Boxoffice-March.1993

H^îJmH^ 

a 

Revival Theat 

Surviving the '90s 

NATO/ShoWest Intro Supplement 

Tech Notes: Powering Up for Digital 

6th Annual Boxoffice Miscellaneous Awards 

i

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The business magazine of the motion picture industry 

MARCH, 1993 VOL. 129 NO. 3 

To know how to say what others only know how to think is what makes inen poets or sages; 

and to dare to say what others only dare to think makes men martyrs or reformers— or both. 

—Elizabeth Charles (British writer, 1863) 

ON THE COVER 

Sylvester Stallone climbs to new heights to 

do battle with villains in director Renny 

Harlin's "Cliffhanger," a Spring release from 

TriStar. (See cover story, page 22) 

5 

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HOLLYWOOD REPORT. 

pher Hampton's version of the 

jekyll/Hyde story as seen from 

the perspective of Dr. Jekyll's 

chambermaid! ("Ed Wood," 

Columbia Pictures; "Mary 

Reilly;" TriStar) 

"In the Line of Fire" Buoyed 

by the critical and commercial 

success of "LInforgiven," director/star 

Clint Eastwood returns 

to acting in other people's movies 

with this action-packed political 

thriller from German 

director Wolfgang Petersen 

sional relationship with husband 

(and alleged wifebeater) 

Ike during the late-60s heyday 

of the "Ike and Tina Turner" review, 

climaxing with her Phoenix-like 

re-emergence as a 

major pop figure in the mid- 

1980s. Angela Basset ("Malcolm 

X") and Larry Fishburne 

("Deep Cover") re-team as husband 

and wife Ike and Tina (they 

played Cuba Gooding )r.'s parents 

in "Boyz N the Hood.") If, 

as many expect, this one is a 

career-maker for Bassett, it will 

Julia Roberts 

"I Love Trouble" Rebounding 

from the collapse of 

"Shakespeare in Love," in 

which she was to play the object 

of the Bard's affections until 

Daniel Day-Lewis turned the 

film down, Julia Roberts has 

signed to appear in "I Love Trouble," 

a romantic comedy from 

filmmaking team Nancy Meyers 

and Charles Shyer ("Father of 

the Bride"). In the tradition of 

"His Girl Friday" and Spencer 

Tracy/Katherine Hepburn comedies 

like "Adam's Rib," "I Love 

Trouble" casts Roberts as a female 

newspaper reporter who 

joins forces with her male rival 

when the two team up to unravel 

a particularly sensational 

story. Harrison Ford is in negotiations 

to co-star; if he accepts, 

"I Love Trouble" would have to 

push back its production start 

date to accomodate Ford's announced 

commitment to appear 

as Dr. Richard Kimball in 

director Andy Davis' ("Under 

Seige") big-screen version of 

TV's "The Fugitive." ("I Love 

Trouble," Touchstone) 

"Ed Wood" With his penchant 

for bizarre outsiders, 

"Batman" director Tim Burton 

seems the ideal choice to make 

"Ed Wood," the Columbia Pictures 

bio-pic about the cult 

movie director who made such 

priceless and unintentionally 

hilarious treasures of schlockdom 

as "Plan 9 From Outer 

Space" and the cross-dresser's 

confessional "Glen or Glenda?" 

Written by "Problem Child" 

scriptors Scott Alexander and 

Larry Karaszewski, "Ed Wood" 

is set to go before the cameras 

in early 1993, but don't expect 

Burton to relax afterward. Reportedly, 

Burton is already planning 

his "Ed Wood" follow-up: 

the equally macabre "Mary 

Reilly," screenwriter Christo- 

("Shattered"). Eastwood stars as 

an ex-Secret Service agent with 

a trauma in his past—he was on 

duty the day President Kennedy 

was assassinated in Dallas back 

in 1963. Brought back from retirement 

to track John 

Malkovich as a former-CIAagent-turned-presidential-assa 

ssin, Eastwood teams with "Lethal 

Weapon 3" co-star Rene 

Russo to defend the home of the 

brave and reclaim his sense of 

honor. These Secret Service 

thrillers seem to be in vogue 

lately, though Lord knows, there 

are virtually no similarities between 

"In the Line of Fire" and 

Kevin Costner's "The Bodyguard." 

In that one, Costner 

played an ex-Secret Service 

man, traumatized by the fact 

that he failed to prevent an assassination 

attempt on Ronald 

Reagan. Chalk another one up 

for creativity and originality, 

Hollywood style. (Universal) 

"Romeo is Bleeding" Gary 

Oldman ("Bram Stoker's 

Dracula") plays a different kind 

of sucker in "Romeo is Bleeding," 

a film no/r black comedy 

written and directed by Peter 

Medak. Oldman is a crooked 

NYPD officer stationed in 

Queens who falls for Mafia 

queen-pin Lena Olin ("The Unbearable 

Lightness of Being") 

and goes straight to hell under 

her evil influence. Annabella 

Sciorra ("lungle Fever") and Juliette 

Lewis ("Cape Fear") co-star 

as Oldman's wife and his underaged 

mistress respectively. 

(Dist. Pending) 

"Tina: What's Love Got to 

Do With It?" Based on rock star 

Tina Turner's autobiography, 

"Tina: What's Love Got to Do 

With It?" follows the singer's 

sometimes painful rise to fame 

and fortune. Beginning with her 

dirt poor childhood in Tennessee, 

the film details Turner's 

abusive personal and profes- 

represent an earned triumph for 

one of the finest actresses working 

today. "Tina: What's Love 

Got To Do With It?" is directed 

by Brian Gibson (who made 

cable TV's highly-regarded musical 

bio-pic "The Josephine 

Baker Story"), from a screenplay 

by Kate Lanier. (Touchstone) 

"Beverly Hills Cop III" 

Despite 

all those rumors about a 

feud between Eddie Murphy 

and director John Landis, and 

notwithstanding Eddie 

Murphy's public vow that after 

"Coming to America," Landis 

had a better chance of working 

again with "Twilight Zone" helicopter 

casualty Vic Morrow, 

Murphy and Landis have reunited 

on, of all things, the oftannounced 

but never produced 

sequel to Paramount's "Beverly 

Hills Cop" franchise. "BHC" #1 

made Murphy the biggest star in 

the world during the 1 980s, but 

times have changed; both Landis 

and Murphy could use a hit 

after the disappointing audience 

response to their latest films 

("Innocent Blood" and "The 

Distinguished Gentleman," respectively). 

A measure of the 

project's troubled development 

history is the way "Beverly Hills 

Cop 111" has already consumed 

some of Hollywood's top producing 

talent. Don Simpson and 

Jerry Bruckheimer, the highrolling 

producers of "BHC" I 

and II, abandoned the project 

early on thanks to a number of 

personal and professional disagreements 

with Paramount. 

The studio then gave the assignment 

to ace action producer Joel 

Silver (of the "Die Hard" and 

"Lethal Weapon" franchises), 

but Silver's involvement was 

short-lived. When Sherry Lansing 

replaced Brandon Tartikoff 

as Paramount production chief, 

one of her first assignments was 

to inform Silver that the studio 

expected delivery of "BHC III" 

by July '93 and that the film was 

John Landis 

to cost no more than $55 million—including 

Murphy's (presumably 

astronomical) salary 

requirements for his participation. 

At press time. Silver had 

departed. Paramount had as-l, 

signed "Patriot Games" produc-' 

ers Mace Neufeild and Robert 

Rehme to the project, and the 

start of production had been delayed 

by eight weeks. (Paramount) 

"Ghost in The Machine" The 

under-used Karen Allen (she 

was Indiana Jones' love interest 

in the first—and best—"Raiders" 

feature) stars in this technothriller, 

which promises to take 

advantage of the new computer 

effects technologies with a vengeance. 

Allen is a woman 

stalked by a serial killer in the 

form of a computer virus which 

pursues her via the various computer 

devices around her. Costarring 

Chris Mulkey, Wil 

Horneff and Ted Marcoux. Directed 

by Rachel Talalay, from 

a screenplay by William Davies 

and William Osborne. (Fox) 

"Rudy" "Encino Man" co-star 

Sean Astin stars as Rudy Ruettiger, 

a Notre Dame football 

hopeful who is committed to 

wearing the uniform, if only for 

one down, of his favorite college 

football team. Ned Beatty 

is Rudy's father; Charles Dutton 

is the university groundskeeper 

who befriends him in this feature 

film based on a true story. 

Directed by David Anspaugh 

from a script by Angelo Pizzo, 

"Rudy" is the first film since 

Ronald Reagan won one for the t 

Gipper in "Knute Rockne: All 

American" to be filmed with the 

full cooperation of Notre Dame 

University. As of this writing, 

however, Sean Astin had not announced 

any presidential aspirations. 

(TriSlar) 

6 BOXOFFICE

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Barbra Streisand signed a longterm, $60 

million contract with Sony Entertainment, 

covering her services as a recording artist, film 

actress, film director and movie producer. In 

addition to reported advance payments of $5 

million per album for her next six record 

albums, Streisand's Barwood Films production 

company will allegedly receive financing 

of $2 million a year for the next 10 years, 

above and beyond Streisand's expected $6 

million per film (against 15 percent of the 

boxoffice gross) for projects she chooses to act 

in, $3 million per film for features she directs, 

and $1 million per film for movies she produces. 

Sony was willing to pay such a high 

price for Streisand's services because of the 

diversity of her appeal as both a film and 

recording artist, which is well-suited to Sony's 

so-called "synergistic" expansion strategy, designed 

to maximize the cross-marketing potential 

of Sony's various entertainment 

holdings. 

In a situation reminiscent of the face-off 

over Kevin Costner's Warner Bros. "Robin 

Hood" project (which conflicted with—and 

ultimately killed off—a Fox feature film version), 

Costner and director Lawrence Kasden 

("Grand Canyon") announced they would 

team for a Wyatt Earp biopic at Warner Bros., 

despite the pre-existing Earp project "The 

Tombstone Wars," written and to-be-directed 

by Kevin Jarre at Universal. An incensed Jarre 

all 

but publicly accused Costner of bad faith, 

since he originally offered Costner the lead in 

his own Earp film and was turned down. The 

Costner-Kasdan feature was to be shortened 

or else split into two different screenplays 

from a long-form TV mini-series which Costner 

had been developing, and will, if it ever 

goes before the cameras, mark the second 

time Costner has teamed for a Western with 

Kasdan (who also scripted and co-produced 

"The Bodyguard"). In 1985, a then-unknown 

Costner appeared in a small but attentiongrabbing 

role as a hick gunslinger in Kasdan's 

Western epic "Silverado." 

Former Fox production chief Joe Roth and 

his Caravan Pictures started up their new 

production arrangement at Disney with twin 

blasts of high-powered FHollywood fireworks. 

On the plus side. Roth signed Julia Roberts 

(who starred for him in "Sleeping With the 

Enemy") to a unique two-year first-look production 

agreement, which will allow Roberts, 

via her own brand new bannerhead YMA 

Productions, to develop and produce projects 

at Caravan. Roberts is also planning to base 

YMA Productions in Roth's offices on the 

Disney backlot. 

But impressive as it was. Roth's coup was 

all but overshadowed by the acrimonious rift 

which developed between his company and 

erstwhile actress/singer/sex-symbol Madonna 

his producing partner Roger Birnbaum to pick 

up the project as their first Disney acquisition. 

What happenned next is unclear, though it is 

certain that Madonna left "Angle" to do a 

drama called "Snake Eyes" for cult moviemaker 

Abel Ferrara ("Bad Lieutenant")—voluntarily, 

according to Roth and Birnbaum. 

Not so, cried Madonna, who faxed a sarcastic 

letter to Roth which accused him of dropping 

her from the film because he had reservations 

about heractingability."Afterdirecting 'Coup 

de Ville' and being involved in 'Revenge of 

the Nerds,' 'Young Guns' and 'The Excorcist 

IN' you certainly are qualified to speak about 

the art of acting and great filmmaking' the fax 

said in part. Possible "Angle" replacements 

included Geena Davis ("A League of Their 

Own") and Marissa Tomei ("My Cousin 

Vinny"). Director Jonathan Kaplan ("Love 

Field"), who had been handpicked by 

Madonna because of his reputation for working 

well with actresses, was pushed off the 

project by Roth and Birnbaum, presumably on 

the assumption he might harbor somewhat 

divided loyalties. 

Producer/director Arthur Hiller ("The 

Babe") announced a slate of four projects, to 

be developed at Golden Quill Productions, 

Hiller's new independent development company. 

"The Nation's Finest" is a Capra-esque 

comedy from screenwriter Charles Evered 

about an 11 -year-old boy who experiences 

the corruption of Washington politics upclose 

and first-hand after winning an essay 

contest. "Crooners" is an original script by 

Brooks Arthur and Tim Stephen about five 

guys in New York's Little Italy during the '50s 

who buck pop music trends by emulating 

Sinatra during the early days of rock-n-roll. 

"The Wedding Band" is a multi-generational 

family saga, stretching from the late '30s to the 

early '70s. Most intriguing (and most bizarre) 

of Golden Quill's prospective features is "Bill 

Bailey Won't You Please Come Home," a 

contemporary comedy that will feature Buster 

Keaton merged with stars of today via computer 

super-imposition. The concept and 

script are by Susan Hanger and Peter Traynor 

(Traynor is also set to direct), with Buster 

Keaton sharing screenplay credit thanks to the 

incorporation of materials he wrote and directed 

during the silent era. Each of the 

Golden Quill projects is still in the development 

phase; watch this space for details. 

Frank Marshall and Kathleen Kennedy, the 

former longtime producing partners at Steven 

Spielberg's Amblin' Entertainment, have entered 

into an agreement to develop and produce 

movies for Paramount. Under the terms 

of the non-exclusive three-year arrangement, 

Marshall and Kennedy will give Paramount 

the first crack at all their producing projects. 

Their as-yet unnamed production company 

over the project "Angle, I Says," a coming-ofage 

story about an Italian girl in Brooklyn, wood studio, where Marshall, Kennedy and 

will be headquartered at Paramount's Holly- 

which Madonna had personally developed at Spielberg worked on "Raiders of the Lost Ark" 

Fox with screenwriterTodd Graff ("Used People.") 

Originally set up as a Fox feature film, most recent co-production is "Alive," an ac- 

and its two sequels. Marshall and Kennedy's 

"Angle" was put into turnaround when Roth tion-drama which Marshall also directed for 

departed for Disney, which allowed Roth and Disney's Hollywood Pictures. 

: 

EDITOR AND ASSOCIATE PUBLISHER 

i 

Harley W. Lond 

SENIOR EDITOR 

j 

Ray Greene 

ASSOCIATE EDITOR 

Marilyn Moss 

EDITORIAL ASSISTANT 

Catfiy J. Lopez 

CONTRIBUTING EDITOR: VIDEO , 

George T. Chronis 

| 

CONTRIBUTING WRITERS 

Jotin Allen 

Bruce Austin 

Mari Florence 

Alan Karp 

Karen Kreps 

Shiomo Schwartzberg 

FernSiegel 

Mort Wax (International News) 

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SPECIAL VIEWING AT BOOTHS 239-40 ShoWest 

Response No 93

— 

TRAILERS: MARCH 

starring Gary Sinise ("Of Mice and Men.") 

(Fox, March) 

Friday the 13th: Jason 

Goes to Hell 

After eight previous outings, the "Friday" 

franchise has stopped counting and moved, 

from Paramount to New Line, once and future 

home of Freddy Kreuger of "Nightmare on 

Born Yesterday 

The George Cukor/Carson Kanin classic is updated and reborn in this remake of the original 

"dumb blonde" comedy. Melanie Griffith stars in the Judy Holliday role as the spectacularly 

ignorant Billie Dawn, Las Vegas showgirl and sometime girlfriend to uncouth Chicago 

scrap-heapmillionaireHarry Brock (John Goodman). When Billie'slackofsocial graces begins 

hindering Brock's ability to lobby for favors from Congress, Brock hires enterprising journalist 

Paul Verral I (Don Johnson) to do an intellectual makeover on his sparkling, if unpolished, gem. 

Adapted from the Carson Kanin play by Douglas McCrath; directed by Luis Mandoki. (Buena 

Vista, March 19) 

Mad Dog and Glory 

Two-time Academy Award winner Robert 

De Niro ("Coodfellas") stars with Bill Murray 

("Ghostbusters") and Uma Thurman ("Jennifer 

8") in thestory of Wayne Dobie (De Niro), 

a timid police photographer sarcastically 

called "Mad Dog," who inadvertently saves 

the life of a gregarious local gangster (Murray). 

cal and financial failure of "Hoffa," Danny 

DeVito returns to a lower key of comedy with 

this gentle character piece. DeVito is 

an irrepressible 

single father who moves with his 

boys, aged 3 and 1 2, to a quirky Oakland 

neighborhood where he finds his calling as 

the host of a late night TV horror show. Script 

by Steve Zailian based on the novel by Dan 

McCall; directed by Marshall Herskovitz. Co- 

Elm Street" fame. Sean S. Cunningham, who 

produced and directed the original "Friday 

the 1 3th" way back in 1 980 returns, according 

to New Line, to "bury horror film legend 

Jason Voorhees in the last of the highly successful 

series." But given New Line's recently 

announced decision to resuscitate the Kreuger 

franchise despite 199rs "Freddy's Dead: 

The Final Nightmare," don't be surprised if the 

news of Jason's death is a bit premature, and 

more dependant on the boxoffice than on the 

company's press releases. (New Line, March 

12) 

In gratitude, Milo presents Dobie with a gift 

the beautiful Glory (Thurman), who will be 

his girlfriend for the week. Co-produced by 

Martin Scorsese; directed by John McNaughton 

("Henry: Portrait of a Serial Killer"). (Universal, 

March 5) 

Jack the Bear 

After the terrific but still disappointing 

boxoffice for "Batman Returns" and the criti- 

CB4 

In this rap-themed comedy, "Saturday 

Night Live's" Chris Rock is poised to do for 

inner city, urban-themed black films what 

"Abbot and Costello Meet Frankenstein" 

did for horror movies—that is, bury them 

alive. Rock (who made his feature film 

debut in a leading example of the genre 

he'll be sending up here, as a crack addict 

in Mario Van Peebles' "New Jack City") 

plays an ambitious high-school hustler 

who forms a "gangsta" rap group by assuming 

the identity of a famous criminal 

after the cops put the crook in jail. Rock 

and his friends name their rap trio CB4 

(named for the cell block where the crook 

is living) and the world of pop music may 

never be the same. Co-starring "Saturday 

Night Live's" Phil Hartman as an anti-rap 

activist and Chris Elliot (the guy under the 

seats from "Late Night With David Letterman") 

as a crusading (if somewhat incompetent) 

TV journalist bent on unraveling 

the mystery of CB4. Written by Rock; directed 

by Tamra Davis. (Universal, March 

12) 


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Teenage Mutant Ninja Turtles III 

Controversy is the last thing you'd expect would accompany the release of a new installment 

in a well-established franchise. But New Line's reptillian Ninja warriors arrive this time with 

a $50 million lawsuit hanging over their heads, courtesy of the indomitable Troma Pictures, 

home of the ever-popular Toxic Avenger. Seems New Line agreed to make and market a feature 

based on Troma's Toxic Crusaders (ecologically conscious action-comedy mutants), then 

backed off when the producers of the Ninja films got antsy about a rival mutant franchise 

poaching on their boxoffice turf. Troma has sued New Line for breach of contract and is 

shopping their mutants elsewhere. In the meantime, Raphael, Leonardo, Michelangelo and 

Donatello go back in time to ancient Japan in this, their latest adventure, which is written and 

directed by Stuart Cillard. (New Line, March 19) 

Fire In the Sky 

Fire in the Sky is the true story of five 

Arizona loggers accused of committing a 

hoax or a murderous crime after they report a 

crew member's mysterious disappearance. D. 

Heartbeats" sank at the boxoffice. Needless to 

say, Townsend has a lot riding on this one; 

here's hoping Townsend's gentler sensibility 

can survive in a marketplace that associates 

"black filmmaker" only with human flamethrowers 

like 

Spike Lee and John Singleton. 

Co-starring Townsend's comedic idol. Bill 

Cosby. (MCM, March 26) 

Rich In Love 

Rumors of marketing troubles abounded 

when MCM removed this one from their 

schedule (and therefore from Oscar consideration) 

at the end of '92, despite the fact that it 

was created by the same producers, writer 

and director responsible for the Oscar-w 

ning "Driving Miss Daisy." After the dis 

pointing performance of "Rus 

husband-and-wife producing team Rich 

D. and Lili Fini Zanuck try to rebound w 

this drama about a family coping with 

sudden disintegration of their parents' rr 

riage. Albert Finney ("Miller's Crossing"), 

Clayburgh ("An LJnmarried Woman") ; 

Kyle MacLachlan ("Twin Peaks") co-sl 

Written and directed by "Daisy's" Alfred Ul 

and Bruce Beresford, respectively. (MG 

March 5) 

Warlock: The Armageddon 

One-time prestige actor Julian Sands ( 

Room With a View") reprises his role as I 

son of Satan in this horror sequel and rai: 

anew the question: who is this guy's age 

anyway? Written by Sam Bernard; directed 

Tony Hickox. (Trimark, March) 

A Far Off Place 

Reese Witherspoon and Ethan Randall , 

two teenage children stranded in Afric 

Kalahari desert after savage poachers assai 

their camp. Maximilian Shell ("The 

Hole") is the great white hunter who com 

to their aid, with assistance from a Bushm, 

named Xhabbo (Sarel Bok). Screening 

"Trail Mixup," a brand new Roger RabI 

short subject. (Buena Vista, March 12) 

The Secret Garden 

Art-house favorite director Agnieszka He 

land ("Europa, Europa,") goes Hollywood 

this adaptation of the classic children's sto 

from Francis Ford Coppola's Zoetrope pr 

ductions. The livesofthree lonely children a 

forever changed when they meet, forge 

friendship and bring back to life a locke 

secret garden that becomes their hidden re 

uge. Starring Maggie Smith ("Hook") ar 

Heydon Prowse. Script by Caroline Thomi 

son, Tim Burton's collaborator on "Edwai 

Scissorhands," based on the story by Franc( 

Hodgson Burnett. (Warner, March 26) 

Sweeney, James Garner and Robert Patrick 

co-star in a script based on events which 

occurred in 1 975 and on the book "The Walton 

Experience." Screenplay by Tracy Torme. 

(Paramount, March) 

The Meteor Man 

When schoolteacher and part-time jazz 

musician Jeff (writer/director Robert 

Townsend) is hit, but left mysteriously unharmed, 

by a magical meteor, he gradually 

discovers that he has been endowed with 

super powers, and hilarious complications 

ensue. Townsend, who wrote and directed 

"The Hollywood Shuffle" and gave most of 

the cast of "In Living Color" their first professional 

breaks, was a leading figure in the 

Black New Wave, but hit a career snag when 

his heartfelt Motown-ish musical "The Five 

Point of No Return 

(formerly "The Specialist" 

and "Nikita") 

Although jane Fonda recently announced 

her retirement from movies, her niece Bridget 

(daughter of the original "Easy Rider," Peter 

Fonda) has blossomed into a major young star 

ready to carry on the illustrious family name. 

Thanks to "Singles" and "Single White Female," 

as well as her noteworthy cameo in 

"Godfather III," Bridget is now poised for superstardom, 

and this tense remake of the 

French thriller "La Femme Nikita" may be just 

the film to put young Fonda over the top with 

American audiences. Fonda stars as Maggie, a 

ferocious, drug-addicted misfit, convicted of 

murder, then transformed by a covert government 

agency into a killing machine. When 

Maggie begins falling for a young photographer 

(Dermot Mulroney) her already complicated 

life goes haywire. Expect some amazing action 

from director John Badham ("War Games," 

"Bird on a Wire"), who is something of a past 

master at this type of genre excercise. (Warner, 

March 19) 


I Center, 

NORTH AMERICA 

gate, Beaverton, OR 

Portland, OR 

d, Portland, OR 

)ln, Austin, TX 

hills, Austin, TX 

iwest 14, San Antonio, TX 

sroads,Bellevue,WA 

'wood, 

Lynnwood.WA 

/eed#1. Anchorage, AK 

can Multi Cinema 

{February 4, 1993) 

Dolby Stereo Digital Report 

WORLDWIDE THEATRES 3' 

uire Island 10 #1, Lake Buena Vista, FL 

sure Island 10 #2, Lake Buena Vista, FL 

ps Plaza 1, Atlanta, GA 

ps Plaza 2, Atlanta, GA 

ury City 14, Los Angeles, CA 

ark ISA 

wood USA, Garland, TX 

inemas 

le East, New York, NY 

ay Hill, New York, NY 

m, New York, NY 

lidated Amusement 

ila, Honolulu, Hi 

son Theatres 

m, Columbia, MO 

•ds Theatres 

port, 

IS 

Newport Beach, CA 

Players 

oria Terrace, Ontario, Canada 

al Cinema Corporation 

0, Los Angeles, CA 

!f1y Connection, Los Angeles, CA 

irDok,CanogaPark,CA 

hpark, Dallas, TX 

thshore#1,Braintree,MA 

*shore#2,Braintree,MA 

Guild Theatres 

Guild, New York, NY 

Embassy, New York, NY 

Independent Theatre Chains 

'Gold Coast Cinemas, #1/2, Las Vegas, N 

•Hallmark Theatres, Kansas City, MO 

Loews Theatres 

Village, New York, NY 

Malco Theatres 

Germantown, Memphis, TN 

Mann Theatres 

Chinese #1, Hollywood, CA 



Bruin, Los Angeles, CA 

National, Los Angeles, CA 

Village, Los Angeles, CA 

Metropolitan Theatres 

Courtyard 10, 

Muvico Theatres 

Palm Springs, CA 

California Club, Miami, FL 

National Amusements Theatres 

Showcase, North Haven, CT 

Showcase, Grand Rapids, Ml 

Showcase, Toledo, OH 

Multiplex, MerrTfield,VA 

Pacific Theatres 

Cinerama Dome, Hollywood, CA 

Grossmont Trolley, La Mesa, CA 

Lakewood Center, 

El Capitan, Hollywood, CA 

Crest, Los Angeles, CA 

Lakewood, CA 

Rowland Plaza 8, Novate, CA 

Cinema, Corte Madera, CA 

SjTifS Theatres 

Cinedome Orange, Orange, CA 

United Artists Theatres 

Coronet, San Francisco, CA 

Greenwood #1/2, Englewood, CO 

Gemini, New York, NY 

Criterion, New York, NY 

Industry Screening Rooms 

•Academy Theatre, Hollywood, CA 

•Director's Guild, Hollywood, CA 

•Filmhouse, Toronto, Canada 

•Technicolor Film Lab, No. Hollywood, CA 

•Walt Disney Studios (2), Burt3ank, CA 

•Warner Bros., Burbank,CA 

Bert/Decatron 

EUROPE 

Kinepolis, Brussels, Belgium 

Brueni 

Rex 1, St. Gallen, Switzerland 

CIC/UCl 

Empire Leicester Square, London, UK 

Constantm 

Artis Kino Center, Vienna, Austria 

FTB Flebbe 

Cinemaxx, Hanover, Germany 

Gloria Palast, Beriin, Germany 

FTB Jaeger 

Europa, Frankfurt, Germany 

FTBReiss 

Mathaeser-Filmpalast, Munich, Germany 

FTBRiech 

Capitol 1, Cologne, Germany 

Grindel, Hamburg, Germany 

Gaumont 

•Ambassade, Paris, France 

•Grand Ecran Crenelle, Paris, France 

•Grand Ecran Italie, Paris, France 

Kinematograph Fihn GmbH 

Cinema, Munich, Germany 

National Amusements 

Showcase, Manchester, UK 

Odeon Theatres 

Pathe 

Odeon Leicester Square, London, UK 

Odeon West End, London, UK 

•Pathe Cinema #1/2, Toulon, France 

Pathe Nordisk Film 

Palads 1, Copenhagen, Denmark 

Samfilm 

Bioborgin, Reykjavik, Iceland 

Sandrews Film 

UCI 

UGC 

Sandrew, Stockholm, Sweden 

UCI Ruhrparit, Bochum, Germany 

UGC La Brouckere, Brussels, Belgium 

UGC Nomiandie, Paris, France 

Union Filmtheater GmbH 

Royal Filmpalast, Munich, Germany 

Toho Company 

FAR EAST 

•Kitano Gekijyo, Osaka, Japan 

Sanbangai Cinema 1, Osaka, Japan 

Shibuto Cine Tower #1, 

Shibuto Cine Tower #2, 

Nichlgeki Plaza, Tokyo, Japan 

Shinjuku Plaza, Tokyo, Japan 

Tokyo, Japan 

Tokyo, Japan 

Shinjuku Bunka 2, Tokyo, Japan 

Industry Screening Rooms 

•Imagica Laboratories, Tokyo, Japan 

•Tokyo Laboratories, Tokyo, Japan 

Please call to request the latest list of 

equipped theatres and upcoming 

Dolby Stereo Digital releases: 

(415)558-0150 

'Latest additions 

DdbyLaboralonesInc 

. 1M Pon«o Avenue, San Frisco, CA94103-W13 . IeW«« *'^55M2(10 . Facsmile415

I 

. WFA 

^"^^^^^^^

XHIBITION PROFILE 

From Locks to Loctvs: 

Star Performers Jim and Barrie 

Loeks 

With innovative customer perks such as free after-movie mints, free soda refills, andfree 

oncession coupons for long waits in lines, the Loeks are tapped by Sony to take their Star 

Sen'ice management ideas to the giant Loews Theatres circuit. 

By George T. Chronis 

xhen Jim Loeks and Barrie Lawson 

"Y 

A/ got married in 1976, they may 

r y have foreseen that his business talts 

and her legal expertise wouldbe tapped 

run (his father's) Jim Loeks Theatres Inc. 

Western Michigan. But neidier could 

ve dreamed that they would eventually 

offered positions as co-chair of the 900- 

een Loews Theatres circuit in 1992. Beeen 

those two landmark events, the 

eks went out on a limb and started their 

m circuit, Loeks-Star Theatres, a venture 

it has grown to 74 screens, made the 

eks a regional powerhouse in the Detroit 

;a, and brought diem the kind of success 

d recognition that so enthralled Sony Pic- 

-es that the conglomerate selected them 

run its burgeoning Loews operation. 

Believing that Detroit did not have a 

eat" theatre, the Loeks lobbied to expand 

;o the market in 1 982, but were torpedoed 

Jack Loeks insistence that his territory 

3 solely Western Michigan. Undaunted, 

1 and Barrie bought the Winchester TVin 

Rochester on their own in 1983, and 

oceeded to remodel it after taking out a 

2 million loan, selling $500,000 in stock 

d taking out a second mortgage on their 

me. 

Luckily for their joint checking account, 

3 public response was immediate and 

ormous, and the Loeks soon discovered 

at Detroit-area movie-goers were starved 

' 

good service and clean moviehouses. In 

87 they broke away entirely from Jim 

eks Theatres and built their own complex 

Lincoln Park. This eight-screen venue 

IS based on a service philosophy the 

ks dubbed "Star Service," and thusly heme 

the first installment in their Loeksir 

circuit. 

"What we felt our customers wanted was 

be able to go to the show on a very busy 

ght," says Jim Loeks. "Movies are better 

len there are a lot of people there, they're 

tter when it's a social experience. But 

when people go to the movies on a busy 

night, they want to go without the hassles. 

The question for us was how do you run a 

movie theatre at peak times on weekends 

and holidays mid provide incredibly good 

service that makes it a hassle-free experience? 

We answered that question by creating 

Star Service— a philosophy tlnat states 

that going to the movies should be a 'nextin-line 

experience.' lb us, that means waiting 

in a ticket or concession line should take 

no longer than three minutes." 

Jim and Barrie Loeks 

The Lincoln Park complex became a design 

prototype for all six of the locations that 

followed. As Barrie Loeks describes it, 

the 

design prototype accommodates either 

eight, 10 or I2-auditorium complexes. Each 

has the same lobby and interior appointments. 

Only the auditoriums are of different 

configurations to suit the site. While 

each theatre has a unique (from other circuits) 

and vibrant look, each theatre is built 

around the Star Service program. "Customer 

service is really what we're known 

for and the way the theatre is designed," she 

says. "The interior layout and how everything 

relates to each other is based on how 

we run the theatres." 

As with their Star Winchester, the Star 

Lincoln Park experienced a successfiil public 

response, and the Loeks began again to 

look to expand. In order to accomplish that 

expansion, they eventually formed an 

agreement in 1 988 with Columbia Pictures 

Entertainment (now Sony Pictures Entertainment) 

that provided Loeks-Star with financing 

and operational control, and ceded 

50 percent ownership to their new partners. 

The partnership has worked well, and 

Loeks-Star has been able to expand to eight 

locations and 74 screens— including the 

most recent 1 2-auditorium Loeks-Star in 

Grand Rapids, which opened in May of 

1992. 

The Star Grand Rapids has a total seating 

capacity of3,692, with a maximum number 

of 300 seats in six of the auditoriums. The 

interior design uses art deco styling 

throughout and the 7,500 square foot lobby 

features a 36-foot high arched glass atrium 

ceiling. Also in the lobby is a video wall 

consisting of six 53-inch Sony rear-projection 

monitors, and a brilliandy colored neon 

sculpture on moving steel. At the main 

concession stand there are six selling stations, 

and there are two additional auxLliar\' 

concession stations located in theatre corridors. 

All 12 auditoriums are equipped with 

stereo sound played through JBL speakers. 

All screens are curved full-format, and the 

seating is made up of high-backed rockingchair 

units witii arm-rest cup-holders by 

Cine Coaster. 

According to Jim Loeks, even' step is 

taken to insure exceptional seating and 

sound characteristics in every theatre. "We 

were ven,' careful in the design of our 

rooms," he says. "The first thing we did was 

go to Irwin Seating, worked with them on 

various auditorium sizes and had them design 

seating plans in relation to the screen. 

We then took those seating plans and gave 

them to the architect and had the building 

designed around the seating plans. We also 

underu'ent a similar process to make the 

rooms acoustically perfect. A lot of exhibi- 

March, 1993 15

EXHIBITION PROFILE 

tors take the space they have, design a 

building and give those room plans to the 

seating company at the end of 

the design process. We believe 

fi-om becoming bored and acting mechanical. 

The company also has a strong commit- 

STAR GRAND RAPIDS VENDORS 

down is by embracing computer supp< 

systems in all phases of theatre operatioi 

"For many years we've had aui]| 

mated ticketing. All our conceL 

sion operations are hooked up I 

that's counterproductive." 

The central tenets of Star Service 

computers, and all of our payr 

is 

Auditorium Seating: 

Computer 

on magnetic cards issued 

System: 

are cheerful, capable and 

well-trained employees clad in Irwin Seating 

Thectron Data Systems each employee," says Barrl 

tuxedos vi'ho greet moviegoers Cupholders: 

Loeks. "That's how we're able 

Aisle Lighting: 

| 

as they enter and leave each Cine Coaster 

Celestial Products 

handle the percentage pay aii 

complex. All staff training and 

systems revolve around providing 

Boolfi Equipment 

Auto Cine Equip. Co. 

Projectors: 

Concession Stands: 

Great Lakes Millwort 

Concession Supplies: 

special benefits. Our payrcij 

computer is tied into our cone 

next-in-line service on a con- 

sion computer, so the payr 

Simplex 

Clark Products 

sistent basis, lb accomplish this, 

computer knows how muc 

Lamphouses & Platlers: 

Video Wall: 

each person has sold. We'' 

Loeks-Star only hires employees 

Strong 

Sony 

over the age of 18; extra time Sound System Dealer 

Poster Cases: 

been working very hard on cu 

and money are spent on crosstraining 

Auto Cine Equip. Co. 

Sons 

Policy Trailers: 

Poblocki & torn software to work on our se 

so that every crew Speakers: 

vice and benefits withoi| 

member can accomplish eveiy 

making our managers go era 

JBL 

Pike Productions 

Amps and Processors: 

General Contractor 

We want to keep them 

task from boxoffice to concession 

Smart 

Talon Development Co. 

and ushering work. All em- 

floor, not in the back doir 

ployees work at least a 30-hour 

paperwork." 

Screens: 

Architect 

Eric Hugger (Fishbeck, 

Technikote 

week, and every employee will 

Curtains/Drapes: Norltiwest 

be rotated between job assignments 

Studios 

Thompson, Can- & Huber) 

With patrons appreciating tf 

extra service, from such offe 

at least once a week. 

ings as free mints after eac 

As a result of these operational 

movie, free refills on sodas, an 

systems, the Loeks find they can run 

their complexes more efficiently on busy 

nights, with a smaller total crew size, than 

ment to providing extra percentage benefits 

to their employees (from concession sales), 

which also helps keep good perfomiing 

a coupon for a free Coke if they have to wa 

in any line longer than three minutes, fij 

ures available to the Loeks indicate th; 

most other circuits. In addition, the Loeks crews together longer 

find that the job rotation keeps employees Another way the Loeks keep crew 

(continued p. 2 

sizes 

SMR TH€i^TR€ 


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Response No 64

ONGRATUL 

AND MANY HAPPY BOX OFFICE RETURNS 

TO 

LOEKS STAR THEATERS 

UPON THE OPENING OF 

STAR GRAND RAPIDS 

jffe 

FROM YOUR FRIENDS AT 

STRONG INTERNATIONAL 

CHHilllllillllllllllilllllllll d d uniiiipi 

mi 

li 

ONGRATULATIONSi 

I ^8mi I 

I 

©INiMASi 1 

II 

m 

We are proud 

III 

j|| 

H 

*^ ^^ '^* 

li 

II of your stellar team! ID 

m 

n 

in; 

Congratulations 

LOEKS-STAR 

THEATRES 

On Opening the 

STAR GRAND 

RAPIDS THEATRE 

Irwin 

Seating 

Company® 

EO. Box 2429, Grand Rapids, MI 49501 

3364 36th Street, SE Grand Rapids, Mi 49512 

616-956-5603 FAX 616-956-9207 

IPIIlllllill lllillill] 1) lllllillllllllillllll llllljlllllllllllllljilli

Congratulations & 

Best Wishes for Continued 

Success & Growth 

you're friends at 

NORTHWEST STUDIOS INC. 

Complete Stage Equipment & Theatre Wall Panels 

lAjLd *J^ 

2608 Nicollet Avenue 

Minneapolis, MN 55408 

(612) 872-8333 

32419 Groesbeck Highway 

Clinton Township, Ml 48035 

(313) 792-1380 

HianksToAll 

Our Friends 

Who Helped Launch 

Our Newest Star 

CONGRATULATIONS 

LOEKS-STAR 

THEATRES 

ON THE OPENING 

OF YOUR 

STAR 

GRAND RAPIDS 

THEATRE 

ffTHNiKOTEg

Costa 

. 

EXHIBITION PROFILE: Star Grand Rapids 

(continuedfrom p. 16) 

Loeks-Star operates the highest grossing 

theatres in the entire iVIidwest, and 

boxoffice revenue in metro Detroit has risen 

25 percent. Such a performance did not go 

unnoticed by Sony Pictures chainnan Peter 

Guber and other executives involved in the 

Loeks-Star venture. When Loews chairman 

Alan Friedberg announced his retirement, 

effective December 31, 1992, Sony turned 

to Jim and Barrie to step in and mn Loews. 

"Because of the Loeks-Star venture, we've 

had a long relationship with the top executives 

at Sony Pictures," says Barrie Loeks. 

"It's a wonderflil feeling to already know the 

people you're going to be working with. 

Loews is a tremendous company with unbelievable 

resources." 

Although they oflficially will helm both 

circuits at the same time, the Loeks concede 

that they will be contributing most of their 

energies to running Loews, and leaving 

most day-to-day operations at Loeks-Star to 

the executive staff in place. "We have terrific 

people at Loeks-Star," says Jim Loeks. "They 

LOEKS-STAR 

3020 Charlevoix Drive, S.E. 

Grand Rapids, Ml 49546 

616-940-0866 

Fax:616-940-0046 

Executive Roster: 

Jim Loeks, Chairman & General Partner, 

Loeks Michigan Theatres, Inc. 

Barrie Lawson Loeks, President & General 

Counsel, Loeks Michigan Theatres, Inc. 

Kenyon Shane, Vice President & General 

Manager, Administration, Loeks Michigan 

Theatres, Inc. 

Robert Kleinhaus, Vice President & General 

Manager, Operations, Loeks Michigan 


Ion Karell, Vice President & Technical 

Supervisor, Loeks Michigan Theatres, 

Inc. 

Krystal Bylund, Promotions & Advertising 

Vital Statistics 

Director, Loeks Michigan Theatres, Inc. 

lay Laninga, Controller, 


Founded: 1988 

Screen count: 74 

Locations: 8 

Loeks Michiga 

Projected screens by end of 1 993: 90 

Average screens per location: 10 

Tiieatre Employees: 400 

Corporate Employees: 1 2 

State(s) located in: Michigan 

Company Ownership breakdown 

A general partnership between Loeks 

Michigan Theatres, Inc., owned by |im 

and Barrie Loeks, and Sony Pictures 

Entertainment 

IndustryStancbfcl. 

