Boxoffice-March.1988

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ROUNDTABLE: DISTRIBUTION AND EXHIBITION THE TIES THAT BIND By Buddy Golden Executive Vice President Domestic Distribution Orion Pictures . . . it's part of the CAN DISTRIBUTION and exhibition Howwork more closely together? Sho- West is not only a great place to raise the question answer. Over the years, this annual gathering has given us a chance to renew friendships, preview new product, confront the challenges we share and air our occasional differences. This year, of course, our links are even stronger. Now that several studios are again in exhibition, we can't help but be more cognizant of each other's problems. That kind of understanding can lead only to more cooperation and in turn higher revenues from which we both benefit. As a distributor, for example, I am naturally concerned about the short shelf life of the product we sell. There is no way to vacuum pack or freeze dry a movie. At a time of escalating print and advertising costs, it must open strong and stay on screens to recoup our outlay. There are, of course, rare exceptions, pictures which are justifiably "platformed," But in most instances, the challenge is to survive the birth pangs of the first weekend's grosses and settle in for a long healthy run. Nothing is more frustrating than to see a movie vanish just when it's starting to find its legs and reach its target audience. In the spirit of cinematic glasnost, however, let's look at the same problem from the exhibitor's point of view. A fine wine may need time to breathe but a bad film doesn't get any better with age. The temptation to replace a sub-par picture with an unknown quantity— that just might be a blockbuster— is understandable. Still, the beauty of today's multiplex theatres is that one screen which isn't performing will not jeapordize an otherwise strong week. We simply ask our exhibitor friends to be sensitive to a film's vital signs and give it every fighting chance before pulling the plug. There is another aspect of the relationship which merits attention; honoring the commitments we make to each other. Returning to ShoWest's status as an industry forum—a swap meet of ideas— the subject of "theatre environment" has frequently come up at these conventions. The nation's exhibitors have made a commitment to excellence— and kept it brilliantly. The state-of-the-art projection and sound, comfortable seats, convenient parking and well-trained staffs of today's new cinema complexes confirms the vitality of our business—and the intelligence of their management At the same time, we have honored our commitment to invest in talent, craft, imagination and invention— and to back the films which result with powerful advertising, publicity and promotion. At Orion, I'm pleased to say, we have never (continued p SW-34) By Samuel Goldwyn, Jr. President, The Samuel Goldwyn Co. RECENT YEARS, the relationship be- exhibitors and distributors has INtween become lopsided, with exhibitors showing a lack of good old-fashioned showmanship. The burden has been shifted almost entirely over to the distributors and producers, with exhibitors in retreat, particularly on the local level. But as the business goes through changes year in and year out, one thing remains the same—distributors and exhibitors have to work together. Their mutually beneficial relationship should both anticipate and respond to the changing tastes of audiences by giving the product the best possible platform. For the distributor, his work with the exhibitor is one of his primary marketing tools. This is particularly true for the mini-majors and independents, whose specialized films require an approach hand-tailored to reach specific audiences within each market. Although the content of each film dictates the thrvist of the advertising and publicity campaigns, the way that campaign is expressed in terms of promotions at the local level depends on the strength of the distributor/exhibitor relationship, and the imagination that is put to use. At Goldwyn, it is one of the areas that we have concentrated on. Our theatrical sales managers visit their territories throughout the year, to get to know the exhibitors as well as the territories. In that way the sales managers know the specific theatres and neighborhoods that will provide the best results for tlie film. The sales department, though, is only the first step in our work with exhibitors. As soon as bookings are made, the publicity department steps in, contacting the exhibitors so that publicity and promotion will reach optimum levels. In an age where television and radio film critics have proliferated on a local level, our contacts within each territory work with us to reach these opinion-makers, in addition to our nationwide press list that gives us access to the media on a one-to-one basis across the country. But it is in promotions that we work most closely with our exhibitors. Last year, we scored a critical and boxoffice success with "Hollywood Shuffle." We felt this film could perfbnn well across the board, not only in the major markets, but in smaller cities. In addition to sending Robert Townsend to New York, Chicago, Washington, D.C., and other urban centers, we sent him to places that most promotional tours don't travel to, such as Durham, North Carolina. Durham is the perfect case-in-point to show how effective good showmanship is on the local level. Steven Barefoot, a homegrown Mike Todd from the Carolina Theatre, got local hotels and merchants involved both with the film and Townsend's appearance in such creative ways thai everyone in town was aware of a very (ainiiniic{l /' S\V-32) SW-28 BOXOFFICE
The Eprad ULTIMATION 2000" is the most advanced and innovative threatre automation system ever invented It represents the ultimate in theatre automation for the year 2000 and beyond UTLIMATION 2000*. like its competitive counterparts, alows control of the standard X)Oth and auditorium func- :ions This is. however, where any similarity stops JLTIMATION 2000* is Drocessor based computer system designed to provide a micro- he flexibility and control todays proiection needed in Dooth Start to finish show after show, the ULTIIVIATION 2000" guarantees a consistent and lawless presentation rhe flexibility of the computer illows you to customize your heatrical presentations Sound picture, lights to curtain, the JLTIMATION 2000« follows ôur instructions implicitly. The esult IS a better product, one ôur customers will notice. JLTIMATION 2000* is based )n a sophisticated microcom- Duter which provides a friendly nterface for your projectionist, t maintains precise timing of jvents and compensates for show shattering problems such 3S missing or worn cues Unike conventional automation, JLTIMATION 2000* is heatre control system a total Professional and flawless, dependable and rugged, simple and smart' The Eprad JLTIMATION 2000" is /vord in theatre automation Experience the EPRAD jifference' the final :W/^CL EPRAD INCORPORATED 2573 TRACY ROAU NORTHWOOD, OH 43619 (419)666-3266 A nrOISTEHEO TRADEMARK Of LUCAS FILM LTD RmPotmNci 89
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he business magazine of the motion
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nuin^^ A Div)8k>n of Mara^ Incorpor
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amuel Coldwvn Theater AMPAS i A ^^f
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CUSTOM FABRICATION A TECHNOLOGICALL
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"!Jk-l-"--?-l.. NOW PLAYING, AT UAD
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The ultimate lens technology. .J ..
