Boxoffice-June.1995

»>:(•] d d [

1920-1995
CELEBRATING
In
75
YEARS
JUNE, 1995 VOL. 131 NO. 6
UNQUOTE: Once in awhiU-wu feel like Charles Barkley. You want to say, 'I don't want to
he II gmldanui role model. ' I think what we want to do first is tell good stories.— Roy Disney
this issue, BOXOFFICE salutes two of
the most illustrious names in film: Disney,
i)i our conversation with Walt
Disney's nephew (and the vice chairman of the
Disney board) Roy E. Disney, and Dolby, embodied
by that company's founder, Ray Dolby.
On the surface, Disney and Dolby could almost
be called opposites. Ray Dolby is an engineering
whiz— a hands-on technical man as apt
to make a point by grabbing a pen and sketching
a quick mechanical diagram as he is by
putting it into words. Roy Disney, on the other
hand, freely admits that while he plays a vital
role at Disney animation, he has never been an
animator himself and he says a certain
amount of distance from the nuts-and-bolts of
Disney operations is an important aspect of his
managerial style.
But at a deeper level, what both Disney and
Dolby share is that they are builders— visionary
businessmen who have been willing, when necessary,
dated corporate traditions in order to keep their
to buck conventional wisdom and out-
enterprises healthy and alive. Readers unfamiliar
ivith the pivotal role Roy Disney played in
assembling the management team responsible
for the "miracle" which transformed The Walt
Disney Co. from an anemic, underperforming
dinosaur in the mid-1980s irito the first film
company to notch a billion dollars in annual
domestic gi-osses by 1994. Ray Dolby is among
the handful of individuals directly responsible
for the current audiophile standards of cinema
sound, the 30-year history ofhis company reads
like a Horatio Alger novel that could be called
"Triumph Over Adversity," in which naysayers
and apathetic film folks at first fail to see the
importance of improving movie sourid, and
wind up clamoring for a range of digital delivery
systems, including Dolby's own.
Most of you reading this are business people—entrepreneurial
women and men who understand
the importance of creative
management. It's our pleasure to bring you
intimate porir'aits of two ofyour own.
Until riext time.
FEATURES
1920-1995
CELEBRATING
75
YEARS
8 COVER STORY: THE RE-ANIMATOR
Roy Disney talks about the past, the future, and Disney's
33rci animated feature "Pocahontas." By Ray Greene
PLUS: Making music with Alan Menken. By Kim Williamson
12 SNEAK PREVIEW: A WHALE OF A TALE
Producer Lauren Shuler Donner sets sail on Warner's "Free
"
Willy 2 By Wade Major
14 SNEAK PREVIEW: A FAMILY "TIE"
Gorgeous, glamorous Moira Kelly on Buena Vista's upcoming
"The Tie That Binds. " By Kim Williamson
20 DOLBY 30th ANNIVERSARY SALUTE: NOISES OFF
It's been 30 years since the formation of Dolby Laboratories
forever changed the soundscape of American moviegoing.
Ray Dolby talks to Boxoffice about his incredible journey.
By Ray Greene PLUS: John F. Allen looks at 30 years of
acoustic accomplishments.
24 FROM WHERE I SIT: LOOKING BACK
In a tie-in to our ongoing 75th anniversary celebration, our
reader's forum is turned over to a former employee whose
expehences at Boxoffice helped launch a successful career
as a publicist. By Dale C. Olson
"
28 MARKETING: "POCAHONTAS ON TOUR
Disney puts the showmanship back into promotions with a
tour of American malls designed to drum up interest in
"
"Pocahontas By Michael Halle
30 SUMMER PROMO GUIDE
A studio-by-studio listing of promotional tie-ins to the biggest
summer releases.
REVIEWS
(following pg. 39)
Roommates
Ray Greene
Editor-in-Chief
BOXOFFICE

Suite
HOLLYWOOD
UPDATES
Lucasfilm Ltd. and Twentieth Century Fox
announced plans to distribute a special edition
of the original "Star Wars" motion picture
for worldwide theatrical release in 1 997,
20 years after the film's first release in 1977.
The special edition will feature previously
unreleased footage, new digital special effects,
and a digitally remastered soundtrack.
New breakthroughs in computer graphics developed
by Industrial Light & Magic will be
used to add new creatures, vehicles and androids
into the film. The technology will also
allow George Lucas to complete the scene in
which Han Solo confronts Jabba the Hutt,
which was never shown in the original release.
Lucas is also anxious to have audiences
experience the film with the THX Sound System,
whose introduction came after the premiere
of the film.
|oe Roth, chairman of the Walt Disney
Motion Picture Croup, has optioned the remake
rights from RKO Pictures chairman Ted
Hartley for the 1949 classic monster movie
"Mighty )oe Young." Holly Coldberg Sloan
("Made in America," "Angels in the Outfield")
will script the King Kong-esque story, this
version telling the tale of a woman lured from
her home in Africa to perform with her sizable
simian in Las Vegas. The original was directed
by Ernest B. Schoedsack, starred Terry Moore,
Ben lohnson and Robert Armstrong, and featured
Oscar-winning special effects by Willis
O'Brien and Ray Harryhausen. Special effects
creator Rick Baker ("An American Werewolf
in London") is in talks to design the ape— his
experience on "Corillas in the Mist" makes
him an ideal candidate for this monkey business.
"The Pocahontas Summer Spectacular at
The El Capitan Theatre" is well on its way to
breaking the sales record set by last year's
"Lion King Spectacular at the El Capitan Theatre,"
which sold a total of 30,200 tickets.
Moviegoers snapped up 16,549 advance
"Pocahontas" tickets on the first day the
[)hone lines opened. The combination screening/live
stage show opens June 16 in Hollywood
and runs through August 20. Tickets can
be purchased by calling 1-800-95 POCAH
(1-800-957-6224).
Director John Singleton and producer Edward
R. Pressman will bring the black lomic
Ixjok superhero, Luke Cage, to the silver
screen. Joe Doughrity will script the project
about a prisoner who is endowed with superhuman
powers after submitting to imperiling
experiments in exchange for his freedom. The
character was created by Stan Lee of "Spider-
Man" fame.
I
ilmmaker Martin Scorsese ("Casino") ,m)(\
"Forrest Gump" cD-produt er Steve Tisch arc
the newest members of New York University's
Tisch School of the Arts Dean's C'ouncil. They
join actors Alec Baldwin, Bill ( osby and Sidney
Poitier in advising Mary Schmidt Campbell,
dean of the film, television and drama
school. The Council meets periodically
throughout the year to promote better communication
between the school and the academic,
business, philanthropic and public
communities. Tisch school alumni include
Spike Lee, Billy Crystal and Oliver Stone.
Savoy Pictures has signed filmmakers Steve
James and Peter Gilbert, the duo behind the
acclaimed documentary "Hoop Dreams," for
a two-picture deal. The first project will be a
film version of "Foul! The Connie Hawkins
Story," a novel by David Wolf about the life
of the NBA star. The second film will be an
adaptation of W. Colin McKay's play, "Nagasaki
Dust," set just before the attack on Pearl
Harbor, about a Japanese-American who is set
to be tried as a traitor, and the American sent
to represent him.
"The Industry News and Marketplace," a
live, half-hour, nightly television news program
devoted exclusively to the entertainment
industry, premiered April 24 in Southern
California markets. The show features two
distinct segments. The first half, "The Industry
News," is devoted to hard entertainment industry
news. The second segment, "The Industry
Marketplace," gives viewers a first look
at electronic press kits, sales reels, promotional
and industrial videos and clips of films
seeking distribution. The program airs weeknights
at 1 1 p.m. on KDOC-TV.
BITS AND PIECES: Rick Berman will produce
and co-write the next "Star Trek" movie
for Paramount. This film will feature the cast
of TV's "Star Trek: The Next Generation."
Berman produced and co-wrote "Star Trek
Generations," which has earned over $75
million to date. ..Filmmaker Norman Jewison
("Moonstruck," "Only You") has signed a
three-picture deal with New Regency Productions.
This move comes after his deal with
Warner Bros, expired in December. ..New
Line Cinema's bid of $1 million against $1 .5
million won the studio Billy Ray's "Legalese,"
a courtroom satire examining the current controversy
of the media's influence on courtroom
proceedings, and the court's
manipulation of the media. Warner Bros, and
Stiefel-Phillips Entertainment bought the
screen rights to "Nathan!" for $250,000
against $525,000. The novel, by John
Gilstrap, is about a 1 2-year-old murderer on
the run. .. Director Miios Forman ("Amadeus,"
"One Flew Over the Cuckoo's Nest") is in
talks to helm Columbia's "Larry Flynt," a
biographical film about the publisher of Hustler
magazine who was shot and paralyzed
during an assassination attempt. Bill Murray
has been discussed for the lead role. ..Universal
paid $500,000 against $750,000 for Joseph
Brutsman and Tony Peck's spec sc ri[)t
"Paul Bunyan: The True Story of a KtO-Foot-
Tall Lumberjack and His 9,0()()-Pound Blue
Ox Babe," in which a scientist linds ihc lolklore
hero and his bovine Iriend picscMAcd
under ice at the North Pole.
CORRECTION: In the April issue of
Bo\onK[, Christie Inc. should hnve heen
credited with supplying platters and consoles
to SoCal Cinemas anil Sony Theatres. Additionally,
AB International supplied SoCal's
amplifiers.— Ed.
EDITOR-IN-CHIEF
Ray Greene
SENIOR EDITOR
Kim Williamson
ASSOCIATE EDITOR
Christine James
EDITORIAL ASSISTANT
Linda Andrade
CONTRIBUTING WRITERS
Alex Albanese
Jotin Allen
Bruce Austin
George T. Ctironis
Carole Glines
Wade Major
Jeff Sctiwager
Shiomo Sctiwartzberg
Fern Siege!
Eric Williams
CORRESPONDENTS
BALTIMORE Kale Savage, 301-367-4964, BOSTON Guy Livingston,
617-782-3266, CHARLOHE Charles Leonard, 704-333-
0444: CINCINNATI Tony Rulhertord, 304-525-3837, CLEVEUND
Elaine Fried, 216-991-3797, DALUS Mary Crump, 21 4-821 -981 1
OULUTH/TWIN CITIES Roy Wirtzteld, 218-722-7503: FLORIDA:
Lois Baumoel, 407-588-6786. Rhonda P Hunsingec, 407-898-
5525: HOUSTON Ted Roggen, 71 3-789-621 6, MILWAUKEE: Waller
L Meyer, 414-692-2753, NEW ENGLAND Allen M Widem,
203-232-3101, NEW ORLEANS Wendeslaus Schuiz, 504-282-
0127, NEW YORK Fern Siegel, 212-647-9166: NORTH DAKOTA:
David Forth, 701-943-2476, OREGON Bob Rusk, 503-861-3185:
PHILADELPHIA Maune Orodenker, 215-567-4748: RALEIGH
Raymond Lowery, 919-787-0928, SAN ANTONIO William R
Burns, 210-736-2323, TOLEDO Anna Kline, 419-531-7702: CAN-
ADA Maxine McBean, 463-249-6039 Inleraalional News: NEW
YORK Mort Wax, 212-3a2-5360, DUBLIN, IRELAND Doug Payne,
353-402-35543, AUSTRALIA Mark A Bacbeliuk, 61-2-588-6189.
FOUNDER
Ben Stilyen
PUBLISHER
Bob Dietmeier (312) 338-7007
NATIONAL ADVERTISING DIRECTOR
Robert M, Vale (213)465-1186
ADVERTISING CONSULTANT
Morris Sctilozman (816)942-5877
EAST COAST ADVERTISING REP.
Mitchell J HaW 1212)877-6667
BUSINESS MANAGER
Dan Johnson (312)338-7007
CIRCULATION DIRECTOR
Chuck Taylor {312)922-9326
OFFICES
Editorial and Publishing Headquarters:
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90028-71 59 (213)465-1 186, FAX: (213)465-5049
Corporate: Mailing Address: P.O. Box 25485.
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ift The
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Chicago, IL 60605
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HOLLYWOOD
REPORT
JULIA ROBERTS
Up for "Days"
STEVE MARTIN
Enlists in "Sgt. Bllko"
ANTHONY HOPKINS
Fixin' to play "Nixon"
)ulia Roberts is more than making
up for her frequent absences
from the movie industry. She'll
be seen in the upcoming TriStar
release "Mary ReiHy" and
Warner Bros.' "The Came of
Love," and has signed to star in
Buena Vista's "6 DAYS, 7
NIGHTS" and Warner Bros.'
"MICHAEL COLLINS." "6
Days" is a romantic adventurecomedy
about a woman who
ditches her boyfriend during
their tropical island vacation
after he refuses to marry her. In
her attempts to return home, she
convinces a pilot to fly her to
Tahiti's airport. But his rickety
aircraft crash-lands on a small,
isolated island, and the two
must endure each other. In "Michael
Collins," a drama about
the Irish revolutionary leader
who fought the Black & Tans to
free Ireland from British rule in
the early 1900s, Roberts will
star with Liam Neeson ("Rob
Roy") and Stephen Rea ("The
Crying Came"). Neeson takes
the title role; Roberts will plays
his lover, Kitty. Lensing begins
in June. Director Neil Jordan
("Interview With the Vampire")
also wrote the screenplay.
"SGT. BILKO" This Steve Martin
starrer, directed by Jonathan
Lynn ("My Cousin Vinny"), is
about a wheeler-dealer master
sergeant who supposedly runs
Fort Baxter's motor pool, but
spends most of his time trying to
rook his fellow soldiers. When
Army officials from Washington
threaten to shut down the base,
Bil ko must come to the rescue
or risk losing his profitable operation.
Andy Breckman wrote
the screenplay based on the
classic television series. "Saturday
Night Live" fellow alumni
Dan Aykroyd, Phil Hartmanand
Chris Rock co-star. (Universal)
"THE WHOLE WIDE WORLD"
Vincent D'Onofrio ("Stuart
Saves His Family") and Olivia
D'Abo ("Greedy") have been
cast in this Depression-era story
about a young teacher's relationship
with a fantasy fiction
writer. The film is based on a
memoir by Novalyne Price Ellis
about her encounters with
"Conan the Barbarian" author
Robert E. Howard. Newcomer
Dan Ireland directs. Shooting is
scheduled to begin in July. r3istribution
is to be set.
"I SHOT ANDY WARHOL" Lili
Taylor ("Short Cuts"), Jared Harris
("Tall Tale"), Stephen Dorff
("S.F.W.") and Martha Plimpton
("Mrs. Parker and the Vicious
Circle") will star in this comedy
written and directed by Mary
Harron. Taylor plays Valerie
Solanas, who won her 1 5 minutes
of fame by shooting and
wounding Andy Warhol in the
1960s. Harris will portray the
popart icon himself. Dorff takes
what promises to be a scenestealing
role as famed Warhol
groupie and transvestite Candy
Darling. (Coldwyn)
"FARGO" Coen Bros, veterans
Frances McDormand ("Blood
Simple," "Miller's Crossing"
and "Raising Arizona") and
Steve Buscemi ("Miller's Crossing,"
"Barton Fink" and "The
Hudsucker Proxy") will star in
Joel and Ethan's latest effort, a
tale of greed, deceit and multiple
murder in a small town.
W.H. Macy ("Homicide") will
also star. (Cramercy)
"PINOCCHIO" Oscar winner
Martin Landau ("Ed Wood") and
Jonathan Taylor Thomas ("Man
of the House") have been cast in
starts shooting in early July.
Steve Barron ("Teenage Mutant
Ninja Turtles") directs. (Savoy)
a live-action version of the classic
Carlo Collodi story about a
woodcutter, Cepetto (Landau),
and his marionette, Pinocchio
(Thomas), who is brought to life
by the magic of the Blue Fairy.
Taylor will wrap "Tom Sawyer"
a few weeks before "Pinnochio"
"ERASER" Arnold Schwarzenneger
("True Lies") has agreed to
star in this action thriller as a
cynical U.S. marshal working in
the Witness Protection Program
who locks horns with a duplicitous
fellow agent perpetrating a
government cover-up. Chuck
Russell ("The Mask") directs.
(Warner Bros.)
"FLIPPER" Another television
show is reinterpreted for the silver
screen, this one featuring the
friendly and intelligent dolphin
of NBC's 1964-68 series. Paul
Hogan ("Lightning Jack") has
signed to star as Uncle Porter,
an eccentric ex-hippie fisherman
who must tame his rebellious
nephew and battle evil
industry moguls who are dumping
toxic waste into the ocean.
Talk about an environmental
film—even the idea's recycled!
The movie is slated for a summer
1996 release. (Universal)
"NIXON" An a ll-star cast is
being assemble d for Oliver
Stone's ("JFK") I atesi political
drama. Anthony Hopkins will
star as Richard Ni xon in this film
which will cxami ne the late torcareer.
Also
mer president's
starring will be Paul Sorvino
("The Rocketec r") as Henry
Kissinger; Joan Allen ("Searching
for Bobby Fischer") as Pat
Nixon; James Woods ("The Specialist")
as H.R. Haldeman; Bob
Hoskins ("Super Mario Bros.")
as J. Edgar Hoover; J.T. Walsh
("A Few Good Men") as John
Ehrlichman; John Diehl (TV's
"Miami Vice") as C. Cordon
Liddy; David Hyde Pierce (TV's
"Frasier") as John Dean; Peter
O'Toole ("My Favorite Year") as
Richard Helms; Mary Steenburgen
("Pontiac Moon") as
Nixon's mother; and Annabeth
Cish ("Mystic Pizza") as Julie
Nixon Eisenhower. Stone is cowriting
the script with Stephen
J. Rivele and Christopher Wilkinson.
(Buena Vista)
"MY BLOCKBUSTER" Michael
Richards, who plays the eccentric
Cosmo Kramer on television's
"Seinfeld," will star in
this comedy as a quirky tollbooth
attendant who is also an
aspiring filmmaker. Sometimes
truth is stranger than fiction;
could this be based on the true
story of "Pulp Fiction's" Quentin
Tarantino, who just a few
years ago was a quirky video
store attendant and aspiring
filmmaker? Richards co-wrote
the script with Steve Adams.
(Columbia)
ET CETERA: Mar\on Brando and
Debra Winger will star in "Divine
Rapture," a dark romantic
comedy about an Irish priest
who tries to mold an introverted
woman into a saint. ..British
actor Ben Chaplin ("Feast of
July") will play Janeane
Garofalo's ("Reality Bites") love
interest in 20th Century Fox's
"The Truth About Cats and
Dogs," a Cyrano-esque romantic
comedy which also stars
Uma Thurman ("Pulp Fiction").
..lason Scott Lee ("The
jungle Book") takes the title role
in "Buddha," a story which follows
the spiritual leader's path
to enlightenment in India. Ron
Fricke ("Baraka") will direct.
..Oscar winners Gene
Hackman and Dianne Wiest
have joined the cast of the Robin
Williams starrer "Birds of a
Feather," a United Artists remake
of "La Cage Aux Folles"...
Linda Fiorentino ("The Last Seduction")
will star opposite Ray
Liotta in MGM's "Unforgettable,"
a murder mystery with a
sci-fi twist. ..Daniel Day-Lewis
("In the Name of the Father") has
signed to star in Fox's "The Crucible,"
based on the Arthur
Miller play about the 1 7lh century
Salem witch trials. Filming
will begin in September. The
film is scheduled lor rele.ise in
1996.
6 BOXOFFICK

