
URL: www.goetzcandy.com
Goetze's Caramel Creams, Cow Tales,
Old Fashioned Caramel Apple Sticks
GOLD MEDAL PRODUCTS CO.
10700 Medallion Dr.
Cincinnati, OH 45241-4807
(513) 769-7676; (800) 543-0862
FAX: (513) 769-8500
J.C. Evans, Chairman
Dan Kroeger, President
John Evans, VP, Sales
Robin Breth, Dir. of Mktg.
Roberta Wood, Dir. of Theatre Sales
Roger Frazier, Intl. Sales Mgr.
E-MAIL: goldmel9@eos.net
URL: www.gmpopcom.com
Concession equipment and supplies:
popcorn poppers, cotton candy
shave ice, pizza, pretzels, nachos
GOTTSCHALK THEATRE IDEAS
208 Roander Ave.
P.O. Box 181
Vale, SD 57788
(605) 456-2259
Ernie and Joelen Gottschalk, Owners
Manufacturer and distributor of flex
shafts for old style Manley corn
poppers
GREAT WESTERN PRODUCTS
30290 U.S. Hwy. 72
P.O. Box 466
Hollywood, AL 35752
(256) 259-3578
(800) 239-2143
FAX: (256) 574-2116
Scott Martin, President
Ralph Ferber, VP
Mark Hamilton, National Sales
Manager
E-MAIL: info@gwproducts
URL: gwproducts.com
l\/lanufacturers and processors of
concession supplies and equipment
MADDEN THEATRE SUPPLY CO.
10201 Bunsen Way
Louisville, KY 40299
(502) 499-0050
FAX: (502) 499-0052
Louis Bomwasser, Owner
Rose Seidenfaden, Office Mgr.
Specialty equipment for projection
and sound
HARIBO OF AMERICA INC.
1825 Woodlawn Dr., Suite 204
Baltimore, MD 21207
(800) 638-BEAR; (410) 265-8890
FAX: (410) 265-8898
Chrisian Jegen, President
Margie Walter, Sales Coordinator
Dan Love, Western Regional
Sales Mgr.
Gummi Bears and other Gummi
candies
HARLAN FAIRBANKS CO., LTD.
7121A 6th St. S.E., Calgary, Alberta
CANADA T2H 2M8
(403) 253-9214; FAX: (403) 252-0920
Ralph Jarvis, Branch Mgr.
Popcorn products, nachos and syrups
HERMAN GOELITZ CANDY CO.
2400 N.Watney Way
Fairfield, CA 94533-6722
(707) 428-2800; (800) 522-3267
FAX: (707) 423-4436
Herman G. Rowland, Chairman
Patrick Huffman, President
Peter F. Cain, VP, Mktg.
Michael L. Bianco, VP, Mfg.
David B. Klabunde, VP, Sales
E-MAIL: sales@jellybelly.com
URL: www.jellybelly.com
Candy: Jelly Belly jelly beans
Winner for Best Direction
Beltrac Public Guidance Systems...
Versatile, Beautiful, Adaptable.
^^
-^ilr/^
If there were
an Academy Award for
best public guidance direction,
Beltrac would get the votes. You will
find Beltrac in theaters and just about
any other place where efficient
guidance of the public is important.
Every day millions line up
behind Beltrac. For complete
THE BEST!
Since 1941, excellent
presentations have been
guaranteed by proper
planning and engineering by
Hadden. Your theatre and
audience deserve us. . . and
so do your investors.
L[|Lavi
Industries
www.lavi.com
information, call
(800) 959-1036 and
your vote
today.
THEATRE
10201 Bunsen Way
Louisville, KY 40299
(502) 499-0050
(502) 499-0052 FAX:
Louis Bornwasser, Owner
SUPPLY COMPANY
lIMa AvRnciH Haiikins. VxImcM
CAgufibUSA
80b 2b/ /8n0«l,i« 80b ?b/ 4938
Design-Consultation-Sales
Response No. 110
Response No. 40
42 BoxoFncE

j
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combo
HSHEY CHOCOLATE USA
1 1. Chocolate Ave.
\ -shev, PA 17033
-1534-4451
(
I \: (717)534-7104
i lichael Hughes, Assoc. Sales
development Mgr.
L xolate and non-choclate
:onfections: Twizzlers,
Hershey's. Reese's, KitKat,
i\mazin ' Fruit and Heide
HE NELSON CO.
: . Facton Rd., Addison, EL 60126
^'-43-9400
o30) 543-5334
Bosworth, Gen. Mgr.
ncession cabinetry and
counters
LLYWOOD EXPRESS LTD.
^. Box 109, Longridge Rd.
?ston, PR2 5DA ENGLAND
r-2830830
\: 441772831831
an Hobbs, Managing Dir.
\!AIL:
b rianhobbs@hollyexp .co.uk
ncessions wtiolesaler/distributor
IT N' SPICEY INC.
^0 01entang\- Blvd. #200
>rthington, OH 43085-3866
XV) 641-5661
;\: (614) 848-5640
wrmet sausage line
EE
53 Downey Road
•men, CA 90058
23)581-0171
\\: (323) 583-1732
irtland DeBro
ozen carbonated beverages
\RCO INDUSTRIES INC.
Park Ave., P.O. Box 159
bvlon, NY 11702-0159
422-9000
516) 422-9005
\!AlL:jarco@
concessionstands.com
RL; u-ww-.concessionstands.com
jstom fabricators of concession
stands, boxoffices, lobby
fixtures, popcorn warmers,
display cases and related
equipment
G.CLARK CO.
~
\V. Center St.
larion, OH 43302
WO) 274-4882; (614) 387-6543
AX: (800) 538-2594
en Vance, VP
I
ean Maccagnone, Sales
Concession and food service
packaging: folding cartons,
popcorn containers, tubs,
trays
b
BORN INC.
Stefko Blvd., P.O. Box 1158
iethlehem, PA 18017
ilO) 867-7568; (800) 445-5787
AX: (800) 543-4981
Jarey Logan, Regional Sales Mgr.
jhn Kerr, Group Mktg. Mgr.
lot Tamales, Mike & Ike assorted
fruit candies
UW POPCORN CO. INC.
10 East 24th St., Box 275
renton, MO 64683
il6) 359-2030
AX: (816) 359-3026
Villiam Kennebeck, President
l-MAIL: kennebeck@Iyn.net
^opcorn processors
KARMA INC.
500 Milford St., P.O. Box 433
Watertown, WI 53094
(800) 558-9565
FAX: (414) 261-3302
Elizabeth Bergmann, VP, Mktg.
E-MAIL: karma@karma-inc
URL: www.karma-inc.com
Beverage dispensers
KLOSS MFG. CO./POPPERS
SUPPLY
737 N. 13th St., P.O. Box 1149
Allentown, PA 18105
(800) 445-7100; (610) 435-9071
FAX: (610) 435-8764
Richard C. Kloss, President
Stephen P. Kloss, VP
E-MAIL: klossmfg@aol.com
Concession equipment, food,
service and repair
KRAFT NORTH AMERICAN
FOODSERVICE
185 Technologv Dr. W.
Irvine, CA 92618
(949) 453-3621
FAX: (949) 453-3754
John Diehl, Accoimt Mgr.
Oscar Mayer hot dogs and meats.
General Foods coffee and
beverages
KRISPY KIST MACHINE CO.
120 S. Halsted St., Dept. B03
Chicago, IL 60661
(312) 733-0900
FAX: (312) 733-3508
J.C. Geiersbach, Mktg. and Ops.
Snack food equipment
UBERTOSPECIALTY/RICOS
PRODUCTS
621 S. Flores St.
San Antonio, TX 78204
(210) 2264167
FAX: (210) 227-0907
Tony Liberto, Sales & Mktg.
Nachos, snack foods, concession
trailers
LIPTON MONARCH P.M.G.
100 Bellfield Rd., Rexdale, Ont.
CANADA M9W 6N1
(416) 246-1860
FAX: (416) 240-4851
Jayne Hughes
Nachos, popcorn oils, soft drink
syrup
LOU-ANA (A DIVISION OF
VENTURA FOODS)
731 N. Railroad Ave.
Opelousas, LA 70570
(800) 551-9080; (318) 948-6561
FAX: (318) 942-6239
Richard Biggs, VP, Sales
High-quality popping and topping
oils; all Bag n Box oils
LUGO CONCESSION SUPPLY
300 Harris Ave. Ste. B
Sacramento, CA 95838
(916) 922-8300
Richard Lugo, President
Concessions, food and
equipment: popcorn, cotton
candy, sno-cone, etc.
MAINSTREET MENU SYSTEMS
1375 .North Barker Road
Brookfield, WI 53045
(414) 782-6000; (800) 782-6222
FAX: (414) 782-6515
Bruce Johnson, Natl. Sales Mgr.
Mike Brundidge, Intl. Sales Mgr.
URL; www.mainstreetmenus.com
Illuminated modular menu systems
M&M/MARS
800 High Street
Hackettstown, NJ 07840
(908) 852-1000
M&M's, Snickers, Milky Way, 3
Musketeers. Twix. etc.
MORRISON FARMS POPCORN
Rural Route 1 - Box 50A
Qearwater, NE 68726
(402)887-5335
FAX: (402) 887-4709
Frank C. Morrison, President
Nancy A. Dietz, Sales Mgr.
E-MAIL:
morrison@blc)onmet.com
Popcorn products; 50 lb. bag,
popping oil, poppers,
All-ln-One Paks, supplies
MULTIFOODS
12650 E. Arapahoe Rd., Bldg. D
Englewood, CO 80112-3901
(303) 662-7175
FAX: (303) 662-7550
Mike Bates, Natl. Accts. Mgr.
Full-service national concession
distributor
MULTIPLEX COMPANY INC.
250 Old Ballwin Road
Ballwin, MO 63021-4843
(314) 256-7777
FAX: (314) 5274313
Mark Giroux, VP
URL: multiplex-beverage.com
Full line of high-capacity
beverage dispensing equipment
MVE INC.
3505 County Road 42 West
BumsviUe, MN 55306
(800) 247-4446; (612) 882-5000
FAX: (612) 882-5172
Don Anderson, Sr. VP
Paul Plooster, Gen. Mgr./VP
Ross Petersen, Intl. Sales
Mary Nelson, Mktg. Mgr.
URL: www.mve-inc.com
Bulk C02 systems
NABISCO BRANDS INC.
50 New Commerce Blvd.
Wilkes Barre, PA 18762-0001
(800) 858-6736
Randy Catalanotte, Dir.,
Tele-Sales
Convenience and single-pack foods
NCSCORP.
14499 Dale Mabry Hwy.
Ste. 201
Tampa, FL 33618
(800) 733-7278; (813) 962-2772
FAX: (813) 962-3402
Roy Loveland, VP
E-MAIL: BHBaUey
@compuserve.com
URL: wv^rw.ncsco.com
Design, manufacture and install
concession systems,
boxoffices, candy carts.
Supply and install food service
equip.
NECCO-STARK-HAVILAND
254 Massachusetts Ave.
Cambridge, MA 02139
(617) 8764700; (617) 498-0500
FAX: (617) 498-0526
Domenic M. AntoneUis,
President
Hans Becher, VP, Corporate Sales
Walter Marshall, VP, Corp.
Logistics and Planning
Jack Kollias, Dir. Mktg.
Charles Blood, VP, Corp. Sales
Admin.
Candy
0DELL'S
Presents
Our Family
of Fine
Prodvtts
ANHYDROUS
BUTTERFAT
4
SUPURKIST TWO
4
CANOLA
POPPING OIL
c?r W
^^(P
^-.^'J
CM Our 24 Hour
Toll free Number:
1-800-635-0436
Or Visit Us On the Internet
www.popntop.com
Response No. 73
June, 1999 43

'•
NESTLE FOOD COMPANY
3450 Dulles Drive
Vlira Loma, CA 91752
(909) 360-7224; (800) 367-4449
FAX: (909) 361-0755
Mike Mosher
Candy
NESTLE ICE CREAM CO.
30003 Bainbridge Road
Solon, OH 44139
(440) 349-5757; FAX: (440) 498-7892
Ken Conerly, Special Markets Mgr.
Andrew Bradley, Sr. VP
Bon Bons ice cream nuggets, other
dairy products
NEW ENGLAND ICE CREAM CORP.
3 Annie King Lane
Dover, MA 02030
(508) 785-2828; FAX: (508) 785-2495
Bruce C. Ginsberg, President
Ice cream and ice cream freezers
ODELL'S
P.O. Box 11336, Reno, NV 89510
(800) 645-0436; (775) 323-8688
FAX: (775) 323-6532
Art Anderson, Owner
Arthur Anderson, Sales Mgr.
E-MAIL: odells@popntop.com
URL: www.popntop.com
Popcorn topping and popping oils,
including real butter
PACKERWARE
2330 Packer Road
Lawrence, KS 66044-0219
(785) 842-3000
FAX: (785) 842-5086
Mike Jacob, Natl. Sales Mgr.
Concession supplies, personalized
plastic cups
PEARSON CANDY CO.
2140 W. 7th St.
St. Paul, MN 55116
(800) 328-6507; (651) 698-0356
FAX: (651) 696-2222
Candy
PEPSI-COLA COMPANY
1 Pepsi Way
Somers, NY 10589-2201
(914) 767-6000
Joseph Juliano, VP, Entertainment
Accts.
Peter Leyh, Natl. Accts. Mgr.
Entertainment Accts.
PEPSI GEORGIA:
180 Interstate North Office Park
Atlanta, GA 30339
(770) 612-1300
John Pemer, Natl. Accts. Sales Mgr.,
Entertainment & Sports
Soft drinks
PESCOR PLASTICS INC.
3300 W. Bolt, Fort Worth, TX 76110
(800) 521-8779; (817) 926-5471
FAX: (817) 927-7542
Promotional plastic souvenir cups
and other vessels
PROCTOR COMPANIES
10497 Centennial Road
Littleton, CO 80127
(303) 973-8989; (800) 221-3699
FAX: (303) 973-8884
Bruce Proctor, President
Rick Greene, Exec. VP
E-MAIL: pdi@proctorco.com
URL: www.proctorco.com
Designers, manufacturers and
distributors of concession stands
and equipment Exclusive
manufacturer of THX Bafflettes
PROMOTION IN MOTION
COMPANIES INC.
3 Reuten Drive, P.O. Box 558
Closter, NJ 07624-0558
(201) 784-5800
FAX: (201) 784-1010
Michael G. Rosenberg, President
Jeff Scudillo, VP, Special Markets
Joseph Edwards, VP, Sales
Don Vick, VP, Foodservice
E-MAIL:
mail@promotioninmotion.com
URL: www.register.com/promotion
PROMOTION IN MOTION TEXAS:
1217 Pecan Valley Drive
Garland, TX 75043
(214) 278-6319
FAX: (214) 278-1658
Mel Bodweine, Natl. Sales Mgr.
Care Bears, Sour Jacks, Lemonhead,
Planters Chocolate Peanuts,
Sunmaid Chocolate Raisins,
Smarties, Slice, Might Malts
RADIANT SYTEMS, INC.
3925 Brookside Parkway
Alpharetta, GA 30022
(770) 576-6000
FAX: (770) 754-7790
Chris Lybeer, VP, Global Solutions,
Managing Dir. Entertainment
Industry Group
Craig Chapin, Dir., Business
Development
Ashley Breed, Mktg. Analyst
E-MAIL:
cchapin@radiantsystems.com or
abreed@radiantsystems.com
URL: www.radiantsystems.com
Retail management solutions:
services, POS, kiosks, teleticketing,
web ticketing, back office
operations
READY TEHATRE SYSTEMS L.L.C
8189 Verlynda Dr.
Watervliet, MI 49098
(616) 463-8458; (800) 676-9303
FAX: (616) 463-4542
Robert Chabot
Computer boxoffice and concessio
systems
RICOS PRODUCTS CO. INC.
621 S. Flores; San Antonio, TX 78204
(210) 222-1415; FAX: (210) 226-6453
Frank Liberto, CEO
Robert Scribner, President
Rick Liberto, VP, Operations
Anita Watts, VP, Sales & Mktg.
Mark Chapman, VP, Sales & Mktg.
E-MAIL: awatts@ricos.com
URL: www.ricos.com
Nachos, snack foods, cheese, chips,
salsa and peppers
RIO SYRUP CO. INC.
2311 Chestnut St.
St. Louis, MO 63103-2298
(800) 325-7666; FAX: (314) 436-7707
Phillip S. Tomber, President
E-MAIL: snocones@riosyrup
URL: www.riosyrup.com
Over 300 flavors for beverages, Italian
sodas, coffee, sno-cones, slush
and shaved ice
ROBINSON/KIRSHBAUM
INDUSTRIES
8915 S. La Cienega Blvd. #F
Inglewood, CA 90301
(310) 645-4993; FAX: (310) 645-2034
Bruce Kirshbaum, Exec. VP
Bill Dumont, Natl. Acct. Mgr.
E-MAIL: rkindstry@aol.com
Beverage equipment and water
filtration systems
Problems With Static,
Dust AND Print Flaking?
KiNETRONics Has The Solutions!
Project Clear, Sharp Images and Crisp Sound

\
refrigeration
'
i
i
R INDUP FOOD EQUIPMENT
i VV. National Ave.
li
.
P Box 206
A 1ison,IL 60101-0206
^43-8650
:33-2991
}- K. (630) 543-0359
|, es .Untunes, President and
EO
1 .mas Krisch, VP, Mktg.
I L: wwT\'. ajantunes.com
Iwession equipment, cases
md counters, grills, warmers,
:cales
SBNOW CANDY CO.
II South Ovster Bay Road
lhpage,NY11714 '
( 5) 576-4000
1 \: (516) 872-0916
Smith, VP
i ,1.AIL: samowbs@aol.com
, / line concession distributor
itIULT INDUSTRIES INC.
* Cedar
-'.nt Hill, MO 64080
^-^3-8998
\: (816) 540-4790
'
bert E. Schult, President
irlev H. Schult, Exec. VP
trev L. Schult, Exec. VP
ith'E. Schult, Exec. VP
1 Lustig, Sr. VP, Sales &
Marketing
MAIL: sales@schult.com
\L: www. schult.com
odular concession signage with
patented 'Artlite' headers
featuring neon glow and 3D
look. Duratrans light boxes,
scrolling signs, custom menu
signage and electronic displays
iRVER PRODUCTS INC.
O. Box 530
enomonee Falls, Wl 53052
14:251-7100
110)558-8722
\\: (414) 251-2688
^nald Ripple, VP, Sales &
Mktg.
M.AIL: pump@execpc.com
RL: www.sers'er-products.com
jtter dispensers, popcorn
v/armers. nacho equipment,
condiment pumps and other
equipment
HOFAR KOSHER FOODS
?65 E. Linden Ave.
inden, NJ 07036
•08)925-6000
AX: (908) 925-5331
eonard H. Posnock, Dir. of
Sales
osher foods: franks and other
meats
ILVERKING
600 Xenium Lane North
iiruieapolis, MN 55441
312) 553-1881
AX: (612) 553-1209
-like Rodich, VP, Mktg.
^•oncession equipment,
products
iLUSH PUPPIE CORP.
950 Radcliff Dr.
lincinnati, OH 45204
513)244-2400
800)543-0860
•AX: (513) 251-3458
lick Cirillo, Dir. of Mktg.
Supplies and equipment for
Slush Puppie ice crystals
beverages
STAR MANUFACTURING INTL.
10 Sunnen Drive, P.O. Box 430129
St. Louis, MO 63143
(800) 264-7827; (314) 781-5353
FAX: (800) 264-6666
Tim Gaskill, Dir., Sales & Mktg.
URL: www.star-mfg.com
Hot dog cookers, popcorn
machines, nacho equipment
STEIN INDUSTRIES INC.
22 Sprague Ave.
Amityville, NY 11701
(516) 789-2222
FAX: (516) 789-8888
Stuart Stein, President
Andrew Stein, VP
E-MAIL: SteinIncl@aol.com
URL: members.aol.com
/steinincl
Concession stands, popcorn
poppers, warmers
SUNMARK SPECIAL MARKETS
8155 New Hampshire Ave.
St. Louis, MO 63123
(314) 832-7575
FAX: (314) 832-1754
Linda ODonnell, VP, Sales/Mktg.
Candy and seed items
SUPREME PRODUCTS INC.
605 East Loop 340
P.O. Box 154308
Waco, TX 76715-4308
(254) 799-4941
FAX: (254) 799-4943
Pat H. Hood, President
Hugh D. Hood, VP
E-MAIL: sales®
supremeproducts.com
URL: www3upremepnxlucts.com
Vending carts, portable stands
TOASTMASTER (A MIDDLEBY
CO.)
1400 Toastmaster Dr.
Elgin, IL 60120-9272
(847) 741-3300; (800) 323-2210
FAX: (847) 741-0015
Harry Erickson, Dir. of Sales
E-MAIL:
herickson@middleby.com
URL: www.middleby.com
Cooking and warming equipment.
TOOTSIE ROLL INDUSTRIES
INC.
7401 South Cicero Ave.
Chicago, IL 60629
(773) 838-3400
FAX: (773) 838-3569
Robert Immen, Sales Mgr.
Candy: Junior Mints and Mason
Dots
TROLLI INC.
7951 S.W. 6th St.
Suite 300
Plantation, FL 33324
(800) 826-7258; (954) 476-6133
FAX: (954) 476-6135
Jennifer L. Moore, Product Mgr.
Dennis Alexander, VP, Sales
E-MAIL: trolIiusa@aol.com
URL: www.trolli.com
Gummi candies
UNIMAR
35 River St.
New RocheUe, NY 10801
(914) 576-5383
FAX: (914) 576-1711
Henry Muench, VP
E-MAIL: sales@unimar-ny.com
URL: www.unimar-ny.com
Refrigerated concession
equipment
VICTOR PRODUCTS CO.
328 N. 18th St.
Richmond, VA 23223
(804) 643-9091
FAX: (804) 648-3601
Mitch Zinder, President
Fountain syrups, sundae
toppings, concession supplies
and equipment
VISUAL MARKETING
ASSQICATES INC.
9560 rath\va\- St.
Suite 1
Santee, CA 92071
(619) 258-0393
FAX: (619) 258-0790
Dale R. Godfrey, President
Menu display systems, light
boxes
VOGEL POPCORN CO.
7450 Metro Blvd.
Edina, MN 55439
(612) 896-4328
(800) 328-6286
FAX: (612) 832-3468
Dan Gray, Dir., Sales &
Marketing
E-MAIL: dgray@
vogelpopcom.com
URL: ww-w.vogelpopcom.com
Popcorn grower and processor
WEAVER POPCORN
CO. INC.
130 E. Main St.
P.O. Box 345
Van Buren, IN 46991-0395
(765)934-2101
FAX: (765) 934-4052
Joe Macaluso, Division Business
Mgr.
Doug Dent, Business Mgr.
URL: www.popweaver.com
Popcorn processor and grower
WESTERN ASSOCIATED
MARKETING
5076 Moonstone Court
San Jose, CA 95136-2652
(408) 448-1535
FAX: (408) 265-1347
William A. Messerly Jr., Owner
Cups, straws, cutlery, carryout
trays and a variety of bags
WILSHIRECORP.
23 Ban- Road
Ajax, Ontario
CANADA LIS 3Y1
(905)686-3212
FAX: (905) 428-2062
David Noble, President, Canada
Equipment for beverage
dispensing and ice-making
WYANDOT INC.
135 Wyandot Ave.
Marion, OH 43302
(740) 383-4031
FAX: (740) 382-5584
Peg Augenstein, Sales Mgr.,
Food Service
E-MAIL: peg.augenstein®
vvfyandotsnacks.com
Corn- and potato-based snack
foods
YOUR PLACE MENU SYSTEMS
2600 Lockheed Way
Carson City, NV 89706
(800)321-8105
(702) 882-7834
FAX: (702) 882-5210
John O'Neil, President
indoor and outdoor menu
systems; menu boards
^^ 1 llli ^r
Giant
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sale!

