Boxoffice-July.1995

35T»: 

JULY 1995, $4.95 

^FECIAL REPORT: 

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DIGITAL 

The business magazine of the motion picture industry 

JULY, 1995 VOL. 131 NO. 7 

I finnly beliniefilm can help bring the Inilh to the people. —Steven Seagal 

a not insignificant fact that, this past year, for the 

It's 

first time American movies made more money in 

fordg}i lands tlmn in the country of their manufacture. 

It's boom time in Hollywood, where ynore and more 

movies — and film-related, movie-based products— are 

being made. Production slates are bulgiyig, and even the 

once sleepy backwater that was the independent film world 

is responding to the overheated marketplace, as demonstrated 

by the more than $100 million domestic boxoffice of 

Qiientin Tarantino's "Pulp Fiction," the first independent 

title to ever achieve definitive blockbuster status. 

Still, American movies can learn a thing or two from their 

foreign cousins. As aH-house denizens have long known, 

the less financially secure film industiies ofother lands tend 

to take risks in terms of the material they produce and the 

artistic goals they aspire to that would never be able to make 

their way through American production centers, with their 

emphasis on the "sell, " on ideas that can be boiled down to 

one-line pitches, on action, action, action. 

If'Pidp Fiction" wasthemostsuccessfid independent film 

ofthe past production cycle, England's "Four Weddings and 

a Funeral" was surely among the wittiest. The equally 

British "Piiest" is already among the year's most talked 

about, riskiest films. Australia's "The Adventures of Priscilla. 

Queen of the Desert, " New Zealand's "Heavenly Creatures," 

Taiivan's "Eat Drink Man Woman," China's "To 

Live," the Continent's "White" and "Red"— these and many 

more proved unexpected delights from foreign perspectives 

in recent months, and each found its audience in the U.S. 

The industrial processing most American films undergo 

has itsplace, surely, as the worldwide popularity ofAmerican 

films continues to prove. And it is possible for something 

quirky and well-executed to make it through even the 

most rigidly commercial assemblage, as Paranwunt's "Forrest 

Gump"— an effects-laden but character-driven picture 

that simply could not have been made without the resources 

ofa major American studio— demonstrated ably last year. 

Still, as the international decade progresses, and the 

healthy interaction of different cultures becomes more and 

more a fact of daily life, it might be interesting to speculate 

about the invigorating effects a sori of inverse cultural 

imperialism— in which the often more humane and humanistic 

messages celebrated in foreign product begin to 

influence American movies— might have on Hollyiuood. 

Artistic risks are always there to be taken; all the situation 

wants is the courage of individual filmmakers, their willingness 

to make it happen. And the benefits to moviegoers 

all over the world might just be incalculable. 

Until next time. 

FEATURES 

20 COVER STORY: UNDER THE GUN 

International star Steve Seagal on his action-star image and 

"Under Siege II." PLUS: ON THE MONEY Producer Arnon 

Milctian on why he makes movies. By IVIichael Halle 

24 SNEAK PREVIEW: "LEARNINGS" CURVES 

Actress Tia Carrere discusses her turn in Savoy's upcoming 

"Learning Curves." ByShlomo Schwartzberg 

26 SNEAK PREVIEW: NOTHING BUT NET" 

Director Ira/in Winkler logs into his new cyberspace thriller, 

" 

Columbia's The Net By Jean Oppenhelmer 

28 BEHIND THE SCENES: MASTER OF INTERMnTENT MOVEMENT 

The life of projectionist George Wagner. By Lawrence R. Lay 

SPECIAL REPORT: CINEMA EXPO '95 

Your guide to this year's gathering in Amsterdam. 

32 SPECIAL REPORT: EUROPE—DOING THE CONTINENTAL 

The keys to the Continent. By Estep Nagy 

42 EXHIBITION PROFILE: DUTCH TREAT 

Morgan Creek, Warner Bros, and Chargeurs join to launch 

Holland's first state-of-the-art multiplex. By Pat Kramer 

50 CINEMA EXPO '95: SCHEDULE OF EVENTS 

A play-by-play for your four-day stay. 

51 CINEMA EXPO '95: BOOTH LIST 

Your who, what and where guide to the trade show floor. 

38 SPECIAL REPORT: SIMULATION THEATRES = REAL MONEY 

An essay from Showscan's CEO. By William C. Soady 

46 EXHIBITION PROFILE: RUN FOR THE BORDER 

Cinemark's new Mexico City 12-plex. By Michael Halle 

48 SPECIAL REPORT: DIGITAL SUBWOOFERS 

Your subwoofer scenario has become even more important 

in the digital era. By John Allen 

54 CUSTOMER SERVICE: SPOTLIGHT ON SATISFACTION 

Marcus: Making the customer #1 . By Jon Matsumoto 

56 BLUE RIBBON POLL 

The movies you loved and hated. By Christine James 

58 NEW PRODUCTS GUIDE 

64 SPECIAL REPORT: FEST FEVER 

Five festivals that offer exhibitors advance word on films 

and breaking business news. By Ray Greene, Alex 

Demyanenko, Eric Caidin, Wade Major and Ann Kwinn 

90 THE BIG PICTURE: THE FIRST LIBERAL ACTION HERO 

Before Seagal came Tom Laughlin. By Ray Greene 

(following pg. 75) 

Jûu^^*^

had! 

I continued 

I 

have 

PASSION PITS 

To the Editor: 

Mr. Sadoft's comment, "There's no more 

show business" ["Driving Passion," April 

1995], is way off base. I have been in the 

theatre business tor more than 30 years, starting 

as a popcorn boy at a drive-in. As they say. 

Oh, what fun I In the heyday of the 

drive-ins it was great. We d/'c/have the equipment 

(for about 10 years). Then, as the business 

began to slow down, the spending began 

to slow down. (I.e., no new parts—make do 

with what you had.) Those were the days of 

bailing wire and rubber bands. As to automation 

not being perfect, Mr. Sadoft needs to 

take a look at all the improvements that have 

come along to help make theatre presentation 

(in a properly run booth) better than apple pie 

and baseball. Maybe Mr. Sadoff should make 

sure he is attending a theatre in which customer 

service is #1 

Dave Wann 

Manager, Cinemark Movies 12 

Orlando, Fla. 

DAY AND DATE 


In the February 1995 issue of Boxoffice, I 

read with interest your "Flashback" article on 

William FHolden. I am a retired movie projectionist 

who, like many, was not infallible in 

pursuing his trade over the years. I remember, 

though, that "Golden Boy" was released in 

1939 by Columbia Pictures, not Paramount. 

It must be a misprint by the lithographers. 

Raymond Peque 

Hollywood 

Ed.: Oops. It's always the one tact that you 

don't check. Thanks tor paying attention— it 

leads us to doubt you were ever caught unawares 

between reels. 

FISHING FOR 

COMPLIMENTS 


This is just a little note to say thank you for 

sending our aquarium a copy of Boxoffice 

Magazine. We were able to contact many 

vendors through your ads. 

Renee Landry 

Exhibit Technician, North Carolina 

Aquarium on Roanoke Island 

Manteo, N.C. 

WE LOVE TO HEAR 

FROM OUR READERS, 

SO SENO US A LETTER. 

LETTERS TO THE EDITOR 

SHOULD BE SENT TO US A T: 

BOXOFFICE 

Magazine 

6640 SUNSET BLVD., SUITE 100 

HOLLYWOOD, CA 90028 

FEEDBACK 

ON OUR 75TH... 

Our 75th anniversary 

issue, celebrating threequarters 

of a century covering 

film exhibition and the 

movie industry, generated a 

good deal of response. (And 

all favorable!) One reply 

from former West Coast 

editor Dale C. Olson, who 

worked for Boxoffice some 

35 years ago—appeared as 

last month's "From Where I 

Sit" column. What follow 

are more comments on the 

magazine from our favorite 

folks: our readers. 

A BEACON OF LIGHT 


L.P. Associates has been offering the best 

in projection equipment to the exhibition industry 

for 25 years, and during that time we 

have always counted on Boxoffice to help us 

stay illumined about the latest issues and 

needs of theatre owners. We expect to stay on 

the cutting edge of the business, and we know 

that Boxoffice will be there every step of the 

way, providing its unique focus as the 

industry's preeminent forum. Congratulations 

on your 75th anniversary, Boxoffice May your 

next 75 years be just as bright. 

Leonard Pincus 

President, L.P. Associates 

Hollywood 

NICE TO BE NEEDED 


Boxoffice is an absolute necessity in reaching 

our cinema customer base. Yet another 

reason for our ongoing support is the 

magazine's personal attention to the needs of 

its advertisers. We have been active advertisers 

since 1969, and you can bet we'll be there 

well into the future as Boxoffk t begins its next 

75-year stint as an industry standard. Best 

wishes for your continued success. 

lack Johnston 

Vice President, ORC/Lighling Products 

Azusa, Calif. 

A "HIPP" MAGAZINE 


Congratulations on the 75th anniversary of 

Boxoffice Magazine. We have subscribed for 

almost all those years (though the earliest 

edition we have in our archives is a "Boxoffice 

Barometer" from 1964). Your magazine provides 

almost our only source of news and 

information about the movie industry, and we 

appreciate the timely facts you offer and use 

them in the operation of our business. For the 

past few years, we have served our community 

of 1 ,500 with only weekend screenings. 

Plus, during the months of May through September, 

we show movies at our drive-in theatre, 

which is one of the last ffve drive-ins 

operating in the state. 

Cecil ("Slim") Harsin 

Hipp-Hilltop Theatres 

Gregory, S.D. 

CAREER STEER 


Boxoffice has been very important in my 

career path. Back in the mid-'50s, I worked 

as the relief projectionist at the Baker Grand 

theatre in Natchez, Miss, i became acquainted 

with Boxoffice because the theatre 

subscribed, and it 

was through Boxoffice that 

first learned about the industry. The second 

time that Boxoffice had a major influence on 

my career was when I answered a Boxoffice 

classified ad back in the '70s and was hired 

to be the assistant manager at Pacific's Fix 

Theatre in Hollywood. From that job, I made 

contacts in the industry and moved into distribution, 

where I held several important 

positions, including Canadian general 

manager for Columbia Pictures, 20th Century 

Fox and Buena Vista. Congratulations on 

your anniversary! 

R. Wayne Case 

Director of Sales, Cramercy Pictures 

Beverly Hills, Calif. 

THE POWER OF PR 


May I add my sincere congratulations on 

the three-quarters-of-a-century anniversary 

of Boxoffice—especially since I celebrated 

my three-quarters-of-a-century birthday not 

recently enough. While studying cinema at 

the University of Southern California from 

1937 to 1939, I read Boxoffice religiously. It 

gave me a lifelong understanding of the 

problems suffered and opportunities enjoyed 

by exhibitors. Oh, those letters! Later, 

in the days when Alex Auerbach was editor, 

to find knowledge — just as I do 

today. I have often referred to Boxoffice 

during the 18 years I have been teaching 

Entertainment Public Relations at UCLA and 

in my public relations classes at Loyola 

Marymount University. So please continue 

your present good work, as I'll need you ,it 

the (olleges for at least another 18 years! 

Julian Myers 

lulian Myers Public Relations 

Lus Angeles 

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HOLLYWOOD 

UPDATES 

Filmmakers and brothers Ridley and Tony 

Scott, who recently formed Scott Free, a 

motion picture and television company, 

have entered into a multiple-picture directing 

and domestic distribution commitment 

with the Walt Disney Motion Picture Group. 

Scott Free will deliver tour to six motion 

pictures, directed by Ridley and Tony Scott, 

to be distributed under the studio's various 

production banners over the next tour years. 

Ridley's credits include "Alien," "Blade Runner," 

"Thelma & Louise" and the upcoming 

"White Squall"; Tony Scott helmed "Crimson 

Tide," "True Romance" and "Top Gun." 

MCM Inc. and Largo Entertainment have 

entered into a non-exclusive co-production 

agreement, under which MCM will produce 

films to which it will hold domestic rights in 

all media and to which Largo will hold all 

international rights. The first film under the 

deal is "Mulhuliond Falls," a crime drama 

starring Nick Nolle produced for MCM Pictures 

by Richard Zanuck and Lili Zanuck. 

"We are delighted to expand our already 

substantial production output by combining 

MCM's creative talents with Largo's tradition 

of backing high-profile films with bankable 

stars," says Frank Mancuso, chairman and 

chief executive officer of MCM Inc. "Our 

agreement with MCM is of major importance," 

says Barr B. Potter, chairman and 

chief executive officer of Largo Entertainment. 

"From day one. Largo's strategy has 

been to provide high-profile films with major 

stars to our international distributors." The 

agreement will cover two to six films a year. 

Working Title Films has signed screenwriter 

Terry Hayes ("The Road Warrior") to 

adapt "Gridiron," the Philip Kerr novel acquired 

earlier this year for $1 million. The 

adventure-thriller centers on a high-tech 

"smart" building that turns on its occupants. 

Recent Working Title hits include "French 

Kiss" and "Four Weddings and a Funeral." 

Miramax Films and BIG Entertainment 

have joined in a film production deal for the 

Miramax/Dimension label. The success of 

the comic book-based "The Crow," which 

grossed over $50 million, has prompted 

Miramax to compete in the fantasy genre. 

Under the deal with BIG, whose holdings 

include Techno-Comix, Miramax has acquired 

the rights to three Techno-Comix titles 

for feature film and television. The properties 

are Mickey Spillane's "Mike Danger," about 

a 1 95()s private eye who, after being frozen, 

is thawed out a century later and faces the 

alien world of 2050; Neil Caiman's "Mr. 

Hero," a story of a steam-driven robot from 

another dimension who winds up on earth; 

and Gene Roddenberry's "Lost LJniverse," 

which is set in the future and follows the 

adventures of a team of explorers in a lost 

world. "Mike Danger" is expected to be the 

first project to be produced of the three. 

As long as the studios refrain from making 

plans to bring "Family Circus" or 

"Marmaduke" onto the big screen, the market 

can probably bear a few more titles in the 

genre: Also from the funny papers (er, 

"graphic novels") comes a deal between 

TriStarand "Prophet" creator and illustrator 

Rob Liefeld. Says Liefeld, "'Prophet' is the 

story of a man out of place and time who 

wakes up in a brave new world where he is 

a total stranger. He finds himself faced with 

the unexpected challange of thwarting a 

doomsday military plot. The closer he gets to 

stopping the forces that align themselves 

against him, the more he learns about himself 

and his true purpose and origin." 

David Hoberman and his Disney-based 

company Mandevilie Films has purchased 

writer Jeff Valdez's screenplay "Play Ball" 

for a seven-figure sum. The script is described 

as the Cinderella story of a team of 

Cuban baseball players who, after defecting, 

are granted a Major League franchise and 

become championship contenders. 

Sony's Columbia Pictures and the 

Children's Television Workshop have struck 

a deal that will include the production of at 

least two new "Sesame Street" movies, 

based on the immensely popular children's 

educational television show that debuted in 

1968 and has since won 58 Emmy awards. 

The only previous "Sesame Street" film was 

Warner Bros.' "Sesame Street Presents Follow 

That Bird," released in 1985. The first 

feature is expected to be released in 1997. 

Lisa Henson, president of Columbia Pictures, 

isthe daughter of the latejim Henson, creator 

of "Sesame Street" and "The Muppet Show." 

BITS AND PIECES: Plans for a sequel to 

"Pretty Woman" were 

the 1990 smash hit 

nixed when Julia Roberts passed on the opportunity 

to reprise her breakout role as the 

archetypal "hooker with a heart of 

gold". ..Morgan Creek has pushed back production 

on "Flying Tigers," about the famed 

U.S. flying squad that helped China fight the 

Japanese. Originally scheduled for a May 1 5 

start date, it will instead begin shooting in 

October. Delays in casting and construction 

were cited as the reason for the postponement. 

..Jason Alexander, who plays George 

on television's "Seinfeld" and has also starred 

in "North" and the upcoming "Dunston 

Checks In," has signed a two-year, first-look 

deal with Fox'sfamily films unit that will give 

him a studio-based production company and 

enable him to produce, direct and act in 

feature films. Alexander recently made his 

directoral debut with Castle Rock 

Entertainment's "For Better or Worse," in 

which he also stars with Lolita Davidovich, 

James Woods and joe Mantegna. 

CLARIFICATION: The photo caption jccompanying 

BOXOFFICE'sjune "Pocahontas" sidebar 

story on Alan Menken misidentiiied the awardwinning 

composer as Howard Ashman. Ashman, 

who died in 1991 o( AIDS-related complications, 

was Menken's writing partner for many 

years. 

"The Neopolitan Mathematician" was mistakenly 

listed as a Cramercy lllm in /one's Independent 

Feature Chart; the niou'c, currently in 

release, is from Greycat.— Ed. 

EDITOR-IN-CHIEF 

Ray Greene 

MANAGING EDITOR 

Kim Williamson 

ASSOCIATE EDITOR 

Ctiristine James 

EDITORIAL ASSISTANT 

Linda Andrade 

CONTRIBUTING WRITERS 

Alex Albanese 

Jotin Allen 

Bruce Austin 

George T. Chronis 

Carole Glines 

Wade Major 

Jetf Schwager 

Shiomo Schwartzberg 

Fern Siegel 

Eric Williams 

CORRESPONDENTS 

BALTIMORE Kate Savage, 301-367-4964, BOSTON Guy Livingston, 

617-782-3266. CHARLOTTE, Charles Leonard, 704-333- 

0444: CINCINNATI Tony RutherlGcd, 304-525-3837: CLEVELAND: 

Elaine Fried. 216-991 -3797; DALLAS Mary Crump, 214-821-981 1 

DULUTH/TWIN CITIES Roy Wirtzleld, 218-722-7503: FLORIDA 

Lois Baumoel, 407-588-6786, Rhonda P Hunsinger, 407-898- 

5525: HOUSTON Ted Roggen, 713-789-6216, MILWAUKEE: Walter 

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: Maurie 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 Internalional News: NEW 

YORK MortWax, 212-302-5360: DUBLIN, IRELAND: Doug Payne, 

353-402-35543: AUSTRALIA: Mark A, Barbelluk, 61-2-588-6189 

FOUNDER 

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BUSINESS MANAGER 

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OFFICES 

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o 

HOLLYWOOD 

REPORT 

SAMUEL L. JACKSON 

Believe the "Hype" 

Samuel L. Jackson ("Die Hard 

With A Vengeance") will star as 

a tight promoter in Fox's "THE 

GREAT WHITE HYPE," a comedy 

about the world of boxing. 