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COVER STORY
The RE-
ANIMATOR
In Conversation With
Walt Disney's Nephew,
Roy E., The Walt Disney
Co.'s Self-styled
"Owl in the Tree"
By Ray Greene
It
was, to coin a phrase, a moment of
truth. The Walt Disney Company —abastion
of corporate stability in an industry
where senior executives often measure
tlieir careers in months ratlier than decades—found
itself suddenly at a critical
and destabilizing turning point. A major
management shake-up, with historical implications
for a studio that had come to
symbolize the benefits ofexecutive continuity,
seemed unavoidable. And since that
process was, to an almost unprecedented
degree, playing itself out in public, tliere
were times when it seemed like all hell was
on the verge of breaking loose.
Stock fluctuations had major corporate
shareholders up in arms. The press was
filled to overflowing with speculation about
what might come next. "Nobody paid attention
to anything for eight months because
of all the stufl^that was going on," says Roy
E. Disney, vice chairman of the Disney
board and the sole member of the Disney
Co.'s upper echelon who bears the surname
of its illustrious founders.
Yes, to put it mildly, 1984 was a tumultuous
time.
That wasn't a typo. We said '84, not '94.
For that was the year during which Disney
Co.
passed througli a period of corporate
uncertainty that makes a more recent,
much-publicized (and some would say ongoing)
contretemps which ftoy Disney calls
"the whole overly public thing with Jeffrey
Katzenberg" Accm like a schoolyard snowball
fight. You think the unfimely deatli of
Disney Co.'s mountaineering president and
COO Frank Wells and the departure of studio
produt;fion chief Kiitzcnbcrg wasdisruptive?
Well, 1 years ago, tliere was a very real
possibility that one of that era's companyravaging
corporate raiders— one Saul
Steinberg— might seize control of the Disney
empire in a hostile takeover, and then
spin off and strip-mine its assets, leaving
fiduciary rubble m his wake.
T) get an idea of what "spin off and stripmine"
means, the current state of once
mighty MGM is an interesting case in point.
Tfed Tlimer owns its library of movie titles
("The Wizard of Oz," "Singin' in the Rain,"
etc.). Sony Pictures Entertainment and its
subsidiaries, Columbia and TriStar, are now
ensconced on what was MGM's backlot.
Former owner Kirk Kerkorian retains tlie
right to use the studio's name and logo in
connection with casinos like his moviethemed
MGM Grand in Las Vegas. And
Disney Co. itself has the right to use MGM's
logo and likenesses of its characters to entertain
vacationers at
its theme park operations
all over the
world. If MGM's Leo
the
Lion could burst
into song like one of
the musical characters
that made MGM
famous, he'd probably
croon a plaintive
version of "I've Got
Plenty of Nothin'"
that wouldn't leave a
dry eye in the house.
In 1984, such a fate
might have awaited
Disney Co., which had belatedly ti"i

Roy Disney's high opinion ofhim by recommending
another key member of what became
Disney's dream team: Michael Eisner,
whose successful tenure as head of Paramoimt
was in the process of
unravelling thanks to the imminent
departure of his thenboss,
Barry Diller, for greener
pastures at Fox. "When Michael
came along and got into
the picture, my conception
was that it was a kind of kinship
similar to the one between
Walt and my dad," says
Disney, citing the interpersonal
arithmetic from the
studio's early days, when Walt
Disney functioned as the Disney
Studios' creative genius,
while Roy's father, Roy Oliver
Disney, was tlie company's
financial whiz. "Michael
seemed to me the more creatively
oriented guy, and
Frank was a little more business oriented.
Both Wells and Eisner were already in
discussion with Roy Disney when Saul
Steinberg's takeoverbid threw the company
into turmoil. Wells arranged for Michael
Milken, a not-yet-infamous, high-rolling
'80s financier in his own right, to pledge to
Disney whatever resources it needed to
fight Steinberg off, and eventually the Roy
Disney team put the Disney Co. back under
the board's firm control.
In gratitude, the Disney board named
Frank Wells the company's COO, at Roy
Disney's behest. When the board offered
Eisner the chairmanship of the entire Walt
Disney Co., and Eisner accepted, The Walt
Disney Co.— which had never before hired
top management executives from outside
the homegrown corporate fold—had set the
stage for a modernization program which
of a major motion picture studio to
occur in modem times.
That
long and perhaps slightly overelaborate
resulted in die most spectacular revitalization
case history has been included
here to do a couple of things.
The first is to demonstrate that— far from
being the "shadowy outsider" decried by
certain elements within flie Hollywood and
business press afler Jeffrey Katzenberg departed
Disney for the waiting arms of Steven
Spielberg, David Geffen, and
DreamWorks SKG— Roy Disney was an intimate
(perhaps the pivotal) player in the
decisions that facilitated the corporate "miracle"
begun when Wells and Eisner moved
onto the lot in September of 1984. The
second is to point out that The Walt Disney
Co. has weathered difficult transition periods
in the past— transitions which Roy Disney
not only lived through, but which he
helped to resolve successfully.
The shock waves which rocked Disney's
executive suites last year after Frank Wells'
tragic death in a helicopter crash were real
MUSIC MAN
Composer Alan Menken On Hitting the Right Notes
Ashman (I.) with lyncist Stephen Schwartz
Akin
Menka^ still lives in the
county of his birth, Wcstchestei-
in New York, but the compose)'
lias traveled far iyi career tenns-
Best known for his Oscar-winning
scores for the contemporary Disney
classics The Little Mermaid, " "Beauty
and the Beast' and "A kukUn, " Menken
was 29 when he ami long-time lyiidst
partner Howard Ashman made their
off-Broadway debut with 197Q's "God
Bless You Mr Rosewater,' followed
three years later by "Little Shop of
Honors" (which became the 1986
film)- Other Menken credits include
"Rocky V." "Newsies," "Home Alone 2:
Lost in New York" and "Life ivith
Mikey"—a)id he's about to extend his
resume, as he's "juggling 10 projects
)ight }iow." Among them are enrlij ivork on a couple of future Disney animated releases, "The
Hwichback ofNotre Dame" and 'Hercules'— and, much nearer, the score for 'Pocahontas.
BOXOFFICE: What drew you to music?
MENKEN: As far back as I can remember, music— no pun intended— sttuck a chord in
me. I played instmments from a very early age and was deeply affected and still am deeply
affected by music. It's an innate thing. I'm drawn to it, I love music. Deeply.
BOXOFFICE: Some observers belie\'e that, for musicals, what the Broadway stage
was 50 years ago the Hollywood animated movie has become.
MENKEN: Howard Ashman said, "Animation is tire last great home for the American
musical." And it's absolutely tine. When a Disney animated film is released, it's released
simultaneously everywhere, with the huge amount of support that once upon a time a
Rodgers & Hammerstein musical would have had. An animated musical is a format that
like no other allows you to look at and rewrite your work— in a sense, workshop it.
BOXOFFICE: AVhy has Disney been more successful than other distributors, like
Warner Bros, and Fox, in releasing animated musicals?
MENKEN: The Disney legacy is veiy musical. Tliere's a history of projects drawing on
scores that are highly influencedby musical thetitre. So there's something unique at Disney
that is very attractive to and supportive of people who work in the theatre, especially
musical theati'e.
BOXOFFICE: What approach has your score to "Pocahontas" taken?
MENKEN: "Pocahontas" is the most literal of all my projects, in tliat it's a factual story of
a factual time and a tactual place. I've drawn on Baroque influences for the English settlers
and tried to be as authentic as possible with the Native American music. Specifir^ly, I've
listened to the music of the Eastern Indian tribes and the Algonquians— as opposed, say, to
that oftlie Plains Indians— and tried to wed that into a score which clearly is musical theatre.
BOXOFFICE: Someone once said that every musical ever written has a moment
when the leading lady sits down on something and sings about her dreams in Ufe.
Does "Pt>cahontas" use any of those Broadway conventions?
MENKEN: Thafs a Howard Ashman quote— that's the way Howard would put things: "a
moment where your leading lady sits down on something." Audrey sat down on a garbage
ran. Belle sat down on the fountain and, yes, Pocahontas sits down on a canoe. But, yes,
"Pocahontas" is a very classic musical. It has tlie "I want" moment, it has the big production
number— "Mine Mine Mine," which is about the settlers' lust for gold— and of course the
love song, the main song ofthe picture, "Colors ofthe Wind." It's a traditional arc ofa musical.
BOXOFFICE: Mr. Ashman, of course, was one of the industry's many AIDS
casualties. How has his death changed your life and work?
MENKEN: The main impact has been emotional, in that I lost die person who was
probably the most talented person I've ever known. Howard Ashman already had [a cultural
impact] but he would have liad an impact on our culture tliat would have lasted for all time.
And I lost a friend... Tlie AIDS crisis has had a terrible toll on everybody's lives and certainly
on my career as well. The three people who were my main collaborators 10 years ago are
gone. I can't him to people and say, "Remember this?"—Kim Williamson
enough. But to hear Roy Disney tell it.
June, 1995 9

change within The Walt Disney Co. was
inevitable, and could have been said to be
in the works at the time of Wells' death.
"TWo or three years ago, Michael and
Frank began talking about reinventing the
company," says Disney, "about the seven
year itch, the fact that you're sort ofdoomed
to reinvent things in cycles that way. And
so what happened in this last year, which of
course not only included Frank's deadi, but
to do — the responsibilities he wanted
weren't there for him. They weren't available."
Disney scofife at speculation that Disney
Co.'s 1994 management shake-up resulted
in part from his ovm desire to claim a more
active role in the filmmaking division. "My
role in the company is what it has been for
almost the last 10 years," he says. "It's a little
bit the owl in the tree, a litde bit the philosber
24, 1984, a bunch of us went over to
Lakeside Golf Club and had lunch after the
board meeting. We were aU sitting there
saying, 'Wow, we did it! Finally it's ovef— it
had been a long year Michael looked at me
and he said, 'Now that this is all over with,
what do you want to do?' And absolutely out
of instinct, I said, 'Wliy don't j-ou give me
the animation department? Because although
I never was an animator, I know
them all, I grew up around them.
Disney promises
some new creative
plateaus in
"Pocahontas:^'
"I think you'll
probably see
better 'acting'
of human figures
than you 've ever
seen before.
also eartiiquakes and Hres (in Southern California],
plus the whole overly public thing
with Jeffrey Katzenberg, was that we wound
up reinventing the company. Not because
we just did it of our own volition, but because
it kind of happened to us."
Disney is seated in a sort of living symbol
of that reinvention: the giant, "Sorcerer's
Apprentice"-derived "magic hat" that is the
architectural centerpiece of Disney's gargantuan
new Animation Building. In a
move fraught with all kinds of symbolism,
Roy Disney (who has made the long-rtimored
"Fantasia" redux "Fantasia Continued"
what he calls his "pet project") is
making his corporate home in the still-unfinished
and highly reverberant cement interior
of the pointed, star-emblazoned,
three-story hat itself— so much so that tlie
early portions of this conversation are given
over to such problems as the hat's unique
ventilation and lighting challenges.
Ostensibly, we're here to discuss
"Pocahontas," Disney's 33rd animated feature.
But if Roy Disney doesn't quite seem
to relish them, he doesn't shy away from the
inevitable questions about his (rumored to
be critical) role in Kiitzenberg's departure.
"I think the jierson that had the most to
do with it was Jeffrey," Disney says diplomatically.
"1 think in a psychological sense
it was time for him to move on. The things
he wanted— and this was said over and over
again in the meetings about what he wanted
opher Not too much hands on, and veiy
much deliberately so on my part, because
I've always thought I worked better at a littie
bit of a distance. You keep things in perspective."
Tlie exception to Roy Disney's "hands off"
rule would appear to be Disney animation,
where he is highly visible these days. As
mentioned, his office is now located in the
hub of a building where Disney hopes to
manufacttire tlie next generation of animated
hits, films to stand beside not only
formative classics like "Snow White,"
"Pinocchio" and "Dumbo," but also the films
of what could be called the Eisner era's
"second renaissance": "The Little Mermaid,
"Beauty and the Beast," "Aladdin," "The Lion
King" and (hopefully) "Pocahontas." And
when the studio finally got around to releasing
"Snow White" to home video this year, it
was Roy Disney who taped a special introduction
to the work that transformed his
uncle into an industry visionary: producer
of the first fully animated theatrical feature.
Circumstantially, it could therefore be
argued that Roy Disney is indeed pursuing
a higher profile since Katzenberg's exit. But
according to Disney, the reality of tiic situation
is somewhat different.
"I've certainly been more involved with
animation than with any other aspect of tlie
company for these past 10 years," Disney
says. "On the day ofthe election to the board
of Michael and Frank, which was Septemand
I know that there's more to
drat department then presentiy is e\'ident
on the surface.'"
The very first thing Roy Disney did in his
new executive capacity was to take a look at
the expensive animated feature the new
regime had just inherited from the old
one—a 70mm boondoggle called "The Black
Cauldron" wliich had consumed a then-startling
$35 million (or roughly the same
amount it cost to make Michael Cimino's
studio-busting "Heaven's Gate" during tlie
same era). His reaction was prescient; "Oh
God," he thought of the film that would
become Disney animation's all-time money
loser, "This is a big bad problem. So I said,
'What else is going on?' And they said, 'Well,
John Musker and Roger Clemens are working
on a little thing called 'Basil of Baker
Street...' And I diought, 'Well this is more like
it.'"
After dragging Wells and Eisner dirough
offices, corridors and accessways dirougliout
the old Animation Department while
Musker and Clemens (who would later codirect
"The Little Mermaid" and "Aladdin")
acted out the story of "Basil of Biiker Street"
before some 45 floor-to-ceiling stoiyboaixis,
the new Disney regime "greonlightcd" its
first animated feature, "Tlu^ Great Mouse
Detective," an inexpensive Sherlock
Holmes piirody tliat pioneered much of
what would come to fmition in Disney's
later animated efforts— including Disney's
first
use of computer animation, a process
1 B()XO|-KI('K

which has transformed the animation department
in the years since. "This was before
Jeffrey Katzenberg even got here,"
Disney points out. "This was literally in
about the first 10 days."
ofwhich illustrates the fact that Roy
AllDisney is entitled to a measurable
portion of the credit for the "miracle"
which— in the 10 and a half years since the
Wells-Eisner regime took the corporate
reigns— has transmuted tlie Disney Co.
from an anemic Hollywood also-ran into
the most profitable theatrical distributor in
motion picture history— a process which
climaxed in 1994, when, despite managerial
turbulence, Disney became the first studio
to generate more than $1 billion in ticket
sales in a single calendar year
Last year's stunning fiscal achievements
were paced by animation, thanks to "The
Lion King's" well over $300 million gross. So
there's a lot riding on "Pocahontas," Disney's
animated retelling of the memoirs of Captain
John Smith, who might have met his
end on a Native American chopping block
if not for the intervention of the maiden
Pocahontas.
Disney animated films are often lightning
rods for controversy from the PC
thought police, so an animated feature
about early encounters between English
settlers and the original inhabitants ofNorth
America might seem like a gutsy move. But
despite remaining sensitive to ethnic issues,
Disney says the primary concerns of the
people who made "Pocahontas" were artistic
ones— the presentation ofbe'
true that the English came over here in a
pretty greedy mode, represented by Radcliffe.
All he did was want to get rich and go
home to get knighted, and he made a mess
out ofthe countryside trying to do that... But
on the other hand, John Smith gets out there
[among the Native Americans] and finds out
that they're folks too.
"['Pocahontas'] is a story about how people
have to live together People have to
learn to make peace with each other. Even
though they're very, very different, they
have to live on the same land. And God
knows, it's a story that's applicable in a hell
of a lot of places in the world today."
As to the critical tradition ofbashing Disney
features for failing to pass political litmus
tests, Disney credits the phenomenon
to the fable-like quality animation possesses.
"It has a tendency to be bigger than
life," he says. "You can find anything if you
look hard enough, even if it isn't really
there." He laughs when asked if he feels
Disney films have an obligation to present
positive role models. "Once in awhile you
feel like Charles Barkley. You want to say, 'I
don't want to be a goddamn role model.' I
think what we want to do first is tell good
stories. And what comes out of tlie stories is
hopefully nice little lessons about life."
He promises some new creative plateaus
in "Pocahontas"— "I think you'll probably
see better 'acting' of human figures than
you've ever seen before" is the way he puts
it, using the characteristic Disney Co. euphemism
for bringing animated figures to
life. The decision to go with pictorial "realfeature:
Mel Gibson, voicing Captain John
Smith.
All in all, "Pocahontas" would seem to
have a fair shot at continuing the unprecedented
succession of hits Disney Co. entered
into beginning with "Little
Mermaid"— a string of films ("Mennaid,"
"Beauty and the Beast," "Aladdin," "Lion
King") in which each film has outdone the
one before it to become the all-time animated
boxoffice champ. Roy Disney clearly
wouldn't be averse to the idea of
"Pocahontas" matching or surpassing "Lion
King's" $31 4 million gross, but he sees such
comparisons as fruitless speculation, and
ultimately counterproductive. "It's been
this wild ride," he says, "which has to end
somewhere, really."
Whatever the commercial outcome of
"Pocahontas," Roy Disney is clearly proud
of what the company that bears his uncle's
and father's name has achieved in tlie decade
since he took up his current stams as
Disney's "owl in the tree." The future looks
good to him, and he seems to know in his
heart that, whatever the speculation maybe
during the ups and downs that afflict any
business from time to time, what he has
helped to build will stand.
"Look at the size of this building," he says,
his gesture taking in all of Disney Animation
and beyond. "And look at the bright
people that are here. At this point, there's a
juggernaut going here. And Michael [Eisnerj's
still here, you know, and Michael
loves movies more than anything. He's
down here a lot now. He had been kind of
"My role in the
company is what
it has been for the
last 10 years. It's
a little bit the owl
in the tree, a little
bit the philosopher.
I've always
thought I worked
better at a little
bitofadistance.'^
lievable, fiilly rounded characters
in a well-told tale.
"Because this awfiil term political correctness
keeps coming up, I think we've tried
very hard to be even-handed on both sides
of the issue," he says. "Every Indian isn't a
noble savage. They're people, too... The
same is true of the English. It's absolutely
ism" reflects the basis of the story in "fact"—
or what Disney wisely refers to as its being
"based on a true legend," given the novelistic
exaggerations in John Smith's original
"memoirs." And "Pocahontas" boasts the
vocal talents ofa man who maybe the single
biggest star ever to grace a Disney animated
kept at arm's length in this department for
a long time, so now he's getting to know a
lot of people. He comes to me like once a
week, and says, 'This guy that we're working
with on so and so, what a bright guy.'
And I say, 'Yeah, I told you. There's an awful
lot of flowers blooming in this place.'"
June, 1995 11

SNEAK PREVIEW
A WHALE OF A TALE
With
Producer Lauren Shuler Donner
Discusses Making "Free Willy 2"
By Wade Major
Producer Lauren Shuler Donner and director Dwight Little
on the set of "Free Willy 2: The Adventure Home.
the success of
1993's "Free Willy,"
producers Lauren Shuler
Donner and Jennie Lew
Tligend proved that tlie elusive
of conscience and com-
flision
merce needn't be so elusive after
all. The simple honesty of a 12-
year-old boy's relationship witli a
captive killer whale touched theatregoers
worldwide, validating
the filmmakers' belief tliat environmentally
themed movies
could find a receptive audience.
Since thattime, the "Free WiUy"
francliise has grown to include a
hit animated TV series, a merchandising
mini-empire and the
cx)ming sequel, "Free Willy 2: Tlie
Adventure Home." For a liandson
producer like Shuler Donner,
however, the franchise momentum
alone didn't provide sufficient
guarantee ofa second film's
success. "A sequel was a challenge,
because so many sequels
are made tliat aren't good and
you will inevitably be compared
to the first one," says Shuler
Donner, sitting in her Domier/
Lauren^Shuler Donner Productions
ofiice on the Warner Bros,
lot. "Our attitude was that we had
U > mak(' it betterthiin the lirsl one.
And 1 Uimk we did that. Anotlu'r
challenge was tliat we made it so
much bigger There are four
whales instead of one, and tliere
are diree kids instead of one."
The story of "Free Willy 2"
picks up two years later and
finds Willy and young Jesse
(Jason James Richter, reprising
his role ) botli dealing wifli family
ti"oubles. While Willy contends
with an unruly brother
and sister in his orca pod,
Jesse experiences friction
with a half-brother named
Elvis (Francis Capra). An
unexpected but welcome
reunion of the two friends
occurs in the waters of the
Pacific Northwest, but tlieir
happiness is cut short by an
offshore oil spill tliat threatens
to doom Willy's family
if Jesse and his friends
can't mobilize help in time.
Filmed on and around
Washington State's San
Juan Islands, where Shuler
Donner and her husband, director
Richard Donner, have a
home;, "Free Willy 2" strikes a
personal chord for her From
their island home, says Shuler
Donner, "my husband and I
often see oil tankers coming by.
Because we have so much marines
life by our house— whales
and diilphiiis and se.ils and otters—it's
frightening to think
there could be a spill right there.
It could wipe them all out."
Despite the seriousness ofthe
film's subject matter, Shuler
Donner— whose earlier credits
include "Dave," "St. Elmo's Fire"
and "Mr Mom"—knew they had
to meet audience expectations if
the sequel were to match its
predecessor's
fine success with
families. After
clearing the initial
hurdle of reuniting
tiie
cast
(including Keiko
the whale, plus
Richter, Michael
Madsen, Jayne
Atkinson, August
Schellenberg
and Mykelti
Williamson), the producers
worked closely with director
Dwight Littie ("Rapid Fire" and
"Marked for Death") and writers
J^ren Janszen, Corey Blechman
and John Mattson to expand
on the original's sense of
friendship and humanity while
striking a balance with the
sequel's action sequences.
"We were very conscious to
make sure tiiat we were going to
be honest in tenns ofemotions,
Shuler Donner says. "I was actually
afraid that fliere was too
much action, too much danger
There's a lot at the end. My fear
at that point was, 'Are we going
too far?' Because when some-
"Passion takes you a
long way. Ifyou love
what you 're doing,
ifyou believe in
yourself, that's
your barometer.
thing gets scan',
when there's
too much jeopardy, children
don't like it. So I was the voice
of restraint. Counterbalancing
that was Dwight, who said,
'Let's do it.' And what came out
of that was perfect."
Stoic believers in practicing
what they preach, the production
team also matic certain that
the film's shoot was as environmentally
responsible as the
film's underljdng message. One
of the stickier challenges, notes
the Cleveland-bom producer,
was simulating a real-life oil spill
without suffering the real-life
consequences. "We couldn't put
any substance in the water,"
Shuler Donner says. "We tried
making oil out of molasses or
oatmeal and
other friendly
substances, but it
was still gook on
the water that
would obstruct
the photosyntliesis
of eel grass."
But the film's
key environmental
concern remained
the wellbeing
of Keiko,
the now-famous orca. "We're
sending him up to an Oregon
coastal aquarium that takes in
wounded mammals and heals
them," explains Shuler Donner
of her Willy star, which lias long
been battling a skin virus. "We're
building a bigger tank and hopefiilly
we'll have a four-year rehabilitation
program, after which
the scientists and doctors will
say we can reintroduce him to
the waters where he was captured."
(For fllmgoers wishing to
contribute to a fund for Keiko's
care, an 800 ninnber will iim on
all prints of "Free Willy 2.")
Even as audiences ready for
the sequel's release, Shuler
Donner is hard at work on
do it.
ftmire productions, including
big-screen adaptations
of "Jonny Quest" and
"Speed Racer" "I learned
that passion takes you a
long way," she says of the
drive that has carried her
into the ranks of Hollywood's
most respected producers.
"If you love what
you're doing, ifyoubeliovr
in yourself, tliat's your
barometer Don't do it because
somebody told you to
TYust your, instincts and
follow your passions."
F)n: Willij 2: The Advcntwv
Home" Starring Jason James
Richter Directed by Dwight Little
Written by Karen Jaitszcn, Co)vy
Blechman and John Mattson. Pivduced
by Lawr.n Shuler Donner
and Jennie Lew Tiigend. A
Wtinicr Bros releasf July 2L
12 BOXOFFICE