'lOHzloSOkHz. 0.1% THD 

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I 

" 

I continue what they are already doing, 

i we will continue to oversee it, albeit 

New York." 

Vith their appointment as co-chair of the 

location Loews circuit, the 

iks are going to work on 

iging the Star Service proto 

the chain. "Loews has 

;ady done some very good 

rk on customer service, we're 

going to take the next step 

t we're known for," Barrie 

iks says. "Loews has some 

y good people; we're going to 

ne in and work on the cusler 

service and strategic 

exision 

in a pretty substantial 

Uong with bringing their Stji 

vice with them, the Locks 

also be reconstructing the 

r prototype at every complex 

t Loews builds in its many dif- 

;nt markets. Since the Locks' 

)ointment on December 1, 

y've already started to convert Loews 

Iding plans in progress to the Star protoe 

in the Northeast and the Chicago areas. 

Even though Loews' market is traditionally 

anywhere east of the Mississippi, one 

market that will remain off-limits is Mi( higan. 

"Everything we build inside Michii^.iii 

Inside the spacious lobby of the Star Grand Rapids. 

will be Loeks-Star," says Barrie Loeks. "Everything 

we build outside of Michigan will 

be Loews. We feel very strongly that we 

want to maintain ovmership of Star separately. 

We like our ownership interest and 

we don't want to sell. It's our baby and veiy 

impnrt.int to us." 

\s ili('\' look toward their future at Loews, 

the Loeks are determined to run 

a 200-location circuit the same 

way they ran their eight-location 

circuit— sucessfully. One 

job they hope that they will conrinue 

to be able to do is to stay 

active in their theatres— and 

that includes being able to aj> 

proach customers and employees 

and chat with them. 

"It's an interesting challenge 

for us taking over at Loews and 

working on a much larger scale, 

says Barrie Loeks. "We feel it's 

terribly important for us, regardless 

of our position or the size of 

our company, to spend a lot of 

time hanging out in theatres. It 

sounds very simple, but it's surprising 

how many executives in 

our industry don't talk with their 

customers. It will be harder in a bigger 

company, but that's something we're determined 

we're not going to lose." 

Future Standofd.

COVER STORY 

HANGING TOUGH 

Being a Master of the Big-budget Action Film Can Be Rough, But "Clijpianger" 

Director Renny Harlin Wouldn 7 Have It Any Other Way 

By Ray Greene 

Senior Editor 

January in Southern California, 

rain is falling by 

It's the 

bucketful on the streets of 

Hollywood, and Renny Harlin 

is in the final stages of readying 

a preliminaiy director's cut of 

his action opus "Cliffhanger" for 

an evening screening by its executive 

producer, Carolco's 

Mario Kassar Harlin's schedule 

is a tight and busy one, but in 

between supervising the cut 

and recording replacement dialogue 

with his star Sylvester 

Stallone, Harlin finds time to 

talk about some things he likes 

(like big-budget action 

moviemaking) and some things 

he dislikes. 

Like snow. 

Snow— or rather the lack ot 

it— was Harlin's biggest prolcssional 

headache when he directed 

Bruce Willis in the 

high-priced 1990 sequel "Die 

Hard 2." During that strenuous 

production, Harlin faced the 

daunting task of shooting complex, 

snowbound exterior action 

scenes during one of the 

warmest American winters on 

record. "We chased snow all 

around America," Harlin says 

ruefiilly. 

Reports of Harlin's weather 

difficulties and the resulting 

production delays circulated 

gleefully through the movie 

industry's well-oiled gossip machine, 

giving rise to speculation 

that "Die Hard 2" was a troubled project—a 

"runaway production" in the local 

dialect. Eventually, Harlin got his footage, 

and the result was a boxoffice smash. 

Still, the difficult experience of "Die Hard 

2" was very much on Harlin's mind when 

he signed to direct "Cliffhanger," another 

expensive, snowbound action picture involving 

terrorists and airplanes. 

"Cliffhanger's" premise offered spectacular 

opportunities for a director of Harlin's talents: 

a jet crashes in the Colorado mountains 

during a blizzard, and when the rescue 

"/ admit it, I shamelessly want to manipu- 

of a Carolco deathwatch) started 

late the audience, so that they will be taken circling around "Cliffhanger." 

„ 

Reports were soon published in 

on thejourney that I want to show.'' 

a variety of Hollywood trade 

crew arrives, they are taken hostage by what 

turns out to be a planeload of escaped fugitives. 

But when he reached his location in 

the Italian Alps, Harlin had a queasy experience 

oideja vu: with only a few weeks to 

go before the start of principle photography, 

there wasn't an ounce of powder anywhere 

in sight. 

Fearing the worst, Harlin did what any 

man responsible for tens of millions of dollars, 

hundreds of crew members, an army 

of stunt performers and the services of one 

of the world's most expensive actors might 

have done in his place. He found 

a church in the Italian town of 

Cortina, and pleaded with that 

great Location Manager in the 

Sky for a litde divine interveiv 

tion. 

If nothing else, what happened 

next shows that God has 

a sense of humor "I 

probably 

prayed a litfle too hard," Harlin 

says dryly. "Because the day before 

shooting was supposed to 

start, it started snowing. Then it 

snowed for two weeks straight 

We went from having nothing to 

having six feet of snow on the 

ground. Nobody was prepared 

for that kind of a mountain." 

Production was slowed by 

several weeks, which, on a 

film like "Cliffhanger," 

translates into millions of dollars 

in lost time. Perhaps it was 

because "Clifflianger" was being 

made by fiscally troubled Carolco 

Pictures or because 

Harlin's star— Sylvester Stallone—had 

previously appeared 

in what was allegedly one of the 

costliest films in history- 

Carolco's troubled "Rambo III." 

But at the first 

sign of distress, 

the industiT vultures (who were 

already maintaining something 

publicarions (including this one) 

identifying "Cliffhanger" as a film in crisis. 

Though he refuses to discuss specific 

budgetary figures, Harlin seems piqued by 

all the unflattering press speculation his 

film has received. He categorically denies 

that "Clifflianger" was in any sense a "runaway" 

production. "All these numbers that 

people suggest are absolutely insane," he 

says, "and have nothing to do with reality. 

We had a completion bond, and there was 

never even a conversation about the completion 

bond company getting involved |in 

running the movie), as we've seen with 


I 

Miic other big productions. We were in the 

ps, and we knew it was going to be rough, 

hatever expense that caused was covered 

weather insurance. Other than that the 

oduction went smoothly— there was 

ithing to worry about." 

Though he speaks of unflattering press 

th a discernibly European sense of rerve 

(Hariin is from Finland), Harlin 

unds understandably exasperated by 

e negative publicity which gathere 

ound Hollywood super-productions 

s attributes speculation surroundmg 

liffhanger" to the intense scrutiny Car 

:o was under during its very public 

;riod of debt-restructuring. 

"There were so many negative rumors 

ound Carolco, and there was so much 

k about Carolco's movies always cost 

g a lot that people automatically 

mped to that conclusion," he says. It s 

difficult thing which we've seen vnth 

her companies like Orion. When inde 

;ndent companies have financial probms, 

people like to jump to conclusions 

ry fast. It's a pity, because without 

dependent companies, the Hollywood 

ene would be very boring, and many 

cellent films would never be made 

A vailable footage from "Cliff 

f\ hanger" comes in the 

^Vform of a striking and 

mewhat disorienting trailer 

t to classical music, which 

ghlights some harrowing foot- 

;e emphasizing the fearsome 

lectacle of very high places, 

k'e helicoptered in about 350 

ew members to the location 

'ery day," Harlin says. "Every 

cation and set had a safety 

pe system, and always you 

!ere attached to safety wires." 

Some members of the "Cliffmger" 

team found the elaborate security 

-ocedures cumbersome. "But we got a 

)od lesson," says Harlin. "Very early in the 

|;hedule, my second assistant director 

epped backward without looking and 

lent over the edge of the set. He would 

bve fallen about four or five thousand feet 

he hadn't been connected to the safety 

[ire with his harness. Everyone saw the 

iisdom of the safety protocol after that." 

Another director might have resented the 

pysical demands imposed by a film like 

Pliffhanger," but Harlin claims he felt credvely 

liberated by the challenge. Once the 

irameters of the film's safety protocol 

ere established, he felt free to make "Cliffanger" 

wnthout compromising to accomlodate 

the extreme conditions the scenario 

nposed. 

'The key problem in mountain movies is 

era movement to throw the audience off" 

balance so that they'll never feel like they 

are on safe ground." 

As that comment indicates, audience response 

is very important to Harlin. "I really 

feel strongly that the director's job is to 

direct not only the actors and the camera 

but to direct the audience to where he wants 

"There was so much talk about Carolco 's 

ter, an average man who is pushed into a 

treacherous situation. 1 

really think that the 

hero of the '90s is not the macho action hero, 

but the person we would all like to think we 

could be, the ordinary man under extraordinary 

circumstances, who rises to the occasion 

because he has inner strength." 

"Cliffhanger" was especially gruelling for 

Stallone, who had to give a very physical 

performance in the thin atmosphere of 

locations that were often I0,000to 14,000 

feet above sea level. According to Harlin, 

his somewhat famously difficult star was 

extremely accommodating— an all the 

more impressive achievement given the 

fact that Sylvester Stallone suffers from 

a fear of heights! "But I found a clever 

way to his heart by doing some of the 

things myself," Harlin says with a laugh, 

"and showing him that ifan ordinary guy 

like myself could do it, he could too. 

After that, he was very eager to do even 

more [of his stunts] than I asked for" 

Wl 

movies costing a lot that people automaticallyjumped 

to that conclusion. When independent 

companies have financial problems 

people jump to conclusions very fast.'' 

to take them," he says. "I admit it, I shamelessly 

want to manipulate the audience in 

each scene, so that they will be taken on the 

journey that I want to show." 

Like his filmmaking heroes Alfred Hitchcock 

and John Ford (whose memory he 

jokingly honors by describing "Cliffhanger" 

as combining the 

phobias of Hitchcock's 

"Vertigo" with the spectacle of Ford's "The 

Searchers"), Harlin meticulously plans out 

each of his films in terms of visual structure. 

He storyboards "every single shot. For 'Cliffhanger,' 

I did about 2,500 illustrations, lb 

me, it's really crucial to plan the images." 

Harlin also took pleasure in manipulating 

the macho image ofhis star "We decided 

early on that [Stallone) would never even 

pick up a gun," he says, with demonstrable 

relish. From Harlin's description, "Cliffhanger" 

seems a calculated attempt to avoid 

lat they are so hard to make that people the cartoonish aspects of Stallone's action 

'-e happy just to hang over the edge and persona in favor of the proletarian everyman 

of the early "Rocky" features. 

Dint the camera at whatever image hapans 

to be there. I realized early on that, for "He's not a super-hero," Harlin says of 

lliffhanger' to work, it would be very imortant 

to find precise angles and use cam- 

intentionally went for a vulnerable 

Gabe Walker, die Stallone character "We 

charachile 

Harlin enjoys the demands 

of movies like "Die 

Hard 2" and "Cliffhanger," his 

professional aspirations are wider than 

any single genre. One of the first things 

Harlin did with the clout he acquired 

from "Die Hard 2" was to attach himself 

to the quirky, gentle period 

drama "Rambling Rose," a film 

he says it was "my dream to 

direct, " but which he graciously 

agreed to produce when it 

turned out that IVIartha Coolidge 

was already attached to 

the project. "I don't want to be 

labeled as an action film director 

for the rest of my life," 

Harlin says emphatically. "I 

would feel that I hadn't used 

my opportunity and my talent 

in 

a satisfying way at aU if I 

spent my life doing similar films. Even if I 

don't change the world or make incredibly 

deep films, I want to give people something. 

I've been given this opportunity to make 

movies, and I want to give something back." 

For now, Harlin's desire to diversify his 

directorial portfolio will have to wait until 

"Cliffhanger" has its run in the marketplace, 

where it is already considered a possible 

boxoffice front-runner for the summer season. 

Though he faces some strong challengers—Spielberg 

and Schwarzenegger 

have projects on deck, among others— 

Harlin refuses to view other big summer 

films as rivals to his own popcorn epic. 

"1 hope that there is space for all the big 

summer movies," he says, "that this will be 

a good summer for all of us. This will prove 

that it's worth doing the bigger types of 

movies. It's my belief that big movies mark 

the difference between TV and cinema, and 

that making films [like 'Cliffhanger') is the 

way to keep big audiences coming to the 

theatres." 

'Clifflumger' begins its national run over the 

Manorial Day weekend 

IB 

March, 1993 23

SPECIAL REPORT 

The Survival of the Revival House 

This venerable form of exhibition has weathered hard 

times and recreated itself to take better advantage of new 

markets. 

The 

By Marianne Cotter 

revival or rep house was a post- 

World War II phenomena that reflected 

the changes in American 

movie going habits, created by a taste in film 

product spurred on by a generation of filmgoers 

interested in independent, classic and 

foreign films. At one time the revival or 

repertory house was the solitary venue in 

which these films (and film history) could 

be studied and appreciated by students and 

the general public. The first revival houses 

appeared in the 1 950s and 1 960s and by the 

1970s, every major city and many small 

ones had several theatres that were devoted 

to presenting classic films, some as many as 

14 different films a week, either individually 

or in thematic festivals organized according 

to genre, nationality, or director 

These theatres, some in historically preserved 

buildings, distributed their own calendars 

and gave the public an opportunity 

to see films that hadn't been available since 

their first run 20, 30 or 40 years ago. 

The Rise and Decline 

At the peak of the revival movement in 

the 1970s it is estimated that there were as 

many as 400 such theatres in the country. 

Tbday there are only a handful of theatres 

that dedicate their entire programming to 

repertory. Most revival houses eitherbroadened 

their programming to include first-run 

films or closed their doors for good. And yet 

the few that have remained provide a 

unique study in adaptability and specialized 

markefing. 

Why did the golden age of the repertory 

house come to an end so suddenly? One 

reason was that in the early 1980s the video 

revolution and cable TV came along. Aided 

by big screen television and stereo sound 

the private home soon became the repertory 

theatre of the day. "Art" 

video stores 

emerged to serve the market with foreign 

and independent films and documentaries. 

The cost of renting a film as opposed to 

seeing one in a theatre was impossible to 

combat and one revival theatre after another 

dropped its curtain for the last time. 

While video is the most obvious culprit, 

other factors also contributed to the failure 

of so many revival theatres in the 1 980s. 

Bruce Goldstein, director of repertory programming 

at the Film Forum in New York, 

feels that the real estate boom of the 1 980s 

put a lot of repertory houses out ofbusiness. 

"The profit margin in this kind of theatre is 

so slim that your overhead has to be low," 

says Goldstein. "Most revival houses were 

in low rent spaces. When the price of real 

estate climbed in the '80s theatre owners got 

priced out of their buildings." 

Gary Myers, co-founder of Landmark 

Theatres, noted a trend among couples who 

had postponed parenthood to concentrate 

on careers. By the 1980s they were in their 

thirties and starting families, a situation that 

is sure to keep people at home. "When home 

video first became popular we also noticed 

there was a new baby boom happening," 

says Myers. "We kept very close tabs, market 

by market, on the impact of those two 

things." 

Another contributing factor might be 

what some people see as a decline in film 

education among younger viewers. "Cities 

with colleges that have films schools do a 

little better," says Kit Parker of Kit Parker 

Films in Monterey, California, "but unfortunately 

there's been a demise of teaching 

film in the schools. In the 1970s film was 

taught in high school and even junior high, 

but not anymore. Kids today are not film 

literate." 

At the same time some new venues for 

classic and art films opened at colleges, 

universities, film societies, and museum 

theatres that switched from 16mm to 35mm 

projectors, taking exliibition dollars from 

the traditional revival market. "There use( 

to be a non-theatrical listing in the calendar 

of theatres with 16mm projectors," says 

Morton Wax, owner of M.D. Wax/Couriei 

Films, a distributor of foreign and American 

independent films in New York. "Now these 

places have 35mm." While not a significar 

threat, these non-profit theatres can ni 

film festivals, documentaries, and nc\ 

films without the financial pressure felt by 

privately owned theatres. 

Regardless of the cause, the number of 

the traditional calendared revival housi 

around the country had declined sharply 1 

the end of the 1980s. Wax estimates th 

today there are fewer than 100 such repc 

tory art houses in operation. The Landmark 

Theatres are a case in point. "At one time \\'(; 

had 25 repertory theatres all over tlie West 

Coast, the Midwest and the South," sa\'s 

Gary Myers. "When home video took off we 

predicted that our programming would 

need to change. When we saw a weakening 

on a regular basis of repertory programming 

at a particular theatre, we added more 

first-run specialized films, meaning foreign, 

independent, and documentaries, changing 

die overall programming concept ofthat 

given theatre. The result is that 88 of our 92 

screens are now first-run tiieatres playing 

specialized or art 

films exclusively unit 

there's a revival of 'Casablanca' or a major 

restoration such as 'Gone With the Wind'.' 

The Castro, a large ornate movie palace 

in San Francisco, outlasted almost all its 

competition by varying its programming. 

"The '80s were a real low point," says Castro 

programmer Anita Mongo. "Video really cut 

into boxoffice at various theatres and the 

Castro was hurt too. In San Francisco we 

had the Gateway, the Roxy, the Strand, and 

the York all doing repertory. Of all those 

theatres only the Roxy still exists as a small 

art house with specialized programming, 

but not really rep. The Castro is a modified 

(continued p 26^ 


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Special Report: The Survival of Revival (continued from p. 24) 

rep house because we mix rep with first run 

and premier revival engagements. I do run 

some foreign films but the direction I've 

been going in is American classic revivals 

in preservation prints." 

Mixed Programming for Survival 

Other notable survivors of the video age 

include the FUm Forum in New York, The 

Biograph in Washington D.C., the Castro in 

San Francisco, The Neptune in Seattie, The 

Bratde in Cambridge, Massachusetts and 

the Stanford in Palo Alto, California, to 

name a few. While all of these theatres are 

securely positioned for the 1 990s, almost all 

of them, like the Castro, have broadened 

their programming and marketing strategies. 

They have bolstered attendance by 

adding week-long nms of first run art films 

and the work of American independents. 

As this strategy began to pay off the distinction 

between the rep house and the art 

house began to blur Morton Wax sums it up 

this way: "Up until about 1 985 there was a 

distinct difference between an art house 

and a rep house. A rep house played repertory 

by definition: old films, classic films, 

basically any film that had become a classic 

with no date attached. Art houses played 

primarily first run foreign films. But as the 

independent film industry grew up here, art 

houses began to include American art films. 

And they added a sprinkling of the classics 

to fill empty dates. Rep houses did the same 

an asset to us to have an audience that was 

sophisticated about certain directors and 

films. Then they wanted to have the big 

screen experience. Basically, it was a 

change in eras. People came back because 

they wanted that kind of experience." 

Accessing the Best Prints 

Programmers are also unanimous in 

pointing out the good work of some film 

houses in helping to restore prints for 

screenings. TUmer Entertainment Services, 

for example, has received plaudits for their 

restoration work on their enormous film 

library and for making it available. TUmer 

has a library of 3,300 feature films and 

30,000 shorts including substantial parts of 

MOM, Warner Bros, and RKO's libraries. 

Despite Thmer's own cable "revival" network, 

TNT, the company evidently feels 

that revival houses are stUl a vital means of 

getting these films out to the public. Programmers 

from the Brattie, the Castro, the 

Biograph and other revival theatres work 

closely in conjunction with TUmer, Kit Parker 

Films, and other distributors to put together 

festivals that may require new 

prints. 

The Nonprofit Theatre 

In addition to the school and museum 

theatres mentioned above, there are several 

runs fi-om Film Forum 1 and Film Forum 

and for special programming. This fhir 

screen allows Film Forum to hold on to 

wanner, whether it's 

a repertory,' film or 

first-run. "If a film does well in it's firs 

two-week run we can continue it on th 

third screen indefinitely," says Karen Coc 

per, Film Forum director and programme 

of first run films. "'Paris is Burning" opene 

at over $40,000 the first week and we ran 

in for 1 7 weeks. Sometimes we print revise 

calendars for extended runs." 

"We are a bigger operation than most 

says Cooper "We are nonprofit and vdthou 

the buffer we get from public and privatf 

flinds we wouldn't be able to take the risks 

that we do. 

"Many rep programs do extremely wel 

as our Bruce Goldstein has done virith Pnei 

ton Sttirges and Billy Wilder programs, buff 

others don't. When you have a mailing list 

of 5,000 people you are committed to a mn 

whether it's doing well or not. So we can 

take significant losses that a commercial 

theatre would shy away fi-om. I have money 

from the National Endowment for the Arts 

and The Interstate Council for the Arts as 

well as 3,000 Film Forum members who pay 

$35 or more for annual membership and get 

in for $4.50 instead of $7.00." 

Another unusual, but highly successful 

nonprofit theatre is the Stanford in Palo 

Alto, California. A genuine movie palace, it 

has been restored to it's original 1925 grandeur 

at a cost of $6 million thanks to the 

David Packard family. Tbday the Stanford is 

owned by the Stanford Theatre Foundation 

and plays a strict repertory bill of Hollywood 

films made before 1955. "I would say 

successful rep theatres that have maintained 

their original programming concept 

to make up for competition ft-om video. 

Now in the 1 990s everything has merged. 

What we have today could really be called 

by operating as nonprofit corporations. 

These theatres enjoy the luxury of sticking 

a repertory art house." According to Wax, he to repertory programming in a reladvely 

has jumped from rep house to art house to 

museum and university theatres to book 

films throughout the country. 

risk-free environment. The Film Forum in 

New York, for example, is a highly unusual 

and influential theatre in Manhattan that 

the newest movie we've ever nm would be 

'On a Clear Day You Can See Forever' during 

our Vincente Minnelli festival," says 

operates a $2.4 million annual budget publicist all on Cyndi Mortensen. Although of 

The Video Payoff 

which comes from grants, memberships, 

and paid admissions. 

the theatre's 1,185 seats are seldom filled, 

Mortensen recalls that during their three 

Programmers at the revival theatres that 

are still in operation today almost unanimously 

Film Forum also has the advantage of 

operating three screens. Film Forum I is 

week run of "Casablanca" the Stanford outsold 

every theatre in tlie country. 

agree that eventually they reaped 

some benefits from the video revolution. 

When new releases were out ofstock people 

delved into older films, whetting their appetite 

for more of the same, on the big screen 

as well as the small. Studios began releasing 

devoted to New York City premieres of first 

run American independent and foreign art 

films. A highly influential venue, all Film 

Forum 1 premieres are reviewed by the 

New York critics. The success a film receives 

in Film Forum I usually is a gauge 

Due to the fact that the Stanford donates 

part of its revenues to the film archives at 

UCLA and other places, they occasionally 

can bortow prints not generally available. 

"Our programming can penetrate much 

deeper than what's available in video stores 

their libraries, and specialized video stores for its potential in the rest of the country. because we can get prints from tlie UCLA 

emerged. "After the '80s something very Film Forum 2 presents repertory including film archives, the Library of Congress and 

good came out of the video age," says 

Mongo. "People started educating themselves 

about film through video. It became 

foreign and American classics, genre works, 

national festivals and salutes to individual 

directors. Film Forum 3 is used for extended 

the Museum of Modem Art in New York," 

says Mortensen. "During the recent David 

(continued p 28^ 

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Special Report: The Survival of Revival (continued from p. 26) 

O. Selznick fesrival we showed a restored 

print of 'Nothing Sacred' with Carole Lombard 

and Fredric March that MOMA let us 

borrow. We borrowed the original 'A Star is 

Bom' from the UCLA Film Archives. They 

had completely restored the color" 

Selling the Experience 

People who run successful repertory 

houses understand that what they are selling 

is a complete movie theatre experience. 

In addition to maintaining the structure and 

showing the best prints, other touches help 

turn an evening at the movies into an 

"event" for the audience. The Stanford, for 

instance, has a house organist who plays a 

restored Wurlitzer during silent films and 

intermissions. 

Providing that authentic moviegoing experience 

is an important marketing strategy. 

"We appeal to the 

purist sensibility," 

says Connie White of the Brattle in Cambridge, 

Massachusetts. "We show film in 

context and we provide the wide screen 

experience in the original format. We have 

a 16mm projector in addition to the 35mm 

for just that purpose. That gives us an edge 

because the old black and white movies just 

don't look good on TV." 

Hosting guest speakers such as actors, 

directors, and biographers, is another way 

(although hardly a new one) to transform a 

film or a film festival 

into an event, especially 

if the speaker is booked far enough in 

advance to be included in the calendar. 

Unfortimately, this can be quite expensive. 

"It can be expensive to bring in a director," 

says White. "If they're in town and they 

want to do it that's great. Otherwise, we have 

to pay their expenses. But the audiences 

love it." 

Although the revival theatre may never 

regain the singular purpose, stature, and 

numbers it enjoyed in the 1970s, it is clean 

now that in it's new form the "repertor\' ai 

house" has found a format and an audienc 

that will sustain it well into the 1990s. 

Connie White sees the video revolutioi 

as reflecting essentially the same issues tl 

movie theatres faced in the 1950s when 

became available: competition from a nei 

technology. "In the '50s television closed 

lot of theatres," says White. "But in the en 

each made room for the other Tbday we'i 

finding that revival theatres can surviv 

because they serve a different purpose tha; 

video." Theatres that exercise flexibility an 

foresight in defining that different purpos( 

will continue to draw appreciative audi 

ences as long as there are films to light thf 

screen. 

Marianne Cotter is a freelance unter baxa 

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VIDEO SUB-SYSTEMS 

By Russell Wintner 

President 

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video component of your com- 

can make a lot of difference 

Theputer 

in the way you use your computer. 

The amount of information you see, both 

in detail and in scope, the size of the text, 

and the depth or absence of color all 

come together on the screen. Because 

vision, like beauty, is in the eye of the 

beholder, much of what you see is subjective 

and what pleases one person may 

not please another. Understanding what 

makes up the video system, which includes 

much more than just the monitor, 

will help you to chose the right system 

for both your visual comfort and your 

computational needs. 

The Video System 

A standard video system is comprised 

of a video display adapter, the video 

driver software, and the monitor. The 

video display adapter is an expansion 

board or a chip set on the mother board 

which receives data from the CPU (Central 

Processing Unit) and sends a video 

signal to the monitor. The video driver 

software comes with the video display 

adapter or applications software and 

gives intelligence to the video hardware. 

The monitor is simply a television tube 

without a tuner or sound amplifier. The 

monitor receives a video signal from the 

display adapter and creates a picture. 

The maximum quality of the image you 

see is established by the display adapter. 

Monitor quality simply determines how 

well the visual image is played back. 

Video display adapters exist in many 

varieties. The much older Monochrome 

Display Adapter that was shipped with 

IBM's original PC is rarely found anymore. 

These were black and white (or 

green or amber depending on your 

monitor's phosphor color) only and had 

no graphics capability. Then came IBM's 

Color Graphics Adapter (CGA) which 

came in both monochrome versions and 

color, the latter having a 1 6 color palette. 

The images these boards created were 

excitingbecauseofthecolorthey sported 

and the first real graphics that they represented. 

But especially for text based 

applications, CGA was synonymous with 

eye strain. Shortly after CGA, IBM introduced 

the Extended Graphics Adapter 

(EGA) which drastically improved resolution 

(especially in text mode), and 

added more colors and real monochrome 

graphics. It was just prior to the introduction 

of the EGA that the major computer 

video accessory company Hercules came 

out with a variant adapter that provided 

much improved text resolution and 

slightly better monochrome graphics 

than that of the CGA. But Hercules was 

not directly supported by IBM and basically 

lost popularity when IBM's EGA 

was introduced. 

When 

IBM issued it's first PS/2 

computer system, it also introduced 

two new video modes: 

MCGA and VGA. MCGA was a low cost 

combination of the CGA and VGA modes 

with intended use in low end introductory 

models of the PS/2. VGA, however, 

has swept the industry and is now the de 

facto standard. 

VGA, or Video Graphics Array, has 

many features. Text, even in color, is as 

clear and sharp as the original MDA. 

Colors are vibrant because the palette 

includes a minimum of 256 colors. And 

graphics detail is so sharp that realistic 

photos are reproducible on the 

computer's display. A major advantage of 

all this resolution is that images can be 

reduced in size so that more information 

can be displayed on the same screen. For 

instance, a spread sheet that may be displayed 

as 25 rows by 80 columns in CGA 

mode can have as many as 50 rows and 

132 columns in VGA. 

Since the time of the original VGA release, 

many computers now flaunt Super 

VGA (SVGA) and some feature Extended 

VGA. By adding more memory to tl 

adapter, more colors are possible. And] 

changing some electronics, sharpc 

flicker free images are possible. ( 

course, these boards cost more so it 

usually wise to match the resolution ai 

capability to the task at hand. 

Video Speed 

With the advent of Windows and otht 

graphical user interfaces, the speed ( 

the video system has taken on new 

portance. Users of Computer Aided D 

sign (CAD) and desktop publishi 

software must also be concerned wit 

how slow their computers respond b( 

cause of the dedication of the CPU 

updating the intensely detailed graphic 

displays. Manufacturers have addressee 

the speed issue in several ways. A simple 

video system is based on what is called a 

frame buffer. The CPU determines what 

is to be placed in video memory (the 

frame buffer) and individually places the 

information there. This technique is slow 

for two reasons: (1) while the CPU is 

doing video work, it cannot be doing anything 

else; and (2) the video system is 

dependent on the speed of the CPU. 

Sometimes, just by using fast memory 

especially designed for video use 

(VRAM) your video adapter may be fast 

enough to do a good job for you. Using 

the newest and latest version of the 

adapter's driver will also help. And, of 

course, changing to a faster CPU is always 

a plus. But, if this is not enough, two 

methods have been introduced to speed 

up video displays still further— video accelerators 

and video co-processors. 

Video accelerators and co-processors 

are similar. Accelerators are preprogrammed 

with specific functions and coprocessors 

are fully programmable by 

the applications software. But both serve, 

in their own way, the same purpose, and 

that is to take raw data about a graphic 

image and do the work of computing the 

(continued p. 32 

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Computers: Video Subsystems (continued from p. 30) 

actual image so that the CPU is 

free for 

other duties. In a frame buffer, to draw a 

circle the CPU must calculate every dot 

orpixelonthe screen that would be a part 

of the circle and properly set video memory 

so that the correct dot is turned on to 

the correct color and intensity. With an 

accelerator, the CPU simply says, "Draw 

me a circle of radius r with center at pixel 

location r,c in color c and intensity i." 

Then the CPU goes back to other work 

while the accelerator figures out what to 

particular one while several other customers 

are each admiring a different one. 

What makes one person buy a Sony, or 

Hitachi, or Zenith, or NEC and someone 

else another brand is largely subjective. 

There is litde reason to buy a black and 

white monitor today. The range of color 

and high resolution of VGA makes color 

a comfortable choice. But traditional 

B&W monitors are less expensive and for 

certain applications, like sitting on top of 

a network file server where it is rarely 

turned on, B&W makes better sense. And 

then there are the paper white monitors 

for desktop publishing. These gems have 

a fine grain and resolution that is unequaled 

by any other monitor. They are 

most useful for viewing previews of layouts 

which will be printed on a B&W laser 

or pictures which will later be touched up 

with color. But for most business and 

entertainment uses, color is most appropriate. 

Color 

Color screens differ in size, their 

method for masking off the color phosphor 

dots, the size and spacing of the 

phosphor dots, and the shape and texture 

of the glass picture tube. Size isn't necessarily 

a matter of bigger is better. Since 

any given image is the same on all monitors 

(the same number of pixels high as 

wide), all that changes with size is the 

size of the pixels themselves and/or the 

space between them. Like a real TV 

which shows all of the lines and flaws 

when the picture gets too big, a monitor 

too large for a given video quality may be 

less than pleasing. 

The technology for getting the electron 

beam to properly focus on each phosphor 

prefer the less intense aperture grille system. 

A measure of a monitor's resolution is 

usually given in dot pitch. This is the 

center to center spacing of the individual 

physical color dots on the screen. Less 

expensive monitors measure more than 

.31 mm which is not very good. Better 

monitors measure .31 mm or less with 

.28mm being very acceptable. But what 

is best for you is what you like. Buy what 

appears best to you and use these numbers 

only as a guide. The other aspects of 

the monitor may make a .31mm tube 

appear better to you than one that has a 

.28mm dot pitch. 

Finally, the glass tube which gives the 

picture shape, plays a role in how one 

likes a monitor. Most screens today, except 

for the less expensive ones, appear 

more flat than they used to. To get that 

appearance, they are "slices" of a cylinder, 

like a square cut out of the side of a 

tin can, or square segments of a giant 

sphere. The former has perfectly parallel 

lines but the lines do appear to wrap as 

though they are on a label on that tin can. 

The spherical method gives some 

rounding and gentle distortion, but for 

those who do not like the "can" effect, this 

minor distortion is more satisfying. Then 

there's the glass cover over the actual 

picture tube. If glare is a problem, look 

for an etched screen. 

Resolution 

Last but not least is the monitor's fre 

quency and scanning method. I 

higher the resolution, the more dots 

light or pixels have to be addressed b\' 

beam as it scans the screen, increasir^n 

the frequency of the signal. As the signi 

frequency increases, a higher frequenfl 

range is required of the monitor. Thisi 

a rather technical area best left to com 

dot without accidentally lighting up a 

neighbor dot is the same as it is for a 

puter books; for our purposes, all yoi 

do. It's fairly obvious how this makes the regular TV set. Besides the single electron 

gun and traditional three gun beam 

must know is this: VGA uses an an.ilo 

whole computing process faster, especially 

when there are lots of graphics projection systems for color (red-green- 

monitor and the earlier video adapti i 

use TTL. They are not interchangpjbi i 

shapes to draw on every screen. 

blue), you also have your choice of 

(but VGA can display on its monitor r 

shadow mask and aperture grille 

of the earlier video modes). Within \( 

The Monitor 

screens. The former is characterized by 

you can choose between a fixed in 

its black appearance when the monitor 

quency monitor, a switch selectable inui 

or TV is off and the high contrast and 

Buying a monitor is not unlike buying 

tiple frequency monitor, or a scanning 

brilliant colors when it is on. Some people 

find this harsh and unnatural and 

a television. You could be standing up in 

(or multisync) monitor which can sel 

front of a shelf of monitors admiring a 

adjust to whatever video mode is turned 

on by the software. Some adapters are 

also able to present a screen full of information 

completely in one full frame oi 

as an interlaced pair of frames (frame 1 

being all odd rows and frame 2 being al! 

even rows). The latter is the commor 

method and is more prone to flicker ir 

the highest resolutions than non-interlaced 

displays. But, interlaced video it 

also less expensive and adequate for 

most business applications. 

In the long run, don't be confused by 

all of what seems to be technobabble. Simply 

make sure that the monitor you purchase 

matches the video adapter you 

have and the maximum video mode 

available within that adapter that you 

expect to use. 

The Bottom Line 

The bottom line to all of this is to lnolbefore 

you buy. Try each monitor in several 

different operating modes and with 

the adapter that you will be using. Compare 

color, brightness, flicker, resolution^ 

and the ability of the monitor to handle' 

different video modes without excessive 

manual correction of horizontal position. 

And, above all, don't skimp here. Be fair 

to your eyes because they, unlike your 

computer components, are not replaceable! 

32 BOXOFFICE

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Omaha. NE 68112 

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See us at ShoWest Booths 135-138 

1993 Strong IntemaUonal

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]>^TO 

ShoWest 

Intro 

oWest^B Mar. 8-11 Rally's Las Vegas

!l 

Nestle... 

The Leader In Concessbn Candy

1 

" 

EDITOR AND ASSOCIATE PUBLISHER 

Harley W. Lond 

SENIOR EDITOR 

Ray Greene 

ASSOCIATE EDITOR 

Marilyn Moss 

EDITORIAL ASSISTANT 

Cathy J. Lopez 

CONTRIBUTING EDITOR: VIDEO 

George T. Chronis 

CONTRIBUTING WRITERS 

John Allen 

Bruce Austin 

Man Florence 

Alan Karp 

Karen Kreps 

Shiomo Schwartzberg 

Fern Siegel 

Mort Wax (International News) 

CORRESPONDENTS 

.TIMORE: Kate Savage, 301-367-4964. BOSTON Guy Liuing- 

617-782-3266, CHARLOHE Charles Leonard, 704-333- 

4; CINCINNATi Tony Ruthertord, 304-525-3837, CLEVEU\ND 

ne fried, 216-991 -3797: DALUS Mary Crump, 214-821 -981 

,UTH/TWIN CiTIES Roy Wirtzleid, 218-722-7503, FLORIDA 

Baumel. 407-588-6786, Rhonda P Hunsinger. 407-292- 

9: HOUSTON Ted Roggen, 713-789-6216. MILWAUKEE Wai- 

. Meyer, 414-692-2753: NEW ENGUND Alien M Widem 

232-3101. NEW ORLEANS Wendeslaus Schulz. 504-282 

7; NEW YORK: Fern Siegel. 212-228-7497, NORTH DAKOTA 

:h. 701-943-2476: OREGON Bob Rusli, 503-861-3185 

LADELPHIA Maune Orodenkec, 215-567-4748, RALEIGH 

mond Lowery, 901-787-0928. SAN ANTONIO William R 

ns. 512-223-8913. x704. TOLEDO Anna Kline, 419-531-7702 

WDA: Maxine McBean. 463-249-6039. DUBLIN 

reland |+353| 402-35543. AUSTRALIA/PACIFIC 

beliuk. 011-61-2-502-4158 

Doug Payne, 

Mark A 

FOUNDER 

Ben Shylen 

PUBLISHER 

Bob Dietmeier (312)338-7007 

NATO/ShoWest 

Intro 

SW-4 

BOXOFFICE Magazine, March 1993, Part II 

FEATURES 

A Challenge to the Entertainment Industry- 

President Bill Clinton 

SW-6 Welcome to NATO/ShoWest '93—Tim C. 

Warner 

SW-8 

SW-10 

Welcome to NATO/ShoWest '93—Herb Burton 

Share the Magic—It's Easy—Mary Ann Grasso 

SW-1 2 Indicators for a New Optimism—William P. 

Rector 

SW-1 4 

The Cutting Edge—Terry Yushchyshyn 

ADVERTISING CONSULTANT 

Morris Schlozman (816)942-5877 

EAST COAST ADVERTISING REP. 

Mitchell J. Hall (212)877-6667 

SW-1 6 

SW-20 

Protecting Our Most important Product: 

Movies—Jack Valenti 

NATO/ShoWest '93 Schedule of Events 

CIRCULATION DIRECTOR 

Chuck Taylor (312) 922-9326 

OFFICES 

litorial and Publishing Headquarters: 

40 Sunset Blvd., Suite 100, Hollywood, CA 

7159 (213) 465-1186, FAX; (213) 465- 

jrporate: Mailing Address: P.O. Box 25485, 

licago, IL 60625 (312) 338-7007 

^ 

Circulation Inquiries: 

BOXOFFICE Data Center 

1020 S.Wabash Ave,. 

Chicago. IL 60605 

(312)922-9326 

FAX: (312) 922-7209 

sovinkI 

SW-22 

SW-24 

SW-52 

SW-58 

Trade Show Floor Plan 

Trade Show Booth List 

Summer Heat: Our Annual Look at the 

Season's Coming Attractions 

BoxOFFiCE's Sixth Annual Miscellaneous Film 

Awards 

SW-65 Tech Notes: Powering Up for Digital—John F. 

Allen 

SW-70 

The FIC Excellence in Film Marketing Award 

This month's winner: "Malcolm X 

SW-71 ADA: Paying for Compliance—Mark E. 

Battersby 

March, 1993 S\V-3

s 

; 

NATO/ShoWest '93 

A Challenge to the Entertainment 

Industry 

I 

By President Bill Clinton 

feel like I have known many of you in 

the entertainment industry for a long 

time, because I have seen your movies 

and sung your songs, or just imagined that 

life could be as it seemed to be in the lyrics 

or on the screen. My wife knows that I have 

been since childhood an inveterate moviegoer, 

and now the whole world knows that 

1 am a mediocre but passionate musician. I 

have always aspired to be in the cultural 

elite that others condemn. 

I come from a place that has just 2.4 

million people, where every good or bad 

thing that has happened in this country has 

happened intensely. And because I was 

governor of that state for a long time, when 

things happen to the people there, I often 

know them by name. What I want you to 

know is that no matter what other people 

might say, the words that have been uttered 

in the films and songs America has given to 

the world reflect what is in those people's 

hearts. 

I want to challenge every one of you, who 

are some of the most gifted, creative and 

caring Americans anywhere, to be part of 

the change that I have worked so hard to 

bring to this country. If you think about the 

way you can reach people, there must be 

more you can do to help me to lift America' 

education system up and to prove that all 

children can learn, and that all people can 

find a new tomorrow, no matter how dark 

their yesterdays have been. If you think 

about the incredible success of this indusi 

in reaching out to the rest of the world, a 

proving that America is still the best 

communicating ideas to those in oth 

lands, there must be a way in which you c 

help our fellow Americans to 

understa 

that we are one part of a vast, interconneci 

world, and we are going to have to 

different things than we have ever do 

before if we want every man and woni 

and every boy and girl to live up to 

fullest of their God-given capacity. 