Jeff Coldblum ("Hideaway") 

will co-star as a sportswriter, 

and John Cusack ("Bullets Over 

Broadway") is considering a 

role as a young boxer. Ron Shelton 

("White Men Can't Jump") 

wrote the script; Reginald 

Hudlin ("House Party") will direct. 

Jackson will also star in 

Warner Bros.' "A TIME TO 

KILL," an adaptation of John 

Crisham's novel about a black 

man put on trial for murdering 

the rednecks who raped his 

daughter. Matthew McConaughey 

("Boys on the Side") is the 

lead contender forthe role of the 

defense attorney, and Sandra 

Bullock ("While You Were 

Sleeping"), Brenda Fricker ("My 

Left Foot") and Oliver Piatt 

("The Three Musketeers") will 

co-star. Joel Schumacher ("Batman 

Forever") will direct. We'll 

also see Jackson in New Line's 

remake of "THE ISLAND OF 

DR. MOREAU" as the mad 

doctor's friend and colleague. 

Moreau will be played by 

Marlon Brando. Marco 

Hofschneider ("Europa, Europa") 

has been cast as M'Ling, 

Moreau's human/canine manservant 

(or would that be mandog-servant?). 

Ron Perlman 

("Cronos") will also play a mutant 

manimal (known as Sayer 

of the Law), which should come 

easily to him given his experi- 

when Paul Revere rides by proclaiming 

that the British are 

coming, and all the inn's patrons 

rush out without paying 

their bills. Worse still, the British 

then proceed to burn the inn. 

Chris Farley ("Tommy Boy") is 

in negotiations to co-star as 

Stiller's brother; Danny DeVito 

("Junior") will play Benjamin 

Franklin; and Patricia Arquette 

("Ed Wood") is considering a 

role as a girl raised by wild dogs. 

(Universal) 

"BOUND" Jennifer Tilly (recently 

Oscar-nominated for 

"Bullets Over Broadway") and 

Gina Cershon ("Showgirls") 

will star in this thriller about a 

female ex-con (Cershon) who 

falls in love with a Mafia mistress 

(Tilly). The two team up to 

swindle the mob out of $2 million. 

(Distribution is to be set) 

"MULHOLLAND FALLS" 

Updatmgthe 

information provided 

in the February issue of 

Boxoffice, Nick Nolte ("Jefferson 

in Paris") will be joined by 

Chazz Palminteri ("Bullets Over 

Broadway"), Chris Penn ("Short 

Cuts") and Michael Madsen 

("Wyatt Earp") as "The Hat 

Squad," an elite crimefighting 

gang of detectives working for 

the Los Angeles Police Department 

in the 1950s. John 

Malkovich, Treat Williams, 

Cary Elwes, Melanie Griffith, 

Andrew McCarthy and Jennifer 

Connelly round out the all-star 

cast in this crime drama. (MGM) 

his obligations, so he has himself 

cloned, a solution which 

will no doubt result in multiple 

complexities. Harold Ramis 

("Groundhog Day") will direct 

this script by Chris Miller, Mary 

Hale, Lowell Canz and Babaloo 

Mandel. Principal photography 

begins in July. (Columbia) 

"A THIN LINE BETWEEN LOVE 

AND HATE" Hot off the surprise 

critical and boxoffice success 

"Bad Boys," actor/comedian 

Martin Lawrence ("You So 

Crazy") has signed to star in this 

comedy about nightclub party 

promoter Darnell Wright. Lawrence 

will also helm, marking 

his feature directorial debut. 

Principal photography begins 

this summer, while Lawrence is 

on hiatus from the Fox television 

show "Martin." (Savoy) 

"TWELVE MONKEYS" Monty 

Python alum Terry Gilliam, who 

directed "The Fisher King," 

"Time Bandits" and "Brazil," 

helms this sci-fi film in which a 

man from an apocalyptic 21st 

century (Bruce Willis) travels 

back in time to the year 1 996 to 

try to save mankind from its future 

fate. He meets a psychiatrist, 

played by Madeleine 

Stowe ("Blink"), who doesn't 

know whether to deem him insane 

or heed his prophetic 

warnings. Brad Pitt and Christopher 

Plummer also star. The 

screenplay was written by 

David Peoples ("Blade Runner"). 

(Universal) 

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TRAILERS: AUGUST 

The Tie That Binds 

"Cape Fear" screenwriter Wesley Strick 

makes his directing debut with this Hollywood 

Pictures thriller about a loving couple 

("Little Odessa's" Moira Kelly and "Indian 

Summer's" Vincent Spano) who adopt a little 

girl. Her biological parents are accused murderers 

("Grumpy Old Men's" Daryl Hannah 

and Keith Carradine, also in "Wild Bill") on 

the run—and come to take their daughter 

back. Interscope exec David Madden ("The 

Hand That Rocks the Cradle") produces with 

Patrick Markey ("The Quick and the Dead"), 

John Morrissey and Susan Zachary; Michael 

Auerbach scripts. 5ee the Sneak Preview in 

our lune issue. (Buena Vista, 8/1 1 

Big Bully 

A new writing instructor, David Leary ("Little Giants'" Rick Moranis), crosses 

paths with a shop teacher, Roscoe Bigger ("Nine Month's" Tom Arnold)—the 

some Roscoe, then nicknamed Fang, who in elementary school terrorized the 

smaller David. All semblance of ocTulthood disappears as the pair engage in 

a battle of greased floors, wet willies and "I'm tellin's." Don Knotts returns to 

the screen with co-stars Juiianne Phillips ("Skin Deep"), Carol Kane ("Addams 

Family Values") and Jeffrey Tambor ("Radioiand Murders"). Steve Miner 

("Forever Young") directs; Mark Steven Johnson ("Cops and Robbersons") 

scripts; Lee Rich Productions heads Lee Rich and Gary Foster produce with 

Morgan Creek topper James Robinson. (Warner, 8/4) 

Exploitips: From the director of "Forever Young" ar\d the writer of "Cops and 

Robbersons"^-gives you goose pimples, doesn't it? High-concept lowbrow 

comedy could be less than bully if the blockbusters ofJune and July have the kind 

of legs exhibitors are hoping for. Then again, comedy is in relatively short supply 

in the crowded summer field, so maybe Warner knows something we don t. 

A Walk in the Clouds 

Director Alfonso Arau follows his art-house 

smash "Like Water for Chocolate" with this 

studio film about a soldier ("Speed's" Keanu 

Reeves) who, on his return from World War 

II, falls in love with the daughter (Spanish 

actress Aitana Sanchez-Gijon)of a dictatorial 

father (Italian superstar Ciancarlo Giannini). 

The Zucker brothers produce; Robert Mark 

Kamen ("The Power of One") scripts. The film 

was originallv slated lor February, then April; 

it could advanc c into late July. Sec our Sneak 

Preview in llir l.musry issue. (Fox) 

Exploitips: Keanu Reeves, a born-again action 

s(a/ llhinks to last summer's "Speed, " still 

has trouble parking ll:c art houses, as "Little 

Buddha" showed. Still, he's your romantic 

hook here. II the studio doesn 't supply one, a 

"From the Director of 'Like Water For 

Chocolate'" tagline can only help with emotional 

material like this. 

Mortal Kombat 

Ending a I 5-week release lull for the usually 

hyperactive New Line, this action/adventure 

(based on a best-selling computer game) 

follows the three key characters Liu Kang, 

Johnny Cage and Sonya Blade on their journey 

to defend the future of mankind. Christopher 

Lambert ("The Hunted"), Talia Soto 

("The Manibo Kings") and Bridgette Wilson 

("Last Action Hero") star for director Paul 

Anderson; Larry Kassanoff ("True Lies," "T2") 

produces. The film originally had been slated 

for a May debut. (New Line, 8/1 8) 

Exploitips: Advance awareness within its 

teenage target audience is huge thanks to the 

virtually unprecedented success of the computer 

game on which it's based. A decent 

opening is guaranteed; after that, it'll have to 

be a better film than the equally games-driven 

"Street Fighter" or "Double Dragon" if "Mortal 

Kombat" isn't to be slain by summer's 

high-power fare. Put a "Mortal Kombat" arcade 

game in your lobby and raffle off 10 free 

games at each matinee to drum up interest; it 

could he among the most promotionally productive 

bucks you ever spent. 

Exploitips: Melodramatic dramatizations 

of real-life issues (like custody battles) have a 

history of decent boxoffice if pulled off right, 

so "Tie" could be a sleeper. Skew to young 

adults, who might be tired of shoot-'em-ups 

and caped crusaders come August's dog days. 

Desperado 

This English-language sequel to director 

Robert Rodriguez's "El Mariachi" (which was 

a Columbia pickup in 1992) finds Antonio 

Banderas ("Miami Rhapsody") now filling the 

role of the guitar player without a name, here 

on the trail of the infamous Mexican drugiord 

Bucho ("Only You's" Joaquim De Almeida). 

Aiding him is his best friend ("Airheads'" Steve 

Buscemi) and a beautiful bookstore owner 

(south-of-the-border star Salma Hayek). 

Cheech Marin and Quentin Tarantino co-star; 

Rodriguez also produces with Bill Borden ("La 

Bamba") and scripts; Los Lobos provides the 

music. (Sony/Columbia, 8/25) 

Exploitips: // any new title stands a good 

chance of igniting the waning days of summer, 

it's this one. Rodriguez "El Mariachi" 

was one of the best action films of its year 

despite a minuscule budget: one can only 

guess what he was capable ofpulling off here. 

Play the ethnic angles in markets with a large 

Latin American population: elsewhere, aim 

for the male testosterone crowd and the romance 

set via Spanish heartthrob Antonio 

Banderas. This can't miss. 

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 

their release dates, and for 

all important distribution 

telephone numbers, please 

consult the Studio and the 

Independent Feature Charts 

in each issue. 

10 BoxomcE

The Baby-Sitters Club 

Based on the multi-million copy bestsellers 

by Ann M. Martin and made by 

Armyan Bernstein's Beacon Pictures ("Princess 

Caraboo") and Scholastic Productions 

(last month's "Indian in the Cupboard"), this 

com ing-of-age comedy/drama chronicles one 

summer in the lives of seven girls. Actressturned-director 

Melanie Mayron ("My Blue 

Heaven") helms; "The Cure" director Peter 

Horton (like Mayron an alum of ABC's 

"thirtysomething") returns to acting here as 

co-star; Scholastic's Jane Startz produces with 

Peter O. Almond. (Sony/Columbia, 8/1 8) 

Exploitips: Execution is everything with 

this l

Boys 

Winona Ryder stars in this Interscope production 

about a wild young woman who is 

thrown from her horse one autumn day and 

discovered by boys from a boarding school. 

There, a senior ("Rambling Rose's" Lukas 

Haas) secretes her in his room and nurses her 

back to health—and they fall in love. Stacy 

Cochran ("My New Gun") writes and directs; 

Peter Frankfurt ("Juice") and Touchstone's 

Paul Feldsher produce. iBuena Vista, 8/25) 

Exploitips: Sounds to be an older-skewing 

"chick flick" variant on the story of Snow 

White. Ryder's similarly themed "Little 

Women " performed surprisingly well this past 

Christmas, but "Boys"— in the hands of the 

deftly satiric Cochran— could be more comic 

than classic. Pitch toward young women, who 

might go for a romantic tale as summer ends. 

Something to Talk About 

lulia Roberts stars as a headstrong woman 

married to a charming but adulterous man 

(Dennis Quaid) in this tale of three generations 

of women in a Southern horse-raising family 

and their relationships with the male gender. 

Robert Duvall ("The Paper"), Kyra Sedgwick 

("Singles") and Cena Rowlands ("Night on 

Earth") co-star for director Lasse Hallstrom 

("What's Eating Gilbert Crape"). Paula 

Weinstein and Anthea Sylbert produce for 

Spring Creek Productions; Callie Khouri 

("Thelma & Louise") scripts. (Warner, 8/4) 

Exploitips: Even without a big hit In a while, 

Roberts remains one ofAmerica's favorite marquee 

names— less true for Quaid, another actor 

in search of turnstile success ("Wyatt Earp"). 

With the venerable Duvall and Rowlands 

aboard for the art-housey Hallstrom and literate 

Weinstein ("Fearless"), one might expect high 

Steal Big/Steal Little 

High-octane director Andrew Davis ("The Fugitive," "Under Siege") helms this 

action/comedy about two identical brothers jboth played by "Hero's" Andy 

Garcia)—one a good-hearted agrarian, the otner a slicK wheeler-dealer—who 

come into comic contention overo billion-dollar plot of land. Alan Arkin ("North") 

and Rachel Ticotin ("Natural Born Killers") co-star. Davis scripts with Terry Kahn 

and produces with Fred Caruso ("Surviving the Game"). (Savoy, 8/25) 

Exploitips: Director Davis and actor Garcia are sure to be prominently featured 

in Savoy's marketing plans, and they should be in yours, too. 

onscreen quality over top ticket quantity. Emphasize 

the Roberts name, as she's the one 

element that will make the difference. 

The Brothers McMullen 

Marking the launch of Eox's classics division 

run by former Coldwyn head Tom Rothman, 

this Fox Searchlight pickup (out of 

EIGHT 

Sundance, where it shared a Grand jury nod) 

tells the story of three Irish-Catholic brothers 

(Jack Mulcahy, Edward Burns and Michael 

McGlone) and their Long Island encounters 

with sex, marriage and infidelity. The film 

marks the first feature for co-star Burns, who 

directs, scripts and produces. See our review 

in the April issue. (Fox Searchlight, 8/9) 

Exploitips: Low-budget art-houser has 

buzz thanks to its Sundance win— an honor 

previously enjoyed by Steven Soderbergh's 

equally relationship-driven "sex, lies, and videotape. 

" Promotional efforts should center on 

hot young director Burns. New York locales 

and (in markets with an appreciable Irish- 

American demographic) the ethnic angle. 

Fair Game 

In this high-heat tale of Miami vice, William 

Baldwin ("A Pyromaniac's Love Story") 

and supermodel Cindy Crawford star as a 

family attorney on the run from high-tech 

killers and the police detective who's disobeying 

orders to protect her. Director Andy 

Sipes (the short "The Champion") makes his 

feature debut; Charlie Fletcher scripts; |oel 

Silver ("Demolition Man") produces for his 

Silver Pictures. (Warner, 8/1 1 

Babe 

In a live-action film that blends special effects and animal performances, a 

peculiar talking piglet named Babe, unwilling to accept the life that's expected 

of him, decides he wants to be a sheepdog (more exactly, a sheep-pig) and 

takes up herding. Director Chris Noonan produces and scripts with Georqe 

Miller 'The Witches ( of Eastwick") for the Kennedy/Miller Co. (Universal, 8/4) 

Exploitips: A late entry in the live-action animal flick boom touched off by 

"Free Willy," itself sequelized this summer. A barnyard-type pig "petting zoo" 

could spark extra interest on opening weekend. 

Exploitips: 

Supermodel Cindv Cra\.\iord's 

dcltui dtter'- all kinds of clothes and cosmetics 

tie-in possibilities via local merchants. Run a 

Cindv-lookalike contest at your theatre, and 

feature the winner in street and lobby ballyhoo. 

Wild Bill 

Will Hickok survive in the season in which 

"Wy.itt Earp" died? Director/st ripter Walter 

I lill ("Geronimo: An American Legend") still 

believes in the vsestern's resurgence—which 

will face a boxoffice litmus test with this 

chronicle of the latter-day exploits of the legendary 

gunfighter in Doadwood, the Dakota 

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Territory, circa 1 870. Ellen Barkin ("Bad Company") 

co-stars as Calamity Jane; peopling the 

strong supporting cast are Diane Lane ("ludge 

Dredd"), John Hurt ("Rob Roy"), Keith Carradine 

(as Buffalo Bill Cody) and Bruce Dern 

("Diggstown"). Richard D. Zanuck and Lili 

Fini Zanuck (the "Rush" duo) produce. (DA) 

Exploitips: This last gasp from the western 

production revival touched off by "Unlorgiven 

" has a decent shot at reproducing the 

modest success of Disney's "Tombstone" 

thanks to an appealing cast and the usually 

sturdy hand ofhelmer Hill. The question is: Is 

the public westerned out? 

The Usual Suspects 

A customs agent ("Bullets Over Broadway's" 

Chazz Palminteri) grills a con man with cerebral 

palsy ("Swimming With Sharks'" Kevin 

Spacey) over his involvement with four other 

notorious thieves: an ex-cop ("Trial by lury's" 

Gabriel Byrne), an entry man ("Threesome's" 

Stephen Baldwin! and his partner ("China 

Moon's" Benecio Del Toro), and a hardware 

specialist ("Clean Slate's" Kevin Pollak). Director 

Bryan Singer ("Public Access") produces 

with Michael McDonnell; Christopher 

Mcquarrie provides the byzantine script. 5ee 

our review in the April issue. (Cramercy, 8/1 8) 

Exploitips: This excellent genre exercise is 

the closest thing late summer has to another 

"Pulp Fiction" and should he marketed to that 

art-house/action-flick crowd. A lack of romance 

is more than compensated for by one of 

the year's cleverest scripts. Book this one now! 

Learning Curves 

A high-school student ("The Man in the 

Moon's" Jason London) hires a math tutor 

("Wayne's World's" Tia Carrere) who's 

babealicious—and the teacher's wife. Christopher 

McDonald ("Quiz Show") and Jeffrey 

Tambor (also in "Big Bully") co-star. Director 

Bruce Leddy co-scripts with Seth Greenland 

("Who's the Man?"); Savoy head Bob Fried 

and Richard Zinman produce. See our Sneak 

Preview in this issue. (Savoy, 8/1 1 

Exploitips: Curvaceous Carrere is the starof-record 

in this more salacious "Paper 

Chase" redux. Back-to-school tie-ins would 

be dicey given the potentially irreverent material. 

Aim for the teenage comedy crowd. 

Mute Witness 

Set to emerge from a high-profile Critics 

Week sidebar launch at Cannes (which last 

summer propelled "Clerks"), this Germanproduced 

horror/suspense film (in English and 

in unsubtitled Russian) follows a mute 

makeup/special effects artist who, believing 

she's witnessed the making of a snuff film, 

becomes involved in intrigue involving the 

KGB, Moscow police and organized crime. 