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B0695

SNEAK PREVIEW
A FAMILY "TIE"
Actress Moira Kelly Reveals Her
Maternal Side In ''The Tie That Binds "
By Kim Williamson
Moira Kelly with director Wesiey Stricif and co-star Julia Devin
on the set of Buena Vista 's "The Tie That Binds. "
Kelly believes that,
Moira
in real life, being a
mother is the "role of a
lifetime." At this point in her
career, the 26-year-old remains
single and childless but, with
her new role in "The Tie That
Binds" Kelly can live her dream
at least on the big screen.
In the thriller, which marks
the directorial debut of screenwriter
Wesley Strick ("Cape
Fear"), Kelly plays an adoptive
mother of a six-year-old girl
whose biological parents (Keith
Carradine and Daryl Hannah)
come calling for their progenywhile
they're on the run for
murder "It is my job to protect
this child," explains Kelly, sitting
in her trailer while taking a
noon break from a fall day's
shoot in Pasadena, Calif "And I
never thought that I would be
called upon so early in the relationship
with the child to protect
her this way. lb be tested."
Well known for her turns as
coming-of-age women in the
likes of "The Cutting Edge" and
"With Honors," Kelly sees her
role in this Interscope production
as a test of another sort— at
least in producers' eyes, who
might be unaccustomed to "th(!
idea of me playing a
motlier"
When Disney's Hollywood Pictures
releases "The Tie That
Binds" this August, Kelly hopes
that "Hollywood will look at me
and say, 'Okay, I can see it:
Moira Kelly can play a mom.' It's
been hard for me to prove to
them that I can play a 20-yearold
sometimes," she says,
chuckling. "They see me as the
young college girl, or even
back in high school."
For those that know
Kelly well, though, her
playing a mother must
seem like typecasting.
Growing up in a small Long
Island town, "I just wanted
to be married and to be
happy ever after," she recalls.
"I used to babysit a lot,
and I used to be a nanny.
So all those old tricks and
instinctual things that I had
when I was taking care of
kids back tlien are coming back
to me [on the set] and reminding
me of times I had working with
kids. Really .good, fun times.
Julia [Dcvin, who plays tlie little
girl] is amazing and so much
fun. Children are so creative
and imaginative that they just
bring you to life all over again. I
feel warming, maternal emotions
on this film."
Outside movie sets,
though,
her life is a different story. "Why
am I not a mom yet?" she asks
rhetorically, laughing. "It takes
another partner, actually, for
that to happen. This is something
I like a lot of people who
are looking to get into this business
to realize: It's not as easy a
life as you think. It means sacrificing
a lot of
things like timi
,
and a settled
place— especially
being in my position
and at my
age. Still kind of
starting,
getting
in fliere, proviny
myself. You're
always moving
here for three
months, then
here for three months. Tiying to
get someone to accept tliat—
that you're going to be away for
that amount of time— is hard. I
don't like being away from my
family and friends all the time.
I don't like not being able to plan
things months in advance because
you don't know where
you'll be. It takes a lot out ofyou
to be in this business."
When she's not at work, Kelly
is more than likely to be back
home with her parents. "Family
is everything," Kelly says.
"Tliey'll accept you for anything
you do. They'll love you through
everything, they'll support you
through everything. They'll al-
"Family is everything.
They 11 accept you for
anything you do. They'll
love you through everything
[and] they 7/ always
be there if you need them. "
ways be there if you need them.
And th(!y're the most honest
people that you'll ever come
across. They'll tell you exactly
what you need to know."
Those etlnics, of course, aren't
commonly regarded as tliose of
Hollywood, and Kelly's involvement
with the entertainment
industry strikes some as surprising
because she is a di'vout
Catholic— as if Holh^wood and
Catholicism were entirely
different
creeds. "Well, Hollj'wood
and anything are entirely different
creeds," she says, laughing.
"HoUy^vood is a world all its own."
Another frequent point of interest
in Kelly is how she balances
her religious beliefs ^sath
the nude scenes she's done—
and has since rethought
her position
on. "I find
nothing wrong
with the naked
body," Kelly says.
"I'm capable of
going to museums
and looking
at sculptures and
paintings and
being 'responsible'
for the beauty
of the piece, rather than
some perversion of the piece.
But in movies it's too easy for too
many people oftoo many different
backgrounds, too many beliefs,
to go and see what it is that
you are doing. I don't think a
majority of audience members
are 'responsible' to the actual
piece they're watching. Thej'
should say, 'I'm not here to get
my kicks from looking at a
naked body.' But all a lot of people
see is the naked body and
they go 'off So I look at it now
as mv responsibility not to give
them something to go 'off on."
(As fate would have it, Kelly's
next project is "Dorothy Day," a
tjiopic about a 1920s Catholic
relief worker/activist.
The film is being made by
Paulist Productions.)
As for what her own fixture
holds, Kelly says tlie
day may come when Hollywood
no longer entices
her "Everyone says, 'Don't
say that! Don't let anyone
know that!' But it's true. I'm
happy to be here, but tliis is
not If for me. Maybe one
day I w\\ be mairied \\'ith
kids, and I'd like that."
Which is no surprise. As Krll\-
says, "Family. That's it."
TIjc Tic Tliat Biiuis Stamng
'
Moira Kettij, Da>yl Hannah, Vincent
Spano and Keith Canadinc
Directed by Wesley Strick. Wntten
by Michael Anerbach An Interscope
pwditction A Buena Vista
release. August.
14 BOXOFFICE

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SYU/AIMIA
Response No 29

TRAILERS: JULY
Under Siege II: Dark Territory
In this action/thriller sec|uel to the New
Regency success, an ex-Navy SEAL (Steven
Seagal) tries to prevent a renegade technoexpert
("Talk Radio's" Eric Bogosian) from
destroying the Pentagon and Washington.
Katherine Heigl ("My Father, the Hero") and
Morris Chestnut ("Boyz N the Hood") co-star.
Geoff Murphy ("Freejack") directs; original
writer J. F. Lawtonand Donjakoby ("Arachnophobia")
script; Regency head Arnon Milchan
produces with Seagal and with Steve Perry
("True Romance"). (Warner, 7/14)
First Knight
This romantic adventure puts a spin on the classic Arthurian tale by being
told from the point of view of the rogue kniqht, Lancelot (Richard Gere),
who falls in love with Lady Guinevere ("Legends of the Fall's" Julia
Ormond), wife of the beloved King Arthur (Sean Connery). Jerry Zucker
("Ghost") directs and produces; Wifliam Nicholson ("Nell"' scripts. The film
follows UA's "Rob Roy" and Paromount's "Braveheart" in the studios'
Middle Ages movie competition. (Columbia, 7/7]
Waterworld
In a future when the continents have been
covered by ocean, a sohtary gilled-andwebbed
hero (Kevin Costner) takes a woman
(leanne Tripplehorn) and an orphan (Tina
Majorino) to find a safe haven. Dennis Hopper
is the leader of marauding pirates. Kevin
Reynolds (who teamed with pal Costner for
"Robin Hood: Prince of Thieves" and helmed
the Costner-produced South Seas saga "Rapa
Nui") directs; David Twohy ("Terminal Velocity")
co-scripts; Costner, Chuck Gordon ("Die
Hard") and John Davis ("The Firm") produce
this epic, whose record budget, once estimated
at $130 million, could have docked
seaward of $ 1 75 million. ((Jniversal, 7/28)
Cutthroat Island
Another big budgeteer, this high-seas adventure
stars Ceena Davis and Matthew Modine
("Wind") in a 1 7th-century tale of a feisty
maiden, a dashing gambler, black-hearted
pirates, duels, death, bleached bones and
glidinggalleons. "Cliffhanger's" Renny Harlin
(Davis' spouse and production partner) directs
and produces; executive producing is Mario
Kassar, head of the often-epic-delivering
but as-often-financially-teetering Caroico
{"12," "Stargate"), which sold other development
assets to fund production. (MGM/UA)
Operation Dumbo Drop
Danny (,l(jvi'r ("liopha!"), Kay Liotta ("No
Escape") ,v^d Denis Leary ("The Ret") team in
this Vietnam-era story about Green Berets
who are assigned especially ha^^ardous duty:
transporting an elephant. Simon Wincer
("Lightning lack") directs this Inters; ope production.
(Buena Vista, 7/14)
The Indian in the Cupboard
A boy ("Searching for Bobby Fischer's" Hal
Scardino) discovers that a toy Indian can
transport him to a world of adventure. Lindsay
Crouse ("Bye Bye, Love") and Richard Jenkins
("It Could Happen to You") co-star for director
Frank Oz ("Housesitter"). Melissa Mathison
Kathleen Kennedy ,\nd frank
("E.T.") scripls;
Marshall (the "Congo" team) produce with
Scholastic Prods.' Jane Startz ("The Babysitters
Club"). The $45 million film is a coproduction
with Columbia, which handles
overseas theatrical. (Paramount, 7/1 4)
The Tenderfoot
Contentious cub scouts on a tamping trip
mistake an escaped (but innocent) convii t for
an experienced guide. Daniel Stern ("City
slickers") stars and executive produces; Greg
Beeman ("Mom and Dad Save the World")
directs; scripting is a lag-team trio— I'eter &
Bobby Farrclly ("Dumb & Dumber"), Thomas
Russell Swerdlow (S< Mi( hael Scott Cioldberg
("Cool Runnings") and letfrcy Price & Peter
Seaman ("Doc Hollywood"). (Fox, 7/28)
An Awfully Big Adventure
Two key talents from "Four Weddings and
a Funeral"—star Hugh Grant and director
Mike Newell— rejoin for this '50s-era Liverpool
tale about a rebellious 1 6-year-old (newcomer
Georgina Gates) who takes a job with
a local theatre company, forms a crush on its
heartless director (Grant) yet charms his cast
with her naive yet ingenuous beliefs. The
arrival of a local theatre star (Alan Rickman
from "Robin Hood: Prince of Thieves") called
in to save a production of "Peter Pan" makes
the mix only more combustible. Peter Firth
("Shadowlands") co-stars. Charles Wood
adapts the Beryl Bainbridge novel. (Fine Line)
The Innocent
In post-World War II Europe, a naive but
highly skilled technician (Campbell Scott)
sent to assist a joint U.S./British intelligence
team on a secret operation. Against the advice
of an older colleague (Anthony Hopkins), he
has a dangerous love affair with a mysterious
Berlinerdsabella RossellinD.JohnSchlesinger
("Yanks") directs; Ian McEwan ("The Good
Son") adapts his best seller. (Miramax)
Smoking and No Smoking
Companion tilnis In I leruh director Alain
Resnais follow seven characters through variations
of experiences that occur after a
schoolmaster's wife decides whether to
smoke a cigarette. Sabine Azema and Pierre
Arditi (Resnais' "Mon Oncle D'Amerique")
star in this adaptation (by lean-Pierre Bacri
and Agnes laoui) of playwright Alan
Ayckbourn's "Intimate Exchanges." (October)
A NOTE TO OUR READERS:
Our Trailers section is
designed to provide
long-lead information on
films slated to premiere in
the month after our cover
date. For current titles
and release dates, please
consult the Studio and
Independent Feature
Charts in each issue.
is
16 UOXOII'ICK

Free Willy 2: The Adventure Home
Actors Jason James Richter, Jayne Atkinson,
Michael Madsen and August Schellenberg,
co-scripter Cory Blechman and producers
Lauren Shuler Donner and Jennie Lew Tugend
all return for this sequel (to the summer 1 993
hit), which finds the boy Jesse and his nowfreed
orca Willy once again joining forces to
overcome troubles. Dwight Little ("Rapid
Fire") directs. 5ee our Sneak Preview on page
/2. (Warner, 7/21)
Living in Oblivion
Steve Buscemi ("Airheads") stars as a firsttime
filmmaker fighting to complete a lowbudget
production despite two explosions,
two nervous breakdowns and a melee of fisticuffs.
Dermot Mulroney and James Le Cros
(both from "Bad Girls") and Danielle von
Zerneck ("La Bamba") co-star for writer/director
Tom DiCillo, who won Sundance's screenplay
award with this film. (Sony Classics)
Plein Soleil
This re-release of Rene Clement's 1959
French classic (originally called "Purple Noon"
stateside) is based on the Patricia Highsmith
novel "The Incredible Mr. Ripley" and stars
Alain Delon as an angelic-looking young man
who can't hold a job but is the darling of the
social set. When his father offers to pay him to
bring back an errant son, he travels to Italy and
lives the good life with his brother until the
money dries up—and then discovers a more
sinister way to maintain his lifestyle. Clement
also co-adapts with Paul Gegauff. (Miramax)
Roosters
A story of a Latino family struggling to succeed
in the Southwest, "Roosters" stars Edward
James Olmos, Sonia Braga ("Moon Over Parador")
and Maria Conchita Alonso ("The House
of the Spirits"). Robert M. Young ("American
Me") directs and Milcha Sanchez-Scott scripts
this KCET Theatrical production. (I.R.S.)
(CONTINUED ON PAGE 18)
New In June...
"Bandit Queen," directed by Shekhar
Kapur ("Masoom"). is based on the reallife
prison diaries or the recently released
Phoolan Devi, who's accused of massacring
upper-caste men, yet who's worshipped
as the Goddess of Flowers.
(Arrow)... "Mod F— Explosion," directed
by Jon Moritsugu, tells of dysfunctional
teenagers trying to find love in a chaotic
world, and 'Liaoilify Crisis," directed by
Richard Brody, relates a young Jewish
man's sexual hangups and his obsession
with the Holocaust. (Filmhaus)...From
Senegal comes "Hyenas," a drama directed
by Djibril Diop Mambety (Kino).
Held Over...
Nicole Kidman and Matt Dillon star in
Columbia's TV-age satire "To Die For"
(see January issue), now 7/21. Buck
Henry ("The Graduate") scripts; Laura
Ziskin f'Pretty Woman") produces. Director
Gus Van Sant is famous and infamous
for the art-house hims "My Own
Private Idado" and "Even Cowgirls Get
the Blues"... Alicia Silverstone remakes
Beverly Hills teens in Poromount's "Clueless,"
now 7/28 (see May issue). ..Ben
Kingsley and Forest Whitaker fight a
dangerous mutant in MGM's "Species,"
now 7/7 (see May issue).
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HAPPY 30TH
ANNIVERSARY
D DOLBY
DD Dolby SR
nnI
DOLBY
DIGITAL
^n*. an-"""
Arrm
THEATRES
THE WORLD LEADER IN DOLBY DIGITAL INSTALLATIONS

Friends
This story of three South African women
stars "Shallow Grave's" Kerry Fox as a white
political activist, Michele Burgers as an
Afrikaner archaeologist and Dambisa Kente
as a black teacher, all ofwhom are roommates
in Johannesburg. When the activist plants a
bomb that kills two innocent people, the
women's friendships are tested. South African
Elaine Proctor makes her directing/writing
debut; Judith Hunt produces for England's
Film Four. (First Run)
Kids
A day in the lives of three teenagers in New
York s Washington Square Park is chronicled
in this directing debut of lensman Larry Clark.
The script is by Harmony Korine, a 19-yearold
the director met while photographing
young people in the square. Cary Woods
Nine IVIonths
From director/writer/producer Chris Columbus ("Mrs. Doubtfire") comes this
sfory about the ups and downs of pregnancy, told from the perspective of two
expectant husbands. One, who has three daughters, dreams of having a son;
the other, who's childless, lives in fear of life with a baby. Hugh Grant stars
withTom Arnold, Julianne Moore, Jeff Goldblum and Joan CusacK. (Fox, 7/1 4)
("Threesome") produces; Cus Van Sant executive
produces; Christine Vachon and Lauren
Zaiaznick (the "Swoon" duo) co-produce.
The film was expected to be rated NC-17,
causing Miramax and parent Disney—which
had the same problem last spring with "You
So Crazy"—more controversy. (Miramax)
Roy Cohn/Jack Smitli
Two gays— a homophobic right-wing lawyer
and an underground artist, who both died
of AIDS in the 1980s—are the subjects of this
one-man performance by Ron Vawter. jil
Godmilow ("Waiting for the Moon") directs the
Jonathan Demme presentation. (Strand, 7/14)
Two Plus One
Eugene Martin's romantic comedy about
relationships among Philadelphia yuppies
stars Hal Hartley constant William Sage
("Simple Men," "Trust") and Deirdre Lewis
(sister of Juliette). (Filmhaus)
Tlie Plutonium Circus
This whimsical look at what happens at the
final assembly point for American nuclear
weapons now that the Cold War is over won
the best documentary nod at Austin's South
by Southwest film test in March. Director/producer
George Ratliff takes his cameras to
Amarillo's Pantex Nuclear Facility, which
now handles the dismantling of the MIRVs
and ICBMs it once put together. (Greycat)
Blaxploitation Festival
The likes ot "Superfly," "Uptown Saturday
Night," "Cleopatra Jones" and "Coffy" return
to the big screen via this fest of blaxploitation
efforts. (Kit Parker, 7/20 NY & San Francisco)
Dangerous IVIinds
Michelle Pfeiffer stars as a compassionate woman who exits the Marines to
be an inner-city schoolteacher and fights to change a complacent educational
system that no longer educates in this film that earlier bore the title "My Posse
Don't Do Homework." George Dzundza ("Crimson Tide") co-stars for director
John N. Smith; the dynamic duo of Don Simpson and Jerry Bruckheimer ("Bad
Boys") produce for FHollywood Pictures; Oscar winner Ron Bass ("Rain Man")
adapts the nonfiction book by Louanne Johnson. (Buena Vista, 7/28)
Country Life
A turn-of-the-century Australian sheep
farm is thrown into chaos with the arrival of
a long-lost son-in-law, whose sophisticated
manners and new English wife threaten to
unbalance the farmers' earthy existence. Yet
another film based on Chekhov's "LJncle
Vayna" (Sony Classics recently had "Vayna
on 42nd Street"), "Country Life" stars Sam
Neill, Greta Scacchi and Kerry Fox (also in
"Friends"). Michael Blakemore ("Privates on
Parade") directs and scripts; Robin Dalton
("Madame Sousatzka") produces. (Miramax)
Johnny 100 Pesos
A Spanish-language film from Chile,
"Johnny 100 Pesos" tells the true story of a
bungled burglary, political malfeasance and
media overkill. (I.R.S.)
June, 1995 19