Probably all of you care more about sor 

issues than others. But no matter what 

particular position, it all comes down 

having us believe as a people that tomorro 

can be better than today, and that we ~ 

better because we are one nation, unii 

We are stronger when we are together, ai 

we are stronger when we believe in pro 

ress. The thing that is killing this count 

today is not the dimensions of our problei 

but the dimensions of our disbelief. Then 

is nothing this country cannot do if we a 

together, and if we call upon our bette 

selves, and if we resolve not just to chana 

course during elections, but to change til 

way we all behave when the election is ova 

I ask you to be a part of that, to brin; 

America back, to make today the beginnitij 

of a new future for our country. 

Thank you all, and God bless you. 

Euirpu-illrnm u speech delivered by President Bill CliiM^ 

fvcnr sponsorcJ h\ the Hollywood Women 's Political Conmis 

tcf, Sepltmher 16. 1992. Reproduced by permission. 

SW-4 BOXOFHCE j

Response No 10 

- 

Our Stdr Performers lliJllHdke 

You The Star 

n Concession Sales 

ISHEY'^S Leading Brands WiU A Great Supporting Cast. 

rease Your Per Caps. 

Free register toppers, onesheet posters, 

tidpate in HERSHEYjS Star Performers 2, mobiles and aew buttons will stimulate sales. 

sequel program to inaease per caps, maxe 

profits and win prizes by stocidng show you how to best merchandise candy and 

You'll also receive a detailed Planogram to 

:zlerSiB, Reese's® Peanut Butter Cups, and Point-Of-Sale to maximize your profits. 

>at'Si. 

Your Chance To Win Is In Every 

RSHEY'S established popularity nationmeans 

instant recognition and guaran- 

Case. 

Look for official Star Performers 1, The 

demand at your concession 

Sequel Sweepstakes game cards and game 

iter. Twizzlers is the No.l 

stickers with every case of Twizzlers, Reese's 

r in concessions 

Peanut Butter Cups, Kit Kat, and other 

mwide'. Reese's is the No. 

HERSHEY'S brands. When you 

|d leader in all candy catesales-. 

And, Kit Kat is the 

fill out your game card with the 

correct combination of 

ling chocolate wafer candy 

nr^ -^K.v^^fc Twizzlers, Reese's Peanut 

Itail '. 

W^ e»>> Butter 

pMf 

Cups, Kit Kat, and 

n up and agree to stock these 3 

Wild Card game stickers 

|.elline brands. 

you'll receive a Star 

c Sain indinf 

CHASE NECESSARY. S«ol 

o^SUfPerfonner 

Performers 2 Team Cap. Plus, you'll PTJ.uiu i 

automatically be entered in a 

drawing for one of 3 Grand 

Prize Trips for tivo to any city 

in the continental US, and 165 

other valuable prizes. And, if you 

n 

''' 

THE SEOUn 

win a prize, your concession crew also 

wins Star Perfonner T- shirts. 

Bonus Star Performer Points. 

Receive 500 additional Star Performers points 

when you sign up and stock all three best 

sellers - Twizzlers, Reese's Peanut Butter Cups 

and Kit Kat. 

Contact your Hershey Sales Manager for 

mmm 

details.


Welcome to NATO/ShoWest '93 

Welcome 

By Tim C. Warner 

General Chairman 

NATO/ShoWest 

to NATO/ShoWest "93: 

Share the Magic, the largest gathering 

of theatrical exhibition/distribution 

in the world. What a magical year 

it was at the boxoffice. You could sense the 

turnaround that was coming for our industry 

at NATO/ShoWest •92. 

The role of this convention is to offer a 

sense of our industry. Our goal is to 

reflect 

the changes, whether real of imagined, that 

are taking place or about to take place in our 

industry. Our convention senses the direction 

of where we have been or where we are 

about to go; it captures the mood and takes 

the industry's temperature. Its enthusiasm 

can be contagious, or its complacency can 

be a warning. 

At our 1989 convention, we focused on a 

reunited U.S. exhibition industry under a 

revitalized NATO. In 1990, we analyzed 

our roots and our evolution. In 1991, wi 

recognized the growing importance of in 

temational exhibition in the marketplace. Ii 

1992, we projected into the future in ar 

attempt to evaluate our roles in the enter 

tainment industry. 

In 1993, we "Share the Magic" of thil 

moviegoing experience as we try to differ 

entiate ourselves from other viewing expe 

riences. It is, after all, that shared viewing 

experience that separates the moviegoiiifj 

experience from all other entertainmeni 

media. 

Take the time to enjoy the convention 

Open your mind to new ideas. Try to get; 

sense of the industry's mood. Foi 

NATO/ShoWest, the industry convention 

is fun. It's exciting, it's glamorous, anci 

most importantly, it measures the pulse ol 

our industry. 

On behalf of NATO/ShoWest '93 anc 

our staff, thank you for coming. It is ai 

honor to serve you. 

SW-6 Boxoffice

"ABIGHITWITHTHEKIDSr 

SARAH B(1[I1[NBACH, 

eOCH[Sl[e MINN[SOIA 

f 

"BEST CANDY AT THE 

CONCESSION SIAND!" 

il/A HSCHffl, DAllAS IFXAS 

"GREAT FUN!" 

[D IHOMPKINS, SAN DIEGO CAllfORNIA 

"GREAT FOR 

THE WHOLE 

fAMIir 

•MAifflOREI By SyNMARK INC, IRE NAIION'S EEflOING MARKETER OE 

© 1881 SPN RNIER EICENSE EROM 1 IRAWRHWNERS 

comAci yoyR concession supplier or cail i-800-22S'9525 for more information


Welcome to NATO/ShoWest '93 

By Herb Burton 

Executive Director 

NATO/ShoWest 

e at NATO/ShoWest '93 welcome 

you with open arms and invite you 

W Share the Magic" of the mov- 

From the first cry of "Lights. ..Camera.. 

.Action" to the final "Thank you for 

attending this evening's performance," the 

magic of the movies spreads charismatically 

throughout the world—every day. It's 

a magic that ignores national boundaries 

and crosses cultural lines. And, as an industry, 

it is our privilege to provide that magic 

to moviegoers the world over. 

As an industry we have an obligation to 

provide the moviegoing public with a 

"magical" experience every time they step 

into a theatre. The movie experience 

doesn't begin with the opening frames of 

film— it begins at the boxoffice, continues 

through out the concession stand and into 

the auditorium itself. It is the total evening 

that our patrons take home . 

One of the best ways to continue to provide 

the best to our customers is to keep up 

to date in equipment and concession trends, 

industry issues and upcoming product. One 

of the best ways to keep up to date 

NATO/ShoWest '93! 

This year's convention offers a lot of 

everything. International delegates wi 

kick off the convention on Monday with the 

annual International Seminar and Reception. 

As we head toward a truly global mar 

ket, it 

is important to realize that we are al 

part of one industry now. Delegates thi 

year represent the exhibition industries 

more than 20 nations! 

Other 1993 highlights include busines 

sessions that address the hottest topics 

thought provoking seminars, the larges 

trade show the industry has to offer, glitter 

ing receptions and glamorous, star-fille( 

lunches and dinners. Don't forget to ente 

the "Holiday-in-Hawaii" drawing and 

ten closely every afternoon at the trad( 

show—there's a lot of prizes to be give 

away! 

We ask you to join us in thanking ou 

many sponsors as well as the many peoplf 

who have labored long hours to bring thii 

convention to you. 

If I or Associate Director Laura Roone> 

can be of any assistance, please don't hesitate 

to call on us—or any of the other stafi 

members. We're here to serve you— the 

NATO/ShoWest '93 delegates. 

SW-8 BOXOKKICE

ireatest producer 

rÂ 

m


Share the Magic—It's Easy 

It 

By Mary Ann Grasso 

Executive Director 

NATO 

occurred to me one morning, back in 

January, while I helped judge entries for 

this year's NATO/ShoWest Customer 

Service Award, that in our business, magic 

happens on many levels. There is the magic 

of entertainment—the sheerjoy of showing 

a great picture to your audience. There is the 

magic of the theatre presentation itself, the 

plush seat, great sound, big screen magic 

that can only happen at the movie theatre. 

And then there is the magic only an employee 

can bring to the experience, that 

added something that makes going to the 

movies a cut above any other leisure time 

activity—the magic of great customer service. 

Judging from the entries I saw that day, 

there are a lot of wonderful employees out 

there, making a special effort to share the 

magic and ensure that the people who come 

to their theatre experience customer service 

at its very best. 

Like the legions of employees who remember 

to be professional, warm and 

friendly (even when they don't feel like it). 

Like the employee who jump-started a 

patron " s car when the battery died on a cold, 

rainy night. 

Like the two employees who drove home 

(45 miles) two stranded families when their 

car wouldn't start after a movie. 

Like the employees ready with umbrelli 

to protect patrons from the rain. 

Like the theatre manager who answers 

patrons' questions about the movies 

composing thoughtful letters, written on h( 

own time. 

Like the theatre manager who arrange 

monthly outings for victims of AIDS an 

their families. 

The list of accomplishments goes on and 

on, and it's great because the magic of goo4 

customer service is the best magic of all 

People will endure a mediocre movie b^ 

cause they wanted to get out and go to a 

show. People will be tolerant and enjoy a 

movie at a theatre even if it doesn't have 

state-of-the art sound, but they won't go 

back to a theatre if they don't like the service. 

Customer 

service is the easiest possible 

magic to share. It's the best way 

to tell our patrons we're glad they 

chose to spend their time and money with 

us, and it's the one kind of magic we have 

some control over. 

To those of you who took the time to 

submit your special customer service ideas 

to NATO/ShoWest, thank you for your efforts, 

they are splendid. 

To those of you who make good customer 

service a priority, keep up the good work, 

keep sharing the magic. 'V'ou're helping to 

make going to the movies an extra special 

occasion and that's really the kind of magic 

we're all about. H 

SW-10 BoxomcE

tXCITINGl 

iJEW Flavors^ ' 

FOR 

SHOWTIME 

SOUR APPLE 

PINK LEMONADE 

Contact your American Licorice supplier or call collect 

510487-5500 or FAX 510487-2517 

W 

AMERICAN LICORICE COMPANY, Box 826, Union City, California 94587


Indicators for a New Optimism 

Once 

By William Rector 

President 

NAC 

again, as president of the National 

Association of Concessionaires, 

I'd like to take this opportunity 

to welcome you to ShoWest. Organizers of 

this year's show are expecting it to outdo all 

other ShoWests, and there is absolutely no 

reason to believe it won't. 

While this article won't appear until 

March of 1993, I'm sitting here writing it 

during the first week of the new year. And 

I'm filled with unbridled hope, excitement 

and expectations. 

I'm looking forward to 1993 with great 

optimism. And I think I am being influenced 

by the climate that has resulted from 

the events of the recent past. 

With the change of administrations in 

Washington, I expect to see changes in the 

psyche of the nation. I think Americans 

want to look forward to being able to indulge 

in some of the pleasures they've been 

denying themselves for a while. ...like going 

to the movies more often, seeing a ba.seball 

game every once in a while, and traveling 

more—for business or for pleasure. 

This positive collective frame of mind 

should act as a catalyst for growth for the 

exhibition and leisure time foodservice industries. 

And we are already seeing those 

signs. Boxoffice for the year 1992 was certainly 

better than anyone expected. 

Participation in this convention and trade 

show should also be an indicator. The 

ShoWest trade show sold out faster than 

ever, and delegate counts are again up. 

Sponsors were once again eager to contribute 

to the success of this year's show. 

of sponsors, here is where ! 

Speaking 

Chap' 

segue into congratulating Bill 

lain. Nestle Foods Co., on being recognized 

for his endeavors to promote th( 

importance of professionalism throughou 

all 

aspects of the concession industry. Hi! 

recognition comes in the form of beinj 

presented with the Bert Nathan Memoria 

Award. Because of Bill's commitment t( 

the industry he has made sure that Nestl( 

has been a proud sponsor of ShoWes 

breakfasts since 1986. Bill has also been i 

staunch supporter of the National Associa 

tion of Concessionaires, as well as a goo( 

friend of mine. As a 35 year veteran of thi 

candy industry he is certainly well-deserv 

ing of this honor. 

And on another positive note about thi 

future, NAC's second-annual leisure timt 

foodservice industry trade show, EXPO'93 

is already a sell out. There are 100 compa 

nies that have signed up to be in the show— 

and an extensive wait-list is building. Ami 

while this is great news for the associatioi 

and even better news for the delegates wh( 

will be attending Snack Bar University al 

Marriott's Camelback Re.sort in Scottsdale 

Arizona, it can also be interpreted as an 

other positive economic indicator. Compa 

nies are interested, and eager, to bring thei 

wares to the marketplace. So we can look a 

this as another act of faith about the change: 

augured by optimistic thinking. 

So in 1993 it will not only be incumben 

on us to think positive but to act positive 

too. I think we all need to be poised fo 

change: and these changes will be good. 

I 

SW-12 

Boxoffice

f 

Flavors that go together 

together 

ntroducing Strawbana^ 

id Lem and Mel! 

Each has two favorite flavors 

iids can eat together or munch 

;eparately. Tangy lemon and 

efreshing watermelon team up in 

I 

i^m and Mel. The fruity tastes of 

trawberries and bananas make new 

itrawbana twice as delicious. 

Their catchy names make flavor identiication 

fast and easy. What's more, the 

)right new packages fit right in with our 

)ther distinctive characters. 

^^^B Strawbana and Lem and Mel 

^^^Hjl sold equally well in test markets, 

m^^'he yearlong test also showed that 

adding these two new brands to the 

existing product line increased Just Born 

sales by 23%. 

Stock up on two new flavor combinations 

kids will love! 

JusrJV)RN. 

Bethlehem, PA 18017 

Building on our tradition of quality!

I 


The Cutting Edge 

By Terry Yushchyshyn 

President 

TEA 

on the cutting edge of new technologies 

will help assure that 

Staying 

motion 

picture theatres remain the premiere 

forum for the exhibition of films. Despite 

the advent of television, pay-TV. cable-TV 

and videocassettes, the nation's movie 

houses are still the first venues selected to 

show fdm. The great draw of seeing movies 

at a movie theatre is that it has become a real 

social experience and so far no one has been 

able to duplicate that experience in a home 

setting. 

This is why theatre owners all over the 

world have made conscious decisions to 

upgrade their facilities with the finest appointments 

and the finest in quality sound 

and projection. It has paid off handsomely—the 

boxoffice gross in the U.S. for 

1992 will be among the highest ever. 

The Theatre Equipment Association 

has made a major effort over the years 

to reeducate its members and to keep 

them up-to-date on new technologies by 

allocating time during our annual conventions 

to these topics. In January of this year 

we held a successful Seminar Series in Los 

Angeles at the Century Plaza Hotel geared 

so the motion picture theatre industry 

would also have the opportunity to "stay on 

the cutting edge" of new technologies. 

Some of the best technicians in the field 

were on hand to present informative seminars 

on the moviegoing experience. With 

the success of this seminar under our belts, 

it is our hope to hold others in different parts 

of the country to afford industry personnel 

all over the U.S. the opportunity to "stay on 

the cutting edge." 

Marketing surveys have shown time and 

time again that moviegoers go out of the 

way to attend theatres with social sound 

installations. 

Grosses are normally high 

than comparable theatres playing the san 

movie without the special systems. Th 

newest technology that has most theatr 

owners excited is digital sound and its po 

tential to attract moviegoers back to 

theatre. Several movies have already bee 

recorded using Dolby's SR*D process an 

Sony is prepping its new digital system ft 

its first public showing at ShoWest. 

ShoWest this year, TEA is hostii 

Ata seminar on Wednesday momin 

March 10, that will highlight majo 

trends in the motion picture theatre industrj 

with regards to equipment and operating 

procedures. The information for this semrt 

nar was secured from the major theatre ciil 

cuits around the country through the use oj 

written questionnaires and telephone inter! 

views. 

Following the presentation of the inforj 

mation, with the aid of pictures, a panel oj 

top equipment experts from the exhibitioni 

field will talk about the impact of these 

trends in their theatres. You are all cordially 

invited to attend this seminar which should 

prove to be most informative. 

ShoWest is a vital forum for the presentation 

of information to the industry. In 

addition to being the best attended convention, 

it also attracts the most important people 

in the business. More than 290 booths 

have been assigned for the trade show, 

which affords everyone the opportunity to 

see the newest in equipment, systems and 

concession items. Please visit the trade 

show while in Las Vegas. If you would like 

a personal tour of the companies showing 

the newest in equipment, contact me and 

we'll be pleased to set up an appointmeni 

with one of our members to give you a tour 

of the show. 

Our members join me in wishing you all 

a very happy, healthy and successful new 

year. 

M 


: CBEAM 

IKir@N|DIIKi 

America's 

Number 1 Selling 

ce Cream Novelty Brand 

is available for 

movie theatres. 

V 

I 

Contact Don Salvatore at (401) 334-3510 for further information, 

or visit us at Booths 44 and 45 - ShoWest "93. 

Response No 34


Protecting Our Most Important 

Product: Movies 

The 

By Jack Valenti 

President, MPAA 

next four years of the Chnton Administration 

will be ripe ones for the 

U.S. film/TV/home video industry. 

We have two central objectives. The first 

is to protect and defend our copyright, 

which is the title deed of our future, and 

without which we would rapidly approach 

business extinction. 

The second is to make absolutely certain 

that what we creatively make and market 

can move freely, without obstruction, 

around the world. 

Both those objectives must be armored 

with the unflinching support of our government 

at its highest levels. Because we are 

under daily challenge by unappeasable 

forces, we simply have to have our government 

engaged with us in our struggles to 

remain competitive in the world. It's not 

that we want special privilege. To the contrary, 

we don't want subsidies, nor do we 

clamor for tariffs. What we want is the right 

to compete fairly and freely in world markets, 

so that citizens of each country can 

make their own judgments about what they 

want to hear and watch. The power of governments 

to impose whatever species of 

discriminatory restrictions they find suitable 

leaves us helpless in markets where we 

are guests and not natives. Only our own 

government has the counter-power to level 

the field for us on a planet increasingly 

dependent on trade. 

We are assaulted by pirates on every 

continent who steal what we produce as 

well as by foreign governments who are lax 

in 

protecting what we own, and who also 

devise ingenious ways to baffle our entry 

into their markets with hedge rows of restraints 

and discrimination. Which is why 

we are every day vigilant, because like virtue 

we are every day besieged. 

Therefore, how the new President valu( 

the worth of our industry, and what he 

prepared to do to certify its future is aJ 

important. 

Bill 

Clinton comes to the White Housi 

more conversant with and visibly af 

fectionate of our industry than an; 

chief executive since John Kennedy. Mos 

crucially, he seems to understand th( 

unique, globally valuable prize that is 

American movie, TV program and homi 

video material. There is not one singh 

American-made product that cannot be du 

plicated somewhere else in the world. Ex 

cept the American movie. The Americai 

creative community, marketing experts am 

distribution craftsmen are midwives in th< 

birth of stories told on film and tape, hospi 

tably welcomed in a hundred countries, am 

dominant in most. To be specific, the U.S 

film industry is now returning to this coun^ 

try some $4 billion in SURPLUS balance a 

trade, which marks it as one of the two oi 

three largest American producers of surplus 

trade. 

President Clinton knows this. His new 

United States Trade Representative 

Mickey Kantor, is most knowledgeable 

about the singularity of this immensely 

valuable asset. 

The precise agenda which we are laying 

before the new President can be summed up 

briefly. 

on the agenda is 

First GATT, the global 

trade negotiation now going on, 

whose ultimate result will be a catalogue 

of rules and regulations governing 

how nations trade with each other. Its final 

aim is to reduce trade barriers and soften 

trade tensions. But there are harsher edges 

thi 

(continued p. SW-Ii 

SW-16 BOXOFFICE

' 

1991 

Screen Beans 

ielly Belly " beans, now appearing in theatres and 

ideo stores with good taste. That's because 

ney're not your ordinary jelly beans. Jelly Belly 

leans are nationally advertised in 

onsumer magazines and on top 

yndicated TV shows including 

îskel & Ebert, Jeopardy! and 

776 Price Is Right. Our nev\/ 

1 oz. box of 20 assorted "true-tofe" 

flavors is ideal for the market. 

Our new eye-catching promotional materials 

feature mobiles to increase product awareness 

and movement, giving "America's Favorite Jelly 

Bean" the title role in the next feature 

attraction at your candy counter. 

For the name of your Jelly Belly 

theatre and video broker call us 

toll-free today: 1-800-323-9380. 

Herman Goelilz.Inc Jelly Belly, The original 

gourmet jelly bean'and It's America's Favorite Jelly 

registered trademarks of Herman Goelii 

'''^^'naliour.neil'^^'^^ 

Please See Us at ShoWest, Booth #10 

irs America's Favorite Jelly Bean^ 

Response No 298


Valenti ^ mtiiuiedfrom p. SW-16) 

to these talks which can bleed us. The European 

Community is insisting on keeping 

in place Quotas on TV station programming, 

mandating that a majority or more of 

the daily schedule be populated by EC-originated 

programs, which is one way of saying 

"American programs not wanted." 

Moreover, in the current GATT draft virtually 

omitted is any recognition of one of 

the basic ground rules of fair trade: National 

Treatment. This means that a product from 

one country entering another country's 

market is treated in the same non-discrimi 

natory manner as the native product. With 

out National Treatment, the Americai 

movie/TV program becomes a pariah, sub 

ject to whatever torment that particula 

country wants to inflict on us in their marketplace. 

We would be denied any rebuttal 

Additionally, our contract rights have m 

protective shield. We would be subject 

laws and procedures which would ignore o: 

revise, without our consent, contracts legally 

binding in America. 

Next 

on the agenda is the recurrinj 

nightmare of piracy, the theft of ou 

creative material. The only salvatioi 

available to us is the unyielding support o 

our government in persuading other gov 

ernments to not only insert tough copyrigh 

laws in their society, but to instill within tha 

government a stern resolve to enforce thos 

laws. 

Today more than 40 percent of the U.S 

film/TV industry's revenues comes fron 

international markets. Without those foreign 

markets, we would be stripped of out 

fiscal energy. The preservation of our righl 

to compete internationally so that we are 

able to attract world audiences is Prime Jol 

One. 

If any other country possessed this maj 

ical trade asset, so generous in its accumi 

lation of surplus balance of trade, tha 

country would fall on its sword before i 

would allow any nation or group of nation! 

to stunt so bountiful a trade treasure. 

The 

final shaping of GATT is still to b 

formed. Within the draft text are coi 

tagions which can blight our tomoi 

rows. And in the wings is the calculatec 

ambition of the European Community to sol 

harass us we would finally, in order to im-l 

munize ourselves against restrictions, mov^ 

more and more of our movie/TV productioi 

to Europe. This spells job loss in Americi 

Meanwhile, the international landscape i 

littered with the dry bleached bones of ob 

solete copyright laws, laggard police pursuit 

of pirates, and slackly attentive com 

justice. 

The Clinton Administration now 

comes the custodian of our creative futun 

My own belief is that the new President wi 

give more than modest attention to the pre 

tection of America's most wanted export. 

We can' waste a moment. The stakes are 

high. 

SW-18 BOXOFFICE

, 

certainly 

roRiva 

OnYo 

STAR QUALITY. 

ability to out-shine 

he Ones 

Screen 

If the new X-CEL* Xenon doesn't live 

up to your expectations during the 

last the competition 

first 

lOO hours of operation, 

A term as applicable to the 

as the one that 

makes them shine their brightest: 

he X-CEL* Xenon. The 

with an innovative 

simply return it for a full refund. 

No hassles. No tedious delays. 

Our star may not have been 

\ shining as long as the other 

Lk\ 

guys (although 20 years is 

uter seal design for 

noovemight sensation) 

- 

but our bulb, warranty, 

»t extends the bulb life 

dependability and fast sei 

product not only with fat 

(Give us a call 

and we'll ship your oi 

the same day!) but with the 

I 

are out-shining even our 

toughest competitors. 

So go ahead, put X-CEL* 

..^..^.1 and Marble to the test. Our 

brighter than before

NATO/SHOWEST '93 

Rally's Las Vegas Hotel 

Las Vegas, Nevada 

March 8-11, 1993 

Schedule of Events 

MONDAY, MARCH 8 

International Exhibition Seminar 

Garland Ballroom, 

5:00 p.i 

International Reception 

Host: Columbia TriStar Distributi( 

International 

5:00 p.i 

TEA Membership Meeting 

7:30 p.i 

EDI Gold Reel Awards, Hosted by 

M&M/Mars 

TUESDAY, MARCH 9 

Breakfast: Screenvision 

9:30 a.m. Opening Ceremonies 

i.m. 

Luncheon: Columbia Pictures 

2:00 p.m. 

5:30 p.m. 

- NATO/ShoWest Trade Fair 

6:30 p.m. Reception: Gecko Films 

Dinner: New Line Cii

B 

1^ Sinem^ Steneo- 

TOont^ iBOOO Mone^ 

Vâut.

NATO/ShoWest '93: Trade Show Floor Plan 

n^prrq^ .^..- 

'n^FTtTTT^ ^• t;j |,.[v.|.,|' :iW >:^M --^ 

f~...fe^ GRAND BALLROOM 'F 

nr 

Paul A. Roth 

N ATO/ShoWester of the Year 

Ronald P. Krueger 

B.V. Sturdivant Award 

Jan Herring 

Ida Schreiber Award 

Sherry Gartley 

Customer Service Award 

Congratulates 


Award Winners 

Mel Gibson 

Male Star of the Year 

Whoopi Goldberg 

Female Star of the Year 

Clint Eastwood 

Director of the Year 

Mace Neufeld/Robert Rehme 

Producers of the Year 

Richard Friedenberg 

Screenwriter of the Year 

Juliette Lewis 

Female Star of Tomorrow 

Brad Pitt 

Male Star of Tomorrow 

Walter Matthau/ Jack Lemmon 

Lifetime Achievement 

William S. Chaplain 

NAC Bert Nathan Award 

SW-22 BOXOFFICK

PIKE PRODUCTIONS' 

INTERNATIONAL WELCOME TRAILER 

T7 

four languages, the Opening Act at the black-tie Banquet at CINEMA EXPO 92 in Brussels, Belgium. 

Special announcement trailers that speak your language 

... at affordable prices ... delivered on time! 

We're easy to work with. 

n PHONE: 401 846-8890 

FAX: 401 847-0070 

D 

DD 

Ask about our SOLID GOLD HEADERS! 

Now available in 

English, French, German and Spanish. 

n 

SEE US AT SHOWEST '93 

BOOTH #102 

PIKEm^mmmmM^. 

11 CLARKE STREET • PO BOX 300 • NEWPORT, RHODE ISLAND 02840 • USA 

Response No 145

i 

NATO/ShoWest '93: Trade Show Booth List 

A&B BOOSTER, INC. 

Booster Buddy children seats. 

Booth 78 

AAMI-TDS (Theatron) 

SYSTEMS INTEGRATOR 

Computer services & software 

Booth 265-266 

AASC-TDS (Theatron) 

Computer services and software. 

Booth 265-266 

ABC 

Soft drink dispensing system. 

Booth 249 

ADAMS & BROOKS 

Candy: Cup-0-Gold. P-Nuttles. 

Fairtime Taffy. Coffee Rio. 

Booth 116 

ALPPRO ACOUSTICS 

Acoustical materials. 

Booth 220 

ALVARADO MFG. 

tJlanufacturer of crowd control. 

access control equipment. 

Booth 74 

AMERICAN AMUSEMENT 

MACHINE 

ASSOCIATION 

Com operated amusement 

equipment. 

Booth 279-280 

AMERICAN CHICLE 

Candy: Junior mints and Sugar 

Babies 

Booth 60 

AMERICAN CINEMA 

STORES, INC. 

Movie theatre lobby retail kiosks. 

Booth 18 

AMERICAN DESK 

MANUFACTURING 

COMPANY 

Theatre seating. 

Booth 157-158 

AMERICAN 

INTERNATIONAL 

CONCESSION 

PRODUCTS, INC. 

Theatre candies and snack products. 

Booth 56-57 

AMERICAN LICORICE CO. 

Licorice and fruit flavored candy. 

Booth 183 

AMERICAN SEATING CO. 


Booth 99-100 

AMPAC THEATRE 

CLEANING SERVICES 

Janitorial sen/ices. 

Booth 50 

ANDI 

Today's distribution system with 

tomorrow 's technology. 

Booth 94-94A 

ATLAS SPECIALTY 

LIGHTING 

Replacement xenon lamps, lenses 

and reflectors. 

Booth 1 

AUDEX 

Assistive listening devices lor the 

hearing impaired. 

Booth 49 

BAGCRAFT 

CORPORATION OF 

AMERICA 

fAanutacturers of stand-up theatre 

popcorn bags. 

Booth 68 

BANNER CANDY MFG. 

Leading manufacturer of candy. 

Booth 115 

BASS INDUSTRIES, INC. 

Display cases, marquees, boxoffici 

signs, concession graphics 

cases, kiosks, etc. 

Booth 143-144 

BEMIS COMPANY, INC. 

Popcorn bags. 

Booth 248 

BEVELITE-ADLER 

Theatre marquee and changeable 

copy letters. 

Booth 184 

BGW SYSTEMS, INC. 

Signal processing and audio power 

amplifiers. 

nnm mill 

M 

nzn 

Theatre Managment & Accounting Systems 

McALLISTER ASSOCIATES, INC 

The TOTAL SOLUTION from 

Booking and Film Remittance Including Interface to A/P and Advertising. 

Box Office and Distribution Analysis - 

Concession Sales Analysis and Yield Reporting 

Distributors Reports Estimated Accrual 

- Inventory and History Compare 

Cooperative Advertising and Media Billing and Receivable Remittance Offsets 

General Accounting Systems - General Ledger, Accounts Payable, Payroll 

These comprehesive packages will run on a complete line of connputers, from a 

Multi-user Unix Based system witfi a capacity for over 200 users, to a Multi-user Network 

or small single user DOS system. 

..EASY TO USE.. CUSTOMIZED TO FIT YOUR UNIOUE NEEDS.. 

..PRICED TO FIT YOUR BUDGET.. 

..ONLINE INTERFACE TO YOUR AUTOMATIC TICKETING AND CONCESSION SYSTEMS. 

McAllister associates, inc. 

274 Main Street, Reading, MA, USA 01867-3611 

Telepfione: (617) 942-0700 

For more information contact: Dick or Jesse 

SW-24 BOXOFFICE

IJhe Only Option... 

With lllH the Options 

PACER 

CATS 

Ujeading in technology for theatre management systems, only Pacer/C.A.T.S. can 

provide you with so much: 

• Box Office Systems 

• Credit Card Option for Box Office 

• Smart Card Option for Box Office 

• Concession Systems 

• Integrated Credit Card 

for Concession 

• Barcode Scanning for Concession 

• Touch Tone Information Systems 

• Touch Tone Reservation Systems 

• Online and Offline Credit Card 

Interfaces 

• ATM for Retrieval of Reservations 

• ATM for Ticket Sales 

• Information Monitors 

• Theatre Management 

Software 

• Theatre Payroll Application 

• Magnetic Employee Tracking 

System 

• Lxjyalty Card/Frequent Visitor 

Programs 

• Access Control Systems 

EHDEI Technology. 

INNOVATrON. 

Uacer/C.A.T.S. is the international leader in bringing comprehensive computer 

technology to cinema throughout the world. 

Pacer/C.A.T.S. 355 Inverness Drive S., Englewood, Colorado 801 12 • (303) 649-9818 • Fax: (303) 643-3814 

C.A.T.S. SYSTEMS LTD. York House, Empire Way, Wembley, Middlesex HA9 OPA, United Kingdom • 081 900 0697 • Fax: 081 902 9943

, 


BLEVINS CONCESSION 

SUPPLY 

Complete line of concession 

equipment and supplies. 

Booth 272 

BOYDS 

Espresso, gourmet coffee, brewing 

equipment. 

Booth 253 

BOXOFFICE MAGAZINE BRYAN FOODS 

Trade magazine for tfie motion 

Hot dogs, corn dogs smoked 

picture industry. 

sausage for theatres 

Booth 7 Booth 31 

BREJTFUS BUSINESS 

ENVIRONMENTS 

A rtistic sound panels and wall art for 

C. CRETORS & CO. 

Popcorn poppers, warmers, butter 

dispensers, oil pumps 

the theatre. Booth 113-114 

Booth 35-36 

CADDY PRODUCTS 

Behind the seat and arm rest 

cupholders. 

Booth 171 

CAFFE D'VITA 

Cappuccino, Cappuccino Amaretto, 

Espresso. 

Booth 247 

CALIFORNIA SEATING & 

REPAIR CO., INC. 

Used seating: installation. 

reupholstery and replacement 

seat covers. 

Booth 175 

CARTS OF COLORADO 

li/lobile merchandising equipment 

Booth 212-213 

'^^^m WKT Jnk. 

CELESTIAL PRODUCTS 

Aisle lighting and accent lighting. 

Booth 126 

CHAPARRAL 

COMMUNICATIONS 

Stereo assistive listening devices 

Booth 4-5 

CHINA MIST TEA CO. 

Gourmet fresh brewed iced tea for 

theatres. 

Booth 269-270 

\ 

Somei 

r 

anagers to smile about 

For 

Comply with the Americansd^^ 

"-- -' 

'" 

" IDA) and tap i^^L 

ovie natronn. 

w 

the 24 million hearing impaired population, a ,^ 

StarSound hearing system may be just what they need 

to renew their interest in "going to the movies" again. Finally, there is an 

infrared hearing system priced within your budget. Even at 30%. below 

competiHve prices, the StarSound system guarantees some of the best features 

for performance and maintenance. 

But most importantly, we'll support you with our exclusive FiKilily Marketing 

Pwgmin, Use this how-to kit to cultivate awareness 

and increase revenue from growth in demand v / 

and patronage. We'll show you how. 1 ^^ 

Call 800-227-0735 U.S. or 800-387-3158 Canada. 

miUPhonicEar 

STARSOUND 

CHRISTIE, 

INCORPORATED 

Projectors. Xenon consoles, 

rewinds, bulbs. 

Booth 66-67 

CINE COASTERS, INC. 

Cupholders. 

Booth 229 

CINEMA FILM SYSTEMS 

Consoles, platters, automation, 

sound systems, lenses, xenon 

bulbs. 

Booth 153-156 

CINEMECCANICA U.S., 

INC. 

Cinemeccanica projectors. 

consoles, lamphouses. sound 

systems. 

Booth 194-195, 204-205 

CMF FOODSERVICE 

Gracias brand cheese sauce for 

nachos. hot dogs. etc. 

Booth 55 

COCA-COLA USA 

Soft dnnks 

Booth 129-132. 149-152 

COLFAX INC. 

Topping oils: Popsit Plus. Seazo. 

Topsit. 

Booth 83 

SW-26 B()X(JFH(E 

TT^TTT

Shov\/ Shipper' System 

At last, there now exists an 

Extended Length Reel system 

designed to save time and 

money, facilitate safe 

transportation, and enhance 

the presentation of feature 

length motion pictures! 

6000 ft. (30" dia. case) and 12,000 ft. 

(40" dia. case) versions as well as a DUAL 6,000 

ft. square case are now available. 

Reel flanges and center drive unit can be quickly 

removed for direct placement onto platter 

systems. 

Trailers are easily removed from feature prior to 

forwarding without requiring any rewinding. 

Tfie show shipper case is designed to cushion 

the film during shipping. Film can be shipped with 

or without flanges and center drive. The case has 

built-in handles and provides protection from the 

elements. Systems conform to shipping 

requirements established by air and ground 

agencies. 

Call your theatre equipment dealer today for a demonstration and additional literature. 

If they are not able to help you, please contact our factory for assistance. 

Visit us at SHOWEST, Booth #121 

GOLDBERG BROTHERS, INCORPORATED 

8000 East 40th Avenue Denver, Colorado 80207 

Telephone (303) 321-1099 • Facsinnile (303) 388-0749 

Response No 36

AMC Just 

Discovered 

A BetterWay 

To Hammer 

OutTheir Ads. 


Trade Show Booth List 

COLGATE PALMOLIVE 

Thanks AMC, And Welcome to Ad-Gen' 

Now, for just pennies per day per screen, 

AMC West has their theatre directory ads 

professionally produced and sent to the 

newspaper in just a few hours. They simply 

call our toll-free number at anytime, day 

or night, enter their ad information from a 

touch-tone phone and we fax them a proof 

within minutes for their approval. 

All Ad-Gen clients have their ads automatically 

generated and transferred via our 

state-of-the-art computer system, eliminating 

any chance of error. And, there s no reason 

to invest in expensive 

equipment. All you 

need PREMIER 

is a phone. 

So, join AMC and the 

others who ve discovered 

the easy way to generate 

their ads without chiseling 

away at their budgets 

or nerves. 

DataVision. 

CaU 1-800-72^002 for a fi-ee 

demonsti-ation today and find out about 

', 

oui' newest seiTice, Ad-Gen/Reduction 

which cb-amatically aits the cost of yoiu* 

ads witliout irducingyour impact

AMPLIFY 

ULTRA^STEREO 

THE JB-2 FRONT - 

SURROUND SYSTEM 

A Modular Front-Surround Stereo Processor/Booth Monitor/Exciter Supply 

In one Compact 5 1/4 inch Rack Height. 

All you need to add to your rack is a Power Amplifier. 

annel Booth Monitor and Exciter Lamp Supf 

Reliable proven components - uses the same p 

eaualization modules as the Ultra*Stereo IS Se 

Optional 1/3 octave Equaliza: 

Optional Stereo Surround M 

ULTRA*STEREO


HERMAN GOELITZ 

CANDY CO., INC. 

America s Favorite Jelly Bean. 

Booth 10 

HERSHEY CHOCOLATE 

USA 

Chocolate confectionery. 

Booth 75 

HIGH PERFORMANCE 

STEREO 

Exclusive digital-ready HPS-4000 

sound systems. 

Booth 277 

HILLER & HILLER ARCH. 

Specialize in design/building of 

movie tfieatres. 

Booth 80 

THE HOLLYWOOD 

REPORTER 

Entertainment trade paper covering 

motion pictures, extiibition. 

Booth 178 

TV. 

HOT N SPICEY, INC. 

Smoked, fully cooked, german style 

sausage. 

HUSSEY SEATING 

COMPANY 

Ttieatre seating. 

Booth 243-246 

I CAN'T BELIEVE IT'S 

POPCORN 

Quality gourmet popcorn products: 

caramel, butter toffee, vanilla 

buttercrunch, fruity confetti. 

Booth 134 

..t.. * 

MOTION PICTURE 

PROJECTOR CLASSICS 

ILLUMILITE, INC. 

Voltage lighting, custom lighting 

products. 

Booth 139 

IMPERIAL BONDWARE 

CORPORATION 

Paper and plastic food containers. 

popcorn tubs & bags. 

Booth 146-148 

IN-TOUCH 

TECHNOLOGIES 

Computerized theatre management 

systems, touch screen ticketing 

and concession systems, 

automated ticketing machines 

Booth 260 

INDEPENDENT 

MARKETING EDGE 

rârketing newsletter and 

information services for theatre 

vw- 

^"^ 

The longest 

running Star of 

motion pictures and a 

supporting cast of widely acclaimed 

performers-each of star quality. For the 

pleasure of your audience, keep your projectors in first-run 

condition with LaVezzi original equipment components. 

HLAVEZZI 

LaVezzi Precision, Inc. 

999 Regency Drive • Glendale Heights, IL 60139-2281 

Phone: 1-800-323-1772 • Fax (708) 582-1238 

serving the 

motion picture industry 

since 1908 

Distributed by Theatre Equipment Dealers everywhere 

INNOVATIVE SYSTEMS & 

SERVICES 

Mowe Alert customer paging system. 

Booth 53 

INTERNATIONAL CINEMA 

EQUIPMENT CO., INC. 

(6/35 S 70mm projection and 

sound, stereo signal processors, 

lenses, new and used seats. 

Booth 19 

IRWIN SEATING 

COMPANY 


Booth 76-77, 86-87 

ISALY KLONDIKE 

Ice cream nuggets for movie 

theatres 

Booth 44-45 

J&J SNACK FOODS 

Snacks and frozen desserts. 

Booth 110 

JBL PROFESSIONAL 

Behind-screen and surround 

loudspeaker systems and amps. 

Booth 192-193 

J.G. CLARK/SOUTHFIELD 

CARTON 

Carry out trays and theatre lap trays. 

Booth 140 


SW-30 BOXOFFICE

From Multi Projection 

VIDEO WALLS 

to 

Individual Monitor Systems 

Let VIDECAM Produce 

Exclusive Programs 

to Help You Promote Your 

Current and Upcoming Features 

Convert your 

"Large Screen Advertising" 

to the 

"Videcam Theatrical Advertising Network' 

Programs are Broadcast Quality 

See Us at ShoWest, Booth 61 

Available in PAL OR SECAM 

VIDECAM PRESENTATIONS, 111/2 Isaac Street, Norwalk, Connecticut, 06850 

Tel: 203/853-0847 Fax: 203/853-8373 

Response No. 60


JAMES RIVER 

COMMERCIAL 

PRODUCTS 

Paper and plastic products. 