Commercial director Anthony Waller makes 

his writing/directing debut and produces with 

Cobblestone Filmproduction CmbFH partner 

Norbert Soentgen and Avrora Media GmbH 

head Alexander Buchman. Sony Classics, 

known for much smaller rollouts of art-house 

fare, plans an 800-screen release. See our 

Cannes review in this issue. (Sony Classics) 

Exploitips: The Cannes seal of approval is 

a draw with art-house audiences, and should 

be played as such. Controversial subject matter 

and solid studio promotional backing 

should help generate positive word-of-mouth. 

The Amazing Panda Adventure 

An American boy in China goes on a quest 

to rescue a baby panda from poachers. Ryan 

Slater, Yi Ding and Stephen Lang ("Tall Tale") 

star for director Christopher Cain ("The Next 

Karate Kid"). Jeff Rothberg ("Hiding Out") and 

Laurice Elehwany ("My Girl") script; Lee Rich 

and Gary Foster (the "Big Bully" duo) produce 

with nature documentarian John Wilcox. Previously 

titled "Little Panda." (Warner, 8/1 1 

Exploitips: Like "Babe," a cute animal pic. 

Environmental angle can attract politically 

conscious moviegoers; tie-in a local recycling 

drive to position your theatre as a civic citizen. 

Lord of Illusions 

Scott Bakula I "Color of Night") stars as New 

York private detective Harry D'Amour—a frequent 

character in the horror writings of the 

film's director, Clive Barker—who becomes 

involved with a dead magician's wife (new 

"Goldeneye" Bond girl Famke Janssen)—and 

comes face to face with a satanic power. 

Originally slated for February. (UA, 8/4) 

Exploitips: Potentially tough sledding for a 

cast of unknowns in 

a film that skews a bit 

differently from the horror titles Barker is normally 

associated with. 

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Lucky Break 

Sophie ("Strictly Ballroom's" Cia Carides), 

an author of romantic but decidedly "blue" 

novels, falls for Eddie (Anthony LaPaglia of 

"So I Married an Axe Murderer"), a jeweler 

engaged to Gloria (newcomer Rebecca 

Cibney). Sophie and Eddie's passionate affair 

leads to mistaken identities, physical mishaps 

and several body casts. Ben Lewin ("The 

Favor, the Watch and the Very Big Fish") 

directs and scripts; Bob Weis ("Heartbreakers") 

produces. (Goldwyn) 

Exploitips: A knockabout comedy is a bit of 

a switcli lor the art-fare Colclywn label, but 

even specialized audiences need a laugh every 

so often. Play up the laughs and break a leg. 

A Month by the Lake 

Based on H.E. Bates' novella, this tale of 

menage a trois takes place during a pre-WWII 

summer when anolder English woman ("Little 

Odessa's" Vanessa Redgrave) falls in love with 

an English major ("The Dresser's" Edward 

Fox)—who's infatuated with a young beauty 

("Pulp Fiction's" Uma Thurman). John Irvin 

("Widows' Peak") directs; Trevor Bentham 

adapts; Robert Fox produces. (Miramax, 8/18) 

Exploitips: Art-housers go for wistful British 

period films big these days, and Miramax is 

their brand of choice. Your ads— think book 

review section of your local paper— and 

showtime phone messages should stress appealing 

cast and "Widows' Peak's" Irvin. 

Bookstore tie-ins and giveaways are a must. 

Double Happiness 

An aspiring actress (Sandra Oh) still 

living 

with her conservative parents goes on arranged 

dates with wealthy Chinese bachelors 

to keep the homestead peace. 

Complications ensue when she meets a 

young man (Callum Rennie), who's not Chinese 

and not rich. Written and directed by 

Mina Shum, the film was a hit at the Berlin 

and Toronto tests and won two of Canada's 

Genie awards. (Fine Line) 

Exploitips: The Asian audience is growing 

all the time, as is the desire of non-Asian 

audience to see good dramatizations ofAsian 

milieus. Aim for the art-house crowd, and give 

this one time to build some word of mouth. 

Mallrats 

Kevin Smith—writer/director of "Clerks" 

takes another look at the late-teens/earlytwenties 

crowd but changes his focus from the 

c|uickmart to the shopping mall, whose denizens 

discuss romance, sex research. Star Wars 

philosophy and 3-D art. The ensemble cast 

includes Jeremy London, Jason Lee and 

Shannen Doherty ("FHeathers"). Jim Jacks and 

Sean Daniel, the duo behind "Dazed and 

Confused," produce. (Gramercy, 8/4) 

Exploitips: From "Dazed and Confused" 

and "Before Sunrise" to "S.F. W. " and "Reality 

Bites, " Cen-X flicks have had an unsteady commercial 

history. If anyone can pull this off, 

though, it's Smith, whose "Clerks" played like 

a twentysomething slacker piece as reimagined 

by Neil Simon in his prime. Expect a very 

commercial soundtrack, with a bounty of 

cross-marketing possibilities as a result. 

Call Me Victor 

shown in the Cinema in France section at 

Cannes in 1993, "Je M'Appelle Victor" is a 

comic coming-of-age story that focuses on an 

1 1 -year-old boy who falls in love with a 6- 1 

year-old girl and turns for advice to his eccentric 

great-aunt, who hasn't left the family attic 

for 30 years. Jeanne Moreau and Micheline 

Presle headline for debut director Guy 

Jacques, who scripts with Emmanuel List. 

Bertrand Dussart and Catherine Dussart produce. 

(Sony Classics) 

Exploitips: If arty French-language pics do 

well for you, take a chance on this one. 

Arabian Knight 

Hoping to tind better fortune now than 

when it launched its children's division two 

Augusts ago with "Into the West," Miramax 

forays into animation with this tale of a cobbler 

and a princessand the thief who changes 

their destinies forever in an ancient golden 

city. Among the voice talents are a chance 

teaming of two late, great horror-film vets, 

Donald Pleasance and Vincent Price. Richard 

Williams (an Oscar winner for helming "Who 

Framed Roger Rabbit's" animation) directs 

and co-scripts; noted film financier Jake Eberts 

("Chariots of Fire," "Dances With Wolves") 

executive produces. (Miramax, 8/4) 

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Exploitips: This reportedly sumptuous antmated 

film has a tortuous financial history (not 

unlike Don Bluth's recent films), having run 

out of money well before final touches could 

be made. Whether writer/director Williams 

vision will have been compromised remains 

to be seen, but those who've seen excerpts 

mark this feature as potentially one ofthe most 

visually beautiful animated features ever 

made. With "Pocahontas" still in wide release, 

however, will kids really be ready for a 

non-Disney ride on "A laddin 's " magic carpet^ 

Hellraiser iV 

This Dimension release returns Pinhead to 

the first 

the silver screen in a story that expands the 

original mythology of producer Clive Barker 

("Lord of Illusions") to bring together the beginning, 

middle and end of the Hellraiser from 

appearance of the Lament Configuration 

to the last. "Hellraiser" series constant 

Doug Bradley, Bruce Ramsay ("Alive") and 

Valentina Vargas ("The Name of the Rose") star 

for director Kevin Yagher (makeup effects man 

on "Man's Best Friend"); as with parts two and 

three, Peter Atkins scripts. (Miramax, 8/1 1) 

Ex[l\o'lt\[IS'. One of the few summer features 

directed at the mostly teen, mostly male 

Fangoria crowd, at whom your pitch should 

be directed. The availability of "Hellraiser" 

masks and costumes makes costumed street 

and/or lobby brouhaha a natural. The law of 

diminishing returns could be at work against 

"Hellraiser IV, " but a decent weekend or two 

is all but assured by the franchise's many fans. 

Cold Blooded 

A black comedy about a betting operation 

phoneman ("Calendar Girl's" Jason Priestley) 

who proves adept when he's promoted to 

hitman by his Mob boss ("I Love Trouble's" 

Robert Loggia) and taught by a pro ("Passed 

Away's" Peter Riegert). Matters become complicated 

when a sweet-natured aerobics instructor 

("Father of the Bride's" Kimberly 

Williams) comes on-scene. Newcomer Wally 

Wolodarsky directs and scripts; Michael J. Fox 

(who makes a cameo) is one of five producers. 

Originally slated to be released by Cramercy. 

See our review in the April issue. (IRS) 

Exploitips: TV's "90210" cast is still looking 

for a film breakthrough (though Luke Perry's 

"8 Seconds" came close). With this film's bizarre 

plot and the hard-sell usually needed to 

nudge black comedy into the winner's circle, 

it's doubtful they'll find it here. 

A Fine Specimen 

In this comedy, a successful businesswoman 

("King of the Hill's" Lisa Eichorn) who 

is impregnated at a sperm bank tracks down 

and then falls in love with the father, a photographer 

("Undercover Blues'" Stanley Tucci) 

who has no idea she's carrying his child. Vern 

Oakley directs and produces. (Tara) 

Exploitips: Tara Is hoping for romanticcomedy 

sleeperdom with this one, which recalls 

"Made in America." If titles like "While 

You Were Sleeping" do well with your audiences, 

you may want to give this one a try. 

Broken Harvest 

Colin Lane, Niall O'Brien ("King Ralph") 

and Marian Quinn star in this story of an Irish 

family that returns from America in the 1950s 

and struggle to make a go of it in their native 

land. Maurice O'Callaghan directs and coscripts; 

Jerry O'Callaghan produces. See our 

review in the May issue. (Kit Parker) 

Exploitips: Careful marketing to the audiences 

who went for "Circle of Friends, " with 

a special emphasis in urban Irish enclaves. 

Pigalle 

Debut director Karim Dridi cruises the dark 

side of the City of Light's nightlife in the 

red-light section of Paris. (Seventh Art) 

Exploitips: Adult and midnight-movie possibilities 

might be found here. 

Jeffrey 

Adapted by Paul Rudnick ("Sister Act") from 

his off-Broadway version, this romantic comedy 

follows an AIDS-cautious celibate gay man 

("The Temp's" Steven Weber) who meets Mr. 

Right. The cast includes Patrick Stewart, Robert 

Klein, Olympia Dukakis, Kathy Najimy and 

Sigourney Weaver. (Orion Classics) 

Exploitips: Cinemas with a good track record 

with gay titles should snap up this morethan-usually 

star-driven effort. Depending on 

local sensitivities, tie-ins and free screenings 

with AIDS groups could show good citizenship 

and be inexpensive promotion. 

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Response No. 29

COVER STORY 

^||gw.

I 

tliat will devour tliem. We're living in a 

world in which you must look at youreelf 

as a civilized human being. You need to 

draw some lines, and I tliink these people 

are anything but civilized." 

comments about the need to 

be civilized fi'om a man who 

makes 

Ills living from 

films studded with 

violence might 

seem contradictory, 

but Seagal, 

like his characters, 

is a study in contrasts—meditative 

and contemplative 

on one hand, aggressive 

and outspoken 

on the 

other "I have a different 

point ofview 

than a lot of people 

do in terms of film 

affecting 

people's 

morals. Some vapid 

politicians have stood up and accused 

Hollywood and modern film of increasing 

violence in modem society. 

My opinion is tliat one has notliing to 

do with the other Absolutely notliing. 

"The increasing violence in society' 

has to do with the breakdown of the 

family, the absence of families. There 

are more children hitting tlie streets 

that don't have a family, don't have 

mothere or fathers or anyone to teach 

them right or wrong, to give them love 

and support and a sense of belonging. 

These are the people who will generally 

turn to narcotics, crime and gangs. 

That's where the violence is coming 

from. I don't blame film. I don't like 

senseless or arbitrary violence in film, 

and I don't like violence in real life." 

Despite any criticism, Seagal 

pushes forward in his career witli flill 

force (his production company is 

called Steamroller Productions) while 

striving to remain a spiritua 

and dedicated fatlier 'Teople have a 

stereotypical image ofme as an action 

star, and it's limiting in the sense that 

they don't expect me to go beyond 

that. I'm certainly trying to expand and 

keep growing. I want to start making 

movies that are about something that 

people care about, that will provoke 

people to thought. I want to make 

picmres that have to do with spiriaial 

awakenings, something that is surrounded 

by light rather tlian darkness. 

I want to make pictures that are going 

to help make the world a better place. 

I think a lot of my fans are spiriUial 

people and are more interested in the 

good things we can do for each otlier, 

rather than the number of people we 

can shoot or beat up. We live in a world 

that's so topsy-turvy, where so many 

ON THE MONEY 

For Regency Head Arnon Milchan, The Heart Comes First 

Ismelj-bom hisinessiruxn Amon Milchan, head ofRegerucy Enterprises and 

pmducer ofUnder Siege IL Dark Itrntory," is one of Hollywood's most 

powafd producers. A jet-setting atizen of Im-ael ami Monte Carlo, the 

fanner inteniattonal soccer player spends mudi of his time in France managing 

a diverse army ofmultinational concerns in entertainment, agfibiviiness atuhimis 

consultiyig. In 1991. Regency Entopiiscs entered into the most significant international 

film production partnership m histoiy-an unprecedented $900 million 

joint-venture deal mth Time Warner (and its film subsidiary, Wamei- Bms.j. 

French pay TV giant CanalPlus ami Getvuin media company Saiba &Deyhle 

Cwrently, Mildian is committed to spemimg $500 million a year m production 

and has at least 10 movies in the pipeline, including "Heat" (staning Al Pacino, 

Robert De Niro and Val Kilmer) ami director Jod Schwmicher's "A Time to Kill," 

hosed on the novel by John Gnsham. His impressive list of produdng a-edits 

includes Mamn Scorsese's The King ofCometly," Sergio Leone's "Once Upon a 

Time in Ameiica," Thny Gilliam's "Brazil." plus "The War of the Roses," "Pretty 

Woman, ° "JFK, " "Under Siege, " "The Rnver of One, " "Tlie Client" and "Boys on the 

Side" A sliatp, charismatic businessinan ivith a real love for film, Milchan has 

devdopai a reputation as a man who makes movies, not just deals. 

Bt«OFTicE: Wliat is the source of Steven Seagal's popularit>'? 

ARNON MILCHAN; There's somediing mysterious about Steven and the characters he 

plays. The French rail it "a quiet strength." He holds somthing back-he's not trying too hard 

to please. I think tliere's something very soft about him behind that tough-,guy exterior 

BoxoFncE: You have produced a wide variety of fflms. What dnnvs you to a project? 

MILCHAN: 1 make die decision to do a project from my heart. Basically, I ask myself "Would 

I stand in line in die rain to see tliis movie?" My decision is totally creative, based on a dialogue 

with a director and working on the script. Once I've decided to do a project, only then do I 

work to make business sense out of it. Producing a film is like creating a successfril marriage. 

You fall in love and then you struggle to make it work. 

BoxoFHCE: Do you ever feel hampered professionally by not Uving in Los Angeles? 

MILCHAN: I'm in Los Angeles when 1 need to be. The advantage of being outside L.A. is 

you realize there is life beyond HoUj'Avood. Working there, its like talking to yourself You don't 

get any real feedback, you don't get your hands dirty. A studio head talks to three vice 

presidents who care only about pleasing the boss berîuse they need a stock option. Evei-ybody 

in L. A. has screening rooms, drivers and million-dollar houses. I mean, that's not the audience 

we are catering to. I'm not losing much by not being in Beverly Hills or Malibu every day. 

BoxomcE: How important is the overseas market to you? 

MILCHAN: Today, tAvothirds of the revenue of our business is outside the United States. 

America is still the most important single market, but it's not the only detennining factor in 

the decision amaiiore. I was bom outside tlie United States, and I have traveled extensively. 

An intemational perspective is in my blood. Even a film like "JFK"— I knew it would appeal 

to those outside the United States, perhaps more because of the myth of Kennedy. I think I 

underatand foreign tastes as an instinct. 

BoxoFHCE: Can the movie business thrive in an era of $100 million budgets? 

MILCHAN: In most cases, the people ivho sell the idea don't have to bear tlie consequences 

of the bucket getting out of contt'ol, and they're selling the project to people who hardly know 

how a production works. People with the power to greenhght movies must understand the 

mechanism of production. 

BoxoFHCE: ^\Tiat is the most important talent necessary for success as a producer? 

MILCHAN: Ninety percent of success is staying away from problem areas. Anytime you're 

in doubt, just dont do it. Tlie second tiling is, you've got to have somediing to lose, including 

financially. You cannot remove yourself from the process. You cannot say, "Oh, I've got a great 

idea, let's sell it to a studio, and I'll 

make money whether this tiling goes over budget or sells 

a single ticket." Pi-oducing is falling in love, but tiiere's a responsibility attached toît. You are 

responsible for the outcome, and you must be affected by it. My advice would be, "Don't be 

an agent when you are a producer, and don't be a producer when you are an agent." 

BoxoFFiCE: WTiere do you see yourself in 10 years? 

MILCHAN: For die ftiture, I'd Uke to get into music, pubUshing and merchandising. For the 

would like to be in conhrol of die marketing and distribution decisions. Part of 

and die guy who made it should know how to market it. 

film projects, I 

making a movie is also marketing it, 

You and I botii know how many great movies got screwed up because they didn't get the right 

att:ention. Making movies is like sailhig a big boat: You should steer it youreelf Eidier you 

succeed or you go under with the whole tiling. —MH 

July, 1995 21

i 

I'M CERTAINLY TRYING TO...KEEP GROWING. 

I WANT TO START MAKING MOVIES THAT ARE 

ABOUT SOMETHING THAT PEOPLE CARE ABOUT, 

THAT WILL PROVOKE PEOPLE TO THOUGHT." 

people have lost all ethics and morals and 

scruples, that they just tliink they're here to 

rape and pillage and get whatever they can 

however they can. I have very young kids 

who are not yet equipped to understand a 

lot of things. The only thing I can do is to 

love my children, give them a tremendous 

amount of personal affection, play with 

them, make them feel safe and hope that 

things change." Nearby, his young daughter 

Arissa calls out to him, and he responds 

quickly and gently to her "lt'~ 

tlie most important tiling ii 

my life. I live for my children," 

Anyone familiar with his 

films (including those of the 

three-word titles, "Hard to Kill, 

"Marked for Death, "Out for 

Justice" and last year's "On 

Deadly Ground," his directorial 

debut) knows the secret ti 

their success; Good always triumphs 

over evil. With a kintl 

of politically correct Zen machismo, 

Seagal's characters 

fight against corruption, defend 

the weak and stand up for 

what's right. Fans also are 

aware of Seagal's penchant for 

including his own personal 

and political views in the stories, 

often via speeches delivered 

by his character Whether 

it's about the need for a fi-ee and open 

society or about environmental protection, 

Seagal's movies always cany a message. 