ANNIVERSARY SALUTE
NOISES OFF
CELEBRATING 30 YEARS OF
SOUND IDEAS WITH RAY DOLBY
OF DOLBY LABORATORIES
By Ray Greene
Editor-in-Chief
Dolby. Wliett it comes to audio applications
tubbing
for theatrical etivironments, it's one of those
equipment At that
. ,
time, it ^^•as the practice to
names to conjure with.
re-record the whole reel
_
Tbckqj, it seems like everyone is in the process of upgrading to one or the oilwrofthe "state every time tliere was a misoftlte
art" audio systetiis available to exhibitors. But it wasn't alivays tliat ivay. Regai'dless take so that you ended up
of individual sound system preferences, modem exhibition is more than a bit obliged to Ray ^""'^^
several generations or
Dolby , whose pioneering role in the popidaiization of higlier moine sound standards could ,.1 c i
^^ i, , c
almost be likeiwd to tliat of Hcniy Ford and the popularization oftlie automobile. course these film dubbin^
Tlie fact that Dolby us cunvntly celebrating its 30th annivei'sanj says something about the units were verj' poor in
tenacity of Dolby's early sti7igglcs to coninnce the world that bcttei- acoustic quality was not terms of tlneir frequency rejust
possible but desirable for theatrical exhibition. Tlie pitched battle that cwrentlij rages ®P°"^^ ^"f distortion, they
ygg^J ygjy [g^, Jjjgg trCqUeilaround
tlie
'^ ^ -a
.
three competing (and acoustically supei'b) digital delivciij fonnats should not cies and equalization characobsciirc
the debt that anyone who seeks to create an audiophilc quality listening environment teristics that resulted in a lot
in movichouscs owes to Ray Dolby. He iias among the fiist to push for a better wcqj, and tlie
battles lie fought and eventually won made tlie path of those whofolloiivd tliat much easier
to travel.
'^ ' '
of distoition. I realized tliat a
big clean-up operation had to
^e done before I could apply
my noise reduction unit in
Bo.xoFFiCE: ^Vhat is tlic Ijcginning of
the story of Dolby Laboratories':'
DOLBY; The beginning was my identification
of die fact that film sound was really
in very, very bad shape back in the mid-60s,
and so I wanted to devise a noise reduction
system that would improve film sound. 1
had previously been at Cambridge University
where I did a lot of tape recording just
for fun, and I was very aware of the problem
of hiss and noise in tape recording. But it
was really the state of film sound that made
me realize there was a great opportunity to
make some significant improvements. So 1
went back to England, and set up my company
on May 17th of 196.5.
B().\offk;e: Once you b

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Response No. 1 10

qiialiU' of the sound.'
BoxomcE: Describe the ciieation of
your first noise reduction system.
DOLBY: People had been designing
noise reduction systems for 30 years when
I
started to work on this project. From the
mid-1 930s, people had been trying to crack
this problem, but they overlooked one crucial
fact, and that is that the noise that you
want to reduce is really very, very tiny in
comparison to the loudest signals that you
are dealing with. Typically, noise is only one
percent or less of flie amplitude of the loudest
sounds. The mistake that was consistently
made was that [other engineers had]
sent the whole signal through a compression
process [to get at fliis one percent], and
that distorted and damaged the entire signal,
and gave noise reduction systems a bad
name. The studios had tried dozens ofthem,
and none of them worked to their satisfaction,
so it began to be felt that no one would
ever solve this problem.
I
hit on the idea of sending the high-level
signals straight through, of not doing any-
"In so many ways, we take
low grade performance as
normal because we 're so
used to it.
For example, the
telephone gives us a tinny
sound that 's distorted and
filled with noise. Yet we
accept the telephone, and
there is no great urge or
Founded
Dolby: 30 Years of Sound Ideas
in London in
by John F. Allen
Special to Boxoffice
1 965 with only four assistants, Ray Dolby's Dolby Laboratories
has grown into an international manufacturing and licensing business with offices in
England, the United States as well as Japan. Annual revenues now exceed $40 million.
Dolby's core business has been the development and marketing of products which reduce
or eliminate the audibility of noise associated with recording and transmission systems. In
addition to a record of elegant engineering, the company's success is equally owed to a small
dedicated staff of application specialists who provide (often in person) technicians around
the world with help in using what has become a wide range of Dolby products.
The first noise reduction system was completed in the summer of 1965. Called "A type",
this development became the foundation upon which Dolby built its products for the
recording, television and motion picture industries. The type "A" system was first used with
a commercial recording in 1 966. The first long playing record mastered with Dolby "A" was
released in November, 1 966. Today, over 1 70,000 channels of "A" type have been sold.
1967 saw the first development of a more economical consumer noise reduction system
known as "B" type and subsequent licensing activities. The "B" type system revolutionized
the use of the audio cassette and changed the way we bought prerecorded music. Today,
over 500 million products utilizing a Dolby circuit have been produced worldwide.
By 1970, Dolby had begun to make small inroads into the motion picture industry. In
December of that year, "A Clockwork Orange" became the first conventional optical
soundtrack release mastered with Dolby noise reduction. By 1 976, Dolby's stereo optical
soundtrack including a surround channel had been developed and was in use in theatres.
This soundtrack made it practical to exhibit motion pictures in stereo without the cost and
reliability problems associated with older magnetic striping techniques.
Six years in development, Dolby Spectral Recording (SR) was introduced In 1986. The SR
system took analog recordings and optical motion picture soundtracks to the practical limit
of their performance capabilities, giving a new lease on life for analog studio facilities facing
competition from digital recorders and other devices. Since its introduction, SR has been
installed in over 7,000 theatres, over 90,000 audio channels and used with over 500 releases.
Beginning in 1 985, Dolby Laboratories embarked on research exploring ways to reduce
the number of bits required to store or transmit digital audio. Seven years later, this work
had advanced to such an extent that a six channel, reduced bit rate digital motion picture
optical digital soundtrack, Dolby Digital, was introduced in ten theatres with "Batman
Returns." Today, some 1,700 theatres are equipped with the Dolby Digital process.
Ray Dolby's legendary "little" sound company has earned its success, one could say, the
old fashioned way: one well-conceived product and one satisfied customer at a time.
Copyright 1995, John F. Allett. All RigJits Reserved.
push to improve that.
That's the way movie sound
was back in the 1960s.
thing to diese signals. I devised a side chain
tliat could identify the existence ofvery low
level signals [containing audible noise], and
which allowed low-level signals to pass
through to be processed. If a high level
signal came along, this side chain would
block the high level signals fi'om getting
through. And then I added a 'subtractor,' so
that the high level signals gomg to the main
signal path and the low level signals going
to the side chain. ..these two signals with
noise join up in the subtractor and cancel
each other out. Its the cancellation process
that reduces the noise, and whenever the
signal is loud, the cancellation effect di,sai>
pears, because the signal is prevented from
getting through the side chain. One thing
that's oflen misunderstood about this process
is that its perfectly complementary, in
other words, the plaj'back half exacdy undoes
what the recording half did.
Boxoffice: Where fUni use of Dolby
processing is concerned die ixn'olutionary
moment is 'Star Wars,' isn't it?
boLBY: Well, I don't know. That was our
tenth or twelfth film. But that's the one that
popularized our process.
BoxoFHCE: I'd always been under die
impression that was your first film
project, as a matter of fact.
DOLBY: No, no. We were pretty far down
the line when that took place. That was in
1977. We had made mono films for several
years, then we started the stereo process in
about 1973-1974, and then we added surround
in about '75, '76. The Barbra Streisand
film 'A St;ir is Bom,' that was the first one
that used our sunoimd.
Boxoffice: Which mak(\s p(;rfect
senst; beciiuse that was a nuisit;-basc(l
film and as a n^cordin}; artist she would
hav(; b(;en lamiliar t\'i(h \()iir ((^chiiologj'.
I
do want to talk about 'Star Wat's,'
b(;c

ecause we're so used to it. For example, the
telephone gives us a tinny sound tliat's distorted
and filled with noise. Yet we accept
the sound of the telephone, and there is no
great urge or push by anybody to improve
that. I think that's the way movie sound
was back in the 1960's.
BoxoFFiCE: When you look back over
the thirty year cycle of your company,
are you shocked by the journey?
DOLBY: Actually, I'm sui-prised that it
took as long as it did. I thought things
would happen faster When I visualized
starting my company back in 1964 I
thought, 'Well, after I open my doors and
introduce this unit, I'll be welcomed w\\h
open anns, people w\\\ be so glad I solved
this problem.' It was really an eye-opener
to walk into recording studios and be told
by chief engineers that tliey don't have a
noise problem— tliey align their tape machines
every morning and they're quite
happy, thank you. I realized that if someone
doesn't think he has a noise or quality
problem, he doesn't. Everything is within
one's own mind. But there were a few engineers
who were really bugged p^y the standards
of the day]— they weren't in the
majority—but for those few engineers, my
equipment could do something. And gradually,
even the other engineers got used to
low noise, so they're shocked and disappointed
if they go into a recording studio
and are presented widi the bad old days
again.
BoxoFFiCE: Are there any more problems
left to solve?
DOLBY: Well, I think in the last several
decades, recorded sound quality has risen
"People had been designing
noise reduction systems for
30 years when I started to
work on this project. From
the mid- 1 930' s, people had
been trying to crack this
problem. But they overlooked
one crucialfact..."
methodically to something that's pretty
close to perfection now.
BOXOFFICE: Would you say that digital
technologies perhaps make it easier for
the average theatre operator to exploit
that level of perfection?
DOLBY: That's probably true. But I
would say that the main advantage we bring
with our digital system is discreet 6 track
sound. The post-production industry has
had plenty of experience with six track
discreet sound; all we've done is to make it
possible to have tliose effects and that level
of quality on a 35mm print, which of course
is veiy cheap in comparison with a 70mm
magnetically striped print. It's about onetenth
the price.
BOXOFFICE: Is that discreet 6 track capability
unique to Dolby digital?
DOLBY: No. All tliree systems give you
70mm sound quality using 35mm prints.
BOXOFFICE: You're an institution, you
run a major corporation —
DOLBY: It's not a major corporation. But
we have 300 employees.
BOXOFFICE: Let's say a major force in
the Industry. Where are you putting
your personal creativity these days?
DOLBY: The last major project I personally
designed was the SR system— Spectral
Recording process. That took me about
seven years. It's a very complicated circuit.
Since tlien, I've been advising and guiding
my engineers, and working with them to
develop our digital sound system for films,
and also working witli them in utilizing the
same process in other environments.
BOXOFFICE: With the rise of this information
superhighway we keep hearing
so much about, are there going to
be new worlds to conquer there?
DOLBY: Yes. Our AC3 system is already
being used to deliver music on cable. So it's
still a matter of developing the technology
and then finding the right applications for
the thing you've created.
^m
June, 1995 23

"FROM WHERE I SIT... 99
Our Forum For Readers Just Like You
A LOOK
BACK AT
BOXOFFICE
This month's column, a sample ofthe warm response
we received to our 75th anniversary issue (which
prompted many readers to write oftheir fond memories
from BoxOFFiCE's long history), comes from a long-ago
employee of the magazine, who recalls his days as West
Coast editor and where he's gone from there.
By Dale C. Olson
nation's theatre owmers, who needed to
know all about the pictures they were going
to book and also how to sell them. As pan
of our reviews, we had to tell them if a
picture looked as if it would attract an audience,
and we also had to give them general
ideas— what we called Exploitips— ofhow to
promote a picture.
So I spent my first weekend before starting
work poring over years of earlier
BOXOFFICE issues. It was like cramming for
a test, but it was a test I passed—and it was
die real basis for everything I've done in this
business. TVvo years of Boxofhce, in the
shadow of Ivan Spear and his famous
"SpearHeads" column (in wliich he told it
like it was and never let anyone get a^vay
widi an\tliing), was like going to mo\ie
college. It got me noticed by everj' studio
and every distributor and exhibitor
Later, it got me another job as a reporter
and reviewer on Daily Variety for six years
and then a spot as publicity director for
Mirisch Corp., which had become tlie top
independent production company of its day
and was owned by former exhibitors who
liked my knowledge of tiiat area of the
business. My first assignment— the public-
75
YEARS OF
I :!•>.(•] L^'
BOXOFFICE Magazine may have
marked the most important step in
my lifelong career in the entertainment
business. As a youngster, fresh
fi'om pemiing a teenage column for The
Oregonian, Portland's daily paper, I answered
an advertisement in The Hollywood
Reporter calling for a new West
Coast editor of BoxorncE— a magazine
that, until then, I'd never even heard of
Ben Slilyen, founder and publisher ofthe
magazine, liked my writing samples suf-
Hciently to hire me on first meeting. I
was to fill the shoes of Ivan Spear, one of
the fabled trade journalists of that or any
era. Ivan— tough, crusty, cynical and diabolically
clever where the movie business
was concerned—had unfortunati-l\
become incapacitated. Boy, was I to find
out the kind of shoes I was to fill.
In those days, the position involvc:d
writing all the. West Coast news of the
tihn business, as well as selling ads,
which I had never done before. Wasn't
surprised, then, to find that the first ad I
solicited
for the annual edition was from
Fred Astaire— and he immediately came in
for a page. But working for Boxoffice meant
mark(;ting. So tliank you, Ben Shiyen.
A 20-year-old Dale Olson (right) gives producer Irwin Allen
„ and diank you, Boxoffice. Without \'ou.
a Blue Riblxn Award lor "Voyage to the Bottom of the Sea.
I
1 also had to leam production, distribution,
exhibition and marketing, and I had to learn
them right away. We were serving the
ity and advertising responsibilits' (in association
with our distiibutor. United Artists)—
was for "In tire Heat of the Night," which
received seven Oscar nominations and
five awards, including best picture and
best actor (for Rod Steiger, who today is
one ofmy clients). I could only go down!
When Harold Mirisch passed awa\', it
came time for me to move on. Witii all
that experience, I became president ot
the motion picture dixasion at tlie public
relations company Rogere & Cowan and
developed t:ampaigns tor more than 1 50
major films, including launching the
"Rocky" and "Supc:rman" series.
Ten years ago, I moved on again, tbmiing
my own public relations firm, Dale
C. Olson & Associates. The company
does business in all areas of entertainment-oriented
publicity, promotion and
I wouldn't be here— and I reall\' liki- it
here. 1 still r(;ad I^ixomci: caretiilh- cx'ciy
month—and I still like it, too. .Ami will lot
die )i(j.Y( 75 years.
24 Boxoffice

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I
PG.
Summer,
Anamorptiic,
3/95,
R.
4/7,
G,
BOXOFFICE
March
(Current)
Buena Vista
(818)567-5030
A Tall Tale. Fant , 96mins SRD, Anamorphic
Pat nek Sv/ayze Man of the House,
,
3/3, 96 mins Dolby
, A, Flat, Cheuy
C ,
Ctiase Jeflereon in Paris, D, PG-13, 3/31
NY/LA: 4/7 Limited, 147 mins
,
SRD, Hal
Nick Nolle, Dir James Ivory Roommales,
C/D, PG, 3/10 limited
109 mins,, SRD, Rat,
Dir Peter Yates Funny Bones C, R, 3/31 Ltd,
127 m, SRD, Flat J Lewis
A Goofy Movie (formerly Pals Forever ),
Anim, G, 4/7, 76 mins , Dolby A, Flat Dir
Kevin Lima
Jefferson in Paris, D, PG-13, 3/31 NY/LA:
4/7 Limited Nick Nolle, Dir James Ivory
A Pyromaniacs Love Story, R/C, PG, 4/28
ltd
, 96 mins , Dolby A, Flat William Baldwin
While You Were Sleeping, R/C, PG, 4/21
100 mms, Dolby A Flat, Sandra Bullock.
Crimson Tide. 5/1 2. 1 2 mms .
SRD. Flal
Denzel Washington. Gene Hackman Dir:
Tony Scott
Mad Love, D, 5/26, 101 mms., SR, Flat
Drev/ Barrymore.
Pocahontas Anim, 6.23 Flal Voice: Ma Gibson
Dir, Mike Gabriel
Judge Dredd, Ac , 6/30 Anamorphic. Sylvester
StaOone Diane Lane,
Dead Presidents. 6/95, Urban Drama, Super
35mm, Dir: Alien and Albert Hughes
Columbia
(310)280-8000
Dolores Claiborne, Ttir , R, 3/24 limited.
131 mins
, Dolby A, SR,
SDDS
For Better or Worse, C, PG-t3. 3/1 7 limited.
90 mins . James Woods. Lolita
Davidovitcti, Dir: Jason Alexander
Bad Boys, Ac, R, 4/7, 117 mins,, Dolby A,
SR, SDDS, Flat fWarlin Lawrence, Will Smith
Forget Paris, R/C, PG-13, 5/19, SDDS. Dolby
A & SR. Flat, Billy Ciyslal, Debra Winger, Dir:
Billy Crystal
WH'i
(212)751-4400
MGM/UA
Tank Girl, SF/Adv ,
Dir RachelTalalay.
3/31. 103 mm . DTS
The Pebble and the Penguin, Amm
, 79
DTS, Dolby A, Flat, 4/12, Voice: fi/lartin
mm
,
Short
Dir Don Bluth
Rob Roy. Adv
,
139 min.. DTS, Dolby A,
Fluke. Adv.. 6/2. DTS li/latthew Modine.
Nancy Travis. Dir
Carlo Cartel
*03
(310)449-3000
Anamorphic Liam Neeson, John Hurl, Dir
Michael Caton-Jones
Tbe Mangier, Hor ,
3/3. 106 min., SR, Rat,
New Line
(212)239-8880
Robert Englund
Don Juan De Marco, Com/Dram, D, PG-13.
4/7, 97 mm , DTS, Dolby A, Flat Marlon
Brando, Johnny Depp W/dir Jeremy Leven
Friday, C,R, 4/28 Ice Cube
The Basketball Diaries, D, R. 4/21, 102 mm
My Family (Mi Familia), D, R, 5/3, 126 min
,
DTS, Dolby A, Flat Edward James Olmos,
Jimmy Smits Dii Gregory Nav a
(310)854-5811
DTS. SRD. Flat. Leonardo DiCaprio Dir
Kalvert.
Scott
Paramount
Losing Isaiah. R. 3/17. 108 min., Dolby A,
Fi.ii Dir Stephen GyllenhaaL
Tommy Boy, C. PG-13, 3/31, Chris Farley,
Stuart Saves His Family. C. PG-1 3. 4/1 2. Al
Franken. Dir: Harold Ramis
Bravehearl. Ac/D, R. 5/24. Mel Gibson. Sophie
Marceau. Dir: Mel Gibson,
Congo, 6/9. Thr . Summer 95. Dir Frank
IVIarshall
(213)956-5000
(212)333-4600
Samuel
Goldwyn
The Sum ol Us, C/D, 3/1 NY, LA, 100 mm
.
Fl.ii Dir Kevin Dowlmg
The Last Good Time. 4/7 Armin Mueller-
Stahl Dir Klaus Volkenbom
Rampo, D, 5/19, Dir Kazuyoshi Okuyama
The Perez Family, 5/12, Marisa Tomei, Anlelica
Huston, Dir
Mira Nair
Wigstock: The Movie. Doc. 6/95, RuPaul
Dir. Barry Shils, 6/95
(310)552-2255
TriStar
Hideaway, Thr ,
3/3, 112 mins., Anamorphic,
Dolby A, Sr, SDDS, Jeff Goldblum, Dir: Brett
Leonard
3 NInjas Knuckle Up. Ac/Fam
. PG-13
Jury Duty, C, PG-1 3, 4/1 2, Dolby A SR,
SDDS, Flat Pauly Shore. Tia Carrere
Magic in the Water, Fam , 5/5, Mark Harmon.
Johnny Mnemonic, Sci-Fi, R, 5/26, Keanu
Reeves Dir Robert Longo.
(310)280-8000
20th Centuiy
Fox
(310)277-2211
Bye Bye Love, C. PG-13. 3/17, 105 mins,.
Dolby A Paul Reiser, Randy Quaid, Flat Dir'
Sam Weisman
Kiss of Death, D, R, 4/21 ,
100 mins,, SR,
SRD. Flat David Caruso, Nick Cage Dir Barbet
Schroeder
French Kiss (formerly Paris Match), Rom,
PG-13, 5/5, /Vnamorphic, Meg Ryan, Kevin
Kline, Dir Lav/rence Kjsdan
Die Hard With a Vengeance, Ac, 5/19 (Memorial
Day), SDDS, SRD, Anamoiphic, Bruce
Willis, Jeremy irons, Dir John McTiernan
Mighty Morphln Power Rangers. The
Movie, 6/30, Flat, Dir Bryan Spicer
Universal
(818)777-1000
IVlajor Payne, C, 3/24, 95 mins ,
U,niian Wayans Dir
Nick Castle
DTS,
The Cure, D, 4/21 ,
Petei Horlon
Annabella Sciorra. Dir:
Village ol the Damned, Hor ,
Summer, DTS,
SR, Flat Chfislopher Reeve, Kirstie Alley Dir:
Jolm Carpenter
Casper, Fant /C, 5/26. 96 mms .
DTS. SR.
Flat Cliristma Ricci. Dir: Brad Silberlmg
Apollo 13, D, 6/30 , DTS, SR, Super
35mm, Tom Hanks, Dii: Ron Howartt.
(212)759-7500
Warner Bros.
(818)954-6000
I The Willi Bunch (re-issue), W, 3/3. 143 mins
I William Holden Dir Sam Peckinpah
Oiilbreak, SF, R, 3/10, Flat
(Jii
Wfilqinf) Petersen
Dustin Hottman
Born to Be Wild (Great Kale Escape) PG
:i/3i
, Helen Shaver, Dir Jolin Gray
A Little Princess, Fam./C. G. 5/19 (Easter).
Dir Alfonso Cuaron
The Bridges ol Madison County 0. 6/2.
Clint Eastwood. Meryl Streep. Dii. Clint Eastwood
Bahnan Forever (Batman 3) Ac-Fant
6/16, Val Kilmei, Jim Carrey, Tommy Lee
Jones