i
Moviegoer Statistics
Everything You
Wanted to Know
About Moviegoers'
(*But Were Afraid to Ask)
ACNielsen EDI Tracks the Trends
of American Audiences by Christine James
The well-attended and informationpacked
ShoWest seminar "Insights Into
Moviegoing Habits," conducted by
motion picture industry data collectors and
analysts ACNielsen EDI, revealed to conventioneers
that frequent moviegoers—those
who see one or more films a month—^make up
1 8 percent of all patrons, yet account for a
whopping 66 percent of ticket sales, according
to the company's survey of 10,000
households.
This group ofcineastes is comprised equally
of males and females, half of them under the
age of 25. They tend to queue up on opening
weekend, with 37 percent planning which film
they want to attend a day aiiead and 27 percent
choosing at the last minute.
Most moviegoers (44 percent) in all categories
generally plan which film they want
to see more than a day in advance. Sixteen
percent plan the day before; 17 percent plan
three hours in advance; and 24 percent plan
only one to three hours before seeing a film.
When they get to a theatre, 41
customers have one movie in
percent of
mind that
they'd like to see; 43 percent have two; 12
percent have three; and four percent have
none in mind.
Thirty-two percent of filmgoers complain
that they cannot find a convenient showtime
half or more than half of the time. Thirty-nine
percent encounter that problem less than half
of the time, and 29 percent never find that to
be a concern.
If a film is sold out, most patrons (53 percent)
will wait for the next showing or until
another day, while 41 percent will see another
title. The remainder presumably decide on a
case-by-case basis.
Thirty-two percent of
moviegoers are loyal to
one theatre; 41 percent
patronize two theatres;
and 26 percentfrequent
three or more theatres.
Those 68 percent of moviegoers
who visit multiple
cinemas make their
decisions based on
proximity to home
(27 percent), ticket prices
(23 percent), convenience
of the showtimes (22 percent)
and the quality of the
facilities (21 percent).
Of advertising mediums, television commercials
were cited as the most effective in
influencing film selection, with trailers coming
in second and newspaper ads coming in tiiird.
For showtimes, newspapers were consulted by
68 percent of those polled; 23 percent used
the phone to either call the theatre or an
information service; four percent waited to
find out till they got to the theatre; and tw|
percent retrieved the information from the stij
relatively nascent Internet.
Newspapers are used by eight percent ci
moviegoers for film selection, by 3 1 percer
for showtimes and by 47 percent for botl
Display ads were ranked by just more than hal
(52 percent) of respondents as somewhat o
very important in influencing decisions
though nearly as many (48 percent) say displa;
ads are not at all important.
Other factors
impacting film choices an
subject matter (28 percent), stars (28 percent]
recommendations from friends (19 percent]
critics' reviews (nine percent) and the film'
rating (five percent).
Forty-eight percent of those surveyed sai(
their decisions are affected by positive re
views, while only 29 percent felt their inter
est in seeing a film is swayed by negative
reviews.
In
addition to the film they're going to see
audiences must also choose the venue
Thirty-two percent are loyal to one theatre
42 percent patronize two theatres; and 26 per
cent report that they frequent three or mon
theatres.
Those 68 percent of moviegoers who visi
multiple cinemas make their decisions basec
on proximity to home (27 percent), ticke
prices (23 percent), convenience of the
showtimes (22 percent) and the quality of the
facilities (21 percent).
46 BOXOFTICE

,
Now
J
liirty-six percent are more likely to attend
a Mtre with stadium seating; 33 percent say
tbid be equally as likely as not; 12 percent
w Id be less likely to attend a stadium-seated
tb tre; and 20 percent had not experienced
St ium seating, which has not yet arrived in
sc ic markets.
lS for other recent developments in the
e>ibition industry, only five percent have uti-
' '.
teleticketing to date, and 84 percent reject
i^r
ica of reserved seating.
udiences have responded enthusiastically
to the improvements being made
.to cinemas and are particularly im-
-cd with the circuits' new builds, espemegaplexes.
Sixty-seven percent feel
es have improved in the last several years
percent citing the megaplex as being the
a x of these improvements); 18 percent feel
dy are the same; 12 percent say they've
g ten worse; and four percent aren't sure.
Tliirty-tivo percent ofcinema
attendees say that long
lines have frequently
stopped them from buying
concessions. Thirty-four
percent have infrequently
had this problem, while
eigh t percen t go hungry
every time rather than face
the wait. Thirty-eight percent
of moviegoers would
buy items brought to their
seatsfrom rolling concession
carts, but 4:6percent
would not, and 16 percent
are undecided.
Once inside the theatre, 32 percent of attenes
say that long lines have frequently
3pped them from buying concessions.
lirty-four percent have infrequently had this
pblem, while eight percent go hungry every
ne rather than face the wait. Thirty-eight
:rcent
of moviegoers would buy items
ought to their seats fixDm rolling concession
iTts, but 46 percent would not, and 16 percent
,e undecided.
seated and munching away (or not),
e majority of audiences say yes to trivia
idts (68 percent) but no to advertising slides
•5 percent) and a more resounding no (82
jrcent) to filmed ads. Most people feel two or
ree trailers are sufficient (32 percent for two
id 32 percent for three); nine percent want
3ne, eight percent want one, 12 percent want
)ur, and eight percent would like to see a
am-numbing five.
verall, audiences are satisfied with the
moviegoing experience
(24 percent
every time; 52 percent more than half
je time). Eighteen percent feel they only get
leir money's worth half the time, while only
iven percent feel the experience usually does
ot live up to expectaticms.
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Response No. 484
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June, 1999 47 i

EXHIBITION
BRIEFINGS
by Francesca
Dinglasan
MANNHUNT
Newport Beach, Calif.-based Edwards
Theatres has made an offer for the 405-
screen Mann Theatre circuit, which was put
up for sale by owners Warburg Pincus earlier
this year (see Exhibition Briefings, April
1 999). Edwards is the second local competitor
to make a bid for the Encino, Calif.-
based Mann chain; Los Angeles-based
Pacific Theatres first set its
immediately after the circuit had been put
on the market and made an offer last February.
Industry insiders estimate that Edwards
has offered upwards of $1 00 million for the
circuit, which is believed to far surpass the
amount proposed by Pacific. Should
Edwards' offer be greenlighted, Mann's financial
status would undergo an in-depth review,
and if any unforeseen financial problems
emerge, Edwards has the option of reducing
its bid or withdrawing it altogether. Other
parties also believed to be interested in obtaining
Mann include an investment group
headed by Jeffrey Lewine, the recently resigned
CEO of Mann, and the new cinema
chain Resort Theatres of America (see coverage
below).
sights on Mann
RESORTING TO A NEW CIRCUIT
Hollywood producer Brad Krevoy, former
AMC Entertainment Inc. president Ron Leslie,
longtime theatre executive Peter Fornstam
and law firm head and real estate attorney
Richard Lawrence have founded Resort Theatres
of America, a new cinema chain that
intends to open multiplexes in vacation resorts
throughout the country. Resort is currently
investingcloseto $5 million to renovate
the landmark Isis theatre located in Aspen,
Colo. Plans include transforming the singlescreener
into a state-of-the-art multiplex
while maintaining its original facade, which
was created in 1891. Resort also expects to
purchase and construct up to 50 new plexes
over the next five years, which will each
number between five and 22 screens, depending
on the needs of the local community.
Krevoy will serve as chairman of the new
circuit, Leslie will be the company's president
and CEO, Fornstam will head international
operations and Lawrence will act as Resort's
general counsel.
UA: UNDERACHIEVING
Englewood, Colo. -based United Artists reported
a loss of $98 million in 1998, nearly
double the $50.8 million loss recorded for the
previous year. Decreased ticket and concession
sales resulted in a three percent revenue
decline, falling from $683.8 million in 1997
to $662.1 million in 1998. Operating revenues
also took a dive, decreasing by eight
percent from $95.6 million to $87.9 million.
The falling figures have been largely attributed
to underperforming megaplexes and expenditures
for theatre construction.
SHOWMANDISER PROMOTIONS OF THE MOHTl
McDaniet of the s"
Gratiot Theatre in Clinton
Township, Mich., has
given new meaning to the concept
of "throwing money
around." McDaniei promoted
the opening of the Mel Gibson
starrer "Payback" by inviting customers
to participate in a cashgrabbing
contest that took place
inside an inflatable booth in
which play money was blown
around. Participants who managed
to nab a certain amount of
cash with their bare hands (without
the aid of pockets or any other makeshift storage areas) were rewarded with
prizes. Payback for grabbing $500 was a free popcorn, $750 earned a free soda and
$1 000 or more gained the swift-handed patron a complimentary movie pass.
CARMIKE COMEBACK PREDICTED
Hillard Lyons has released its financial predictions
for Carmike Cinemas, based on recent
inquiries conducted by the equity
research firm. According to the report, the
Columbus, Ga. -based cinema chain will most
likely post considerably higher profit margins
in 1999 compared to a year ago and will
benefit from the increased revenues expected
to be earned at the boxoffice this year. These
predictions should come as welcome news to
Carmike and its shareholders, who shouldered
a reported loss of $30.6 mill ion in 1998,
with individual shares valued at negative
$2.73, in relation to a $20.2 million gain in
1 997, with a previous year total of $1 .97 per
share profit. Among the key predictions in the
report is "meaningful earnings gains beginning
in the second quarter of 1 999" resulting
from such ci rcumstances as theatre expansion
and improvement and an easy comparison
margin from the dismal figures recorded in
1 998. The report also cites Carmike's closure
of 116 underperforming screens last year
(with plans to close an additional 150), its
expansion into markets with populations in
the 1 00,000 to 300,000 range, its recent issue
of $55 million of convertible preferred stock
to investment firm Goldman Sachs and affiliates
and the promising slate of 1 999 product
as factors that should contribute to the chain's
financial success.
EXHIBITORS CHAT IN ONLINE FORUM
Jeff Knoll, VP and general manager of Ontario,
Canada-based Encore Cinemas Inc., has
announced the creation of a website designed
to provide a forum for motion picture exhibitors.
Located at www.delphi.com/exhibitor,
the site currently has 200 members worldwide,
with theatre owners, managers, suppliers
and potential proprietors participating in
the forum. A recent visit to the site revealed a
list ofexhibition-related discussion topics that
include "Advertising in the Lobby," "Bulk
Candy Racks" and "Impact of Mr. MovieFone."
Says Knoll, "The forum has provided an opportunity
for [exhibition] colleagues to discuss
common issues, seek out new opportunities,
buy and sell equipment and share ideas."
DICKINSON THEATRES
MAKES RADIO WAVES
Mission, Kan. -based Dickinson Theatres i;
using the medium of radio to launch a film
related program entitled "At the Movies,'
geared toward reaching an audience that in
eludes the cinema circuit's family-orientec
customer base. Airing for a four-week trial ruri
at 10:30 a.m. every Saturday morning or
Kansas City-based radio station KCNW-138C
AM, the show's format encompasses film-related
discussions, call-in questions from listeners
and interviews with professional!
working in the film industry. When asked tc
describe possible on-air topics, Michae
Smith, co-host of the program, tolc
BOXOFFICE, "We will be discussing whal
[f i Ims came] out recently over that week, whai
[films will be] coming out, and we're aisc
doing a survey of Kansas City's top 1 00 films."
The show debuted with Wood Dickinson,
CEO of Dickinson Theatres, as the featured
speaker. Said Smith of the show's first guest,
"We chose Mr. Dickinson because his family
has run [Dickinson Theatres] for 80 years, and
he has a fountain of knowledge and information
to share about the past and what's going,
[to go] on in the future."
LOEWS CINEPLEX SELLS
30 CHICAGO SCREENS
Adhering to an agreement reached with the
Department of Justice and the Attorney General
of Illinois, New York City-based Loews
Cineplex has sold eight of its theatres with a
total of 30 screens located throughout the city
and suburbs of Chicago. The transaction is a
result of the circuit's pact with the local governmental
agencies to divest some of the cinema
chain's Windy City holdings; this
condition was stipulated consequential to the
merger of Loews Theatres and Cineplex
Odeon in May 1 998. Meridian Entertainment
Group, a joint venture between Chicagobased
AJS Entertainment Inc. and St. Louisbased
Civic Ventures, purchased the theatres.
Loews Cineplex must still sell 19 more
screens in three Chicago theatres under the
terms of the agreement.
48 Boxoffice

.
rrently
I
I
III IIP. 1Q99 49
TERNATIONAL AMUSEMENTS
Dedham, Mass. -based National Amuse-
I >nts has announced plans to expand the
^sence of Showcase Cinemas, its movie
(hibition chain, throughout Argentina. The
( cuit, which presently has 26 screens
*
oughout the South American country, in-
- to more than double its holdings to a
of 58 by the end of this year. Sites
under construction and in develop-
?nt include locations in the cities of La Plata,
^ndoza, Rosario, Quilmes, Belgrano and
Buenos Aires suburb of Vicente Lopez.
le new Showcase plexes in La Plata, Men-
)za and Vicente Lopez will be part of larger
itertainment outlets developed in conjunc-
,)n with Showcenter.
Among the various attractions that will surund
each of the three new theatres will be
nusement parks, game centers, food courts,
c)\ ie and sports stores and restaurants. In
Idition, the Vicente Lopez will be the first
eatre in Latin America to feature a largermat
Iwerks screen, which will measure 80
et wide and six stories high. National plans
show both traditional 35mm and largermat
70mm on the Iwerks screen. Future
ans for the entertainment conglomerate inude
constructing another 50 screens in Arntinaby2000.
ARKINS WILL PLAY IN PEORIA
Scottsdale, Ariz. -based Harkins Theatres is
e^ently developing the Harkins Arrowhead
S Luxury Cinemas, which will be the first
tovie theatre built in Peoria, Ariz. Harkins is
nesting $16 million in the new 90,000-
luare-foot plex, which will feature such
menities as stadium seating, rocker
)veseats, a gourmet snack bar and a lobby
ireview screen.
The Arrowhead will make use of the newest
'chnological advances to maximize the level
f customer enjoyment and convenience, inluding
digital sound and Lucasfilm THX in
II auditoriums, a computerized boxoffice and
d\ance teleticketing. The new 4,500-seat
inema will bring Harkins' total screen count
D 204.
IN THE MOVE
Yakima, Wash. -based Yakima Theatres has
ppointed Bruce Humphrey general manger..
.Des Plaines, III. -basea Movie Facts, a
nonthly movie guide distributed in cinema
Dbbies throughout the country, has named
/largo Lange director of marketing.
»HOWMINDER CALENDAR
Remember to save these dates: NAG Expo/
inack Bar University, June 7-1 0, Disneyland
Hotel, Anaheim, Calif. Call (312) 236-3858
..Cinema Expo, June 2 1 -24, RAi, Amsterdam,
lall 21 2-246-6460. ..Australian Movie Con-
/ention, August 10-13, Royal Pines Resort,
:old Coast, Australia. Call 01 1 61 7 33 56 5671
'
..Rocky Mountain Theatre Convention, Sept.
14-16, Sun Valley, Idaho. Call Dan Klusmann
>t (406) 587-1 251. ..NATO of Wisconsin and
Jpper Michigan/Geneva Convention, Sept.
'-8-30, Grand Geneva Resort & Spa, Lake
Geneva, Wis. Call (414) 271-5935...ShowEast,
Oct. 18-21, Trump Taj Mahal, Atlantic City,
MJ. Call 212-246-6460.
DRIVE-IN EXTRA:
UNITED WE STAND
Outdoor Exhibitors Form United
Drive-In Tlieatre Owners Association
This past March, the United Drive-in Theatre Owners Association was formed
to represent outdoor exhibitors to the entertainment industry and to help facilitate
networking within the drive-in community. UDITOA co-founder Randy Loy and
president Jim Lipuma spoke to BOXOFFICE about the new organization.
BOXOFFICE: Who was behind the formation the UDITOA?
RANDY LOY: [Me], my wife Debrean and another couple, Mark and Kim Bialek.
BOXOFFICE: What prompted you to organize this association?
LOY: It evolved from Mark and Kim Bialek starting a drive-in theatre fan club
in 1 993. It has over 500 members and it basically is set up as an organization [through
v^hich] drive-in aficionados can celebrate the drive-in experience. Over time, we
noticed that we had a large number of drive-in owners joining us, and they started
to trade information and help each other with their problems. My wife and I do a lot
of research on our own with drive-in theatres and know a lot of owners. Our efforts,
along with the efforts of Mark and Kim, [were put toward] incorporating the
association as a non-profit organization, and we're up and running.
BOXOFFICE: Has the fan club been merged with the UDITOA, or will the two
function separately?
LOY: It's still separate. We're hoping it will be like a sister organization, so
that the people who are drive-in aficionados can still have their part and the
owners can treat the association as more of a business assistance-t\'pe organization.
BOXOFFICE: What are some of the association's primary goals?
LOY: To continue to help the owners with whatever assistance they need,
whether it's exchanging information or helping the owners to continue to
network. What we're also hoping to do is eventually develop a mentoring
program. An owner who is experienced can help a new owner learn how to do
their booking, crowd control, security and concessions—all the things that are
part of being an exhibitor. But, of course, the drive-in association is specific to
outdoor exhibition.
JIM LIPUMA: We wanted it to be a formation of owners who would be there
for one another and work together. There's a safety factor in there. I've always
said, "There's safety in numbers." We're not the big chains; most of the drive-ins
are [operated by] individual owners, and we don't nave the strength individually
that you would have as an association.
BOXOFFICE: What steps are you taking to recruit new members?
LIPUMA: We sent out letters to [hundreds of] people within the country and to
Australia and Canada. Randy and Debrean had tne majority of the addresses, and
Debrean put a lot of effort into getting other addresses for theatres we did not have.
BOXOFFICE: How will you help facilitate networking between members?
LIPUMA: We plan on doing a quarterly newsletter, and we would like to have
a conference once a year. We will probably [have the conference] in the
wintertimesincethemajority of drive-ins will be closed in the winter. We would
like to set up somewhere and move it around throughout the country year to
year. I am hoping [that the first one will take place] in 2000.
BOXOFFICE: What are some of the most pressing issues currently being
addressed by the UDITOA?
LIPUMA: The most pressing issue today is the release of "Star Wars—Episode
I." Everybody's concern is [that] drive-ins are pretty much being ruled out [from
receiving prints of the film] because Mr. Lucas has put such demands on his
release. One of them is digital sound, which the drive-ins cannot [conform] to.
Mr. Lucas has even forbidden [exhibitors] to have a second feature, which
disrupts the drive-in business. We are hoping that 20th Century Fox and Mr.
Lucas will reconsider. We do not get a part of the Christmas season that the
indoors do so well with. Memorial Day to Labor Day is our season, and for the
drive-in owner to be withdrawn from this release of "Star Wars" is going to hurt.
BOXOFFICE: How can individuals interested In joining contact the UDITOA?
LIPUMA: They can call me at (724) 845-902 1 , or they can write to us at P.O.
Box 607, Germantown, MD 20875. Francesca Dinglasan WU

NATIONAL
NEWS
by Annlee Ellingson
EYE ON HOLLYWOOD
Making good on its promise to expand its
Internet holdings, CBS has acquired 35 percent
of Hollywood Online in exchange for
providing $100 million in promotional and
content support over the next seven years. The
deal, which saw BigE's NASDAQ-traded
shares double in value on the announcement,
came just two months after Big Entertainment
agreed to buy hollywood.com from Times
Mirror for $31 million in stock.
Correction: The combined Internet properties
will operate under the hollywood.com
name and web address upon completion of
the purchase; they will not be folded into
entertainment e-commerce site BigE.com (as
previously reported in BOXOFFICE). That
move certainly makes sense; although the
phrase "Big E" has all-American connotations
going back to the flattop days of WWII, the
moniker "Hollywood" is a world-class icon.
As BigE chairman and CEO Mitchell Rubenstein
notes, "The acquisition makes us a
global player, with about 20 percent of our
new website users overseas. We see significant
growth potential global ly as we create the
new hollywood.com online superstore."
Also, nollywood.com—which has an exclusive
marketing agreement with NATO
has launched a 10-week, 18,000-screen
in-theatre marketing campaign. Its new trailer
"Love at First Site" has been appearing in more
than 80 theatre chains, including Regal, AMC,
Silver, Landmark, Marcus and Mann. Hollywood
Online's first two trailers helped more
than double the site's traffic since early 1 998;
the site now receives nearly 2 million unique
users monthly. "It is clear we are giving movie
fans what they want," said Michael Rollens,
chairman and CEO of Hollywood Online.
DILLER DALLIES IN DISTRIBUTION
After circling each other for months, USA
Networks chairman Barry Diller and Universal
Studios have finally struck a deal on the
purchase of the studio's October Films. The
agreement also includes certain assets of Polygram
Filmed Entertainment, which Universal
parent Seagram purchased last year for $1 0.4
billion and has been selling off in pieces.
The Diller of a deal involved $150 million
of debt assumption, cash and stocks and
brought the former Paramount and Fox topper
October, Gramercy Pictures, Polygram
Video, PFE Canada, Polygram Films ana PFE's
domestic production deals with Interscope
Communications and Propaganda Films. October
co-president Scott Greenstein will head
the combined entity, to be dubbed USA Films,
which is expected to produce low-budget,
low-risk films that will give indie powerhouse
Miramax a run for its money.
VIACOM DOES THE SPLITS
Slashing its debt in half this past year and
tripling its share price in the past 1 6 months.
A letter to BOXOFFICE:
Our industry shall miss a terrific
"Showman" with the sudden
loss of Mr. Alvin "Big Al"
Wigington of Theatre Service
and Supply on Tuesday, April 6.
No trade show exhibitor ever
made a more spectacular presentation
at thefront ofhis booth
than "The Big Guy" with his
elaborate Native American costume
and thefamous gold tuxedo
and top hat that sparkled as
brightly as Al's blue eyes!
One alwaysfound Al somewhat imposing by his height, but you just didn 't know how big
he was until you placed what became your "tiny little hand" into Al's gigantic-but-friendly
"paw. " Only his heart was larger, and that was shared with so many people. ..so often.
Al's wonderful wife Barbara— his best friend, first consideration always and constant
companion— traveled with him all over the world to trade shows, job sites and socialfunctions
alike. She was with Al when an automobile accident took their lives.
A wonderful bundle ofmemories have remainedfor so many to treasure arui reflect upon
as we continue our lives.
I know this much: The next time I enter a trade show, my first instinct will once again be
to look for "Big Al. " He was that kind ofguy!
Herb Burton
Executive Director
ShoWest
Viacom Inc. announced plans for a two-forone
stock split and a jump to the New York
Stock Exchange from the Amex this spring.
Viacom lost $44 mil lion, or 20 cents a share,
on continuing operations last year, heftily
down from a profit of $3 74 million, or 89 cents,
the year before—although that figure was inflated
by a $1.2 billion gain from the sale of
USA Networks to Seagram. Operating income
rose 31 percent to $1.2 billion, and revenue
rose 1 3 percent to $12 billion for the year.
IN A GALAXY FAR, FAR AWAY...
Two years into its three-year, $1.1 billion
financing package with Citicorp, Universal is
expected to extend the agreement for another
three years. Dubbed "Galaxy 11," the new deal
would provide $1 .3 billion to back 30 Universal
productions into the year 2003, simultaneously
boosting the amount of money made
available to the studio while reducing how
much it would have to pay back.
New York-based Citicorp will be collaborating
with American Reinsurance of
Princeton, N.J. , on the plan, which is expected
to close by the end of the month.
MGM PHONES HOME
Warner Bros, has returned MGM's home
video distribution rights to the Lion for a hefty
fee of $225 million. Pathe Communications
first sold Warner these rights back in 1 990 to
help finance its purchase of MGM/UA, and
the deal extended into mid-2003. But MGM
opted to end the difficult business relationship
early—forking over more than it would have
had to pay in distribution fees— in a move that
could make the studio more appealing to
potential buyers and on the Street.
DONT GO TO THE MOVES WITHOUT rr
MovieFone, currently in negotiations to be
acquired by America Online for $388 million
in stock, has launched a program in conjunction
with American Express that offers free
tickets to frequent moviegoers. First initiated
in the New York market, the plan automatically
grants Amex card users a complimentary
ticket for every 1 times they purchase theatre
tickets via MovieFone or movielink.com. The
program is designed to encourage consumers
to go to the movies rather than rent videos or
partake in other forms of home entertainment.
BURLAGE GETS RICH
Beating out bids from Marvel Enterprises
and Harvey Entertainment's former CEO Jeff
Montgomery, former Live Entertainment
chairman Roger Burlage has purchased Harvey
for $17 million. Backed by film and TV
company Kushner-Locke, Burlage intends to
turn Harvey into a licensing and production
firm aligned with Universal (which owns 9
percent of the company) based on its popular
animated characters Casper, Richie Rich and
Wendy the Good Little Witch. Burlage takes
the titles of chairman and CEO, and he has
appointed independent producer Rick
Mischel to be president and COO.
REARDON RETIRES
Barry Reardon, dubbed the
"dean" of theatrical distribution,
has retired after more than three
decades in the biz. The president
of Warner Bros. Domestic
Theatrical Distribution for the
past 1 7 years, Reardon joined
the studio in 1978 after working for three years
as a senior vice president at General Cinema.
He began his career at Paramount in 1 968.
Executive vice president and general sales
manager Dan Fellman, Reardon's right-hand
man fortwo decades, will fill his slot. Reardon
will serve as a nonexclusive consultant to
Warner, working on special projects, for the
next two years, and he has joined the board
of Down Under's Village Roadshow, which
has a co-production pact with Warner.
50 BOXOFFICE