Booth 236-237 

JUDSON-ATKINSON 

CANDIES, CO. 

Candy products: Ctierry Sours, 

Assorted Sours. 

Booth 133 

KATJES U.S.A., INC. 

GummiFruits. Sun Slices, Gummi 

Bears, confectionery products. 

Booth 133 

KELMAR SYSTEMS, INC. 

Automation systems, lighting control 

systems, film rewind systems 

Booth 262 

KEYES FIBRE CO. 

Disposable plates, platters, tiowls 

made from molded paper fibre. 

Booth 263 

KINETICS NOISE 

CONTROL 

Acoustical wall treatments. 

Booth 198-199 

KINTEK, INC. 

Designer and manufacturer of a 

complete line of audio products 

for motion picture theatres. 

Booth 206 

KIT PARKER FILMS 

Distribution of classics, matinee 

features and Warner Bros. 

Booth 38 

KNEISLEY ELECTRIC 

COMPANY 

Lamphouses. power supplies and 

consoles. 

Booth 34 

KOSS CORPORATION 

Infrared stereo listening system. 

Booth 264 

LANCER CORPORATION 

Beverage dispensing equipment. 

Booth 219 

LAVI INDUSTRIES 

Beltrac Public Guidance System for 

foot-traffic control. 

Booth 231 

LAWRENCE METAL 

PRODUCTS 

Ponable posts and ropes, tensa 

barrier, portable sign stands 

Booth 159 

LAZARUS LIGHTING 

DESIGN 

Fibre optic displays. 

Booth 28 

LEAF, INC. 

Whoopers. Duds, Switzer, Good& 

Plenty, Good 'N Fruity, Chuckles. 

Booth 64-65 

LEHIGH ELECTRIC 

PRODUCTS CO. 

Theatre dimming systems (lighting 

controls). 

Booth 274 

LENNOX INDUSTRIES 

Heating and air conditioning product 

for movie industry 

Booth 283-284 

LEPRINO FOODS 

Full line concessionaire: candy, 

popcorn, paper goods, etc. 

Booth 62 

LETICA CORPORATION 

MAUI CUP DIVISION 

Completely recyclable poly-coated 

hot and cold paper 

drinking cups 

Booth 8-9 

LIGHTING AND 

ELECTRONIC DESIGN 

LED aisle lighting, low voltage 

decorative lighting and 

chandeliers. 

Booth 54 

LINDSEY-FAIRBANKS, 

INC. 

Cinema lighting controls. 

Booth 268 

LOU ANA FOODS, INC. 

Popping/topping oils. 

Booth 233 

LUCASARTS 

ENTERTAINMENT CO. 

THX DIVISION 

THX theatre program: Theatre 

alignment program. 

Booth 48 

FOR A 

CENTRALIZED 

ENERGY 

MANAGEMENT 

SYSTEM THAT 

CONTROLS 

HUNDREDS j 

OFSTORÎ

LA6T NIGHT THE SMART 

EXM554 SAVED THE SHOW! 

Somewhere in the world the main power amplifier tailed in a cinema stereo system 

and, without hesitation, the operator pushed the big red button on their SMART 

EXM554 Booth Monitor and sound was restored instantly. Patrons who planned their 

evening at the movies were not disappointed with a lost show, passes to another 

performance, or a refund. The EXM554 is your secret insurance policy against complaints 

or an expensive failure. Why haven't our competitors haven't figured this out? 

Emergency amplifier backup is one of the many features you can find only in the 

EXM554. Add the fact that our exclusive SMARTlogic electronic switching means the 

operator does not have to be a space scientist to move immediately to an emergency 

mode. The sound system is automatically configured for backup with the action of one 

switch. 

The EXM554 is a premium product made of steel, modular circuit boards, and a Lexan 

front panel that will look fresh and new for 20 years or more. No cheap paint and silk 

screen cosmetics. Calibrated color volume indicators for your primary channels. 

The regulated Exciter Lamp Supply has the tightest regulation in the industry. Even 

though AC power fluctuations in your building could swing as much as 20%, the 

EXM554 advanced switching supply will keep its output within 0.1 % accuracy. This 

keeps your stereo system tracking "rock solid" despite power changes. If the regulated 

supply were ever to fail, the system automatically switches to DC backup and the 

operator will notice the blinking red light for service. 

There are too many special features to list in this ad. Common sense features you 

cannot get from a competitor at any price! Let us send you our color literature on the 

full family of SMART Monitors and Exciter Supplies. 

® m^Q! 

The only Professional 

Booth Monitor/Exciter Supply 

that Is fully UL listecl. 

5945 Peachtree Corners East 

Norcross, CA 30071 - U.S.A. 

(800) 45-SMART or (404) 449-6698 

Response No 297

I 

CINEMA FILM SYSTEMS ADDRESSES 

AN ISSUE FOR THE ENVIRONMENT 

theatre's environment! Cinema Film Systems, North America's largest combined manufacrr 

and distributor of high quality, low-cost theatre exhibition equipment makes it easy and 

/enientto create a pleasant, enjoyable envlronmentfor your patrons. ..from the time they enter 

theatre, until they head for the parking lot. 

Your one-stop EPA (Environmental/Projection 

jhcy) offers all of the following products and services. 

CR THE PROJECTION BOOTH: 

cnplete CFS Pre-Wired Projection Systems 

F> Xenon Consoles (1600 to 25,000 watts) 

F5 Platters (3 and 5 Stack, plus 35/70mm) 

n lectors (35mm & 35/70mm) 

FS State-of-the-Art Sound Systems 

F 5 

Standard Automation 

c nputerized Automation 

FS CINE-NAVITAR and Customized 

Projection Lenses 

fo Xenon Bulbs (500 to 7000 watts) 

f 3 Reel Arms and Film Guidance Hardware 

6 ivey Amplifiers and Speakers 

a Stereo Processors 

FOR THE AUDITORIUM: 

FHarkness Screens 

Chairs (Seating Concepts) 

Aura Aisle Lighting 

Auditorium Dimmers 

FHearing-lmpaired Systems 

Auditorium Drapery 

Screen Frames 

FOR THE LOBBY: 

Chandeliers 

Decorative Lighting 

Low Voltage Lighting 

Customized Concession Counters 

Poster Cases 

Holdout Ropes 

US AT SHOWEST, BOOTHS 153-156 

NEMA FILM SYSTEMS 

MAIN OFFICE 

N. Benson, Suite E 

and, CA 91786 

jphone: (714) 931-9318 

949-8815 

MIDWESTERN DISTRICT 

OFFICE 

T.C. Costin, V.P. Sales 

3840 S. Helena 

Aurora, CO 80013 

Telephone: (303) 699-7477 

FAX: (303) 680-6071 

EASTERN/INTERNATIONAL 

SALES OFFICE 

Walter Browski, Manager 

P.O. Box 6 

Westhampton, NY 

Telephone: (516)288-3330 

FAX: (516) 288-6005 

Response No 274

OPTICAL RADIATION 

NATO/ShoWest '93: Trade Show Booth List

Check out the 

HI-TECH family 

of automations. 

n Q u a 1 i t y 

DFlexibility 

DDependabil it 

D P r i 

c e 

For complete information on tiie entire family, 

see your tiieatre equipment dealer or call 800-759-5903. 

BBIMARBLE COMPANY 

INCORPORATED 

P.O. Box 160030 •421 Hart Lane • Nashville, TN 37216 • 615-227-7772 • FAX 615-228-1301 

See us at Showest Booth 107-108 Response No 296

COLUMBIA PICTURES CONGRATULAnSTHESE 

1993 NATO/SHOWEST SPECIAL AWARD WINNERS 

PAUL A, ROTH 

•NATOISHOWESTEROFTHEnSH AWUB" 

RONALD P. 

KRUEGER 

B.V, STURDinST AWAID' 

jAN HERRING 

"IDA SCHRIHEJ AWARD" 

SHERRY GARTLEY 

CUSTOMER SERVICE AWARD' 

WILLIAM S. 

CHAPLAIN 

NATIOSJE ASSOCIATION OECOKESSIOSAIRES 

BERTNAIBAN AWARD"


William S. 

Chaplain 

BERT NATHAN AWARD 

Paul A. Roth 

NATO/SHOWESTER 

OF THE YEAR AWARD 

Ronald P. 

Krueger 

B.V.STURDIVANT AWARD 

Jan Herring 

IDA SCHREIBER AWARD 

Sherry Gartley 

NATO/SHOWEST 

CUSTOMER SERVICE AWARD 

NestleF©©^ 

'© 

&^ ^,«

Universal Pictures 

Congratulates 

PAUL A. ROTH 

ROBERT W SELIG 

ShoWester Of The Year 

— and — 

RONALD P. KRUEGER 

B.Y STURDIVANT AWARD 

UNIiVERSAL 

AN MCA COMPANY


TO THE 

1 993 SHOWEST HONOREES 

NATIONAL SCREEN SERVICE

(jofi^/Hitu/atiofis^ 

"NATO/ ShoWester of the Year Award" 

"B.V. Sturdivant Award" 

"Ida Schreiber Award" 

'NATO/ShoWest '93 Customer Service Award' 

*^Pi//ia/7i fX (j/ia/j/am 

"Bert Nathan Award" 

IfiiTED/iRTiSf^|#~ Theatres


NATO/ShoWest 1993 Award Recipients 

PAUL A. ROTH 

NATO/ShoWester of the YEAR AWARD 

RONALD P. KRUEGER 

JAN HERRING 

IDA SCHREIBER AWARD 


B. V. STURDIVANT AWARD CUSTOMER SERVICE AWARD 

WILLIAM S. CHAPLAIN 

N.A.C. Bert Nathian Award 

^mO THEATRES 

There is a Difference! 


PAUL A. ROTH 

NATOIShoWester of the Year Award 

RONALD E KRUEGER 


JAN HERRING 



NATOIShoWest '93 Customer Service Award 

WILLIAM S. CHAPLAIN 

Bert Nathan Award 

From BEN MARCUS, STEPHEN H. MARCUS, & YOUR FRIENDS AT MARCUS THEATRES 

m-MARCUS" 

l_7HEAmES- 

SW-40 

BoxofUCF

Regal Cinemas 

Tri State Theatre Service 

Goodrich Quality Theaters, Inc.

u 

surrounded 

The film magazine for the film industry 

In a survey of 13 film and entertainment magazines, the prestigious 

Charlotte Observer said about Boxoffick: "If vou exhibit, distribute or 

write about movies, you can't do without this nuts-and-bolts mix of 

features, release charts, reviews, and industry news."" 

If it has to do wilh film c\lnihili

NATO/ShoWest '93 INDUSTRY AWARD WINNERS 

Paul A. Roth 

Robert W. Selig ShoWester of the Year 

Ron Krueger 


^ 

Jan Herring 


Bill Chaplain 

Bert Nathan Memorial Award 

J

IT 

KEEPS 

ON 

GETTING 

BETTER! 

WorldFest- 

Houston offers 

you the largest 

Im and video 

competition in 

the world in terms 

of entries. We 

a 

present 

complete 

f i I m / V i d e o 

market with 200 

page program 

book, plus 

competition and 

awards in several 

major categories: 

features, shorts, 

documentary, TV 

commercials, 

THEHoJssî^^rsr"' 

student, 

experimental/independent and TV production. 

WorldFest is the world's richest award 

competition, with more than two million dollars in 

cash prizes through our Discovery Festival 

Program where all winners are submitted to the 

top 200 international festivals. Also, new this 

year, top winners will be included in the 

WorldFest Awards Tape, distributed worldwide to 

major studios, networks, and agencies. 

The festival features workshops, seminars, 

special awa 

cash gran 

and the Gn 

awards G 

d u r i n 

test 

Screenings 

held at 

Museum 

Fine A r 

Houston 

the A 

G r e e n w 

P I a 

T h e a t e I 

The ten-( 

festival is open to the gene 

public, and series tickets are available. There 

hospitiality suites, tours and the Festii 

Regatta. All events are open to those attend 

the festival. There is No other festival or f 

market that provides you 

with so much! For the 

complete 

WorldFest- 

Houston 

poster and 

a 

entry ki t , '^T' 

contact 

ENTRY 

4 

DIRECTOR 

WORLOFEST-HOUSTI 

PO BOX 56566 

HOUSTON, TX 77241 

6566 • OR CALL: 

1-800-524-1438 

FAX (713) 965-9960

lOIISINCS CORPORATION 

National Cinema Supply » NCS Video & Concessions » National Cinema Service 

Windustry. 

ith offices throughout the United States, NCS 

Corporation is the only National Sales and 

ServiceCompany serving the motion picture 

We are dedicated to meeting your technical requirements 

with dependable first class equipment and supplies, 

knowledgeable and qualified field service support, and 

the ability to meet every opening night on time. Whether 

fixturing a multi-plex theatre, establishing a preventive 

maintenance program or providing 24-hour emergency 

service, our firm is prepared to offer a variety of services 

that can meet your theatre requirements. 

Quotations and Installation are also available on Front- 

End Stage Equipment, Concession Stands, and the field 

modifications concerning the American Disabilities Act. 

NEW PROGRAMS BEING ANNOUNCED 

AT THE SHOWEST CONVENTION 

• Custom Design Theatre Uniforms 

• Projector & Soundhead Service Center 

• ADA Field Modification Service 

See us at Showest Booth 167 & 168 

W. NCS...the people with "No Complaint Service]] 

ASSOCIATION OF 

CONCESSIONAIRES 

Sunstate Center 

• 

4897 W. Waters Avenue 

• Tampa. Florida 33624 

Mailing PO 151 167 • Tampa, Flonda 33684 • Phone 813-884-7855 • Fax 813-885-6154

ENTERTAINMENT DATA, INC 

CONGRATULATES 

$100,000,000 

FOR 

GROSS BOX OFFICE RECEIPTS 

AS OF 

JANUARY 1,1993 

TO BE PRESENTED AT

1 

IS PLEASED TO OFFER 

RELEASE SCHEDULE 

THE INDUSTRY'S MOST COMPREHENSIVE 

SCHEDULE OF MOTION PICTURE RELEASES 

NEW, EASY TO READ CALENDAR FORMAT 

THE YEAR IN REVIEW, PLUS A PREVIEW 

OF NEW RELEASES 

WEEKLY UPDATES 

U.S. AND U.KL SCHEDULES 

EXCLUSIVE FROM ENTERTAINMENT DATA, INC. 

8350 Wilshirc Blvd., Suite 210, Beverly Hills, CA 9021 

(213) 658-8300 FAX: (213) 658-6650


(continued from p. SW-36) 

SCHULT DESIGN & 

DISPLAY 

Signage, poster cases, boxoffice 

systems, crowd control systems- 

Booth 186-187 

SCOTSMAN OF LOS 

ANGELES 

Ice making and beverage 

dispensing equipment. 

Booth 47 

SEATING CONCEPTS, 

INC. 

standard and custom seating. 

Booth 234-285, 254-255 

SEDGWICK JAMES OF 

CALIFORNIA, INC. 

Insurance brokering and consulting. 

Booth 13 

SENNHEISER 

Infrared assistive listening and 

translation systems. 

Booth 241 

SERVER PRODUCTS 

Concession equipment. 

Booth 70-71 

SEVEN UP COMPANY 

Beverages and fountain syrup 

Booth 117 

SMART THEATRE 

SYSTEMS 

Stereo sound systems and digital 

products. 

Booth 176-177 

SOUND ASSOCIATES 

Infrared listening systems lor the 

hearing impaired and translation 

purposes 

Booth 2 

SOUNDFOLD 

INTERNATIONAL 

Acoustical wall coverings, surround 

speaker brackets. 

Booth 103 

SPECIALTY FOOD 

MARKETING 

Gummy bears, fruit flavored candies. 

Booth 27 

STAR MANUFACTURING 

INTERNATIONAL, INC. 

Popcorn poppers, hot dog 

machines, nacho equipment, etc.. 

Booth 109 

STEIN INDUSTRIES 

Designers and manufacturers of 

concession stands, boxoffices. 

Booth 141-142 

STRONG 

INTERNATIONAL 

Projection equipment: Xenon 

systems: platters: sound: DLS6 

Digital Sound and automation 

systems. 

Booth 135-138 

SUNGLO PRODUCTS CO. 

Wholesale popcorn, oils and 

toppings: janitorial chemicals and 

Booth 272 

SUNMARK SPECIAL 

MARKETS 

Candy: SweeTARTS. SPREE. Fruit 

RUNTS and Grape NERDS. 

Booth 81 

SWEETHEART CUP 

COMPANY INC. 

Complete line of paper, plastic a 

foam foodsen/ice disposables 

Booth 84-85 

SYSTEMS & PRODUCT! 

ENGINEERING CO., 

Platter systems, light dimmers, fi 

cleaners, cue sensors, reel ar 

platter covers. 

Booth 11-12 

TX ARCHITECTS 

Specialists in multi-screen movie 

theatres providing service 

internationally. 

Booth 42 

TECO 

Platters, film clamps (Switch-a-i 

film retainers (Stick-a-poo). n 

arms, rewinds, failsafe base 

brackets. 

Booth 238 

TEMPO INDUSTRIES, I 

Replaceable lamp systems inci 

aisle and step lighting, miniat 

channel light and chandeliers. 

Booth 200-201 

Holder On ne Market 

DRINK 

THING 

MOUNTS EASILY ANYWHERE! 

NEW 

BEVERAGE 

HOLDER 

See Us At Showest Booth 7 

Securely Holds 5-44 Oz. Cups 

Avoids Messy Spills 

Mounts Directly La Front Of Patron 

Drops Down And Out Of The Way 

Advertisement Space Available 

Wide Range Of Colors 

Starting As Low As $1.99 

Made Of Durable Lexan Plastic 

Made In The U.S.A. 

For A Free Sample Call (216) 328-2096 Or Write P.O. Box 324 Valley City, Ohio 44280 Patent # 5,139,222 



OUR DOUBLE FEATURE 

FINE ST 

WORLD'S 

SCREEN CLEANING PROCESS 

RATE D***** 

WHAT WE SELL iS-" 

CUSTOMER SATISFACTION 

iiiiiiiiiiiyv 

THEATRE SERVICES 

CORPORATION 

niiiimmiiiiiip 

1-800-345-5898 1-800-545-0114 

Rated ***** 

Drapery-Carpet-Wallcovering 

Fabric Installation-Chemicals 

Î_ 

Fax 214-699-7355 Phone 214-690-0615 

P.O. Box 835932 

rdson, Texas 75083-5932


THEATRE SERVICES 

CORPORATION 

Screen cleaning process. 

chemicals: drapery fabrication 

and Inslallation. 

Booth 180-181 

THEATRE SPECIALTY 

CO. 

Carpet cleaning, seal cleaning, floor 

care: janitorial supplies. 

Booth 63A 

TIVOLI LIGHTING INC. 

Comprehensive package of 

specialty lighting products, 

including aisle, step, chandeliers, 

fiberoptic and LEDs. 

Booth 224-226 

ULTRA STEREO LABS 

Cinema sound systems and 

assistive listening systems. 

Booth 124-125 

VAN DEN BERGH FOODS 

Topping oils, food service 

shonenings. margarine 

Booth 216 

VIDECAM 

PRESENTATIONS, INC. 

Theatrical motion picture and video 

advertising, custom programs 

produced to promote current and 

upcoming releases. 

Booth 61 

VISTA MANUFACTURING 

Low voltage aisle, step and 

decorative accent lighting. 

Booth 43 

VOGEL POPCORN 

COMPANY 

Grower, processor, and distributor 

of popcorn sold domestically and 

internationally. 

Booth 52 

WAGNER ZIP-CHANGE, 

INC. 

Theatre marquee letters, metal 

frames, changers, accessories 

Booth 275 

WEAVER POPCORN 

Popcorn processing plant. 

Booth 278 

WELDON, WILLIAMS & 

LICK, INC. 

Tickets, computer forms, passes 

and admission books. 

Booth 169 

WHIRLEY INDUSTRIES, 

INC. 

Plastic beverage c 

Booth 276 

WIDMAN POPCORN 

COMPANY 

Popcorn. 

Booth 191 

WILLIAMS SOUND CORP. 

Infrared hearing assistance. 

wireless microphone personal 

amplifiers. 

Booth 256 

WILSHIRE 

CORPORATION 

Ice cooled dispensers. 

Booth 185 

WINCHESTER CARTOi 

Popcorn and carry trays. 

Booth 222 

WING ENTERPRISES, I 

Aluminum cases and ladder 

YOUR PLACE MENU 

SYSTEMS 

Menu boards. 

Booth 257-258 

ZENITH SPECIALTY Bfi 

CO., INC. 

Theatre popcorn bags, food wra 

Booth 17 

Now Appearing in Front of Audiences Worldwide 

• U.S.A. • Canada • England • Germany • Japan • 

The Caddy^" Cupholder 

''Todays Practical Solution to Your Cupholder Needs'' 

Virtually eliminates beverage spills 

Increases advertising revenues 

Reduces clean-up time 

Increases concession sales 

Customers enjoy convenience 

For More Information and Samples Contact: 

Caddy^" Products 

1 '800-845^0591 

Fax: (612) 829-0166 

SW-50 BOXOFFICE

fê^tar. 

.RKABLE RELIABILITY 

CED DOWN TIME 

" 

i"-î 

"NO HEADACHES" 

"IT WORKS, AND WORKS WELL" 

^ is the choice of quality conscious theatre owners ail over the 

ook at these outstanding features. 

OPTIONAL FEATURES AVAILABLE 

• Synchronous motor, single or three phase. 

pletely new high precision turret. 

design single piece trap & gate. Positive alignment. 

jprocessor controller for auto turret & aperture with added 

ires for masking formats and timing. 

ly designed gears reduce vibration, improve picture stability 

provide longer life. 

ovable upper and lower sprocket assemblies provide easy 

icement and perfect gear mesh. 

oved design intermittent unit. 

ier focus slit lens, X/Y axis control, changeable prealigned 

er lamp bracket. 

year limited parts warranty. 

ty lens lock, increased security. 

• Slow start kit. 

• .47 mil slit lens. 

• Multi Voltage - Multi Cycle. 

If you own a Century, Westrex, Monee, Cineclta, Film Systems, or 

Cinemex projector, check into our upgrade and rebuild program. 

You'll save thousands of dollars over the cost of a new machine. 

Includes our two year warranty — the best in the business! 

You may also purchase delivered and installed. You'll be surprised 

at how reasonable it 

a free brochure showing our full range of Cinema Equipment and 

supplies. 

is. Call — Write — Wire — Fax — Phone for 

;reo processor

— 

SUMMER HEAT 

Our Annual Look at the Season's Coming Attractions 

Summer's here (well, almost) and the time is right for dancing in the streets—especially if those streets have long lines winding thtij 

them in front of the nation's movie theatres. Scanning this list, the most important detail is perhaps what isn't there this year: in contrij 

other recent summers, there isn't a single high profile sequel (save the "Hot Shots" follow-up) in the batch. This may bode well given lastJ 

so-so performance by such oversold items as "Batman Returns" and "Alien 3;" with "Die Hard 3" derailed and "Beverly Hills Cqj 

post-poned, the field is wide open to a variety of newcomers and a venerable gal named "Snow White." Look for Spielberg, Schwarzene 

and Stallone to set the pace in the early going, but the summer boxofflce crown could go to any one of the films listed below, or to a late 

unavailable at press time. Exhibitors suffering from sequelitis shouldn't kid themselves about the summer schedule signalling a new commit 

to originality, though; on deck for fall: a sequel to "Wayne's World" and the aforementioned "Bevelry Hills Cop III." Shalom. 

Made in America 

Whoopi Goldberg returns in her first starring 

comedy since the sleeper smash "Sister 

Act." A teenage girl (Nia Long) discovers that 

her father isn't dead after all— he's the local 

cable-TV car salesman. She seeks him out, 

re-introduces him to her single mother (Coldberg) 

and tries to help her two very different 

parents resolve their pasts and link their futures. 

Ted Danson co-stars, Richard Benjamin 

directs; Holly Goldberg Sloan wrote the 

screenplay. (Warner, summer) 

Son of the Pink Panther 

Writer/director Blake Edwards marks the 

return to the screen of the most popular comedy 

series in history with "The Son of the Pink 

Panther," but it's an even bet as to whether or 

not he can recapture the "Pink Panther" audience 

without his star, the late Peter Sellers. 

Italian comedy king Roberto Begnini ("Johnny 

Stecchino") stars as the illegitimate offspring 

of Inspector Jacques Clouseau, France's most 

bumbling detective. Series regulars Herbert 

Lorn and Burt Kwouk co-star, along with Claudia 

Cardinale, Clouseau's love interest in the 

original "The Pink Panther" back in the '60s. 

(MGM, May) 

Poetic Justice 

Writer/director John Singleton was shooting 

his follow-up to "Boyz N the Hood" in 

Simi Valley, California on the day a jury there 

seems to reflect some sort of political awakening 

on Singleton's part. Rock-star Janet Jackson 

makes her lead-feature film debut in this 

modern day street romance about a hairdresser. 

Justice (Jackson) and a postal worker 

(Tupac Shakur). A violent event in her past 

made Justice a recluse who copes by writing 

poetry (scripted by Maya Angelou). Together, 

Lucky and Justice take a shared ride from 

South Central Los Angeles to Oakland—a trip 

which opens their eyes to lives they never 

imagined existed. A film which promises to be 

among the summer's most important works. 

(LJniversal, summer) 

Cliffhanger 

After taking a break from the heav 

duty action of "Die Hard 2" by producil 

the gentle "Rambling Rose," filmmal] 

Renny Harl in returns to the genre with |N 

new thriller starring Sylvester Stallone 

is the leader of a mountain rescue le 

who loses his nerve after witnessing d t< 

accident. Feeling responsible, he tm-s 

leave his high-wire life behind, onK in 

sucked back in by a former colleague w 

must rescue victims of a plane era 

stranded high in the mountains durinf 

raging blizzard. But the tables turn wli 

it turns out the victims are actually e 

caped fugitives who show their gratittK 

by taking their rescuers hostage. Nat 

rally, Stallone escapes, and must do ban 

with the bad guys on the icy inclinf 

Almost everyone concerned with tf 

project produced by troubled Carol 

Pictures has a lot riding on it's suet ess 

the boxoffice, including Stallone, w 

will be trying to reverse a streak ol i oi 

mercial failures which includes the lii 

"Rocky" picture and the conicd 

"Oscar" and "Stop or My Mom V\ 

Shoot." Screenplay is by Michael Franc 

(TriStar, Memorial Day) 

director Steve Barron. The script was 

written by Aykroyd and SNL alumnus 

Davis among others. Produced by 

Lome Michaels. (Paramount, July 23) 

Hard Target 

John Woo, the celebrated director of 

acquitted the officei 

Rodney King, an event that shook the raeial 

landscape of Southern California and led to 

riots which horrified much of the nation. The 

early add campaign for "Poetic Justice"—featuring 

the tag-line "JUSTICE IS COMING!" 

and shots of police arresting black youths 

The Coneheads 

America's favorite family of extra-terrestrials 

will once again tell everyone they meet 

that their strangeness is a result of the fact that 

they "come from France" in this summer comedy 

based on characters from the original 

Saturday Night Live TV show. Dan Aykroyd 

and Jane Curtin revive their roles as Papa and 

Mama Conehead under the supervision of 

incredibly violent Hong Kong action exp 

as "Hardboiled" and "The Killer" 

make! 

SW-52 


) 

cliches for the price of one as Willis' combative 

(but sexy) partner. Put a question mark 

beside this one from director Rowdy 

Herrington (the well-directed stinker "Gladiator") 

(Columbia, summer) 

Br 

Eszterhaus may be the highest paid screenwriter who ever lived, and with such smash 

lagged Edge" and "Basic Instinct" to his credit, it's easy to see why. Paramount is 

ig mum on the plotline to this one, which their press materials describe as "a 

3-sexual mystery," but producer and one-time studio chief Robert Evans ("The Cotton 

was willing to pay a fortune for Eszterhaus to adapt the script from Ira Levin's novel, 

*'dbect something steamy and sordid. Sharon Stone ("Basic Instinct") stars with William 

in in "the first motion picture to break down the barriers of erotic interaction and delve 

world of obsessive voyeurism," according to the press notes. Get ready to set your 

nditioners on high! Directed by Phillip Noyce. (Paramount, May 21 

an moviemaking debut with this unofmake 

of 1 932's "The Most Dangerous 

lean-Claude Van Damme battles saunters 

who are using homeless veterheir 

prey. Expect Woo to give this one 

ucinatory sheen of "Wild Bunch"-era 

ckinpah, only without the thematic 

nnings. Written by Chuck Pfarrer. 

sal,|une) 

i |on: The Bruce Lee 

Itoo-brief life and times of the greatest 

1 arts movie star ever are the subjects of 

Undercover Blues (formerly 

"Cloak and Diaper") 

Leo the Lion will try to take a bite out of 

next summer's boxoffice with this espionage 

comedy starring Dennis Quaid ("The Big 

Easy") and Kathleen Turner ("V. I. 

Warshawski") as a pair of married spies on 

mutual maternity leave in New Orleans. 

What starts as a vacation turns into their 

toughest assignment when their boss shows 

up with evidence of an international terrorist, 

a stolen arms shipment, and more danger than 

you can shake a safety pin at. Directed by 

Herb Ross ("Steel Magnolias") from a script 

by Ian Abrams. (MCM, summer) 

Striking Distance 

Bruce Willis returns to the action field a 

somewhat diminished star after a series of 

career setbacks, the latest of which was the 

decision by Fox to shelve "Die Hard 3" after 

the success of the similar "Under Siege." In 

Much Ado About Nothing 

Kenneth Branagh created quite a stir and 

turned himself into a major British moviemaker 

with his first Shakespearean adaptation, 

the 1989 film of "Henry V." Additional 

lustre was added to his name with the hit 

thriller "Dead Again" before the indifferent 

performance of "Peter's Friends" provided the 

only chink in his filmmaker's armor. With 

"Much Ado About Nothing," Branagh returns 

to the Bard for his first film version of a 

Shakespearean comedy. In addition to the by 

now routine contributions of Branagh and his 

wife Emma Thompson ("Howard's End") 

Branagh has assembled an all-star cast, including 

Michael Keaton ("Batman Returns"), 

Denzel Washington ("Malcolm X") and 

Keanu Reeves ("Bram Stoker's Dracula"). 

"Much Ado" will be followed by Branagh's 

Frankenstein project, which is being directed 

for Francis Ford Coppola's Zoetrope Productions. 

(Goldwyn, late summer/early fall) 

For Love or Money 

(formerly "The Concierge") 

Michael |. Fox stars as Doug Ireland, an 

ambitious young concierge at one of 

Manhattan's most prestigious hotels, busting 

to make money for an inn of his own. He 

meets an investor willing to bankroll the idea, 

provided Ireland agrees to baby-sit the 

investor's beautiful young girlfriend 

(Cabrielle Anwar of "The Scent of a 

Woman")—and you can probably guess the 

rest. Romantic comedy from director Barry 

Sonnenfeld ("The Adams Family") and writers 

Mark Rosenthal and Lawrence Konner. (Universal, 

lune) 

o-pic, directed by |ohn Badham's forroducing 

partner Rob Cohen (he shot 

d unit footage for Badham on "The Hard 

Combining high-impact fight sees 

with an inter-racial love story (Lee's 

vas a Caucasian), "Dragon: The Bruce 

ory" could establish the appropriately 

d (but unrelated) lason Scott Lee as a 

action star. 

Lauren Holly (TV's "Picket 

•s") and Robert Wagner co-star. Screen- 

)y Edward Khmara, |ohn Raffo and Rob 

(Universal, May, 1993) 

this one Willis is a Pittsburgh river patrol cop 

convinced that a local serial killer is the same 

gunman who murdered his father two years 

earlier—despite the fact that another man is 

already in jail for the crime. Sarah lessica 

Parker ("Honeymoon in Vegas") offers two 

Surf Warriors 

"3 Ninjas" meets "Point Break" in this Disneyish 

offering from New Line. Two teenage 

brothers have must use their (we kid you not) 

martial arts and surfing skills to overthrow an 

evil warlord after learning that they're actually 

princes from a South Sea islands. Written by 

Dan Cordon ("Honey 1 Blew Up the Baby"); 

directed by Neal Israel ("Bachelor Party"). 

(New Line, July 23) 

Judgement Night 

Four friends take a wrong turn on the expressway 

and witness a mob-style killing. 

March. ^^^^ S\\ -53

after which they become the hunted in a 

deadly game of hide-and-seek. EmilioEstevez 

("Young Guns"), Cuba Gooding, Jr. ("Boyz N 

The Hood") and Stephen Dorff co-star for 

director Stephen Hopkins. Written by Lewis 

Colick. (Universal, summer) 

In the Line of Fire 

Clint Eastwood stars in this political thriller 

from German director Wolfgang Petersen 

("Shattered"). Eastwood is an ex-Secret Service 

agent brought back from retirement to 

track John Malkovich as a former-CIA-agentturned-presidential-assassin. 

Rene Russo 

("Lethal Weapon 3") co-stars. (Llniversal, 

summer) 

Hearts & Souls 

Robert Downey, Jr. 

will try to capitalize on 

the impressive showing he made with critics 

if not the public for his superb performance 

as "Chaplin" in this fantasy comedy, described 

by the studio with the dreaded adjective 

"Capraesque." In "Hearts & Souls, four 

departed souls get one last chance to resolve 

their earthly lives—with a little help from a 

Jurassic Park 

The Last Action Hero 

when it comes to summer releases, Columbia 

may just have the jewel in the 

crown—on paper, at least. After out-negoti 

ating virtually every major studio in Holly 

wood for his services, Columbia signed 

Arnold Schwarzenegger to star in this action 

adventure fantasy, reportedly by signing hot 

shot action director John McTiernan ("Die 

Hard") and by acquiring the (uncredited; 

script-doctoring services of William Coldman, 

who was brought in on the project to 

give the script some of that old "Butch Cassidy 

and the Sundance Kid" interplay. In 

"The Last Action Hero,") Schwarzenegger 

plays a movie action hero whose biggest 

fan—a teenage boy—suddenly materializes 

onscreen with him. Together the two go on 

an epic adventure. As "Kindergarden Cop" 

and "Twins" proved, Schwarzenegger is a 

past master at finding projects which manage 

both to send-up his macho image for the 

less homicidal (read: female) audience while 

delivering the action-packed goods to his 

legions of more bloodthirsty (read: male) 

fans. It looks like he's picked a winner again. 

The four listed screenwriters include "Lethal 

Weapon"'s Shane Black. (Columbia, June 

18) 

reluctant mortal. Charles Grodin ("Beethoven") 

and Alfre Woodard ("Passion Fish") costar 

for director Ron Underwood. Sriptby S.S. 

Wilson and Brent Maddock based on the 

novel "Seven Souls." (Universal, August) 

Menace to Society 

Twenty-one-year old twin brothers Allen 

and Albert Hughes make their feature directing 

debut with this gritty urban tale about the 

harsh realities of life and survival for young 

Steven Spielberg's masterplan for 1993 kicks off with one of the most eagerly anticipated 

movies of the summer. Based on the novel by Michael Crichton, "Jurassic Park" tells the 

action-packed tale of a theme park populated by genetically-engineered dinosaurs created 

by idiosyncratic scientist Richard Attenborough. For the park's first visitors—a group of 

scientists including Jeff Goldblum and Laura Dern—the adventure takes a harrowing turn 

when the dinosaurs break out of their carefully constructed environment and begin to wreak 

havoc. Expect a great deal of boxoffice action, along with a "Jurassic Park" theme ride 

installed in the Universal Studios Tours about 1 seconds after the film opens. Spielberg's 

follow-up, the holocaust-themed "Schindler's List," is being readied in time for Oscar 

consideration in late '93. "Jurassic Park" was scripted by David Koepp and Michael 

Crichton. (Universal, June) 

Black Americans in the inner-city. A fathe 

youth is challenged by choices that will e 

provide him with a better life or lead 

dead-end road of violence and destruc 

Tyrin Turner ("Deep Cover") and VonteS 

("Boyz N the Hood") head a cast that incli 

actor/director Bill Duke ("Deep Cover' 

Samuel L. Jackson ("Jungle Fever"). Serif 

Tyger Williams, from a story by the Huf 

(New Line, May 14) 

Untitled Mel Brooks 

Robin Hood Project 

(formerly "Robin Hood: 

Men in Tights") 

After the commercial and critical drubl 

he took for "Life Stinks," Mel Brooks reli 

to his familiar movie parody tactics with 

comedic adventure in Sherwood Forest. Cl 

Elwes, Richard Lewis, Roger Rees, Trai 

Ullman and Isaac Hayes star as the Prinoj 

Thieves and his friends, enemies and lovij 

For trivia fans, this is Brooks' second Roi 

Hood parody; he created and executive (' 

duced the short-lived television series "Wt' 

Things Were Rotten" over a decade i, 

which co-starred DickGautieras Robin Hi* 

and Brooks-regular Dick Van Patten as F' 

Tuck. Written by Mel Brroks and J. Oi 

Shapiro. (Fox, summer) 

Once Upon a Forest 

This full-length animated feature chr( 

cles the travels of three woodland creatu 

who must leavethecomfort of their home 

a daring race against time as the life of a ya 

friend hangs in the balance. Voices byf 

chael Crawford (Broadways "Phantom ofi 

Opera") and Ben Vereen ("All That Jaa 

written by Mark Young and Kelly Ward; 

rected by Charles Crosvenor. Animation 

rector: David Michener. (Fox, summer) 

SW-54 


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Hocus Pocus 

After the poor boxoff ice performance of her 

labor of love "For the Boys," Bette Midler 

returns to the studio that made her a top movie 

comedy draw in this Walt Disney Pictures 

The Firm 

In 

"The Firm," Tom Cruise extend', 

critical and commercial triumph in "A F 

Good Men" by returning to the screen 

another crusading attorney. This hr 

Cruise is an ambitious young lawyer \' 

unwittingly discovers there are links 

tween the prestigious law firm he has 

joined and the criminal underwd 

Jeanne Tripplehorn ("Basic Instinct") |il 

Cruise's wife; Gene Hackman (I 

forgiven") is his assigned mentor within 

comedy. Midler, who rebounded from a career 

downturn in the early '80s with such 

Touchstone Pictures comedies as "Ruthless 

People" and "Down and Out in Beverly 

Hills," plays the eldest of three I 7th century 

witches who are accidentally revived in modern 

day Salem, Massachusetts. Hanged 300 

years ago for practicing sorcery, the trio 

vowed to return to afflict all the local children; 

"Hocus Pocus" is about their attempt to make 

good on the promise. Sarah Jessica Parker 

("Honeymoon in Vegas") plays Midler's 

youngest—and wildest—sister, with Kathy 

Najimy ("Sister Act") as the middle sibling. 

"Hocus Pocus" is directed by choreographerturned-filmmaker 

Kenny Ortega ("Newsies") 

from an as-yet uncredited script. (Buena Vista, 

summer) 

Needful Things 

Director Fraser C. Heston (son of the legendary 

Charlton) makes the leap from telefilms 

(he directed the Turner Network 

Television version of "Treasure Island," starring 

dear old dad as Long John Silver) to 

features with "Needful Things," a Castle Rock 

Entertainment production, based on Stephen 

King's best-selling horror novel. Max von 

Sydow plays the mysterious, seemingly benign 

stranger who opens a supernatural antique 

shop in a quiet New England town and 

unleashes the evil that lives within the seemingly 

peaceable townsfolk. Ed Harris ("The 

Abyss") and Bonny Bedelia ("Die Hard") costar, 

with J.T. Walsh ("A Few Good Men") and 

Amanda Plummer ("The Fisher King") in supporting 

roles. Young Heston certainly won't 

want for seasoned advice if he runs into trouble 

during filming; director Peter Yates 

("Bullit") serves as executive producer on 

"Needful Things," while the screenplay is by 

writer/director W.D. Richter ("Late For Din 

ner," "The Adventures of Buckaroo Banzai ) 

"Needful Things" will be distributed by Co 

lumbia Pictures in the United States and inter 

nationally by New Line Cinema. (Columbia 

summer) 

firm. Directed by Sydney Pollack i 

vana") from a screenplay by D.\ 

Rayfield, David Rabe and Daniel I' 

"The Firm" is of course based on \i 

Crisham's best-selling novel. With the 

scheduling of "Beverly Hills Cop III, 

sure-fire boxoffice attraction assumes r 

significance on the Paramount sunn 

slate; look for the new, increasingly c 

dent Sherry Lansing regime to hil 

ground running with this one. (Paramm 

July 2) 

Super Mario Bros. 