MARKETING
"POCAHONTAS" ON TOUR
To drum up word on its big summer title,
Disney took a show on the road
To
accompany the release of
"Pocahontas," Walt Disney Imagineering
and Buena Vista Pictures created
an interactive experience designed to give
tire public an exclusive preview of the film
and provide a behind-the-scenes look at
animation. The Pocahontas Animation Discovery
Adventure, a free exhibit on a nationwide
tour of shopping malls since winter,
represents a new approach by tlie studio to
create advance excitement for a film.
"There are a lot of major films coming out
fiiis summer, so we want to get our name
out there and give people an idea about how
this feature will look," says Walt
Disney Imagineering's Michael
McGiveney, the Pocahontas
Adventure's concept designer anti
show producer "At the same time,
we're also offering a unique educational
and entertainment experience.
There is so much interest in
the art of animation. We thought it
would be a wonderfiil idea to develop
a hands-on experience not
only to explain the process of making
a Disney animated feature but
also to provide a lesson in early
American history."
Last June, Disney began developing
the exliibit, which took three
months to construct and is tlie first
such project coordinated with a feature
film release. The biggest
challenge to designers was to create
-
a movable, scenic-intensive exhibit that
would live up to Disney's high standards.
They created a number of theme environments,
including tliree-dimensional pieces
that replicate locales in the film and give
infonnation about the storyline. There's a
26-foot replica of Captain John Smith's ship
and an enchanted forest maze to explore,
hiside a re-creation of the Powhatan Lodge,
a Disney artist demonstrates animation
techniques and explains the process by
which hundreds of craftspeople work together
to create the magic and UK^norable
characters of a Disney feature.
Also included is an animation kiosk,
where the public learns firsthand about the
creative process. Visitors can dub their own
voices into a scene from "Pocahontas," elec-
By Michael Haile
tronically paint a eel using a touch-screen
computer or experience an area called file
Electronic Flip Book, where they can observe
an animation sequence through stop
action to get a feel for the great number of
individual drawings it takes to make a character
come to life.
The kiosk's final attraction allows the
public to create their own "Pocahontas"
scenes by choosing different characters and
backgrounds. Wlien the elements are put
together correctly, a short (seven- to 10-
minute) sequence from the film plays.
Nearby, t^vo major video walls show clips
More than 100,000 people per weekend
have visited the "Pocahontas" exhibit.
from the film, including a scene spotlighting
"Colors of the Wind," die Alan Menkenpenned
love theme from "Pocahontas."
"We purposely decided not to do anytiiing
with walk-around characters, because this
is about animation," McGiveney says.
"We're giving you a look at the film and
we're explaining the animation process.
The experience has to be interactive— it
must be something you can do or you can
be in, as opposed to just a passive experience
of standing by and ^vatching something.
For smaller children, walking
through the Enchanted Cilade gi\'c,s th('m a
sense of really being in the animation. They
get a sense of what tliat forest really looks
like and who the characters are. They an;
put into the environment ofthe animation.
The
Pocahontas Animation Discovery
Adventure, manned by a touring crew
of nearly 20 (including a tour manager,
technical director, technicians, feature
animation artists and production assistants),
wOl have stopped in 24 cities by June 8. The
elaborate exhibit represents an expensive
undertaking, but Disney is confident the
extra interest it generates will lead to a quick
boxoffice payback after "Pocahontas" opens
nationally June 23. Judging by attendance
figures (more than 100,000 people have \'isited
each weekend), the exliibit is creating
great grassroots anticipation.
"What's fim is tliat die public is
responding so positiveh'," McGiveney
says. "I hear many say, 'What
a neat idea.' The shopping mall environment
provides a wonderful
opporttmity to get a message out
there to the people direcdy. It just
^^3^ seemed to be an opportiinitv' that
was waiting for tlie right situation.
"When you come into tlie mall,
you have the sense of an audientic
Disney experience. We transform it
into a mini-tlieme park. My biggest
reward is to watch the kids' feces.
They really enjoy it and love learning
about tlie art of animation. Many
have even asked about how to go
about becoming an animation artist."
The exhibit could d^avel to Walt
Disney World in Orlando, Fla., before
heading to Europe in August to
promote die opening of "Pocahontas" tliere
later this year Witii the success of the
Pocahontas Animation Discovery Adventure,
Disney is planning odier luiique experiences
to help market and promote fiituiv
films. Says McGiveney, "We're looking into
ways to do this for other films, perhaps in
other venues. It's important to consid(;r
what tj'pes of experiences we can ofter.
"Marketing and promotion are \'en' important,
but diey are no substitute tor a good
story, whic.h should always he the goal.
'Pocahontas' is definitely an ex((;llt;nt stoiA'
and the characters are woll-detined. That's
really die key to die success. As to die futiux;
options on how you promote that, tln^rc are
many interesting possibilities. But wc'W
have to wait and see."
MM
28 Boxoffice

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1995 STRONG INTERNATIONA
Response No. 23

PROMO GUIDE
COLUMBIA
Sony Imagesott and multimedia developer
Xiphias have joined to create a multimedia
game based on "First Knight," a new take on
the tale of King Arthur, Sir Lancelot and Lady
Guinevere. The CD-ROM title will utilize
Apple Computer's QuickTime VR technology.
The interactive adventure game will parallel
the feature film by using some of the
footage from the original production sets. The
developers of the game will manipulate the
footage to create a 360 degree environment
which the player can explore.
GRAMERCY
"Panther," Melvin and Mario Van Peebles'
film based on the Black Panther Party which
formed in 1 966, will have an instant win 800
number sweepstakes. Callers will learn about
the film and will be eligible to win cash prizes
or a CD single.
The clothing company Ripe is partnering
with the urban-themed film "New Jersey
Drive" in a sweepstakes promotion in which
entrants have the opportunity to win a trip for
two 1(1 the I 996 NCAA Final Four Playotts and
a $200 Ripe wardrobe. Counter cards with
entry forms will be displayed in 2,800 retail
locations.
Targeting the sophisticated art film audience,
"The Underneath" offers the opportunity
for attentlees to submit a critique of the
film along with their ticket stub for a chance
to win a free movie pass for one year to a local
theatre, or a $ 50 Waldenbooks gift certificate.
Over 1,100 Waldenbooks and Brentano's
bookstores are also distributing promotional
bookmarks as bagstuffers to customers. The
Bravo cable network will air a 60 second
promotional spot giving entry details.
MCA/UNIVERSAL
Despite tile lilm's nolorioLisly bloated budget,
Kenner doesn't think "Walerworld" is all
wet. The toy manufacturer will market a( lion
figures based on the futuristic Kevin Costner
mcjvie in which the earth is covered in wat(>r,
lis inhabitants clinging to floating cities. Interplay
productions will produce and develop
video games and CD software based on the
movie, as they will for "Casper," the feature
film adaptation of the Friendly Ghost character
originated in FHarvey Comics. "Casper" has
an extensive list of licensees who will produce
everything from T-shirts to tote bags to
watches to undergarments. Pizza Hut will
launch a multi-million dollartelevision crosspromotion
campaign, and will offer both kids
meal and all-ages meal deals in conjunction
with the film. Choice FHotels will offer guests
a chance to win a cash prize as well as trips
to Universal Studios in California and Florida.
Tyco Toys Inc. is the master toy licensee. One
series of toys is called "Casper Mischief Makers."
"Squeeze Casper and watch his eyes bug
out," reads a press release. "Pull Stretch's
head up, hear it creak into place and watch it
spin back down. Squeeze Stinkie to hear him
belch and smell his lunch of pepperoni pizza.
And watch as Fatso burps out a tomato when
you squeeze his giant belly." For those who
feel that plastic vomit and fake dog excrement
have lost their panache.
MGM/UA
BMW and "Goldeneye," the new James
Hond film, have joined up for a cross-promolion—or
should that be an autocross-promo-
I ion? BMW designed the two-seat open sports
car which will be Bond's new "company" car,
and will use the release of "Goldeneye" as a
tie-in to introduce their new roadster to the
world.
NEW LINE
"Mortal Kombat," a martial arts action film
based

ing cards featuring movie scenes and characters.
Collectible stickers are being made by
Merlin Editions Inc.
TWENTIETH CENTURY FOX
Expect a new explosion of Power Ranger
merchandise everywhere in conjunction with
the feature film version of the kids' show
"Mighty IVIorphin Power Rangers"—though
at press time Fox did not have any details.
McDonald's is reported to be a cross-promotion
partner.
WALT DISNEY
"Pocahontas" will be omnipresent this
summer as Disney teams up with six companies
to promote their 33rd full-length animated
film. Burger King will give away 50
million "Pocahontas" toys over an eight-week
period; Nestle will use the Indian maiden's
image on candy, Coffee-Mate, Friskies pet
food, Carnation Instant Breakfast and
Stouffer's frozen entrees; General Mills will
offer giveaways in boxes of Cheerios; Pay less
will offer a lineof "Pocahontas"-themed footwear,
including sandals, sneakers and moccasins;
Chrysler will give away six Plymouth
Voyagers in a related sweepstakes contest,
and will provide Chrysler buyers with free
PROMO GUIDE
tickets to the movie; and Mattel cinched the
deal for toy manufacturing.
"Judge Dredd," the futuristic Sylvester Stallone
starrer, partners with lack-in-the-Box to
offer a free trip to England for a lucky sweepstakes
winner to visit the judge Dredd set at
Shepperton Studios near London. Mattel and
Acclaim will also help promote the film.
WARNER BROS.
McDonald's is infested with rodents! Flying
rodents. Well, "Batman Forever" paraphernalia,
actually, if you want to get technical.
The fast food chain will cross-promote the
much-anticipated summer blockbuster starring
Val Kilmer, )im Carrey, Tommy Lee
Jones, Nicole Kidman and Chris O'Donnell.
Kellogg's will feature a promo on boxes of
Corn Pops. The licensee list longer than Bruce
Wayne's bank statement, and with good reason;
you'd have to be "batty" not to want a
piece of this movie. And with all the gadgetry
featured in the film, merchandising opportunities
abound. Kenner products is the master
toy licensee, mining the infatiguable riches of
the action figure market. Micro Games of
America is manufacturing Bruce Wayne electronic
diaries. Bat alarm clocks with radios,
real videophone telephones with LCD animation,
and a talking Riddler head that repeats
^what you say. Revell-Monogram Inc. will sell
model kits of vehicles, environments and figures.
Acclaim Entertainment and Atari Corp.
are making "Batman Forever" video games,
and Tiger Electronics will provide hand-held

'
iaies
BOXOFFICE Independent Feature Chart JUNE 1995
MAY
Arrow
212-332-8140
Gumby: The Movie, Ani, NR, 89
min.Gumby, Pokey. Dir:ArtClokey.
Filmhaus
310-320-8383
The Bed You Sleep In, Dra, NR,
1 1 7 mm. Tom Blair. Dir: Ion |ost.
The Broken Journey, Dra, NR, 82
min. Soumitra Cnatterji. Dir:
Satyajit Ray.
The Legend of Zipang (Japan),
Act/Fant, NR, 94 min. Masahiro
Takashima. Dir; Kaisho Hayashi.
The Stranger (/nd/Vj, Dra, NR, 1 16
min. Utpai Dutt. Dir: Satyajit Ray.
First Run
212-243-0600
Forever My Love (U.K.), Com, 96
min. Thomab Arklie, Ian Williams.
Dir: Peter Litten.
Gramercy
310-777-1960
Panther, Dra. Kadeem Hardison.
Dir: Mario Van Peebles. 5/3
Kino
212-629-6880
...And the Earth Did Not Swallow
Him, Dra, NR, 99 mm. Dir:
Severe Perez. 5/95
Kit Parlter
800-538-5838
Betty Boop Confidential, Ani,
NR, 80 min. Dir: Max Fleischer.
5/13 NY
Miramax
213-969-2000
Crosse Fatigue, Com Carole
Bouquet. Dir: Michel Blanc.
The Glass Shield, Thr. Michael
Boatman, Lori Petty. Dir: Charles
Burnett.
The Postman (II Postino) (Italy),
Dra. Massimo Troisi. Dir: Michael
Radford.
Savoy
310-247-7930
Tales From the Hood, Act/FHor.
Corbin Bernsen. Dir: Rusty
Cundieff. 5/5
Sony Classics
212-833-8833
A Pure Formality (France/llaly),
Thr. Gerard Depardieu, Roman
Polanski. Dir: Ciiuseppe Tornatore.
5/29
Strand
212-247-4100
Postcards From America, Doc.
David Wo|iiarowK /. Dir:. 5/26
Wild Reeds (France), Dra, NR,
110 mm, Frederic Corny. Dir:
Andre Techine. 5/1 5 wide
Tara
415-454-5838
Black ls...Black Ain't, Doc, NR,
87 min. Dir: Marlon Riggs. 5/5
Triumph
310-280-8059
The Magic in the Water (formerly
litled "Clenorky"), ConVAdv. Mark
FHarmon, Dir: Rick Stevenson. 5/5
IIIIJI^iHHMMJJil
Arrow
Bandit Queen (India), Dra/Adv,
NR, 1 1 9 min. Seema Biswas. Dir:
Shekar Kapur. 6/23
Ermo (China), Dra, NR, 93 min.
Dir: Zhou Xiaowen.
Capitol
202-363-8800
The Silences of the Palace
(France/Tunisia), Com/Dra, NR,
127 min. Amel FHedhilis, Hend
Sabri. Dir: Moufida TIatli.
The Incredibly True Adventure of
Two Girls in Love, Com/Dra. Laurel
FHolloman. Dir: Maria Maggenti.
Clarence Williams III stars js ,i mortu lan in Sa\uy s
Filmhaus
Black Bomber, Dra, NR, 116 min.
Dra^an Bielogrlic. Dir: Darko Bajic.
Liability Crisis, Dra, NR, 80 min.
Mirjana lokovic. Dir: Richard
Brody. 6/2
Mod F Explosion, Act, NR, 75
min. Amy Davis. Dir: )on
Moritsusgu.
Fine Line
212-649-4800
An Awfully Big Adventure,
Com/Dr.i. Alan Rukman, Hugh
dranl- Dir: Mike Newell.
Six Days, Six Nights (France),
Dra, R. Anne ParilTaud, Beatrice
Dalle. Dir: Diane Kurys.
First Look
310-855-1199
Party Girl, Com, 98 min. Parker
Posey, Omar Townsend. Dir:
Daisy von Scherler Mayer. 6/9
First Run
I, the Worst of All lArgenlina),
Dra, 100 min. Assumpta Serna,
Dominique Sanda. Dir: Maria
Luisa Bemberg.
Midnight Dancers (Philippines),
Dra, 1 1 5 min. Dir: Mel Chionglo.
Kino
Hyenas (Senegal), Dra, NR, 113
min. Dir: Djibril Diop Mambety.
Kit Parker
Arizona Dream (Director's Cut)
(reissue). Com, NR, 142 min.
Johnny Depp, Faye Dunaway.
Dir: Emir Kusturich.
Blaxploitation Film Festival (reissues
ot'Supertly," etc.). b/28N\,
San Francisco
Imm the I IomI.
Miramax
Belle de Jour (n/ssi/e of. 1967
French classic), Dra. Catherine
Deneuve. Dir: Luis Biinuel.
LesVisiteurs, Com, 1 06 min. lean
Reno, (Christian C lavier. Dir: lean-
Marie Poire.
Smoke, Dra. hiarvey Keitel, William
I lurl Dir: Wayne Wang.
New Yorker
272-647-/850
I Can't Sleep (France), Dra.
Kalenna Colubeva. Dir: Claire
Denis.
Northern Arts
413-268-9301
Devotion, Dra, NR. Jan
Derbyshire. Dir: Mindy Kaplan.
Seventh Art
213-845-1455
Sister My Sister, Dra, 92 min. Julie
Walters. Dir: Nancy Meckler.
Sony Classics
Love and Human Remains, Dra.
Thomas Gibson, Ruth Marshall.
Dir: Denys Arcand.
Safe, SF. Julianne Moore. Dir:
Todd Haynes.
Strand
River of Grass, Com/Dra. Dir:
Kelly Reichardt. 6/9
World and Time Enough, Dra.
Dir: Eric Muller, 6/23
Zeitgeist
212-274-1989
Ballot Measure 9, Doc. Dir:
FHeather MacDonald.
TITITi
First Run
Friends (S. Africa), Dra, 109 min.
Kerry Fox. Dir: Elaine Proctor.
Greycat
702-737-0670
The Plutonium Circus fVlev/co).
Doc, NR. Dir: George Ratlitf.
I.R.S.
310-838-7800
Johnny 100 Pesos, Dra, NR, 90
mm. Armando Araiza. Dir: Gustavo
Graes Marino.
Roosters, Dra. Edward lames
Olmos, Sonia Braga. Dir: Robert
M. Young.
Miramax
Country Life, Com/Dra. Sam
Neill, Greta Scacchi. Dir: Michael
Blakemore.
The Innocent, Thr, 1 18 min. Anthonv
Hopkins, Isabella Rossellini.
Dir: lohn Schlesinger.
Kids, Dra. Dir: I any Clark.
October
212-332-2480
Smoking and No Smoking
(French (hiuhli'tratumi Dra, NR,
285 min. Sabme A/ema, Pierre
Arditi. Dir: Alain Resnais.
Sony Classics
Living in Onlixion, i uni ')! mm
Steve Busi hemi, Dii: loniDiCillo.
Strand
Roy Cohn/I.uk Smith, Dia Ron
Vawter. Dir: |il l.odmillnw. " 14
32 BoxoFUCi':