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HOLLYWOOD
IPDATES
by Annlee Ellingson
NIVERSAL'S LATEST
fORKING TITLE
\- predicted in last month's BOXOFFICE,
king Title Films' Tim Bevan and Eric Felllave
entered a long-term agreement with
ersal Pictures in one of the most signifiagreements
ever reached between a
r studio and a European-based produccompany.
Under the five-year deal,
king Title—responsible for this year's
ir-nominated "Elizabeth" as well as "Four
idings and Funeral," "Dead Man Walk-
4 "Fargo" and "Bean"—will function as a
r-contained unit, the co-chairmen needing
oproval from Universal only on pics with
udgets more than $25 million.
Bevan and Fellner had had a distribution
eal set up at Polygram due to expire in June,
utUniversal's acquisition ofthe studio raised
uestions as to whether the pair would renew
leir deal or seek better terms elsewhere.
pcoming releases under the new arrangelent
include "Thunderbirds," "Bridget Jones'
)iary" and "Captain Corelli's Mandolin."
)PEN CITY BLOWS UP
After witnessing the success of "The Celeration,"
a Danish-language hit that became
le first digitally shot fictional film to gain
Open City Films has
.ide U.S. distrioution.
junched Blow Up Pictures, a division dediated
to producing fiction and nonfiction
ilms in digital video for theatrical release.
'romising an annual slate of six films, the
edeling production company has secured a
jpd of $2 million-$4 million from a New
ork investment banker, budgeting between
.100,000 and $1 million per pic.
Sklar, who recently left her four-
,'ear stint as director of the Independent Feaure
Project's Independent Feature Film
*1arketand its No Borders co-production market,
will head Blow Up. The company already
.las three flicks on its slate: "Chuck and Buck,"
directed by "Star Maps'" Miguel Arteta; "The
'ornographer, a Love Story," by "Julian Po's"
I'Man Wade, and "Lyrical Deviance," by last
'ear's Someone to Watch Independent Spirit
Ward winner Scott Saunders.
NK SPOTS
Mandeville Films—producers of Disney's
'The Other Sister" as well as "The Negotiator"
and "George of the Jungle"—has signed a
wo-year nonexclusive deal with Walt Disney
»tudios that will cover both film and TV. So
ar, announced projects are only for the tube.
In an effort to beef up its urban market
Dresence, Dimension Films has inked a firstook
deal with Loud Films, a division of hiplop
music company Loud Records. Loud was
ormed earlier this year by Maverick Films
oresident Ron Rotholz—who's currently in
oost-production on James Toback's "Black
and White," starring Ben Stiller, Robert Dow-
LEAD STORY: SONY'S BOND AMBITION DASHED
After nearly two years of lawsuits and accusations, Sony and MGM have settled their
battle over James Bond out of court. Under the complicated agreement, Sony will pay
MGM S5 million to stop the litigation, but MGM will pay Sony twice that to acquire all
outstanding rights to the lucrative franchise, both in the U.S. and overseas, including the
spoof "Casino Roy ale."
The dispute began in 1 997 when Sony announced that it was launching a competing
007 franchise based on rights it had purchased from Kevin McClory, who collaborated
with Ian Fleming on the "Thunderball" script and now claims to be a co-creator of the
cinematic Bond. MGM sued for copyright and trademark infringement and accused Sony
chairman John Calley, who helped revive the franchise during his stint as president of
United Artists but left the studio for Sony in 1996. of misappropriating trade secrets and
breaching fiduciary duty. MGM, a studio recently troubled by a string of boxoffice
disappointments, also alleged that Sony specifically timed its 1997 press release about
the competing Bond franchise to interfere with the Lion's initial public offering.
But, just as Bond always promises to return at the end of every episode, this saga might
not be over yet. McClory was less than pleased with the decision and has pledged to go
it alone against MGM as well as possibly sue Sony for "settling the case out from under
him." The next 007 film, "The World Is Not Enough," is due out in November.
ney Jr. and Wu-Tang Clan members—and
Loud Records partners Steven and Jonathan
Rifkind and Ricn Isaacson. Loud Records' roster,
surely a source for Loud Films talent,
includes Wu-Tang Clan, Mobb Deep, Big
Punisher, Funkmaster Flex, Raekwon, dead
prez and Inspectah Deck.
Stepping down from his post as senior VP
of production at Miramax, Bobby Cohen is
striking out on his own, but not without help
from Uncles Bob and Harvey. The
Weinsteins have promised Cohen a longterm
production deal after he wraps exec
producer chores on Miramax's "The Cider
House Rules," "Down to You" and "Bounce"
and moves to Los Angeles to hang his own
Cohen Pictures banner.
Good Machine Intl. and Newmarket Capital
Group have agreed to co-produce and
co-finance an unspecified number of indie
films each year, hoping to extend the relationship
into the long term. Their first two projects
are Kristian Levring's "The King Is Alive," a
co-production between GMI and Lars Von
Trier's Zentropa Entertainment, and Boaz
Yakin's supernatural thriller "Sympathy for the
Devil." Reportedly, there are at least five other
flicks in the works as well.
Intermedia has gone out on a limb, signing
24-year old actor and soon-to-be daddy
Ryan Phillippe ("Cruel Intentions") to a firstlook
producing deal that includes a discretionary
fund and office space. Intermedia
has gotten to know the young thesp by casting
him against type in Miramax's "Playing
by Heart" and Paramount Classics' "Company
Man" and is investing in his confidence,
if not his experience.
Screenwriter David Self, without a produced
film to his name, has inked a oneyear
deal with Steven Spielberg that
includes a blind script commitment and an
office at DreamWorks. Perhaps Spielberg's
Self-confidence has to do with the writer's
upcoming projects: "13 Days," starring
Kevin Costner, and DreamWorks' own
"The Haunting of Hill House."
After working together on Columbia's "Idle
Hands," actress Vivica A. Fox has joined
forces with "Austin Powers'" Team Todd (as
in sisters Suzanne and Jennifer) to co-produce
films through her Foxy Brown Prods, banner.
Writer/director Mark Schwahn ("35 Miles
from Normal") has pacted with Phoenix Pictures
in a three-picture deal under which he
will write and direct "Boys Who Say No" as
well as two other blind writing assignments.
HOLLYWOOD HIGHLIGHTS
Howard Rosenman and Carol Baum, who
worked together for six years at Sandollar on
films such as "Buffy the Vampire Slayer" and
"Father of the Bride," have reteamed to form
Howard and Carol Prods. The duo will combine
projects they've been working on separately—
such as vehicles for Jack
Nicholson, Will Smith and "Air Force One"
director Wolfgang Petersen—with ideas
they've hatched together.
After running 525 Post for eight years, Jerry
Cancellieri and Steve Michaels have launched
a new visual f/x studio. The studio, dubbed
Method, will provide conceptualization visual
f/x, visual f/x supervision, 2-D and 3-D
animation, 3-D modeling, digital matte painting
and compositing for commercials, music
videos, films and HDTV/DTV productions.
A month after ankling Film Roman, the
animation shop known for "The Simpsons"
that he founded 1 5 years ago, Phil Roman has
hung a new shingle, Phil Roman Entertainment.
Roman, who started out at Disney in
1 955 and still owns 36 percent of Film Roman
through his stock holdings, professed a desire
to return to a more "hands-on, bare-bones
approach" to the animation biz.
Securing up to $40 million from Double
Eagle Capital Management Group, Triple
Axel Prods, has committed to produce up
to nine feature films in the next three years.
Former Lucasfilm VP Howard Kazanjian
and industry vet Craig Darian will lend a
hand on the productions and receive exec
producer credits.
ON THE MOVE
Pam Coats has becomes the highest-ranked
female at Walt Disney Feature Animation
with her promotion from feature producer to
senior VP of creative development. Coats, a
10-year Disney veteran who produced last
summer's "Mulan," will oversee the creative
development of all projects in the division,
including features and shorts; she will report
to animation president Thomas Schumacher.
(Note: For an in-depth look at the latest
from Disney's animation arm, see this issue's
cover story on "Tarzan. ")
June, 1999 51

INTERNATIONAL NEWS BRIEFS
NORTHERN EXPOSURE
Canadian News Notes by Shiomo Schwartzberg
INTERCHANGE, COLOSSUS GET READY TO RUMBLE
AMC's newest multiplex, the Interchange 30 in Vaughn, Ontario, is going head-to-head
with one of Famous Players' most successful complexes, the Colossus Vaughn, which
recently had the second-highest weekend boxoffice gross in North America for the hit film
"The Matrix." In fact, the Interchange and the Colossus will be right across the street from
each other. The new AMC multiplex, due to open this month, will be part of a 376,000-
square-foot entertainment complex to include retail, industrial and office space.
In an interview with BOXOFFICE, Jack Gardner of AMC Canada's marketing department
pointed out that AMC closed the deal for the land upon which the Interchange 30 was
built in December 1 995, before the Colossus Vaughn was built. At that time, the adjacent
lot was occupied by a Famous drive-in, but the ozoner was subsequently closed to be used
as the Colossus site. Gardner concedes that because of the proximity there will be films
AMC won't be able to play, but he anticipates that "We'll get films from every studio, but
[the same film won't play] at the two theatres. We obviously would like to piay the same
films as the guy across the street; the same [goes] for them." He added that in otiier locales
in Ontario, AMC has acquired films from distributors traditionally allied with Famous.
"We're in the same zone as [a Famous Players] SilverCity and we're opening with Warner
and Disney." AMC even picked up "Payback" from Famous' sister company Paramount
(both are owned by Viacom) when it was taken off a nearby Famous multiplex screen.
Gardner thinks tne day will come when both opposing theatres will be able to show the
same film. "That's the direction [in which] the industry is moving. It should be for the
customer to decide." Famous was unavailable for comment at press time.
BLOORY VISION
Toronto's Bloor cinema, the flagship repertory house of the Festival
chain, has been taken over by distributor Carmelo Bordonaro, who,
along with brother Paul, former manager of the Bloor, intends to
upgrade the theatre and institute programming changes.
Unlike Festival owners Tom Litvinskas and Jerry Szczur, who
leased the Bloor on a monthly basis, Carmelo has a five-year lease
with the theatre's landlord and an option for a five-year renewal.
Carmelo, Festival's former director of promotions and marketing
who recently left the chain to start his own distribution company,
Moonrise Pictures, has a long history with the Bloor, having begun
it as a repertory house in 1980. He wanted to ensure that the Bloor
will continue its legacy. "I thought they [Festival] were vulnerable
to being taken over [by a bigger company]," he told BOXOFFICE.
"I wanted [the Bloor] to stay a repertory house forever."
Among the initial changes Bordonaro intends to make to the
Bloor, to the tune of C$80,000 (US$54,600), are upgrades of the
sound system, the snack bar and the washrooms. He would also like
to show Canadian filmmakers' short films before the features, and
plans to set up a weekly film salon wherein industry executives can
mingle with Canadian directors and producers. Admission prices
will rise by 50 cents to C$4 (US$2.68) for members and C$7
(US$4.69) for non-members.
The Bloor, which is closed for a month in the interim, will reopen
with a slate of second-run films and first-run premieres, a continuation
of its programming format under Fesdval Cinemas.
WILL THE SMALL SURVIVE?
The June opening of Famous Players' Paramount multiplex in
downtown Montreal has put the fate of the nearby Loews five-plex,
also owned by Famous, in some doubt. There has been a spate of
closings of single-houses and smaller multiplexes in Canada in the
last several years, and the Loews is rumored to be next. But contrary
to newspaper reports, a spokesperson for Famous Players insists
the Loews, whicn dates back to 1917, will not be shuttered. "We're
certainly entertaining purchasers," said Kevin Ellis, director of communications
for Famous Players. "We're looking at a number of
proposals [and we'll have] something to announce in the near future."
Famous' other recent major multiplex
openings across the country in-i
elude a 12-screen SilverCity in :
Edmonton; the 13-screen Paramount i
Festival Hall in Toronto; and an 18-
screen Colossus in Langley, B.C.
FEE HAS FILMMAKERS
FUMING
Filmmakers wishing to film in
Toronto face the possibility of a
permit fee of C$150 (US$101). A
recommendation has gone to the
city's Economic Development
Committee suggesting a fee based
on the Film Liason office's total
budget of C$780,000 (US$522,000)
divided by 5,200 film permits, the
number given out in 1997. The fee
was conceived to cover the cost of
additional staff to handle film requests
in the new amalgamated city
of Toronto. If approved, the fee is
expected to have an adverse impact
on filming in the city.
TELEFILM TO CO-FUND CONTROVERSIAL QUEBEC FILM
After a long tussle. Telefilm Canada has finally agreed to put
some money into the controversial new film by Pierre Falardeau
about the (Quebec rebellion of 1837. Telefilm will fund about
C$250,000 (US $167,500) of "February 15, 1839," a drama that
uses the execution of a French rebel leader by the British to cast a
separatist tint to this part of the province' s history. Though Telefilm
had initially refused to fund the film at all, prompting charges of
censorship by the separatist filmmaker, it now maintains that it was
the original amount asked for by the film's producers, C$1.75
million (US $ 1 .2 million), that was the sticking factor. Now that
SODEC, Quebec's funding body, has put in C$1 million
(US$670,000) and the Canadian Television Fund is also planning
to invest. Telefilm felt they could afford to get involved as well.
Falardeau' s last Telefilm-funded project was "Octobre," which
had a similarly provocative take on the subject of the French
Canadian terrorists who murdered a Quebec cabinet minister in
1970. The film was the center of a furor over whether the federal
funding body should be involved in helping separatist directors get
their films off the ground.
COMING SOON FROM AN ARCADE NEAR YOU
Behaviour Worldwide and Threshold Entertainment have agreed
to finance and distribute eight features to be based on video games.
Among the films to be financed are "Duke Nukem," "Zork."
"Conan" and "Bogeys." The films are expected to cost between
C$20 million (US$13 million) and C$50 million (US$33 million).
DO YOU HAVE AN EXHIBITION-RELATED NEWS ^
ITEM ABOUT THE CANADIAN MARKET?
CONTACT SHLOMO SCHWARTZBERG IN CARE OF
OUR CANADIAN NEWS BUREAU AT: 416-928-2179,
OR FAX: 416-324-8668
52 BoxoFncE
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INTERNATIONAL NEWS BRIEFS
PACIFIC OVERTURES
Notes From the Pacific Rim by Francesca Dinglasan
LEAD STORY: HONING IN ON HOYTS
SYDNEY—Revenue results for the six-month period ending Dec.
30 indicate that the U.S. arm of Australia-based exhibitor hloyts
Cinemas fared relatively well during the period, thus strengthening
the circuit's position at the negotiating table should—as has been
recently bruited— its stateside tioldings be definitively put up for
sale. Favorable statistics include a 24 percent increase in boxoffice
earnings over the first half of last year (compared to an industry
average of 1 1 percent), as well as cash flow that jumped by 6i
percent to AUS$29.4 million (US$19 million).
The reported figures have come amidst an AUS$609 million
.US$384 million)bid from Australian media mogul Kerry Packer,
who is attempting to purchase Hoyts outright (see Pacific Overtures,
May 1 999). Industry analysts originally predicted Packer's
offer would find success; nowever, the circuit s positive revenue
standing, combined with competitive bids from other interested
parties, could force Packer to up the ante. Among the companies
attempting to acquire Hoyts American holdings are Regal
Cinemas' parent Kohlberg, Kravis & Roberts, a union that could
create a 6,000-screen juggernaut; Babcock & Brown, which is
believed to be an investment firm, although its exact identity is
unconfirmed; and Chestnut Hill, Mass. -based General Cinemas.
KKR is thought to have offered $280 million for the 900 U.S.
screens, whose forecast final sale value has been placed somewhere
between $275 million and $350 million.
Also, Hoyts confirmed it is in discussions with fellow Oz-based
exhibitor Village Roadshow regarding the possible merger of the
companies' theatres in markets outside of Australia. Although
neither has commented on which territories would be targeted,
reports speculate that countries affected could include Austria,
Poland, Chile, Argentina, the U.K., Germany and New Zealand.
ROCHESTER LEAVING READING
SYDNEY—Reading Australia CEO John Rochester has officially
resigned from his position at the U.S. -based exhibition circuit.
His departure comes after a three-year period predominantly spent
fighting a united front of Down Under' s controlling circuits
.
Hoyts, Village Roadshow and Greater Union—that have frequently
frustrated Reading's attempts to expand its cinema holdings
throughout Australia. However, despite the many court cases
against the American circuit meant to block new theatre
construction, Reading's presence in Oz has flourished under
Rochester's supervision to include four cinemas in operation, six
multiplexes under construction and six other sites in development.
Although locations in the cities of Melbourne and Pennth are
currently on hold because of court proceedings (see Pacific Overtures,
February 1999), the circuit expects to have a total of 71
screens in operation by year's end. Rochester will serve as executive
chairman for Showscan licensee Cinimagic starting this July.
FOREIGN OWNERSHIP HITS WALL IN CHINA
BEIJING—^The government of China has passed an official
regulation that strictly forbids foreigners from wholly owning
entertainment businesses located within the country, which would
include such venues as movie theatres and theme parks. Taking
effect on July 1, the new ordinances come off the heels of a recent
trip made by Jack Valenti to China. Valenti, chairman of the Motion
Picture Association of America, participated in discussions with
Chinese delegates regarding a possible annual increase of American
products allowed into the Asian country. He proposed that
millions of dollars in U.S. investment could be used to construct
new movie theatres throughout China. Valenti says that no
accord was reached with the Chinese regarding the proposal.
HONG KONG CINEMAS SILENCED IN PROTEST
HONG KONG—In March, all 73 Hong Kong movie
theatres currently in operation shut down for one business day
in protest against the widespread availability of pirated video
products. A boxoffice slump in Hong Kong has been largely
attributed to the problem of audiovisual piracy, which oftentimes
provides consumers with the option of purchasing a
video version of a popular film concurrently, or even before,
its release on the big screen; pirated goods also usually cost
less than the price of a single theatre admission. Observers
guess that the one-day closure translated into a HK$1.5 million
(US$193,0(X)) loss for the Hong Kong cinemas. However,
theatre owners, who estimate that they have already
suffered a 60 percent decrease in ticket sales during the past
year because of bootlegging, insist they need to call greater
attention to the problem. The event, headed by Hong Kong's
own Jackie Chan, included more than 2,000 protestors.
SHOCHIKUTS IN FOREIGN FILM DISTRIBUTION
TOKYO—^Japan-based Shochiku has announced that it
will discontinue operation of Shochiku Fuji, its foreign film
distribution arm, this August. According to a Shochiku
spokesperson, the decision to close the Fuji subsidiary was
reached in February upon consideration of the division's
mass debt in relation to its actual earning capability. During
the fiscal year ended in February, Shochiku Fuji reported a
net loss of 260 million yen (US$2.2 million) from sales
totahng 6.18 billion yen (US$51.3 million).
GOLDEN HARVESTS MIXED RESULTS
HONG KONG—Hong Kong-based film distributor and producer
Golden Harvest reported a shrinking loss margin for the
six-month period ended Dec. 31. The company posted red ink of
HK$6.9 million (US$890,000) compared to a previous-year loss of
HK$47 million (US$6 million). Golden' s revenue for the period
also took a dip, falling from HK$ 109.7 million (US$14.2 million)
recorded a year ago to HK$73 million (US$9.4 million), a decrease
of 33 percent. One area that posted gains for the company during
the six months was its operating profit, which increased dramatically
from a previous year loss of HK$5.7 million (US$735,(X)0)
to a positive HK$4.1 miUion (US$529,000).
UIP: UNDERGOING INTERCHANGE IN PACIFIC
SYDNEY—United International Pictures is restructuring its
outfits covering the Pacific and Asian territories. Steve Ashmore,
who currently serves as vice president of sales for the Southeast
Asian region, will move his headquarters from Singapore to Sydney
sometime later in the year. He will be in charge of UIP' s newly
designated "Far East region," which is to encompass Australia and
New Zealand, as well as all Asian countries except Japan.
CARVING A NICHE IN OZ
SYDNEY—Alex Meskovic, topper of Sydney-based exhibitor
Chauvel Cinema, has formed Niche Pictures, a new Down Under
company that plans to distribute art-house product. The aptly
named Niche has announced that it hopes to distribute four films
per year to art cinemas, including Meskovic' s own Chauvel. Lyn
McCarthy, a former executive at Dendy Films, will be responsible
for domestic marketing for Niche releases.
June, 1999 53