Bizarre is not the word for the tact 

high-brow art film director Roland Jofte is 

of the producers of this summer corr 

based on the phenomenally popl 

Nintendo video game. Bob Hoskins and( 

Leguizamo star as the adventurous plurtj 

who go up against an evil, reptillian vj 

played by Dennis Hopper. Co-directei 

Rocky Morton and Annabel lankel. (B4 

Vista, summer) 

Lost in Yonkers 

Hollywood history is littered with 

plays re-made for the movies with reco^ 

able film stars replacing the origii 

Snow White and the 

Seven Dwarfs 

The beloved animated classic is back 

for another run at the boxoffice. The 

only fully-animated feature made while 

Walt Disney was alive that has not been 

released to video, "Snow White" stars 

the voices of Andrea Caselloti (as Snow 

White) and Pinto Colvig (who later 

voiced Goofy) among others. Despite its 

classic stature, "Snow White" is neither 

the first attempt at a feature with animation 

(Max and Dave Fleischer's "Relativity" 

was made over a decade earlier) 

nor the best animated feature the studio 

made during Walt Disney's lifetime 

(both "Pinocchio" and "101 

Dalmations" are probably better films). 

But "Snow White" is nevertheless one 

of the most groundbreaking films ever 

made, against which all subsequent efforts 

in the genre have had to measure 

their accomplishments. (Buena Visia, 

summer) 

cast mtmbers But thanks to the Oscar 

grabbed lor The Fisher King last year, 

tress Mercedes Reuhl was apparently cor 

ered worth the commercial risk to recreate 

Tony award-winning role in the movie 

sion of "Lost in Yonkers," based on 

Simon's play. Like Simon's "Brighton Be; 

trilogy, "Yonkers" casts a nostalgic eye or 

New York of his boyhood, chronicling 

adventures of two teenage boys sent to 

with eccentric relatives in 1942. Reul 

joined by her stage co-star Irene Worth, 

by Richard Dreyfuss, who won the Best A 

Oscar for Simon's "The Goodbye Girl 

1 977. Martha Coolidge ("Ramblin' Rose" 

rects; "Lost in Yonkers" is the 1 1 th feature 

based on Simon's writings to be produce 

Ray Stark. (Columbia, summer) 


- 

': 

' 

)laced 

': 

. project, 

1 Davies 

jugitive 

r on Ford is "The Fugitive," based on 

) David lanssen made famous in the 

il at vintage teledrama, which ran from 

. Dr. Richard Kimball is unjustly sense 

3 die for the murder of his wife, but 

es his captors when the train carrying 

; le death house derails en route. Kim- 

:- St find the mysterious "one-armed 

^ ' 

saw fleeing from the scene of the 

{• 

efore the police catch up to him. 

r 

y, the bigscreen "Fugitive" was origbe 

portrayed by Alex Baldwin, whom 

as CIA analyst Jack Ryan in 

names," the sequel to Baldwin's "The 

i )r Red October." Andrew Davis 

Seige") directs a script by jeb Stuart 

id Twohy. (Warner, summer) 

hots Part Deux 

would summer be without at 

least 

profile sequel? Topper (Charlie 

eturns to action at the behest of Tuj^ 

(Lloyd Bridges), who is now (thanks 

gic of this kind of farce) the President 

ted States. After three failed, top-sesions, 

the military turns to Topper to 

commando team sent into enemy 

to rescue the men who went in to 

erritory to rescue the men who went 

't the men who went in to get the 

mission team {whew). Co-written and 

by )im Abrahams, the original hot 

iseif. The entire original cast has been 

bled for this follow-up to the surprise 

hit; "Hot Shots Part Deux" co-stars 

Colino ("Rain Man") Richard Crenna 

ill presumably parody his mucho 

Rambo" persona) and Brenda Bakke. 

mmer) 

Romance 

ted by Tony Scott ("Top Gun," "The 

y Scout") and scripted by red hot 

irector Quentin Tarantino (the indie 

'Reservoir Dogs") "True Romance" 

gritty little tale of two unlikely lovers 

cidentaily double-cross the Detroit 

stealing valuable contraband. Christer 

and Rosanna's kid sister Patricia 

("The Indian Runner") co-star; the 

upporting cast includes Dennis Hopjris 

Trout"), Val Kilmer ("Thunderhe- 

Oldman ("Bram Stoker's Dracula") 

ristopher Walken. Morgan Creek Pros, 

the makers of Slater vehicles "Robin 

Prince of Thieves" and "Young Guns 

producing, with Warner Bros, set to 

te. (Warner, summer) 

secrets are probably easier to cut 

lan a coherent plot synopsis for this 

comedy from director Ivan Reitman 

tbusters"). Kevin Kline ("Consenting 

and Sigourney Weaver ("Alien 3") 

vhat the press release calls "a romantic 

wraps for as long as possible. Script by Gary 

Ross. (Warner, summer) 

Free Willy 

Director Richard Donner ("Lethal 

Weapon" series) and his wife Lauren Shuler- 

Donner are among the executive producers of 

this family drama about a troubled young 

boy's friendship with the captive orca whale 

who is the star attraction at the local adventure 

park. When the boy learns of some unfortunate 

plans the park has for his oceanic 

friend, he sets forth a plan of his own and risks 

his life to return Willy to his natural habitat. 

Directed by Simon Wincer from a script by 

Keith Walker and Corey Blechman. Lori Petty 

("Footloose") and Michael Madsen ("Reservoir 

Dogs") co-star. (Warner, summer) 

Untitled Carl Reiner 

Comedy (formerly "Triple 

Indemnity") 

Rob's father, comedic great Carl Reiner 

("Sibling Rivalry") makes a second attempt at 

skewering detective movies (his first was the 

Steve Martin satire "Dead Men Don't Wear 

Plaid") with this film noir farce. Armand Assante 

("The Mambo Kings") takes a 

medic turn as detective Ned Ravine, a 

handsome but clueless detective for whom 

rare co- 

three temmes MM/es prove a fatal distraction. 

Kate Nelligan, Sean Young and Sherilyn Fenn 

co-star; script by David O'Malley. (MGM, 

summer) 

Rookie of the Year 

y set in Washington against the backthe 

White House." Given the casualty southpaw Henry Rowengarter, who makes 

Thomas Ian Nicholas stars as 12-year-old 

long the recent spate of political comncluding 

"The Distinguished Gentle- 

Leagues when an accident endows him with 

the leap from Little League to the Major 

which had the undistinguished a magical pitching arm that may just bring a 

ion of being the lowest grosser of Eddie pennant to the beloved, long-suffering Chicago 

Cubs. Actor Daniel Stern takes a break 

y's career), perhaps the studio is welli 

to keep the premise for this under from chasing Macaulay Culkin around New 

Dennis the Menace 

lohn Hughes ("The Breakfast Club"), the 

writer/director/produter who made a name 

for himself in the 1980s with a series of 

thoughtful comedies about teenage life, now 

seems bent on cornering the market in prepubescent 

slapstick. After "Home Alone," 

"Curly Sue" and "Home Alone 2," Hughes 

returns to the source with this live action 

adaptation of cartoonist Hank Ketcham's 

"Dennis the Menace." Six-year-old newcomer 

Mason Gamble stars as Dennis, with 

Walter Matthau ("The Bad News Bears") as 

Dennis' crotchety neighbor (and eternal 

nemesis) Mr. Wilson. Christopher Lloyd 

("Back to the Future") plays a mysterious 

(probably villainous) visitor to Dennis' 

hometown; Lloyd's "Back to the Future" coslar 

Lea Thompson ("Howard the Duck") 

plays Dennis' mom, with )oan Plowright ("I 

Love You to Death") as Matthau's long-suffering 

wife. Nick Castle, the director who 

was bumped from the film "Hook" when 

Steven Spielberg became interested in the 

directs from a screenplay by 

y Hughes. (Warner) 

York City to direct this comic fantasy, his 

first-ever feature directing gig. Gary Busey 

("Under Seige") and Eddie Bracken (who 

began his career in Preston Sturges comedies 

like "Hail the Conquering Hero" and was 

featured as the kindly department store owner 

in "Home Alone 2") co-star, with Stern himself 

on hand in a minor supporting role. (Fox, 

summer) 

Ghost in the Machine 

Rachel Talalay was the first woman to di- 

Freddy Kreuger movie (she made the 

rect a 

misnamed "Freddy's Dead: The Final Nightmare," 

which New Line has announced will 

not be the last of the "Elm Street" films). Now 

she's graduated from the horror genre to the 

thriller genre with this film noir about a serial 

killer who stalks a family through the common 

electrical devices which surround them. Will 

Osborne and Wi 1 co-wrote the script; 

Karen Allen, Wil Horneff and Chris Mulkey 

co-star. (Fox, summer) 

Untitled Wesley Snipes 

(formerly "Skeezer") 

Thanks to his success in "Passenger 57" and 

the success he is almost sure to enjoy when 

Fox releases "Rising Sun," (co-starring Sean 

Connery), Wesley Snipes ("White Men Can't 

Jump") has become one of the most soughtafter 

actors in Hollywood. In this crime melodrama. 

Snipes reunites with "New lack City" 

screenwriter Barry Michael Cooper for a 

gangland melodrama about two brothers who 

become successful druglords on the streets of 

New York city. The pair end up on opposite 

sides of the issue when Snipes, as Roemello 

Skuggs, has a crisis of conscience and decides 

to go straight. 

Director Leon Ichaso ("Crossover 

Dreams") compares "Skeezer" to a cross 

between the "Godfather" films and Sergio 

Leone's "Once Upon a Time in America;" 

filmed in Manhattan over a 60-day-period last 

fall. (Fox, summer) 

March. 1993 S\V-57

Move Over Oscar! It 5. 

BOXOFFICE's Sixth Annual (sort of) 

Miscellaneous Film Awards 

The Stand By Your Man Award F 

To "Annie Hall" star Diane Keat( 

who dropped everything (includ 

"Pet People," her feature project 

Amblin') to take over a role Woe 

Allen originally wrote for Mia Far 

in his upcoming "Manhattan Mui 

Mystery." 

The Stand By Your Man Award P 

To Bruce Willis and Arnold 

Schwarzenneger who, despite pol 

the electorate that were starting 

make |immy Carter's re-election c 

paign look good, continued to put 

support their candidate for the pr 

dency, George Bush. 

The Dorian Gray Award 

lack Nicholson, who embodied several decades in the life of Teamster Boss 

jimmy Hoffa without seeming to age by so much as 20 minutes. 

The Marlon Brando Self-Parody Ar 

To Dustin Hoffman, who (we hopi' 

tentionally) satirized his Ratzo Ri.l 

persona from "Midnight Cowboy! 

"Hero," just as Brando (we know ii 

tionally) parodied his performano^ 

Godfather Vito Corleone in 199(' 

"The Freshman." 

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SW-58 

BOXOFFICE

i 

I 

1 KiMiui 

Kevin Costner Master Thespian 

Award 

Reeves who, in "Bram 

r\\ Dracula," validated Costner's 

n h-( iiticized decision not to att 

J I'.iitish accent in "Robin Hood: 

Prince of Thieves." 

The George Lazenby Award 

'(I hii the most torgtjtten of the ac- 

5 tu play James Bond in a feature 

this award goes to Alec Baldwin, 

was replaced by Harrison Ford as 

Ryan in "Patriot Games," the seto 

"The Hunt For Red October," 

1 no discernible adverse impact at 

the boxoffice. 

he Last Laugh Award (Female) 

Meryl Streep for deciding, after 

;e fizzled attempts at becoming a 

een commedienne ("She Devil," 

ending Your Life," and "Death Bees 

Her") to return to serious acting 

iirector Billie August's upcoming 

"The House of Spirits." 

The Last Laugh Award (Male) 

ylvester Stallone, for deciding after 

fizzled attempts at becoming a 

en comedian ("Oscar" and "Stop 

Ay Mom Will Shoot") to return to 

on-packed ass-kicking in director 

y Harlin's upcoming "Cliffhanger." 

Worst Cameo: 

"Thirtysomething's" Peter Horton as a 

computer dating hunk in Cameron 

Crowe's "Singles." 

Best Cameo: 

George Bush and outgoing Secretary of 

Defense Dick Cheney, who looked almost 

presidential as they 

decommissioned the battleship Missouri 

in "Under Seige." 

Best Line: 

Bruce Willis saying "Traffic was a 

bitch" to Julia Roberts in Robert 

Altman's "The Player." 

The Marlon and Christian Brando "Father 

Knows Best" Award 

To Gerard and Guillaume Depardieu, 

who starred together in the French period 

epic "Tous Le Matins Du Monde." 

The week the film opened in America, 

young Guillaume was arrested in a 

Paris subway station by undercover 

narcotics agents for attempting to peddle 

heroin to passersby. 

The Greta Garbo Award 

To Julia Roberts, who remained the 

most sought after actress in movies despite 

the fact that her only screen appearance 

in 1992 was a self-satirizing 

cameo in Robert Altman's "The Player." 

The Indiana Jones and the Temple of 

Sado-masochism Award 

To Michelle Pfeiffer for her handling of 

a whip as Catwoman in "Batman Returns." 

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March. 1993 S\\-59

' 

, 

The Back From the Dead Award 

To Orson Welles' highly acclaimed 

"Othello," which finally received a national 

release in America, 40 years 

after its completion. 

The Not Quite Back From the Dead 

Award 

To "Brenda Starr," the Brooke Shieldscomic 

strip catastrophe which sat on 

the shelf for years, but didn't have the 

good sense to stay there. 

The Francis Ford and Sophia Coppola 

Nepotism Award, Pt. 1 

To Macaulay Culkin's father and "manager" 

Kit, who (after driving director 

Michael Lehman from Culkin's upcoming 

feature "The Good Son" and then 

delaying production for over a year) 

had Macaulay's 5-year-old female costar 

fired so that his own 8-year-old 

daughter Quinn Culkin could make 

her big-screen debut. Mr. Culkin later 

got Fox to fire their own producer 

from the project. 



To Damon Wayans, who cast his baby 

brother Marlon as his sidekick in "Mo' 

Money." 

/.eêici^ 

The Napoleon Bonaparte "Little Big Man" Award 

' 

To Spike Lee and Danny DeVito, for making epic movies about great historic 

ures like Malcolm X and limmy Hoffa, and then creating fictional roles for the 

selves as their hero's imaginary "best friend." 



To Francis Coppola, for hiring his son 

Roman as second unit director on 

"Bram Stoker's Dracula." 

The Jack Nicholson Incredible Shrinking 

Hairline Award 

To John Malkovich ("Jennifer 8") and 

Chevy Chase ("Hero"). 

The Coy Can't Help It Award 

To Melanie Griffith as a tough Ne\ 

York Police officer living among th 

Big Apple's orthodox Jewish comm 

nity in 

"A Stranger Among Lis." 

The Happy Trails Award 

To Barry Diller and )oe Roth, both 

kvhom resigned executive posts at Fi 

and Brandon Tartikoft, who resigns 

as chairman of Paramount Pictures 

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SW-60 

BOXOFFIf E

I & 

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The Kim Basinger/"Marrying Man" 

Stop Me Before I Sing Again Award 

o—surprise!—Kim Basinger, tor warbling 

her way through another comlercial 

disaster— Ralph Bakshi's "Cool 

World." 

The Mel Blanc Memorial Award 

o Robin Williams for his multi-voiced 

performance in Disney's "Aladdin." 

The R.I. P. Frank Capra Award 

To "Hero" and "The Distinguished 

Gentleman," which reworked respectively 

Capra's "Meet )ohn Doe" and 

"Mr. Smith Goes to Washington," to 

universal disinterest from a nation's 

moviegoers. 

The So Much For Genetic Theory 

Award 

To Tony Huston, son of John and director 

of 1 992's art-house yuckfest "Becoming 

Collette," and to Brandon Lee, 

son of Bruce, star of the failed choppysocky 

action film "Rapid Fire." 

The Humor—NOT! Award 

To the millions of Americans who 

thought they were being funny by imitating 

the Mike Myers and Dana Carvey 

characters from "Wayne's World." 

The Stranger than Fiction Award 

To "Hoffa," "Chaplin" and "Malcolm 

X," for making fans of epic biographical 

moviemaking miss David Lean 

more than ever. 

The One Out of Three Ain't Bad 

Award (Male) 

To Jack Nicholson, star of "A Few 

Good Men," "Man Trouble" and 

"Hoffa." 

The One Out of Three Ain't Bad 

Award (Female) 

To Goldie Hawn, star of "Housesitter," 

"Crisscross," and "Death Becomes 

Her." 

The How You Gonna Keep 'Em Down 

on the Farm? Award 

To rural songsters )ohn "Cougar" 

Mellencamp and George Strait for 

their acting debuts in "Falling From 

Grace" and "Pure Country." 

The Late Bloomers/You've Come A 

Long Way Baby Award 

To Drew Barrymore and Erika Eleniak, 

both of whom began their careers as 

child actresses in Steven Spielberg's 

"E.T.: The Extraterrestrial" before furthering 

their careers in 1 992 by undressing 

for the camera in "Poison Ivy" 

and "Under Seige," respectively. 

The Sigmund Freud, Where Are You 

When We Really Need You? Award 

To Geraldine Chaplin, who played her 

father's mother in Richard 

Attenborough's "Chaplin." 

The Nostradamus Prophecy Award 

To Billy Cystal, who took heat for a 

1990 Oscar-cast joke likening Italian financier 

Giancarlo Parretti's purchase 

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ASS 

' 

of MGM to a mafia takeover, but lived 

to see Parretti jailed in 1992 for two 

felony counts of tampering with physical 

evidence and perjury. Billy Crystal 

Ball, anyone? 

The Bye, Bye Brucie Award 

To "Under Siege," the hit "Die Hardon-a-battleship" 

action movie, which 

derailed Bruce Willis' upcoming sequel 

"Die Hard 3" during pre-production. 

The announced premise for "Die 

Hard 3:" "Die Hard" on an oceanliner. 

The Padding Your Resume/ "We 

Meant C. A. A.!" Award 

To Steven Seagal, who was once believed 

to be an ex-CIA operative 

thanks to carefully planted rumors, possibly 

originated by his talent agency, 

the all-powerful Creative Artists 

Agency (CAA). In 1992, several news 

organizations confirmed that Seagal's 

actual background was much more 

dangerous than the spy game; before 

he was "discovered," he used to be the 

Karate instructor to CAA's omnipotent 

potentate Michael Ovitz. 

The Lusitania Award 

To all those studio executives who 

were so eager to set sail on the Nina, 

the Pinta, and the Santa Maria in 

"Christopher Columbus: the Discovery" 

and "1492; The Year We Make 

Contact" (or whatever they called the 

Ridley Scott version). Native Americans 

upset about the 500th anniversary 

of Columbus' voyage to America 

saw the man they view as a thieving, 

murdering bigot revealed as something 

far worse in these two supposedly flattering 

portrayals: a crashing bore. 

The Al Gore Recycling Award 

To Michael Mann, who based his interpretation 

of "The Last of the Mohicans" 

on not just the lames Fenimore 

Cooper novel, but on Phillip Dunne's 

1 936 screenplay for the Randolph 

Scott version, as well. 

The Giancarlo Parretti Studio Management 

Award 

To the current MGM regime and to former 

MGM stock-boss Kirk Kerkorian, 

who are currently suing each other for 

billions of dollars over the question: 

whose responsibility was the Parretti 

disaster, anyway? 

The Method Actor We'd Least Like To 

Stand Next To at a Cocktail Party 

Award 

To Harvey Keitel, for his startling performances 

in "Reservoir Dogs" and 

"Bad Lieutenant" as two of the most 

outrageous movie thugs of 1 992. 

Movies We'd Like to See: 

•"Blind Date 2," in which the Al 

Pacino character from "The Scent c 

Woman" has a series of hair-raisir 

but wacky adventures with the Urt 

Thurman character from ")ennifer ? 

•A serious version of the "Honey 

moon in Vegas" plotline, with Robi 

Redford, Demi Moore and Wood- 

Harrelson in the James Caan, Sarah 

sica Parker and Nicholas Cage rok 

We could call it "Indecent Proposal 

• The Disney re-make of Zhang 

Yimou's "Raise the Red Lantern." T 

Danson, Steve Guttenberg and Toi 

Selleck could play the three oppress 

wives, with Melanie Griffith as the 

gender-bending (but wacky) feudi 

lord and master. 

• A remake of "Lolita," with Soon 

Previn in the title role and Wood^ 

Allen as Humbert Humbert. 

•Woody and Mia in "The Hand Th 

Rocks the Cradle." Or "Natal Attra 

tion," perhaps? 

The Too Much, Two Toons Awan 

To Ralph Bakshi, animator, whosi 

"Cool World" made Steven Spielbei 

decision to have Robert Zemecki 

filmmaker, direct the similarly cor 

structed "Who Framed Roger Rabbi 

seem like a stroke of pure genius. 

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SW-62 

BOXOFFICE

! Joseph P. McCarthy/House Unerican 

Activities Committee Seal 

of Approval 

upper level executives at Disney 

i Fox who, when confronted with 

election-year rhetoric about 

llywood's lack of "family values," 

vely told attendees at their annual 

(holders' meetings that maybe selfensorship 

isn't such a bad idea. 

he "Luca Brazzi Sleeps With the 

Fishes" Award 

David Mamet and Danny DeVito, 

refusing to deal realistically with 

e criminal affiliations of Teamster 

ss jimmy Hoffa, the Gandhi-esque 

der whose rubbed-out remains are 

jmored to be buried somewhere 

ler the Meadowlands stadium complex 

in northern New Jersey. 

Texas Chainsaw Massacre Award 

o the hairdresser responsible for 

n Costner's poodle-with-a-Moawk 

hairdo in "The Bodyguard." 

he Freddy Krueger/Nightmare on 

Elm Street Award 

Barry Levinson who, after 1 2 years, 

ght movies and an Oscar for "Rain 

" finally realized his frue dream as 

filmmaker—by making "Toys." 

The "Buddy Can You Spare an 

Oscar?" Award 

To jack Lemmon, for his shameless 

Academy Awards electioneering in the 

aftermath of positive reviews for his 

"Glengarry Glen Ross" performance. 

The Chester Gould MemorialAVorst 

Trend of the Year Award 

To the make-up artists responsible for 

aging actors Robert Downey |r. (in 

"Chaplin"), Mel Gibson ("Forever 

Young"), Billy Crystal ("Mr. Saturday 

Night") and the appropriately named 

Gary Oldman ("Bram Stoker's 

Dracula"), with results that often 

looked like outtakes of the villains 

from Warren Beatty's "Dick Tracy." 

The Wise Beyond Her Years Award 

To Penny Marshall, for avoiding making 

the above list by casting real old 

people to play the elderly baseball 

players in the frame story to "A League 

of Their Own." 

The Going-Going-Gone Award 

To Chevy Chase, who followed the 

spectacular commercial failure of his 

"Memoirs of an Invisible Man" with 

the announcement that he would return 

to late night television as host of 

his own talk show. 

The Maybe Brian De Palma is a Genius 

Award 

To misogynistic studio executives, 

who followed the nanny-from-hell success 

of "The Hand That Rocks the Cradle" 

by launching a host of equally 

hysterical women-hating formula pictures, 

including: roommate-from-hell 

("Single White Female"); new-girl-atschool-from-hell 

("Poison Ivy"); and 

the office-coworker-from hell ("The 

Temp.") 

The Overachiever at Underachievement 

Award 

To Peter Hyams, who both directed 

and was his own cinematographer on 

"Stay Tuned," the dead-on-arrival comedy 

which BoxoFFiCE readers dubbed 

one of the ten worst films of the year. 

The Arnold Scwharzenegger Public 

Speaking Award 

To Dolph Lundgren and )ean-Claude 

Van Damme for their line readings as 

"American" G.l.s in "Universal Soldier." 

The Orson Welles Memorial Completion 

Phobia Award 

To Martin Scorcese, who was unable 

to finish his period epic "The Age of Innocence" 

in 9 months of post-production. 

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The Have Your Cake and Eat It To 

Award 

To maverick film director Robert 

Altman, who mercilessly attacked 

Hollywood in "The Player" and be 

came the hottest director in town 

result. 

The Americans With Disabilities A« 

ing Award 

To Wesley Snipes and Eric Stoltz ii 

"The Water Dance" and Mary 

McDonnell in "Passion Fish," 

able-bodied actors who earned the 

keep as wheelchair-bound accider 

victims. 

The Honey they Shrunk the Grossc 

Award 

To all last summer's high-profile 

sequels. 

And finally: 

The You Can't Get There From Here Award 

To Whoopi Goldberg and Luke Perry. She was a smash at the movies in "Sister 

Act" and a flop as a television talk show hostess, while he continued to make teenage 

hearts throb on TV's "Beverly Hills 9021 0/' but couldn't collect much allowance 

money for his big-screen debut in "Buffy the Vampire Slayer." 

The Strike Three! Award 

To "The Babe" and "Mr, Baseball," 

ivhich were handily (and deservedly) 

defeated at the boxoffice by Penny 

Marshall's all-girl baseball drama "A 

League of Their Own." 

The W.C. Fields Never Give A Suck 

an Even Break Award 

To the entire American moviegoin; 

public, for making what was a 

qualitatively mediocre year the thi 

most lucrative in Hollywood 

history. 

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SW-64 

BOXOFUCE

CH NOTES 

Powering Up for Digital 

By John F. Allen that digital stereo motion pictures 

Noware in regular production and exhibition, 

the subject of the needed amplifier 

power is, once again, being discussed. 

Determining the exact amount of power a 

theatre speaker requires to play "X" loud at 

a distance "Y" is easy. See tables 2 and 3. 

Understanding the issue and the sometimes 

confijsing equipment data is more complicated. 

Basics Reviewed 

Loudspeakers are rated in several ways. 

Sensitivity is one of the most important. It 

indicates to us the sound output level of the 

speaker at a given distance, with a given 

input— usually 1 watt. 

The Inverse Square Law states that the 

sound level will drop by a factor of four (-6 

dB) at each doubling of distance from the 

source. Recognizing the way the Inverse 

Square Law works simplifies questions of 

needed power because the room is not part 

of the calculation. This is best since the 

sound froin a speaker which arrives at our 

ears first is, for practical purposes, free of 

the room's reverberation. 

Consider a speaker with a 1 watt (a' 4 foot 

sensitivity of 100 dB Sound Pressure Level 

(SPL). At eight feet from the speaker, with a 

1 watt input, the level will drop to 94 dB SPL. 

At 16 feet, the level will drop to 88 dB SPL. 

At 32 feet, the level will be 82 dB SPL. At 40 

feet, the level will be 80 dB SPL. At this point, 

we would be in the middle of an 80 foot long 

theatre. The center of a theatre is a good 

place to specify a peak program level (per 

channel). 

Using the Inverse Square Law and keep- 

Lawrence posts and 

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Our attractive and durable posts are available with a 

variety of ropes, rods, chains and tapes providing an 

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March. 1993 SW-65

TECH NOTES 

dBW/amplifier Power In Watts

! Law 

iter (2 dB in round numbers). Therelost 

speakers today are rated at 1 

speaker which yields 100 dB SPL at 

ne\ds 101.72 dB SPL at 1 meter Forty 

inslates to 12.19 meters. The Inverse 

shows a level drop of 21 .72 dB 

9 meters. 

72-21.72 = 80 

- 80 = 31 dBW or 1259 watts. 

ve can work in either the standard or 

: system. But since we usually work 

t and not meters, we must deduct 1 .72 

>L from 1 meter speaker sensitivity 

ications to determine the 1 watt @ 4 

gnsitivity. 

When is a Watt a Watt 

far, things are just a little more complithan 

they need to be, but finding a 

ler's 1 

watt sensitivity, at any distance, 

jeen made difficult (sometimes imble) 

by some manufacturers, due to a 

3f adequate information. 

• 

know that amplifier power in watts 

^ equal to the square of the output 

!ge 

divided by the speaker resistance 

P = vVr 

Tt) get P to equal 1 watt, both values of V 

and R must be equal. If we know R, then the 

amplifier output voltage V must be set to the 

square root of R to achieve 1 watt. 

v = a/r when P = 1 watt 

Impedance 

With loudspeakers systems, the total resistance 

is made up of several things and is 

referred to as impedance. And here is where 

confiision can creep in. A speaker's specification 

sheet may list impedance as a "nominal 

8 ohms." Since the impedance of a 

speaker varies with ft-equency, a complete 

impedance graph will show a large range of 

values. This graph is essendal but is not 

always published. The 8 ohms often specified 

might only be an average, or may be 

just the closest conventional number to an 

average. It could even mean the minimum 

impedance. We can't tell fi-om tiiat descriprion 

alone. 

When designing a sound system, one 

should examine the loudspeaker's impedance 

curve very carefully. It may be found 

that between 250 and 500 Hertz, the impedance 

reaches a minimum of 4 ohms, while 

it may be 10 to 20 ohms at the other frequencies. 

The manufacttirer has chosen to call it 

an 8 ohm speaker. But which is it; 8 or 4 or 

something else? In this case, my recommendation 

is to call it a 4 ohm speaker and 

reduce its 8 ohm sensitivity rating by -3 dB. 

This is because about 1/2 of the acoustic 

power in most program material is in the 

region between 250 to 500 Hertz, the so 

called power band. If 1/2 of our total amplifier 

power will be used in this one of nine 

octaves, a speaker's minimum impedance 

in this area is of great interest. 

In designing theatre sound systems, 1 

recommend that a loudspeaker's minimum 

impedance be used, particularly if the minimum 

occurs in the power band. 

Determining True Sensitivity 

The final area of confijsion concerns the 

way speaker sensitivity is measured. This 

has changed in recent years. In the past, 

manufacttjrers clearly stated a 1 watt level 

at either 4 feet or 1 meter If the speaker can 

justifiably be said to have an 8 ohm impedance, 

the amplifier must drive die speaker 

under test at 2.83 volts. 

1 watt = 2.83^8 = 8/8 = 1 

KARASYNC 

OIOIOIOIOIOIOIOKMOIOIOIOIOIOIOIOIOIOIOIOIO 

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JOHN GAMBLE 

Response No. 20 

March. 1993 SW-67

TECH NOTES 

However, if another speaker has an im- that speaker at 2 volts to achieve a 1 vv'att 

pedance of4 ohms, the amplifier must drive level. 

Power Required Per Screen Speaker In Digital Sound Systems 

For a Sound Prressure Level of 1 1 1 dB in the theatre's center at full amplifier power 

(clipping level) 

1 Watt, 1 Meter Speaker Sensitivity

Power Required Per Surround Channel In Digital Sound Systems 

For a Sound Pressure Level of 1 1 1 dB in the theatre's center at full amplifier power 

(clipping level) 

1 Watt, 1 Meter Speaker Sensitivity

I OR 

The FILM INFORMATION COUNCIL presents 

The FIC Excellence in Film Marketing Award 

Warner's "Batman"-like "X" logo. other nominated finalists 

could have surfaced as the 

ultimate winner. The four other final nominees were Columbia's 

"Bram Stoker's Dracula;" Warner Bros.' "The Bodyguard;" 20th 

Century Fox's "Home Alone 2: Lost in New York;" and Walt 

Disney Pictures' "Aladdin." 

"'Malcolm X' represented the most difficult marketing 

er Bros. 

tures' "Mal- 

W: 

challenge of the films evaluated," said Richard Kahn, FIC'sl 

ecutive Chairman. "As a biography of a controversial figi 

Ti X" received Warner had a basic, difficult sell, and also had to convince at 

the third Excellence in Film ences that time spent viewing a long film would be rewarded. 

Marketing Award from the FIC concluded that the campaign for "Malcolm X" started e 

Hollywood-based Film Information 

Council (FIC). merchandised hats. The film's "X" logo became as internation; 

before production began, thanks to the use of the "X" logo 

"X" was selected as the identified through all-media usage as the logo developed 

most outstanding of 15 films Warner's for "Batman." Magic Johnson, Arsenio Hall and ol 

which opened nationally major celebrities were wearing the "X" hats. Consequently, 

during November, 1992. The "X" came to symbolize the presence of a powerful, soci 

FIC award was presented to important and controversial "event" film. 

Robert Friedman, Warner Publicity for "Malcolm X" was extremely strong, with m 

Bros, president of worldwide 

marketing. 

cartoon coverage. Numerous special black media programs 

major magazine cover stories, front-page, op-ed and even polit 

The early holiday season organizational meetings were integrated into the campaign, 

proved to be one of the most tional television exposure involved nearly every major prog 

competitive periods for the short of "60 Minutes," and included exposure on "Larry Kii 

FIC Award, with members "Arsenio," "Tonight," "Oprah," "20/20," "Good Morning An 

contending that any of four ica," and such other standards as "Entertainment Tonight" 

HBO's "World Entertainment Report." There were also regie 

and national press junkets and a junket for the foreign press. 

Last month, FIC voted its second Excellence in Marke 

Award to Columbia Pictures "A River Runs Through It." 

Preparedfor Boxoffice by Murray Weissman, a member oj 

Film Information Council 's Executive Committee and its com 

nications director. 

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SW-70 

BOXOKFICE

NANCES 

ADA: Paying for Compliance 

Some of the cost of complying with the ADA can, in some 

cases, be recouped due to credits and deductions available 

to theatre owners. A close look at your tax situation can 

help you save some money. 

Mark E. Battersby 

Ithough it was passed in mid-1990, 

the effects of the Americans With 

Loisabilities Act are just now beginto 

be felt. As most theatre operators are 

dy aware, the ADA forbids entertaint 

and other public venues from disinating 

against disabled people and 

ires that every theatre and public facil- 

Tovide an environment in which disi 

employees can do their jobs and 

jmers can be readily served. One of the 

Same unbeatable optics as 

the Xenex II 

35.5" of std. rack space 

questions still remaining to be answered is 

tlie all important one ofjust how the theatre 

operator can afford to comply with this law. 

The ADA law became eflFective for those 

theatre operations with 25 or more employees 

on July 26, 1992. Those operations with 

15 to 24 employees must be in compliance 

by July 26, 1994. This means, according to 

our lawmakers, complying by providing a 

barrier-ffee path to the work site, re-arranging 

fiirniture or modifying work stations 

and equipment. Only those operators/employers 

who can prove that providing accommodation 

would cause undue hardship 

are exempt. 

How much will compliance with the 

ADA actually cost? Today, no one is even 

certain who will ultimately be responsible 

for administering the law, let alone how 

strict the enforcement will be. However, 

according to the Job Accommodations Network 

(JAN), part ofthe President's Committee 

on Employment of People With 

Disabilities, the cost of hiring a disabled 

person is almost the same as hiring a person 

without a disability. 

AAAA 

Large access doors and 

panels 

Clean and uncluttered 

interbr for 

easy maintenence 

THE NEW KNEISLEY CONSOLE 

Whatever YOUR CHOICE, Console or Xenex II, you 

WILL OBTAIN THE HIGHEST PICTURE QUALITY AVAILABLE. 

Write or call for descriptive literature. 

KNEISLEY 

ELECTRIC 

COMPANY P O Box 4692 

Toledo, Ohio 43610 

(419) 241-1219 FAX (419) 241-9920 

THE INDUSTRY LEADER 

Fast, Dependable Service: 

Wall-Drape Fabric 

Pleating Brackets 

Masking Fabric 

Surround Mounts 

Wall Panels 

Front End Parts 

Sewn Curtains 

FREE SAMPLES A VAILABLE 

Soundfold International 

THE INDUSTRY LEADER 

P.O. 60x292125, Dayton, OH 45429 

1-800-782-8018 


March. 1W3 

.S\\-71

i 

1 

j 

(voDy 

'•'. 

to 

; 

in 

1 

THE LEADER IN CHANGEABLE SIGNAGE 

J..%!.'i;,i^M:M>JJ:).-^JIJi;j:l-JH 

mnsniÊmniM 

mnnimnm 

See us at SHOWEST, Booth #184 

A Gemini Inc. Company 

ite simply, our tax laws permit up to 

00 in new equipment acquisitions to 

xpensed and immediately deducted 

r than be capitalized and depreciated. 

$10,000, first-year Code Section 179 

ise is reduced, doUar-for-dollar, by any 

al expenditures that exceed $200,000 in 

ax year. 

ly remaining costs that aren't covered 

e above "loopholes" must be capitalized 

depreciated over the life of the imement. 

That's right, every improvet 

is assigned a useful life and it is over 

period that the cost is 

written-off, deiated 

or recovered. 

le cost of modifying or reconditioning 

erty, either a building or equipment, is 

pital expenditure because there is a 

Iting increase in value, an extension of 

iseful life of the property or improvet 

to or in die useability ofthe propertyactors 

tliat tend to indicate a capital 

snditure. 

sneral reconditioning of property, eiupon 

acquisition to make it suitable for 

theatre operator's purposes or as reed 

to comply with current laws or regions, 

is treated as a capital expenditure 

'ell. This is die case even diough indi- 

[lal 

parts of the job might otlierwise be 

Ited as immediately deductible repairs. 

[he bottom line is, however, that devel- 

|ig an environment suitable for disabled 

'kers isn't as difficult as it 

miglit at first 

in. Ergonomic requirements are not that 

brent from the average office worker 

Urding to many office fiimiture experts, 

iistability seems to be the key to ensurthat 

office furnishings' can fit any user's 

ds— disabled or not. 

ust as a work environment should be 

Infra-Red System: 

103 Mensing Way, Cannon Falls, MN 55009 

Toll free: 800/LETTERS 

Fax: 507/263-4887 

A Comparativ 

Emitrer/Modulator panel, 

emitter panel, two 24 volt power 

packs, swivel bracket set, bracket 

set £c dual panel rack J 1,366.00 

5 Receivers/Headsets ....495.00 

(95 kHz) tl,861.00 ' 

'Requires semi-professional electronics 

installation, time and labor costs. 

Response No 3 

Americans with Disabilities Act 

Requires Special Equjpr 

: Analvsii Between Two He: mg impairea ayst 

FM frequencies system licensed 

the FCC for the hearing 

npai red: 

Transmitter $603.00 

5 Receivers/Headsets ....480.00 

Rack Mount 47.00 

$1,130.00- 

"Self mstalled in 5-10 minute 

The d'tffcrmcc is a S731 lavingl! (Volumt discaunis available) 

Don 't befooled! Infra-Red is more expensive and complicated than you need! 

For further information or brochure contact us ar 

Enhanced Theatre EnjoN-ment 

Business throueh our Associate firms.) 

305 Broadwa\'': Suite 408 

New York, NT 10007 

(212) 227-7440 • Fax (212) 227-7524 

1-800-221-7242 

^^^C^f 

accommodate a very tall or very I 

March. 1993 S\V-73

AURA LIGHTING, INC. 

... specializing in THEATER LIGHTING SYSTEMS 

X ADAu 

short worker, it should be flexible enouj 

accommodate a worker with limited m 

ity or another type of disability. 

One of the big problems under thislj 

\ 

PATH-LITE ... 

Introduces 

an L.E.D. Aisle Lighting System 

Estimated 40 year life span, Vibration 

and shoci< resistant, Easy installation 

Incandescent Aisle Lighting 

with Replaceable Lamps 

Conventional Tube Lighting 

Chandeliers & Decorative Lighting 

Retrofit Systenns 

Custom Applications 

FOR THE DEALER NEAREST YOU CALL 

1-800-942-8880 

1622 W. 11th Street Phone 714-985-3864 

Upland, CA 91786 Fax 714-985-5938 

Visit Us at Showest '93, Booth 1 53-1 56 


L P 

DE MEXICO S.A. DE C.V^ 

SERVING MEXICO AND CENTRAL AMERICA 

L.P.A., the largest full service theatre equipment 

dealer in MEXICO, provides sales, service and 

installation for the movie theatre industry. 

^^^^H Quality Projection Equipment^^B 

Sound equipment (stereo and mono) 

Xenon lamps, lamphouses and power 

supplies 

Projectors and parts 

Screens and accessories 

L.P. ASOCIADIOS DE MEXICO 

Volcan de Fuego 2700 

Fracc. el Colli C.P 45070 

Guadalajara, Jal., Mexico 

TEL: 52-36-32 47 59 ©FAX: 52-36-32 45 52 

that of educating employees so tliey ( 

shy away, as many people do, when 

countering a disabled person. That ed 

tion is critical. A theatre operator c 

spend a great deal of money removin 

chitectural barriers but if there is just 

employee who won't let a disabled pe 

in, the entertainment venue coulc 

slapped with a lawsuit. 

Employee education is generally det 

ible by an employer And, since this ty] 

education is for the employer's bene! 

well as improving existing employee s 

the employee is entitled to a full tax de 

tion for any educational expenses paii 

or reimbursed by the theatre operatior 

There apparently is some confu 

about just which agency is going to b 

sponsible for administering the Ameri 

With Disabilities Act. Regardless of whe 

Federal, state or even local government 

ultimately responsible for administe 

inspecting and fining those who fail to ( 

ply, there will be those operators who 

that a fine or penalty will be cheaper 

compliance. 

One strange fact about our incomi 

law, however, is that it takes littie noti 

what is in the best interest of businesse 

this case, the mere fact tliat it is tc 

operator's pecuniary advantage to p 

penalty rather than to comply with th« 

does not convert a penalty into a tax dec 

ible business expense. 