"I think you have to have faith that the 

message gets across. At the same time, 

when you go around the world and meet 

enough people who are interested in the 

same things you are, you can get a feeling 

that the world is changing. The bad people 

are going one way and the good people are 

going another. Often, I've had inklings of 

things that are actually going on in the world 

and tried, in a veiled way, to write about 

them. Sometimes it has become very topical 

and sometimes it hasn't. At the same 

time, you never really know what people 

are going to get from a film because you can 

never really come right out and say anything 

too political in a movie." 

22 BOXOFFKK 

:::agal, who spent 10 years in Japan 

1 studying aikido, Zen, Shintoism 

'and Buddhism, has his own theories 

about why his films translate so well 

overseas. "Is it a movie that will come from, 

or end up in, something of a more spiritual 

nature, rather tlian just senseless violence 

and darkness? Theatre owners are looking 

for things that interest people. What I try to 

do is to give audiences a certain level of 

realism, which it seems people appreciate. 

HEROIC TRAINING: Seagal in action in a scene from "Under Siege II 

Dark Territory. " slated for release July 14 from Warner Bros. 

Also, I always try to have something about 

the human condition and family, not characters 

fliat are particularly one note." It's a 

tougher mode of classic American screen 

heroism, rather like Gary Cooper's persona: 

someone capable of standing up for his 

beliefs but who has a tender and reverent 

side. "It would be nice to see more of those 

kinds of heroes onscreen," Seagal adds. 

This summer, with films like "Braveheart" 

and "First Knight," period action dramas 

are in vogue. Asked whetlier his desire 

to give audiences a level of realism would 

preclude him from doing a film set in another 

age (Stallone, Schwarzenegger and 

Harrison Ford have all made their mark in 

frituristic settings), Seagal says, "I'll do anything 

with a story that is important and has 

therightcharacter— past, present or ftiture." 

Seagal's own spiritual nature finds its expression 

in his study of aikido, a martial art 

that teaches harmony. "The reason I chose 

to study aikido is its spiritual nature. I still 

teach every week. In fact, I had a lesson here 

this morning with several ofmy black belts. 

I just received a seventh-degree black belt. 

I 

don't know of any other white people in 

the world above fifth, although there could 

be. I'll be going back to Japan soon to do an 

aikido demonstration at the Budokan." 

Also on Seagal's coming calendar 

is a starring role in 

Warner Bros.' "Secret SmUe," a 

story set in Washington, D.C. 

that focuses on a government 

operative who finds the only 

way to track liis quarn,' is to use 

mind-altering "smart" drugs. 

I'm very happy to do tliis proji 

ct because, even though it's 

,111 action/caper movie, it is 

more centrally about the different 

kinds of technology that 

exist in the world and can be 

used for the benefit of mankind. 

It also dramatizes the 

spiritual awakening of one 

human being." After "Secret 

Smile, " Seagal will stai" in Columbia 

Pictures' "Fire Down 

Below," a project about a federal 

marshal who is called to a 

small Southern mining community to 

investigate 

reports of toxic dumping. 

As Seagal looks aliead to future projects, 

he envisions a day when he might give up 

perfonning and concentiate exclusivelj' on 

writing and directing. "I would prefer that. 

When I can afford to direct again, I will. 

Writing is something I've always done. It's 

my favorite part of the process, and it's the 

way we can create the most life in the piece. 

I 

could easily walk awaj' ft'om HoUw'ood 

tonioiTow, all the movie-star trappings. 1 

could be happy returning to teaching or 

working for the protection of children and 

our environment. The only reason I'm still 

in this business is that I flnnly believe film 

can help to bring truth to tlie people, and 

can inspire jieople. It's the only n'ason I'm 

still making movies." 

I WANT TO MAKE PICTURES THAT HAVE 

TO DO WITH SPIRITUAL AWAKENINGS, 

SOMETHING THAT IS SURROUNDED 

BY LIGHT RATHER THAN DARKNESS."

Our 

zj Zi ^ 

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Response No. 35

SNEAK PREVIEW 

"LEARNING'S" CURVES 

"Leaniing Cwves'" Actress Tia Carrere Has 

Learned She Likes To Go Against Expectations 

Last 

By Shlomo Schwartzberg 

Tia Carrere on the "Learning Curves" set 

Witt) director Bruce Leddy and co-star Jeffrey Tambor. 

summer, Tia Carrere— 

the "babealicious" young 

"Wayne's 

woman of the 

World" movies—was in one of 

tlie season's big-bang blockbusters, 

"Ti-ue Lies, " playing a villainess/archaeological 

speculator 

This summer, her movie is a 

"smaller" one: a romantic comedy. 

In Savoy Pictures' "Learning 

Curves," Carrere plays a 

high-school math tutor who falls 

in love with one of her straggling 

students (Jason London 

from "The Man in the Moon"). 

Adding some dark textures to 

the proceedings is that Carrere's 

character is married, unhappily, 

to the school's calculus 

teacher ("Quiz Show's" Christopher 

McDonald). "Learning 

Curves" (a tentative title) hits 

the genre's customary plot 

notes but plays a variation on 

the theme. "It's not going to be a 

surprise that [tutor and student] 

fall in love," Carrere says, but 

she adds that her character has 

been going through an emorional 

ordeal that, for a romantic 

comedy, makes her "a little 

darker. The; first time they meet, 

she looks like a drowned rat. It's 

not all fun and games. But, 

through this high-school kid, 

she learns to laugh again. 

24 BOXOFFICE 

"Coming-of-age movies, especially 

for high-school kids, are 

really important. All those John 

Hughes movies did really well. 

I hope we tap into that," says 

Carrere, seeming chipper and 

friendly on the Montreal set of 

her next film, "Hollow Point," a 

spy tlirOler witli Donald Sudierland 

and John Lithgow. Wliile 

on the "Learning Curves" 

shoot in North Carolina, 

she also was able to indulge 

her passion for antiques. 

"We [she and her husband, 

club owner Elie Samaha] 

had just moved into a new 

home in tlie Beverly Hills 

90210 area— it's embarrassing 

to say that zip code because 

of that stupid show— 

and I huiiished my home 

beautifully because of that 

job in North Carolina." 

Though she's 

worked 

pretty steadily since 1992's 

"Wayne World" in films as diverse 

as "Rising Sun" and "Jury 

Duty," the twentysomething 

Carrere says it's still hard to find 

parts she likes, both because 

she's a woman and because 

she's been pegged as a certain 

type of actress. "Having been in 

a zany comedy, I don't want 

people to think that's all I can 

Carrere says a number of 

do." 

people (including "Hollow 

Point" director Sidney Furie) 

didn't realize that it was she who 

played the handicapped computer 

expert who helps Sean 

Conneiy and Wesley Snipes unravel 

a murder in "Rising Sun." 

"It's very gratifying 

doing something 

that nobody 

expects," 

she says. 

Toward that 

end, Carrere 

formed a production 

company, 

Phoenician 

Films, with her 

husband (who is 

executive producing 

"Hollow 

Point"). The company's 

first project, Brian 

Grant's "The Immortals," was 

unveiled this year at Cannes. It's 

a caper film with an eclectic 

cast: Eric Roberts, Tbny Curtis, 

Clarence Williams III, Chris 

Rock and William Forsythe. Carrere 

plays a dying pregnant 

woman who wants to make sure 

her baby is provided for "It's a 

heavy, dramatic role. I'm the 

only female in it." (Carrere also 

carries an associate producer 

credit on the project.) 

She relishes hefty parts like 

diat, especially because certain 

earlier roles— including her 

"Rising Sun" turn- weren't what 

she'd hoped. "Tliey could have 

'^Coming-of-age movies, 

especiallyfor high-school 

kids, are really important. 

All those John Hughes 

movies did really well, 

I hope we tap into tlioL " 

explored the character more, 

but it was a Sean and Wesley 

movie," she says. But her breakthrough 

film was anolh(>r matter 

"'Wayne's World' < ii.uigcd 

my life treinendoiisly, opening 

up doors that were not then', 

before. It allowed us to start up 

production company with 

the 

some oomph. It helped us sell 

things better" Interestingly, she 

doesn't consider herself a funny 

person, despite the comic zing 

she displayed alongside Mike 

Myers. "I wasn't bom with a fiinny 

bone. Comedy is the one thing 

fhafs most frightening to me." 

Another plus of having her 

own company is she can work 

on location with 

her husband. 

That has made 

"Hollow Point" 

in which she portrays 

an FBI 

agent tracking an 

assassin (Sutherland) 

in the hope 

that he'll lead her 

to a mob boss 

(Lithgow) — 

gratifying project. 

"Knock on 

wood, it's been 

going great. I 've no complaints. 

After "Hollow Point" is another 

drama, based on the saga 

of gangster "Pretty B03'" Floyd. 

Carrere will play his wife. Ruby 

Floyd. "She was half Cherokee, 

which is fortuitous," says Carrere, 

whose mixed heritage— 

Chinese, Hawaiian, Spanish, 

Filipino— lends her an exceptional 

physical range tor edmic parts. 

Carrere continues to nurture 

her musical career In 1993, she 

released "Dream," a Warner 

Bros, album of "sly, 

cool" pop, 

four tracks for which she v\Tote 

the music. "I never took any 

time [for tlie album]," she says. 

"Next time, I will take off to focus 

on the music. You do a disservice 

to it otherwise." 

Carrere isn't likely to forget 

film for long, though. 

Chosen 1 994 's Female Star of 

Ibmon'ow at ShoWest, she 

knows tliis is her Holh^\'ood 

prime time. "For women, it's 

the old double standard. 

They start younger because 

tiiey have to capitalize on 

those years when tiiey're 

'gorgeous,' 'lire Gt'wc Hackmans 

of die world can start 

tiieir careers later." 

'Learning Curves' (other working 

titles have hxn 'Bad With 

Nwnbcrs' and 'My Generation") 

Starting Jason London. Tia Carrere, 

Chnstopher MeDonaki and 

jeffrcij Tiimbor Dirertexl hi) liniee 

Lcddy. Written by Seth Grecnhoul 

and Bruce Leddy. Prrxbiaul by 

Robert N. Frie^l and Richard Zinrrtari. 

A Saimj relaise. August U

o 

^ 

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1

26 BOXOFFICE 

SNEAK PREVIEW 

NOTHING BUT "NET" 

Director Irwin Winkler Ventures Into 

Cyberspace With A Thriller, 

By Jean Oppenheimer 

''The Net" 

A patriotic Irwin Winkler with actress Sandra Bullock and 

other project members on the set of Columbia 's "The Net. 

Ahalf-dozen crew members, 

freed from duties 

on a Los Angeles set for a 

few minutes, crowd around a 

big-screen TV to watch the 

NCAA basketball finals. The 

UCLA Bruins have pulled 

ahead, and a production worker 

heads over to director Irwin 

Winkler to tell him the news. 

Winkler nods his head approvingly, 

pleased the hometown favorites 

are holding up under 

championship stress. 

How people react in such situations 

of crisis is a favorite theme 

ofWinkler's, running through the 

30-some films he's produced 

("Raging Bull," "The Right Stuff," 

"They Shoot Horses, Don't 

They?" and "Rocky" among 

them) as well as the two he's directed, 

"Guilty by Suspicion" and 

'TMight and the City." The theme 

of the project he's working on 

now—a techno-thriUer involving 

a different kind of net (cyber, not 

hoop)—likewise falls into that crisis 

category. A Columbia release, 

"The Net" tells tlie story of a computer 

analyst ("Wliile You Were 

Slceping's" Sandra Bullock) who 

finds herself in harm's way. 

"Most of my films [o)ncx;m) 

what happens to a cKiracter when 

he or she Ls in a crisis situation," 

Winkler says. "How Rocky responded 

to the opportunity of a 

lifetime. How the Jessica Lange 

character in 'Music Box' responded 

to finding out her father 

has betrayed her In 

'GoodFeUas,' the Ray Liotta character 

turns [his friends] in when 

feced with a crisis; in "Guilty by 

Suspicion," the Robert De Niro 

character doesn't 

"If you go through all my 

films, you'll see that basic 

theme." He laughs, adding, 

"Although I never knew it 

unto someone told me. It 

was all unconscious." 

In "The Net," a skilled 

but reclusive computer expert 

analyzes a puzzling 

prototype of an Internet 

program. She discovers it 

allows a user to access 

highly sensitive databases, 

including those of the Federal 

Reserve Board, the Internal 

Revenue Service and the 

Atomic Energy Commission. As 

she continues her investigation, 

her life becomes endangered; 

on a trip to Mexico, all her belongings 

are stolen, including 

her passport and identification 

papers. Logging onto the Internet, 

she Hnds every record of 

her existence has been erased. 

"Here's a woman who likes to 

stay at home, who finds comfort 

dealing with the world through 

computers," Winkler says. "The 

crisis is that, when she does 

leave, somebody tries to kill her 

That can be the worst thing that 

can happen to someone, but in 

this case it turns out to be the 

best, because it opens her up to 

the world. In 

order to save her 

life, she has to 

get away from 

the computer 

and get out into 

the world and 

face reality." 

Born and 

raised in 

New York 

City, Winkler 

began his entertainment career 

in the William Morris mailroom, 

then worked as a projectionist, 

secretary, assistant 

agent and agent. With Robert 

Chartoflf, he formed a theatrical 

management company and 

then segued into producing— 

first with Chartoft', then solo. 

Always a hands-on producer, 

Winkler prefers to be intimately 

involved in the development of 

a script, as well as in financing, 

casting and editing. No matter 

how immersed Winkler became, 

however, the picture was 

never tes— film being a director's 

medium— so the longtime 

producer decided to try his 

"Most ofmyfilms [concern] 

what happens to a character 

when he or she is ma crisis.... 

Ahhough I never knew it 

until someone told me. 

It was all unconscious. " 

hand at helming. Winkler's first 

behind-the

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BEHIND THE SCENES 

Wagner has been interested in 

George 

motion picture projection since he 

was a small child. His fascination for 

the projected image began in 1919, when at 

age five he saw the silent film "Tlie Birth of 

a Nation" projected onto a sheet in the 

basement ofa local schoolhouse. Even then, 

at that early age, Wagner found himself 

mesmerized more by the activities of the 

projectionist than by the film itself Shortly 

thereafter, the Hagerstown, Md., native 

began selling boxes of salve for a mail order 

company and sold enough of the product to 

qualify for a small projector as a reward. "I 

sold 12 boxes of Wliite Cloverine salve for 

25 cents a box, or maybe someone bought 

it all from me like my mother," he laughs. 

Regardless of how he managed to sell the 

required number ofboxes, the result was the 

same. He received the little projector that 

would initiate his love affair with the magic 

ofmotion picture exliibition, a love that lasts 

to this very day. 

"The projector's light source was carbide, 

Wagner recalls. "A litde light was provided 

by the carbide which fonned a gas and 

made a light. 

It 

was pretty primitive, 

He 

to be sure." 

recollects 

that the macliine 

came with a loop 

offUm that lasted 

about two seconds. 

The small 

projector was not 

very sturdy and 

broke shortly 

after he got it. 

However, he 

maintained his 

enthusiasm for 

showing motion 

pictures, and by 

age 15 he had obtained 

his next 

projector, an 

Acme "suitcase" 

unit that was capable 

of running 

George Wagner in his element. 

about 1,000 feet of 35mm film. He used to 

show telephone company advertising films 

to the children in his neighborhood. Wagner 

would project tliem through a window ofhis 

house onto a screen he had built in the yard. 

It did not matter what type of film he 

showed, he recalls. In 1929 the neighborhood 

youngsters were thrilled to see any 

film, even if it was a plug for the phone 

company. There was no charge for the use 

of the fUms; all he had 

to do was tell the company 

how many people 

had been in the 

audience. 

Projecting 

motion 

pictures was a relatively 

new technology 

when Wagner first saw 

it demonstrated in 

1919. Thomas Edison 

had introduced his 

Kinetoscope only 25 

years earlier. But 

Wagner was fascinated 

by the concept and 

wanted to be the man 

showing the movies. 

By the age of 17, he 

had befriended tlie regular 

projectionists at 

Hagerstown's Maryland 

Theatre, and they 

would surreptitiously 

admit him to the projection booth in violation 

of union ruins. "I'd walk through the 

apartment that 

was in front of the 

theatre, up the fire 

escape, and knock 

and they would let 

me in." He had 

also become a frequent 

visitor to the 

booths of two of 

Hagerstown's 

other motion picttire 

hotises of the 

time, the Colonial 

Theatre and the 

Academy of Music. 

Getting to 

know the managers 

and doormen 

at these theatres 

eventually made 

gaining access to 

their booths much 

easier 

Projectionist 

union rules prohibited him from beginning 

an official apprenticeship until reaching the 

age of 21 . However, he learned a great deal 

during those in-between years as he continued 

his clandestine treks up the fire escapes 

and back stairs of tlie various theatres. In 

1935, at age 21, he began a three-year ai> 

prenticeship under the tutelage of the 

Maryland Theafre's operators. He was at 

first permitted only to obseive the men .is 

MASTER 

of the 

movement 

By Lawrence R. Loy 

they worked. Next came being allowed to 

put the film in the machine and eventually 

to "trim the lamps." Finally, after months of 

performing only the most rudimentar\' 

tasks, he was permitted to make the everimportant 

"changeovers." 

After completing his apprenticeship, 

George worked part-time in local theatres 

while also working in a service station. He 

remembers that he would make as much in 

one evening as a projectionist as he could 

in an entire week at the service station. 

Eventually he obtained his firet ftill-time 

position as one of t^vo operators at die Academy 

of Music. He kept tiiat position, along 

with filling in at otlier theatres, until 1942 

when he was drafted into the Army. 

As a child, Wagner began selling 

boxes of salve for a mail order 

company to qualify for a small 

projector as a reward. "I sold 12 

boxes of White Cloverine salve for 

25 cents a box, or maybe someone 

bought it all from me like my 

mother," he laughs. 

Not even a world war could put a danijêr 

on his enthusiasm for his craft. World War 

1 1 put many motion picture cancers on hold, 

hut it only pnnidcd VVagntM' with new locn- 

A movie palace projectionist recalls over six decades 

of exhibition history as seen from the booth 

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tions to show the many films that Hollywood 

was producing at the time. Upon entering 

the Anny he was sent to Newfoundland, 

Canada. Within a matter ofhours after 

his arrival on base, he approached the special 

services officer in charge of the 

installation's theatre and secured a position 

operating the theatre's 35mm Cenmry projection 

equipment. 