T
INTERNATIONAL NEWS BRIEFS
EUROVIEWS
European News Notes by Francesca Dinglasan
I
KINE-rrC ENERGIZED
BRUSSELS—Beigium-based exhibitor Kinepolis Group,
which also maintains distribution and production facilities,
reported handsomely high profit gains for the year. The company
posted annual earnings of 258.4 million francs (US$7.1
million), a threefold growth from year-ago totals. Yearly revenue
also rose significantly, going from 4.53 billion francs
(US$1 09 million) during the previous 1 2-month period to 5.95
billion francs (US$1 57.9 million)—a 31 percent increase.
THERE'S SOMETHING RISING IN THE STATE OF DENMARK
BERLIN—German-based exhibitor Cinemaxx has announced that
it will construct two new multiplexes in Denmark, which marks the
circuit's first foray into the international market. A seven-screen,
1 ,850- seat theatre in the city ofOdense is slated to open this September,
and a 3,200-seat 1 0-screener, estimated to cost somewhere in the range
of 6 million to 8 million marks (US$3.5 milUon-$4.5 milUon), is
scheduled for an October 2000 bow. Upon completion, the latter
project will be Denmark's largest cinema. Both plexes are to be
operated by Kinemaxx, Cinemaxx 's Danish arm run in conjunction
with Belgium-based Kinepolis Group. Under thejoint venture, the two
companies plan to open a total of 20 multiplexes by 2002.
TEUTONIC TICKET SALES TUMBLE
BERLIN—Germany's first-quarter boxoffice results indicate a
downturn from the country's 9 percent revenue gain recorded in
1998 (See EuroViews, May 1999). According to Beverly Hills,
Calif -based research firm EDI, ticket sales for the three-month
period totaled nearly 391.6 million marks (US$216 million)—
more than 20 percent drop from the previous year figure of 494.9
million marks (US$273 million). EDI also reports that a total of
35.7 million German moviegoers were counted for the quarter, a
decrease of about 20 percent from last year's numbers.
ITALY TO GET STELLAR NEW PLEXES
ROME—Naples-based Stella Film and Carlo Bemaschi, ah
Italian exhibitor and a former chief of ANEC, Italy's exhibitor
association, have formed a new multiplex partnership. The upstart
circuit, working with a 350 billion lire (US$200 million) budget, is
developing 20 new plexes. The majority of these theatres, each to
have a minimum of 10 screens, will be located throughout Italy's
southern region and should be completed by 2001. Bemaschi 's
Genoa-based circuit, Mediaport, currently operates a nine-screener
and has three additional plexes comprising 30 screens under construcution.
According to Bemaschi, Mediaport' s theatres will be
incorporated into the new multiplex venture at a later time.
ON THE SOUTHERN PATHE
ROME—Also forming a joint venture to develop new plexes
throughout the Boot are France-based Pathe and domestic exhibitor
VIS, which operates 100 screens in Italy's northem region. Among
the projects currently underway is Pathe' s 1 1-screener located in
the city of Turin. The new plex, estimated to cost approximately
40 billion lire (US$24 million), will hold 2,350 seats and anchor a
shopping mall adjacent to numerous hotels and a conference center.
IMAX-IMIZING IN THE BOOT
MILAN—Another company with its 'T' on the underscreened
Italian market is Toronto, Canada-based Imax, which has inked a deal
with Medusa Film, Italy's largest cinema circuit. Imax plans to bring
its large-screened, 3D-formatted theatres to several multiplexes
and entertainment venues throughout the country.
Under terms of the agreement, Imax will provide equipment
for six Medusa-owned and -operated theatres, and Medusa
will in turn pay leasing fees and royalties to the Canadian
corporation. The joint project, to be completed by 2003, calls
for the first Imax sites to open in Milan and Rome.
CINEMA SUMS ASCEND IN SPAIN
MADRID—According to the culture ministry of Spain,
movie theatres throughout the country have mushroomed to
a total of 2,968, indicating an addition of 400 new cinemas since
1 997. Other figures released for the 1 998 year include a total of 1 08
million movie attendees and a 7 billion peseta (US$48 million) rise
over previous-year boxoffice earnings to more than 64 billion
pesetas (US$441 million) in ticket sales. One of the few statistics
showing a downward trend was the market share of Spanish films,
which dropped from 13.1 percent in 1 997 to 1 1 .9 percent last year.
PETIT PROFIT PLUMMET AT PATHE
PARIS—Although France-based Pathe SA's cinema circuit reported
a revenue gain of 970 million francs (US$173 million) in
1998 (an 11 percent increase from the previous year), the media
conglomerate's overall profit dipped slightly from 210 million
francs (US$37.8 million) in 1997 to 206 milhon francs (US$37
million) this past year. Paris-based Pathe also showed a slight
decline in revenues, reporting earnings of 21.8 billion francs
(US$389 million) in 1998—a four percent decrease from year-ago
showings. Last year's figures for admissions to Pathe' s nearly 300
theatres throughout France and Holland, however, reaffirmed the
chain's dominance in both markets, as it saw a total of more than
22 million tickets sold between the two countries.
HEADING INTO VIRGIN TERRITORY
LONDON—London-based Virgin Cinemas has revealed plans to
expand into the United States, Ireland and Japan over the next five
years. Working with a budget of300 milUon pounds (US$486 million),
the cinema circuit recently opened a 14-screener in Fukuoka, Japan,
and expects to open 19 more plexes throughout that country. Virgin is
also currently developing up to three sites in Ireland and intends to
operate about a dozen theatres in major American cities, including
New York, Boston, Washington, D.C., Chicago, Los Angeles and San
Francisco. Within the United States, the British exhibitor appears to
be interested in finding and obtaining an existing smaller-sized theatre
chain rather than constructing new-builds. Virgin's stateside and
Japanese locations are expected to contain many of the same amenities
featured in the company's U.K. theatres, such as VIP screening rooms,
retail shops, cafes and special rooms for children.
UK: UP AND KOMING BOXOFFICE FIGURES
LONDON—The British were coming, the British were coming—especially
to movie theatres during Febmary. Boxoffice take
for the four-week duration was the second highest reported during
the 12-month period ending this February. The only month recording
higher cinema admissions was the previous February, which
was buoyed by the phenomenal boxoffice achievement of "Titanic."
U.K. theatre success in Febmary 1999 was largely attributed
to "Shakespeare in Love" and "A Bug's Life," which helped sell
14.35 million tickets throughout the month—a whopping 36 percent
jump from 10.22 million during the four-week period in
January. Cinema attendance in the country hit its highpoint during
the week of Feb. 12-18, recording a total of 5.3 million admissions.
i
54 Boxoffice

^ r^
r^
We think we can!
Armageddon
(Buena Vista International)
Godzilla
(Columbia TriStar Film Distributors Int'l)
Life Is Beautiful
(Miramax International)
The Mask of Zorro
(Columbia TriStar Film Distributors Int'l)
The Mighty
(Miramax International)
Mulan
(Buena Vista International)
Out of Sight
(UlP/Universal Pictures)
There's Something About Mary
(Twentieth Century Fox Int'l)
The X-Files
(Twentieth Century Fox Int'l)
When Cinema Expo International convened last June in
Amsterdam, the above films were screened for the International
Cinema Industry, many, prior to their Domestic Release.
So hold the date
ind don't miss out on
For futher information contact:
Sunshine Group Worldwide
A BPI CO/WVIUNICATIONS COMPANY
cial Corporate
Sponsor
JUNE 21-24, 1999
Amsterdam RAI International
Exhibition and Congress Centre
International
244 West 49 Street, Suite 200
New York, NY 10019
212-246-6460
Fax 212-265-6428
Email: sunshine@maestro.com
www.cinemaexpo.com

—\l
BOXOFFICE
W^y
JUNE
(Current)
J"'y
^"9"^

1
STUDIO FEATURE CHART — JUNE 1 999
pember October Forthcoming

58 BOXOFFICE
BOXOFFICE Independent Feature Chart JUNE 1999
MAY
Artisan
310-255-3716
Black Mask, Act. Jet Li, Francoise
Yip. Dir: Daniel Lee. 5/14
The Minus Man, R, 113 min. Owen
Wilson. Dir: Hampton Fancher.
5/28 NY/LA
Artistic License
212-265-9119
After Life, Dra, 1 1 8 min. Arata, Oda
Erika. Dir: Kore-eda Hirokazu.
Eternity and a Day (in assoc. with
Merchant/Ivory), Dra, 132 min.
Bruno Ganz, Isabeile Renauld. Dir:
Theo Angelopoulos.
Cowboy
212-989-8179
The Saragossa Manuscript (reissue).
Zbigniew Cybulski. Dir: Wojciech
Has. 5/21 NY, 6/1 7 LA
Fine Line
212-649-4800
Besieged, Dra, R, 92 min. Thandie
Newton, David Thewlis, Claudio
Santamaria. Dir: Bernardo
Bertolucci. 5/21 NY/LA/Tor
First Run
212-243-0600
Leila, Dra, 129 min. Leila Hatami,
Ali Mosaffa. Dir: Dariush Mehrjui. 5/14
Fox Lorber
212-686-6777
My Dinner With Andre (reissue),
Com, 1 1 min. Wallace Shawn, Andre
Gregory. Dir: Louis Malle. 5/14
Fox Searchlight
310-369-4402
William Shakespeare's 'A Midsummer
Night's Dream', PG-13 120
min. Kevin Kline, Michelle Pfeiffer,
Rupert Everett, Stanley Tucci,
Calista Flockhart, Christian Bale, Sophie
Marceau. Dir: Michael Hoffman.
5/5
Gramercy
310-385-4400
Waking the Dead. Billy Crudup,
Jennifer Connelly, Janet McTeer.
Dir: Keith Gordon.
October
212-539-4000
Trippin', R. Deon Richmond, Donalcf
Faison, Guy lorry, Maia Campbell.
Dir: David Rayner. 5/12
Black Cat, White Cat, Com, R, 127
min. Bajam Severdzan, Srdan
Todonovic, Florijan, Ajdini, Branka
Katie. Dir: Emir kusturica. 5/14
Palm
415-331-0991
Stop Making Sense (reissue), Doc.
David Byrne. 5/28 SF
Phaedra
323-938-9610
Mascara, Rom/Com, R, 96 min.
lone Skye, Lumi Cavasos, Amanda
De Cadenet. Dir: Linda Kandel. 5/7
Love, Etc. (France), 100 min. Charlotte
Gainsbourg, Yvan Attal,
Charles Berling. CJir: Marion Vernoux.
5/28
Samuel Goldwyn
212-594-3334
The Red Dwarf (Belgium). Anita
Ekberg. Dir: Yvan Le Moine. 5/28
Sony Classics
212-833-8851
This Is My Father, Dra, R, 120 min.
Aidan Quinn, James Caan, John
Cusack, Richard Harris, Stephen
Rea. Dir: Paul Quinn. 5/7
The Loss of Sexual Innocence, Dra,
R. Julian Sands. Dir: Mike Figgis. 5/28
Strand
310-395-5002
The Edge of 17, Com, 99 min. Dir:
David Moreton. 5/14 NY/LA
Stratosphere
212-605-1010
Bandits, Mus/Adv, R, 1 09 min. Katja
Riemann, Jasmin Tabatabi. Dir:
Katja Von Gamier. 5/7 NY
Xiu Xiu: The Sent Down Girl, Dra,
R, 99 min. Lu Lu, Lopsang. Dir: Joan
Chen. NY/LA
Trimark
310-314-3040
Twice Upon a Yesterday (formerly
The Man With Rain in His Shoes),
Rom/Fant, R, 96 min. Lena Headey,
Douglas Henshall, Penelope Cruz.
Dir: Maria Ripoli. 5/28
SPRING
Castle Hill
212-888-0080
Sue, Dra. Anna Thompson.
Discovery
301-986-1999
Wildfire: Feel the Heat.
First Look
310-855-1199
llluminata, Rom/Com. Dir/Star:
John Turturro.
IMAX
905-403-6500
Island of the Sharks.
Legacy
323-467-3700
Tequila Body Shots. Joey Lawrence.
No.
New Yorker
212-247-6110
October
Condo Painting, Doc. George
Condo. Dir: John McNaughton.
Rialto
323-933-2733
Peeping Tom (reissue), Thr. Carl
Boenm. Dir: Michael Powell.
JUNE
Artisan
Buena Vista Social Club, Doc, 1 05
min. Ry Cooder Ruben Gonzales,
Ibrahim Ferrer, Eliades Ochoa. Dir:
Wim Wenders. 6/4 NY/LA, 6/1 8 exp
Cowboy
Finding North. Wendy Makkena,
John Benjamin Hickey. Dir: Tanya
Wexler. 6/4 NY/LA
Fine Line
The Legend of the Pianist on the
Ocean, Dra. Tim Roth, Pruitt Taylor
Vance. Dir: Giuseppe Tornatore.
6/1 8 NY/LA/Tor, 7/9 exp
Legacy
Caligula (20th anniversary,
director's cut). 6/4
Lions Gate
212-995-9662
The Red Violin, Dra, 1 30 min. Samuel
L. Jackson. Greta Scacchi. Dir:
Francois Girard. 6/1 1 NY/LA, 6/25 exp
The Dinner Game, Com, 82 min.
Thierry Lhermitte, Jacoues Villeret.
Dir: Francis Veber. 6/25
October
The Idiots, 1 1 7 min. Louise Hassing,
Anne-Grethe. Dir: Lars Von Trier. 6/4
Lucie Aubrac, Dra, R. Carole Bouquet,
Daniel Auteuil, Patrice
Chereau. Dir: Claude Berri.
Phaedra
Floating, Dra, 94 min. Norman Reedus,
Chad Lowe, Will Lyman, Sybil
Temchen. Dir: William Roth. 6/4
Nobody (japan). Act, 100 min.
Masaya Kato, Jinpachi Nezu. Dir:
Toshimichi Ohkawa. 6/4
Strawberry Fields, Dra, 86 min.
Suzy Nakamura, James Sie, Heather
Yosnimura. Dir: ReaTajiri. 6/4
Just a Little Harmless Sex,
Rom/Com, 98 min. Alison Eastwood,
Jonathan Silverman, Kimberly
Williams, Lauren Hutton,
Rachel Hunter, William Ragsdale,
Michael Ontkean. Dir: Rick Rosenthal.
6/11
Remembering the Cosmos Flower
(japan), Dra, 100 min. Oda Akane,
Mari Natsuki, Megumi Matsushita.
Dir: Junichi Suzuki. 6/1
Zone 39 (Australia), SF, 93 min.
Peter Phelps, Carolyn Bock, Bradley
Byquar. Dir: John Tatoulis. 6/25
Samuel Goldwyn
Desert Blue, R, 87 min. Christina Ricci,
Kate Hudson, Casey Affleck, Sara
Gilbert. Dir: Morgan J. Freeman. b/A
Sony Classics
Run Lola Run (Germany), R, 81 min.
Franka Potente, Moritz Bleibtreu,
Herbert Knaup, Armind Rohde,
Joachim Kroi, Nina Petri, Heino
Ferch. Dir: Tom Tykwer. 6/18
NY/LA
Stratosphere
The Boys (Australia), Dra, R, 86 min.
Toni Colette, David Wenham. Dir:
Rowan Woods,
2ND QTR
Artisan
Frogs for Snakes, Act/Com. Barbara
Hershey, Harry Hamlin, Debi Mazar,
Robbie Coltrane. Dir: Amos Poe.
The Bumblebee Flies Anyway, Dra.
Elijah Wood, Rachel Leigh Cook,
Janeane Garofalo. Dir: Martin Duffy.
First Run
Flushed. Com, 81 min. Randy &
Jason Sklar, Mike Blieden, Mirian
Shor. Dir: Carrie Ansell.
Mob Queen, Com, 87 min. Davi
Proval, Dan Moran, Candis Caynt
Dir: Jon Carnoy.
Pusher, Dra, 105 min. Kim Bodnij
Zltato Buric. Dir: Nicolas Winding Rdr
JULY
Artisan
The Blair Witch Project, Doc. 7/1 f
ltd, 7/30 exp
Cowboy
Stiff Upper Lips. 7/2 NY/LA
Fine Line
Trick. Christian Campbell, Johr
Paul Pitoc, Tori Spelling. Dir: Jirr
Fall. 7/23 NY/LA/SF/Tor, 8/6 exp
8/20 exp, 9/1 exp
October
Autumn Tale, Dra. Marie Riviere,
Beatrice Romand. Dir: Eric Rohmer
7/9 NY, 7/23 exp
Phaedra
Fever Pitch, 95 min. Colin Firth, Ruth
Gemmell. Dir: David Evans. 7/9
Heart of Light (Denmark), Dra, 9C
min. Rasmus Lyberth, Vivi Nielsen.
Dir: Jacob Grunlykke. 7/23
Sony Classics
Twin Falls Idaho. Michelle Hicks.
7/30 NY/LA
The First Day.
Strand
Head On, Dra, 104 min. Alex
Dimitriades, Paul Capsis. Dir: Ana
Kokkinos. 7/1 6 NY/LA
Zeitgeist
212-274-1989
Broken Vessels (in assoc. with Unapix),
Dra, R, 90 min. Scott Field,
Jason London, Roxana ZaI. Dir:
Scott Ziehl. 7/9
AUGUST
Artisan
The Ninth Gate, Thr. Johnny Depp,
Lena Olin, Frank Langella. Dir:
Roman Polanski. 8/6
The Lost Son, 102 min. Daniel Auteuil,
Nastassja Kinski. Dir: Chris
Menges. 8/27 NY/LA, 9/1 exp
Fox Searchlight
Untitled Irish Comedy. Niamh Cusack,
Sean McGinley, Ewan Stewart,
Ian Hart. Dir: Aileen Ritchie.
Gramercy
Plunkett & Macleane, Act/Adv, R,
1 1 1 min. Robert Carlyle, Liv Tyler,
Jonny Lee Miller, Michael Gambon,
Alan Gumming. Dir: Jake Scott. 8/6
Mad About Mambo (formerly Perfect
Timing). William Ash, Keri Russell.
Dir: John Forte. 8/27
Greycat
702-737-0670
Sex: The Annabel Chong Story,
Doc, 86 min. Annabel Chong. Dir:
Cough Lewis. Ltd (could go Sept.)
Legacy
The Gambler. cTra, 97 min. Michael
Gambon, Joahi May, Polly Walker,