Fines and penalties paid to a governi 

for the violation of any law are no 

deductible as business expenses. Legs 

penses for defending against a per 

however, may be deductible in some 

CLimstances. Should a disabled persongovernment 

entity —sue the theatre 0| 

tor and win, the resulting judgeîent, 

not be tax deductible unless the awar 

eludes a 

forced compliance provisioi 

tlnat case, only where the expense for i, 

plying would be a business expense is 

deduction permitted. But, once aga: 

fine, penalty or interest under that ji 

ment is never deductible. 

It may require a little research, bu 

come tax credits and deductions do ex 

help ease the financial burden ofcompl 

with ADA. The actual out-of-pocket 

ditures for compliance should not, ii 

lawmakers are to be believed, be exces 

And the ultimate goal, tliat of providi 

physical environment that permits dis£ 

employees to do their job and permit; 

abled visitors to appreciate your venue 

noble one. 

Mark E. Battersby is a fiyimtaal an 

comuhant hosed in Ardmore, Pa 

SW-74 

BOXOKUCE

Cretors! 

New "Bas In The Box Pump 

Solves The Oil Crisis 

If 

Cretors' Model 7900 "Bag In The Box Pump 

is the first automatic portion control pump 

specifically desisned for use with all pre-packaged 

popping oils including coconut oil. This 

NEW unit has been designed for use with the 

35 pound bag in the box carton that measures 

15V2"Lxl1V2"Wx8"H. 

Backbreaking pail changes and messy oil 

spills are a thing of the past with the 7900 "Bag 

In The Box Pump". The 7900 Pump offers ease 

of handling, safety, convenience, reduced 

waste, sanitary operation and will dramatically 

reduce "down time" when transferring to a 

new carton of oil. 

STOP 

Messy Spills 

Backbreaking Pail Changes 

Wasted Oil 

Storage Problems 

Disposal Problems 

Cretors' Model 7900 "Bag In The Box Pump" 

can be ordered with any new Cretors popper 

or it can be easily added to ANY existing popper 

that was factory equipped for an automatic 

oil 

delivery system. Call us or your nearest 

authorized Cretors' Distributor and find out 

more about this incredible new advancement 

from Cretors. 

Another Original Idea From 

C Cretors And Company 

3243 N. California Ave. 

Chicaso, Illinois 60618 

312-588-1690 

800-228-1885 

FAX 312-588-2171 

CRETORS. 

The People Who Invented The Popcorn Machine^ 

See us at booth 113-114 SHOWEST '93 

" 

Model 7900 Pump 

Patent pending 

U.L. Recognized NSF (

WHENYOURCUSTOMERS 

GOnASEEIT, 

?Sl 

When customers st

VIDEO: Retailing Profile 

"Dave's": 

Learning from a Laser Pioneer 

The 

1 

By George T. Chronis 

990s will be a decade in which 

video retailere will be forced to face 

changing technologies. The vast 

majority of dealers have an enormous 

investment in VHS sott^wnc, 

and while VHS should have a long 

life to come given its massive installed 

base of VCRs worldwide, 

there is ample room for concern 

when one looks back at the speed at 

which analog long-playing records 

disappeared after the technological 

onslaught of the compact disc (CD). 

Walk into large and small video 

stores today, and there will be no 

escaping the technological diversification, 

as exemplified by the rentals 

and sales ofvideo games, audio CDs, 

compact disc-interactive (CD-I) and 

laser discs. With the advent of the 

CD/laser combo players several 

years ago, a whole new market 

opened up for laser disc sales and 

rentals as thousands of consumers 

took the digital plunge — making 

their first CD player their first laser 

player as well. As more and more 

owners take a hard look at the feasibility 

of bringing laser discs into their stores, 

they will benefit from looking closely at 

other retailers who have long made a 

business in lasers. 

In 1982 Dave Lukas was already impressed 

by the quality, performance and 

potential of laser technology. Sensing 

there was a retail void that needed to be 

filled, he and his wife, Linda, decided to 

enter the laser disc business. By subletting 

100 square feet from an already established 

video store, they opened 

"Dave's: the Place for Lasers" in Studio 

City, California. 

With both Universal and Warner Bros, 

studios nearby, Lukas was lucky enough 

to have an upscale, technology-conscious 

studio clientele looking for a source of 

software for their newly acquired laser 

players. At first they thought the primary 

market for laser discs would be in rentals, 

but ironically, they soon discovered it 

was in sales. 

The low suggested retail price on most 

discs ($.39.9.S or below) made acquiring 

Dave of "Dave's" at "Dave's" 

rental libraries attractive, and laser customers 

did not respond like traditional 

videocassette renters. Instead of renting 

for entertainment, laser customers 

rented discs in order to preview them for 

possible purchase. Since the Lukas' 

weren't realizing the phenomenal rental 

mms normally experienced with videocassettes, 

they soon made a significant 

shift in emphasis towards maintaining a 

sellthrough selection of every laser title 

available, maintaining a large rental library 

primarily as a preview option. 

After a year, the traffic became so pronounced 

that their original storefront 

hosts felt compelled to force them out. 

The Lukas' moved to a 1,580 square foot 

location nearby. T\vo years later, growing 

pains again necessitated a move toa 2,000 

square foot outlet. In 1987 "Dave's" 

moved, this time into a 2,700 square foot 

store that remained home until 1992, 

when it was time to move again into the 

business' current 5,000 square foot location. 

As the laser business continued to 

grow, Lukas guided it's direction according 

to a simple philosophy. "We 

owe our growth direcriy to appealing 

to the collector and always having 

^ 

the product on hand," he says. 

"We've always been able to have a 

title in stock when someone came in 

asking for it, or were able to give 

them an answer as to why we didn't 

have it." 

Unlike videocassette consumers, 

laser enthusiasts often have a greater 

knowledge of film history and a corresponding 

interest in more esoteric 

^. 

titles. Lukas has found that he and 

j his employees have to spend a great 

'• deal of time staying on top of the 

latest infonnation about what new 

films are being released as well as 

what titles are being re-released in 

different formats or in a newly restored 

version. 

"My biggest challenge is maintaining 

the inventory we've always 

maintained," says Lukas, "but It's become 

a real headache to keep up. We usually 

have bet^veen 100 and 200 releases a 

month to consider" 

Another challenge is cutting through 

studio bureaucracy in order to get tangible 

answers about what titles 

are shipping, 

and with what special features. 

Laser customers tend to place a higher 

value on how a movie is presented, and 

are very demanding in their inquiries 

regarding whether a film is (or will be) 

available letterboxed on laser in its original 

aspect ratio, or whether a special 

edition featuring in-depth information on 

the production will be included— features 

often not available on videocassette versions. 

[EumDK's NurE the newly published 

Widescreen Review, which is devoted exclusively 

to coverage of wide screen for- 

(continued p. 114) 

March. 1993 111

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CALL 

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VIDEO: Retailing Profile 

Dave's: The Place for Lasers (conlimiedfromp. Ill) 

mat laser disks, should provide much 

needed information in this area. The 

magazine can be reached at 26864 

Mandelieu Dr, Murrieta, CA 92562; 909- 

677-4668] 

"A big part of the laser business, from a 

retail perspective, is being informed and 

answering customer questions," says 

Lukas. Unfortimately, that information 

isn't always forthcoming. "There is a lack 

of communication between producers, 

manufacturers, and distributors of this 

format," he says. "Obviously, distributors 

can only pass on what is given to them, 

but there is a strong lack of communication 

between the major players. They 

either have a pitiful sense of what's going 

on, or they treat information like a national 

secret. We generally know what's 

going to ship a couple of weeks ahead of 

time, but we have no access to what's 

shipping the following month. It's not 

unusual for me to 

get a call from 

someone saying 

'guess what, we're 

''We owe our growth directly 

to appealing to the collector 

shipping these five 

order?' response 

is that we 

titles tomorrow, 

why don't you 

have them 

My 

on 

and always having the product 

on hand. We've always 

been able to have a title in 

didn't have an 

order because we stock when someone came in 

were never solicited." 

asking for it, or were able to 

Beyond information 

on available 

releases, 

Lukas says it's of 

paramount importance 

that he 

hire employees who have a knowledge 

of film and have at least seen the movies 

they sell. "One person can't know everything," 

he says, "but if a customer comes 

in with a question about a film, we feel 

pretty confident at least someone around 

here will have an answer We're here to 

help and will go out and get an answer if 

we don't have it in-house. Overall we 

spend a tremendous amount of money 

to insure that we can accomplish this 

goal. We pay our employees more in 

general salary than most other video 

stores pay their assistant managers." 

On balance, Lukas believes it's better 

to be honest with his clientele than to 

tease them with promotions. His overall 

goal is to offer the fairest prices in town 

give them an answer as to 

on his selection of software and hardware. 

There are no blow-out sales at 

"Dave's, " but all laser discs are discounted 

" 

why we didn 't have it. 

10 percent off list price 365 days a year. 

Rentals average from $3 to $5 per day. 

In addition, Lukas feels strongly about 

not hounding his 12,000-name mailing 

list to death with junk mail and coupons. 

Rather than spend money on a typical 

sale promotion, Lukas sets up events 

uniquely tailored to laser fans. 

"Every nine months we sponsor what 

we call Studio Days, where the customer 

can come in and get together with studio 

representatives," says Lukas. "This has 

become a very popular event because our 

customers can ask questions and make 

comments directly to the people who 

need to hear them. We have a lot of 

contacts within the industry and get a 

great response from the studio people. 

We also get a good response ft-om our 

customers because 

it's about the only 

opportunity they 

have to corner a 

studio person and 

chew their ear off." 

Currently Lukas 

finds that laser 

sales account for 

70 percent of his 

business — down 

ft-om a fairly regular 

80 percent in 

past years. Overall 

he believes this is a 

sign ofthe times as 

laser players have 

made steady 

strides into more 

homes across the 

country. 

"Laser discs are no longer just a small 

collector's market," he says. "As more and 

more videocassette customers migrate 

into the configuration, it's growing into a 

massive market. Our rental business is 

actually up since these former videotape 

customers are bringing their rental habits 

with them." 

Given that most laser stores tend to be 

more heavily into equipment sales than 

software, and other software-only dealers 

offer a much less expansive selecrion of 

laser tides than "Dave's," traditional video 

retailers will find plenty of opportunities 

to enter this segment as long as they learn 

how to cater to the growing legion oflaser 

disc hardware owners. 

^

C. Cretors & Co. of Chicago, III., has 

Produced its Model 7900 "Bag in the Box" 

ump, the first automatic portion control 

mp for use specifically with pre-packjed 

liquid popping oils, the unit has been 

esigned to be used in conjunction with 

Bag in the Box" cartons, which provides 

nd users with ease of handling, conveence, 

safety, reduced waste, sanitary opration, 

and a reduction in "down time" 

hen transferring to a new carton. The caacity 

of the unit is two boxes of popping 

35 pounds each. 

Response Number 300 

American Seating Co. of Grand Rapids, 

-lich., has a theatre chair designed to help 

leatre owners meet ADA requirements for 

leir facilities. The Equal Access chair is 

esigned to transform from a regular chair 

nto a space large enough to accommodate 

wheel chair by means of a simple 10-secpersons 

using wheelchairs, they can be sold 

to members of the general public, whereas 

in facilities with traditional wheelchair 

spaces, those spaces can only be used for 

wheelchairs, thus losing ticket sales. 

American Seating also offers moveable 

end armrests for their Centrum 3, Dimension 

2, and Stellar Series lines of chairs. This 

allows for easy access to the chairs by the 

semi-ambulatory and facilitates transfer 

from a wheelchair to the fixed chair. Each 

accessible chair includes the universal 

"handicapped symbol" on the aisle armrest 

for clear identification. 


Phonic Ear of Petaluma, Calif., recently 

introduced StarSound, a new infrared hearing 

system. The StarSound infrared broadcast 

begins with an infrared transmitter that 

picks up the sound from an existing PA and 

converts the signal to infrared light. The 

infrared light is sent to emitters around the 

auditorium, which then send the light signal 

to listeners wearing wireless, pocket size 

receivers. The StarSound features a squelch 

circuit, to eliminate annoying white noise, 

and a standard mic circuit to optionally 

override the facility's PA system. 

Concurrent with the introduction of the 

StarSound, Phonic Ear announced several 

refinements in its flagship Easy Listener FM 

hearing system; an improved signal-tonoise 

ratio, an enhanced dynamic range, a 

significant reduction in audio distortion, 

and lighter and brighter pocket sized receivers 

with an updated look. 

Both StarSound and Easy Listener systems 

come with Phonic Ear's Facility Marl

i^ 

^

^ JEW PRODUCTS 

26-inches wide by 63 3/4-inches high, 

id is available in domestic or export volt- 


Lutron Electronics of Coopersburg, Pa., 

as introduced pre-packaged lighting consystems 

that enable projectionists to 

ickly adjust light levels with the touch of 

button or via projection equipment. The 

)mpany's Lighting Control Packages (LCP) 

movie theatres let users easily select the 

;ired light levels to be preset for audience 

itry or exit and viewing. By pressing one 

1109 Lincoln Ave. • Flint. Ml 48507 - (313) 233-6460 


Cinema Specialties 

(Formerly Perdue Motion Picture Equipment) 

Representing A Large Assortment of Manufacturers To 

Completly Supply Your Booth, Concession, Auditorium, 

Box Office and Lobby Needs. 

Used Equipment- Bought and Sold 

Complete Equipment Repair and Reconditioning 

Affordable, Reliable Custom Built Automation 

Complete Installation Services 

24 Hour Emergency Service 

Cinema Specialties 

2315 Williamson Rd. Roanoke, VA 24012 

(703) 366-0295 

if the wallstation buttons, the lights 

moothly adjust to the desired level. By 

nterfacing an LCP directly with projection 

quipment, theatre lights are synchronized 

adjust at the star or conclusion of a show, 

he packages are complete lighting control 

ystems, with wallstations and dimmers, 

vailable in two or four channel configuraions, 

with a load capacity of 2,000 watts 

channel. The pre-designed lighting sysems 

are said to offer the benefits of custom 

iimming at cost effective price levels, for 

lew or retrofit installations, available from 

actory stock within 48 hours. 


Response No. 

IL^.. 

341 WEST 44TH STREET, NEW YORK. N.Y. 10036 

NEW YORK (212) 246-6285 

FLORIDA (305) 545-5842 

Every once in a while you come across a 

lew product or service that, in its elegant 

mplicity, solves a problem so vexing that 

makes you sit back and wonder why no 

3ne had thought of it before. Ever get frusrated 

trying to figure out which quantities 

3f plastic letters were needed to fill out a 

lew sign on your marquee for the latest 

howtimes? Tired of scratching out letters 

scratch pad? Super Sign Up from Data 

Master, of Clinton, Tenn., is a simple software 

program which does all the work for 

BOB MAAR 

Joe Hornstein of Maryland, Inc. 

P.O. Box 127 

Pasodena, MD 21122 

Tel:301-760-4180 

301-760-6241 

Bryan Groff. Vice-President 

March. 1993 117

TICKETS AND 

COMPUTER SYSTEM STOCK 

SHIPPED WHEN PROMISED 

PRINTED AS SPECIFIED 

CONTACT DAVE KOTAREK 

Weldon, Williams & Lick 

P.O. Box 168 

Ft. Smith, Ark. 72902 

501/783-4113 FAX 501/783-7050 

800-242-4995 


THEATRE SCREEN FRAMES OF ALL TYPES 

STRAIGHT OR CURVED FRAMES 

MOTORIZED SIDE OR UP & DOWN MOVABLE MASKING 

i^ 

NEW PRODUCTS 

you. The program compares typed-in 

'Posted Sign' messages and 'New 

Messages' against your letter/character inventory 

and computes, in less than eight 

seconds, the additional letters to be pulled 

from inventory to create the 'New Sign.' 

The information can then be sent to your 

printer for a working hard copy. The program 

alerts you to any letters with inadequate 

inventory to post the 'New Sign,' and 

allows you to make notes and keep records 

concerning the location, date and duration 

of posting for each sign. Requirements: an 

IBM-PC or compatible, with 100KB of free 

hard disk space. The number of signs and 

lines per sign are limited only by the size of 

your hard disk. We tried the program 

BiixuFFicE headquarters and it worked like a 

charm, which, no doubt, is why, according 

to the company. Regal Cinemas has ordered 

site copies for their theatres. 


SPEAKER PLATFORMS 

MASKING FABRIC 

The ADA Surveyor is a measurement tool 

produced by the Easter Seal Society to assist 

companies in determining compliance with 

LACING SPRINGS 

MASKING BOARDS 

NICK MULONE& SON 

100 HIGHLAND AVE./CHESWICK, PA 15024 

(412) 274-6646 7 274-5994 /FAX: 412/274-4808 

SUPERGLO 

A durable pearlescent, 

smooth surface offers 

maximum reflectivity 8i 

light distribution. 

HURLEY SCREENS 

SILVERGLO 

A smooth, aluminized surface 

offering the highest 

reflectivity for special applications 

such as 3D. 

MW-16 

A heavy guage matte 

white surface offering 

excellent light distribution, 

image clarity, and 

color rendition. 

-^^ Screen Framing • All Types Available 

^'^ FAX # (410) 838-8079 

//////////^////A^ 

AUTOMATED HIGH SPEED U/L APPROVED TICKETING EQUIPMENT 

Factory Service, the only authorized manufacturer and repair center. 

AUTOMATICKET 

A Division of Cemcorp 

1 1 Industry Lane 

HURLEY SCREEN CORP. 

A Subsidiary of Cemcorp 

- P O Box 296 

Forest Hill. MD 21050 

410-838-0036 • 410-879-3022 • 410-879-6757 • 410-836-9333 

the American with Disabilities Act Gui 

lines. The Surveyor is easy to use and pro 

vides most of the required measurements 

such as door width, heights of handrails an( 

drinkrng fountains, slopes of ramps anc 

c learanco in bathroom facilitres, all on on( 

rnslrirment. The plastic device works like i 

hinged yardstick: on the base it measure 

critical fixture, counter and threshok 

heights, depth of carpet pile and corrido 

widths; the hinged arm gauges clearances 

and a special rounded notch measures thi 

diameter of railings and grab bars. It ever 

has a built in level and printed notation 

that refer directly to relevant ADA provis 

ions. The ADA Surveyor was developed b' 

architect Gary Y. Kaplan, of Red Bank, N.j. 

and is produred by people with disabilitie 

through the auspio"- >! tlio Easter Seal So 

crety Nc -4(.H-0027). 


57 

118 BOXOFFICE

SHORT TAKES 

nvironmental PSA Hits 

ationwide Screens 

The Earth Communications Office (ECO) 

d the Los Angeles arm of the BBDO advering 

agency have teamed up to create a new 

theatre environmental public service an- 

)uncement (PSA) which began playing on 

reens last Christmas and is scheduled to run 

ition wide over the cou rse of the next several 

onths. The spot, titled "Connections," is 

ated by Academy Award-winning actress 

nda Hunt and carries a positive, global enronmental 

message expressed through poilant 

images of people interacting with 

iture i n different locations around the world, 

le footage is set to an original score by 

nthony Marinelli of Sonar Music. Rather 

an exhort people to pick up their garbage or 

cycle or use less energy, the PSA shows 

opie how all of human interaction is linked 

a global well-being. The PSA ends with the 

^line, "It's not just a planet— it's home." 

The first joint project ofthe ECO and BBDO 

suited in a PSA entitled "Wonderful World," 

hich ran in AMC theatres nationwide during 

le 1991 holiday season. This PSA is being 

stributed nationwide in conjunction with 

le National Association of Theatre Owners. 

The ECO is a non-profit, non-partisan comlunications 

industry organization for the enronment 

with board members including 

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Theatres will also benefit through increased 

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space of the Entertainment Plus program," 

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According to Miller, the software package 

for the kiosks has been completed, the financing 

package is in process, and the company 

anticipates that the program will be operational 

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CineMedia America is well-known for its 

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6235. 

Pacific Theatres Sets Up 

"Hooked on Reading" 

Program 

Pacific Theatres, the 300 screen California 

picture theatre advertising. 

For more information, contact Miller and 

CineMedia America Inc. at 7200 E. Evans 

Ave., Suite 202, Denver, C) 80224; 303-337- 

circuit, has mounted an ambitious literacy 

program as part of a tradition of contributing 

to the communities in which it does business. 

"Hooked on Reading," a new elementary 

school library program, will fight for literacy 

by committing time, thought, manpower and 

money to encourage children to read in improved, 

well-stocked libraries with counseling 

and tutoring programs on hand. 

The first school selected for Pacific's program 

is Miles Elementary School in Huntington 

Park, the largest kindergarten to five (K-5) 

school in the nation with an enrollment of 

2,800, mainly Spanish speaking. Once completed. 

Pacific will move its "Hooked on 

Reading" program to other Southern California 

schools. 

The program has been developed to unfold 

in three phases, all underwritten by Pacific but 

developed as a three-way partnership with the 

school and the California State University, 

Northridge(CSUN). Phase one will see Pacific 

commit its construction and design department 

and funds to re-design, renovate, modernize 

and enhance the environment of 

existing school library space. Phase two calls 

for buying new children's books. Phase three 

will involve PacificTheatre personnel in training 

at CSUN as elementary school readers, 

tutors, and teacher aides. 

This innovative and forward looking program 

is spearheaded by Christopher S. Forman, 

vice president of Pacific's parent 

Decurion company, and Dan Chernow, 

Pacific's vice president and assistant to the 

general manager. 

"Home Alone 2" Balloon 

Leaves England, 

Lands in Germany 

A toy balloon released as part of a Showcase 

Cinemas "Home Alone 2" promotion 

ended up on an unexpected international 

flight from central England all the way to 

Germany. Five hundred balloons, five of 

which contained free passes to "Home Alone 

2— Lost in New York," where launched from 

the roof of Showcase Cinemas Derby (UK) on 

December 3 as part of a promotion for the 

film. Only four sets of passes were turned in 

and the fifth was presumed lost. 

Nearly five weeks later, the final ticketbearing 

balloon floated to earth in Bad 

Wurzach, Germany, some 600 miles away 

from Derby. The tickets were mailed back to 

Derby, where the cinema staff donated them 

to a local children's hospital. Showcase Cinemas 

is owned and operated by National 

Amusements, which has 750 screens in the 

U.S. and the United Kingdom, but none in 

Germany. 

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NATIONAL NEWS 

Troubled Times 

at Time Warner 

Time Warner Inc., the parent company of 

Warner Bros., suffered a boardroom sfiake-up 

the aftermath of co-chairman Steven Ross' 

death from cancer at age 65. 

Ross, whose managerial achievements resulted 

in the creation of the world's largest 

entertainment and media conglomeration, 

built the former Warner Communications Inc. 

nto a worldwide communications giant before 

engineering a $14 billion merger with 

publishing and cable-TV powerhouse Time 

Inc. in 1990. Only hours after Ross' death, 

Time Warner president (and now sole CEO) 

Gerald Levin reduced the corporation's board 

from 20 active members to 1 2, sparking speculation 

of a coup by the Time Inc. half of Time 

Warner, which Levin represents, over former 

Ross associates from the Warner Communications 

side of the alliance. Levin and Time 

Warner hurriedly claimed that the board reorganization 

plan had been approved of and 

authorized by Ross before his death, and 

pointed out that the new board would still be 

evenly divided between former Time and former 

Warner executives, and therefore would 

regularly scheduled bonus payments through 

the end of fiscal 1995, drew fire from Time 

Warner stockholders as an excessive and unwarranted 

drain of corporate capital. The 

greatest source of debate among Time 

Warner's stockholders is Ross' staggering 7.2 

million stock options, awarded as part of the 

original merger agreement. The stock options, 

though essentially valueless while Time 

Warner services the sizable corporate debt 

resulting from the merger, could result in a 

windfall of between $250 million and $1 

billion if they are excercised by Ross' Estate 

once the company pays off its expenses and 

begins turning a profit again. 

Sony and Paramount: 

Licensed to Shill 

In a further effort to maximize the crossmarketing 

potential of its various entertainment 

holdings, Sony Software announced the 

formation of Sony Signatures, a new merchandising 

arm which will market products tied to 

Sony music and films. Dell Furano, president 

of Sony's San Francisco-based rock-n-roll 

concert promotions division Winterland, was 

appointed head of the new venture, which 

will collaborate with the film arm's pre-existing 

Columbia Merchandising on film-related 

licenses and products. Sony Signatures will 

also operate retail outlets modelled along the 

lines of the Disney and Warner Bros, emporiums, 

which specialize in 

product tied to the 

various characters and talent featured in studio 

entertainment product. 

Meanwhile at Paramount Communications, 

a similar development was announced 

with the formation of the Paramount Licensing 

Croup. Though the Paramount Pictures 

division of Paramount Communications has 

been licensing television and feature film 

properties such as "Star Trek" and "Cheers" 

successfully for years, the Paramount Licensing 

Group marks the company's first attempt 

to integrate its far-flung entertainment holdings 

under a single bannerhead. In addition to 

film and television tie-ins, the Licensing 

Group will be responsible for products related 

to such other divisions as theme parks, publish 

ing and Paramount's Madison Square Garden 

operations. 

The Paramount Licensing Croup will be 

headed by Andrea Hein, who has been promoted 

from her three-year post as senior vice 

president of Paramount liscensing to the new 

post of president, Paramount Liscensing 

Group. Hein was made a v. p. of Paramount 

Communications, joining new Paramount 

Pictures chief Sherry Lansing as one of the 

most highly-placed women at the company. 

Randall to Preside 

Over Cinema Line 

Film executive Stephen Randall has joined 

leave the conglomerate's internal balance of newly established indie Cinema Line Films 

power uneffected. 

Corp. as its president. 

In a related story, Ross' executive compensation 

package, which provides for his estate 

Randall, whose most recent post was as 

executive vice president and head of worldwide 

production at TriStar Pictures, will 

to recieve his $800,000 annual salary and 

$400,000 annual deferred compensation plus 

spearhead Cinema Line's entry into the mainstream 

motion picture market, a process that 

will be streamlined by the fact that Cinema 

Line plans to fund all its own development 

costs. Though Cinema Line has yet to announce 

its first slate of feature films, Randall's 

corporate projections call for at least one film 

to be put into production by the end of 1 993, 

with an eventual goal of producing up to four 

"A" titles per year, in a variety of genres. "We 

definitely will notbe developing or producing 

any exploitation films," Randall said in a prepared 

statement, "but we also won't be afraid 

of tackling tough material either." 

As a TriStar executive, Randall helped develop 

and package such projects as "The 

Fisher King" and Steven Spielberg's "Hook." 

FTC to CSC: Product 

Placement is A-OK 

As the curtain came down on the Bush 

Administration, the Federal Trade Commission 

(FTC) denied a petition by the Center for 

theStudyofCommercialism(CSCl requesting 

that it require disclosures to audiences when 

manufacturers pay to have their products 

placed in movies. 

In a petition filed in 1991, the CSC and five 

other organizations asked the FTC to order 

film companies to stop using undisclosed 

product placement in movies, and to require 

studios to disclose paid product placements 

at the start of any film containing them. 

In 

response to the petition, the FTC stated 

that "due to the. ..lack of a pervasive pattern 

of deception and substantial consumer injury 

attributable to product placements, the [FTC] 

has determined that an industry-wide 

rulemaking is inappropriate at this time." 

The FTC reserved the right to consider evidence 

ofconsumer injury resulting from product 

placement on a case-by-case basis. 

TriStar, IndieProd and JSB 

Strike Co-Financing Pact 

TriStar Pictures, a unit of Sony Pictures 

Entertainment, has signed a four-year co-financing 

deal with the joint venture formed by 

the IndieProd Company and Japan Satellite 

Broadcasting (JSB). 

Under the agreement, IndieProd will produce 

up to four feature films a year, which will 

be co-financed by TriStar and the new JSB-lndieProd 

venture. TriStar, which will retain all 

media rights worldwide except in Japan, will 

distribute the films theatrically, both domestically 

and internationally— including in 

Japan, where JSB will retain broadcast and 

cable rights. The agreement also anticipates 

the addition of European partners, which 

would enhance the scope of the deal. 

IndieProd was founded in 1 980 by its current 

chairman Daniel Melnick, who was 

joined by partner and IndiProd president 

Allen Shapiro in 1 986. Japan Satellite Broadcasting, 

Inc. is a consortium of more than 250 

major Japanese companies, including Sony 

Corp., which is TriStar's parent company. JSB 

operates Japan's DBS pay television service, 

and has been directly involved in developing 

High Definition TV ijroadcasting. 

1992 Boxoffice Limps 

Through a Blue Christmas; 

Year is Third Best Ever 

Despite record boxoffice over the 1 992 

Thanksgiving weekend and predictions that 

1992 would become the best boxoffice year 

ever, the year's finale disappointed expectations, 

with smaller-than-expected Christmas 

grosses for such high-profile year-end releases 

as Fox's "Toys" and "Hoffa," Disney's "The 

Distinguished Gentleman" and Universal's 

"Trespass" leading 1 992 to the third best year 

in history in terms of grosses. 

Though "Aladdin," "Home Alone 2," "The 

Bodyguard" and "A Few Good Men" all continued 

drew strong numbers during the last 

weeks of 1 992, gross receipts were down 

about 6 percent from 1 99 1 over the Christmas 

holiday weekend, thanks to a combination of 

audience dissatisfaction with many of the new 

holiday films, and to the fact that Christmas 

fell on a Friday last year, an occurence which 

always has a negative impact on moviegoing. 

The top 50 films grossed $89.3 million, down 

from $95 million during Christmas, 1 991 

Exhibitors who grumbled about the '92 

summer season being front-loaded, with surefire 

June product Jike "Batman" and "Lethal 

Weapon 3" followed by commercial dog days 

in luly and August, could find little comfort in 

1992's year end numbers, which were strong 

thanks almost exclusively to product released 

early in the holiday season. Columbia's "A 

Few Good Men" was the lone December title 

in the top four over the Christmas holiday. 

March, 1993 121

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SOUTHERN 

NEWS 

KNOXVILLE, TN 

There Is much activity at Regal Cinemas, 

based In this city. The company signed a land 

lease for several acres of commercial property 

at the Oaklands Business Park on Route 30 In 

the Philadelphia suburb of Exton, Pa. The 

land, part of a mixed use development covering 

over 300 acres, is 

adjacent to the Festival 

Center in Exton and will be the home of 

Regal's new 33,000 square foot, 1 2-screen 

theatre. Construction is set to begin during the 

first quarter of this year, and opening date Is 

set for summer 1993. 

The $3 million complex will feature the 

latest In state-of-the-art projection equipment, 

stereo surround sound In all auditoriums, wall 

to wall screens In each theatre and computerized 

ticketing featuring advance ticket sales. 

Regal Is also constructing a new 1 4-screen 

theatre complex in the northern Philadelphia 

suburb of Huntington Valley. In addition to 

this, the company plans to construct the following 

complexes: a 28,000 square foot 10- 

screen complex in the western Knoxville 

suburb of Farragut at Boring Rd. and Kingston 

Pike; a new 18,000 square foot, six-screen 

theatre complex in the Southpark Mall at 

Mackey Lane and Jewel la Ave. in Shreveport, 

La. which will use existing space in the mall 

and complement the existing two-screen theatre 

already In place, giving a total of eight 

screens at this location when completed; a 

29,000 square foot, state-of-the-art complex 

located atthe northwest corner of Turfway Rd. 

and Thoroughbred Dr. in Florence, Ky.;a 

28,000 square foot, 10-screen complex on 

Pelham Rd. at 1-85, east of Greenville, South 

Carolina; and the expansion of the Rivergate 

Cinema 1 at the Rivergate Shopping Center 

in Macon, Ca. Plans are to expand the theatre 

from the current 10 screens to 14, making it 

the largest theatre in Georgia. 

And this past December, Regal opened its 

new Central Parke Cinema 1 1 in Norwood, 

Ohio. The theatre is located in the Grand 

Central Station Shopping Center at 4600 

Smith Rd. and is part of Belvedere's Central 

Parke development. 

Also in the works at Regal, three new leases 

have been signed for theatre entertainment 

complexes in the greater Cleveland, Ohio 

area. The new locations are: Middleburgh, 

Ohio—a 34,000 square foot complex at I-7I 

and Bagley Rd. (cost is $2.8 million; projected 

opening is fall 1993); Hudson, Ohio— 

26,000 square foot, 1 0-screen complex at 

State Route 91 and Terex Rd. (cost is $2.2 

million; projected opening is fall 1993); and 

Macedonia, Ohio—a 26,000 square foot, 0- 1 

screen complex at 1-271 and Route 82 (cost is 

$2.2 million; projected opening is fall 1993). 

ORLANDO, FL 

Film production was up in Florida this past 

year, despite an annual slump. The state 

hosted 69 film productions in the first nine 

months of 1 992, up from 42 in 1 991 of 

. 

a 

these productions were movies made for TV, 

Governor Lawton Chiles has pledged to escalate 

film production in the state to a $1 billion 

industry by the year 2000. "We've done $220 

million in production thus far this year," said 

Chiles (Burt Reynolds, Eddie Murphy and 

Henry Winkler just wrapped up movies in the 

state). Chiles had Florida Film Commissioner 

John Reitzhammer and Universal Studios 

president Tom Williams at his side to solicit 

the creation of "Entertainment Florida," a notfor-profit 

partnership recently formed between 

the State Department of Commerce, 

Universal Studios and Walt Disney. It will 

handle film marketing functions formerly reserved 

for Commerce employees 

Tallahassee. Universal and Disney have 

agreed to invest as much as $500,000 into the 

partnership. 

PALM BEACH, FL 

A large benefit screening of "Traces of Red" 

recently drew a black tie crowd of 600 to the 

Royal Poinciana Theatre here. Tickets to the 

film were $50 and $100 to the dinner-dance. 

Proceeds benefitted the Red Cross Florida 

Hurricane Relief. 

NEW ORLEANS, LA 

The American premiere of "Chaplin" 

held on December 21 at the Canal Place 

Cinema as a benefit for the Louisiana Counci 

for Music and Performing Arts. Director Richard 

Attenborough attended the screening a; 

well as the patrons' party held at the Western 

Canal Place Hotel. 

HARAHAN, LA 

David Briggs, owner of the Elmwood A 

Theatre and the New Orleans Night Arena 

football team, has returned the football tearr 

to the league. Despite fireworks and othei 

special promotions, the team was unable tc! 

turn a profit at the Louisiana Superdome 

Briggs will continue to operate the Elmwooc 

along with his chain of daiquiris stores. 

CENTRAL NEWS 

DALLAS, TX 

In a new joint venture called Cinema Chile' 

American exhibitor Cinemark and Chile': 

Conate Films are building a six-screen theatre 

complex in Santiago, Chile, slated to open ir 

April of this year and eventually to be ex 

panded to 10 to 12 screens. Conate Films ii 

one of Chile's largest exhibitor/distributorsi 

Cinema Chile plans three other multiplex pro 

jects over the coming year. And in Mexico 

Cinemark has signed leases for properties ir 

Guadalajara, Leon, Acapuico and Mexicc 

City to build new multiplexes with eight to K 

screens each. The estimated total investmen 

between Mexico and Chile is about $3 mil 

122 BOXOFFICE

AeanwhWe, Cinemark USA's newest theacomplex 

opened in December—the 15- 

»en, 60,000 square foot Hollywood USA 

Dallas, Tx., a theatre reminiscent of the 

ssic movie houses of years past. Located on 

and Northwest Highway, its 1 6 by faO foot 

rquee sparkles in "Hollywood" lights in 

riand. The complex, a family oriented entainment 

center, houses over 3,000 seats, 

ing with a pizzeria, a game room and a 

mputerized light and sound show. 

EASTERN NEWS 

HILADELPHIA, PA 

The past year has seen a marked increase 

'the number of screens in the area with the 

iening of the Atco Multiplex in Atco, N.)., 

ith 14 auditoriums, and with United Artists 

eatres adding to its chain with 12 screens 

the Riverview Plaza Theatres and 10 

reens at the Franklin Mills Mall Theatres. 

Dwever, the Greater Philadelphia movie 

arket is still thought to be underscreened. 

n Merck, regional director of advertising 

id marketing for AMC says that the chain is 

till looking to build" another multiplex in 

nter city . At present, AMC has only the Olde 

ty twin Midtown in center city; it has just 

osed down its single screen Palace Theatre. 

ANGHORNE, PA 

United Artists opened its latest multiplex 

eatre at a site next to the Oxford Valley Mall 

;re. The new 10-screen auditorium, the UA 

ixford Valley, is the third multi-screen unit to 

= opened in the Eastern Pennsylvania area in 

.e past 1 4 months, joining with the 1 1 -screen 

iverview Plaza in Philadelphia and the nine- 

:reen Eric Pennsauken in Pennsauken, N.). 

fourth complex, the 10-screen United Artts 

69th Street Theatres, is set to light as soon 

; some problems with the licensing board are 

;solved in Upper Darby, Pa. 

The new Oxford Valley complex has a total 

f 2,500 seats with armrest cup holders. Using 

ie latest and most advanced technology, all 

le theatres feature large wall-to-wall screens, 

)olby stereo sound and computerized dilate 

control. Listen ing devices for the hearing 

npaired are available as is advance credit 

ard ticket sales. There are 10 separate food 

ounters in the lobby, and free lighted parking 

'icilities. Admission is $6 for adults during 

" 

fime hours and $3.75 for children and senior 

itizens at all 

times. 

30ST0N, MA 

The face of exhibition is changing in downown 

Boston, which once boasted 1 5 first run 

creens. The changing economy, along with 

ilternatives to movie theatres and soaring 

;osts in rentals, has severely reduced the num- 

)er of screens here. Hardest hit have been the 

ingle screens, which were unable to convert 

o triple screens. Screens no longer on the 

Joston scene include the Paramount, the 

\stor, the Pi Alley, the Saxon, the Metropolian 

and the Cinerama. The latest to go were 

the Paris, once owned by the late producer 

Joseph E. 

Levine, and the old Exeter theatre 

building, longthe home of British imports. Left 

on the Boston exhibition scene are The Beacon 

Hill, triple screens, the Chen, triple 

screens, and the Nickelodeon, triple 

screens—all operated by Loews Theatres, former 

USA theatres and before that Sack Theatres. 

Other news from Boston. ..Fumes recently 

drove a matinee audience to the street at the 

Circle Theater, operated by Showcase Cinemas. 

...Malcolm jarvis of this city has seen 

"Malcolm X" three limes and has given the 

film his approval. In his youth larvis was 

Malcolm X's sidekick, when burglaries led 

both men to serve together at the old Charlestown 

state prison. ...A. Alan Friedberg, former 

manager of the old Beacon Hill, head of Sack 

Theatres, USA Theatres and Loews Theatres, 

will search theatre locations in japan for Sony, 

parent company of Loews. 

BANTAM, CT 

The Bantam Cinema, the oldest still-operating 

single-screen theatre in the region, has 

added a mail-order video concession, with 

patrons able to browse through a catalog of 

classic, foreign and hard-to-find videos and 

then order any tapes (which are then delivered 

either to the theatre or to directly to them). 

With sufficient demand, owner Lisa Abela 

Hedley said, the theatre may build a library 

and rent videos as well. 

NORWALK, CT 

The SoNo Cinema, which features foreign 

product, was remodeled with the assistance 

of a newly-implemented $1 million municipal 

fund called the Facade Improvement Program, 

characterized by its boosters as a quickfix 

investment into the city's business districts. 

Funding provides input for exterior work as 

well as interior improvements. Under guidelines 

of the on-going program, property owners 

must provide a minimum of 35 percent of 

the total rehabilitation expense. 

RUTLAND, VT 

The former Paramount Theatre is targeted 

for a $2 to $3 million rehabilitation by Paramount 

Center, a non-profit Rutland group 

seeking to develop the property for a "new 

look" in downtown Rutland. The theatre was 

built neaHy 80 years ago. Live performances 

are planned. 

KANSAS CITY, MO 

First International Theatres, of which 40 

percent was purchased by Morgan Creek Productions 

last October, has bought the former 

United Artists Ranch Mart four-plex in this 

city. 

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March, 1993 123

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ore industry oriented—the trust, she said, is 

dustrial not cultural. The program grants 

lancial assistance twice a year for graphics 

search, scriptwriting and pilot films for 

nounts varying from 5,000 ECU to 35,000 

U. Projects must be at least 50 minutes long 

id be produced in an EC member state to 

lalify. The producer of the film must also 

jntribute at least 50 percent of pre-producjn 

financing. 

Oblique Financial Services, the finance 

m that is funding film production company 

lary Breen-Farrelly Productions, is said to be 

ady to make a bid of more than £2.5 million 

irArdmore Studios in Bray, just outside Dub- 

The studios are currently owned by U2 

lanager Paul McGuinness, entertainment acjuntant 

Ossie Kilkenny and the country's 

idustrial Development Authority. Oblique 

been seeking to raise funds for Irish films 

irough a unique insurance-based guarantee 

/stem and tax-sheltered Section 35 financig. 

The company says it has $20 muillion to 

ack 1 2 projects. The guarantees for investors 

ome from a Swedish affiliate, Fontana Films, 

nd allow Oblique to "insure" any investment 

p to the gross amount, plus 1 4 percent interst 

per annum over three years. 