Base theatres, he says, were very basic 

with no frills. "Very elementary. Wooden 

benches. The projection booth was lined 

with asbestos—you had to go up a ladder 

and tlirough a trap door to enter the booth. 

He adds that tlie films were carried from 

one theatre to another, 

starting on Newfoundland's 

west coast. Once the 

film had been shown in all 

four of the Amiy's tlieatres, 

it would be shipped back to 

Boston. The Army usually 

knew in advance what 

films were going to be exhibited 

and would post onesheets 

outside their 

theatres. 

B 

eing a projectionist 

during war time was 

more adventurous 

than one might presume. 

George not only manned 

the bootii at the base theatre 

but also took entertainment 

and training films to 

the troops who were stationed 

in remote locations. 

He remembers taking a 

16mm projector, a small 

speaker, and the film "Star 

Spangled Rhytlim" to one 

remote island by boat. "I 

can remember climbing 

up a ladder at the wharf at 

the island, a gosh-awfiil 

place. The island wasn't 

very long, maybe a half 

mile at the most from end 

to end, but they had outposts 

there." George recalls that he and the 

boat operator had to climb up the ice-coated 

ladder with the equipment and walk 

through knee-deep snow to get to the other 

side of the island to put on the show. 

After two and a half years in Newfoundland 

he returned to the United States and 

went back to work as an operator at the 

Academy of Music. 

hi 19,52 he began working ftiU-time for a 

local industrial concern after area theati'es 

scaled back their operations to include only 

one operator in the booth. However, he 

continued to work part-time at the Maryland, 

Colonial, and Academy of Music, 

which at the time were all part of the Warner 

Bros, chain. His nontheatre job lasted seven 

years prior to his being laid oHin 1959. He 

later went to woik for a truc;k manuthcturer 

from which he retired in 1979, all the while 

continuing to work as a substilute prqjec- 

rionist in the booflis of local motion picture 

houses as the need arose. Wagner also 

served for a time as the business agent for 

the local operators union, the International 

Association of Theatrical Stage Employees 

(I.A.T.S.E.). 

Wagner likes to recall the important but 

often unrecognized role that moviehouse 

projectionists played in putting on a good 

show. "No one knew you were around until 

something happened. They'd hoot and holler 

and stomp tlieir feet. You'd go up before 

anyone came into the theatre. You were the 

last one to leave." 

He is quick to point out that there have 

The Maryland Theatre today 

At age 81, Wagner volunteers his time and efforts to help with 

whatever needs to be done to keep the nonprofit Maryland 

Theatre running, whether it's taking tickets for a live performance 

or helping with maintenance around the building. 

been many changes in motion picture projection 

since he got started. While theati'es 

formerly had two projectionists working 

together to operate two machines, modem 

projection systems permit one operator to 

run several machines. And although he 

rarely goes to modem movie theatres today, 

he admits that when he does, it is due to a 

motivation other than to just see the film. 

He goes to critique the performance of the 

projectionist. "I'm lookingto findsotnediing 

wrong," he says somewhat sheepislily. "I'm 

not going to see the movie, I want to see 

someone goof up." 

It is hard to imagine George Wagner making 

a mistake. His work is meticulous, and 

he still brings the s;ime dedication to his an 

as he must have when it was his profession. 

He admits to a fc^w "goof ups" of his own 

during his long career, though. One of die 

most embarrassing was a time when he 

accidentally changed over to a reel containing 

a cartoon in the middle of a western 

feature. "You can imagine that it's bad 

enough to put the wrong reel on. That's a 

distinct possibiliti,'. But to put a cartoon on 

in the middle of a western— I don't even 

want to think about it." 

years in the exhibition busi- 

Sixty-two 

ness gives one an opportuniti,' to be a 

part of the industrj''s histor\' and vxitness 

its change. Wagner recalls the early 

part of his career when shows ran almost 

continuously from about 1:00 p.m. to 11:00 

p.m. on most days and features would normally 

change twice per 

^^^ week. A weU-trained and 

ornately unifonned usher 

^^^1 

^)^H corps was common in 

'^^M many theatres. And al- 

^B though he respects the 

changes in exliibition that 

have been brought about 

by time, he longs to return 

to those days when grand 

movie palaces were a place 

\\here everyone gathered 

to see newsreels, short subjects, 

and of course die feature 

films. 

The Academy of Music 

is long gone, and the Colonial 

now fimctions as a 

church. The Maryland 

Theatre has been restored 

and serves the citizens of 

Hagerstown as a performing 

arts center Though 

films are shown only occasionally, 

when they are, 

you can bet that it's George 

Wagner in the Mar\'land's 

bootii. Even after all these 

years, film projection, 

along with his wfe Ginny, 

is still his greatest love. At 

age 81 , 

Wagner volunteers 

his time and efforts to help 

with whatever needs to be 

done to keep die nonprofit 

Mar\'land Theati'e running, whedier it's 

taking tickets for a live performance or helping 

with maintenance around the building. 

He was also instrumental in s('eing the 

"Miglitv' Wurlitzer" organ make its recent 

triumphant return to the Maryland. Althotigh 

the Maryland's original organ was 

donated to a local churcli many \'cars ago, 

another was located and has been beautiftilly 

restored and instalkxi Wagner hopes 

to soon be nmning silent films to die oi"gan's 

accompaniment. 

H(' 

states that happiness for him is 

opiTating th(^ Mar>'land's du;il c.irlion 

arc Super Simplex pn)jectors. "It 

makes you feel important wlien you look 

out the booth door at th(^ Maryland, for 

instance, and you siu^ diat tht" whole darn 

balcony is illuminated. You know it 

You've got a good show." 

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SPECIAL REPORT: EUROPE 

DOING THE CONTINENTAL 

Major Moves Toward Overseas Multiplexing, Pan-European Distribution And 

Across-The-Pond Co-Production Have The Industry Dancing Toward The Future 

By Estep Nagy 

New York Correspondent 

It 

goes back to that Costlier line in 'Field 

of Dreams,'" says Michael Williams- 

Jones, president and CEO of Londonbased 

United International Pictures. "Build 

the field and they will come. Well, tliis is the 

field. It's being built." Hardly one to be 

bullish on that most American of localesbaseball 

diamonds— the head of the overseas 

distribution concern for Paramount, 

Universal and MGM/UA is talking about 

what continues to be the watchword in European 

exhibition; multiplex. 

IF YOU BUILD IT: American multiplexing is 

going Euro-style, as witti this Bhtisii site. 

Or, in his excellent code phrase for multiplexing, 

"the expansion of cinema infi-astructure." 

Says Williams-Jones, "That is 

the single biggest influential factor that 

will determine the growth of distribution 

in Europe. IVIultiplexes are being built everywhere, 

and there is a real energy behind 

the regeneration of cinema. It's 

going to have a huge effect on both the 

production and the distribution of films 

from whatever source, whether it's Hollywood 

or European." 

Rick Sands, the new head of New Yorkbased 

Miramax International, concurs. "I 

see theatrical continuing its expansion. The 

television market is expanding as well. HBO 

is expanding into many areas, there are new 

satellites going up, and this allows more 

market viability for everybody's product." 

Tklks with executives ft'om various sectors 

of the international film trade yielded 

similar comments. Indeed, the prospect of 

multiplexes sweeping over the Old Country—thereby 

gready expanding the number 

of screens and launching their attendant 

boxoffice—has overseas movie honchos on 

the brink of euphoria. "I am exceptionally 

optimistic about tlie future," Williams-Jones 

says. "I think we're entering into a new 

golden age of cinema." 

The reasoning behind the optimistic outlook 

is based in part on the widely reported 

news fliat studio revenue from foreign distribution 

now exceeds domestic tallies. 

Hollywood's foreign rentals for last year 

totaled $2,048 billion, against $2.04 billion 

generated stateside. Although that margin 

is slim, it's generally believed that Europe 

and the rest of the world are underscreened. 

If die take is this good vnth less relative 

screen opportunity, rims the industry's conventional 

wisdom, when multiplexing is 

complete that revenue stream will look 

more like a flood. 

"Multiplexing really 

took place in the United 

Kingdom and has been 

slower in other parts of 

the world, " says Christopher 

Borde, associate 

analystatCarmel, Calif 

based Paul Kagan Associates, 

a noted industry 

numbers-crunching 

concern. "If the performance 

of multiplexes there is any indication 

of what they are capable of doing in 

other European territories, I'm sure that 

would be a large part ofgrowing the actual 

revenue from boxoftice." 

There's no question that exhibitore are 

t;oming to the market with megascreens 

in mind. "There's a market for at least 200 

new multiplexes in the next five years," 

says Joost Bert, head of Decatron, the 

Belgium-based company that owns the 

mammoth Kiiiepolis. That 24-screen theatre 

in Brussels accounts for .SO percent of 

all 

movie tickets bought in Belgium. Not 

surprisingly, Bert says that "we want to 

continue tobuildmultiplexes." 

And he's pursuing tiiat desire with a vengeance. 

"1 have to deliver, on a yearly basis, 

three multiscreens. And big ones. LUle, 

France, will be 24 screens, and in the Netherlands 

there's one coming in Rotterdam 

and one in Amsterdam." 

Even so, UIP's WilliamsJones wants to 

see tomorrow's reality today. "Although I'm 

encouraged by what I see in the way of 

development, we must accelerate the pace 

of construction," he says. 

"Countries like 

Italy, Greece and Portugal, plus parts of 

Scandinavia are still lagging way behind and 

fliere are still many, many opportunities for 

development in France, Germany, Spain 

and even the U.K." 

As the cradle of the multiplex concept, 

the U.S. market continues to be the gold 

standard abroad. "The faster we can get up 

to the level of having a cinema infrastructure 

analogous to that of tlie U.S.," WOliams- 

Jones says, "the faster we can regenerate 

CINEMA EXPO '95 

EUROVIEW 

tlie health of the industiy 

in its entirety'." 

Although supportive 

of that position, 

Bert sees one potential 

downside to the current 

wave. "The only 

tiling I'm a little bit 

afraid of is lliat we will 

have tlie same problem 

as do some places 

in the States, where there is overscreening." 

Shari Redstone, executive vice president 

at DecUiam, Mass. -based National Amusements, 

which operates tlie Showcase circuit 

in the United Kingdom, shares Bert's concern. 

"I woriT about that, too," she says, "but 

look at tliat more iis inappropriate business 

I 

decisions," Still, no one yet seems to be 

losing sleep over a possible screen glut, as 

most eyes are focused on tlie profits to be 

reapc^d from tli(^ growing (Economies ofsciU" 

ratlKM- tliaii liie small tires that might have 

to lie put out at >i liter date. 

32 BOXOFUCK

wif-" 

ere 

,1 

the screen total in Europe 

Withbeing carried skyward by the 

stampede to multiplexing, it 

follows that tlie next idea on the minds of 

international players is distribution. Simply 

put: Who will feed the beast? 

Europe's current distribution alignment 

has different companies handling single or, 

at most, three or four territories. Buying 

European distribution rights piecemeal, 

however, is considered by many to be untenable 

in the long run. "One of the major 

problems with European distribution," 

Kagan's Borde says, "is that they're so segmented. 

There's no real European production 

entity, although there're a lot of small 

would-be entities. [Gemian conglomerate] 

BMG owns one distributor in Spain and one 

in Italy, but again there's no real united 

European distribution front like the Americans 

have. There's no way that [small European 

distributors] can compete against a 

well-oiled American distribution machine." 

Decatron is just beginning to step into 

distribution, and Bert likes to take the pan- 

European distribution view as well. "In Europe, 

when people go to the American Film 

IVIarket or Cannes, they still buy rights for 

France or for Germany [singly]. There will 

be a trend where people will start buying 

distribution lights for the whole of Europe. 

The small distribution companies will come 

under pressure, and we will see more and 

more distribution on a European scale." 

Bert believes the trend is already manifesting 

itself in the fonn of multi-country 

deals. "We see that [Belgium] is too small to 

make a profit, and it would be better to buy 

in bigger quantities. Even now, for example, 

we will try to buy rights for the Benelux 

countries [Belgium, the Netherlands and 

Luxembourg] as a whole." 

But Borde is skeptical that this shift will 

happen anytime in the near term. 

"There's definitely a big push by the European 

Community to try to create a pan- 

European distribution arena. But that 

takes time, and it takes a state of mind." 

As Bert stresses, "If rights have to be 

bought on a European scale, the amount 

of money that will be involved will be far 

higher than at the moment. Again, the 

smaller distribution companies will have 

more and more difficulties buying the 

rights to different markets." 

Over at Miramax, Sands says his company 

has evolved a successful strategy for 

dealing with the currendy fragmented 

state of Europe's entertainment tectonics. 

The Miramax approach might best be described 

as the distribution equivalent of 

local co-production. "We have picked two 

to tliree distributors in each marketplace, 

and we try to sell them the bulk of our 

product because they understand how we 

work," Sands says. "That's been our strategy: 

to align ourselves witl: a few distributors 

in each marketplace." 

More than that, though, when sending 

films abroad Miramax helps helm the 

marketing rudder "Once we license rights 

to distributors," Sands says, "we give them 

marketing, publicity and promotional 

support. We supply them with the print 

and electronic campaigns." The combination 

of U.S. promotional muscle and local 

market savvy appears to have been a resounding 

success, as "Pulp Fiction," for 

one, has at this writing brought in more 

than $100 million in boxoffice overseas 

against $110 million domestically. 

For Robert Altman's "Pret-a- Porter" 

("Ready to Wear" stateside) Miramax tailored 

marketing campaigns for different territories 

in league with local distributors and 

expects the fashion picmre's overseas take 

will quadruple its $9 million from America. 

"The French campaign was considered very 

controversial," Sands says, "and it worked 

beautifully. The German campaign was tailored 

from the French campaign and the 

picmre did huge business." 

that American firms are be- 

more comfortable with 

Nowcoming 

their European counterparts and 

have a visible presence in most markets, it 

looks like another thing on the radar is a 

surge in co-productions betsveen American 

companies and local producers. "I tiiink the 

world is clearly getting smaller," says National 

Amusements' Redstone. "When you 

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make the right contact, it isn't going to 

matter where anyone lives." 

"There is one negative issue in Europe at 

this point," Sands says, "and it's the quota 

issue. As long as that's in effect, that encourages 

companies to enter into co-production 

agreements, which we are doing." And, to 

paraphrase Ingmar Bergman, local producers 

have a hard time becoming upset when 

American powerhouses arrive with check 

in hand. "I've been out in tlie marketplace 

exploring [co-production] possibilities, and 

they're coming together," Sand says. "Tlie 

foreign producers are very interested in 

doing business with American companies." 

UIP's WUliams-Jones sees the burgeoning 

multiplex as a forebear of the trend 

toward local partnerships. "Tlie growth of 

admissions in Europe," he says, "wiU drive 

a healthier total economy for the industry, 

which in turn will have a knock-on effect on 

local production." Kagan's Borde sees tlie 

connection as well, but his tone is more 

measured. "The whole purpose behind coproduction 

is to create a symbiosis between 

territories. As European films are able to 

establish themselves as viable sources of 

entertainment, multiplexes wQl be a great 

source of revenue." But tliere's a catch, he 

says. "The question is, are European multiplexes 

going to be showing European films 

or American films? As long as Europeans 

are able to establish market share, there'll 

be a greater increase in co-production." 

As 

American production values 

and corporate bottom lines become 

more of a factor in European 

production, many see a new kind of 

film product coming out of the longtime 

art-film stronghold. "The reason the share 

of the marketplace for European films has 

slipped is not because ofthe perceived dominance 

of Hollywood," WUliams-Jones says. 

CO-PRODUCTIONS ON THE COME: US. star 

Bruce Willis joins with French director Luc Besson 

for Columbia/Gaumont's "The Fifth Element. 

"It has more to do widi the fact tiiat European 

filmmakers have lost touch with their 

audiences. I think European filmmakers 

wall, on the back of this expanding market, 

get back in touch.... And you see this happening 

already with 'Four Weddings and a 

Funeral' and 'Shallow Grave.' There are a lot 

of mo\'ies sourced in Europe that are finding 

vast audiences." 

Decatron's Bert goes so far as to see the 

new-style European fUm being made in 

America. "I hope that more and more European 

producers and directors will find their 

way to HoUyivood and make films with 

European talent there. You see the trend 

witli 'Basic Instinct' [directed by Dutch director 

Paul Verhoeven] and the film from 

[fellow Dutchman] Jan de Bont, 'Speed,' 

which was received in Holland almost like 

a European product." 

The handwTiting for the commercial European 

film is already on the wall. A good 

example is the work of French director Luc 

Besson, whose "La Femme Nikita"— a highadrenaline, 

Holhrn'ood-style action picture—was 

so weU-received stateside that 

Hollywood remade it as "Point of No Return." 

Besson's most recent effort, "The Professional," 

was made in conjunction with 

Columbia Pictures; his next, "The Fifth Element," 

has A-list star Bruce Willis attached 

and will like-s\'ise be financed jointly by 

Columbia and tlie French giant Gaumont. 

Williams-Jones isn't surprised. "The 

whole economic reshaping of the industry 

is making the fimding of production 

more accessible. I think you'll find a more 

commercially based European film made 

as a consequence." 

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Special Attraction Report: 

SIMULATION THEATRES = REAL MONEY 

By William C. Soady 

President and CEO, 

Showscan Entertainment 

In this piece, the head ofone of the world's leadijig 

simulation theatre concerns argues that such attractions 

are a natural match for nudtiplexes because 

of audience demographics, the attractions' 

noncompetitive nature to the main revenue sUeam 

(tlw movies tlwiftselves) and the fact tluit success ivith 

simulation theatres draivs on the same well-honed 

promotional and ope}'ating skiUs all ediibitors sliare. 

was exactly a century ago that the 

ItLumiere brothers invented the motion 

picture projector, and the first 

"moviehouses" soon sprang up from Paris to 

Los Angeles to Tbkyo. 

About tlie same time, a real-life drama 

was unfolding in another industiy. Alexander 

Graham Bell's new telephone had attracted 

the attention of some consumers, 

but Bell needed money and offered to sell 

his invention to 

Western Union. The 

giant company's executives 

were not interested. 

They were 

in the telegrapli lousiness, 

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passed up the bargain 

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were in the communications 

business. 

Tbday's successflil 

exhibitors know that they are not in the 

movie theatre business. They are in the 

entertain mc;nt business. 

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Odeon 's 

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A state-ot-tiie-art 

multiplex is likely to include, along with its 

cinemas, such attractions as a games arcade, 

an interactive video center, a food 

court with specialty restaurants, a miniature 

golf course and even a child care facility. 