. Bnooke
. ce
BOXOFFICE Independent Feature Chart JUNE 1999
inic West, Luise Rainer. Dir:
roi\ Makk. 8/4NY, 8/13LA
I
J
Lions Gate
the Little Animals. Christian Bale,
n Hurt. Dir: Jeremy Thomas.
October
"ie Muse, PG-13. Albert Brooks,
'iron Stone, Andie MacDowell,
] Bridges. Dir: Albert Brooks. 8/6
ef Martin. Juliette Binoche,
vis Loret, Carmen Maura. Dir:
dre Techlne. 8/1 3 NY, 8/20 exp
Palm
irfect Blue, Ani/Thr, 75 min. Dir:
:oshi Kon.
Phaedra
xman, Thr, 94 min. Joe Pantono,
Robert Townsend, Elizabeth
rkley. Dir: Avi Nesher. 8/6
rtrait Chinois (France). Helena
inham Carter, Romane Bohringer,
>a Zvlberstein. Dir: Martine Dug-
. sin: 8/20
en Cry Bullets, 106 min. Jery
an. Dir: Tamara Hernandez. 8/27
Zeitgeist
:id House, Com/Dra, 118 min.
4 an Bremner, Jemma Redgrave.
r: Paul McGuigan. 8/27
te August, Earty September, Dra,
min. Mathieu Almaric, Virginie
doven. Dir: Olivier Assayas. 8/27
SUMMER
Fox Searchlight
jBst Laid Plans, R. Alessandro
(ivoia, Reese Witherspoon, Josh
l-olin. Dir: Mike Barker.
Wiite Boys. Danny Hoch, Dash
lihok. Dir: Marc Levin.
IMAX
Ktreme.
Icgfiried & Roy: The Magic Box.
Kit Parker
800-538-5838
isters (reissue), Thr, R. Margot Kider,
Jennifer Salt, Charles Durning.
jiir: Brian De Palma. NY/LA/SF
I
f
Palm
lack and White, Dra. Robert Downey
Shields, Wu Tan Clan, Ben
;iller, Elijah Wood. Dir: James Toback.
SEPTEMBER
Artisan
I Norte (reissue). Dir: Gregory
Java. 9,G ltd
tir of Echoes, Thr, R. Kevin Bacon,
leana Douglas. Din David Koepp. 9/1
Castle Hill
ive Wives, Three Secretaries and
Ae. Dir: Tessa Blake. 9/10 ltd
Lions Gate
ast Night, Dra, 93 min. Don
/IcKellar, Sandra Oh, Galium Keith
Jennie, Genevieve Bujold, David
>onenberg. Dir: Don McKeliar.
New Latin
800-538-5838
.as Delicias Del Poder (Spain),
Tom, 1 20 min. Maria Elena Velasco
(La India Maria), Ernesto Gomez.
Dir: Ivan Lipkies. LA/Calif.
Palm
Third World Cop.
Phaedra
States of Control, Dra, 84 min. Jennifer
Van Dyck, John Cunningham,
Ellen Greene. Din Zack Winestine. 9/10
Sweet Jane, Dra, 87 min. Samantha
Mathis, Joseph Gordon-Levitt. Dir:
Joe Gayton. 9/24
Shadow
207-872-5111
Pants on Fire, Com/Dra, 107 min.
Christy Baron, Neil Maffin, Harry
O'Reilly, Eileen Brennan, Karen
Young, bir: Rocky Collins.
OCTOBER
Artisan
The Limey, Dra. Terence Stamp,
Luis Guzman, Peter Fonda, Amelia
Heinle, Lesley Ann Warren. Dir:
Steven Soderbergh. 1 0/8
Phaedra
Soft Toilet Seats, Mys/Com, 105
min. Sammi Davis, David Alex
Rosen. Dir: Tina Valinsky. 10/15
FALL
Fox Searchlight
Dreaming of Joseph Lees. Rupert
Graves, Samantha Morton. Dir: Eric
Styles, (could go winter)
Legacy
Dona Barbara (Spanish), Dra.
October
The Mammy. Anjelica Huston. Dir:
Anjelica Huston.
Untitled Mike Leigh. Dir: Mike
Leigh.
X, Ani.
Palm
Phaedra
Metal Skin (Australia), Dra/Thr, 100
min. Tara Morice, Aden Young. Dir:
Geoffrey Wright.
NOVEMBER
Artisan
Felicia'sjourney, Dra. Bob Hoskins,
Elaine Cassidy. Dir: Atom Egoyan. 1 1/19
Phaedra
Beneath the Surface (Sweden), Dra.
Johanna Sallstrom, Mikael Persbrandt.
Dir: Daniel Fridell. 1 1/1
Sony Classics
American Movie, Doc. 1 1/5 NY/LA
DECEMBER
Fine Line
Tumbleweeds. Janet McTeer,
Kimberly J. Brown, Gavin O'Connor.
Dir: Gavin O'Connor. 12/22
NY/LA/Tor, exp 1/14 & 1/28
Fox Lorber
The Emperor's Shadow, Dra, 117
min. Dir: Zhou Xiaowen. 12/18
Sony Classics
The Assassin, Dra. Cong Li, Li Xuejian,
Zhang Fengyi, Sun Zhou. Dir:
ChenKaige. 12/T7NY/LA
All About My Mother (Spain).
4TH QTR
New Yorker
The Silence.
Shooting Gallery
212-243-3042
Once in the Life. Dir: Laurence
Fishburne.
Trimark
Joe the King, Dra, TOO min. Val
Kilmer, Ethan Hawke, John Leguizamo,
Noah Fleiss, Karen Young,
Amy Wright. Dir: Frank Whaley.
Romance, Rom/Dra, 95 min. Caroline
Ducey, Sagamore Stevenin,
Francois Berleand, Rocco Siffredi.
Dir: Catherine Breillat.
FORTHCOMING
Castle Hill
River Red, Dra. Tom Everett Scott,
David Moscow.
Cinema Village
212-431-5119
Cartoon Noir, Ani (compilation), 85
min. Dir: Various.
CON
213-658-6043
Fantastic Planet.
First Look
Alegria, Dra, PG. Frank Langella,
Julie Cox, Rene Bazinet, Heatncote
Williams, Clipper Miano. Dir:
Franco Dragone.
Fox Lorber
Book of Life. Dir: Hall Hartley.
EJIes, Rom/Dra, 97 min. ivliou-
Miou, Marisa Berenson. Dir: Luis
Galvao Teles.
Madadayo, Dra. Dir: Akira Kurosawa.
On the Ropes, Doc.
Fox Searchlight
Hard Men (U.K.), Dra, R. Vincent
Regan, Ross Boatman, Lee Ross.
Dir: J.K. Amalou.
Quills, Dra. Dir: Philip Kaufman.
Soft Fruit. Dir: Christma Andreef.
TheTeena Brandon Story, Dra. Hilary
Swank, Peter Sarsgaard, Brendon
Sexton III, Chloe Sevigny,
Alison Folland, Lecy Goranson,
Matt McGrath. Dir: Kimberly Peirc.
Woman on Top. Penelope Cruz.
Dir: Fina Torres.
Gramercy
Being John Malkovich. John
CusacK, John Malkovich, Cameron
Diaz, Catherine Keener, Orson
Bean, Mary Kay Place. Dir: Spike
Jonze.
Dad Savage. Patrick Stewart, Kevin
McKidd, Marc Warren. Dir: Betsan
Morris-Evans.
I Want You, Rom/Dra, R. Rachel
Weisz, Alessandro Nivola, Labina
Mitevska. Dir: Michael Winterbottom.
The Match, 95 min. Max Beesley,
Laura Eraser, James Cosmo, Ian
Holm, Richard E. Grant, Bill Paterson,
Tom Sizemore. Dir: Mick
Davis.
Resurrection Man. Stuart
Townsend, James Nesbitt, Sean
McGinley, Brenda Fricker. Dir:
Marc Evans.
Snarl Up. Dir: Michael Winterbottom.
Thursday. Thomas Jane, Aaron Eckhart,
Mickey Rourke, Glenn Plunv
mer. Dir: Skip Woods.
What Rats Won't Do (U.K.),
Rom/Com. Natascha McElhone,
James Frain, Charles Dance, Parker
Posey. Dir: Alaistair Reid.
IMAX
American Road, Doc.
Mission to Mir, Doc.
Northern Arts
413-268-9301
Continuing Adventures of Reptile
Man. Tony Curtis.
Levitation.
Talk to Me.
October
The Naked Man, Com. Michael
Rapaport, Arija Bareikis, Rachael
Leigh Cook, Martin Ferrero. Dir: J.
Todd Anderson.
Up at the Villa. Kristin Scott-
Thomas, Sean Penn, Anne Bancroft,
Derek Jacobi, Jeremy Davis. Dir:
Philip Haas.
Palm
Razor Blade Smile, NC-17.
Shooting Gallery
illtown, Dra, R, 97 min. Michael
Rapaport, Lili Taylor, Adam Trese,
Tony Danza, Isaac Hayes. Dir: Nick
Gomez.
Zeitgeist
Brakhage, Doc, 75 min. Dir: Jim
Shedden.
2000
Sony Classics
Bossa Nova iEnglish/Portuguese).
Feb. NY/LA
New Latin
Clasicos de la Epoca De Oro: 1 935-
1957 (touring film series). Winter
DISTRIBUTO
Please fax
release information
at least three
months In advance
to Wade Major at
(310)456-9750.
June, 1999 59

,,,
^MBHT^
Moviegoer Activity Report
for the month of March 1999
MovieFone" (777-FILM^) and its sister service, moviefone.com', are now tine single largest source of movie stiowtime information in the country,
providing information to over 100 million moviegoers eacfi year The following information represents the most requested theatres and exhibitors on MovieFone.
Rank
1
2
3
4
5
6
7
9
10
Most Requested Exhibitors
,
^
, ,, ,^,
Last Month s
Total Requests Rank
Exhibitor
LCE
AMC
United Artists
Regal/Act III
General Cinema
Clearview
Cinemark
Century
Harkins
National Amusements
Top 10 Exhibitors & Theatres
932,252 1
696,781 2
591,940 3
287,807 4
252,884 5
173,991 6
165,894 8
149,889 7
134,427 9
127,399 10
Rank Market Theatre
Most Requested Theatres
,
^
,^,
Last Month s
Total Requests Rank
1 NY LCE Lincoln Square 56,901 1
2 NY UA Union Square 40,874 2
3 NY LCEOrptieum 33,792 3
4 NY LCE 19th St. East 28,239 21
5 NY LCE Village 7 26,928 34
6 LA AMC Century 14 26,564 4
7 NY CIvw Chelsea Cinemas 24,905 6
8 PH UA Riverview Plaza 24,214 10
9 DA Cnmk Tinseltown USA -Piano 22,687 9
10 DA AMC Mesquite 30 22,589 14
Total
Requests
New York
1,060,518
Los Angeles
498,187
Dallas
425,006
Phoenix
245,994
Philedelphia
236,379
Chicago
233,379
San Francisco
220,317
Miami
212,317
Toronto
207,548
Boston
183,247
Kansas City
128,661
Houston
123,771
Rank Theatre (# screens)
Most Requested Tlieatres
Total Last Month's Total
Requests
LCE Coronet 1 & 2 (2) 10,729
LCE Orpheum (7) 33,792
LCE 19th St. East (6) 28,239
Mann National (1) 7,652
Lndmk Cecchi Gori (1) 3,241
Pacific Cinerama Dome (1) 3,218
GCC Irving Mall (3) 5,947
UA Cine (2) 2,645
Cnmk Tinseltown USAPIano (20) 22,687
Hark Desert Sky Mall (6) 7,921
HarkCenterpoint(ll) 13,956
Hark Shea (14) 14,671
UASameric(4) 11,898
Cinemagic 3 at Penn (3) 7,404
UA River Plaza (11) 24,214
LCE Webster Place (8) 17,225
LCE McClurg Court (3) 5,216
F& F Davis Art (1) 1,664
UA Coronet (1) 5,072
Century Cinema 21 (1) 3,682
Lndmk Bridge (1) 2,942
Regal Miami Lakes (10) 10,026
AMC KendallT&C(10) 9,305
Regal Kendall (9) 7,839
Famous Yorkdale (6) 13,679
Famous Plaza (2) 2,646
Famous Colossus Toronto (19) 22,220
BMofSOmni(l) 7,605
LCECheri(4) 14,915
NA Circle Cinema (7) 15,447
AMC Crown Center (6) 7,039
AMC Oak Park Plaza (6) 6,421
AMC Parkway (22) 21,135
LCE Spectrum (9) 5,123
Cnmk Tinseltown (24) 12,448
Lndmk Riveroaks (12) 5,954
Top 3 Actively'^ Requested Tlieatres:
'Caller specifically requested theatre
Rank
29
13
24
9
1
2
1
2
4
15
1
2
3
1
2
2
8
3
11
6
1
1
4
3
4
21
38
1
3
4
2
3
1
3
5
4
1 . LCE
Requests
San Diego
109,658
Minneapolis
101,928
Las Vegas
56,742
San Antonio
51,524
Cleveland
45,667
Sacramento
38,866
Nashville
52,046
Tampa
29,520
Per Screen
Rank Theatre (# screens)
AMCUJolla(12)
AMC Fashion Valley (18)
AMC Mission Valley (20)
GCCHar-Mar1-3(3)
GCC Centennial Lakes (8)
GCC Mall of America (14)
Lefont Garden Hills (1)
AMC Gaiieria (8)
AMC Phillips Plaza (14)
UA Colorado Center (9)
UA Continental (6)
AMC Colorado Plaza (6)
LCENorthgate(l)
LCESouthcenter(l)
Regal/Act III Mountlake (9)
LCE Uptown (1)
LCE Avalon (2)
LCE Outer (2)
UA Green Valley (5)
UA Showcase (8)
UA Rainbow Promenade (10)
Regal/Act III Galaxy (14)
Regal/Act III Bandera (6)
Total
Requests
12,697
12,049
9,357
3,595
5,146
8,782
588
2,935
5,023
4,802
2,530
1,947
727
653
5,322
1,627
1,139
1,004
3,891
5,270
4,798
6,201
2,641
Regal/Act III Alamo Quary (14) 4,822
GCC Parmatown (5) 2,710
GCC Ridge Park Square (8) 3,506
Regal Middleburg Heights (12) 4,097
Century Century 21 (2) 1,090
Century Complex (12) 5,721
Century Cinedome Sacramento (9) 3,900
R&R Campus Twin (2) 1,951
Carmike Stones River (6) 2,257
Carmike Hickory (8) 2,989
Muvico Palm Harbor (10) 3,885
Regal University (16) 5,105
Fun-Lan Drive-In (3) 863
Worldwide 2. Hark Superstition Sp.
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JUNE 1999
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REVIEWS
June 1999
DAY AND DATE: 6/4
BUENA VISTA SOCIAL CLUB
•**••
Starring Ry Cooder, Ibrahim Ferrer,
Compay Segund, Ruben Gonzalez, Pio
Leyva, Manuel '^Puntillita" Licea,
Eliades Ochoa and Omara Portuondo.
Directed by Wim Wenders. Produced by
Deepak Nayar and Ulrich Felsberg. An
Artisan release. Documentary. English
and Spanish-language; subtitled. Not yet
rated. Running time: 105 min.
One of the most beautiful and poetic
documentaries ever made, "Buena
Vista Social Club" marks master director
Wim Wenders' return to a form of
which he was once considered a pioneer.
Even by the standards of Wenders'
earlier docs, however, "Buena Vista Social
Club" is a milestone, a loving portrait
of the Cuban music legenos that
composer/musician Ry Cooder reassembled
some years back for the hit
album of the same name.
The film's structure is beguilingly
simple, using the group's historic Amsterdam
and Radio City Music Hall concerts
as the backbone of a unique
musical odyssey, taking audiences into
the heart of the humble Cuban neighborhoods
where the music was born. As
Wenders painstakingly profiles each of
the legendary talents— including 80-
year-oid pianist Ruben Gonzalez, 95-
year-olcf guitarist/singer
Compay
Seeundo, velvet-voiced ibrahim Ferrer
and latin chanteuse Omara Portuondo
sounds, images, music and a powerful
sense of humanity converge to form an
intoxicating sensory fabric—music that is
meant to be lived, not merely heard.
What is especially charmmg is that
the film is as much a journey for its
subjects—many of whom are in their
Artisan 's "Buena Vista Social Club.
70s, 80s and 90s—as for its audience.
Their childlike bliss at having been rediscovered
in the twilight years of their
lives, the wide-eyed wonder with which
they greet their first trip to New York and
their profound gratitude at receiving yet
another chance to share their beloved
music with the world help create an
emotional and affecting narrative.
Wenders' second collaboration with
producer Deepak Nayar (following
1997's "The End of Violence" and preceding
their forthcoming "Million Dollar
Hotel") is also noteworthy for its
superlative production values, setting
new technical standards for both concert
films and documentaries. Though
shot on digital video, the images are
crisp, rich and colorful, thanks to the
contributions of three world-class cinematographers(Lisa
Rinzler in New York
unit. Kobby MiJller in Amsterdam, jorg
Widmer in Cuba) and the extraordinary
Sony High Definition video-to-film
transfer technology. Oscar-caliber
sound recording of the live performances,
coupled with a spectacularly
rich sound mix, provide the cherry atop
this enriching and rewarding musical
feast. Wade Major
PALM SPRINGS
Alegria
ft
R-Wr
All of It R-54
Anahy de las Misiones
Babyshakes and the Return
^^1 f
SI
of MacDaddy R-54
i
Bury Me in Kern County R-54
The Butcher R-55
Cameleon R-55
Can't Stop Dancing R-55
Heartwood R-55
Inconceivable R-55
The Insurance R-55
Jeans R-55
Left Luggage R-56
Marianna Ucria R-56
Men in Scoring Position R-56
Only Clouds Move the Stars R-56
Sekal Has to Die R-56
St. Patrick's Day R-56
Wallowitch & Ross: This Morrient . R-56
REVIEWS
Desert Blue R-57
Election R-58
eXistenZ R-58
Foolish R-60
Go! R-59
Hideous Kinky R-59
Idle Hands R-57
Leila R-57
Let it Come Down:
The Life of Paul Bowles R-57
Life R-59
Mascara R-58
Never Been Kissed R-60
Out-of-Towners R-62
Photographer R-59
The Rook R-62
10 Things I
About You R-61
Trailer: The Movie R-62
Twin Dragons R-61
DAY AND DATE: 6/4
Buena Vista Social Club R-53
FLASHBACK: 1932
Tarzan, the Ape Man R-57
PREVIOUSLY REVIEWED
Coming films already reviewed . . . R-60
REVIEW DIGEST
Our monthly release overview .
. R-62
Hit www.boxoffice.con
each Friday for the
latest movie reviews!
62 (R-53) BoxOFFiCE

ALM SPRINGS REVIEWS
AEGRIA ^^
tarring Frank Langella, Rene Bazinet
'
CL Julie Cox. Directed by Franco Dragone.
Wtten by Rudy Barichello. Produced by
bns De Weers, Alexandre Heylen and
Sohane Reichel A First Look release.
Bima. Rated FG for language and thentic
elements. Running time: 94 min.
Alegria," billed as "a film event inspired
b the Cirque du Soleil," is filled with beaur
il images and is wonderfully photohed;
however, its thinly-written
line does not do justice to the visuals.
t is of Cirque du Soleil will be disapp
nted by the scant amount of amazing
a obatics and tricks the Quebecoise perforn
nee ensemble is known for, though the
s that are shown are brilliant. Director
t
I mco Dragone has little to work with in
t
s tale that drags on and on.
Frac (Rene Bazinet), a despondent street
ime. decides to end his life by lying across
f tracks of a train. His plans abruptly
K inge when his little friend, Momo (Clip-
Miano), lays down beside him to join
I
I II in death. Moving out of the way of a
1 in filled with circus performers, the pair
irrowly escapes. When the performers
MP to make sure no one was hurt, Frac first
> the beautiful Giulietta (Julie Cox), and
: two are drawn to each other instantly.
Giulietta's father, Fleur (Frank
lingella), immediately rounds up the
ange group of circus players and gets
em back aboard the train and onward to
z\x destination. Frac, however, cannot get
c lovely Giulietta out of his thoughts and
eks her out to show her his love. But little
omo feels betrayed now that his friend's
feet ions are with another, and resigns
111 self to a fate working for the evil
arcello (Heathcote Williams), who enaves
children into selling flowers on the
reets. Meanwhile, Fleur unsuccessfully
tempts to keep Frac and Guilietta apart.
The outcome of the film is apparent
iiiy on, leaving the audience to restlessly
atch the actors muddle through the paces.
-Michelle Santilli
LLOFIT ***
Starring Alanna Ubach, Leslie Ann
arren and James Rebhorn. Directed and
ritten by Jody Podolsky. Produced by
'arren Gold and Jody Podolsky. No disibutor
set. Drama. Not yet rated. Runing
time: 85 min.
Amy ("Clockwatchers'" Alanna Ubach),
successful editor in New York, feels conicted
by the desire to achieve her own
mbitions versus the need to please her
lother ("The Limey's" Leslie Ann War-
;n) by getting married and having children,
'his friction is intensified when Amy
lakes the trip home to Detroit for Yom
lippur and her boyfriend, Ben ("Playing
»y Heart's" Michael Silver), surprises her
•y showing up to meet the family. Of
curse. Mom adores him; she couldn't have
land-picked a better potential husband herelf
This forces Amy to face up to the
ntemal strife she has been avoiding.
First-time writer/director Jody Podolsky
explores the universal mother/daughter relationship
theme and sheds a distinct light
on this bond. "All Of It" examines not only
the problems that every mother and daughter
face, it also discusses the gap between
the traditional stay-at-home mom and the
woman who wants a career. Many will be
able to relate to these realistically-drawn
characters who are grounded in everyday
life.
Michelle Santilli
ANAHY DE LAS MISIONES ir
Marcos Pal-
Starring Araci Esteves,
meiro and Dira Paes. Directed by Sergio
Silva. Written by Sergio Silva and Gustavo
Fernandez. Produced by Monica
Schmiedt. No distributor set. Drama. Not
yet rated. Running time: 110 min.
The folklore of the guachos who live in
the southern plains of Brazil, Argentina and
Uraguay dictates that the mythic Anahy de
las Misiones roamed the land during the
Cisplatine War of 1825-28 and saved the
lives of many Brazilian soldiers by sacrificing
her own while forcing the Spaniards to
retreat. Director Sergio Silva has taken the
character ofAnahy and transported her in time
to the Farroupilha Revolution of 1 835-45, but
his depiction of the noble martyr as a selfpreserving
vagabond compromises Anahy'
legendary patriotism and selflessness.
Anahy (Araci Esteves) ceaselessly traverses
the countryside, scavenging valuables
from soldiers' corpses to sell to
whichever faction of the revolution she happens
upon. She uses her wits to keep her
children fed and safe, including wrapping
her daughter in bandages and telling the
soldiers that she suffers from a contagious
disease in order to keep them from raping her.
Despite her great efforts, Anahy loses two
children to the perils of the war; though the
nomadic matriarch continues on, audiences
won't have the same stamina. Silva has rendered
a plotless story filled with tiresome
characters who roam in circles without any
significant purpose. Michelle Santilli
BABYSHAKES AND THE RETURN
OF MACDADDY ^^1/2
Starring Christopher Mako, Caroline
Farrill and Dwight WigfalL Directed and
written by Gregg Paine. Produced by Justin
Nathanson ami Gregg Paine. A Paine Pictures
production. No distributor set. Comedy.
Not yet rated. Running time: 90 min.
Writer/director Gregg Paine acclimates
the audience to the raw street tone of the
colorfully titled "Babyshakes and the Return
of MacDaddy" with splashy, in-yourface
opening credits, and continues to
reinforce it with unusual characters and cutting-edge
music. Although this tale of a
blocked writer with romance issues is a
familiar one, Paine builds interesting relationships
between the characters, and actor
Christopher Mako's performance as Steve,
the stumped scribe, is surprisingly honest
and compelling.
Steve continually stares at his computer,
hoping for divine inspiration, but nothing
comes. In the meantime, he supports himself
as a bike messenger, transporting packages
through the urban quagmire that is
downtown Manhattan. On one of his stops
he meets Babyshakes (Caroline Farrill), a
knockout model with whom he has an affair.
Unfortunately, it turns out she's married
to MacDaddy (Morton Hall Millen), a
menacing, drug-addled music video producer.
Steve turns to Teddy (Dwight
Wigfall), a fellow messenger, and Susan
(AvivaMehssa), a"we're-just-friends" pal,
to help get him through this mess.
Mako and Wigfall give intriguing and
likable performances as two modem-day,
minimum wage-earning road warriors who
develop a strong and convincing bond. Unfortunately,
their fellow castmates' acting
abilities are less than adequate, which detracts
from the film's believability. It is
difficult to see what anybody, even the flat
and uninteresting Babyshakes, would see in
the laughable MacDaddy.
Like protagonist Steve, the film does suffer
from a lack of focus, but lovers of slacker
movies should enjoy indie filmmaker
Paine' s feature debut effort. Michelle
Santilli
BURY ME IN KERN COUNTY
•••1/2
Starring Mary Sheridan,
Judson Mills
and Mary Lynn Rajskub. Directed and written
by Julien NitzJberg. Produced by Hayley
Marcus and Rachel Frazin. A Krank production.
No distributor set. Black comedy.
Not yet rated. Running time: 90 min.
"Bury Me In Kern County" is a wickedly
funny film which definitely lives up to its
tagline, "A White Trash Black Comedy."
This surreal portrayal of a smalltown American
family that gets its 15 minutes of fame
by way of drugs and murders opens with
Sandra
shy, soft-spoken Sandra's (Mary Sheridan)
televised drug bust on Halloween night.
Amanda (Mary Lynn Rajskub of HBO's
"Mr. Show" and "The Larry Sanders
Show") is quite proud of her sister's newfound
celebrity. Now out on bail,
has to figure out how to raise the bail money
for her druggie boyfriend ("Chill Factor's"
Judson Mills) and pay for the funeral expenses
of his mother, who offed herself
after seeing her son arrested on TV.
A well-cast Sheridan manages to make
the naive, vulnerable Sandra credible; her
soft-spoken delivery and deft acting talent
allow for the plausibility of Sandra' a unbelievable
simple-mindedness. Although the
rest of the cast delivers fine performances,
it is Rajskub who absolutely steals the
show, breathing new life into the indie staple
of the marijuana-puffing slacker.
The escapades that transpire after this unusual
set-up are anything but predictable.
Writer/director Julien Nitzberg's raw style
and spry dialogue add to the edginess of this
satire's far-ftx)m-ordinary premise. His ability
to find humor in the most gruesome of
moments is the fuel of this surprising film.
The black-and-white format provides the
perfect juxtaposition for these extremely
colorful characters. Michelle Santilli
June, 1999 (R-54) 63