Dublin's recent French language film festial 

scored a world premiere of a short film 

rected by Alfred Hitchcock about the 

rench Resistance in WWII—banned at the 

me by the French. The irony of the coup was 

ot lost on festival director Ronan Clennane. 

French consortium paid the British Film 

istitute to restore two short Hitchcock films, 

Bon Voyage" and "Adventure Malgache 

Dr years lost in the United States and recently 

Dund in Britain. In return, the French planned 

world premiere of the two films—once 

Lidged to have shown the Resistance in a bad 

qht. Out of the blue the distributors told 

]lennane about them, as his first 

directorial 

hot at the Dublin French Film Festival inuded 

a Resistance section. The French conortium 

also wanted the films for the same 

ime. By accident they were delivered to Dubjin 

and became part of the 60 scheduled films, 

bnly the most knowledgeable Hitchcock fans 

Vould even have known of the existence of 

ihese short films ("Bon Voyage" runs 25 minjtes), 

made in Britain in 1 944 when the direcor 

was asked to help in the war effort. 

ON THE MOVE 

On the move recently: Jim Loeks and Barrie 

Lawson Loeks now to chair Sony's New )eriey-based 

Loews Theatres. ...Barbara R. 

Kimmitt elected chairman of Mid-Atlantic 

NATO. ...Karen Hermelin to vice president, 

"esearch and strategy and Monte Adcock to 

assistant western division manager at New 

Line Distribution, and Chris Pula to president 

of theatrical marketing at New Line Cinema. 

...Raymond E. Moon to western division 

film buyer at Theatre Service Network, Inc., 

as the firm (based in Yorkville, III.) opens its 

west coast office in Oceanside, Ca Dennis 

Adomaitis, Barry Gilbert and Linda Gillen 

Postell to senior vice presidents at Warner 

Bros 

MichealeneCristini to the newly created 

post of senior vice president, development/production 

at Marvel Productions, Ltd., 

as well as of New World Family Filmworks 

and New World Action Animation, two new 

operating groups recently formed by parent 

company New World Entertainment. ...over at 

Cineplex Odeon, Pat Durns to vice president. 

North and Eastern divisions, Irwin Cohen to 

executive vice prcsirlent, operations tor North 

America, Marcl Davies to assistant vice president, 

marketing, Brad Holland to assistant 

vice president, taxation, Dana Kalczak to 

manager, design and construction, Dan 

McGrath to assistant vice president and controller, 

U.S. theatres, Michael Poole to director 

of advertising. North American theatre 

division, George Sautter to general manager, 

New York and Kenneth Siegel to assistant vice 

president, real estate....DavidTongay to western 

regional sales representative at Kintek, 

Inc Stephen L. Colson to president of 

Litchfield Theatres. ...Cathy Rabin to vice 

president, creative affairs at Morgan Creek 

Productions.... Robert DeBitetto to senior vice 

president, business affairs for Touchstone Pictures 

and Walt Disney Pictures. ...and Randy 

Castleman joining Jodie Foster's Egg Productions 

as a production executive. 

OBITUARIES 

Tom Jones, 69, veteran film publicist and 

former publicity director for The Walt Disney 

Studios, died on December 25 at his home in 

Vendome, France following a long illness. 

During his 24-year association with Disney, 

lones handled unit publicity for many of the 

studio's biggest features, including "Mary 

Poppins," attended to Walt Disney's personal 

publicity needs and, as head of the publicity 

department, shaped campaigns for many 

major releases. 

Louis E. Shecter, 91, a longtime Baltimore 

promoter and advertising executive who 

owned movie theatres and bowling alleys, 

died of cancer in November. 

John J. Sconlon III, 66, longtime film theatre 

manager in Torrington, Conn., died in November. 

He managed the Palace Theatre, 

Strand Theatre, State Theatre and the Parkside 

Cinema. 

Marion D. Bell, 92, a retired administrative 

secretary for Loews, Inc., died in Boston in 

November. 

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Response No 5 

March, 1993

76 

HOFFA 

Starring Jack Nicholson and Danny DeVito. 

Directed by Danny DeVito^ Screenplay by David Mamet. 

Produced by Edward R Pressman, Danny DeVito and Caldecot 

Chubb. 

A Twentieth Century Fox release Biographical drama, rated 

R Running time: 141 min. Sound: Dolby A. Projection: Scope, 

70mm. Screening date: 12/11/92. 

With the release first of "Toys" and now "Hoffa," the recent 

defection of formerTwentieth Century Fox production chief 

Joe Roth for an unprecedented independent production deal 

at Disney seems much less like the result of nefarious corporate 

maneuverings by Roth's corporate superiors and more 

like an example of his very shrewd survival instincts. Disney 

was willing to offer a great deal to the executive responsible 

for greenlighting "Home Alone 2" and "The Last of the 

Mohicans." If Roth had rested on his laurels another month, 

he would have left Fox as the studio boss who allowed 

expensive, personality driven projects involvingbig "names" 

like Barry Levinson, Danny DeVito and Jack Nicholson to 

run amok, seemingly on the basis of the talents packaged 

around them— which is the exact and polar opposite of the 

tight-fisted Disney management style. 

"Hoffa" goes about as wrong as a biographical film can, 

thanks to two wrongheaded creative choices: director 

DeVito's egomaniacal decision to cast himself as Hoffa's 

(fictional) best friend and then shoot the movie from his own 

(rather than Hoffa's) point of view; and screenwriter David 

Mamet's reluctance to delve into Hoffa's darkside— a decision 

which, in the case of a seamy figure like Hoffa, virtually 

forces the filmmakers to fabricate a light side. 

"Hoffa" is a 

BODY OF EVIDENCE 

Starring Madonna, Willem Dafoe and Joe Mantegna. 

Directed by Uli Edel. Screenplay by Brad Mirman. Produced 

by Dino De Laurentis. 

An MGM/UA Release Erotic thriller, rated R Running time 

99 mm. Sound: Dolby A. Projection. Flat. Screening date: 1/8/93 

Pop siren Madonna is a lot of things— among them a 

marketing genius, a dancehall chameleon and a walking 

advertisement for sexual liberation in a society that needs all 

the help it can get in that particular area. But despite the grim 

determination with which she has approached her film work, 

she isn't, and never will be, an actress— as the oversexed but 

underwritten "Body of Evidence" proves yet again. 

It's far from the only thing wrong with this particular 

movie, but Madonna's hollow portrayal of a woman accused 

of (literally) screwing her rich lover to death is a crater so 

vast in the film's dramatic center that it's all a couple of fine 

old pros like Joe Mantegna (as the prosecuting attorney) and 

Willem Dafoe (as her defense lawyer) can do to walk around 

it. In a perverse way, Dafoe almost benefits from Madonna's 

ineptitude— his modest professionalism seems positively 

Shakespearean set beside her inability to believably present 

even the simplest emotional shifts of character. Her efforts 

to look smoulderingly sexy are of the high-school play variety, 

much as they were in "Dick Tracy," a film which at least 

had the virtue oi knowing it was a cartoon. 

The trouble is, when a film has as many structural and 

directorial problems as does "Body of Evidence," it can ill-afford 

an amateur-hour performance in its pivotal role. Uli 

Edel's idea of directing actors is apparently to move the 

camera, which is fine if you're working with good performers. 

Writer Brad Mirman, meanwhile, ought to affix a "from 

an idea by Joe Eszterhas" tag to his credit, since this "original" 

screenplay is merely a pastiche of every erotic thriller Eszsterhas 

has ever written. When the filmic boat is swamped. 

portrait of the mob-affiliated union boss as plaster saint. 

Everything— Hoffa's home life, his unwavering belief that he 

is helping out "the working man," even his decision to collaborate 

with organized crime — is given the kind of positive spin 

one might expect from a biography of Winston Churchill. All 

the smoke and mirrors raises an interesting question: why, 

if the filmmakers themselves were appalled by the true facts 

of Hoffa's life, did they find him an attractive enough figure 

to make a movie about his life in the first place? 

To make their rather simple (and therefore deceptive) 

point— that Hoffa wasn't a crook but in fact a heroic figure 

whose actions were all based on love of the worker— DeVito 

and Mamet are willing to falsify, distort and rationalize the 

historic record, which has the unintentional side effect of 

reducing the complexity of their protagonist to the approximate 

width of a communion wafer. They might not have 

pleased the Teamsters Union, or Jimmy Hoffa's estate, but 

if Devito and Mamet had the guts to unflinchingly show 

Hoffa's bad side, and then to demonstrate the good they see 

within the bad, they might have made a far more persuasive 

and involving film. And they certainly would have made a 

film that was far more honest. 

Rated R for language and violence.— i?ai/ Greene. 

Review Index 

Alive R-18 

Body of Evidence R-1 

Equinox R-20 

Forever Young R-1 

Hoffa R-16 

Like Water for Chocolate R-19 

Lorenzo's Oil R-1 

Oak, The R-21 

Rain Without Thunder R-20 

The 2nd International Festival of Short Films R-20 

Shadow of the Wolf R-19 

Trespass R-18 

Venice/Venice R-19 

R-16 BOXOFFICE

, by 

kes everyone— including Dafoe, Mantegna, and an overing 

Anne Archer as the dead man's secretary— down with 

The much-pubhcized sex scenes originally earned "Body 

Evidence" an NC-17 rating before they were trimmed 

mewhat, which probably indicates that the MPAA has no 

nse of humor. In the name of a liberated sexual attitude, 

idonna and Dafoe perform some strenuous but unimagitive 

sex acts that are clearly executed for the camera's 

asure rather than the actors', much like the love-making 

a porno film. Dafoe looks embarrassed or confused by the 

oceedings, while Madonna displays a sort of detached 

ofessional interest, also reminiscent of a porno film. 

The deep, dark impulses Madonna supposedly unlocks in 

ifoe's character are essentially garden variety bondage 

tishes, too generic to have any real resonance as sexual 

ntasies, except as those ofa second-rate screenwriter trying 

imagine perversion. Unintentional hilarity reigns sueme 

when Madonna begins masturbating in front of Dafoe 

a way of retaining her sexual hold over him, and the 

undtrack comes alive with a quasi-religious choral arrangeent. 

In any other film shameless enough to use music so 

elodramatically, such an ethereal chant might be reserved 

r a union between two lovers; but here it's used for a union 

and for Madonna alone. In a vanity project gone wrong 

ke "Body of Evidence," no further illustration of the film's 

ndamental problem needs to be mentioned. 

Rated R for violence, sexual situations, language, sexual 

tuations, and sexual situations.— Ra^ Greene. 

ORENZO'S OIL 

Staning Nick Nolle, Susan Sarandon, Peter Ustinov, Zack 

'Malley Greenburg and Kathleen Wilhoite. 

Directed by George Miller. Screenplay by George Miller and 

ick Enright. Produced by Doug Mitchell and George Miller. 

A Universal Pictures release Drama, rated PG-13 Running 

me: 140 mm. Sound: Dolby A. Projection: Flat. Screening date: 

2/21/92. 

Sitting witness to "Lorenzo's Oil" is like wandering down 

e long corridor of a disease, sniffing out its causes and 

unting down its cure. Part medical mystery, part melorama, 

this film serves up a heavy dose of the clinical, and 

ts conclusion you feel as if you've taken a crash course in 

iochemistry— you can't get the medical terminology out of 

our system to save your own life. Swathed in a texture that 

relentlessly baroque, "Lorenzo's Oil" is a downer— oppresive 

to the core. 

Susan Sarandon and Nick Nolte (who sports and Italian 

iccent that bewilders as much as embarrasses) are Michaela 

md Agusto Odone, the parents of five-year-old Lorenzo 

wonderfully played by newcomer Zack O'Malley Green- 

|)urg), who out of nowhere begins to behave erratically. He 

is diagnosed as having Adrenoleukodystrophy (ALD), a relaively 

unknown disease that eats away at his brain. Soon 

;nough he will lose his power of speech and hearing; even- 

:ually he will fall into paralysis and dementia. His life expec- 

:ancy from this point on is not longer than several years. 

At first the Odones react accordingly: searching out doc- 

;ors and joining a support group for parents of other children 

stricken with ALD. Yet the two are not satisfied with what's 

Deing done for Lorenzo— medical science at this point knows 

anly how to make ALD victims as comfortable as possible as 

:he disease takes hold of them. From here on in, neither the 

Ddones nor the audience can ever get out of the sick room. 

We are dragged along mercilessly as the Odones go on their 

rampage for Lorenzo's cure: relentless hours spent in the 

medical library, endless charts and graphs that soon take 

Dver their home. We are witness to Lorenzo's contorted body 

3S ALD eats him up and we are voyeurs to the madness that 

more than anything preys on his parents as they contact 

ioctors and chemical companies and eventually depart from 

:he established medical community when it fails them. 

It is no mistake that the suffocating atmosphere of this film 

is seeped in Renaissance art and music, mosaics reeling 

through the darkly painted sets and what feel like Gregorian 

chants seeming to lodge in our ears. For sure we have been 

transported back to the dark dawn of medical science as the 

Odones are forced to become their own son's doctors and 

experimenters as they study his illness and grope for his 

cure. What they eventually come up with surpasses ,ill that 

modern medicine knows. 

As much as their voyage is meant to be uplifting, little can 

be done to eradicate the stifling air floating about "Lorenzo's 

Oil." Directed by former physician George Miller (the "Mad 

Max" trilogy), this film is a heart beating on a downward 

path. It is heavy and heavy hearted in its clinical and 

dramatic myopia, even in its often fascinating view of the 

Odone's refusal to give up on their son or the fanaticism of 

their own research. 

Rated PG-13 for subject matter. — Mfln7^>7 Moss 

FOREVER YOUNG 

Starring Mel Gibson, Jamie Lee Curtis, Isabel Glasser, George 

Wendt and Elijah Wood. 

Directed by Steve Miner. Screenplay by Jeffrey Abrams. Pioduced 

by Bruce Davey. 

A Warner Bros, release. Drama, rated PG. Running time: 105 

mm. Sound: Dolby A. Projection: Flat. Screening date: 12/13/92 

Dripping with the kind of gooey sentiment and melodrama 

at which Jane Austin would have smirked, "Forever 

Young," is eternally corny. Cashing in on all the manipulative 

devices that turn teen-age girls into marathon eye-dabbers, 

director Steve Miner doesn't miss an opportunity to 

turn an unrequited love story into The Saddest Story Of All 

Times. Known primarily for his sculpted posterior (yes, we 

see it again here) and a few witty moments in the original 

"Lethal Weapon," Mel Gibson's boyish good looks are ripe 

fodder for date-night entertainment. Little else, however can 

be offered in this one-course frozen fiancee film. 

&r,;> 

The 1939 daredevil Air-Force pilot (Gibson), ostensibly 

head over heels in love with the character played by Isabel 

Glasser, professes deep love and proposes. She almost immediately 

and predictably has an accident. This places her 

in a deep sleep: read coma. Although there is no limit to the 

excess of romantic dialogue, the chemistry between Glasser 

and Gibson certainly doesn't mimic deep love. Despite that, 

the despondent Gibson enlists his cryogenics pal — the al- 

March, 1993 R-17

ii 

ways lovable big guy George Wendt, who makes him the 

Force's guinea pig in the big sleep. With the normal amount 

of military intelligence applied, Gibson gets lost in the system, 

not to awaken until...? Surprise, 1992! 

It is the second fragment of the film that allows some true 

emotion. When a fatherless boy — portrayed with the right 

balance of naivete and pathos by Elijah Wood— stumbles 

upon the frozen gentleman and herds him home, both men 

find a uniquely nurturing relationship. Wisely limiting the 

amount of "Gee, the world's different in 1992" gags. Miner's 

direction seems to benefit from the subdety. Searching for a 

father figure. Woods finds the initially unwilling Gibson to 

be the ideal mentor in everything from girls to the open air. 

A loose end, perhaps, is the character of Jamie Lee Curtis. 

As Wood's spunky mom, her modern sensibilities would 

have been a perfect complement to Gibson's old-fashioned 

ideals, yet the filmmakers don't head in this direction. Nor 

do they go for the little bit of sexual chemistry- might have 

lent the film a bit more credibility. 

Rated PG for mild nudity and adult situations.—Man Florence 

ALIVE 

Stalling Ethan Hawke, Vincent Spano and Josh Hamilton. 

Directed by Frank Marshall Screenplay by John Patrick 

Shanley, from the book "Alive" by Piers Paul Read. Produced by 

Robert Watts and Kathleen Kennedy. 

A Buena Vista release. Action-Drama, ratedR. Running Time: 

125 min. Sound: Dolby SR Projection: Flat. Screening date: 

1/11/93. 

When Steven Spielberg's longtime producing partner 

Frank Marshall first announced his intention to move into 

directing, the decision was greeted with some skepticism. 

Spielberg's personality is as wedded to the public image of 

Amblin' Entertainment as was Walt Disney's to his studio 

when Disney was alive, and as a result, many observers 

anticipated that Marshall (who, along with Kathleen Kennedy, 

co-produced virtually every noteworthy Amblin' project 

of the past decade) would, as a director, be simply a fuzzy 

xerox copy of the maestro's handiwork. 

Marshall himself did his best to confirm that impression 

when, in his first at bat as a feature filmmaker, he gave the 

world "Arachnophobia," a pallid, spiders-instead-of-sharks 

imitation of Spielberg's "Jaws," distinguished primarily by 

Hollywood Pictures' inability to settle on the film's title 

("Along Came a Spider" was in the money 'til the last possible 

moment) and by Marshall's own phobia, as a director, about 

utilizing the signature subjective camera tactics that made 

"Jaws" so deliciously frightening. It was easy to watch 

"Arachnophobia" and wonder why, after so many years in 

the background. Marshal had bothered to move into directing. 

And when he soon told the press that his first feature 

film would also very probably be his last, the announcement 

had a certain inevitability to it. 

But Marshall must have reconsidered, after which he and 

Kathleen Kennedy officially departed the company they 

helped found in favor of a production deal at Paramount and 

new filmmaking worlds to conquer. With "Alive," Marshall 

has taken a quantum leap from his rather shaky directorial 

debut, offering up an assured, no-nonsense adventure film! 

that takes a precise and effective approach to some vcrj 

difficult subject matter. Ably assisted by playwright John 

Patrick Shanley's highly literate screenplay, Marshall performs 

a tough balancing act in telling the true story of a 1 972 

plane crash in the Andes and its aftermath, during which the 

survivors (all members of the Uruguayan Rugby team whici 

chartered the plane ) had to resort to cannibalizing their dead 

in order to survive. 

Despite the potential for lurid sensationalism. Marshal 

manages to keep his and the film's dignity by steering 

effectively downbeat course through some grim goings on 

thanks in no small measure to the almost allegorical ring oij 

Shanley's stylized dialogue, which casts the events as a' 

potent parable of the triumph of the human spirit. Marshal) 

unflinchingly incorporates the grimmer events into xhi 

larger drama without dwelling on them; the cannibalistit 

element of the story is given its due in a direct but non-e» 

ploitive way, but it doesn't dominate the action any more 

than any other of the tactics the survivors resort to so as tc 

keep themselves alive. 

An absolutely stunning opening sequence showing tlie' 

break-up of the plane from an interior point-of-view 

demonstrates that Marshall was doing more than signing 

checks and locking down exotic locations during his years oi 

collaboration with one of the great action directors of all time 

But Marshall moves out of Spielberg's long directorial shadow 

by exhibiting two qualities his friend and one-time mentoi 

has almost never been accused of— subtlety and a highlj 

appropriate restraint. Thrilling and engrossing as it is ai 

times, "Alive" is more than an action film— in its own way i: 

is also a drama of ideas, and of the human spirit as well. Foi 

that accomplishment, Marshall need tip his hat to no one 

else— directorially, he is now truly his own man. 

Rated R for violence and graphic depictions of cannibal 

ism. — Ray Greene 

TRESPASS 

Starring Bill Paxton, Ice T, William Sadler, Ice Cube and Ar 

Evans. 

Directed by Walter Hill. Screenplay by Bob Gale and Rober 

Zemeckis Produced by Neil Canton. 

A Universal Pictures release. Action, rated R. Running time 

100 mm Sound: Dolby SR. Projection: Flat. Screening date 

11/27/92. 

"Trespass," the latest film from veteran director Walter Hif 

("48 Hours," "Red Heat" and "Brewster's Millions"), is prettj 

tricky— on one level, it is one with the series of cutting-edge 

gritty, fast-paced, street-smart pictures such as Dickerson's 

"Juice" and Singleton's "Boyz N the Hood" (it even features 

"Hood's" Ice Cube). Stylistically, the film is both innovative 

and slick— segments are shown as through a camcordei 

viewfinder in low-resolution black and white (a bit like 

Linklater's "Slacker"). Yet, when looked at from the perspective 

of narrative organization or moral thematics, the char 

acter of "Trespass" is reminiscent of a much older tradition 

Perhaps this unusual hybridization is a result of the creative 

tension between Hill's fast-paced direction and the almost 

nostalgic underlying plot scripted by the talented team of Bot 

Gale and Robert Zemeckis ("Back to the Future"). Whatevei 

its genealogy, "Trespass" is a tour de force of filmmaking. 

The plot is richly textured— indeed, the film's only weakness 

is that there are so many major characters (12 in all) 

I 

Arkansas (is this a sign of the times?) fire fighters Don and' 

Vince, played adeptly by Bill Paxton and William Sadler, arei 

handed a packet of papers by an old man they are trying tc' 

rescue. The man is consumed in the inferno, but contained 

in the package is the solution to a robbery still unsolved fift> 

years after it was committed. A map identifies a treasure ol 

golden artifacts stolen from a church as being hidden in a 

now-abandoned factory in East St. Louis, Illinois. Armed withi 

a metal detector (and a handgun), the two modern-day '49ers 

head off in search of the fortune. 

Coincidentally, a group of black East St. Louis mafiosi has 

chosen this same abandoned factory site to knock off a rival. 

The film's action revolves around the subsequent standofl 

between the two rednecks and these more urbane, if brutal, 

"businessmen" (complete with cellular phones). Caught in 

R-18 BOXOFFICE

middle is an old black derelict (Art Evans, who does an 

lazing job here) living in the factory. The ensuing excite- 

;nt and suspense of the firefights and negotiations— the kid 

Dther of King James {Ice T), in another powerful perforjnce, 

is held hostage by the two firefighters— would probly 

be enough to float this film. "Trespass," though, 

egrates this action into a well-structured thematic frame- 

)rk. At times the film operates as a western, posing the two 

ites as strangers in a strange land— surrounded by the 

ban black "Indians." 

Before the film gets set in this mode, however, it reinvents 

elf— this movie does that constantly. Soon, the gangsters 

come more familiar and the rednecks begin to seem more 

en (less the innocent victims of circumstance to be caught 

the mess they are in) as they once more become consumed 

greed for the gold they had originally come to seek, 

mher, the clean lines of racial propriety become more 

uddied as the groups begin to splinter and recombine as 

ord of the hidden treasure gradually spreads among the 

itagonists. The complexity of the alignments of characters 

ves an unexpected depth to a movie that could very well 

been a straightforward shoot-em-up. 

Trespass" is strongly reminiscent of a number of classic 

lollywood movies— its thematics are of an older style in 

imerican cinema. Particularly resonant are Von Stroheim's 

Greed" and, most of all, Huston's classic "Treasure of the 

ierra Madre". Indeed, this film could be considered an 

pdate of the latter, with many creative hallmarks of conemporary 

cinema added. "Trespass" is very successful — 

aut, suspenseful, well-acted: it is reassuring to see that 

-lollywood can still produce this sort of product. 

Rated R for violence.— Jem Axelrod 

LIKE WATER FOR CHOCOLATE 

Litmt Cavazos, Regina 'Vmiic ami Miirco Lcoiuinh 

Produced and directed hij Alfonso Aran Screenplay by Laura 

i^squivel. 

A Miramax Films release. Romance, not rated. Running time: 

113 min. In Spanish with English subtitles. Screening date: 

11/23/92. 

First the Far East served us "Tampopo," then Scandinavia 

lerved us "Babette's Feast." Now, from hot and spicy South 

)f the Border comes a tasty morsel of a movie, Laura 

Lsquivel's screen adaptation of her own novel, "Como Agua 

âra Chocolate." Under the direction of Alfonso Arau, once 

igain on screen food takes on a persona of its own when it's 

cooked with love. 

This surreal fairy tale revolves around a narrator's cruelly 

reated Aunt Tita (Lumi Cavazos). Family tradition dictates 

hat, as the youngest of three daughters, Tita must not marry 

)ut instead care for her mother till her death. When a 

landsome young suitor (Marco Leonardi) asks for Tita's 

land, her tyrannical mother (Regina Torne) offers instead 

he hand of her eldest daughter. The groom enters this 

oveless marriage in the foolish hope that marrying the sister 

vill bring him closer to his true love. 

Tita channels her energy into food preparation. She employs 

a kitchen magic learned from the old housekeeper who 

aised her. Her dishes cause men to fall in love with her, her 

middle sister to run off in an erotic frenzy with Mexican 

revolutionaries, and her eldest sister to balloon up and down 

with eating disorders. 

Most of the acting is laughably broad, but anything goes in 

a movie that starts with a mother crying, literally, buckets 

of tears. The only dignified role goes to the venerable Mexican 

actress Ada Carrasco, who plays the housekeeper. Th

out of steam. "Venice/ Venice" is a tedious, dull film that adds 

nothing new to Jaglom's, or anyone's else's, ideas about 

interpersonal relationships. 

The story gets off on the wrong foot almost right from the 

start when Jaglom's filmmaker character, Dean, announces 

that his independent movie is the only American film in 

competition at the Venice Film Festival. (In light of the 

Festival's history, that's extremely unlikely.) Dean trades 

banter with the press, browbeats his assistant (Daphna Kastnerj 

and makes some pithy observations about the differences 

and similarities between the movies and real life, 

referring obliquely to the film we're watching on-screen. He 

also has a brief affair with a French journalist (Nelly Alard) 

before returning home to Venice, California. 

Allison (Ali Thomas) and mother Beverly (Betty Bucklej 

are the family Goldring, two affluent white women who hav 

been arrested and tried on evidence that they traveled to 

clinic in Sweden so that Allison might have an abortion. The 

are soon prosecuted, and this sends the message to any othe 

women who have the means to leave the country for aboi 

tions. Although the pair can't be tried for the actual proce 

dure (Sweden still allows a right to privacy), they ar 

prosecuted under a new law. The Unborn Child Kidnappin 

Act. 

As snippets of interviews with different activists ar 

shown, an Orwellian picture is created, since, for womer 

the issue oflosing personal freedom does lean toward scienc 

fiction. Moreover, this film buys into buys into anothe 

male-oriented narrative: that women are unable to advocat 

for themselves. Unfortunately, though, as inuch as it dabble 

in such politics, "Rain Without Thunder" never moves be 

yond the realm of a second-rate made-for-television movii 

Rated PG-13 for adult topics.— Ma?i Florence 

It's here that the film eventually sputters to a stop. The 

connection between the two Venices is tenuous at best, and 

even less happens in the second half of the film. Alard shows 

up in America looking for Dean, wanting to continue their 

relationship. She finds his house, discovers that he's living 

with another woman (Melissa Leo) and. ..nothing. The expected 

conflict between the two women never manifests, Leo 

doesn't seem to mind Alard's visit and the Frenchwoman 

finds that she likes her American counterpart. Jaglom has 

never shied away from showcasing the unattractive aspects 

of his subjects, but this anything goes philosophy on 

everyone's part stretches credibility. Jaglom's acknowledgements 

that what we're watching is only a movie quickly grow 

tiresome and pointless. Even his own performance— and 

those of the other actors— is lackluster, which pretty much 

describes the film itself 

Not rated; language and brief nudity .—Shlomo 

Schwanzberg 

RAIN WITHOUT THUNDER 

Stamng Betty Buckley, JeffDaniels, Fredenc Forrest, Graham 

Greene, Uncki Hunt, Carolyn McCormick and Austin Pendleton. 

Written and directed by Gary Bennett. Produced by Nanette 

Sorensen and Gary Sorensen. 

An Orion Classics release. Drama, rated PG-13. Running time: 

87 min. Screening date: 1/13/93. 

An apocalyptic abortion rights fable that would have been 

best featured on cable television's Lifetime channel, "Rain 

Without Thunder" backtracks on the events of a young college 

woman jailed for having an illegal abortion sometime in 

the "future"— abortion here called Fetal Termination or murder. 

Told through the interviews of a nameless investigative 

reporter (Carolyn McCormick), a nightmarish story is pieced 

together with little imagination. From all the not-so-subtle 

clues, Dan Quayle and the Extreme Right get their way and 

our present generation of women's rights activists become 

complacent, even though fashion and the environment seem 

to be flourishing. In this future, fetal viability goes down to 

four months and a woman's child becomes, in essence, the 

property of the state as Roe v. Wade has been systematically 

eroded by the Supreme Court. Abortion and contraceptives 

have been made illegal by Constitutional amendment. 

THE 2nd INTERNATIONAL 

FESTIVAL OF SHORT FILMS 

Starring William S. Bwroughs, Lenny Henry and Josh Mosby 

Directors include: Gus Van Sant, Ted Demme and Aliso) 

Maclean. Produced by Jeff Hamblin, Sean Reilly and Shan 

Peterson 

An Andalusian Pictures release. Anthology, unrated. Runnin 

time: 120 mm. Screening date: 1/8/93. 

Last year's Festival of Short Films (FoSF) was a good ide. 

in search of good movies. The collection of live action shot 

subjects from Andalusian Films struggled for unity of torn 

and style, and too often the selected shorts deteriorated int< 

a sort of student film amateurism even the most sympathetic 

viewer may have found hard to overlook. 

This year, the second annual FoSF has gotten its ac 

together in a big way. Out of the ten films on display here 

there's not a clinker in the bunch, and several of the project 

really soar. It's a measure of Andalusian's thoroughness thi 

time out that the more well known films are some of the 

weaker ones in the collection— Ted Demme's "The Bet 

(about a compulsive gambler) and Gus Van Sant's "Thanks 

giving Prayer" (a tribute to Beat poet William S. Burrough: 

built on a rather simple juxtaposition) may provide a bit o 

marquee value, but it's weird little tone poems like Alisoi! 

Maclean's "Kitchen Sink" and Hubert Toint's superb absurd' 

ist farce "Dark Slide of a Trombone" that provide the sur, 

prises here, as well as most of the oomph. 

Edwin S. Porter's "The Great Train Robbery" has beer 

added to the program in order to highlight the importance o 

the short film to the evolution of movie history. Given thf 

quality of much of what is displayed here, the Academy ha:| 

been well-advised to reconsider its decision to drop the shor^ 

film category from Oscar consideration. 

For the adventurous art-house or midnight moviegoer, the] 

FoSF is a rewarding and intriguing experience. 

Unrated, but containing violence, language and sexua' 

situations— Ray Greene. 

EQUINOX 

Starring Matthew Modine, Lara Flynn Boyle, M. Emme 

Walsh and Fred Ward 

Written and directed by Alan Rudolph. Produced by Davie 

Blocker. 

An SC Enteriainment International release Drama, rated R 

Running time: 105 min. Screening date: 9/19/92 

The usually reliable Alan Rudolph ("Choose Me," "Love ai 

Large") stumbles badly with "Equinox", his weakest filrr 

since "Made in Heaven" in 1987. Like that mediocre film 

"Equinox" is proof that Rudolph should stick to his 

strengths— that of a witty chronicler of the ups and downs oi 

relationships— and leave the big questions of life, death and 

free will to others. 

A la David Cronenberg's "Dead Ringers," Rudolph's film is 

about two twin brothers (both played by Matthew Modine); 

the difference here is that they don't know about each other's 

R-20 BOXOFFICE

; characters, 

itence, as they were separated at birth. One brother, 

iry Petosa, is a nerdy sort who works for his father (E. 

" 

met Walsh) at a car repair shop. The other, Freddy Ace, 

slick gangster on his way up through the organization. 

en Henry is threatened with violence, he decides to learn 

art of self defense, an action that brings him closer to 

ddy. Eventually they become aware of each other, with 

result that their lives are irrevocably changed. 

P'fEquinox" sounds more interesting than it actually is. This 

ecause Rudolph fails utterly to build the necessary susise 

as the two brothers move closer together. And unlike 

' his other films, he doesn't get particularly good perfornces 

out of his actors. Modine is convincing as two oppobut 

he overemphasizes Henry's timidity 

pecially in regard to the girl he likes, an equally scared 

a Flynn Boyle) and isn't given enough screen time to 

* ablish Freddy's persona. The rest of the cast is either 

" derused (Walsh, Fred Ward and Tyra Ferrell) or misused 

)ri Singer as Freddy's stereotyped flashy wife and the 

aally stereotypical Spanish spitfire, played by Marisa 

mei). As in "Trouble in Mind", Rudolph has created a 

ional metropolis. Empire (filmed in Minneapolis-St.Paul) 

t it's not striking enough to stand out on its own or function 

a commentary on the film. 

Jltimately, "Equinox," which refers to one of the many 

ubles in the movie, doesn't amount to much of anything; 

dolph's meditations on the dichotomy of good and evil are 

gularly unoriginal and banal. This film is perhaps a mini 

)tnote in an otherwise respectable career. 

Rated R for language and occasional violence.— Sh/omo 

hwartzberg 

REVIEW DIGEST 

Story type key: (Ac) Action: (Ad) Adventure: (An) Animated: (C) 

Comedy: (D) Drama: (DM) Drama with Music: (Doc) Documentary: 

(F) Fantasy: (Hor) Horror: (M) Musical: (My) Mystery: (SF) 

Science Fiction: (Sus) Suspense: (Th) Thriller: (W) Western 

Aladdin G (BV) 

^2 

£ O c 

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>^ S g gg 

g: Si g 5^&

Just imagine 

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without 

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e^ 

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Crisis' Halted 

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II 

BOXOFFICE 

Buena Vista 

(818)567-5030 

NOVEMBER 

DECEMBER 

The Dislinguisherj Gentleman. C, R 1 1 

mm, Dolby A, Rat Eddie Murphy Dir 

Jonathan Lynn 12/4 

The Muppel Christmas Carol Fam, G, 84 

mm. Dolby A, Fiat Michael Came, Miss Piggy 

Dir: Brian Henson 12/11 

JANUARY 

Aspen Extreme, Ac, PG-1 

Dolby 

, 

A Flat Paul Gross 1/22 

Alive, D, R, 126 mm. Dolby SR. Flat Ethan 

Hawke, Vincent Spano 1/16 

Blood In. Blood Out, D, R, 130 mm, Dolby A 

Pat Dir Taylor Hacktord 1/20 ILtd). 2/24 

FEBRUARY 

^ 

The Iniiredible Journey: I 

Fam, G, 84 mm, Dolby A, Rat ; 

The Cemetary Club, C. PG-13. 100 mini 

Dolby A. Flat Ellen Burstyn. Diane Ladi) 

Bill Duke 2/15 

Swing Kids. D. PG-13. 112 mm. Dolbw 

Barbara Hershey 2/26 

Columbia 

(310)280-8000 

(212)751-4400 

Bram Stoker's Dracula. D. R. 125 min. Dolby 

SR, Flat Anthony Hopkins, Winona Rybet. 

Dir Francis Coppola 11/13 

A Few Good Men, D, R. 135 min, Dolby SR. 

Scope Jack Nicholson. Tom Cruise Dir: Rob 

Reiner 12/11 

Hexed, C,R, 93 mm, Dolby A, Rat Arye 

Gross, Claudia Christian 1/22 

Nowhere to Run, Ac. R. 93 mm. Dolby A. Flat 

Rosanna Arquette. Jean-Claude Van Damme 

IVIGIVI 

(310)444-1500 

New Line 

(212)239-8880 

(310)854-5811 

ige.D.R. 110 mm. Dolby SR. Flat 

ly Irons. Juliette Binoche Dir: Louis 

Aim (NY & LA) 

Excessive Force. Th. R. 87 n 

Thomas Ian Griffith. James E 

Jonathan Hess 2/26 

I.Dolby A. Flat Emilio Es 

Paramount 

(213)956-5000 

(212)333-4600 

ler Eight Th, R, 129 min. Dolby A, Flat 

Garcia. Una Thurman Dir: Bruce 

Robinson 11/16 

Leap ol Faith. CD. PG-13, 109 mm, Dolby A, 

Flat Steve Martin, Oebra Winger Dir Richard 

Pearce 12/18 

TheTemp.Thr. R,98min, DolbyA,Fla 

Timothy Mutton, Lara Flynn Boyle, Faye 

Dunaway Dir Tom Holland 2/15 

Samuel 

Goldwyn 

(310)552-2255 

Mac, D, 121 mm, Dolby A Flat John 

Turturro, Ellen Barkin Dir John Turturi 

2/19(/Vl'i,2/26/i/l/3/5/lV/rfe/ 

Ladro Oi Bambini (The Stolen Childi 

(lal). D, no mm Dir Gianni Amelio. 

2/24-26 (N Y). 3/3-5 ILA). 3/12 fWidt 

TrIStar 

(310)280-8000 

Chaplin. BioD, PG-13. 140 min, Dolby SR. 

Flat. Robert Downey. Jr Dir: Richarr) 

Attenborough 12/25 /tw; 

Wide: Chaplin. BloD. PG-1 3. 140 min. Dolby 

SR. Flat Robert Downey. Jr. Dir: Richard 

Attenborough 1/8 

Sniper. Ac. R. 98 mm, Dolby A. Raty Tom 

20th Century 

Fox 

(310)277-2211 

Home Alone 2. C. PG. 120 mm, Dolby A. F 

Macaulay Culkin. Joe Pesci, Dir: Chris 

Columbus 11/20 

Love Potion #9. C, PG-13. 96 min. Dolby P 

Flat Tate Donovan 11/13 fiW^ 

Toys. C, PG-13, 121 min. Dolby A. Flat Robin 

Williams Dir: Barry Levmson 12/18 

Used People. CD. PG-13. 120 mm. Dolby A 

Flat Shirley MacLame. Kalhy Bates 12/16 

f/VV/M/. 12/25 /(.w; 

Hoffa. D. R. 140 mm, Dolby A, Scope, 70mm 

Jack Nicholson, Dir Danny DeVito 12/25 

The Vanishing, Thr, R, 109, Dolby SR. 

Jeff Bridges, Kieler Sutherland 2/5 

The Abyss: Special Edition, PG-13. 17j 

Dolby A. Scope 2/26 iLA ./N Y only) 

Universal 

(818)777-1000 

(212)759-7500 

Scent ol a Woman, D, R, 149 min, Dolby A. 

Flat AlPacino Dir Martin Brest ^2J23 (Ltd) 

Lorenzo's Oil, D, PG-13, 140 mm, Dolby A, 

Flat Nick Nolle, Susan Sarandon Dir George 

Miller 12/30 

Trespass, D, R, 104 min, Dolby SR, Rat, Bill 

Paxton. Ice Cube, Ice-T Dir: Walter Hill. 12/23 

Warner Bros. 

(818)954-6000 

Passenger 57, Act, R, 85 mm, Dolby A 

Scope Wesley Snipes 11/6 

The Boityguari), D, R, 

129 mm, Dolby A Flat 

Kevin Costner, Whitney Houston 11/25 

Sommeisby. D. PG-13. 110 min. Dolby 

Flat Richard Gere, Jodie Foster 2/5 

FallingDown,D.R, 112min, DolbyA,

: The 

I 

FEATURE CHART -March 1993 

Super Mario Brothers 5/28 

The Adventures ot Huck Finn Elijah Wood. 

Jason Robards. (Spring) 

Buena Vista 

(818)567-5030 

Columbia 

(310)280-8000 

(212)751-4400 

C Bill Cosby Die: Robert 

Mary Stuart Masterson. 

MGIVI 

(310)444-1500 

NiniaTurtlesni. PG-13 

Hh: Jason Goes lo Hell. The 3/12 

Be ol Hearts,.RoniC William E 

y Lynch 4/19 

o'slheMan?,C Dr Dre. Ed L 

B to Society. D Tynn Turner, Jada 

New Line 

(212)239-8880 

(310)854-5811 

Indecent Proposal. D Robert Redford. Demi 

Moore Dir Adrian Lyne 4/7 

Ttie Thing Called Love. D River Phoenix. Dir 

Peter Bogdanovich 4/23 

Paramount 

(213)956-5000 

(212)333-4600 

I West. C. 85 mm Dir David A 

Samuel 

Goldwyn 

(310)552-2251 

Clitlhanger. Ac. Sylvester Stallone. Dir: 

Penny 

Sleepless in Seattle. C Tom Hanks. Meg 

Ryan Dir Nora Ephron 6/25 

Married an Aie Murderer. C Mike Meyers. 

Amanda Plummer 

fSummer) 

Weekend at Bemies 2. C Andrew McCarthy. 

Jonathan Silverman 

TriStar 

(310)280-8000 

Jack the Bear. CD. PG-1 3, Dolby A. Flat. 