Increasingly, exhibitore are deciding that 

an integral part of these successful new- 

generation "family entertainment centers" 

is a simulation theatre. At first glance, it 

would seem perfectly logical that simulation 

theatres would be a natural business 

expansion for tlie companies that operate 

conventional motion picnire tlieatres. Simulation 

theatres, after all, use projectors to 

show movies to ticket-buying audiences. 

Sure, the seats may move and the screen 

maybe bigger, but it's a movie theatre, right? 

Maybe so, but it's another(;xam)ile ot that 

"the business we are in" diinking. Simulation 

theati-es have until recently been perceived— 

not just by exhibitors, but by many 

in the simulation theatre industry as well— 

as being more akin to a tlieme park ride 

than to a motion pii turc theatre. The simulator 

was seen as sort of an indoor 

rollercoaster And few exhibitors havi; hf.cn 

giving much thought to putting ,i ski jump, 

water slide or other dirOl ride into their 

multiplexes. Then again, why not? 

Tbday's technologj' allows a 14-year-old 

to pilot a jet fighter and feel the thrills of a 

dogfight at Mach 2, experiencing the onrushing 

images and sounds of combat and 

die heart-pounding G forces that grip his 

body. It seems so real that his 40-year-old 

father can barely wait to buy his own ticket 

for a five-minute ride in the video capsule. 

If that kind of attraction—which 

is really 

just a logical next step 

trom die \adeo arcade 

Lianie— is such an ob\i- 

( )us good fit for a multiilex, 

why not extend 

the concept slightly and 

1^^ include the simulation 

.„^9H theatre? 

'^H^l That's precisely what 

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exhibitors like United 

.Vrtists, General Cinema, 

Regal Cinemas 

and others have decided 

to do. Their basic 

leason for doing so, of 

course, is to give their 

customers as full a 

range t)t entertainment options as possible 

so diat those customers keep coming back. 

But 

they are able to make tiiat decision 

liecause die simulation theatre industry 

has developed the technolog>' anti 

presentation formats that make it practical 

to put a simulation dieatre in a multiples. 

Although an image projected on a .StVfoottall 

screen is visually exciting, tliafs hardly 

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a ceiling height likely to be found in a 

suburban shopping center. Tbday's simulation 

theatre screens, like those from my 

company, Showscan, provide a totally compelling 

image in an auditorium not much 

different from that ofa conventional motion 

picture theatre. Showscan's patented 60- 

frame-per-second projection of a 70-mm 

print produces a brilliantly real image that 

immerses the viewer in the experience. 

A Showscan theafre's motion-base seats, 

whose six-axis motion is computer-linked to 

the action on screen, pose no significant 

strucmral problems. The projection and 

sound systems are littie different from those 

found in the booth of any first-run theatre. 

Still, many multiplexes don't have the room 

to add another auditorium, or perhaps those 

sites might not draw from a population base 

that will fill a 50-seat simulation theafre. So 

my company has developed the Showscan 

Hi-Definition Video Theatre, which provides 

an exliibitor witli tlie option of delivering 

the same kind of excitement to 1 2 or 

24 seats in less than 2,000 square feet. In 

practical terms, that means almost any market 

that can support a successfial multiplex 

will in all likelihood be a candidate for a 

simulation tlieatre. 

Of course, clever technology and diligent 

market smdies don't ttanslate into ticket 

sales. That happens only due to the skill of 

the exhibitor— the person whose expertise 

is entertainment. A simulation theatre requires 

careful and creative promotion. The 

product is, after all, very different from a 

conventional motion picture. For the exhibitor, 

that means that the simulation tlieatre 

will require a different kind of marketing. 

Thanks to studio advertising and publicity 

efforts, feature films come to your 

screen with a high level of public awareness. 

There's little the exhibitor can do to influence 

the demand for a major feature. A 

simulation theafre, on the other hand, is an 

attraction that's highly promotable and 

whose success depends largely on the effectiveness 

of that promotion. This is a 

challenge for the exhibitor, but it also holds 

great promise. Once die attraction's popularity 

is established, the simulation theatre 

keeps customers coming back for more. 

A smash hit 

from a major studio will 

certainly sell tickets and popcorn, but affer 

its run is complete its audience is gone with 

It. If the next blockbuster is booked at a 

multiplex across towm, there is little the 

exhibitor can do but wait. With a simulation 

theatre, however, the exhibitor can create 

demand through advertising and promotion—a 

feat that is virtually impossible with 

most feature films. 

The simulation attraction can be kept 

onscreen for not weeks but months to maximize 

the benefit of this marketing effort. 

And when audiences want something new, 

the attraction can be changed in minutes. 

TVy doing that with a theme park ride! (Plus, 

the successful simulation theatre companies 

provide multiple experiences through 

their large film libraries.) 

The Multi- 

Attraction 

Future: 

Regal 's 

Funscape 

Center in 

Chesapeake, 

Va., Offers 

13 Screens, 

A Simulation 

Tlieatre 

And More 

Forward-tiiinking exhibitors realize that 

they must offer a broad range of atfractions 

if they are to compete effectively 

with the many entertainment options available 

to the contemporarv' consumer Including 

a simulation theafre in that mix of 

attractions makes good business sense, tor 

a number of reasons. 

A simulation theafre is a good demographic 

fit; it appeals to the same kind of 

patrons who buy movie theatre tickets. It 

offisrs die consumer a unique experience— 

one that can't be replicated in the home— at 

an affordable price. Because a simulation 

film runs only four or five minutes, it does 

not compete with the conventional feature 

film in terms of time, in the way that such 

atfractions as miniature golf and bowling 

do. The multiplex customer can easily fit 

both the simulation theatre experience and 

a feature film into one evening of fun. 

Most important, it's die verv' marketing, 

promotional and operating skills dial make 

for a successful exhibitor diat are those 

needed to make a simulation theafre a po[v 

ular and profitable attraction. 

William C. Soady is tJie presidoit and chief 

executive offica' of Culva- City, Cahf-basai 

Showscan Entaâuvnent Ina Showsavi luis 

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Response No. 151

EXHIBITION PROFILE 

DUTCH TREAT 

Morgan Creek, Warner Bros, and Chargeurs join forces 

to open MovieWorld, Holland's first state-of-the-art multiplex 

Bv Pat Kramer 

a partnership that combines expertise, 

Inexperience, strength, world positioning 

and stability in world exliibition, Morgan 

Creek has joined forces with Warner Bros. 

International Theatres and Chargeurs, the 

French film production/distribution company, 

to buUd Holland's first high-tech multiplex 

cinema complex, MovieWorld. 

Located in the scenic seaside resort of 

Scheveningen, MovieWorld, which opened 

in April, boasts eight screens, seating for 

2,200, and state-of-tlie-art technology in 

viewing and sound. 

Although MovieWorld is 

Holland's first high-tech multiplex 

cinema, it is not the first 

multiplex, according to Morgan 

Creek International Executive 

Vice President Ken Schapiro. 

"Holland's first multiplex 

opened at the end of last year in 

Maastricht, but MovieWorld is 

really the first state-of-the-art 

multiplex, " says Schapiro. 

One of Hollywood's most successful 

independent film production 

companies, Morgan 

Creek was founded in 1988 by 

Chairman and Chief Executive 

Officer James G. Robinson and 

has made 1 7 films, including the 

boxoffice hits "Ace Ventura: Pet MovieWorld is centrally located close to the Hague, overlooking Kurhaus Square. four multiplexes in France since 

Detective, ""Young Guns," 

1993. Chargeurs' Crepon says, 

"Major League," "Dead Ringers," 

"Cinema admission in southern 

"Young Guns II," "Pacific Heights" and success of video rentals, good cable TV services 

and some long-held stay-at-home tra- 

since the opening of the Pathe multiplex 

France increased bj' more than 50 percent 

"Ftobin Hood; Prince of Thieves." 

A leading force in exhibition in the Midwest, 

Morgan Creek is partnered with However, based on their experience with 

ditions have all been factors," he says. 

Svensk Films' Ron Leslie in the ownership multiplexes in other 

of the First International Theatre chain, 

operating in Kansas, Nebraska, Arkansas 

and South Dakota. By year's end, flieir domestic 

acquisitions will total 100 theaters as 

they continue multiplex expansion. 

Internationally, however, this is Morgan 

Creek's first foreign venture. 

The partnership of Morgan Creek with 

studio giant Warner Bros, and the Frcnc:h 

media conglomerate Chargeurs came about 

after the partners recognia^d the untapped 

potential of the Dutch market. "\ lolland was 

very much a unique opportunity because 

the Dutch market is so untlerscreened and 

could really use improvemcni in 

the existing 

screens," says Schapiro. "I fliink all the 

joint venture partners recognized this as a 

unique opportunity." 

Market research has shown that the 

Dutch do not go to the theatre very often. 

Says Morgan Creek Chief Executive Officer 

Gary Barber, "Of all European countries, the 

Nedierlands spends tire least amount of 

money per head on the cinema." 

A number of factors contribute to that 

trend, says Chargeurs Executive Vice President 

Michel Crepon "Old cinemas, the 

countries, the partners 

hope to turn that trend 

around. They believe 

MovieWorld will enhance 

the moviegoing experience 

enough to 

stimulate business. 

Millard Ochs, President 

of Warner Bros. International 

Theatres, 

b('li(!ves in taking a proactive stand. 1 le cites 

his first multipk^x opcining in England as an 

example of how inviisting in down markets 

has worked for Warners. "When we opened 

England's first 10-screen nuiltiplcN cinema 

at Milton Keynes in 1984, the U.K. film 

industry thought we were crazj'. Total cmema 

admissions in 1984 were 54 million— 

slightly more than one visit per inhabitant 

We knew we could increase that. 

per year. 

The builder bet me a fiver we would fall on 

our face. I won the bet." 

ith the opening of that first multiplex 

in England, "the revolution in 

Europe had started," says Ochs. In 

rapid succession, more Warner sites were 

opened in the U.K., Germany, 

Portugal, Spain, and now Holland, 

with investigations into expansion 

opportunities in 

Australia and Japan presently 

underway. Warner Bros, currently 

manages 309 screens with 

160 under constniction around 

the world. 

Similarly, Chargeurs has seen 

an influx in movie attendance at 

their new multiplexes. Besides 

being known for film distribution 

(via Pricel and AMLF in die 

United States, Guild Entertainment 

in Great Britain and Tobis 

Filmkunst in Germany), their 

subsidiary, Pathe Palace, operates 

150 screens and has opened 

two years ago. lb progress, you have to 

modernize and respond fast to the changing 

market demands. 

Ihose are now con- 

\'enienc(', comfort 

CINEMA EXPO '95 

EUROVIEW 

and quality." 

WidibothWamers' 

and Chargeurs' expertise 

in international 

ventures, 

Morgan Creek realized 

a stiong partnership 

in this N'cntiuv. 

Althougli It is its first forcign exhibition 

p.irtni'rship, Morgan Creek has been partnered 

with Warners in distribution for the 

past three yeais, and Ciiai'gcurs' AMLF has 

been its distribution partner in France. 

42 BOXOI'KICK

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Large cinemas, like the famous movie palaces you find in' the U.S. and other 

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specific area of the auditorium! If the surround channel time delay is set for 

the seats in the rear of the house, then patrons in the middle or front hear an 

echo. If the delay is set for the middle of the house, customers in the rear 

may hear two sounds. 

The proper way to properly accommodate long rooms is with multiple time I 

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Low cost, simple wiring, and rugged construction are some of 

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Based on the knowledge that the facility 

is every bit as important as the films they 

show, the partners carefully considered 

every aspect ofthe design of MovieWorld to 

create as comfortable an environment as 

possible. The building was designed by 

Dutch architect Theo Haayen of the firm 

Wilton & Haayen and feattires a glass facade 

that helps promote the activities within. 

Says Haayen, "From outside die building, 

you can see the audience walking in the 

illuminated hall and on the first floor Likewise, 

those on the inside benefit from an 

unobstructed view of historic Kurhaus 

Square and all its activity and liveliness." 

Built 

in one of Holland's premier locations, 

MovieWorld is situated in an 

entertainment zone close to the 

boardwalk, Tlie Hagtie, and across from the 

historic Kurhaus. Witli a variety of restaurants 

and shopping nearby, as well as a local 

casino, those visiting the multiplex can plan 

an entire day's activities around going to the 

movies. With the opening of restaurants 

vrifhin the multiplex this summer, visitors 

to the complex will have tlie additional convenience 

of dining before or after seeing a 

movie. 

Wifli eight theatres screening films at 

MovieWorld, the multiplex formula will 

provide more than a visit to the cinema. 

"MovieWorld and cinemas like it will become 

a social entertainment destination 

point for visitors," says Ochs. "The ability to 

offer a large number of the latest leading 

films at the same location means people 

will always have a good selection of films 

even if their first choice is sold out." 

Schaptro points out that the movie experience 

will be unlike what Dutch viewers 

have known in the past. "All the screens 

have state-of-the-art technical specifications 

with the appropriate digital sound systems 

and seats that offer good vantage points for 

the entire audience." 

The April 26 opening of MovieWorld in 

Scheveningen drew upward of 800 people 

for the festivities, which included the premiere 

of "Boys on the Side." 

With all three partners in the movie business, 

booking films for the multiplex 

shouldn't be a problem. The partners have 

decided to make exhibition their priority at 

MovieWorld, not self-promotion. "We wiR 

show the best films for the Dutch market," 

says Schapiro. 

Ticket prices wUl be responsive to local 

norms v\nfh discounts applying for nonpeak 

hours and special prices used as incentives 

to draw infi'equent mo\'iegoers to tlie 

tlieatres. Average prices will range from 15 

to 17 gtiUders— or rouglily five to ten dollars 

per ticket. 

Dutch General 

Manager Ge Schottelndreier 

will handle all of the day-to-day 

activities for the multiplex with Managing 

Director Lauge Nielsen orchestrating the 

business on a larger scale. Staffing will be 

handled locally with an eye toward boosting 

tlie economy in The Hague district. 

With 

MovieWorld its first foreign 

venture, there are obviously some 

risks for Morgan Creek. Competition 

for \adeo, cable and Pay T\' have been 

a problem for the exhibition industrj' in the 

past, lb this, Schapiro states the philosophy 

that governs the company's outlook. "One 

has to eidier believe in the cinema-going 

experience or not. I think that all the partners 

in our Holland project believe that for 

the cinema business, the long-range business, 

particularly where state-of-the-art 

multiplexes are concerned, it doesn't matter 

what the competition is. Whatever new 

media comes along, there will still be a need 

for families to go out for an inexpensive 

evening and take in a movie. The place 

where they'll go to take in the mo\'ie will be 

one where there is other recreation—such 

as restaurants. Thus the multiplex cinema 

experience provides a choice of films combined 

widi other recreational activities, and 

that experience wtII be the experience well 

into the 21st century." 

No plans are on the table at this time for 

other foreign ventures for Morgan Creek. 

But that could change. "Where joint ventures 

and partnerships make sense for us," 

states Schapiro, "I think we can continue to 

explore." 

INVITES YOU TO JOIN US AT 

OUR ANNUAL MEETING TO HONOR 

MIKE CAMPBELL OF REGAL CINEMAS 

NATO OF OHIO'S EXHIBITOR OF THE YEAR 

STOUFFER RENMISANCE 

TOVER CITY, CLEVELAND, OHIO 

AUGUST 2 n, 1995 

FOR FURTHRR INFORMATION CALL BELINDA JUDSON, FXFCUTIVF DIRFCTOR, NATO OF OHIO (6111 881-bbll 

44 BoxonicK

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Response No, 116

EXHIBITION PROFILE 

RUN FOR THE BORDER 

Cinemark's Centro Cultural 12 opens its doors 

to Mexico City's prime demographics 

As 

the feature film business burgeons 

into a global industry, motion picture 

exhibitors increasingly are embracing 

international expansion as a key component 

of their corporate strategies. One 

company aggressively working toward the 

goal of becoming an international flieatre 

Dallas-based Cinemark USA, led 

circuit is 

by Chief Executive Officer Lee Roy Mitchell, 

recipient of the 1995 Robert W. Selig 

NATO/ShoWester of the Year award. Since 

1984, Cinemark has grown under 

Mitchell's leadership to become die 

sixth largest exhibition circuit in the 

United States. 

The demand for American films 

abroad has never been greater, and a 

glance at international boxoffice receipts 

indicates that some foreign 

markets may be on tlie 

verge of astonishing 

growth. The explosive potential 

of the Latin market is ot 

particular interest to Cinemark. Five 

years ago, well before the passage of 

NAFTA, Cinemark began looking 

into opportunities in Mexico. "We 

were looking at Latin American markets, 

particularly those just south ot 

the Tfexas border," says Diane Fefter, 

director of marketing for Cinemark's 

subsidiary Cinemark de Mexico. "We were 

experiencing great success with our theatres 

in the south Tfexas area, in the heavily 

Latino areas of the Rio Grande Valley, 

moving across the border seemed like a 

natural progression." 

Thie market research data pointed to the 

future possibilities for Cinemark. "Latin 

America contains nearly 400 million people 

and is growing fast, lb illustrate die potential, 

the entire population of our home state 

of Tfexas is 14 million people, but Mexico 

City alone has a population of 18 million 

people. Most exhibitors target audiencesbetween 

the ages of 1 5 and 3S. If you look at 

the demographics, half of the population of 

Mexico is under die age of 27. That's a lot 

ofpotential moviegoers and indicates a very 

bright fijture," says Fetter 

In 1994, Cinemark became the first U.S. 

exhibitor company to open modem multiplexes 

in Mexico, a country in dire need of 

now theatres. Four 10- to 12-screen complexes 

were opened in the cities of 

Aguacalientes, Chiliuahua, I lernujsillo and 

so 

By Michael Haile 

Monterrey, and plans were made for fiirther 

construction. "Here in the United 

States, there is one theatre screen per 10,000 

people. In Canada, there's one per 18,000. 

But in Mexico the ratio is one theatre per 

90,000 people. Going to the movies in Mexico 

is a time-honored tradition, but crushing 

lines at theatres is unfortunately the norm," 

says Feffer "Also, most theatre locations 

there are technologically outmoded and 

contain only one or two screens." 

Cinemark's Centro Cultural 12. Mexico City's first multiplex 

Cinemark's most recentiy completed exhibition 

site in Mexico is the Centro Cultural 

Cinemark 12 in Mexico City, the city's first 

multiplex theatre. Destined to become 

"Mexico City alone has a population 

of 18 million people. Most exhibitors 

target audiences between the ages of 

15 and 35. Half of the population of 

Mexico is under the age of 27. That's 

a lot of potential moviegoers and 

indicates a very bright future." 