|
I
PALM SPRINGS REVIEW
THE BUTCHER ir
Starring Miki Manojlovic and Alba
Parietti. Directed and written by Aurelio
Grimaldi. Produced by Marco Poccioni
and Marco Valsania. No distributor set.
Drama. Italian-language; subtitled. Not
yet rated. Running time: 85 min.
This carnal romp of a film seems to have
no purpose at all other than to show a lot of
flesh. Aline (Alba Parietti) is diagnosed with
anemia and hence must eat red meat, which
leads her to the local butcher shop daily. After
several visits to the butcher ("Underground's"
Miki Manojlovic), she becomes sexually
drawn to him. There are only a handful of
scenes with Aline and her husband at the
beginning of the film, none of which give any
indication of marital problems, leaving the
viewer to assume that she must have initiated
the affair out of little more than boredom.
Because the filmmakers fail to resolve
the relationship with her husband, with the
butcher or with Aline' s own personal demons,
"The Butcher" is utterly unappetizing.
Michelle Santilli
CAMELEON ^^
Starring Aneirin Hughes and Sara
McGaughey. Directed by Ceri Sherlock.
Written by Juliet Ace. Produced by Emlyn
Davies and Shan Davies. No distributor
set. Drama. Welsh-language; subtitled.
Not yet rated. Running time: 90 min.
The naive and idealisfic Delme joins the
British Army with hopes of becoming a
hero. But he soon deserts the army and
returns home, where his mother and other
neighbors hide him in the attic that connects
to each of their houses. Through the attic's
doors, he is able to look down on his
abettors' lives, and during the night he is
able to come down and join them, experiencing
a bit of "normal" Ufe, however brief.
Inevitably, one of the denizens of the village
gives him up and he is arrested by the army.
"Cameleon" is a dark and sinister look
into the human psyche, exploring the fragile
condition of the mind and soul after enduring
the atrocities of war. But despite the
anti-hero protagonist's predicament, it is difficult
to sympathize with a character who
endangers his loved ones, impregnates his
now married ex-girlftiend and physically attacks
her when she won' t let him see the baby.
Although the filmmakers effectively
demonstrate his mental and emotional
breakdown and his subsequent realization
of his problem, the transition from screaming
maniac to compliant arrestee is too
weak and unbelievable. Michelle Santilli
CAN'T STOP DANCING ^^1/2
Starring Ben Zook, Melanie Hutsell and
Margaret Cho. Directed and written by Stephen
Falick and Benjamin Zook. Produced
by Joseph Mehri and Rick Pepin. No distributor
set. Comedy. Not yet rated. Running
time: 90 min.
This comic spoof of '80s dance movies is
the story of 260-pound dance sensation
Randy Rubio (Ben Zook) and his troupe, the
Stupendous Six. When the group learns that
64 (R-55) BoxomcE
they have been fired from their longstanding
gig as performers at Funland, an amusement
park in Kansas, they hit the road for
the big time in Hollywood. Upon their arrival,
zaniness ensues as they run into a
nonstop deluge of wacky characters, portrayed
by surprisingly high-caliber talent
such as Janeane Garofalo, lUeana Douglas,
Noah Wylie, Kathy Griffin, David Cross
and Bob Odenkirk. Unfortunately, the best
thing about this film is the hilarious celebrity
cameos.
Randy Rubio deftly handles his position
as the "heavyweight" of comedy in the
group; the rest of the Stupendous Six border
on annoying. Michelle Santilli
HEARTWOOD ^1/2
Starring Jason Robards, Eddie Mills
and Hilary Swank. Directed by Lanny
Cotler. Written by Lanny and Steve Cotler.
Produced by Steve Cotler. No distribution
set. Romantic drama. Not yet rated. Running
time: 90 min.
The sticky-sweet "Heartwood" is not certain
whether it is a romance about fostering
a new love or an environmental drama dealing
with the tragic loss of our great forests.
Big business threatens to crush the solitary
old sawmill in the tiny redwood community
of Deroy, Calif. The conscionable owner of
the mill and patriarch of the town Logan
Reeser ("A Thousand Acres'" Jason
Robards) realizes that he may lose the business
that his family has nurtured for years
and which employs most of the community.
But the town outsider ("Dancer, Texas,
Pop. Si's" Eddie Mills), with the help of a
visifing college student ("The Next Karate
Kid's" Hilary Swank), cooks up a plan to
save the mill and the town.
Although "Heartwood' s" idealism stands
tall as the trees, it appears the filmmakers got
stuck in the sap.
Michelle Santilli
INCONCEIVABLE ^
Starring Mo Gaffney and Corinne
Bohrer. Directed by Bob Weis. Written by
Diane Fredel- Weis. Produced by Avi Haas
and Bob Weis. No distributor set. Comedy.
Not yet rated. Running time: 90 min.
Forty-year-old Eve's ("Star Kid's" Corinne
Bohrer) biological alarm clock has
gone off and she is determined to procreate.
However, two major obstacles block her
path: Her husband, Adam (Jonathan Penner),
isn't ready to become a father, and she
has recently been diagnosed as infertile.
Her desperation leads her to W.O.M.B.
(Women On a Mission to have Babies), a
group of fellow inconceivables. The leader
of the group (Mo Gaffney of TV's "Absolutely
Fabulous") encourages her to get
pregnant by any means necessary, including
forging ahead without her husband's
knowledge. So, behind Adam's back. Eve
begins injecting herself with fertility drugs.
Writer Diane Fredel-Weis takes us on a
predictable and mundane journey without
offering any fresh insights—only emotional
sappiness and overused stereotypes.
Michelle Santilli
THE INSURANCE ^^^^
Starring Momchil Karamitev, Todi'
Kolev and Deljana Hajiankovaa. Direch
by Momchil Karamitev and Evger
Mihailov. Written by Alexander Tomo
\
Produced by Momchil Karamitev an\
Gabriella Di Saverio. No distributor se\
Drama. Italian-language; subtitled. M]
yet rated. Running time: 90 min. llj
"The Insurance" is a beautifully filme(i
wonderfully acted and carefully crafted d(
piction of a bygone era. The film is set i
the Bulgarian capital of Sofia against tb J
backdrop of the 1930 Royal Wedding d
Bulgaria's King Boris III and the Itdia;
Princess Giovanna of Savoy. Communiii
uprisings abound and shady police rui
amuck in a volatile political climate whei
it is difficult to know who to trust. Marge
i
(Deljana Hajiankovaa) locates her brothe:;
Stefo (Momchil Karamitev, who also co-d;
rects), in a militaristic orphanage and coni
vinces the administrator to let him leav
with her. She then must find a place to staj
as she doesn't want Stefo to know that he'
previous home was a bordello. A cinem
owner who is in love with Margot offer
refuge, which lasts until the moviehouse i
raided and Stefo is arrested. Margot the;
asks for the help of the police inspecto
(Todor Kolev), an unscrupulous man whi
shoots anyone who gets in his way.
"The Insurance" displays incredibly re
markable talent from each of its actors
Particularly brilliant is Kolev as the fiero
inspector. His stark rendition of a man wh(
offs his doctor for delivering bad new;
ranks right up there with the creepiest o
villains ever to hit the screen. Anc
Karamitev gives an outstanding perfor
mance as the emotionally tortured Stefo
His ability to remain sympathetic even afte;
committing heinous crimes seals the credibility
of the film. Michelle Santilli
JEANS ^
Starring Prasanth, NazarandAyswaryc
Rai. Directed and written by K. Ravt
Shankar. Produced by Ashok Amritraj. Ni
distributor set. Comedy. Not yet rated
Running time: 180 min.
Twin brothers Visu and Ramu studj
medicine and work in their father's Lo:
Angeles restaurant. At LAX, where Visi
drops off food for an airline, he bumps int(
a family from his hometown and helps then
get through customs. Visu falls in love witl
the brood's beautifiil daughter Madhumith;
(Ayswarya Rai) and wishes to marry her, bu
his father will only permit his twin boys t(
marry another set of twins, which causes mon
problems and wackiness than imaginable.
This lengthy film from India feels ever
longer than it actually is because it contain:
a myriad of musical numbers set in a vas
array of locales that have absolutely nothinj
to do with the story. The filmmakers obvi
ously spent more time, money and energ}
on far-out pageantry and special effect:
than on creating a good script, which i;
probably why many festival audience mem
bers walked out long before closing credit;
rolled.
Michelle Santilli

I
?ALM SPRINGS REVIEWS
UT LUGGAGE *•••
'arring Isabella Rossellini, Laura Prase
and Maximilian Schell. Directed by
7< ^en Krabbe. Written by Edwin de Vries.
Pi duced by Hans Pos, Dave Schram and
.4. de Jong. So distributor set. Drama.
S yet rated. Running time: 100 min.
Irs. Kalman ("The Impostors*"" Isabella
R sellini) is as unsure about her new nanny,
tfc wild, free-spirited Chaja ("Cousin
B es"" Laura Fraser). as Chaja is about her
stinchly religious employer. The two
w nen slowly become allies as Chaja devel-
0| a special relationship with one of the
y> ng children who does not speak. Chaja
ai .\Irs. Kalman work together to help the
li e boy conquer his fears and gain the
oi rage to talk. In doing so, they learn much
al ut each other—and themselves,
-^irst-time director and longtime actor
i.^en Krabbe "s straightforv^ard approach
tl;Left Luggage's"' sensitive subject mat-
(1^1 lows the audience to see the humanity
Othe characters and their struggles. He
4 ;cts the actors to give simple and moving
p formances that foster the delicate storyl^.ing
of this emotional film. His own act-
turn as the
I
haunted Mr. Kalman is subtle
I passionate. Michelle Santilli
lARIANNA UGRIA ^^^^
starring Lorenzo Crespi and Eva
( ieco. Directed by Roberto Faenza. TVn'/-
U by Roberto Faenza and Sandra
Itraglia. Produced by Vittorio Cecchi
i ri and Rita Cecchi Gori. No distributor
S. Drama. Italian-language; subtitled,
tt yet rated. Running time: 108 min.
[n 18th-century Sicily, there are few opt
lis in life for women. Marianna, a girl
"10 is deaf and mute, has learned to read
; J \\ rite under the tutelage of her grand-
1 uher and shows intelligence beyond her
;
irs. Because of this, when she reaches the
e of 13, her parents arrange for her to
E^irry her elderly, rich uncle, rather than put
\x in a nunnery. Despite her situation in
^2, Marianna continues to educate herself
id learns the newly developed sign lani
age. She passes her knowledge on to her
ildren and persists in her decidedly indendent
and feminist spirit.
Director Roberto Faenza treats the audi-
\ce to a visually beautiful and emotionally
|V'olving story. His sensitive depiction of the
|)ubled yet courageous Marianna is power-
• and moving. His efforts are supported by
pert lensing. exquisite costuming and
.emorable acting. Michelle SantilU
lEN IN SCORING POSITION
^
Starring Alan Gelfant and Eric LiddelL
irected and written by Timothy Rhys.
oduced by Timothy Rhys and Susan
enard. No distributor set. Drama. Notyet
ted. Running time: 96 min.
This unbearably slow-paced buddy picre
is made more unbearable by poor actg.
stilted dialogue and a story that never
;ts going. Writer/director Timothy Rhys
troduces us to two old friends who have
)t found any direction in life and seem to
have no goals other than to drink at the local
bar. Neidier has any money, so they constantly
lament being broke. They always have
a new scheme, but their usual luck prevails.
"Men In Scoring Positions" seems to go
on and on without going anywhere. Worse,
both protagonists are completely unsympathetic
and uninteresting. This film, like its
characters, muddles along but never finds
its stride. Michelle Santilli
ONLY CLOUDS MOVE THE STARS
• ***1/2
Starring Thea Sofie Rusten and Jan
Tore Kristoffersen. Directed and written
by Torun Lian. Produced by John M.
Jacobsen. No distributor set. Drama. Norwegian-language;
subtitled. Not yet rated.
Running time: 98 min.
"Only Clouds Move The Stars" is a remarkable
work that, with its straightforward
and unpretentious manner, is quite
profound and surprisingly uplifting.
Writer/director Torun Lian tells the story,
based on her novel, from the blunt perspective
of a young girl named Maria (Thea
Sofie Rusten) dealing with the death of her
younger brother. PeeWee.
Lian evokes a starkly raw and beautiful
performance from 11 -year-old actress
Rusten, who shows an amazing range of
talent and delivers such a believable performance
that her pain and path to growth is
quite sympathetic and believable. Equally
impressive is Rusten' s 12-year-old co-star,
Jan Tore Kristoffersen, as Jacob, the young
boy Maria meets when she is shipped off to
her grandparents' house after the death of
PeeWee. Jacob's outgoing and adventurous
spirit and the friendship that develops between
the two characters is the catalyst that
teaches Maria she does have the strength to
help herself, her family and especially her
mother heal and go on with their hves.
In addition to the wonderful story and brilliant
acting that makes "Only Qouds Move
The Stars" one of the best films of the year is
the breathtaking photography by d.p. Svein
Krovel. His exquisite lensing makes this film
visually beautiful and draws the viewer directly
into the story. Michelle Santilli
SEKAL HAS TO DIE
^^^1/2
Starring Bogus law Linda, Olaf
Lubaszenko and Jiri Bartoska. Directed by
Vladimir Michalek. Written byJiriKrizan.
Produced by Jaroslav Boucek. No distributor
set. Drama. Not yet rated Running
time: 110 min.
In 1943 in German-occupied Czechoslovakia,
the village of Lakotice is considered
to be under the "protection" of the Nazis
but, even so, the townsp»eople live in terror
of being turned in as traitors to the Reich.
Sekal (Boguslaw Linda), the illegitimate
son of one of the wealthy villagers, has so
far exposed two of the landowners as having
committed crimes against the Reich and
threatens to divulge more. The two aforementioned
men were sent to Nazi death
camps and Sekal was awarded their land as
recognition of his loyalty to the party.
The leaders of Lakotice decide that the
only way to take care of this problem is to
kill Sekal. Because none of them are willing
to do the deed, they elect the newly arrived
Jura (Olaf Lubaszenko) to carry out the
mission. Upon learning his fate. Jura questions
why he should kill Sekal since he has
done him no wrong. So they blackmail him
by threatening to tell the Nazis where he and
his family have been hiding. Faced with this
situation. Jura grapples with his conscience.
Shot in black and white, the film uses
light and shadows as a character in this
brutal tale of destruction. Vladimir
Michalek' s delicate direction of this barbarous
story make its final outcome even more
disturbing. Michelle Santilli
ST. PATRICK'S DAY *•
Starring Piper Laurie, Joanne Baron
and Jim Metzler. Directed and written by
Hope Perello. Produced by Kindra
Ruocco. No distributor set. Drama. Notyet
rated. Running time: 105 min.
The McDonoughs' aimual St. Patrick's
Day reunion provides a perfect scenario for
all of the family's secrets and personality
quirks to come to light. Things seem to be
going as usual until Mary Pat ("The
Faculty's" Piper Laurie) aimoimces at the
family dinner that she has taken "the
pledge" to remain alcohol firee. Everyone
feigns happiness for her until they learn that
she intends to inflict her beliefs on everyone
else for the remainder of the reunion. Of
course, the crafty McDonough clan finds
ways around this obstacle.
"St. Patrick's Day" attempts to tell the
story of one Irish family with all its idiosyncrasies.
Unfortunately, none of the characters
or their backgrounds are sufficiently
introduced, and hence it is difficult to care
about any of them. Michelle Santilli
WALLOWITCH & ROSS: THIS
MOMENT ^^^
Starring Bertram Ross and John
Wallowitch. Directed by Richard Morris.
Produced by Roberta Morris-Purdee. No
distributor set. Documentary. Not yet
rated. Running time: 77 min.
Director Richard Morris gives us a rare
peek into the lives of two artists and lovers,
Bertram Ross and John Wallowitch. Without
being obtrusive, he lets the men and
their talent speak for themselves.
Wallowitch and Ross perform together in
a witty cabaret show, but the pair did not
meet until mid-life. Before their hves intersected,
each pursued his own craft. But, as
this documentary makes apparent, their relationship
has supported and fostered the
growth of each man's work. Ross danced
with Martha Graham for over 25 years and
now teaches dance classes as well as performing
in the cabaret show. Wallowitch
studied at Julliard, performed at Carnegie
Hall and has composed over 1,000 songs.
The cabaret act exhibits some of
Wallowitch' s witty songs, which range
from very romantic to the bitingly funny.
— Michelle Santilli
June, 1999 (R-56) 65

,
Elephant's
I
Tarzan
I
I
REVIEWS
DESERT BLUE ^^^
Starring Brendan Sexton HI, Kate Hudson
and Christina Ricci Written and directed
by Morgan J. Freeman. Produced by
Andrea Sperling, Nadia LeonelU and Michael
Burns. A Goldwyn release. Romantic
comedy. Rated Rfor strong language and
teen alcohol abuse. Running time: 88min.
Baxter (pop. 89) is one of those Western
desert towns that seem to exist only in the
imagination of moviemakers. You know
the place—every resident is a character
with a little secret. We have seen them in
comedies like "Bagdad Cafe" and dramas
like "U-Tum." And here they are again in
a charming little piece from Morgan J.
Freeman which, speaking of U-turns, is a
180-degree spin from his memorable
angst-ridden debut, "Hurricane Streets."
Helping boost the town' s population temporarily
past the 90 mark is a professor of
Americana ("Snake Eyes' " John Heard) and
his actress daughter ("200 Cigarettes'" Kate
Hudson). They are on a road trip but get
stuck in Baxter after a soft drink tanker
crashes, spilling its contents. When the
tanker driver dies after apparently inhaling
the secret formula he's transporting, the
place is promptly quarantined by the FBI.
The professor is right at home; after all,
he suggested the detour so he could get a
look at the town's landmark—a giant pink
ice cream cone. His daughter is less happy.
She is desperate to get back to L.A. for an
audition and is sure she has absolutely nothing
in common with the locals. Of course
she bonds with the motley crew of natives
whose idea of a big night out is getting
stoned at Baxter Beach, an ocean park
which is lacking just one thing—water. It
sounds pedestrian and formulaic, but smart
writing and excellent acting lift it several
notches above average. Mike Kerrigan
^^^^
LEILA
Starring Leila Hatami and AH
Mossaffa. Directed by Dariush Mehrjui.
Drama. Written by Mahnaz Ansarian and
Dariush Mehrjui. A First Run release.
Drama. Persian-language; subtitled. Not
yet rated. Running time: 123 min.
Another gem from Iran (following such
recent acclaimed releases as "Children of
Heaven" and "The Mirror"), "Leila" is
about a middle-class Iranian couple who
have decided against having children. That
doesn't sit wellwith the husband's family,
and when the wife discovers she's infertile,
she's pressured to find a fertile woman to
fulfill that function. Juxtaposing those medieval
values with a modem cityscape,
"Leila" subtly delineates the couple's dilemma
as they are pushed and pulled in
directions they want to resist. Superbly
acted, "Leila" is a highly subtle drama that
avoids easy stereotypes—even of the overbearing
family members—while quietly
condemning the old-fashioned mores of Iranian
society. But "Leila" also recognizes
that these beliefs do not extend to the next
generation. Uncompromising and realistic,
particularly in its strong conclusion, "Leila" is
quietly devastating. Shlomo Schwaartzberg
FLASHBACK: March 31, 1932
What BOXOFFICE Said About...
TARZAN, THE APE MAN
[Buena Vista jgenerated a lot of positive buzz by showine ShoWest attendees
a rough cut of its animated ''Tarzan/' opening fune 18 ana featuring the voices
of Tony Goldwyn. Glenn Close, Rosie O'Donnell and Minnie Driver.
Hollywood's love of the famed ape man dates back to a 1918 adaptation of Edgar
Rice Burrough^s 1914 novel ^'Tarzan of the Apes,
starring Elmo Lincoln. But his most well-known incarnation
was in the form of Johnny Weissmuller,
whose innumerable portrayals of the Lord of the
Jungle began with 1932's ''tarzan. The Ape Man."]
Judging from the popularity of the Tarzan books
and the cartoon strips appearing daily in practically
every large American newspaper, this hair-raising
story of jungle adventure by Edgar Rice Burroughs
should prove a veritable goldmine for exhibitors. It
seems that pictures of this type click because audiences
get plenty of thrills for their money. In this writer's estimation, "Tarzan" is
far better than 'Trader Horn/' Metro's 1931 noted contribution to jungle films.
Another reason the picture is outstanding is that johnny Weissmuller, world
champion swimmer and one of the finest examples of masculine physique, plays
the title role of Tarzan to perfection. Briefly, the story concerns the hazardous
adventures encountered by a group of English people seeing the mythical
Burial Ground. The daughter of the leading explorer fails in love with
and is left in the jungle with the ape man after her father is killed. The fans
should not be disappointed in this opus which was directed by W.S. Van Dyke,
who was responsible for the success of "Trader Horn."
SELLING SEATS:
Use plenty of cutouts and teaser throwaways ofjungle beasts to inform the
public that "Tarzan" is greater than "Trader Horn." (Jet the juvenile attention via
the comic section of your local newspaper. Tie up with schools, libraries and
bookstores by starting a Tarzan club requiring all
members to read the Tarzan
books and see the picture, johnny Weissmuller's name offers great opportunity
for tie-ups with department stores and big shops.
IDLE HANDS iririr
Starring Devon Sawa, Seth Green and
Elden Henson. Directed by Rodman Flender.
Written by Terri Hughes & Ron
Milbauer. Produced by Andrew Licht, JefferyA.
Mueller, Suzanne Todd and Jennifer
Todd. A Columbia release. Horror/comedy.
Rated Rfor horror violence and gore, pervasive
teen drug use, language and sexuality.
Running time: 92 min.
Slacker Anton ("SLC Punkl's" Devon
Sawa) does nothing except watch television
and smoke pot. He's so idle, in fact, that his
right hand becomes possessed by an obscure
demon, as predicted by the old adage,
"Idle hands do the devil' s work." In Anton'
case, that work includes committing a number
of gruesome murders. Anton enlists the
help of fellow pot-heads Pnub ("She's All
That's" Elden Henson) and Mick (Seth
Green of TV's "Buffy the Vampire Slayer")
to help him get things in hand, so to speak.
Like "An American Werewolf in London,"
"Evil Dead 11" and "Army of Darkness,"
"Idle Hands" should find popularity
with niche audiences because of its gory
giddyness. Though it's not a classic of the
horror/comedy genre, it's enough fun to
while away your idle time. Tim Cogshell
LET IT COME DOWN: THE LIFE OF
PAUL BOWLES i^ir
Directed and produced by Jennifer
Baichwal. A Zeitgeist release. Documentary.
Unrated. Running time: 73 min.
Writer Paul Bowles' eventful Ufe is given
a superficial treatment by Canadian filmmaker
Jennifer Baichwal, who's a longtime fan
but not much of a documentarian. Best known
as the author of "The Sheltering Sky," Bowles
influenced many with his dark writings, including
Beat generation luminaries Allen
Ginsberg and WiUiam Burroughs. He also
lived what he wrote, emigrating to Morocco
over 50 years ago to live a dissolute life, and
marrying a lesbian, Jane Auer, whom he suggests
was poisoned by a female lover.
Baichwal interviewed Bowles in 1994
and 1 996 in Tangier, conversations that she
has interspersed with testimonies by some
of his contemporaries and current admirers
and readings from his books. It's all pretty
glancing stuff, with even Bowles' provocative
comments about his being gay and his
momentous meeting with Burroughs and
Ginsberg in New York in 1995 coming
across as distinctly underwhelming. He deserves
a better tribute than this wan film.
— Shlomo Schwartzberg
66 (R-57) BoxoFFiCE