Danny DeVito. 4/2 

The SandloL Dolby A. Flat 4/9 

Once Upon a Forest, Anim G. Dolby A, Flat 

ISphng) 

Rising Sun. D Wesley Snipes. Sean Connery 

Dir Phillip Kaufman (Spring/Summer) 

83 mm Chris Rocl(. Phil Hartman Cop and a Hall. C. PG. 87 min Burt 

Reynolds Dir: Henry Winkler. 4/2 

Splitting Heirs. C. 87 mm Eric Idle. R 

Moranis 4/30 

Brace Lee Story. Ac. R. 119 

For Love or Money. RomC. PG. 89 min 

MichaelJ Fox 6/4 

Jurassic Parii SF Sam Neill. Laura Dern Oir 

Steven Spielberg &'25 

Universal 

(818)777-1000 

f21 2) 759-7500 

This Boy's Lite. Robert De Niro 4/2 

The Crush. Thr Gary Elwes 

BodySnatchers. Hor têg Tilly 

Mr.Wohdenul Matt Dillon 

Money Men. Thr. R. 122 mm Wesley Snipes. 

Free Willy. FamD. PG Lori Petty. Jason 

True Romance AcC Chnstian Skater. Patricia 

Arquette Dit Tony Scott 

Made in America. C Ted Danson. Whoopi 

Goldberg Dir Richard Beniamin 

Warner Bros. 

(818) 954-6000 

4/9

9 

BOXOFFICE Independent Feature Chart MARCH 1993 

lJiM;w;i 

Aries 

212-246-0528 

Docteur Petiot, D, NR, 102 

min. Michel Serrault. Dir: C. De 

Chalonge. 

Cannon 

213-966-5640 

American Cyborg, Ac, R, 95 

min. Dir: Boaz Davidson. 

Fine Line 

310-659-4141 

Last Days of Chez Nous, D, NR, 

96 min. Bruno Canz, Kerry Fox. 

Dir: Gillian Armstrong. 

Leolo, C, NR, 1 07 min. Maxime 

Collin. Dir: Jean-Claude 

Lauzon. 

Tara Releasing 

415-454-5838 

Bethune, D, 115 min. Donald 

Sutherland, Helen Mirren. Dir: 

Phillip Borsos. 

Trimark 

310-314-2000 

Warlock: The Armageddon, 

Hor. Dir: Tony Hickox. 

Troma 

212-757-4555 

My Neighbor Totoro, 

Dir: Hayao Miyazaki. 

Anim. 

Kino 

212-629-6880 

La Vie De Boheme, D, 1 00 min. 

Dir: Aki Kaurismaki. 

Kit Parker Films 

My Fair Lady, (Re-issue/1 964), 

Mus, G, 1 70 min. Rex Harrison, 

Audrey Hepburn. Dir: George 

Cukor. 

One Million B.C., (Reissue/1940), 

Adv, NR, 80 min. 

Victor Mature, Carole Landis. 

Topper, (Re-issue/1 937), Fantasy, 

NR, 97 min. Gary Grant, 

Constance Bennet. Dir: Norman 

Z. McLeod. 

MK2 

212-265-0453 

Betty, D, NR, 99 min. Stephanie 

Audrane. Dir: Claude 

Chabrol. 

fTiFir] 

Cannon 

Good Cop, Bad Cop, Ac. Chu 

Norris. Dir: Aaron Norris. 

Kino 

La Strada (1956) & I Vitellc 

(1953), (double bill), D, 

min. Dir: Federico Eellini. 


Malcolm X, (Re-issue/1 97 

Doc, 91 min. Dir: Marv 

Worth/Betty Shabazz. 

Shapiro Glickenhaus 

Slaughter of the Innocents, Si 

Scott Glen. 

TC2000, Ac.BoloYeung, Bil 

Banks. Spring 

First Run 

212-243-0600 

No Fear, No Die, D, 99 

Dir: Claire Denis. 

Greycat 

702-737-5258 

Singapore Sling, S, NR, 115 

min. Meredyth Herold, Michele 

Valley. Dir: Niko Nikolaidis. 

The Shanghai Gesture, (Reissue/1 

94lj, NR, 98 min. Gene 

Tierney, Walter Houston. Dir:]. 

Von Sternberg. 

Hemdale 

213-966-3768 

Love Your Mama, D, PG-1 3, 92 

min. Dir: Ruby Oliver. 3/5 


408-393-0303 

Laurel and Hardy Festival, (5 

features), C. 

IVIiramax 

212-941-4033 

Map of the Human Heart, D. 

Anne Parillaud. Dir: Vincent 

Ward. 3/1 

October Films 

212-332-2480 

Two Mikes Don't Make a 

Wright, C, NR, 80 min. Michael 

Moore, Steven Wright. 

Streamline 

310-657-8559 

Wicked City, Anim, NR, 90 

min. Dir: Yoshiaki Kawiiiri. 

Aries 

Halfaouine, D, NR, 98 min. 

Selim Boughedir. Dir: Ferid 

Biuehedir. Spring 

Waiting, D, NR, 90 min. 

Deborra-Lee Furness. Dir: 

Jackie McKinnie. Spring 

Cannon 

Nightmare, Hor. Dir: Tobe 

Hooper. 

Rescue Me, Ac, PG-1 3, 99 min. 

Stephen Dorff. 

Castle Hill 

212-888-0080 

American Friends, CD. Michael 

Palin, Connie Booth. Dir: 

Michael Palin. Spring 

Five Girls, D. Dir: Amos 

Fine Line 

Houshold Saints. Tracy Oilman, 

Vincent D'Onofrio. Dir: 

Nancy Savoca. 

Hemdale 

Mojo Flats, C. Christina 

Applegate, Elizabeth Pena. Dir: 

Lisa Gottlieb. 

8 I R S 

81 '565-0555 

Equinox, D. Matthew Modine, 

Lara Flynn Boyle. Dir: Alan Rudolph. 

Spring 

Music of Chance, C. Mandy 

Patinkin, James Spader. Dir: 

Philip Haas. 

October Films 

A Heart in Winter, Rom, NR. 

Dir: Claude Sautet. 

Shapiro Glickenhaus 

818-766-8500 

Red Room, Ac, 97 min. 

Maryanna Morgan. Dir: Tony 

Zarindast. Spring 

Sony Classics 

212-702-6695 

The Story of Qlu )u, C, 1 00 min. 

Dir: Zhang Yimou. 

Streamline 

The Speed Racer Show, (compilation), 

Anim. 

Tara Releasing 

The Elementary School, 

(Czecfi), D, 100 min. Dir: Jan 

Sverak. 

Troma 

The Good, the Bad, and the 

Subhumanoid, ( , R, 100 min. 

Brick Bronsky. Dir: Eric Louzil. 

Sony Classics 

Gacquot, D, 118 min. Di 

Agnes Varda. 

VtMB 

Cannon 

American Ninja 5, Ac, PG- 

90 min. David Bradley. Di 

Bobby Gene Leonard. 

Sony Classics 

Orlando, D, NR, 93 min. Hilc 

Swinton, Quentin Crisp. Di 

Sally Potter. 

irnn 

Sony Classics 

TheLongDay, D,. Dir:Terranc 

Davis. 

136 BOXOFFICE

€NT€RTniN/VI€NT DRTR, INC.'S 

consT TO consT BOXOFFICC SUMMRRV 

Z/OP 10 NflTIONflL R€L€nS€S 

LUee^nd 

Tnlol 

f/c

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( . 

#;CGIONnLRRNKINGS 

Luesksnd grossers ranked by screen overage) 

DqIIqs exchange 

C 

Used People 

% Chg 

Screen 

LUeek Screens flveroge flveroge 

UUeekend 

Total % Chg Total Boxoffice 

1/29 • 1/31 Total Through* 1/31 Distnbutor 

Son Francisco Exchange 

Chicago €xchange

I 

' 

TEASERS. 

lese are films that have gone 

to production but are not yet 

t tor release; estimated sea- 

•ns of release are listed in itals. 

The dates in parentheses 

dicate the issue ot Bowffice in 

hich the film was profiled in 

e Hollywood Report column, 

the title has changed since the 

Im went into production, the 

riginal title is also listed in pantheses. 

Buena Vista 

:ar Off Place (Adv) 

1aximillianSchell.Dir:Mikciel 

olomon. spring 

Irn Yesterday (C) 

U'l.inie Grittith, lohn Goodicin, 

nir: Luis Mandoki. spring 

yond Innocence(D) 

ebecca De Mornay, Don |ohnon. 

Dir: Sidney Lumet. spring 

ickleberry Finn (D) 

jah Wood. WrVdir; Stephen 

ommers spring 

)CUS Pocus (C) 

iette Midler. Dir: Kenny Or- 

Bga. (2/93) summer 

e With Miltey (C) 

/lichael ). Fox. Dir: lames Lap- 

(2/93) summer 

^.: Mario Bros. (C) 

Job Hoskins. Dirs: Rocky Moron, 

Annabel lankel. summer 

ow White (An.-reissue) 

/oice of Andrea Caselotti. Dir 

David Hand, summer 

Columbia 

mos and Andrew (C) 

Samuel Jackson, Nick Cage. 

Dir: E. Max Frye. (6/92) spring 

, Do Anything (Mus) 

Nick Nolte, Albert Brooks. Dir: 

lames L. Brooks. (l/93)spr/ng 

eedfull Things (Hor) 

Ed Harris, Bonny Bedelia. Dir: 

Eraser Heston. (1/93) summer 

|he Pickle (C) 

Danny Aiello. Wr./dir: Paul 

Mazursky. 

alendar Girl (C) 

)ason Priestly. Dir: lohn 

Whitesall. (6/92) winter 

oetic justice (D) 

Janet Jackson. Wr/dir: lohn Singleton. 

(5/92) summer 

ast Action Hero (Ac) 

Arnold Schwarzenneger. Dir: 

John McTiernan. (Updates, 

11/92) summer 

ost in Yonkers (CD) 

Richard Dreyfuss, Mercedes 

Reuhl. Dir: Martha Coolidge. 

(1/93) late spring 

osh and S.A.M. (Adv) 

Noah Fleiss. Dir.: Billy Weber. 

spring 

striking Distance 

Bruce Willis, Sarah lessica Parker. 

Dr: Rowdy Herrmgton. 

summer 

In the Line of Fire (Thr) 

Clint Eastwood. Dir.; Wolfgang 

Petersen, summer 

Remains of the Day (CD) 

Anthony Hopkins, Emma 

Thompson. Merchant/Ivory, tall 

Wolf (Adv) 

lack Nicholson. Dir;Mike Nichols, 

fall ')3/early 94 

The Age of Innocence (D) 

M Pfeitfer, D. Day-Lewis. Dir: 

M. Scorsese. (4/92) Dec. '93. 

Metro-Goldwyn-Mayer 

Benny and )oon (CD) 

lohnny Depp, Mary Stuart 

Masterson (8/92) April 

Triple Indemnity (C) 

ArmandAssante, KateNelligan. 

Dir: Carl Reiner. 

New Line 

Even Cowgirls Get 

the Blues (CD) 

Uma Thurnian, Rain Phoenix. 

Wr/Dir:Gus Van Sant. 

Naked in New York (D) 

Eric Stoltz, Mary-Louise Parker. 

Dir: Daniel Algrant. tall 

Who's the Man? 

Doctor Dre, Ed Lover. April 23, 

Menace to Soiety (D) 

Tyrin Turner. Directed by Allen 

& Albert Hughes. May 14 

Surf Warriors (Ac-C) 

Leslie Nielsen Tone Loc. Dir: 

Neal \s\ae\.iuly23 

Orion 

(for complete descriptions of 

upcoming Orion titles, please 

see Trailers, 2/93) 

The Dark Half (Hor) 

Timothy Hutton. Dir: George 

Romero. 

Car 54, Where Are You? (C) 

David lohansen. Dir: Bill Fishman. 

Clifford (C) 

Martin Short, Charles Grodin. 

Dir: Paul Flaherty. 

The Favor (C) 

Elizabeth McGovern, Ken 

Wahl. Dir: Donald Petri. 

Married To It (C) 

Beau Bridges, Cybil Shepherd. 

Dir: Arthur Hiller. 

Robocop 3 

Dir: Fred Dekker. 

China Moon (Thr) 

Ed Harris, Madeleine Stowe. 

Dir: lohn Bailey. 

There Goes My Baby (CD) 

Rick Schroeder, Dermot Mulroney. 

Dir: Floyd Mutrux. 

Blue Sky (D) 

Tommy Lee Jones, Jessica 

Lange. Dir: Tony Richardson. 

Paramount 

Indecent Proposal (D) 

Woody Harrelson, Robert 

Reford. Dir: Adriane Lyne. 

(7/92) Apr/7 

Bopha! (D) 

Danny Clover. Dir: Morgan 

Freeman, fall 

Sliver (Thr) 

Sharon Stone, Wm Baldwin. 

Dir: Phillip Noyce, summer 

Thing Called Love 

River Phoenix. Dir: Peter 

Bogdanovich. ApnV 

The Firm 

Tom Cruise. Dir: Sydney Pollack, 

summer 

Searching for Bobby Fischer 

Joe Mantegna Ben Kingsley. 

Dir: Steve Zaillian. tall 

Flesh and Bone 

Dennis Quaid, Meg Ryan. Dir 

Steve Kloves. fall' 

Tri-Star 

Bartholomew Vs. Neff (C) 

Sylvester Stallone, lohn Candy. 

Dir: lohn Hughes ("Uncle 

Buck"). 

Cliffhanger (Ac) 

Sylvester Stallone. Dir: Renny 

Harlin. (2/92) sun7mer 

Manhattan Murder Mystery 

Woody Allen, Diane Keaton. 

Dir Woody Allen (1 1/92) tall 

Philadelphia (D) 

Tom Hanks, Dnzl Washington. 

Dir:lnthn Demme. (2/93) fa// 

Rudy (Sports Drama) 

Sean Astin, Ned Beatty. Dir: 

David Anspagh. 

Twentieth Century Fox 

Rookie of the Year (C) 

Thomas Nicholas, Garey 

Busey. Dir: Daniel Stern, summer 

Hot Shots 2 (C) 

Charlie Sheen, Lloyd Bridges. 

Dir: lim Abrahams, summer 

The Vanishing (Thr) 

Kiefer Sutherland, leff Bridges, 

Nancy Travis. Dir: George 

Sluizer. (7/92) fall 

The Pagemaster (Anim) 

Voices: Macauley Culkin, 

Christopher Lloyd, Whoopi 

Goldberg. Christmas '93 

Mrs. Doubtfire (C) 

Robin Williams. Dir: Chris Columbus. 

Christmas '93 

Universal 

Cop and a Half (C) 

Burt Reynolds, Ray Sharkey, 

Ruby Dee. Dir: Henry Winkler. 

(7/92) April 2 

Dragon: The Bruce Lee Story 

Jason Scott Lee, Robert Wagner 

Dir: Rob Cohen. May 

For Love or Money (formerly 

The Concierge) (C) 

Michael 1. Fox. Dir: Barr^ 

Sonnenleld. (7/92) lune 

Judgement Night 

Emilio Estevez, Cuba Gooding 

Ir. Dir: Stephen Hopkins, s 

mer 

Jurassic Park (SF) 

Sam Neil, Laura Dern, Jeff 

Coldblum, Sir Richard 

Attenborough. Dir: Steven 

Speilberg. (See Hollywood Updates, 

11/92);une 

Hard Target 

lean-Claude Van Damme. Dir: 

lohn Woo. luly 

Hearts & Souls (C) 

Robert Downey Ir., Charles 

Grodin, Alfre Woodard. Dir: 

Ron Underwood. August 

Carlito's Way (D) 

Al Pacino. Dir: Brian De Palma 

Octoixr 

The Real McCoy (Ac) 

Kim Basinger, Val Kilmer. Dir 

Russell Mulcahy. tall 

We're Back (An.) 

Voices: Walter Cronkite, lohn 

Goodman, Martin Short, lohn 

Malkovich. Executive Producer: 

Steven Speilberg 

Thanksgiving 

Warner Bros. 

Body Snatchers (Hor) 

Meg Tilly. Dir: Abel Ferrara. 

(6/92) winter 

Free Willy (D) 

lason lames Richter, Lori Petty. 

Dir: Simon Wincer. (7/92) winter 

Heaven and Earth 

Tommy Lee lones, Hiep Thi Le. 

Wr /Dir: Oliver Stone, fall 

The Specialist (Nikita) (Thr) 

Bridget Fonda, Gabriel Byrne, 

Dir: John Badham. (4/92) winter 

Made in America (C) 

Whoopi Goldberg, Nia Long, 

Ted Danson. Dir: Richard Benjamin. 

(7/92) spring 

Being Human (D) 

Robin Williams, John Turturro. 

Wr/Dir: William Forsyth, spring 

The Crush 

Gary Elwes, lennifer Rubin. 

Wr./Dir: Alan Shapiro, spring 

Dave (C) 

Kevin Kline, Sigourney Weaver. 

Dir: Ivan Reitman. 

Dennis the Menace (C) 

Walter Matthau, Christopher 

Lloyd. Dir: Nick Castle. 

Fearless (D) 

leff Bridges, Isabella Rossellini, 

lohn Turturro. Dir: Peter Weir. 

fall 

M. Butterfly (D) 

leremy Irons, Ian Richardson. 

Dir: David Cronenberg. (2/93) 

spring 

March, 1993 139

Oxford, 

1375 

attn 

6 

Clearing House 

RATES: Si 00 per word, minimum $25, $15 00 

extra for box number assignment Send copy w 

ctieck to BOXOFFICE, P O Box 25485, Chicago, 

IL 60625, at least 60 days prior to publication 

BOX NO. ADS: Reply to ads with box numbers by 

writing ic BOXOFFICE P O Box 25485. Ctiicago 

IL 60625, put ad box # on letter and in lower left 

corner of your envelope Please use #10 envelopes 

or smaller for your replies 

HELP WANTED 

LET THE GOVERNMENT FINANCE your 

EQUIPMENT FOR SALE 

new or 

existing small business Grants loans to $500,000 

Free recorijed message (707) 448-0201 (RN7) 

Plitt Amusement Co. of Washington is in need of a 

few good multi-plex managers who are well acquainted 

with projection & concession merchandising If you 

would like to live and work in the beautiful Northwest, 

send your resume and salary history to: Sam Plitt c/o 

Plitt Amusement Co., P.O. Box 2339, Oak Harbor WA 

98277. 

TWO STRONG X60C lamps and rectifiers Four 

Motiograpfi AA projectors, bases, spare parts Ftvl 

stereo radio transmitter for Drive-in Two Kolmorgen 

BX265 F 1 9 5'i EF lenses Two Panavision cinemascope 

spreaders Reel arms, reels, splicer, rewind 

New and used audio tubes Contact Jerry Rook, RR3 

Comp 12, Delisle Site, Williams Lake, BC Canada. 

V2G 1tv13 (604) 392-7057 

THEATRE SCREENS: (2) Silver Glo 17 x 42'.. and 

(1) Super Glo 17 x 42 (all new, mfg by Hurley 

Screen Corp ) Also available (2) Osram XBO 2500 

W HS OFR ( 1 new ) , ( 1 ) Osram XBO 2500 . 

W OFR 

Call or write H W Stroud, 3430 Cinn -Zanes Rd S W 

, 

Lancaster, OH 43130 Or call (614) 653-3420 

ROSSTEMP FLAKE ice maker $880, Stiarp cash register 

$300. Cretors DI32FP popcorn maker $2800. 

butter server $50, popcorn warmer $195 (505) 479- 

2001, New fvlexico 

USED PROJECTION EQUIPMENT: Replacement 

equipment, single or multi booths available Call us if 

you are purchasing or selling Financing available CIN- 

EIVIA CONSULTANTS & SERVICES INTERNATIONAL, 

5800 Forward Avenue. Pittsburgh, PA Ptione (412) 

422-7551 FAX (412) 521-8233 

ACOUSTIC SOUND PANELS & CUSTOIVI WALL 

DRAPERIES Large selection of flameproofed colors 

and fabrics: artistic and plain available Installations 

available, panels, draperies, proiection, screens and 

seats CINEMA CONSULTANTS AND SERVICES IN- 

TERNATIONAL, 5800 Forward Avenue, Pittsburgh, PA 

15226 Phone (412) 422-7551. FAX (412) 521- 

8233 

FACTORY FRESH, fully warranted by mfg Cinema 

Projection Systems, quality parts, cue tapes, Ivlylar 

SIMPLEX XL'S REBUILT $2850, w/new Auto-Turret 

$4850, Century SA. H. & C rebuilt $2800, w new 

Auto-Turrets $4750 We can convert your Century. 

Simplex XL. Ballantyne or Kinoton to Auto-Turret 

WESTAR XENON BULBS. Full warranty lOOOW 

$362. 1600W $375. 2000W $450. 2500W $475 

3000W $547, 4000W $985, Volume discounts. Exports 

welcome International Cinema Equipment, 100 

NE 39th Street, Ivliami, FL 33137 Ph (305) 573- 

7339. Fax (305) 573-8101 

Consoles, 

lamphouses. rectifiers, automations, lenses, 

platters & more Westar 4-channel stereo processor 

w/ sub-woofer new $2525 Eprad Star Power-4 amp 

$395, Dolby CP-55 $4300. CP-50 $3000, CP-100 

$3500. IVIPU-1 $995 Speakers, exciters, slit lens. 

stereo cells Catalog, trades welcome International 

Cinema Equipment, 100 NE 39th Street. Ivliami, FL 

33137 Ph (305) 573-7339. Fax (305) 573-8101 

CUPHOLDER ARMREST "state of the art" Cy Young 

cupholder Call 1-800-729-2610 for FREE SAMPLE. 

PATRON TRAY. Fits into cupholder armrest, Cy 

Young, Inc. Phone 1-800-729-2610. Call for free sam- 

COMPLETE THEATRE EQUIPMENT: (New, Used or 

Rebuilt) Century SA, R», RCA9030, 1040. 1050 Platters 

3 and 5 Tier, Xenon Systems 1000-4000 Watt, 

Sound Systems mono and stereo, automations, ticket 

machines, curtain motors, electric rewinds, lenses, 

parts and many more items in stock COMMERCIAL 

large screen video projectors Plenty of used chairs. 

PROFESSIONAL SERVICE AND INSTALLATION 

AVAILABLE DOLBY CERTIFIED Call Bill Younger, 

Cinema Equipment, Inc 

, NW 97th Ave, Suite 

14, Miami, FL 33172 Phone (305) 594-0570 Fax 

(305) 592-6970 1-800-848-8886 

BURLAP WALL COVERING DRAPES: $2 05 per 

yard, flame retardant Quantity discounts Nurse & Co . 

Millbury Rd . MA 01540 (508) 832-4295 

NOW MICRO-FM'" stereo radio sound systems FOR 

THE HEARING IMPAIRED, Meets FCC part 15, Call or 

write Audio Visual Systems, 320 St. Louis Ave,. Woonsocket, 

Rl 02895. Phone (401) 767-2080. Fax 

(401) 767-2081. 

NEW LENS—Super Sankor—Satisfaction guaranteed. 

Call us for a cost-plus quote MELCHER ENTER- 

PRISES 1-800-423-5020, in Wisconsin (414) 442- 

5020. 

TELEPHONE ANSWERING EQUIPMENT. All major 

brands of reliable, heavy-duty tape announcers and 

digital 

announcers are available at discounted prices 

Please call Jim at Answering Machine Specialty, 

(800) 222-7773 

FACTORY FRESH fully warranted bulb sale. Proudly 

made in US ORG XM 2000 H/VC. $525 00 XM 

3000 H/VC, $650 00 We ship anywhere in the world 

Other sizes available at special prices Wnte, wire or 

call Cinema Equipment Inc, 1375 NW 97th Ave, 

Suite 14, Miami, FL 33172, USA Phone (305) 594- 

0570. Telefax (305) 592-6970. 

NEW 5000 HOUR 130V 11S14 bulbs with industrial 

seven support filament Clear and standard colors, plus 

pink, purple, fuschia Quantity OEM and distributor 

price levels 40 AMP chase controllers, 2x2 chase 

channel cans, sockets, belt lighting, neo-neon, dimmers, 

chase lighting relays. Catalog 800-248-0076. 

THEATRES FOR SALE 

WESTERN NEW YORK-single screen, 750 seat 

11,000 square feet, full production stage, penmev 

run Built 1926. very ornate fixtures including stamec 

leaded glass doors with "comedy /tragedy masks: 

Dinner theatre balcony Well maintained $80 DO 

includes real estate Call (602) 749-3004 

THEATRES FOR LEASE 

DRIVE-IN THREATRE for rent, lease, or sale Ful 

equipped, 700 cars. Showing first-run films 

Low rei| 

Near Columbus, OH Call after 12 00 noon. (2l3 

654-5606 

THEATRES WANTED 

THEATRES BOUGHT AND SOLD. East, Midwes 

and South by progressive circuit operators ( 

tants. All replies confidential. Reply Holiday Entertaii 

ment/ Cinema Associates, 3200 Elton Road, John! 

town, PA, 15904 Phone (814) 266-4306 

THEATRE SEATING 

USED AUDITORIUM CHAIRS. Choose from a sele( 

tion of different makes and models shipped an 

installed anywhere Used projection equipment aval 

able also Call us if you are purchasing or selling CIS 

EMA CONSULTANTS & SERVICES INTERNATIONAl 

5800 Forward Avenue, Pittsburgh. PA 15226 Phon 

(412) 422-7551, FAX (412) 521-8233 

ON-SITE UPHOLSTERY NATIONWIDE REPLACt 

MENT COVERS, ALL FABRICS Lease complet 

theatre covers, up to five years to pay Quotes, san 

pies, or brochure, call 1-800-252-6837 anytime C0^ 

PLETE INDUSTRIES, INC 

ALLSTATE SEATING is a company that is speciali; 

ing in refurbishing, complete painting, molded foan 

tailor-made seat covers, installations, removals. Pleas 

call for pricing and spare parts for all types of theatr 

seating Boston, MA Phone (617) 268-2221 FA 

(617) 268-7011 

' 

THEATRE SEATS FOR SALE: Approx 600 Hay 

wood Wakefield seats Sell risers Extra clean ThicI 

backs with extra seat covers $25 00 each Call (405' 

842-0 1 22 or ( 405 ) 236-06 1 

SEAT BACK/COVERS: Most fabrics in stock. Q 

Young, Inc. Call 1-800-729-2610 to match fabric. 

ON-SITE RE-UPHOLSTERY, 'While Theatr 

Sleeps " Top fabrics, molded cushions and "State c 

Art Cy Young Cup Holder Armrest " Call Cy Youm 

Industnes, Inc 1-800-729-2610 

INTERNATIONAL RENOVATION SERVICES CO 

Used chairs from $15 00. covers from $4,95: cuphold 

er armrests, installations and on and off site renova 

tions 1-800-531-2767 

"ALL AMERICAN SEATING" by the EXPERTS! Usee 

seats of quality Various makes American Bodiforrr 

and Stellars from $12 50 to $32 50 Irwins frotr 

leaders, film lube, oils, all bargain priced Smith Protection 

and Sound, your total theatre equipment dealer, 

3922 Nolen Ave SE. Huntsville, AL 35801-1037 

Phone (205) 534-2824 

THREE COMPLETE THEATRE BOOTHS: 1,000 

American Seating chairs, good condition. Simplex XL 

proiectors. Kelmar sound platters, automation, lamphouse, 

lenses, ticket machines and more Phone 

(313) 885-4700 

MINT CONDITION XL projectors and XL soundheads 

Best offer accepted Phone (604) 682-1848 any 

time 

CUSTOM WALL DRAPERIES: Large selection flameproofed 

colors and fabrics installation available, draperies, 

screens, seats CINEMA CONSULTANTS & 

SERVICES INTERNATIONAL, 5800 Forward Avenue, 

Pittsburgh, PA 15217 (412) 422-7551 

EQUIPMENT WANTED 

OLD TUBE-TYPE equipment such as amps, speakers, 

drivers, horns, etc from Western Electric, Westrex, 

Langevin, Jensen, Altec, JBL, Tannoy, Mcintosh, Marantz, 

etc. Call Audio City at (818) 701-5633, or write 

to Audio City, PC. Box 802, Northridge, CA 91328- 

0802. 

WANTED DEAD OR ALIVE: We will purchase Century 

projectors or soundheads, new or old. complete or 

incomplete, for cash Also interested in XL and SH- 

1000 Call (502) 499-0050, Fax (502) 499-0052. 

Hadden Theatre Supply Co , Louis 

$12 50 to $30 00 Heywood & Massey rockers frorr 

$25 00 Full rebuilding available New Hussey chairs 

from $70 00 All types theatre projection and sound 

equipment New and used We ship and install 

makes Try usi We sell no Junki TANKERSLEY 

ENTERPRISES BOX 36009 DENVER, CO 80236 

Phone 303-980-8265 

THEATRE REMODELING 

FOR TWINNING THEATRES call or write Fnddel Construction. 

Inc . 402 Green River Drive. Montgomery, TX 

77358 (409) 588-2667 

WE CAN MULTIPLEX your theatre, make it look fantastic, 

and your profits will soar No one does it for less. 

Multiplex Construction Corp Call (708) 293-1401.

ill 

1 

. SW-21 

5 

, VE-IN CONSTRUCTION 

jj lEEN TOWERS INTERNATIONAL New, Used, 

•r isplanted. Complete Tower SErvice Box 399— 

ers, TX 76569, 1-800-642-3591 

i ;/E-IN SCREEN TOWERS Since 1945 Selby Prod- 

.Inc. PC Box 267, Richfield, Ohio 44286 (216) 

1 800-647-6224 

kGS—FLAG POLES 

iGS OF ALL NATIONS Custom flags, flag poles. 

e or small. Prompt shipment. BUX-MONT FLAG 

E CO.. 221 Horsham Road. Horsham. PA 19044. 

5) 675-1040. 

RQUEES, SIGNS 

RQUEE: Repossessed eight by twenty feet Will 

irl customized theatre over marquee frames Inte- 

)utput lighting 

Sale or lease, very reasonable 

X 33 6 extruded bronze aluminum interior 

ted sign for theatre name. Bux-lvlont Electrical 

/ertising Leasing Phone (215) 675-1040. Fax 

5) 675-4443 

RVICES 

JEMA CONSULTANTS & SERVICES INTERNA- 

)NAL can design, build and equip your theatre, and 

TURN KEY operation if desired; or provide 

lamic ideas to improve cost efficiency, increase 

set and concession sales 

Lease financing for equippurchases 

nationally 5800 Forward Avenue, 

tsburgh. PA 15217 Phone (412) 422-7551, FAX 

2) 521-8233 

rERMITTANT & PROJECTOR REBUILDING- All 

jor projector makes and models Wholesale and 

ail. Dealer inquiries invited New and used projector 

uipment Stereo system design and installation, 

implete booth service and installation 

& Supply. (800) 231-8849 

Cinema Ser- 

lEATRE BACKGROUND MUSIC. Various arlists on 

fch quality cassette tapes Contemporary, Oldies and 

|sy Listening lormats available with quarterly upites 

Call PROFESSIONAL AUDIO SERVICES. 

112) 233-1402 

DTION PICTURE THEATRE CONSULTANT SERiCES 

All aspects from construction to equipment 

itallation to operation Anywhere m the USA or overas 

LUNAMAR THEATRE MANAGEMENT. INC. 

Box 1344, Winter Park, FL 32790 Phone (407) 

'8-6049, FAX (407) 678-8621 

DEVIOUSLY OWNED equipment available: National 

nema Supply can provide your equipment needs We 

also liquidate your surplus theatre and concession 

luipment We have clean Automaticket model 

GEM-3 in stocki Contact Gene Krull, (913) 492- 

366, National Cinema Supply. 8229 Nieman Road, 

inexa, KS66214 

ACKGROUND MUSIC: WHY PAY MULTIPLE 

CENSING FEES'? Theatre background music Irom 

ROFESSIONAL AUDIO SERVICES requires only one 

e High quality tapes, various artists Contemporary 

Id Easy Listening formats Call (912) 233-1402 

ovide TURN KEY operation if desired or provide 

rnamic ideas to improve cost efficiency, increase 

:ket and concession sales 5800 Forward Avenue, 

ttsburgh. PA 15217. (412) 422-7551. 

:i'F\nKNT THH\TRE SIPPIX INC. 

> 

Dedicatetj 

to Supplying Quality 

Motion Picture Equipment 

Ad Index 

. SW-63 

. . 

A & B Booster 

SW-72 

A.I.C.PCorp 

SW-18 

SW-70 

Alpro Acoustics 

American Licorice Company 

SW-1 

American Paper Optics Inc 123 

American Seating 

SW-58 

Ampac Theatre Cleaning Services 

Audio Rents Inc 

SW-65 

Aura Lighting Inc 

SW-74 

Automaticket 118 

SW-73 

Bevehte-Adler 

Bre|tfus Business Environments SW-62 

. 

C.Cretors & Co 

SW-75 

Chnstie Electric Corp 

C2 

Cinema Consultants & Services ... 124 

Cinema Equipment 125 

Cinema Equipment Sales 

SW-64 

Cinema Film Systems 

SW-35 

Cinema Specialties 117 

Cinema Supply Company Inc 141 

CInevision Corporation 

SW-61 

Deep Vision 3-D 120 

Dolby Laboratones 13 

Drink Thing 

SW-48 

Eastman Kodak Company 

SW-59 

Edifice Inc 120 

Edward H. Wolk 

SW-66 

Enhanced Theatre Enjoyment SW-73 

Entenainment Data Inc 

SW-46-47 

Entertainment Equipment ... 115 

Corp. 

SW-69 

Filmack Studios 

Fitzsimmons Theatre Service 120 

Gold Medal Products 28 

Goldberg Brothers 

33, SW-27 

MISCELLANEOUS 

INEMA CONSULTANTS & SERVICES INTERNA- 

ONAL can design, build, and equip your theatre and 

MOVIE POSTERS WANTED: pre- 1960 preferred Immediate 

cash for vintage original material Single items 

or whole collections Cinema Archives. Dept BO. 235 

Honon Highway, Mmeola, NY 11501 (516) 877- 

291 

1920'S THEATRE SLIDES-standard 35mm slides 

copied from original glass slides 

Colorful artwork and 

humorous messages Sure-fire audience pleaserl Large 

listing $3 E Chase, 1704 Wildwood Rd., Toledo, OH 

43614 

WANT TO BUY MOVIE POSTERS, lobbies Bruce 

Webster. 426 N W 20th. Oklahoma City. OK 73103 

Phone (405) 524-6251 

WANTED: MOVIE POSTERS, lobbies, stills, etc Will 

buy any sized collection. The Paper Chase, 4073 La 

Vista Road. Tucker. GA 30084 Phone 1-800-433- 

0025. 

BUSINESS OPPORTUNITIES 

FOR SALE: Virginia located theatre equipment and 

supply business Represent most major companies 

Good customer following Building with large storage 

area and office space Submit inquiries to Boxoffice 


FOR SALE: Midwest Theatre Equipment Dealership 

Established nationwide customer list Two million dollars 

possible sales this year Submit inquiries to Boxoffice 


complete line of . . . 

Greer Enterprises 119 

Hadden Theatre Supply 

SW-68 

Hanovia 9 

Herman Goelitz Inc 

SW-17 

Hershey Foods Corp 

SW-5 

High Performance Stereo 3 

Hurley Screens 118 

Hussey Seating 29 

Independent Theatre Supply 141 

International Cinema Equipment 

International Marketing 

Development 

SW-62 

C4 

Irwin Seating 

Isaly Klondike Company 

SW-1 

JBL Professional 5 

JK International Inc 

SW-67 

Joe Hornstein Inc 117 

SW-13 

Just Born. Inc 

Kit Parker Films SW-68 

SW-71 

Kneisley Electric 

L.P. Associates 

SW-74 

Lavezzi Precision Inc 

SW-30 

Lawrence Metal Products 

SW-65 

Lou-Ana Foods Inc 17 

LucasArts-THX 

SW-36 

M&M/Mars 31 

MTS-Northwest Sound 

SW-50 

Manutech 

SW-64 

Marble Co., The 

SW-19. SW-37 

SW-24 

McAllister Associates Inc 

McRae Theatre Equipment Co 125 

National Cinema Supply 

SW-45 

National Foods Inc 27 

National Ticket Co 116 

Nestle Food Company 

SW-2 

Nick Mulone & Sons 118 

Novar Control Corp 

SW-32 

Odell's 114 

Optical Radiation Corporation 11 

Osram Corp 

C3 

Pacer/C.A.T.S Corporation 

SW-25 

PepsiCo Inc 

SW-76 

Phonic Ear 

SW-26 

SW-23 

Pike Productions 

Potts Inc 119 

Premier Datavision 

SW-28 

in Promotion Motion Inc SW-9 

QSC Audio Products 20-21 

Reed Speaker Co 124 

Ricos Products 

SW-70 

S. Bose Inc 122 

SPECO SW-60, 116 

Screen International 

SW-55 

Silver Screen 117 

Smart Theatre Systems SW-33 

Soundfold International 

SW-71 

Stein Industries 7 

Strong International 34 

Sunmark Inc 

SW-7 

TVPTheatre & Video Products .... SW-67 

Tankersley Enterprises 

SW-66 

Technikote 119 

Tempo Industries 

SW-72 

Theatre Services corp 

SW-49 

Tivoli Industries 25 

SW-29 

Ultra-Stereo Labs, Inc 

Videcam Presentations 

SW-31 

Wagner Zip-Change Inc 116 

Wallace Theatre Corp 

SW-34 

Weldon, Williams & Lick 118 

Willming Reams Animation 123 

Worrell Sound & Projection 

SW-63 

Young, Cy 

SW-69 

Concession, Snack Bar and Janitorial Supplies 

plus Projection and theatre equipment also parts 

For The Best In Service. . .Give Us a Call 

CIXHMA SI PPr.V COMl'ANV, INC. 

P.O. BOX 14S, Mil LKRSBURC;. l'.-\. r06l 

TKI KPHONF: (-ri 642-4"44 l-.S()ll-4 'i~-^ Ml.

" 

The lEifi IPieture 

of the great movie comedy teams, Jack Lemmon and Walter 

Matthau are truly unique, though in their uniqueness, they recall 

several legends of the past. Like Bob Hope and Bing Crosby, both 

men were already big stars when they first teamed for director 

Billy Wilder in 1966's "The Fortune Cookie" {above), the biting 

black comedy for which Matthau won an Oscar. Also like Hope 

and Crosby, Matthau and Lemmon have the luxury of re-teaming 

when they find a project that is to their liking; their upcoming 

"Grumpy Old Men" (to be filmed later this year) will be only their 

fifth on-screen pairing (for trivia buffs: excluding cameos, Hope 

and Crosby made a total of seven pictures together). 

Like Laurel and Hardy, the twosome of Lemmon and Matthau 

breaks with the standard formula for comedy teams in that each 

man is equally the other's foil, and that together they blur the 

distinction between who plays the "straight man" (or "he-whosets-up-the-joke") 

and who gets the laugh. At their best, the two 

men trade places in the comic equation constandy— often (as in 

the classic card game fi"om 1968's "The Odd Couple") within a 

single routine— with the evolving requirements of the humorous 

situation acting as their medium of comedic exchange. 

What distinguishes Lemmon and Matthau from any other 

movie comedy team is the enormity of each man's individual 

contributions to the art form, independent of their occasional 

appearances together Both are fine dramatic actors as well as 

brilliant comedians; Matthau's earliest impact came from serious 

turns in films like Elia Kazan's "A Face in the Crowd" and Sidney 

Lumet's "Fail Safe," while Lemmon has always moved easily 

between heavy dramas like "Save the Tiger" (for which he won 

an Oscar in 1 973) and farces like the immortal "Some Like it Hot. 

It is entirely fitting, then, that this year's NATO/ShoWest 

convention has chosen to honor both Jack Lemmon and Walter 

Matthau with individual Lifetime Achievement Awards, and that 

they will be receiving dieir trophies at separate ceremonies 

within a few days of each other. Whether together or apart, each 

man's achievements are formidable cause for celebration, and 

fully worthy of the salute. -Kfliy Greene 

142 BOXOFFICE

Void after May 1993 

Reader Service 

br more information, 

lite advertisement and product news

ê:?!:!??/?ffiP?W gives you 

Here is theater seating that rates 

top billing. 

The Irwin Marquee. The only 

ergonomically designed theater chair 

shaped to the contours of the human 

body. Engineered to fit the way you sit. 

With the Irwin Marquee, you get the 

versatility you expect from a star. 

Our component-option system allows 

us to tailor your seating package to fit 

your specific needs. Select .seat, back 

and aisle standards from a choice of 

dural)le plastics, wood veneers or lush 

upholstery. Your unique demands 

deserve a unique chair. 

With computer-aided design we 

help you work out seating plans, floor 

slopes and sight lines. And, computer 

scheduling assures opening night won't 

be standing room only. 

Public support is our product. 

Customer support is our business. 

Read the full reviews. For more 

information call us at r616) 784-2621. 

Visit Irwin at Booth 7fi-77/AK/fl7 m..,-. ou_ 

Irwin Seating Company, P.O. Box 2429, 

Grand Rapids, Ml 49501. 

Irwin Seating Canada, Ltd., 

5675 Timberlea Blvd., Mississauga, 

Ontario L4W 2S4, (416) 238-1502. 

m 

Irwin 

Seating 

I 

Company.

Boxoffice-March.1993

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