BOXOFFICE Independent Feature Chart JUNE 1995
AUGUST
Fine Line
Double Happiness, Com/Dra.
Sandra Oh. Dir: Mina Shum.
Gramercy
Jack and Sarah, Rum. Richard E.
Grant. Dir: Tim Sullivan. 8/1
Mallrats, Com/Adv. Shannen
Doherty. Dir: Kevin Smith. 8/4
The Usual Suspects, Sus. Gabriel
Byrne, Kevin Spacey. Dir: Brian
Singer. 8/18
Kit Parker
Broken Harvest (Irel.vid), Dra, 98
min. Colin Lane, Niall O'Brien.
Dir: Maurice O'Callaghan. Boston
Miramax
A Month by the Lake, Com.
Vanessa Redgrave. Dir: lohn Irvin.
Hellraiser 4: Bloodline, Hor.
Doug Bradley, Bruce Ramsey.
Dir: Kevin Yagher.
Jane Eyre, Dra. William Hurt,
Anna Paquin. Dir:FrancoZeffirelli.
Plein Soleil (reissue of 1959
French classic), Dra. Alain Delon.
Dir: Rene Clement.
Orion
310-282-0550
Jeffrey, Rom/Com. Steven
Weber. Dir: Christopher Ashley.
Savoy
Faithful, Com/Thr. Chazz Palminteri,
Cher. Dir: Paul
Mazursky. 8/18
Scenes tor the Soul, Dra. Dir:
George Tillman |r. 8/25
Steal Big, Steal Little, Act/Com.
Andy Garcia. Dir: Andy Davis. 8/25
Seventli Art
Pigalle (France), Dra. Dir: Karim
Dridi.
Wall of Silence (Totschweigen),
Doc. Dirs: Margareta Heinrich
and Eduard Erne.
Sony Classics
Je iM'Appelle Victor (Call Me Victor)
(France), Com, PG, 100 min.
Jeanne Moreau, Micheline Presle.
Dir: Guy lacques.
Mute Witness, Thr. Marina
Sudina. Dir: Anthony Waller.
EPTEMBE.
Fine Line
The Promise, RonVDra. Corinna
Harlouch. Dir: Margarethe von Trotta.
Gramercy
Canadian Bacon, Com. John
Candy. Dir: Michael Moore. 9/1 5
Moonlight and Valentino,
Com/Dra. Kathleen Turner,
Whoopi Goldberg. 9/9
Kit Patket
Queen of Outer Space, SF, NR,
79 min. ZsaZsaGabor, [:ric Fleming.
Dir: Edward Bernds. NY
October
The Cemetery Man (France),
FHor/Com. Rupert Everett. Dir: Michele
Soavi.
OCTOBER
IVIiramax
Halloween 6, Hor. Donald Pleas
ance. Dir: joe Chappelle.
FORTHCOMING
Cinevista
212-947-4373
Sicario (Venezuela). Laureano
Olivarez. Dir: Jose Novoa.
Filmliaus
Two Plus One, Rom/Com. William
Sage. Dir: Eugene Martin. Summer
Fine Line
Frankie Starlight, Dra. Matt Dillon,
Gabriel Byrne. Dir: Michael
Lindsay-Hogg. Fall
Vanessa Redgrave and Ednard Fo\ In Miramax's "A Month by the Lake.
mmm
Gramercy
Loch Ness, Com. Ted Danson,
loely Richardson.
DECEMBE
Savoy
Foreplay, Thr
Sony Classics
City of Lost Children, Com. Ron
Perlman.
Shanghai Triad, Dra. Gong Li.
Dir: Zhang Yimou.
ANUARY
Fine Line
The Grass Harp, Com. Walter
Matthau Sissy Spacek. Dir:
Charles Matthau. 1/3
Total Eclipse, Dra. David Thewlis,
Leonardo DiCaprio. Dir:
Agnieszka Holland. Fall
Gramercy
Carrington, Dra. Emma Thompson.
Dir: Christopher Hampton.
A Pig's Tale, Com, PG. Graham
Slack. Dir: Paul Tassie. Summer
Portrait of a Lady. Nicole Kidman.
Dir: Jane Campion.
Kit Parker
A Clockwork Orange, (reissue of
U. K. original). Dra, X, 1 37 min. Malcolm
McDowell. Dir: Stanley Kubrick.
In Glorious Black and White Ire-
Issue of s/\ restored '40s & '50s
films), NR. Fall
Miramax
Blue in the Face, Dra. Harvey
Keitel, Roseanne. Dirs: Wayne
Wang and Paul Auster. Fall
The Crossing Guard, Dra. Jack
Nicholson. Dir: Sean Penn. Fall
A Day to Remember, Dra. Al
Pacino. Dir: James Foley. Fall
Four Rooms (vignettes), Dra. Tim
Roth. Dirs: Quentin Tarantino,
Allison Anders, Alex-andre Rockwell
and Robert Rodriguez. Fall
Great Moments in Aviation,
Com/Dra, R, 96 min. Jonathan
Pryce, Vanessa Redgrave. Dir:
Beeban Kidron.
The Horseman on the Roof,
Adv/Rom. Juliette Binoche. Dir:
Jean-Paul Rappeneau. Fall
The Journey of August King, Dra.
Jason Patric, Thandie Newton.
Dir: lohn Duigan. Fall
The Prince of Jutland, 103 min.
Gabriel Byrne.
Restoration, Dra. Robert Downey
|r., Meg Ryan. Dir: Michael
Hotlman. Fall
Road Flower, Rom, 89 min. Christopher
Lamliert. Dir:DeranSeratian.
Talk of Angels, Dra, Polly Walker.
Dir: Nick Hamm. Fall
Things to Do in Denver When
You're Dead, Act/Com. Andy
Garcia, Cabrielle Anwar. Dir:
Gary Fleder. Fall
Victory, Sus. Willem Dafoe. Dir:
Mark Peploe. Fall
New Yorker
Lamerica (Italy). Enrico Lo Verso,
Michele Placido. Dir: Gianni
Amelio. Fall NY
Savoy
Around the Block. Fall
Blue Light, Com/Dra.
Dr. Jekyll and Ms. Hyde, Hor.
Sean Young, TiriT Daly. Dir:
David Price.
Getting Away With Murder,
Com. Dan Aykroyd, lack Lemmon.
Goldbergs and Romanos. Fall
Gomer Pyle, Com
Heaven's Prisoners, Act/Thr. Alec
Baldwin. Dir: Phil Joanou.
The Honeymooners, Com.
Inflammable. Fall
Last of the Dog Men, Adv. Tom
Berenger, Barbara Hershey. Dir:
Tab Murphy.
Let It Be Me, Dra. Campbell
Scott, Jennifer [jeals. Dir: Eleanor
Bergstein. Fall
Mariette in Ecstasy, Dra.
Mr. Murder, Thr.
My Generation. Jason London,
Tia Carrere. Dir: Bruce Leddy.
Pinocchio, Act.
Private Parts, Bio. Howard Stern.
Rough Magic, Rom/Com. Bridget
Foncla. Dir: Clare Peploe.
A Simple Plan.
The Stupids, Com. Dir: John Landis.
Three Wishes, Dra. Patrick
Swayze. Dir: Martha Coolidge.
Without Remorse, Thr.
Skouras
310-285-5455
ABoyCalledHate, Dra, 105 min.
Scott Caan, James Caan.
A Business Affair, Com, R. Christopher
Walken, Carole Bouquet.
Dir: Charlotte Brandstrom.
Sony Classics
The Films of^Satyajit Ray (reissues
of eight films). L)ir: Satyajit Ray.
Triumph
Screamers. Winter
June, 1995 33

in
O)

EXHIBITION BRIEFINGS
REGAL, NEI MERGE
Michael L. Campbell, president and chief
executive officer of Regal Cinemas Inc., announced
the completion of the acquisition of
Neighborhood Entertainment Inc. for
362,1 13 shares of Regal common stock. Regal
will also recognize certain one-time charges
totaling $1 .5 million after tax for its second
quarter ending |une 29, 1995, related to the
refinancing of NEI's debt, acquisition expenses
and severance payments. Regal will
account for this transaction as a pooling of
interests. NEI currently operates 25 theatres
with 99 screens, primarily in the Tidewater
and Richmond areas of Virginia. This acquisition
brings Regal's screen count to 832,
making Regal the ninth-largest theatre circuit
in North America.
Prior to the finalization of the merger, NEI
and Charlottesville 2000 announced the signing
of a lease agreement to build a new sixplexon
the downtown mall of Charlottesville,
Va. The 18,730-square-foot facility will be
located near a new ice skating rink and food
court being developed by the Charlottesville
2000 group. "The Charlottesville complex is
one that we look forward to as a showcase
project, which will blend well with our commitment
to quality entertainment," said
Campbell. Completion is slated for late November.
Additionally, Regal plans to add 210 new
screens across the United States within the
next 18 months. One hundred and seventytwo
screens will be operated at 1 4 new locations,
and 38 screens will be added at existing
locations. The first of the new theatres, the
40,000 square foot Bellvue Cinema 12 in
Nashville, Tenn., opened March 31. The
Bellvue features tiered stadium-style auditoriums
in two theatres—a first for the chain.
Reflecting this flurry of activity was Regal's
recent announcement that it has been included
in Fortune magazine's annual listing
of the 100 fastest growing companies in
America for the second consecutive year.
MOVING UP WITH MUVICO
has named |on Wray as the vice presi-
1 lamitl Hashemi, president ol Muvico Theatres,
dent of operations. Wray will oversee all
operations and concessions. Wray has over
30 years of experience in theatre exhibition.
He is the president of the Florida chapter of
the National Association of Theatre Owners
(NATO), and is a member of the ShowEast
executive committee. He was previously vice
president of operations at Wometco Theatres.
Muvico Theatres currently operates 30
screens in Florida, and plans the opening of
102 new screens in six Florida locations
within the next 14 months.
BERTOLINO TO NEW HEIGHTS
AT HOYTS
Carl Bertolino has been appointed ,is the
new senior vice president of film and marketing
of Hoyts Cinemas Corp., announced President
Morris K. Englander. Bertolino, a
21 -year film industry veteran, joined Hoyts in
October of 1994 as vice president of film
following a five-year tenure with National
Amusements as a film booker.
AMC HAS GRAND NEWS
FOR JOHANNES
AMC Theatres, a subsidiary of AMC Entertainment
Inc., announced that it has named
Michael Johannes as general manager of its
newest and largest theatre complex. The
Michael Johannes
Grand 24, located in Dallas. Johannes, who
previously served as general manager or
AMC's Fashion Island 16 Theatres in Miami,
will supervise The Grand 24's staff of 200
when the theatre opens in May. The 85,000-
square-foot Grand 24 will feature computerized
ticketing and concessions, stadium-style
seating with 46-inch row spacing and highback
seats with cupholder armrests. All auditoriums
will feature Sony Dynamic Digital
Sound and AMC's High Impact Theatre System
that includes Torus compound curved
screens which enhance picture clarity.
AMC has also announced that plans have
been finalized for the construction of an entertainment
mall anchored by another 24-
screen AMC Theatre in Dallas. This megaplex
will be situated next to the Galleria Mall, and
is scheduled to open in late 1996 or early
1 997 The theatre will occupy the third floor
of a three-level mall being develofied by
EDG/Entertainment Development Group Inc.
The first two floors will contain entertainment-related
retail shops and restaurants.
AMC Entertainment Inc. is headquartered
in Kansas City, Mo., and operates 1.624
screens in 231 theatres in 22 states.
UA BOW IN DENTON, TEXAS
Man h I 7 marked the gr.md opening ol lh

EXHIBITION BRIEFINGS
HURLEY
popped in canola oil because it
"tastes better" and has a "more
buttery flavor." Sixty-one percent
of respondents said they are concerned
about eating healthy popcorn
at the movies, and 90
percent said popcorn is "very important"
to the overall moviegoing
experience. Sunflower oil
contains less cholesterol-raising
fatty acids than its alternatives,
coconut and partially hydrogenated
canola oils, though canola
oil contains slightly less saturated
fat (nine percent as compared
with sunflower oil's 10 percent).
Coconut oil is by far the worst,
with 92 percent saturated fat and
92 percent fatty acids.
COLUMBIA, MOVIEFONE
TEAM IN PROMOTION
Columbia Pictures and Columbia
Records Group have joined
with MovieFone to promote the
movie "Bad Boys" and its
soundtrack. Moviefone is the
nation's largest interactive telephone
movie guide. It provides
more than a million moviegoers
each week in 23
major cities with a
free directory of
movie showtimes
and theatre locations;
explanations
of movie ratings; and
the ability to purchase
movie tickets
in advance. In this
cross-promotion,
MovieFone callers
will hear a 20 second
advertising spot for
the movie "Bad
Boys," followed by a
prompt encouraging
them to "press nine"
to listen to selected
cuts from the
movie's soundtrack.
Callers who purchase
tickets for the
movie or enter their
telephone number into the interactive
system are automatically
entered into a sweepstakes for
free Sony CDs. The collaboration
marks a first for MovieFone.
"We're pleased that our studio
partners are realizing the wide
variety of marketing opportunities
that MovieFone provides
through its advanced technology
and targeted audience of avid
moviegoers," said Russ Leatherman,
president of MovieFone.
I.e., look for similar promotions
in the future.
ON A "WING"
AND A PRAYER
Thomas Church, star of
television's "Wings," emceed a
celebrity auction in Fillmore,
Calif., to raise money to restore
the city's historic Towne Theatre,
built in 1916. The theatre was
badly damaged during last year's
Northridge earthquake. Movie
props, artwork, autographed
scripts and clothing worn by film
cast members were auctioned.
OBITUARY
Raymond Syufy, owner of the
Century Theatre chain, died at
age 76 on Friday, March 31 of
complications from lymphoma.
Syufy, who grew up in
Berkeley,
Calif, opened his first theatre at
the age of 23 in Vallejo, Calif.
Century, which is still familyowned,
is among the 20 largest
chains in the United States, operating
425 screens. Syufy, who
lived in Sausalito, Calif., is survived
by his wife, Marcia, seven
children and seven grandchildren.
Raymond Syufy
Do you have exhibitor-related
news you'd lil

NATIONAL NEWS
SEAGRAM DRINKS DOWN MCA,
EYES NETWORK CHASER
Halfway
through the decade
that was to mark the metamorphosis
of Hollywood's
production centers into integrated
components of the Japanese consumer
electronics business, a
major Japanese corporate player
sold out most of its stake in one of
the world's biggest entertainment
companies to a Canadian beverage
marketer.
In a move that had been speculated
about for weeks, Matsushita
agreed to sell an 80 percent stake
in MCA Inc., the parent company
of Universal Studios, to Montrealbased
Seagram Co. for a reported
$5.7 bill ion—roughly equivalent to
the dollar amount of Matsushita's
original investment in MCA, which
it purchased in 1990, but actually
several billion dollars less than
Matsushita paid in real terms owing
to the deep decline of the U.S. dollar
against the Japanese yen during
that time. Seagram is operated by
Canada's Bronfman family, which
owns 36 percent of Seagram's
stock, among many other holdings.
The Bronfmans also own 1 4.9 percent
of Warner Bros, parent company
Time Warner, an investment
that is worth about $2 billion and
makes them the largest stockholders
of the world's largest media
conglomerate. At press time, it was
believed the Bronfmans would
likely seek to divest themselves of
their Time Warner stock, though no
timetable for divestiture had been
established.
Seagram CEO Edgar Bronfman )r.
indicated that he hoped MCA chair
FILM CREDIT FIGHT
the Wiiters (juild

WIRED
WORLD
Your User-Friendly Roadmap for the
Information Superhighway
SKG'S INTERACTIVE "DREAMS"
In a move that upped the ante yet again in
the ongoing courtship between Hollywood
talent and the flourishing interactive technologies
field, DreamWorks SKC, the start-up
studio created by Steven Spielberg, Jeffrey
Katzenberg and David Ceffen, signed a jointventure
agreement with Microsoft Corp.'s
chairman and CEO Bill Gates to form a new
software company designed to produce interactive
and multimedia entertainment properties.
Under the working title of DreamWorks
Interactive, the new company will be funded
by equal, 50 percent contributions from
DreamWorks and Microsoft totalling a reported
$30 million. The company is being
designed to attract a variety of talent from the
software and entertainment fields, with the
ambition of developing a broad product line.
The DreamWorks Interactive venture will
focus initially on adventure games, interactive
stories, and other forms of multimedia software
designed to appeal to the family market.
Many of these titles will be based on original
ideas and licensed consumer properties as
well as feature films and television concepts
developed under the DreamWorks SKC banner.
In a prepared statement, Steven Spielberg
said of the alliance with Cates, "For me, the
merging of storytelling and technology offers
an incredible opportunity to reach new generations
in ways that could not have been
imagined a mere decade ago. I'm very enthusiastic
about working with Bill Cates and his
creative team to dream up new forms of entertainment."
The announcement of the Microsoft/
DreamWorks alliance came just days after it
was announced that Microsoft co-founder
Paul Allen had invested $500 million in
DreamWorks. Though Allen still has a 13.5
percent interest in Microsoft and holds a seat
on Microsoft's board, Allen's main professional
preoccupations are independent entrepreneurial
ventures such as Starwave, a
company which develops entertainment-themed
interactive titles such as the upcoming
CD-ROM on the life and career of Clint Eastwood.
Allen's $500 million investment—reportedly
negotiated independently of the
Microsoft move — gives him a seat on the
DreamWorks board of directors also.
Microsoft will distribute DreamWorks Interactive
product through its Microsoft Home
division, a leader in interactive CD-ROM titles.
The formation of DreamWorks Interactive
terminates Spielberg's relationship with
Knowledge Adventures, an interactive company
in which he was a minority stockholder.
It is expected that the DreamWorks alliance
may at last achieve for software giant
Microsoft the elusive goal of attracting top
flight movie talent into the lucrative but lessthan-prestigious
world of CD-ROM.
POT O'GOLD
PRODUCTIONS, Inc.
Revenue producing pre-show advertising slides
CONCESSIONS-TRIVIA-POLICY
In theaters since 1984
WE SELL IT...PRODUCE IT... BILL IT.
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••*••
REVIEWS

I
REVIEWS
Kazuyoshi Okuyama centers on a far
more cryptic literary figure, making its
fact-to-fiction transitions seamlessly and
thus challenging and ultimately blurring
the line between reality and Rampo's
own furtive psychology.
Naota Takenaka turns in a subdued
and textured performance as the angstridden
author. Wounded by the official
censure of his latest novel (about a murderous
wife) as an "endangerment to
public morality," which means none can
read it, Rampo retreats into the recesses
of imagination, willfully drawing himself
into a torrent of conflicting emotions
and uncontrollable fantasies. The peculiar
discovery of a real-life drama that
perfectly mirrors the plot of his novel
adds fissures to an already tenuous psychological
state, leading him to seek out
the accused woman (the staggeringly
beautiful Michiko Hadaj — for whom he
develops an almost otherworldly obsession.
As Rampo insinuates himself into
the woman's life, seeking a cure for his
inner demons, his perceptions of reality
and fantasy become twin threads in one
narrative tapestry, leading him toward
the brink of madness.
Rarely has a film so convincingly allowed
audiences entry into the workings
of a human mind, laying naked one
man's obsessions and repressions. Hypnotic
and dreamlike, "Rampo" is a sumptuous
visceral experience entirely unlike
any else on this year's film slate. That
"Rampo" is an easier film to comprehend
than explain attests to its effectiveness on
the purely personal level — no small
achievement for any filmmaker. It's a
testament to the narrative strength of the
material and to the allegorical power of
its imagery that Okuyama can flirt so
closely with selfindulgence without being
consumed by it. An astonishing, first-rate
achievement on all fronts, "Rampo" is not
to be missed. — Wade Major
THE CURE *••*
Starring Brad Rcttfro, Joseph
Mazzello and AnuabeUa Sciona.
Directed by Peter Hoi-ton. Writteti by
Robert Kidm. Produced by Mark Burg
and Eric Eisner.
A Universal release. Etrania. Rated PG-
13 for eniotionai thmnatic clmneitts and
for langiu^e. Rioining time: 98 uti)i.
"You'd be crazy to stab me," a pintsized
11 -year-old. Dexter ("Shadowlands'"
Joseph Mazzello), tells a
knife-wielding adult. "One drop would
kill you. My blood is like poison." And it
is; Dexter is slowly dying from AIDS.
Aside from this one scene of peril,
which itself is more horrific in emotional
than physical terms, this film is fashioned
of sinall, intense moments, where
an even greater menace hovers just offscreen.
The story of one summer in the
life of one boy —Erik ("The Client's" Brad
Renfro), who's grown antisocial due to
his divorced mother's alcoholism— and
the final summer in the life of another.
"The Cure" is a moving look less at
society's AIDS crisis than its consequences
in purely human terms. Because
the sick person is a young boy who
caught the virus via a blood transfusion,
the baggage that often accompanies the
AIDS debate is left behind. Which leaves
room for a number of marvelous sequences,
like the movie's strongest,
which finds the two boys Huck Finn-ing
down the Mississippi in search of
Dexter's cure. Awaking on a riverbank
one night, Dexter tells Erik he's often
scared when he opens his eyes in the
dark, because it's "like I'm not there. And
I'm never coming back. " To calm his only
friend's fears, Erik gives him his tennis
shoe to hold, so that Dexter knows he's
nearby— an act that later becomes the
film's moving coda.
As Dexter's single mom, Annabella
Sciorra ("Mr. Wonderful") gives the film
a warm and compassionate center.
"The Cure" is less successful with the
supporting cast, especially Erik's harsh
mother (Diana Scarwid), who symbolically
stands in for those among us who
would wish AIDS victims to suffer in
silence; as a single mother abandoned
by her husband for a younger model,
working two jobs to support herself and
her son, she's unfairly called on to bear
that extra burden on her fragile shoulders.
However, the intelligence of Robert
Kuhn's quiet script and the intimate
work of debut director Peter Horton
("thirtysomething") with his three
main players make "The Cure" a powerful
experience.— KiiH Williamson
REVIEWS
Amateur R-49
Bad Boys R-50
Billy Madison R-52
The Cure R-47
The Englishman Who Went Up a
Hill But Came Down a Mountain R-48
Farinelli R-49
A Goofy Movie R-50
The Hunted R-52
Jury Duty R-50
Kiss of Death R-46
A Little Princess R-46
Major Fayne R-51
Man of the House R-52
The Mystery of Rampo R-46
Panther R-48
The Pebble and tlie Penguin R-50
The Postman R-48
Rob Roy R-50
Roommates R-52
Stuart Saves His Family R-49
Tank Girl R-51
While You Were Sleeping R-46
Wigstock: The Movie R-48
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Response No 15
June, 1995 R-47