.
play
i
I
LECTION
•*
REVIEWS
Starring Matthew Broderick, Reese
Htherspoon, Chris Klein and Jessica
ampbell. Directed by Alexander Payne.
ritten by Alexander Payne and Jim Tay-
»r. Produced by Jacobus Rose and James
urke. A Paramount release. Comedy.
ated R for strong sexuality, sex-related
ialogue and language and a scene ofdrug
se. Running time: 103 min.
Unofficial synopses of this black comedy
laim that it's "Ferris Bueller on the other
ide of the desk." Now that would have
een a funny movie. But just because Matlew
Broderick played both "Ferris'" eponmous
impish AWOL academian and
Election's" morally questionable high
chool teacher Jim McAllister doesn't
lean the characters are comparable; in fact,
imply a connection is an affront to one of
loviedom's most beloved scalawags. It's
tterly depressing to even consider that
erris would grow up to be a rut-ridden
nstructor whose dislike for an offputtingly
irissy student, the perennially pinch-faced
racy Flick ("Cruel Intentions'" Reese
Vitherspoon), leads him to try to destroy
ler. His attempts to foil her bid to become
;chool president aren't remotely Ferris-calber;
there is no ingenuity, no potential postive
outcome, no hero to root for nofun.
The repellant tone of "Election" is set
'.arly on when a teacher who's had an affair
vith Tracy describes a personal detail about
lis paramour to McAllister in appallingly
;alacious terms. Subsequently, the film repeatedly
tries to shock but simply alienates,
A'hile our protagonists spiral farcically
downward. This is one "Election" that
:ould have used fixing. Christine James
eXistenZ ^^1/2
Starring Jennifer Jason Leigh, Jude
Law, Ian Holm and Willem Dafoe. Written
and directed by David Cronenberg. Produced
by Robert Lantos, Andras Hamori
and David Cronenberg. A Miramax release.
Sci-fi thriller. Rated R for strong
sci-fi violence and gore andfor language.
Running time: 97 min.
In his first original screenplay since
1983's "Videodrome," writer/director
David Cronenberg' s "eXistenZ" revisits
,the same theme his 1996 film "Crash" did,
.namely sex. More specifically, weird sex.
Just as "Crash's" characters got off on automobile
accidents, "eXistenZ' s" characters
are turned on by a video game.
Jennifer Jason Leigh ("A Thousand
Acres") stars as Allegra Cellar, a world-famous
video game designer and pop culture
star about to premiere her new creation, "eXistenZ."
As she and a dozen other players
begin to download the game, however, she's
attacked and shot by a covert member of the
Realists, a radical anti-game group that opposes
the way games skew players' sense of
reality. In the subsequent chaos, Allegra'
safety is entrusted to makeshift security guard
Ted Pikul ("Gattaca's" Jude Law), and the
two hit the road looking for sanctuary.
Along the way, Allegra insists that Pikul
"eXistenZ" with her. Pikul, however.
has never had a bioport installed at the base
of his spine, making him a sort of video
game virgin. Once he' s outfitted— by a man
named Gas ("Speed 2's" Willem Dafoe) at
a backcountry gas station, no less—Pikul'
first gaming experience comes from the
greatest game designer of all time.
Because it's rooted in biology, the game
has an incredibly realistic psychological effect.
Players, especially new ones, have a
hard time distinguishing between what's
real and what's virtual, and eventually even
real life begins to feel unreal. In fact, it
becomes increasingly unclear as the film
proceeds what's the game and what isn't,
and action occurring presumably in the
game may have dire consequences in real
life.
Another symptom of the game's biological
basis is its direct association with sex,
perhaps our most primal instinct. The script
fairly oozes sexuality, from the nipple-like
protrusions on the "eXistenZ" game pods to
the characteristics of a bioport: Pikul likens
getting one installed to penetration while
Allegra advises him, "New ports are sometimes
a bit tight" and that they tend to get
excited, looking for action.
Cronenberg' s observations reflect the
concern that technology is replacing social
interaction, skewing one's sense of reality.
Unfortunately, "eXistenZ' s" complex
themes and even more complex plot too
easily get lost beneath the mucous, dirt,
blood and gore. Annlee Ellingson
MASCARA ^^
Starring Lumi Cavezos, lone Skye and
Amanda de Cadenet. Directed and written
by Linda Kandel. Produced by Crocker
Coulson. A Phaedra release. Drama.
Rated Rfor strong sexuality, language and
a rape scene. Running time: 94 min.
A title like "Mascara" evokes some exuberant
drag queen comedy, but there's nary
a sequined Wonderbra or a chuckle to be
found in this slice-of-life drama about three
women and their follied romances. Perhaps
"Mascara" refers to the uniquely feminine.
This trio of friends certainly has cause for
raccoon eyes: Newlywed Laura (Lumi Cavezos)
has discovered her husband Donnie is
an immature shopaholic weenie; Rebecca
(lone Skye) fears her much older boyfriend
has a not altogether wholesome relationship
with his slutty teenaged daughter; and Jennifer
(Amanda de Cadenet) is a jaded, selfloathing
alcoholic who has spiraled ever
downward since learning of her husband's
affair. At first, we want to see these seemingly
strong, level-headed women overcome
their circumstances, but as their
actions become increasingly questionable
(Laura considers going back to Donnie, Rebecca
couthlessly seduces a near- stranger,
and Jennifer's undisceming dalliances lead
to a disturbing rape), we cease to identify
and, by extension, to care.
Ostensibly the story of how friendship
gets these women through their trials, the
film rarely demonstrates this facet, except
in a time-jump to a bizarrely paradisic ending.
Christine James
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Response No. 109
June, 1999 (R-58) 67

68 (R-59) BoxoFFicE
REVIEWS
HIDEOUS KINKY ^^1/2
Starring Kate Winslet, Said Taghmaoui,
Bella Riza and Carrie Mullan. Directed by
Gillies MacKinnon. Written by Billy
MacKinnon. Produced by Ann Scott. A
Stratosphere release. Drama. Rated R for
some sexuality and language. Running
time: 98 min.
Hand-picked by Kate Winslet for her first
starring role after "Titanic," "Hideous
Kinky" headlines the starlet as Julia, a
young single mother who leaves 1970s England,
dragging her two daughters on her
quest to meet a Sufi who, she believes, will
show her spiritual wisdom. The trio gets
sidetracked in Morocco, however, when the
checks promised by the girls' father arrive
too small and too inft-equently. Eventually
they hook up with a street performer named
Bilal (Said Taghmaoui), who acts as a lover
to Julia and a father to the girls, formulating
the quasi-stability of family life that they
need.
Julia embodies the duality of the role of
mother: She wants to lay the world at her
daughters' feet, carting them off to exotic
locales and encouraging them to be children
rather than ladies. (The distaff family sleeps
naked due to the Moroccan heat, and Julia
lets her girls run around half-naked, an initially
uncomfortable but ultimately liberating
sight.) However, she also has a
responsibility to keep them safe, ultimately
returning to cold, clammy England when
her eldest, Bea (Bella Riza), falls ill.
Julia's parenting skills are brought into
question repeatedly, first by Charlotte (Abigail
Cruttenden), an English woman her
own age who advises that kids need discipline
and perhaps Julia should go home, then
by Patricia (Michelle Fairley), a Christian
missionary of sorts who transforms Bea into
a proper young lady. Sometimes even her
children seem more adult that Juha herself, as
when Bea insists, "I have to go to school."
"Hideous Kinky" fails to provide motivation
for Julia's response to Bea's demand:
"You don't have to do anything."
She never married the poet who fathered her
children; it seems she already had the freedom—and
the poverty—she fights so hard
for now. Annlee Ellingson
LIFE ***
Starring Eddie Murphy and Martin
Lawrence. Directed by Ted Demme. Written
by Robert Ramsey & Matthew Stone.
Produced by Brian Grazer and Eddie Murphy.
A Universal release. Comedy. Rated
R for strong language and a shooting.
Running time: 108 mm.
Make-up artist Rick Baker is a genius. He
ages Eddie Murphy and Martin Lawrence,
by stages, into entirely convincing nonagenarians.
But as they are sitting there actmg
old, all you do is marvel at the amazing
transformations or maybe muse about how
much Murphy sounds like Bill Cosby. It is
just too distracting. And that's a pity, because
at its center "Life" is a well-written,
beautifully cast and very funny buddy
movie which perfectly matches the talents
of its two leads. They play a couple of New
York hustlers who get framed for murder in
Mississippi and are sentenced to spend their
whole lives behind bars. The reason they
were not executed—hinted at but never
fully explained in the film—is that they
became part of the state's huge free labor
force. Black inmates farmed, built roads
and were even hired out to work on plantations;
basically slavery survived courtesy of
the judicial system.
Ray (Murphy) and Claude (Martin)
bicker like an old married couple, make
sporadic attempts to escape and interact
with the other inmates in some great comic
moments. The scene in which the superintendent
lines up the convicts in an attempt
to identify the father of his white daughter's
baby is a gem. And don't make a run for the
exit as the credits start to roll. One of the
outtakes has Murphy answering his ringing
cell phone. "I know it's the 1930s, but I got
the first one," he ad-libs.
But as the two convicts age—the film
takes them from their 20s to their 90s
those pesky prosthetics get in the way. Murphy
has done it all before in movies like
"Coming to America" and "The Nutty Professor."
He should now take a pledge to just
say no to disguises—except, of course,
when he is driving his Jeep down Santa
Monica Boulevard at two in the morning.
— Mike Kerrigan
PHOTOGRAPHER i^^^^^
Directed and produced by Dariusz
Jablonski. Written by Andrzej Bodek, Arnold
Mostowicz and Dariusz Jablonski. A
Seventh Art Release. Documentary. Unrated.
Running time: 76 min.
In 1987, 400 color slides taken by Walter
Genewein, the Nazis' chief accountant for
the Lodz Ghetto, were discovered in a second-hand
bookstore in Vienna. The photos
of the Ghetto inhabitants, among the earliest
known color shots from that time, cast a
benign, innocuous, light on the place, but
Polish director Dariusz Jablonski' s film,
which was six years in the making, paints a
different picture. Heartbreaking eyewitness
testimony from Ghetto doctor Arnold
Mostowicz, interspersed with telling Nazi
records and correspondence, add up to a
devastating portrait of utter German indifference
in the face of the Holocaust. What
Jablonski has done is build on the undercurrents
running through "Schindler's List,"
the way lists of the victims' names and the
details of their possessions were all that
finally remained of the Jews in their
murderers' eyes. With constant reference to
those lists, of precisely how many coats,
shoes and even teeth were collected from
the Ghetto inhabitants, as well as the exact
numbers of Jews being shipped to the concentration
camps, "Photographer" paints a
chilling portrait of genocide. But it doesn't
neglect the human side of this horrific equation,
painfully evident in Mostowicz's
wrenching testimony of what he saw and
experienced while in the Ghetto, and
through the tragic picture painted of the
controversial Chaim Rumkowski. He was
the leader of the Jewish council in the
Ghetto who had to make horrific, unbearable
decisions, such as sending Jewish children
off to certain death, an action which he
believed would stave off the liquidation of
the rest of the Lodz Ghetto. Other "human"
touches, such as Genewein' s obsessive letters
complaining about the quality of the
film he's purchased, aptly personify what
philosopher Hannah Arendt called the banality
of evil. Complex, disturbing and riveting,
"Photographer" is unforgettable.
— Shlomo Schwartzberg
***l/2
Starring Katie Holmes, Sarah Polley,
GO!
Jay Mohr, Scott Wolfand Timothy Olyphant.
Directed by Doug Liman. Written by
John August. Produced by Paul Rosenberg,
Mickey Liddell and Matt Freeman.
\
A Columbia release. Comedy/drama.
RatedRfor strong drug content, sexuality,
language and some violence. Running
time: 100 min.
"Go!" is the long-awaited second feature
from "Swingers" director Doug Liman
and it was worth the wait. He has delivered
a roller coaster of a movie that takes enormous
liberties with narrative and visual
structure, but all the audacity pays off.
The action—and it's mostly action
takes place over a couple of days right
before the Christmas holidays. A group of
friends gets involved in bad drug deals, car
wrecks, shootings, serious partying, a Las
Vegas wedding, casual sex, a police sting
and pyramid marketing. And if that sounds
confused enough, the story is told not once
but three times from different perspectives.
But this is no "Rashomon." Basically
everyone is on the same page as long as they
are sober enough and not in too much trouble
to be aware of their surroundings. Since
the movie unfolds at a hectic pace, the layered
storytelling is actually very helpful.
Liman packs his movie with a great ensemble
cast of up-and-comers. Sarah Polley
("The Sweet Hereafter") is the supermarket
worker who is mostly in the eye of the
hurricane, and she delivers the snappy dialogue
with great style. Jay Mohr ("Playing
By Heart") and Scott Wolf (TV's "Party of
Five") as a couple of actors forced to take
part in a police undercover operation are
wonderfully witty. Timothy Olyphant
("Scream 2") is powerful as the drug dealer
with the heart of gold, and two TV alumni,
Katie Holmes ("Dawson's Creek") and
Jane Krakowski ("Ally McBeal"), make the
transition with grace. Unbilled on most of
the ads is Desmond Askew, a breezy Brit
whose trip to Vegas sets much of the action
in motion; he shines in the scenes he is in.
Watch out too for "Armageddon's" William
Fichtner as the narcotics cop. The dinner
party he hosts is fall-down funny.
Writer John August occasionally goes
for the easy laugh, but anybody who can
dream up stereotyping a person by their
area code ("Don't go 818 on me" is a
denigration of the behavior one would expect
from a denizen of Los Angeles' Valley
region) deserves to be cut a lot of slack.
— Mike Kerrigan

•
Drew
REVIEWS
Supporting roles have been well cast to
give more dimension than might be expected
to the in-crowd, the outsiders and to
Josie's newspaper colleagues. Leelee
Sobieski ("Eyes Wide Shut") as the school
brain, who's bold enough to defy all taunts,
is particularly striking. But above all it's
Barrymore who makes the film work, once
again demonstrating the winning combination
of old-fashioned star power and modem
sensibility that makes her so watchable.
— Bridget Byrne
Drew Barrymore and Leelee Sobieski in Fox's "Never Been Kissed.
IeVER BEEN KISSED iri^irMZ
Starring Drew Barrymore, David Arqutte
and Michael Vartan. Directed by Raja
fosnell. Written by Abby Kohn and Marc
ilverstein. Produced by Sandy Isaac and

70 (R-61) BoxoFFiCE
REVIEWS
Heath Ledger and Julia Stiles in Buena Vista's "10 Things I Hate About You."
10 THINGS I HATE ABOUT YOU
***
Starring Julia Stiles, Heath Ledger, Joseph
Gordon-Levitt and Larisa Oleynik.
Directed by Gil Junger. Written by Karen
McCullah Lutz and Kirsten Smith. Produced
by Jeffrey Chernov, Seth Jaret and
Andrew Lazar. A Buena Vista release. Romantic
comedy. Rated PG-13for mild language
and sexual references. Running
time: 90 min.
Coming off the heels of the recently released
"Cruel Intentions," a teenage version
of Choderlos de Laclos' "Dangerous Liaisons,"
"10 Things I Hate About You" offers
up its own modernized high school-set rendering
of a classic, this time with
Shakespeare's 'Taming of the Shrew."
The Bard's Katherina is reintroduced to
late-20th century teens as Kat (Julia Stiles),
a boy-shunning high school senior whose
proclivities for Sylvia Plath and riot grrrl
music convey her as an angry, intellectual
feminist, which seems to be Gen X's version
of a shrew. Kat's apathy towards maintaining
an active social life is detrimental to
her younger sister, Bianca (Larisa Oleynik),
who has been forbidden by their father to
date unless the elder sibling does. Here, of
course, is where the Shakespearean comedy
of errors begins, when Bianca' s suitors,
Cameron (Joseph Gordon-Levitt) and Joey
(Andrew Keegan), come up with a scheme
that entails bribing the school's reputed bad
boy, Patrick Verona (Heath Ledger), to romantically
pursue the unsuspecting Kat.
Largely buoyed by the well-rounded performances
of Stiles and Ledger, " 1 Things
I Hate About You" has potential appeal for
audiences beyond its target teen market.
Stiles' Kat is a multifaceted and contentious
heroine who simultaneously exudes charm
and fierceness through her sworn devotion
to remaining an individual and never following
the crowd. Ledger's Patrick is similarly
pleasing, bringing a freshness to the
tried-and-true rebellious character who really
has a poetic soul and is simply misunderstood.
The chemistry between these two
headstrong personalities is without a doubt
the most compelling aspect of the movie.
However, something is definitely rotten
in the film's setting of Padua High School,
and more adult viewers may be irked by
some of the movie's inane moments, such
as a tiresome gag involving a school counselor
named Miss Perky. In between disciplining
students with sarcastic one-liners,
she spends her time writing bad erotica, and
just in case viewers missed her first utterance
of the words "throbbing member,"
several more penile descriptions are thrown
in her seemlingly endless monologues.
Nevertheless, these scenes for the pre-pubescents
are thankfully on the lesser side. If
these few trices, along with an unfortunately
weak supporting cast, can be overlooked,
"10 Things I Hate About You" is
overall an enjoyable, good old-fashioned
modernized love story. Francesca
Dinglasan
TWIN DRAGONS ^^^i^
Starring Jackie Chan, Maggie Cheung,
Teddy Robin Kwan and Nina Li ChL Directed
by Tsui Hark and Ringo Lam. Written
by Barry Wong, Tsui Hark, Tung Cho "Joe"
Cheung and Yik Wong. A Miramax release.
Comedy. Rated PG-13 for some shootings,
non-stop martial arts action violence and
sensuality. Running time: 89 min.
On the heels of the blockbuster success
of "Rush Hour," Miramax's Dimension
label has dusted off another old Jackie Chan
classic— 1992's "Twin Dragons," an uproariously
funny comedy that has long been
considered one of Chan's very best.
Like such previous Dimension re-releases
as "Operation Condor" and "Supercop,"
some cosmetic tinkering has been
wrought on "Twin Dragons," namely
dubbed dialogue, a totally unnecessary new
score by Michael Wandmacher and some
questionable cuts. Still, while there is no
substitute for seeing the film in its original
form, Miramax and Distant Horizon are to
be guardedly praised for not mucking up
"Twin Dragons" as egregiously as "Operation
Condor."
Filmed as something of a sideways response
to Jean-Claude Van Damme' s middling
1991 hit "Double Impact," "Twin
Dragons" is a fairly straightforward twinsseparated-at-birth
saga in which an escaped
convict kidnaps one of two newborn boys,
only to have it fall into the hands of an
alcoholic prostitute who raises it as her own.
Years later, the prostitute has passed on, but
the boy, now grown, is alive and well, a
streetwise martial arts expert and skilled
auto mechanic known as Boomer. His
brother, John Ma, meanwhile, has forged a
career stateside as a famous concert pianist
and conductor. Though neither has any
knowledge of the other, they retain a psychic
connection that is reactivated when
John arrives in Hong Kong for a concert.
Suddenly and inexplicably, each begins
sensing the experiences of the other,
and at the most inopportune times. Even
worse, as they continually cross paths
with the same people (though never actually
meeting themselves) they leave a
wasteland of mayhem and confusion in
their wake, the greatest toll levied on their
respective girlfriends—a lounge singer
named Barbara (reliable Jackie regular
Maggie Cheung) and a spoiled socialite
named Sweetie (Jet Li fiancee Nina Li
Chi as a character originally named Tong
Sum).
The proceedings are interlaced with a
variety of other subplots, namely Boomer's
ongoing troubles with a local mobster who
eventually nabs his wayward buddy, Tarzan
(Teddy Robin Kwan), to set up the spectacular
rescue/finale in an automobile testing
facility. Such particulars, of course, are simply
part of the ingenious obstacle course
that allows Jackie to flex his comedic muscles,
few of which, ironically, involve fighting.
Excepting the finale and two major set
pieces, the film's physical comedy is surprisingly
non-violent, relying more on
Lubitsch-style situational humor, traditional
farce and the psychic link gimmick
to sustain the laughs. The famous hot-tub
sequence, featuring both brothers and
Sweetie, is a masterpiece of comic timing,
performance and direction.
Originally produced to benefit the Hong
Kong Directors Guild, the film (splendidly
co-directed by veterans Tsui Hark and
Ringo Lam) also features dozens of cameos
by famous Hong Kong filmmakers (Kirk
Wong, John Woo, Sylvia Chang, Lam and
Tsui to name only a handful) as well as
in-jokes that only committed fans of Hong
Kon^ cinema are likely to get.
Still, the core of "Twin Dragons" remains
resolutely universal, as enduringly
funny for American audiences in 1999
as it was for Asian audiences in 1992.
— Wade Major

^
snooty
'
REVIEWS
Review Digest
HE OUT-OF-TOWNERS
••
Starring Steve Martin,
oldie Hawn and John Cleese.
irected by Sam Weisman.
ritten by Marc Lawrence. Proiced
by Robert Cort, David
'adden, Robert Evans and Teri
^hwartz- A Paramount release.
imedy. Rated PG-13 for some
X and drug-related humor,
'inning time: 90 min.
W ithin the first five minutes
The Out-of-Towners," it is
-»\ ious that this remake bears
il\
a passing resemblance to
e classic 1970 film starring
ck Lemmon and Sandy Dens.
Whereas the original,
hich was written by Neil
imon and directed by Arthur
iller, used pitch-black humor
1 create a New York City that
as not just uninviting to the
tular characters but downright
ghtmarish, the 1999 version
n es the Big Apple. Henry and
ancy Clark (Steve Martin and
^oldie Hawn) are on an advenire
as opposed to being in hell.
The Clarks travel to New
ork because Henry has an inrview
with an advertising
gency. Things turn crazy allost
immediately when the
lane is rerouted to Boston.
.fter numerous Beantown misaps.
the Clarks finally rent a
ar and drive to New York.
V iihin 24 hours, they get into a
ar accident, are mugged, and
ccidentally have sex at Tavern
n the Green in front of Mayor
udolph Giuliani, among other
lings. During the insanity,
ley repeatedly try to convince
hotel manager, Mr.
blersault (John Cleese), to give
pem a break—to no avail.
With expertly directed action
equences and dialogue with a
90s sensibility (save for a coule
of instances of forced palos),
director Sam Weisman
;nd screenwriter Marc Lawence
have crafted a kinder,
'entler film without sanitizing
t. Also, as they proved in
992 's "Houseguest," Martin
ind Hawn have wonderful
creen chemistry. You truly be-
'ieve that they are an old mar-
'ied couple who don't quite
Jiow how to relate to one another
after 27 years together.
iVnd for all the John Cleese fans
n the world, he once again
•roves that he is a comic gelius—even
if the role doesn't
natch his talent. "The Out-of-
Towners" may not venture into
lew comedic territory, but it is
in enjoyable and humorous ex-
»:ursion. Kristan Ginther
Genre key: (Ac) Action; (Ad) Adventure; (Ani) Animated; (C) Comedy;
TRAILER: THE MOVIE
(D) Drama; (Doc) Documentary; (F) Fantasy; (Hor) Horror;
Elizabethan excess, is tedious.
— Shlomo SchwartzJberg
(M) Musical; (My) Mystery; (R) Romance; (Sat) Satire;
Starring Ian McCrudden,
(SF) Science Fiction; (Sus) Suspense; (Th) Thriller; (W) Western.
Will Pope, Miranda Hicks and
Marjorie Crigler. Directed by
<
Ian McCrudden. Written by Ian i
McCrudden and Will Pope. 12
Produced by Ian McCrudden,
Marjorie Crigler and Will Pope.
A Phaedra release. Unrated.
Run fling time: 86 min.
'Trailer' is mostly a fantasy
about a couple of guys who are
obsessed with movies and hit
the road to make their own.
Along the way they pick-up
two sassy chicks who share
their love of cinema. The film
is an exercise in movie trivia:
Ian McCrudden and Will Pope,
who script as well as star, spend
a good deal of their time figuring
out clever (and not so clever)
ways to weave a myriad of references
into their weird little
movie.
'Trailer: The Movie" will
mostly appeal to cineastes who
delight in the guilty pleasure of
patting themselves on the back
for successfully identifying allusions
and homages. But
anyone who's seen "Pulp Fiction"
will enjoy the riotous
send-up of its famous diner
scene. Tim Cogshell
THE ROOK (0 stars)
Starring Martin Donovan
and John A. Mackay. Directed
by Eric Palatnik. Written by
Richard Lee Purvis. Produced
by Alan Abrams and Eric Palatnik.
A Phaedra release. Science
fiction/drama. Running
time: 85 min.
Why Phaedra has decided to
dust off and release this 1994
gobbler is a mystery. A tepid
alternate-world science fiction
scenario has a dull, hangdog detective
('The Opposite of
Sex's" Martin Donovan) investigating
the killing of a female
linguistics professor. Not surprisingly,
sex and political
machinations figure prominently
in the revelations stemming
from his investigation,
but the only distinctive element
in this boring, lackadaisical
film is the setting, which messily
mixes the medieval and the
modern. Alchemy co-exists
with computers, ancient evils
alongside allegations of lesbianism.
None of it makes for
interesting viewing and even
the unique set design, including
vaguely futuristic costumes
that nevertheless smack of