— Diane Feffer, director of marketing, 

Cinemark de Mexico 

Cinemark's flagship theatre in the Latin 

market, the Centro Cultural Cinemark 12 is 

being billed by the company as "the most 

sp(u:tacular, most luxurious theatre" in ,ill ol 

Latin America (Cinemark invested S7 million 

in die project, 

more money than has 

been spent by the company for any otiier 

building). Located in an area of southern 

Mexico Citj' called Coyoacan, the theatre is 

part of a culmral arts center, 

rather than 

situated in a shopping mall setting. As Feffer 

explains, "The Mexican government owns 

the land upon which the theatre is built. 

They had a vision to create an area devoted 

to the perfomiing arts— dance, live theatre, 

cinema, die visual arts. We are the 

only commercial entity in the 

complex." 

When the Mexican government 

awarded Cinemark the contract to 

build the Centro Cultural Cinemark 

1 2, tiiey also held a contest 

to elicit ideas from leading architects 

in the countrT,^ on the design 

of the center's buildings. There 

were so many good ideas submitted 

that tlie government committee 

invited each architect to design 

a building. "That's why each of the 

buildings in the cultural arts center 

looks different, yet they harmonize 

wi\i\ each other beautiftilly," 

comments Feffer 

Cinemark brings the same level 

of dedication to a quality moviegoing experience 

in its Mexican theatres as is evidenced 

in the United States— friendly 

service, 

a clean and comfortable environment, 

colorfiil decor and state-ot-tiie-art 

technology. Also included in die Mexican 

theatres will be amenities like covered parking 

and handicapped access, non-standard 

features in most other moviehouses in Latin 

America. "When you come into the auditorium 

of the Cinemark 12 in Mexico City, 

you will not be able to know ffiat you are in 

Me-xico City. We are trying to repliaite the 

experience filnigoer's have in United States." 

That experience includes top-ot-the-line 

ptx)jection and sound equipment, all customized 

to Cinemark's specifications. "Most 

of our fixed cost is in U.S. dollars because 

the best equipment comes from the U.S.," 

Feffer says. 

The massive two-lr\cl CciUro t'ultural 

Cini^rnark complex, designed by Mexican 

architect Sordo Madaleno, contains 12 

screens {"siilas"), each named affer a legiiul.uy 

Mexic an movie star Of the ]'lsaliis, 

46 BOXOFFICK

ti\'e are equipped with DTS digital sound. 

.Also featured is a gallery of Mexican movie 

memorabilia and a coffee bar ("El Cafecito") 

where customers can enjoy an array of 

international coffee and pastries. "Coffee 

bars are the rage right now in the United 

States; obviously we feel like there is an 

appeal in Mexico as well. It gives patrons 

something to do before or after the movie, 

a place for 

them to talk 

about the 

notes 

film," 

Feffer. 

Additionally, 

concession 

stands are located 

on botli 

floors 

of the 

theatre. 

One of the 

hallmarks of 

Cinemark's 

business has 

always been 

discount 

Ernesto Zedillo, president of Mexico; his wife; Lee Roy 

all of Cinemark's discount theatres are 

equipped with the same top-of-the-line 

equipment and well-designed interiors as 

the first-run houses. At the Centro Culmral 

Cinemark 12, the company will strive to 

price tickets at a level affordable to tlie 

Mexican customers: 15 pesos (around 

$3.00) and 10 pesos (around $2.00) for matinees. 

Cinemark plans to run popular American 

films in its Centro Cultural Cinemark 12 

theater, as well as films made in Latin America 

and oflier countries tliroughout the 

world. "The mix on any given day might be 

eight films fi-om Hollywood and four films 

from international markets, be it Mexico, 

Russia, China. Typically, all films will be 

subtitled into Spanish, although if it's a 

children's movie it may be dubbed. We have 

a goal to increase the awareness of the good 

Mexican films that are being produced. 

Mexico City used to be the home of a lot of 

serious film production, but that kind of 

went by the wayside. Now, tiiere's been a 

resurgence and tlie government is really 

helping to support good filmmaking. We 

have an agreement with the Institute 

Mexicano de Cinematografia to help exliibit 

Mexican-made films. They realize that 

Cinemark is serious about playing good 

movies, so if they produce good movies, we 

will play them. The consumers are out 

there and they want to see new Mexican 

films. Hopefiilly, this tlieatre will act as a 

catalyst for other theatres here to play more 

Mexican films," says Feffer 

On May 5, 1995 (Cinco de Mayo), Cinemark 

celebrated the grand opening of the 

Centro Cultural Cinemark 1 2 in Mexico City 

with a ribbon-cutting ceremony attended by 

Mexican President Ernesto Zedillo and his 

wife. "Their appearance shows tlie high 

level of government commitinent to this 

venture," says Feffer The 

grand opening capped off a 

week of events, including 

promotional screenings and 

giveaways. Inaugural films 

exhibited included eight Hollywood 

movies ("Little 

Women," "Kiss of Death," 

"Outbreak," "Ready Tb Wear," 

"Just 

Cause," 

"Mother's 

Boys," "Street 

Fighter" and 

"Star TVek Generations"), 

three Mexican 

films and one 

film from Russia. 

the 

However, 

grand opening 

on the 

5th was disrupted 

by a 

protest from 

Mitchell, CEO of Cinemark; and Ken Higgins. president 

of Cinemark de Mexico were in attendance at the Cinco 

de Mayo opening of the Centro Cultural 12. Mexico's principal 

cinema 

pricing, without 

sacrificing service. In the United States, workers union. Union of 

Cinema Industry Workers 

(STIC), who blockaded the 

Cinemark venue, accusing 

the company of ignoring its 

right to represent all cinema 

workers. Cinemark de Mexico 

employs workers 

through another union, the 

Justo Sierra Progressive 

Union (SPJS). Similar labor 

protests interrupted other 

Cinemark openings in Mexico 

this year The actions reflect 

the militancy of 

Mexico's older labor unions, 

and point to some of the inherent 

difficulties for American 

businesses attempting 

to do business soutli of tlie 

border Add to that Mexico's 

economic crisis and peso devaluation, 

which has adversely 

affected company 

income, and it's clear fliat 

smoothly navigating the 

business waters of the Latin 

market can be a challenge. 

Nevertheless, Cinemark 

remains optimistic and 

plans to open theatres in a 

number of other cities in 

Mexico in 1995. Ritiire sites 

include Irapuato, Reynosa, 

Acapulco, Juarez and 

Queretaro. The company 

also has opened a theatre in 

Santiago, Chile, and plans to 

open five more in that country 

by year's end. 

"Our mission statement is 

to be the leading global 

movie exhibitor," concludes 

Feffer. 

_ 

Vital Statistics 

CINEMARK USA INC. 

7502 Greenville Avenue, Suite 800 

Dallas, Texas 75231 

Execurive Roster: 

Lee Roy Mitchell, founder and CEO 

Alan W. Stock, president and COO 

Tkndy Mitchell, director and ejcecutive 

vice president 

Jeffrey Stedman, \'ice president and 

CFO 

Founded: 1984 

Screen Count: 1,246 (USA: 1,174; 

Mexico: 54; Canada: 12; Chile: 6) 

Locations: 166 (USA: 159; Mexico: 5; 

Canada: 1; Chile: 1) 

Tbtal Number of Theatre Employees: 

5,500 

CENTRO CULTURAL 

CINEMARK 12 

Mexico City, Mexico 

Number of Auditoriums/Screens: 1 

Seating Capacities - Tbtal for Site: 2,380 

Architect: Sordo Madaleno 

BOOTH/PROJECTION EQUIPMENT 

Projectors: Stiong International 

Platters: Speco Systems 

Lamphouses: Cinema FUni Systems 

Lenses: Schneider Corporation 

Consoles: Cinema Film Systems 

SOLIND EQUIPMENT 

Speakers, Screen: JBL 

Speakers, Surround: Feavey Electronics 

Amplifiers: Peavey Electronics 

DTS Digital Systems: 5 

Sound Processors: Llltra Stereo JSX 1000 

Hearing Impaired Systems: Ultra Stereo 

Screens; Hurley 

Seats: Invin Seating 

Armrest Cupholders: Cy Young 

Aisle Lighting: Tfempo Lighting 

Seat and Draperj' Installer: Cinema Services 

Poster Cases: Shultz 

Marquee: Advanced Signing 

Candy Cases: Bass Industries, Inc. 

Drink Machines: Lancer Corp. 

Popcorn Poppers: C. Cretors 

Coffee Bar: 1 

July, 1995 47

Special Sound Report: 

THE SCIENCE OF 

DIGITAL SUBWOOFERS 

By John Allen 

With 

the increased system demands—and audience 

expectations— tliat such sound dei'clopnients 

as digital sound have brought, theatre 

ownei's want to make sure their patroits receive the 

best sonic bangs for their bucks. In this piece, John 

Alien addresses the science of subwoofers to help 

exhibitors achieve tltat goal. 

Ever since subwoofers began being 

used in modern theatre sound systems, 

the questions of required amplifier 

input power as well as acoustic output 

power have been discussed and often misunderstood. 

The amplifier power required 

for any loudspeaker depends simply on 

how loud one wants it to play at some 

distance, and on the sensitivity of the 

speaker itself Sensitivity is a measure of a 

speaker's loudness witli, typically, a onewatt 

input. The louder you wish a speaker 

to play or the greater the distance you wash 

to hear the desired level, 

the greater the 

amplifier and acoustic power you will need. 

As a loudspeaker's sensitivity is increased, 

the less amplifier power it requires for any 

given output level. Tliese issues are, by 

themselves, fairly flmdamental. 

The peak program sound levels required of 

the speakers in a motion picture sound system 

are now fairly well established. For digital 

systems, these are 105 dB Sound Pressure 

Level (SPL) for each channel as measured in 

the renter of the tlneatre. For tliese puiposes, 

the surrounds are rx)nsidered as a total gi'oup. 

In other words, the individual left and right 

grotips in a stereo surround system are each 

required to deliver lialf (-3 dB) of the total 

surround i»wer, or l()2dBSPL. Recent guidelines 

published by Dolby Laboratories call for 

a subwoofer peak If^vel of 11.S dB SPL. I have 

personally measured peaks of this lev(;l and 

great(;r in several digittil soundtracks. 

It's impottant to understand tliat the peak 

levels are one thing— and tlie average levels 

are quite another We would never listen to 

continuous levels as high as 100 dB, let alone 

115 dB. Average levels are considerably 

lower For instance, the average dialogue 

level is recorded around 80 dB, with peaks 

around 85 dB. However, short duration 

peaks of 115 to 120 dB SPL are perfectly 

A prudent sound 

system designer 

would never design 

a system with 

the exact power 

needed to deliver 

the peak levels. 

acceptable in normal music and sound, particularly 

in the bass region. It takes these 

levels to "feel it." Without such peaks, there 

would be no sui h thing ,is dynamic range'. 

POWER BASICS 

A prudent sound sj'stem designer wotild 

never design a system with the exact power 

needed to deliver the peak levels. Operating 

amplifiers above their maximum or 

"clipping" levels causes gross distortion, 

speaker destruction and reduced amplifier 

life. An additional safet\' margin, or headroom, 

of some amount is required to prevent 

any of tliis fi'om happening. Because 

motion picture recordings and tlieir peak 

levels are reasonably standardized, a safety 

margin of as little as 6 to 8 dB would seem 

adequate. This might not represent a large 

difference in level but, because evePi' increase 

of 3 dB represents a doubling, 6 dB 

is four times die power This can get very 

expensive. Adding such a safety margin to 

the 105 dB program peak levels yields a 

design specification of 111 to 113dBSPLper 

channel. 

As mentioned above, the amount of amplifier 

power needed to do this depends on 

the size of the theati'c and the sensitix'ity of 

the loutispeakere. Consider two theatres: 

One is 80 teet long, the otliei' is 100 feet long. 

If each is using a modern two-way screen 

speaker, the power required to reach 111 dB 

in the middle of tlie 80-foot tlieatie is 1 ,871 

watts, and the 100-foot tlieatre would require 

2,924 watts. This assiunes a onewatt 

'one-meter speaker S(Misiti\it\' ot 100 

dB SPL, whic h is t\iiir,il tor these systems. 

48 BOXOFFICK

( 

.Although only 25 percent longer, the 100- 

toot theatre needs more than 50 percent 

more power due to the fact that sound levels 

decrease with the square of tire distance, 

according to the inverse square law.) Such 

power is usually obtained with the use of 

multiple low-frequency cabinets and two or 

three amplifiers per speaker wired for biamplification. 

If one chooses to install the 

more efficient three-way or four-way screen 

speakers, the amplifier power required becomes 

250 watts for the 80-foot theatre and 

390 watts for the 1 00-foot theatre. This lower 

power requirement assumes a greater onewatt/one-meter 

speaker sensitivity of 109 

dB SPL, which is typical of these more efficient 

systems. This relatively small power 

requirement will not require bi-amplification, 

provided each of the speaker's sections 

has the same high sensitivity and the crossover 

network is well designed. 

SUBWOOFER SENSITIVITY 

Subwoofers can be the least sensitive of 

screen speakers. One-watt/one-meter sensitivities 

of 95 dB SPL are encountered. This 

sensitivity is comparable to that of a small 

home hi-fi speaker, yet these subwoofers 

must deliver low-frequency peaks of 115 dB 

SPL in a room the size of a theatre. Adding 

a 6 dB or so safety margin for die subwoofer 

channel provides exacdy the same 

sound quality and reliability benefits as 

wifli any other speaker This totals a minimum 

design requirement of 121 dB SPL 

in the center of the room for the subwoofer 

channel. 

Assuming a speaker sensitivity of 95 

dB, calculating the amplifier power required 

for one subwoofer to deliver 1 21 

dB SPL in the middle of an 80-foot theatre 

yields a need for 59,177 watts. The 

100-foot theatre will need more than 

92,463 watts. As a comparison, high-efficiency 

woofers widi a sensitivity of 109 

dB will reduce the amplifier power requirement 

to "just" 2,512 watts in an 

80-foot theatre and 3,925 in a 

100-foot 

theatre. These impossible power needs are 

the reasons multiple subwoofers are required 

in movie theatres. 

SELF PROTECTION 

Many subwoofers, whether intended for 

the professional or consumer market, are 

available in a self-powered package. For tlie 

less efficient direct radiator type subwoofer 

designs, this approach offers many advantages. 

As shown above, subwoofers can be 

voracious power eaters. Without some protective 

means, these speakers would self 

destiTict very quickly. Manufacturers have 

built in various schemes to protect tiiese 

subwoofers such as increased sensitivity, 

signal limiting, current limiting and peak 

excursion limiting. 

Excursion limiting prevents the 

speaker cones firom being forced out of 

their frames by high-level low frequencies. 

This problem is made more acute by 

the fact that, in orderto maintain a constant 

output level, a loudspeaker cone must 

move a four-times greater distance, as the 

frequency it's asked to reproduce is cut in 

half One self-protection approach hasbeen 

to literally "turn down the bass" as levels 

increase. The louder the bass gets in these 

systems, the more the lowest frequencies 

are reduced. In other words, such selfpowered 

devices should not be able to 

hurt themselves, even though failures do 

occur This also means they can deliver 

only so much output and that's it. Even as 

more signal is applied, like an engine with 

a governor they just stay at their maximum. 

Because bass is the name of the 

game and because delivering deep bass 

reqinres very high sound pressure levels, 

turning down the bass as we approach 

these very levels is the last thing we need. 

HOW MANY SUBWOOFERS 

ARE REQUIRED? 

Obviously, one must install enough subwoofers 

so that limiting and bass reduction 

are minimized or, even better, eliminated 

altogether Only a system of multiple subwoofers 

that never limits can accurately and 

flilly reproduce tlie levels that are recorded 

One must install 

enough subwoofers so 

that limiting and bass 

reduction are minimized 

or, even better, 

eliminated altogether. 

on digital soundtracks, lb detemiine flie 

number of self-powered tv^pe subwoofers a 

theatre needs, one must find the maxiinum 

output capability in the speaker's specification 

sheet. If it says 130 dB at one meter, for 

example, we can use the inverse square law 

to determiiie what that level would be reduced 

to in the center of a theatre. For each 

doubling of distance, the sound pressure 

level drops 6 dB. Recalling our 80-foot tiieatre, 

130 dB at one meter calculates to 108.28 

dB SPL at the room's center, 40 feet from tlie 

source. Because we need 115 dB to play the 

soundtracks and would like to have 121 dB 

total capability, a maximum output of 

108.28 is 12.72 "dB too low. 

Fortunately, at low frequencies we benefit 

from a phenomenon known as mutual 

coupling. Placing two woofers close enough 

together increases their combined sensitivity 

by 3 dB. Wlien the additional amplifier 

included in the second woofer is factored in. 

tiiat means the total power has doubled as 

well. This power doubling provides another 

3 dB for a total of6 dB—four times the power 

from two times the subwoofers. It's a case 

where 1 -i- 1 = 4. So each time one doubles 

the number of subwoofers and their amplifiers, 

one gains 6 dB of output. 

If tire 80-foot theatre requires 12.72 dB 

more than what is available from one unit, 

we simply double the number of subwoofers 

twice to get 1 2 dB. Therefore, a total 

of four subwoofers with an individual output 

maximum of 1 30 dB SPL are required to 

deliver about 1 21 dB SPL in the middle of an 

80-foot theatre. A 100-foot theatre would 

require six such subwoofers. Reducing 

these quantities by half or 6 dB, theoretically 

still provides the 115 dB peak program 

level required. But such systems will be self 

limiting when they are asked to work so 

hard and could be prone to failure. The 

sound quality will suffer as well, of course, 

and the audience will be deprived ofthe full 

experience of the film. 

Even a couple of decibels can mean a lot. 

If the self-powered subwoofer's maximum 

output was reduced only 2 dB to 1 28 dB SPL, 

an 80-foot theatre would need six such units. 

The 100-foot theatre would require seven. 

Because non-powered woofers require 

outboard power, we generally use the biggest 

reliable amplifiers we can get. If, for 

example, we have an 1 ,800-watt amplifier 

and a subwoofer wifli a sensitivity of 95 

dB, crunching the numbers gives us the 

following: Our 80-foot theatre will need 

six of these combinations, and the 100- 

foot theatre will need eight. (It is also 

recommended that each subwoofer or 

dedicated subwoofer amplifier in a motion 

picture theatre sound system should 

have its own single-outlet AC circuit.) 