REVIEWS
WIGSTOCK: THE MOVIE
•••
Stfiniiig RiiPfiiil, Ilic Ladij Biiiiiiij,
Lijpsiiika and Dccc.-Litc.
Directed by Bmiy Shils. Produced by
Dean Sih'ers and lilarlin Hecht.
A Goldwyn release. Vnrated. Documentary.
Running time: 92 min.
This campy, entertaining film features
selected performances from the 10th annual
iteration of New York City's (in)famous
Wigstock festival, touted as "the
Super Bowl of Drag." A transvestite takeoff
on Woodstock— but "without all the
bad hair"— Wigstock has (along with wigs
of every hue and style) enough sequins,
rhinestones, feathers, eyelashes and high
heels to accouter all of Las Vegas. Piecing
together interviews of the colorful participants
with footage of them rehearsing
and performing, documentarian Barry
Shils provides a voyeur's paradise of
cross-dressers decked out to the nines.
Besides the visual excitement provided
by the costumes of some of the country's
top female/male impersonators, there's
an abundance oftalent being showcased.
RuPaul, self-proclaimed "Supermodel
of the World," and the dance group Deeelite
are among the top acts. Additional
performances come from the
event's
emcee. The Lady Bunny, and from the
likes of Mistress Formika, Lypsinka,
Alexis Arquette, Jackie Beat and Crystal
Waters. Joey Arias is particularly compelling
as Billie Holliday, belting out vocals
that bring to life that soulful jazz
singer. Other highpoints: Mistress
Formika's bawdy rap number, "You've
Got to Fight forVour Right to Be Gay,"
spinning off the Beastie Boys hit; and the
hilarious Dueling Bankheads singing
"Born to the Wild." A few of the acts,
however, are comparatively unsuccessful,
and the film's production values are
a little rough in places.
Filmed at two Manhattan locations
(Thompson Square Park and the Christopher
Street piersj, "Wigstock: The Movie"
isn't for all audiences. But for many viewers
this musical celebration of "life, love
and lipstick" will prove to be an eyeopening
experience. —Pflf Kramer
THE POSTMAN ic-k-k-k
Starring Massimo Troisi, I'hilippc
Noiret and Maria Graza Cucinotta.
Directed by Micliacl Radford. Written
by An}ia Pavigfiano, Micliael Radford,
Furio Scarpelli, Giacomo ScarpcUi and
Massimo Troisi. Produced by Mario &
Vittorio Gecchi Gori and Gactano Dauiele.
A Miramax release. Drama. In Italian
with subtitles. Not yet rated. Running
time: 115 min.
A charmingly Iragranl houiiuet that
slowly warms you like a Hask of fine
wine, "II Postino" marks the final performance
of Massimo Troisi. The Italian
star literally gave his life to get this adaptation
of Antonio Skarmcta's novel
"Burning Patienc:e" onscreen; Troisi died
the morning after filming ended.
The story follows exiled Chilean
poet/diplomat Pablo Neruda (Philippe
Noiret), who in 1952 takes refuge in an
Italian village with wife Matilde (Anna
Bonaiuto). A layabout named Mario
(Massimo Troisi) who doesn't want to
follow in his family's fisherman tradition
becomes Neruda's personal mailman. A
friendship grows between the two as
Mario becomes interested in the complexities
of poetry, particularly as a
means to wooing the village's prettiest
young woman, Beatrice (Linda Moretti).
In Cyrano-like fashion, Mario uses
Neruda's verses and then the man himself
to capture the woman of his dreams.
A British director making an Italian
film seems oxymoronic, but the instinctive
rapport of Michael Radford ("White
Mischief) with his material and actors
transcends country and culture to create
a winning romance of opposites attracting:
the poet and the postman, the postman
and the beauty. Using generous
spoken stretches of Neruda's more sensual
works, the actors and montage imagery
show how metaphoric language
can transform the lives of even the least
educated. Not only the directing and acting,
but also the gently witty dialogue and
snatches of a lilting harmonica score by
Luis Enrique Bacalov create an involving
rhythm to match the human poetry.
Though trimming of the last half-hour
would lend the climax an even greater
emotional punch, the shock of the tragic
finale still gives the movie as a whole a
bittersweet overlay. — Michael Lightcap
PANTHER ••1/2
Staning Kadccm Hanison, Courtney
Vance and Marcus Chong.
Directed by Mario Van Peebles. Written
by Melvin Van Peebles. Produced
by Melvin & Mario Van Peebles.
A Gramcrcy release. Drama. Rated R
for stjong violence and language. Running
time: 124 min.
For those viewers who know the history
of the Black Panther Movement—
which began in Oakland, Calif in 1966 in
response to the harassment and violence
suffered by the black community at the
hands of local police— and its leaders,
"Panther" will undoubtedly strike a deep
chord. For those with scant knowledge
who want to learn about that period, the
film will prove disappointing,
A (fictional) rank-and-file member of
the organization, Judge (well played by
Kadeem Harrison) is a college-educated
Vietnam veteran whose initial skepticism
about joining is overcome by Panther
founders Huey Newton (Marcus
Chong) and Bobby Scale (Courtney
Vance). At Newton's request, Judge becomes
an informant for the police. (FBI
head J. Edgar Hoover lab('ts the group
Public Enemy #1.) As a double; agent,
.ludge's life is endangered not only by the
police but by Panth(;r members who suspect
he's in league with the autlioritics.
The film hits highlights of Panther
chronology but doesn't offer sufficient exposition
for the uninitiated. The introduction
of school-lunch programs and
sickle-cell anemia testing, the rift wth
Eldridge Cleaver, Newton's arrest and
Hoover's obsession with neutralizing the
group all pass by with giddying speed.
Though the film appropriately emphasizes
the movement as a whole, it fails to
fully develop its characters. To succeed
on its terms, a film like "Panther" should
not preach to the converted; it should
show the uninformed a different world
and sensibility.— /e«M Oppenheimei-
THE ENGLISHMAN WHO
WENT UP A HILL BUT CAME
DOWN A MOUNTAIN ki^icir
Staning Hugh Grant, Tara Fitzgerald
and Colm Meancy.
Directed and written by Christopher
Monger. Produced by Sarah C'lutjs.
A Miramax release. Comedy. Not yet
rated. Running time: 98 min.
Bearing all the marks of a fairy tale—
though presented as (embellished) fact—
this film strikes a mannered pose while
acting blase about serious, even dire, elements
just beneath the surface, in the
same way that Hansel and Gretel matterof-factly
wedge the witch into the oven
without further comment. Based on a
story told to writer/director Christopher
Monger by his grandfather, the movie
opens in war-weary 1917 with the arrival
of two Englishmen (Hugh Grant and Ian
McNeice) in a quiet Welsh village. It's
immediately apparent that there are cultural
differences afoot, leaving the villagers
free throughout to make entertaining
jokes at the expense of the newcomers.
The purpose of the interlopers is to measure
the (for them) unpronounceable elevation
hard by the village: If it's taller
than 1,000 feet, it will win official designation
as a mountain, but if it's under it
will be unceremoniously downgraded to
a hill. The ever-precise English find it 16
feet short of 1,000, prompting the outraged
but wily villagers to hatch a
scheme to keep the limeys in town long
enough for the height to be raised and
remeasured. The title says the rest.
It's a nice twist on a proven formula,
and all the reliable stock characters are
represented: the lascivious but wellmeaning
innkeeper (Colm Meaney), the
irascible elderly minister (the outstanding
Kenneth Griffith, last seen harassing
Hugh Grant in "Four W(!ddings and a
Funeral"), the good-hearted local tart
(Tara Fitzgerald), along with assorted eccentrics.
If the film belongs to anyone,
though, it's Grant (who's always a pleasure
to watch) and c:inematographer Vernon
Layton, whose top-shelf work
manages to hint at the surnnniding darkness
of wartime with compositions that
deftly combine the comic and the ominous
elements of Mong(M''s well-layered
screenplay. — Esfc/; \'agy
R-48 BOXOFFLCK

REVIEWS
AMATEUR •
starring Isabelle Huppert, Martin
Donovan and Elina Lowensohn.
Directed and ivritten by Hal Hmiley.
Produced by Ted Hope attd Hal Hartley.
A Sony Classics release. Action/thriller.
Rated R for violence and
language. Running time: 105 niin.
Hal Hartley's latest moves at such a
lethargic pace one is tempted to retitle it
"Amateurish." Although Hartley's previous
independent work, like 1992's "Simple
Men," has earned him considerable
acclaim, this film's deadpan style stirs
one key emotion: boredom.
Isabelle Huppert stars as Isabelle, a
former nun who writes short stories for
a pornographic magazine. She meets
Thomas (Martin Donovan), who's suffering
from amnesia and so doesn't remember
he was once a brutal criminal.
Meanwhile, as the two attempt to rediscover
his past, a porn actress named Sofia
"Amateur" wouldn't have looked like a ing (actually a blend of two vocalists)
professional job. — C«rofe Glines seems recorded: Dionisi's lip movements
FARINELLI ^^1/2
Starring Stefano Dionisi, Enrico ho
Verso and Elsa Zylberstein.
Directed by Gerard Corbiau. Written
by Andree Corbiau and Gerard
Corbiau. Produced by Vera Belmont,
Linda Gutenberg, Aldo Lado, Dominique
Janne and Stephane Thenoz.
A Sony Classics release. Drama.
Rated R for depiction of adult themes
and sexuality. Running time: 110 min.
A sort of castrato and sibling-rivalr\f
variant on "Amadeus," this 18th-centur\'
true story follows the lives of two brothers:
the composer Riccardo Broschi (Enrico
Lo Verso) and his younger brother
Carlo (Stefano Dionisi), who was castrated
without his consent before puberty
to maintain his heavenly voice. As
grown men, the two share everything,
including their music— Carlo sings what
Riccardo writes— and their women-
Carlo stimulates them and Riccardo
(Elina Lowensohn)— Thomas' former
girlfriend, who believes he is
dead— tries to blackmail his ex-boss
and thus endangers all their lives.
The movie comes off as a parody
of the action genre, with characters
digressing into bizarrely funny conversations
as they run through conventional
chase scenes. But Quentin
Tarantino has upped the ante for hip
dialogue with "Reservoir Dogs" and
"Pulp Fiction," and Hartley's screenplay
seems embarrassingly flat by
comparison. When a friend shows
Sofia what a floppy disk is, she objects,
"It's not floppy. It's stiff" The
joke misfires, but Hartley thinks it
good enough to repeat later. The
banter of the hitmen here (one of
whom claims to have studied economics)
doesn't have the amusing
zest that marked the interplay between
John Travolta and Samuel L.
Jackson in "Pulp Fiction." Hartley's
Stefano Dionisi m 'Fannelli.
story simply seems weird instead of
humorous. The writer/director also "plants the seed." Taking the stage name
keeps his biggest asset — Isabelle Farinelli, Carlo gains great acclaim, his
Huppert— offscreen for long stretchesby sublime voice carrying his royal and
splitting "Amateur" into two parts, one noble listeners into rapture. A rift eventually
tracking Isabelle and Thomas, the other
the tale of Sofia and a hapless accountant
(Damian Young). You long to see more
grows between the two siblings,
less due to the efforts by the composer
Handel (Jeroen Kxabbe) to have Farinelli
of the French dramatic actress in this sing his music than to Carlo's unslakable
unusual American comedic role; Huppert's
anguish over his castration— and his
work recalls Garbo's in "Ninotch-
anger at his older brother for allowing it.
ka." Huppert handles the comedy deftly This separation is nicely symbolized
as Isabelle tries to lose her virginity by by their rivalry over the one woman (an
seducing Thomas; her attempts are so evocative Elsa Zylberstein) who Carlo
halfhearted you can't help but laugh. But doesn't want to share but for whom he
the other actors seem immobilized by the can'tbe a complete man (i.e., impregnate
writer/director's stylized manner.
her). But the narrative as a whole stuttersteps
Hartley tries in vain to make his script
through its quarter-century span,
sing, and he also fails to develop a strong which might be due in part to four different
visual look to back up the lines. Although
types of story credit being shared
it has action and violence, the film among five writers. Other symbolism,
drones along, as stately as a PBS drama; especially that of Carlo's nightmare
it could have easily been edited to 90 about a white horse, seems forced. A
minutes. But even a tighter version of crucial difficulty is that Farinelli's sing-
aren't always in sync, and that singing's
aural qualities (save for one scene) are
oddly the same whether he's performing
inside or outside.
Along with Zylberstein, Dionisi and Lo
Verso redeem "Farinelli" with fine performances.
As the fragile and suffering
Carlo, Dionisi is suitably overheated, and
Lo Verso makes for a fiercely affectionate
brother— Kiw Williamson
STUART SAVES HIS FAMILY irir
Starring Al Franken, Laura San
Giacomo and Vincent D'Onofrio.
Directed by Harold Ramis. Written by
Al Frankot. Produced by Lome Miclmels.
A Paramount release. Comedy /drama.
Rated PG-13 for language and substance
abuse. Running time: 98 min.
Based on the "Daily Affirmation with
Stuart Smalley" sketches on "Saturday
Night Live," this big-screen variant has
fill' same problem as most of its parent
show's skits: It revolves around one
joke milked too long— a weakness
compounded at feature length. The
movie also doesn't know whether to
try to flesh out the character of Stuart
and make him somebody we care
about, or keep him a parody.
Al Franken, an "SNL" writer and
performer for 15 years, plays Stuart,
a "caring nurturer" who hosts a selfhelp
cable access show and has as his
mantra "I'm good enough, I'm smart
enough and, doggone it, people like
me." Stuart isn't a licensed therapist,
but his membership in multitudinous
I2-step programs gives him a
special insight into emotional dysfunction.
When the evil program director
cancels Stuart's show, though,
he sinks again into depression,
marked by a Fig Newton binge.
Before progress can be made toward
recovering his career, a
relative's funeral forces Stuart to return
home to the family that made
him so dysfunctional in the first place.
Stuart's father (Harris Yulin) and older
brother (Vincent D'Onofrio) are alcoholics.
("You'd drink too, ifyou had Liberace
for a son," asserts Dad.) His sister is a
compulsive eater, and his mother constantly
cooks and bakes to suppress dissatisfaction
with her miserable life.
Stuart decides to take it upon himself to
rescue each family member from his or
her respective failings— a task made
more difficult by the fact that Stuart is
barely able to cope with his own.
In contrast to the lighthearted treatment
of the Smalley family's disorders is
a somber conversation between Stuart
and Julia (Laura San Giacomo), a fellow
1 2-stepper and best friend, during which
she details a deeply personal trauma. Her
monologue is the film's only seriously
conveyed note, and it seems inappropriate
for someone to be making such revelations
to the caricature that is Stuart.
The film has fun moments, especially
for fans of Stuart's hallmark catch-
June, 1995 R-49

REVIEWS
phrases, vvliich are the crux ot the Stuart
gag. (Among the more memorable here
are "trace it, face it and erase it" and "it's
easier to put on slippers than to carpet
the world," though those are hardly destined
to come on par with Gumpisms.)
Overall, though, "Stuart Saves His Family"
is a disappointment from director
Harold Ramis of "Stripes, " "Ghostbusters"
and "Groundhog Day" fame. As for
Franken's performance, one would feel
guilty picking on the hapless Stuart— and
if Franken can evoke pathos for a silly
spoof of a character he must be doing
something riglit. — C/insri»c James
JURY DUTY •1/2
Stoning Pnitlij Shore, Tici Carrerc
and Shelley Winters.
Directed hi) John Fortenherty. Written
by Neil Tolkin, Barbara Williams
and Samantha Adams. P)odiiccd by
Yoram Ben-Ami and Peter Lenkov.
A T}iStar release. Comedy. Rated PG-
13 for crude sex-related humor. Running
time: 86 min.
Tommy Collins (Pauly Shore) has been
summoned to serve "Jury Duty." He's
unemployed and on the lookout for the
longest trial he can land— all the better to
have his needs cared for during sequestration.
When he falls for fellow juror
Monica (Tia Carrere), he aims to draw
out deliberations even longer to give him
more time to win Monica's affection. For
everyone else involved in the case,
Tommy becomes Public Enemy #1
Once a big-screen staple (e.g., "Twelve
Angry Men," the Henry Fonda film from
which this off-kilter variant borrows, in
one scene literally), courtroom drama is
now available any hour of the day. It's not
first-time director John Fortenberry's
fault that "Jury Duty" arrives when audiences
are watching for free pretty much
what this film asks them to pay for. At
least it asks them to laugh, not weep.
And there the movie is only marginally
successful. Its uncourtly antics are
clearly inadmissible, and Shore's odd and
improvised humor is but fitfully entertaining.
The former MTV star is even
overshadowed by his canine companion
(played by Gizmo from "True Lies"), a
chihuahua obsesssed with the game
show ".leopardv." — Dn'niyjie E. Leslie
THE PEBBLE AND
THE PENGUIN ••1/2
featuring the voices of Martin Short
and James Belushi.
Written by Rachel Korelsky and Sieve
Whitestone. Produced by Russell Boland.
An MCi\t/UA release. Animation.
Rated G. Running lime: 74 min.
Better than ime would expect of an
animated movie for which no one claims
a directing credit, this birds-ol-no-feathers
tale oig Martin Lawrence, Will Smith
and Tea Lconi.
Directed by Mieahcl Bay. Written by
Michael Banic, Jim Mulholland and
Doug Ricliardson. Produced by Don
Simpson and Jeny Bruckheimer.
A Columbia release. Action /comedy
Rated R for intense violent action and
pervasive strong la)iguagc. Running
time: 117 min.
Comedic actors Martin Lawrence
(TV's "Martin") and Will Smith (TV's
"Fresh Prince of Beverly Hills") make for
an explosively funny combination as
Miami police detectives bungling their
way through life-and-death dilemmas.
Backed by blockbuster producers Don
Simpson and Jerry Bruckheimer (the
duo behind "Beverly Hills Cop" and "Top
Gim"), "Bad Boys" also dishes a generous
dose of high-octane action.
Lawrence plays Det. Marcus Burnett,
a neurotic married cop; Smith is his antithesis,
Det. Mike Lowrey, who's rich,
sinooth and all ego. The duo is constantly
engaged in a battle of wills as they try to
solve a high-profile drug heist from police
headquarters and find themselves in
over their heads. Like "Beverly Hills
Cop," "Bad Boys'" humor is often selfdirected,
spoofing other police shows
with cliche lines and stealing an opening
shot from "Miami Vice." In proving
they're "tough enough" by taking swipes
at each other's manhood, Lawrence and
Smith provide well-placed laughs to relieve
the tension built during action sequences—some
of whose drama comes
credit of Oscar-winning stunt coordinator
Ken Bates {"Dk: Hard," "Dcmiolition
Man"). Even when excessive, the action
keeps the plot moving, giving the characters
const.uU challenges. As Julie, a sexy
witness to ,i crime, Tea Leoni adds extra
chemistry to the mix— especially because
Julie's arrival in the plot necessitates
a role reversal by the detectives that
is the movie's strongest element.
With the talents of Lawrence and
Smith, the film hardly needs quite its
number of overblown explosive scenes,
which compromise the film's believability.
Nonetheless, "Bad Boys" is extraordinarily
entertaining. —Pflf Kramer
A GOOFY MOVIE •••
\'oiees by Bill Fanner and Jason
Marsdeii.
Directed by Kevin Lima. Written by
Jymn Magon, Chris Matheson and Brian
Pimental. Produced by Daji Rounds.
A Biiena Vista release. Animation.
Rated G. Running time: 76 min.
Perhaps ultimately better suited to
home video's small screen, this toon for
tots is kinetic enough for kids yet comical
enough for parents. Here, Goofy— who
first appeared as Dippy Dawg in a 1932
short, "Mickey's Revue"— makes his bigscreen
starring debut as a single dad to
son Max, who believes that his pater's
goofiness is making it all the harder for
him to fit in with the cool crowd at school.
Just as Max makes a social breakthrough
by landing a date with the lovely Roxanne.
Goofy decides to establish a bond
with his distant-seeming teenager by taking
him on a cross-country fishing trip—
trip that takes the duo to unexpected
geographies and emotions.
Debut director Kevin Lima keeps the
onscreen commotions inventive with
wry angles and lots of action. The script's
three writers are surer with wit (which
rarely flags for long) than with depth,
settling for homily andbromide. Both the
story and potential audience could have
been broadened by adding a Mrs. Goofy
(whose absence is unexplained) and a
daughter. Six songs, including ditties
from Tom Snow ("Footloose"), have an
agreeable zest —Kiiii Williamson
ROB ROY •••••
starring Liam \ces()}i, Jessica Ijingc
and Tim Roth.
Directed by Michael Caton-Jones.
Written by Alan Sharp. Produced hy
Peter Broughan and Richtird Jackson.
A VA release. Romance advcniurc.
Rated R for violence aiul se,\uality.
Running lime: /.W min.
This epic transports audiences to the
beautiful Scottish highlands in the early
17()0s, the era of the legendary Robert
Roy MacGregor, A cattle drover for the
Marqius of Montrose (John Hurt), Rob
Roy (Liam Neeson) borrows 1,000
pounds from his employer to buy a herd
of cattl(^ which he will tr.msport anti sell
to iK^lp stipport his fannly ,md his village.
Fouling his plan is Archibald C'lumingharn
("Pulp Fiction's" Tim Roth), tmderneath
whose dry wit and penchant for fey
fashion is a letlial socio|ialh. To iielp pay
his tailoi hills. Ciumingh.un conspires to
R-50 Boxonicic