72 BOXOFFICE
ADVERTISER INDEX
AICP 9
Automaticket/Hurley Screen 47
Cinema Consultants and Sen/ices 67
Colgate Palmollve 15
Crown Audio 31
Dolby Laboratories 19
EIMS Inc 29
ETM 35
Glassform 39
Gold Medal Products 21
Hadden Theatre Supply Co 42
International Cinema Equipment Co 67
Kinetronics Corp. USA 44
Lavi Industries 42
Maroevich, O'Shea & Coghlan 39
Munters Corp 37
National Ticket Co 44
Odell's 43
PepsiCo Inc 3
Pinkston Sale & Service 47
Proctor Companies 28
Promotion In Motion 7
QSC Audio Products C-3
Radiant Systems 25
RDS Data Group Inc 27
Ready Theatre Systems 39
Regal Cinemas 73
Ricos Manufacturing 13
Sensible Cinema Software 73
Server Products 11
Smart Products Inc 41
Smart Theatre Systems 23,33
Stein Industries Inc C-4
System Operating Solutions 37
Tankersley Enterprises 45
Tootsie Roll Industries C-2
Wallace Theatre Corp 47
CLASSIFIED ADVERTISING
HELP WANTED
BOOTH TECHNICIAN position is available. We believe
that state-of-the-art sound and presentation are
the keys to success in the movie Industry. Join our
team as we expand throughout the country. We offer
a wide variety of benefits and opportunity for professional
growth. Send your resume with salary history
to: Century Theatres Inc. Att; Facilities Dept. 150
Pelican Way, San Rafael, CA 94901
LET THE GOVERNMENT FINANCE your new or
existing small business. Grants/loans to $800,000.
Free recorded message: (707) 448-0270. (RN7)
MIDWEST BASED company seeks experienced
managers, assistants and sound and projection service
person. We are growing throughout the Midwest
and are seeking Individuals who are able to rise to the
challenges and are leaders. Relocation may be necessary.
Send resume and salary requirements to:
ShoPro Inc., Attn: Director of Operations, PO Box
190, Yorkviile.lL 60560.
SOUTHWEST CHAIN: Trans-Lux Theatres of Santa
Fe, NM Is now accepting applications for managers and
managertralneesfor Colorado, New Mexico, & Arizona.
Good pay & benefits with golden opportunities for advancement.
For a career with a rapidly expanding company,
send your resume to: Vice President, Trans-Lux,
433 Paseo De Peralta #101, Santa Fe, NM 87501.
Relocation necessary. Fax (505) 989-3327.
THEATRE MANAGEMENT & BOOTH OPERA-
TORS: Career advancement with progressive new
company for experienced theatre management and
booth operators. Building only new state-of-the-art,
all-stadium, all-digital stereo multiplexes located primarily
in Southeast. Please mail cover letter and
resumeto AmStar Entertainment, Attn: Personnel,
1400 Urban Center Dr., Suite 420, Vestavia Hills, AL
35242, or fax to (205) 970-9066.
THEATRE MANAGEMENT OPPORTUNITY:
Wallace Theatres, a nationally recognized regional theatre
circuit, is seeking outstanding theatre management
professionals to join our rapidly- growing organization
as General Managers. If you are a team player, enjoy
working with the public and are seeking a career and a
future in the motion picture exhibition Industry, send
your resume to: Personnel Director, Wallace Theatre
Corp.,3375 Koapaka St., Ste. 345, Honolulu, HI 96819.
EQUIPMENT FOR SALE
ACOUSTIC SOUND PANELS & CUSTOM WALL
DRAPERIES available in flameproofed colors and
fabrics, artistic or plain. CINEMA CONSULTANTS &
SERVICES INTL INC., P.O. Box 9672, Pittsburgh, PA
15226. Phone (412) 343-3900; Fax (412) 343-2992.
BURLAP WALL COVERING DRAPES: $2.05 per
yard, flame retardant. Quantity discounts. Nurse & Co.,
Old Millbury Rd., Oxford, MA 01540 (508) 832-4295.
COMPLETE THEATRE EQUIPMENT: (New, Used
or Rebuilt) Century SA, R#, RCA 9030, 1040, 1050
Platters: 2 and 5 Tier, Xenon Systems 1000-4000
Watt, Sound Systems mono and stereo, automations,
ticket machines, curtain motors, electric rewinds,
lenses, large screen video projectors. Plenty of used
l?ckk^
chairs. PROFESSIONAL SERVICE AND INSTALIj
TION AVAILABLE DOLBY CERTIFIED. Call bill
Younger, Cinema Equipment, Inc., 1375 N.W. 97th
Ave., Suite 14, Miami, FL 33172. Phone (305) 594-
0570. Fax (305) 592- 6970. 1-800-848-8886.
CUPHOLDER ARMREST. "State of the art. " Call Cy
Young Industries Inc. 800-729-2610.
DIGITAL & ANALOG STEREO SOUND SYSTEMS:
Dolby DA-20/CAT.701 $6999, CP-65 $4695, CP-200
$4500, CP-100 $1550, CP-55 $2450, CP-50 $1350,
CP-45 $3199, DTS6D B-Stock Digital $4650, Smart
MOD IIB$1975, Smart MOD II $1550, Eprad Starscope
4 $995, Eprad Stariet $895, KIntek Front Surround
System $1750, Crown DC-300 $395, QSC 1700 B
Stock $850, EV AP-2600 $600, JBL 4675-8LF $1650,
JBL 8340 $285. International Cinema Equipment Co.
Inc. Phone (305) 573-7339, Fax (305) 573-8101 .
Web:
www.iceco.com or email: lceco@aol.com.
EXPORT SPECIALS 16, 35, & 70MM:
CInemeccanica V4, 5, 8, 9, 1 0, 1 2 projection systems,
KInoton FP-18, FP-20, DP-75, DP-70, Bauer, Zeiss,
Prevost P-16, Meopta, Toklwa, Westrex. World's
largest Independent supplier of refurbished & new
projection systems. Installations & service worldwide.
Catalog. International Cinema Equipment Co. Inc.
1 00 NE 39th St., Miami, FL 331 37. See us on the web
at www.lceco.com or email: lceco@aol.com. Phone
(305) 573-7339, Fax (305) 573-8101
FOR SALE: NEW - BEST PRICES: 35MM PRO-
JECTORS, automatic or portable bulbs, lenses,
splicers & tape, screens, snake lights. Ph. +61 7 4939
2017; Fax +617 4939 2023; E-mail yfllm®
networx.com.au; Website www.kevlnbaglow.com.
FOR SALE: TWO USED SELBY SCREEN TOW-
ERS, 80x50, very good condition. No reasonable
offers refused. Must be taken down by May 1 999. Call
(914)564-0010.
MICRO-FMTM STEREO RADIO Sound Systems for
Drive-ln Theatres. Static free. Call or write: AUDIO
VISUAL SYSTEMS, 320 St. Louis Ave., Woonsocket,
Rl 02895. Phone (401 ) 767-2080; Fax (401) 767-2081.
PATRON TRAY. Fits into cupholder armrest. Call Cy
Young Industries Inc. at 800-729-2610.
REBUILT CENTURY SA & R3 projector/sou ndhead
$4450. Simplex XL $4750. Xenon lamps, platters,
many lenses, excellent line of other used projection
and sound equipment. TANKERSLEY ENTER-
PRISES, P.O. Box 36009, Denver, CO 80236. Phone
(303) 71 6-0884; fax (303) 71 6-0889.
(SCG) PORTHOLE GLASS: It's a CRYSTAL CLEAR
GLASS that's perfect for projecting color Images
through, resulting in the CLEAREST, SHARPEST &
BRIGHTEST IMAGE you can possibly get with glass
or plastics. Plus, it allows LIGHT & COLOR to pass
through it WITHOUTIMAGE DISTORTION. Formore
information, and a FREE (SCG) SAMPLE, call or fax
LEE'S PHOTO PRODUCTS at (630) 595- 6469, or
fax (847) 985-9104.
TABLET TRAYS. Fits into all cupholder armrests.
Used in multi-purpose theatres, bingo, etc. Call Cy
Young Industries Inc. at 800-729-2610.
TELEPHONE ANSWERING EQUIPMENT. All major
brands of reliable, heavy-duty tape announcers and
digital announcers are available at discounted prices.
Call Answering Machine Specialty, (800) 222-7773.
TIM HARVEY TICKETING. Most afforable full-featured
box office software, concession available. IBM-
PC compatible. Call 1 (800) 891 -1 031
USED EQUIPMENT FOR SALE: 2 SIMPLEX X-L
35MM PROJECTOR HEADS, 2 Simplex sound
heads, console automated. Potts platter system,
make-up table. Xenon lamp, rectifier, other equipment,
(35mm) reels and splicer, etc. Call Raul
Negrete(818)362-1777.
USED EQUIPMENT FOR SALE: PROJECTORS,
Prewired Stereo Racks, Platters, Lamps, etc. Premier
Seating Co. Inc., 1 (888) 456-SEAT, Fax (410) 488-
9969, Email: info@premierseatlng.com.
USED PROJECTION EQUIPMENT: Replacement
equipment, single or multi booths available. Please
you are purchasing or selling. CINEMA CON-
call if
SULTANTS & SERVICES INTERNATIONAL INC.,
P.O. Box 9672, Pittsburgh, PA 15226. Phone (412)
343-3900, Fax (412) 343-2992.

i
800-647-
San
make
ED PROJECTION/SOUND EQUIPMENT - Cen-
"ALL AMERICAN SEATING" by the EXPERTS.
y, Simplex, Cinemeccanica, Norelco. 16/35/70 Used seats of quality, various makes. American Stellars
nri, Dolby Electronics, lamps, consoles, lenses,
from $12.50 to $32.50. inwins from $20.00 to
;non bulbs, etc. Contact Charlie at Kurluff Enter-
SSes (626) 444-7079; Fax (626) 444-6863.
$40.00. Heywood & Massey rockers from $40.00. Full
rebuilding available. New American Desk chairs from
ESTAR QUALITY CINEMA EQUIPMENT, PARTS
$85.00. All types theatre projection and sound equipment.
;:ACCESSORIES: Westar multi-coated
New and used. We ship and install all makes.
projection
liises available. 40mm thru 115mm Try us!
in 62.5mm & We sell no junk! TANKERSLEY ENTER-
.6mm barrels $450-$500. Westar 35mm PRISES,
Splicers
P.O. Box 36009, Denver, CO 80236. Phone
555, Westar Projectors & Soundheads. Two year
(303) 716-0884; fax (303) 716- 0889.
trts warranty. Projector parts for your Century, ALLSTATE SEATING is a company that is specializing
iestrex, Westar, Monee, or Cinecita Projectors &
in refurbishing, complete painting, molded foam,
i»undheads. International Cinema Equipment Co. tailor-made seat covers, installations, removals.
p. Phone (305) 573-7339. Fax (305) 573-81 01 . See Please call for pricing and spare parts for all types of
on the Web at www.iceco.com.
theatre seating. (617) 268-2221, FAX (617) 268-7011.
ILL TRADE: YOUR THEATRE SEATS FOR OUR AUDITORIUM SEATING SPECIALIST. New installations,
rebuilds, repairs and reasonable rates. Bob,
3ED THEATRE EQUIPMENT. Great condition at
eat prices. Platters, projectors, lamphouses, com- (970) 224-1147. Perfection Seating Inc., 295 Lone
3te prewired stereo racks and much, much more. Pine Creek Drive, Red Feather Lakes, CO 80545.
emierSeatingCo.Inc, 1 (888)456-SEAT,fax(410)
"BOOSTER B. SAURUS" Child booster seats. Call
18-9969, email: info@premierseating.com.
Cy Young Industries Inc. at 800-729-2610.
IQUIPMENT WANTED
FINALLY, AN ALTERNATIVE TO ON-SITE UP-
HOLSTERY: Call us about our new upholstered
LOSING A THEATRE & OPENING NEW ONES? Backs and Cushions by mail program. More cost-efficient
than on-site upholsterers, fast turn- around,
/ade old cinema equipment for NEW DOLBY, JBL,
If CHRISTIE. Generous allwances for old against quality controlled in our combined 160,000 sq. ft.
jiirchase of new. Call & find out how to convert old State- Of-The-Art Factory. Premier Seating Co. Inc.,
jfsssets. International Cinema Equipment Co. Phone 1 (888) 456-SEAT, Fax: (410) 488-9969, Email:
\^5) 573-7339. Fax (305) 573-8101. See us on the info@premierseating.com.
yeb at www.iceco.com or email: iceco@aol.com. SEAT AND BACK COVERS: Most fabrics in stock.
URCHASE OR TRADE: For your used theatre Molded cushions. Cy Young Industries, 800-729-2610.
quipment, concession equipment, theatre seats.
SEAT FOAMS: All makes/all models, fast turn- around.
sk about our storage facilities. Premier Seating Co.
Premier Seating Co. Inc., (888) 456-SEAT, fax (410)
10. , (888) 456-SEAT, Fax: (410) 488-9969, Email:
488- 9969. Email: info@premierseating.com.
,ifo @ premierseating.com.
THEATRE SEAT AND BACK COVERS: Large instock
fabric inventory, fast turn-around, competitive
INTAGE TUBE TYPE AMPS, woofers, drivers,
orns, parts, from Western Electric, Westrex, Altec,
pricing at any quantity. Premier Seating Co. Inc., 1
ensen, JBL, EV, Tannoy, Mcintosh, Marantz. (626)
(888) 456-SEAT, fax (410) 488- 9969. Email:
41-3942. P.O. Box 80371 , Marino, CA 91 1 18.
info@premierseating.com.
VANTED DEAD OR ALIVE: We will purchase Cenjry
projectors or soundheads, new or old, complete
THEATRE SEAT RECONDITIONING: Total or Partial
Theatre Seat Restoratbn in our combined 160,000
)r incomplete, for cash. Also interested in XL and
sq. ft. State-Of-The-Art Factory, featuring Sandblasting,
5H-1000. Call (502) 499-0050. Fax (502) 499-0052,
Powder-coating, and In- House Upholstering. Restore
Hadden Theatre Supply Co., attn. Louis.
your seats or purchase from our inventory. Premier
VE WILL BUY OR TRADE for used/new equipment Seating Co. Inc., 1 (888) 456-SEAT, Fax: (410) 488-
in any projector/soundhead/platter/lamphouse/con- 9969. Email: info@premierseating.com.
•.de/speakers/lens and concession equipment. We can THEATRE SEATS WANTED: Will buy/trade for surplus
and unwanted theatre seats, all makes and mod-
emove or pick up anywhere in the U.S. or overseas.
fANKERSLEY ENTERPRISES, P.O. Box 36009, Denels.
Premier Seating Co. Inc., 1 (888) 456-SEAT. Fax
Ver, CO 80236. (303) 716-0884; fax (303) 716-0889.
(410) 488-9969. Email: info@premierseating.com.
THEATRES FOR SALE/LEASE
USED AUDITORIUM CHAIRS: Choose from a large
selection of different makes and models and colors,
DRIVE-IN near southern Indiana college town. High American Stellars and Inwin Citations competitively
grosses, loyal patrons. Good concessions. Well priced, shipped and installed. ACOUSTIC SOUND
maintained. For sale (no leases). (812) 876-7350. PANELS AND CUSTOM WALL DRAPERIES available
in flameproofed colors and fabrics, artistic or
IN WARM SOUTHWEST, comfortable small town.
plain. CINEMA CONSULTANTS & SERVICES IN-
Established, operating, turnkey recently renovated
TERNATIONAL, Inc. P.O. Box 9672, Pittsburgh,
two
PA.
screen theatre. Apartment on premises suitable
15226. Phone (412) 343-3900, Fax
for single/couple
(412) 343-2992.
owner-proprietor. Large draw area.
Huge lot: more screens can be added. Send inquiry to: "WHILE THE THEATRE SLEEPS zzzzz" On-site
AIco, 2000 Camino Rancho, Sierra Vista, AZ 85635. reupholstery, 20 years' experience in the field. Top
fabrics, molded seat cushions and "State of the Art"
THEATRES WANTED
Cy Young cupholders. Cy Young Inc., (800) 729-2610.
THEATRE WANTED in Los Angeles, Orange County MARQUEES
area. 350-seat preferred in good operating condition.
For lease or purchase. Call (31 0) 268-81 99. CUSTOM MARQUEES and Electric Signs. Total care
leasing. Bux-Mont, (2 1 5) 675- 1 040, fax (2 1 5) 675-4443.
DRIVE-IN CONSTRUCTION
MISCELLANEOUS
DRIVE-IN SCREEN TOWERS Since 1945 Selby
Products, Inc., P.O. Box 267, Richfield, Ohio 44286 35MM XXX adult features. About 1 2 features from the
(330) 659-6631
, 6224.
80s. Call for titles. Phone (612) 874-1 303.
THEATRE SEATING
ASSOCIATED WITH THEATRES SINCE 1920. At
94 I handmade fishing lures. Theatre people
also like to fish. Free brochure.
550 IRWIN MARQUEE
Homer Phillips, River
SEATS. 3 years old. Teal
City, Rt. 2, Box 440, Ronceverte, WV 24970.
blue tufted fabric, high backs, black plastic. $30. (61 2)
721 -3794 for photos/info BOOST CANDY SALES instantly
.
with our "Camlval
of Prizes"! Scratch-off promotion for less than a nickel
3000 IRWIN MARQUEE CHAIRS like new $65, 8000
each ticket. Free catalog. 1
Inwin (800) 633-3556.
Citations from $25. American Stellars from $20,
American High-Back Deluxe Rockers from $27.50, HERSHENSON ARCHIVE WANTS TO BUY exhibitor
Wakefield self risers from $20. Tfiousands of bargains.
magazines, studio yearbooks, pressbooks, movie
Photos. There is only one International Cinema Equip-
posters (all years and studios). Free appraisals of
pre-1 960 material. (41 7) 256-961 6, fax (41 7) 257-6948.
on
W
O
<
<
pq
H
hEGAL
CINEMAS^.
Has immediate positions available
for experienced theatre managers.
We need self-starters with excellent
leadership skills who are willing to
relocate. Regal offers an excellent
benefit and performance bonus
package. Salary commensurate with
experience. Please send cover letter,
resume & references to:
7 1 32Commercial Park Drive
KnoxvillcTN 37918
do Management Opportunity
Sensible
Cinema
Software
(615) 790-7797
www. sensiblecinema.com
Response No. 135
Affordable
Ticketing &
Concession
Solutions
MOVIE POSTERS WANTED: Highest prices paid for
lobby cards, 1-, 3- and 6-sheets, window cards, banners,
glass slides. Dwight Cleveland, P.O. Box
10922, Chicago, IL 60610-0922. Phone (516) 877-
2914, fax (516) 877-0283.
MOVIE POSTERS WANTED! I
pay top dollar for
vintage material. John Hazelton, P.O. Box 119, Huntington,
NY 1 1 743. (51 6) 421 -7203, fax: (51 6) 421 -7240.
THEATRE RECREATION. Greenbrier Valley River
Estate. Near the worid's famous Greenbrier Hotel,
Greenbrier Valley Airport, etc. Free brochure. Write to
Homer Phillips, Rt. 2, Box 440, Ronceverte, WV 24970.
SERVICES
ALTEC, JBL, E.V. SPEAKER RECONING: Factory
authorized service, fast tumaround. We stock diaphragms
for popular theatre drivers. Cardinal Sound
& Motion Picture Systems Inc. Dealer inquiries welcome.
(301 ) 595-881 1
CALL ME about rebuilding your intemnittents, projectors
and sound heads. Century or Simplex. "Pinky"
Pinkston at (903) 523-4912. Pinkston Sales and Service,
Rt. 1 , Box 72-H, Sadler, TX 76264.
IN-THEATRE DESIGN. Hand-pleated drapes installed.
Speakers and wire mounting. Movie screens
installed. Painting and polymix. Coast-to-coast service.
Call (508) 285-7593. HafferCo., Norton, MA.
MOTORS REPAIRED - for all types of projection
equipment. Save on cost of replacing motors. 6-
month warranty on repairs. Phoenix Cinema Specialties,
Inc. (301) 831-7360.
SOUND/DRAPING FABRICS IN STOCK. All new
selection of fabrics. Installation on brackets available,
or sewn in pleated drapes. Call Cy Young Industries
Inc., 800-729-2610.
ULTRAFLAT REFLECTORS: Why buy new when
you can have it restored? "Hopeless" cases restored
to brightness. Call your dealeror ULTRAFLAT, 20306
Shemnan Way, Winnetka, CA91 306. (81 8) 884-01 84.
http://www.ultraflat.com
"WHILE THE THEATRE SLEEPS Z22ZZ" On-site
reupholstery, 20 years' experience in the field. Top
fabrics, molded seat cushions and "State of the Arf Cy
Young cupholders. Cy Young Inc., (800) 729-2610.
June, 1999 73

n
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ROBERT M. VALE
GWEN CAMPBELL
National Advertising Director
West Coast Advertising Representative
(626) 396-0250 (310) 792-901
bobv@itoxoffice.com
TC0@ix.netcom.com

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