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]i »im:\»ia One of the most impor
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Digimate* Stereo Power Amplifier Th
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WE TAKE PRIDE IN SUPPLYING HIGH QUA
Page 21 and 22: The new Kinotone. The word new soun
Page 23 and 24: CONSOLES The ultimate in projeetion
Page 25 and 26: . PICTURE THIS a company with over
Page 27 and 28: MOST IMPRESSIVE DIRECTORIAL DEBUT K
Page 29 and 30: with •••SPECIAL SPIELBERG-BAS
Page 31 and 32: A GOOD REASON WHY MOVIES COST SO MU
Page 33 and 34: a S o u c> DiDi "e3 S T3 C c« S a
Page 35 and 36: ShoWest Intro Published by Boxoffic
Page 37 and 38: ShoWest and Showmanship By Harli-y
Page 39 and 40: V E S T R N PICTURES 88 I- CJ
Page 41 and 42: 88 PAPERHOUSE PARENTS THE BEAT CALL
Page 43 and 44: ' A PROGRAM: OPENING SESSION Record
Page 45 and 46: ilSTRODUCING: IE fic^^ z n.ts mill
Page 47 and 48: s .; % jr^ LU z o 1— < IL- S:r
Page 49 and 50: NATIONAL THEATRICAL RELEASE MARCH 1
Page 51 and 52: cS v»* v s^^ >oO O"^' ox'* .^^ :v^
Page 53 and 54: Movie Theater Operators... Increase
Page 55 and 56: what does Pepsi give you that the o
Page 57 and 58: COLUMBIA PICTURES CORDIALLY INVITES
Page 59 and 60: FOR RELEASE 1988 A TIGER'S TALE STO
Page 61 and 62: Research among these candy experts
Page 63 and 64: ONGRATULATIONS JERRY FORMAN SHOWEST
Page 65 and 66: : CINEPLEX ODEON :! T^ ^ ^ ir CONGR
Page 67: WE ALWAYS KNEW YOU WERE A "BIG SCRE
Page 70 and 71: Twentieth Century Fox Film Corporat
Page 74 and 75: ROUNDTABLE: DISTRIBUTION AND EXHIBI
Page 76 and 77: ROUNDTABLE: DISTRIBUTION AND EXHIBI
Page 78 and 79: « mShaUiest V8 CONVENTION & TRADE
Page 80 and 81: STEAMETTE moist heat portable steam
Page 82 and 83: SW-3S FOR ALL YOUR PROJECTION ROOM
Page 84 and 85: Teccon Theatre Heads sound better a
Page 86 and 87: MARKETING Using Promotional Materia
Page 88 and 89: THE NUMBERS PAGE were " "Ernest and
Page 90 and 91: SHOWMANSHIP Charity Benefit Premier
Page 92 and 93: Acoustical Control in Modern Multip
Page 94 and 95: SOUND ADVICE (continued) that the p
Page 96 and 97: -:%•
Page 98 and 99: tured a series of veiy flexible len
Page 100 and 101: ODELL'S 4 we Cover 4 America's . Po
Page 102 and 103: KANSAS CITY, KS 8220 Nieman Road Br
Page 104 and 105: Kerasotes (continued from p 85) cor
Page 106 and 107: 1 THEATRE PROFILE (continued) Larry
Page 108 and 109: A Little More Clarity, Please IN By
Page 110 and 111: IN THE BOOTH FEELING LUCKY? THIS By
Page 112 and 113: NATIONAL NEWS It's Official: 1987 B
Page 114 and 115: I ' Springfield, Mass. The venerabl
Page 116 and 117: SILVER SCREEN SPECIALTIES PO. Box 1
Page 118 and 119: I FT. Folded Machine Roll Tickets C
Page 120 and 121: BATTERIES NOT INCLUDED Staning Hume
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EDDIE MURPHY RAW StatTing Eddie Mui
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fooled by Bums's act and he threate
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— PROMISED LAND Starring Jason Ge
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AU REVOIR LES ENFANTS Star-ring Gas
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I B0)9FFIC^ JAN FEB MAR cop SOS, R,
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. "^^^^ rtearinq House rates: 75C P
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'. • • Ad Index SW-37 SW-2 Agfa
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«? : *• A-ÂMERICA'S i.i^^. MCVI
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