REVIEWS
the loan money, leaving Rob Roy
steal
faced with repaying the Marquis, who
instead of coin wants the influential
MacGregor to slander a political rival.
Placing honor above all, he refuses and
escapes; a manhunt is led by
the amoral Archibald, who
burns Rob Roy's village, kills
his livestock and rapes his wife
(Jessica Lange)— which pits the
two men against each other for
an eventual showdown.
Performances all around are
strong and genuine. Neeson's
striking portrayal of Rob Roy
exudes the character's honor
and nobility from the onset.
Lange, hot off her Oscar win for
"Blue Skies," is riveting as his
strong-spirited wife Mary. Together,
they create a couple
whose love is deep and passionate.
The cinematography and
Celtic score compound the epic
feeling of the tllm. Historical
authenticity is sought not only
in the beautiful costuming but also in the
meticulous degree to which practically
every character, good or evil, has the
snaggled teeth of those times.
"Rob Roy," though formulaic in terms
of story arc and protagonist/antagonist
tensions, masterfully combines elements
of the action, tragedy, romance
and period genres to create this deeply
moving story about the heroism of standing
up for what one believes in, no matter
what the odds or cost. — Christine James
TANK GIRL irir
starring Lori Petty, Malcolm McDowell,
Naomi Watts and Ice-T.
Directed bij Rachel Talalaij. Written by
Tedi Sarafian. Produced by Ricliard B.
Leiins, Pen Densham and John Watson.
A UA release. Action /comedy. Rated
R for violence, language and sexuality.
Running time: 104 min.
Tank Girl (Lori Petty) is a heliumvoiced,
tough-talking, beer-swilling,
oddly garbed, flirtatious, fearless, chainsmoking,
determinedly individualistic
19-year-old kewpie-doll punker living in
the year 2033. The earth, now a desert, is
overlorded by the Department of Water
and Power, but Tank Girl and her outlaw
fi-iends manage to steal enough water
(and beer and smokes) to live a party
life— until an attack by evil DWP head
Kesslee (Malcolm McDowell, whose talent
for subtle yet terrifying malevolence
are wasted in a cliche role). Escaping a
DWP labor camp. Tank Girl hijacks a
tank and— with fellow inmate Jet Girl
(Naomi Watts) and human/kangaroo hybrids
called Rippers (whose supposed
deadliness is hardly believable)— embarks
on improbable adventures to
thwart Kesslee and his minions.
In depicting this future world, the
filmmakers have included animation sequences
that render Tank Girl as she's
seen in the popular underground British
FLASHBACK: DECEMBER 1, 1969
What BOXOFEICE said about...
MAROONED
[On June 30, Universal releases "Apollo 13," the true story of tlie 1970
moon mission that almost didn't make it back. Just one year earlier,
Hollywood had offered a similar cinematic scenario in "Marooned."]
With a maximum of authenticity and suspense,
producer M.J. Frankovich and director
John Sturges have created a timely space
adventure that should appeal to the millions
of people throughout the world who watch
U.S. astronauts live on television and wonder
what fate would await them should something
go disastrously wrong. "Marooned" gives the
specifics of such a situation in the kind of
standard adventure-melodrama framework
so pleasantly familiar to general audiences.
With a full quota of spectacular special effects
and stunning Panavision-Technicolor footage
of actual missile launches, the Columbia roadshow
release boasts a strong cast, wth Gregory
Peck, David Janssen and Gene Hackman outstanding
as parties caught up in the life-ordeath
struggle to save three astronauts
apparentiy doomed to orbit the Earth through
eternity. Much of the dialogue is so scientifically
exact as to numb the average mind, but the suspense overcomes the
grounded doubletalk and too-predicatble antics of the worried wives. The
conclusion is especially upbeat, showing one aspect of American-Russian
cooperation that could result from an impending tragedy in the void.
EXPLOITIPS:
SELLING ANGLES: The subject matter, of much concern to Americans,
is a natural for exploitation. This is not the cerebral fare of "2001" and
should be sold as a space adventure to general audiences. Displays of
space equipment and clothing; tic-ins with local science clubs and schools.
CATCHUNES: The Suspense Adventure of the Space Age!. ..The Saga of
Ironman One!
comicby Alan Martin and Jamie Hewlett
on which the film is based— saving a fortune
on sets by merely drawing them. As
with most futuristic prognostications,
bleakness and oppression prevail; in the
end, what doesn't prevail is "Tank Girl"
itself. Though striving to stay true to the
Tank Girl persona, the movie concocts a
character more two-dimensional than
the paper the comic is printed on: Petty
has her enthusiasm but not the edge.
Petty's performance has fun moments,
and both her energy and that of a grungerock
soundtrack almost prod audiences
into getting caught up in it— but not
quite. Director Rachel Talalay, whose resume
includes "Freddy's Dead: The Final
Nightmare" and producing credits on
John Waters' "Hairspray" and "Cry-
Baby," here is unable to transcend camp.
(For example, a protracted renditioncomplete
with can-can line— of the Cole
Porter song "Let's Do It" when Tank Girl
and crew should have been making their
escape goes far out of its way to be weird
and wacky.) The film's humor is often
juvenile or contrivedly off-kilter. Worst,
its attempts to win a Gen-X audience with
its spit-at-authority spokesperson are
eye-roUingly overt. "Tank Girl" is all style
over substance, and even the style isn't
all that mind-blowing.— Christine /«mes
MAJOR PAYNE •^
Starring Damon Wayans, Karyn Parsons
and Michael Ironside.
Directed by Nick Castle. Written by
Dean Lorey, Damon Wayans and Gary
Rosen. Produced by Eric L. Gold and
Michael Rachmil.
A Universal release. Comedy. Rated
PG-13 for some crude humor and behavior.
Running time: 97 min.
From Groucho Marx on, broad comic
performers have always worked best when
placed in exaggerated situations that allow
them to collide with similarly broad and
(preferably) pompous targets. In this
comic variation on "The Private War of
Major Benson" (the 1955 Charlton Heston
vehicle), star and co-scripter Damon
Wayans creates a classic comic caricature:
Major Benson Payne, a career soldier who's
run out ofwars to fight and now commands
a misfit teenage ROTC unit.
If Wayans and his co-writers had concocted
a better backdrop for Payne's silliness
and more deserving targets for his
sarcasm, this film might have worked.
But Payne's teenage charges are such a
harmless and characterless bunch that
they pose no challenge to the bellicose
major. Where's Margaret Dumont when
we need her?— Eric Williams
June, 1995 R-51

REVIEWS
ROOMMATES ^1/2
Stani)ig PctcT Folk, D.B.
Swecjicy and /idimnte Moore.
Directed by Peter Yates.
Written by Max Apple and
Stephen Metealfe. Produced
by Ted Field, Scott Kroopli
and Robert W. Cort.
A Biicim Vista release. Comedy/drama.
Rated PG for tlicnmtic
clctntnits, and for some
scnsiwdity atid language. Run-
MiHg time: 109 min.
Manipulative from start to
finish, this Interscope production
aims for a "Terms of
Endearment" mix of soap and
spice, but comes off closer to
the unrestrained mawkishness
of "Beaches." Despite a
typically winning performance
from Peter Falk,
"Roommates" quickly crosses
over from cute to cloying.
With its
paint-by-numbers
plot (based on a story by coscripter
Max Apple) about a
grandfather who raises his
grandchild, it relies perhaps
unfairly on the performances
of its leads. Falk is charming,
but his character has no arc;
as his grown charge, D.B.
Sweeney shows little depth;
and Julianne Moore as the
love interest is hopelessly
mannered.— Sean O'Neill
THE HUNTED ^1/2
Starri}ig Christopher
Lambert and John Lone.
Directed arid iinittcn by J.F.
Laiiton. Produced by John
Dains and Gary \V. Goldstein.
A Universal release. Action.
Rated R for strong
bloody ninja violence and
some sexuality. Running
time: 110 min.
For a ninja action movie,
"The Hunted" suffers from an
acute identity crisis. On the
one hand, writer-turned-director
J.F. Lawton ("Under
Siege") wants to deliver a
movie of texture; on the
other, he wants to thrill audiences.
He fails in both.
As a New York businessman
who becomes the target
of a ninja assassin (John
Lone), Christopher Lambert's
character fades into the
background as the action
switches to an internecine
war between two ninja clans.
Straitjacketed by Lawton's
one-note conception, Lone's
bad guy seems a parody —but
not camp enough to be memorable.—
R/cfc Schultz
MAN OF THE HOUSE •
Starring Chevy C'/irtse,
Fanah Fawcctt and Jonathan
Taylor Thomas.
Directed by James Oit.
Written by James Oit and
Jim Cndckshank. Produced
by Bonnie Bruckheimer and
Martij Katz.
A Bucna Vista release.
Comedy. Rated PG for mild
thematic elements. Running
time: 96 min.
hi the old days, Disney's
live-action movies rarely
dealt with any subject stickier
than flubber. With "Man of
the House," Walt's successors
have attempted to construct
a lighthearted romp around
the sticky modern topic of
how children cope with divorce
and remarriage. But
the results remain lighter
than air. Director James Orr
and his co-writer Jim
Cruickshank, best known for
"Three Men and a Baby,"
quickly back away from anything
hard-edged, instead devoting
most of the film to soft,
"Afterschool Special" sentiments.—
Eric Williams
BILLY MADISON 1/2
Staning Adam Sandler,
Bridgette Wilso}i and
Darren McGavin.
Directed by Tamra Davis.
Written by Tim Herlihy and
Adam Sandler. Produced by
Robert Simonds.
A Universal release. Comedy.
Rated PG-13 for language
and crude humor.
Running time: 88 min.
A comedy about adult education
that fails on all counts,
"Billy Madison" lacks the
traits that make "Tommy
Boy" a modest winner:
laughs, plausibility and
screen presence. As a lazy
young man on the mend,
Adam Sandler (who cowrites,
badly) exhibits none
of the magnetism and attention
to character that made
his supporting performance
in "Shakes the Clown" memorable.
The film's romanceeven
judged by the easy
standards of this genre — is
bungled, with an acceptable
turn by Bridg(;tte Wilson as
the title character's favorite
teacher made ludicrous by
how her heart is won. But the
central prohU'm remains the
humor: There isn'l anv— at
all.— KiKi Williamson
^
Stcry-type key: (Ac) Action: lAtl) Adveniure: lAn) Animaled:
fO Comedy: iD) Drama: iDoc) Documentary: (F) Fantasy:
iHor) Honor: (M) Musical: {My) Mystery: (R) Romance:
(SF) Science Fiction: iSus) Suspense: (Th) Thriller: IW) Western.

•
. -s .•
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Erit;er|;he \A/orld
of SDvSound!
Everything Else isiOM^S^^m!.:, '' ...
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Response J^o.
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320
Sask.
READY THEATRE SYSTEMS
Complete ticketing and concession systems
$1950 per terminal, hardware & software included
800 676-9303
ClearingHouse
RATES: $1 00 per word, minimum $25, $15 extra
for box number assignment. Send copy with ctieck
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HELP WANTED
JOIN A WINNING TEAM! Managers and Assistant
Managers wanted for multiplex theatres. Experience
is welcome, or will train. College is a plus, but looking
for dedication and enthusiasm. We offer great growth
potential, excellent salary and benefit package. Send
resume to: CINEPLEX ODEON THEATRES, Dept. B,
70 East Lake Street, Suite 1600, Chicago, IL, 60601.
PLITT AMUSEMENT CO. of Washington is in need of
a few good multiplex managers who are well-accomplete
line of . . .
Response No 130
LET THE GOVERNMENT FINANCE your new or
existing small business. Grants/loans to $500,000.
Free recorded message: (707) 448-0201
.
(RN7)
MANAGER TRAINEE wanted by rapidly growing
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potential for film oriented person with
some entry level or college background. Wnte in confidence
to County Amusement, 3200 Elton Road,
Johnstown. PA 15904.
MANAGER NEEDED FOR FAST GROWING RE-
GIONAL THEATRE CIRCUIT. Great locations! Malibu.
Hawaii. Lake Tahoe etc. Advancement potential
and benefits. Send resume to Boxoffice Response
Number 4719.
MULTIPLEX MANAGER for theatre(s) in Idaho: 3
years experience required. Please send resume, salary
requirements and references to: Personnel Dept.,
P O Box T. Twin Falls. ID 83301
NATIONAL AMUSEMENTS INC. is looking for expenenced
managers for positilions in the New York/New
Jersey metropolitan area Multiplex experience a
must. Solid growth potential. Good benefits and salary
package. Please mail resume to: Regional Manager,
National Amusements Inc. , 2821 Route 35, Hazlet, NJ
07730,
Concession, Snack Bar and Janitorial Supplies
_^^^^_i^ plus Projection and theatre equipment also parts
For The Best In Service. . .Give Us a Call
CINF^MA SUPPIA' (
OMPANV
P.O. BOX 148, MILLERSBURG, PA. 17061
TELEPHONE: (717) 692-4744 1-800-437-5505
Response No. 96
INC.
quainted with projection and 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,
EQUIPMENT FOR SALE
AMSEC DEPOSITORY SAFE, DSF-2714K.
14'x14"x27 1/4H. Provides immediate deposits, secure
storage. Can make deposits via top loading rotary
hopper or front loading deposit door. Instant protection
from burglary. $425. Contact Customer Service Department.
Proctor Companies, 10497 Centennial
Road, Litlleton. CO 801 27. Or phone toll-free 800-221 -
3699
BURLAP WALL COVERING DRAPES: $2.05 per
yard, flame retardant. Quantity discounts. Nurse &
Co., Millbury Rd.. Oxford, MA 01540 (508) 832-4295.
COMPLETETHEATREEOUIPMENT:(New.Usedor
Rebuilt) Century SA, R#, RCA 9030, 1 040, 1 050 Platters:
2 and 5 Tier, Xenon Systems 1000-4000 Watt,
Sound Systems mono and stereo, automations, ticket
machines, curiam motors, electnc rewinds, lenses,
large screen video projectors. Plenty of used chairs.
PROFESSIONAL SERVICE AND INSTALLATION
AVAILjABLE DOLBY CERTIFIED Call Bill Younger.
Cinema Equipment, Inc.. 1375 N.W. 97th Ave., Suite
14. Miami. FL 33172. Phone (305) 594-0570. Fax
(305)592-6970 1-800-848-8886.
CUPHOLDER ARMREST "State of the art" Cy Young
cupholder Call 1 -800-729-261 for FREE SAMPLE.
FACTORY FRESH ULTRALIFE THEATRE BULBS
by ORG. Pnced to sell, warranty by ORG matches any
other manufacturer. In stock 1 000 through 7000 watts
hohzontal or vertical bulbs: price honzontal XM 1000
$354, 1600 $390, 2000 $450. Call for low pnce on
3000 to 7000 Xenon HA/. Your total theatre equipment
dealer since 1 969. SMITH SOUND & PROJECTION,
3922 Nolen Ave. SE. Huntsville. AL 35801-1037.
Phone (205) 533-7209
MICRO-FM^" STEREO RADIO Sound Systems for
Dnve-ln Theatres. Meets FCC part 15. Static free.
Available soon: low cost Micro-FM-jr. For the heanng
impaired. Call or wnte: AUDIO VISUAL SYSTEMS &
ENG
,
St. Louis Ave., Woonsocket. Rl 02895.
Phone (401 ) 767-2080; Fax (401 ) 767-2081
PATRON TRAY. Fits into cupholder armrest. Cy
Young Inc. Phone 1-800-729-2610. Call for free sample.
PROCTOR POPCORN BAG RACKS, efficient, organizes
all sizes of popcorn bags for easy accessibility.
Chrome-plated steel construction Hooks on cabinet
door and popcorn warmer or stands on back bar
counter. Holds bags from 24 oz. to 170 oz. Special
discount pnce. $31 .28. Contact Customer Service
Department, Proctor Companies. 10497 Centennial
Road. Littleton. CO 80127 Or call toll-tree 800-221-
3699.
PURCHASE AMANO CINCINNATI'S PIX-10 electronic
time recorder, lime card rack and 1 .000 time
cards lor $506i Big savings! Flexible, reliable PIX's
built-in lithium battery protects data dunng power failures.
Adjusts for daylight savings, short months and
leap years. Contact Customer Service Department.
ProctorCompanies. 10497Centennial Road. Littleton,
CO 80127 Or call toll-free 800-221-3699.
RADIO SOUND SYSTEM Cine-fi am dual transmitter.
For use with existing cables and ramps. $1500
(U.S.). Also 1 50 Eprad speakers in V.G. condition and
100 lunction boxes, $2 each (U.S.). Phone Dave at
306-743-5264. Fax 306-743-2651 Canada.
,
RIDE FILM PROJECTIONS LENS-isco-optic 1 60 degrees
new $14,000. used $6,500 Twin Todd A-0
Noreico 35/70mm Projectors-'classic beauties"
$7500/pr. Century JJ3 35/70mm projector, 4500w
lamphouse $35,000. Misc 35/70mm editing equipment,
etc. Call 407-287-2728, fax 407-287-4144,
STAGE SPEAKERS - quality products offered at very
reasonable prices New stage speakers from $499.95
to $1 499.95 and we accept trades on your old product.
How about used stage speakers completely reconditioned
with warranty from $399.95. DTS upgrades
available tor all older speakers (saves you money),
Altec, RCA, etc. Speaker reconing and repair for all
makes Subwoofers $299.95 to $699.95. Don't buy
48 Boxoffice

This Year;
Listened To DT3f
:
DTS IS PLEASED TO ANNOUNCjuj
THE FOLLOWING 1995 RELEASES AVAL
kill
ABLE IN THE DTS DIGITAL SOUND FORMA
International*
(Universal)*
CURRENTLY IN RELEAS
Demon Knight (Universal )* Billy Madis«
In The Mouth of Madness (New Line Cinemj
The Hunted (Universal)* Le Nouveau Monde (BAG Films
Rob Roy (MGM)* Tank Girl (MGM)* Forrest Gun
(Paramount) Re- Release Major Payne (Universal)* Don Juan de Mar
(New Line Cinema)* The Pebble and The Penguin (MGV
APR]
The Cure (Universal)* Village of The Damned (Universal)* Doctor Zhiva;
(Turner)* New Jersey Drive (Universal) * The Basketball Diaries (New Line Cinerr
ipei
Lni
ill
"im
lie
iudi
ilor
00
k'
as]
Braveheart (Paramount) Casper (Amblin)* My Family (New Line Cinema)* Ni
(Canal Plus) - International La Cite Des Enfants Perdus (UGC) -Intcrnatioi
[j.
f* tL
* DTS exclusive digital format.
(Check your local listings for a theater near you).

$2 Filmmakers
!Nfow It s Your
^B£Amazed.
^''
UNE
i'y >ongo (Paramount) Fluke (MGM)*
Mil
iold Diggers (MGM)* Apollo 13 (Universal)*
ULY
pedes (MGM)* Cutthroat Island (MGM) Waterw
tAi Universal)*
iJis
PR:
]iva
lUGUST
Irtuosity (Paramount)
Angus (New Line Cinema)* Wild Bill
VIGM)* Hackers (MGM)* Babe, The Gallant Pig (Universal)*
udden Death (Universal)* The Show (Savoy) Lord of Illusions (MGM)*
lortal Kombat (New Line Cinema)*
DOMING SOON
bo Wong Foo: Thanks For Everything, Julie Newmar (Universal)* Clockers
Universal)* Seven (New Line Cinema)* Casino (Universal)* Showgirls (MGM)*
las Light Edition (New Line Cinema)*
Get Shorty (MGM)* Lawnmower Man II
Mi "^ew Line Cinema)* Goldeneye (MGM)* T-Rex (New Line Cinema)* Balto (Universal)*
Nil, ow To Make An American Quilt (Universal)* Sgt. Bilko (Universal)* The Nutty Professor
Universal)* Dragon Heart (Universal)*
DIGITAL
SOUND
i
And Be Amazed.
Listen.
FOR MORE INFORMATION, CALL 1-800-959-4109

Edwards Theatres
Mann Theatres
QSC Amplifiers are tealured in Edwards Theatres, including their
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