Increasing speaker efficiency significantly 

reduces the hardware needed. 

As an example, when using a woofer 

with an 109 dB SPL sensitivity, the 80- 

feet theatre would need two woofers 

and one 600-watt stereo amplifier to 

deliver 121 dB SPL in the middle of the 

theatre. The 100-foot theatre would still 

need two woofers with a power requirement 

oftwo 1,000-wattamplifiers. 

In the proper quantities, all the self-powered, 

non-powered and high-efficiency subwoofer 

approaches can deliver the same 

peak levels, altliough there are some substantial 

cost differences. In addition, there 

are space, weight and AC power considerations. 

All these factors must be taken into 

account when designing a theatre sound 

system. One factor remains constant: Without 

sufficient acoustic power output and the 

add'tional headroom required for reliability 

and an easier workload, motion picture subwoofer 

performance will tail to deliver tire 

quality, quantity, punch and emotional impact 

the soundtracks contain. 

Copyright 1995 John F Allen. AU Rights 

Resented. 

July, 1995 49

CINEMA EXPO INTERNATIONAL '95 

RAI INTERNATIONAL EXHIBITION AND CONGRESS CENTRE 

AMSTERDAM, THE NETHERLANDS • JUNE 26-29, 1995 

SCHEDULE OF EVENTS 

Jim ii^^maa 

MONDAY, JUNE 26 

WEDNESDAY, JUNE 28 

5:00 p.m.- 

7:00 p.m.* 

Screening: United Intl. Picture.s 

Auditorium* 

8:00 a.m.- Convention/Trade Show Registration 

6:00 p.m. 

Registration Area 

7:00 p.m.- 

9:00 p.m. 

Opening Night Welcome Party 

and Buffet Dinner: EDI 

Hall #2 

8:45 a.m.- Continental Breakfast: 

9:30 a.m. Warner Bros. Intl. Theatres 

Hospitality Lounge 

9:30 p.m.- 

11:30 p.m. 

Screening: United Intl. Pictures 

Auditorium 

9:45 a.m.- Screening: Warner Bros. Intl.'s 

12:30 p.m. "Batman Forever" 

Auditonum 

TUESDAY, JUNE 27 

12:30 p.m.- Trade Show. With Luncheon: 

4:00 p.m. Warner Bros. Intl. 

Hall #10 

8:00 a.m.- 

6:00 p.m. 

Convention/Trade Show Registration 

Registration Area 

4:00 p.m.- Screening: Buena Vista Intl.'s 

6:00 p.m. "Crimson Tide" 

Auditorium 

8:15 a.m.- 

9:00 a.m. 

Continental Breakfast: 

United Cinemas Intl. 

Hospitality Lounge 

6:30 p.m.- Screening: Buena Vista 

8:30 p.m. Intl.'s "Pocahontas" 

Auditorium 

8:45 a.m.- 

10:00 a.m. 

10:30 a.m.- 

1 :00 p.m. 

1:00 p.m.- 

2:30 p.m. 

2:30 p.m.- 

6:00 p.m. 

5:30 p.m.- 

7:00 p.m. 

7:30 p.m.- 

9:30 p.m. 

10:00 p.m.- 

12 midnight 

Lucasfilm Theatre Alignment Program/lOOth 

Anniversary of Cinema 

Presentations by Executives of THX, 

SF Bio and Regal Cinemas 

Screening: Columbia TriStar 

Intl.'s "Johnny Mnemonic" 

Opening Luncheon: 

Columbia TriStar Intl. 

Trade Show, With Reception: Sony 

Cinema Products/Hollywood Express 

Screening 

Opening Dinner: 

20th Century Fox Intl. 

Screening: 20th Century Fox 

Intl.'s "Nine Months" 

Auditorium 

Auditorium 

Hall #2 

Hall #10 

Auditorium 

Hall #2 

Auditorium 

9:00 p.m.- Gala Dinner/Partv: Buena Vista Intl. To Be Announced 

11:15 p.m. 

THURSDAY, JUNE 29 

8:00 a.m.- Convention/Trade Show Registration Registration .Area 

6:00 p.m. 

8:30 a.m.- 

9:30 a.m. 

8:30 a.m.- 

11:30 a.m. 

Continental Breakfast 

Trade Show 

Hall #10 

Hall #10 

11:00 a.m.- Concessions Seminar 

Auditorium 

12:30 p.m. 

1:00 p.m.- Luncheon: United Intl. Pictures Hall #2 

2:30 p.m. 

3:00 p.m.- Screening: United lull. Pictures Auditonum 

5:00 p.m. 

* All times are local Amsterdam. 

** All locations are in the RAI complex unless specifled. 

5:30 p.m.- 

6:45 p.m. 

Distribution Seminar with Executives 

troin Columbia TriStar Intl., Buena 

Vista Intl., 20th Century Fox lull, ,uid 

Miramax Intl. 

.Auditorium 

8:00 p.m. 

9:0(1 p.m. 

Champagne Reception: Hall #2 

luistnian Kodak 

9:0(1 p.m. 

Closing Night Banquet, Awards Pre- Hall #2 

sentations and Late Night Dessert 

Parly/Disco: Coca-Cola Intl. 

50 BOXOIFICF,

CINEMA EXP0 1995 TRADE SHOW BOOTH LIST 

ACV AUDIO /241 

Voltastrabe 14 

63225 Langen, Ger. 

Phone:496-1037-4084 

Fax:496-1037-4088 

Rep: Klaus Gather 

Theatre Equipment 

ARTIC NV / 138 

1 G Huysplein 

1651 Lot. Beersel. Bel. 

Phone:322-356-090 

Fax:322-378-3306 

Rep: Luc Michiels 

AUDIOLAB/262 

Schepenveld 9 

3891 ZKZeewolde. Neth 

Phone:313-242-4712 

Fax:313-242-4710 

Rep:S.H. DeVisser 

BCW SYSTEMS / 242 

13130 Yukon Ave. 

Hawthorne. CA 9O230 U.S. 

Phone:310-973-8090 

Fax:310-676-6713 

Rep: Barbara Wachner 

Sound Systems 

BILDS7EII40210Dusseldoif, Ger. 

Phone:492-1136-5791 

Fax:492-1116-1705 

Rep: Thomas Hillmer 

Boxoffice Systems 

CTJEMA GROUP/255,258 

208 Rutherford Dr. 

Danville CA. 94526 U.S. 

Phone:510-820-4350 

Fax:510-838-5655 

Rep: Clyde McKinney 

CINEMECCANICA 

Spa /1 52, 153, 156 

Viale Campania 23 

20133 Milan. Italy 

Phone:392-718-941 

Fax:392-7010-0470 

Rep: Victor Nicelli 

Projection/Sound Tech. 

DECATRON/21 7-220 

Kampioenschapslaan 1 

1020 Brussels. Belgium 

Phone:322-478-3197 

Fax:322-478-3385 

Rep: Luc Van de Casseye 

Construction/Installs 

DELTA UGHT/173,175 

Industneneg 72 

B-8800 Roesecare. Bet. 

Phone:325-122-5775 

Fax:325-121-0983 

Rep: Paul Ameloot 

Lighting/Displays/Stands 

DESTRO/1 40,1 43-1 44 

Via Marco Polo 1 

35020 Albignasego. Italy 

Phone:394-9880-5299 

Fax:394-9880-5384 

Rep: Dino Chiarotto 

Seating 

DIGITAL THEATRE 

SYSTEMSn86-7. 

190-1. 222-3. 226-7 

31336 Via Colinas. 101 

Westlake Village. CA. 

91632 U.S. 

Phone:818-706-3525 

Fax:818-706-1868 

Rep: Stacey Williamson 

Digital Sound Systems 

DINAC BENELUX/ 

121.123 

Afrikalaan20 

3000 Gent. Belgium 

Phone:329-225-4005 

Fax:329-223-0413 

Rep: Jean-Francois Minta 

DOLBY LABS/163,166 

Interface Park 

Hooton Bassett SN4 

80J Wiltshire. U. K. 

Ph: 4417-9384-2100 

Fax:4417-9384-2101 

Rep: Peter Seagger 

Dig. /Analog Processors 

DRUKKERIJ 

STROBBE/263 

Kasteelstraat 1 

B-8870 Izegem. Bel. 

Phone:325-133-3211 

Fax:325-131-3542 

Rep: Laurens Strobbe Sr 

Ticketing/Paper Prod. 

DUWARE/135 

Willemsparkweg 6G 

Amsterdam 1071 GS. 

The Netherlands 

Phone:312-0664-4088 

Fax:312-0664-4084 

Rep: H.M. Dubach 

EPRAD/129 

2541 Tracy Rd. 

NortiwoodOH 43619 US 

Phone:419-666-3266 

Fax:419-666-6534 

Rep: Tom Lewandowski 

EURO SEATING/125-6 

Poligono Industrial 

26280 Ezcaray La 

Rioja. Spain 

Phone:344-135-4054 

Fax:344-135-4523 

Rep: Juan Carlos Ubeda 

EZCARAY/ 281,284 

Ctra. Sto. Domingo 

26280 La Rioja. Spam 

Phone:344-135-4054 

Fax:344-135-4523 

Rep: Marta Gomez Lusa 

FIBROCIT/236-7. 240 

Postbus 71346 

1008 BH Amsterdam 

Phone:020-646-3397 

Fax:325-622-7792 

Rep: H. Jurnssen 

FIGUERAS SEATING/ 

253.256-7,266-7.270 

Km 7700 

08186 LlicadeMunt. 

Barcelona. Spain 

Phone:343-841-4119 

Fax:343-8414-4017 

Rep: N. Puigdonenech 

Seating 

FILMSTAR/ICON 

SOFTWARE/259-60 

ICON House. 376-378 

Chiswick High Rd. 

W4 5TF London. UK. 

Phone:441-817-4287 

Rep: Scarlett Roitman 

FRONT-LINE/ 172 

Keizerstraat 18B 

2800 Mechelen. Bel. 

Phone:321-521-1254 

Fax:321-529-0040 

Rep: Eric Caroen 

Shons/3-D/Showscan 

GHIGNY S.AJ248-9 

Av. Vesale 13 

B-1300Wavre.Bel. 

Phone:321-024-3500 

Fax:321-024-3600 

Rep: P. Chevalier 

COLD MEDAU1 60-1 

2001 DaltonAve. 

Cinannat OH 45214 US. 

Phone:513-381-1313 

Fax:513-381-1570 

Rep: Roger Frazier 

Concession Equipment 

GRADUS UGHTING/ITI 

Georgian Mill Paik Green 

SKI 17NE Macclesfield 

Cheshire. U.K. 

Phone:446-2542-8922 

Fax:446-2561-9337 

Rep: Helen Clark 

HAAGEN-DAZS/1 10, 1 12 

HeriotRd.. KT16 9DT 

Chertsey Surrey. U. K. 

Ph: 441 9-3257-0011 

Fax:4419-3257-0655 

Rep: Russ Bryan 

Frozen Desserts 

HANSON MKTG./277 

45 Samor Rd 

M6A IJ2 Toronto. 

Ontario. Canada 

Phone:416-784-9399 

Fax:416-784-9407 

Rep: Bill Reilly 

HARKNESS HALU169 

Station Rd. Borefiam Wood 

WD6 1DO Herts. U.K. 

Phone:448-1953-3611 

Fax:448-1207-3657 

Rep: Eddie Daniels 

Screens 

HIGH PERFORMANCE 

STEREO/ 214 

64 Bowen St. 

Newton MA 02159 U.S. 

Phone:617-244-1737 

Fax:617-244-4390 

Rep: John Allen 

Sound Systems/Installs 

HOLLYWOOD EXPRESS 

/ 10&8. 150-1. 154 

PC lOOLongridgeRd. 

Ribbleton. PR2 5DA 

Preston, Lancaster. U.K. 

Ph: 441 7-7283-0830 

Fax:4417-7283-1831 

Rep: Brian Hobbs 

Concession Products 

HLWD. REPORTER/235 

5055 Wilshire Blvd. 

LA. CA 90036 U.S. 

Phone:213-525-2372 

Rep: Sonya Tavitian 

Trade Newspaper 

ISCO-OPTIC/105 

An der Lutter 22 

37075 Gottingen. Ger 

Phone:49-50-583 

Fax:4955-1505-8410 

Rep: Nanna Lindstedt 

Projection Lenses 

JACK ROE (CS) LTD. 

7102,104,155,157 

Roe House. Netherwood 

Hereford. U.K. 

Phone:444-3235-2473 

Fax:444-3235-2448 

Rep: Sandie Caffelle 

Projection Equipment 

JBL PROFESSIONMJ264 

8500 Balboa Blvd. 

hloUhndge CA 91329 U.S. 

Phone:818-893-8411 

Fax:818-787-0788 

Rep: Marc Spector 

Loudspeaker Systems 

JUST SWEETS/ 228 

New Lane. P092NO 

Havant Hants. U.K. 

Ph: 4417-0547-0586 

Fax:4417-0548-0134 

Rep: Stuart Johnston 

KINOTON/141-2, 167, 170 

Industrieslrasse 20a 

82110 Germenng. Ger. 

Phone:498-984-5064 

Fax:498-984-02002 

Rep: Renate Zoller 

Projection/Sound Tech. 

KINTEK INC. / 290 

P.O. Box 9143 

Waltham MA 02254 U.S. 

Phone:617-894-6111 

Fax:617-647-4235 

Rep: Sarah Fuller 

LINO SONEGO S 

SRL/221.224 

Via Reset 51 

31010 Pianzano. Italy 

Phone:394-3843-0026 

Fax:394-3843-0287 

Rep: Giorgio Bozzao 

Seating 

LUCASFILMfTHX/210 

P. a Box 2009 

San Rafael CA 94912 US 

Phone:415-662-1900 

Fax:415-662-2186 

Rep: Monica Dashwood 

Sound Ucensing Piogram 

MARK IV AUDIO/ 

134. 137. 174, 176 

Keltanstrasse 5 

2963 Ipsach. Switz. 

Phone:413-251-6833 

Fax:413-251-1221 

Rep: Darina Zitkova 

MARS/ 244, 280 

Pattonweg 1 

5466 AG Veghel. Neth. 

Phone:314-1308-3340 

Fax:314-1304-0229 

Rep: Dick Kok 

Candy And Ice Cream 

M. NUR MKTG. 

COMM. /131-2 

Gottschack Str 38 

84127 Kassel. Ger 

Phone:495-6198-3355 

Fax:495-6198-33514 

Rep: Mr Lazar 

MODULAR LIGHTING 

/109. 111. 113 

Rumnbeeksesteenweg 

258-260 

8800 Roeselare. Bel. 

Phone:325-122-6856 

Fax:325-122-8004 

Rep: Paul Rommens 

M-SERVICEAND 

GERATE/127 

P.O. Box 45 00 51 

D-53344 Alfter. Ger 

Phone:492-2226-2105 

Fax:492-2226-5974 

Rep: Peter Muller 

Film Cleaners 

NAC/20S 

621 S. Flares 

San Antonio. TX 

78204. U.S. 

Phone:210-222-1415 

Fax:210-227-0907 

Rep: Frank Libeno 

I 

NEUMADE/ 115, 

117, 119. 145-6 

10 Saddle Rd. 

Cedar Knolls. NJ 

07927. US 

Phone:201-267-8200 

Fax:201-267-4903 

Rep: Mark Smith 

NISSIN OPTICAU251 

1-31 Shinkitajima 

7-chome 

Suminoeku. Osaka. Japan 

Phone:816-685-3131 

Rep: Maki Saito 

OCTAOONHANDE^14 

Riesserkopfstrabe 4 

82467 Garmisch- 

Partenkirchen. Ger. 

Ph: 4908-82 17-8707 

Fax:4999-2194-0044 

Rep: Georg Wettlaufer 

Food Ma&iines/lngreds. 

OPTICAL 

RADIATION / 226 

1300 Optical Drive 

Azusa. CA 91702. U.S. 

Phone:818-969-3344 

Fax:818-969-2260 

Rep: Jack Johnston 

Xenon Bulbs 

PACER CATS/246-7 

Vork House. Empire Way 

HA9 ORG Wembley, 

Middlesex. U.K. 

Phone:4481-900-0697 

Fax:4481-902-9943 

Rep: Carrie Twist 

PIKE PRODS. /252 

1 1 Clarke St. 

Newpon Rl 02840 U.S. 

Phone:401-846-8890 

Fax:401-847-0070 

Rep: James Pike 

POPCORN USA/149 

Hooghienstraplein 89 

3514 BC Utrecht. Neth. 

Phone:131-3076-9126 

Fax:131-3072-0903 

Rep: Paul Da Silva 

PROCTOR COSJ213 

10497 Centennial Rd. 

Littleton CO 80127 U.S. 

Phone:303-973-8989 

Fax:303-973-8884 

Rep: Bruce Proctor 

PROTRONICAG/197 

Burklinstra. 16a 

4127 Birsfelden. Switz. 

Phone:416-1311-1079 

Fax:416-1311-1066 

Rep: Patrik Engler 

Film/Audio Systems 

OSC AUDIO/ 103 

1 675 McArthur Blvd. 

Costa Mesa CA 9262B US 

Phone:714-957-7127 

Fax:714-754-6174 

Rep: Tiffany Walker 

aUINErTEGALLAY/201-4 

15 Rue De La Nouvelle 

93108 McntreulCedex. Fr. 

July, 1995 51

CINEMA EXPO BOOTH LIST 

They 

expect 

more than 

They can see movies at home. In your theater 

they expect a larger-than-life experience. And 

that's what the popular Kodak seminar, Film 

from Start to Finish, can help you deliver. 

Film from Start to Finish is more than a 

and end up in your theater. We discuss 

solutions for the projection problems you 

face every day. And we give you a glimpse of 

tomorrow's technologies and their application 

to today's entertainment experience. 

To give your audiences more than they 

expect, call Terri Smith Westhafer at Kodak in 

Hollywood: (213) 464-6131, and schedule 

Film from Start to Finish soon, at a theater 

near you. 

Motion Picture & 

Television Imaging 

Phone:331-4287-4980 

Fax:331-4858-2286 

Rep: Valene Caucheteux 

RAYTHEON 

ANSCHUTZ/278 

Postfach 1166 

D-24 100 Kiel. Germany 

Ph:4943-1301-9250 

Fax:4943-1301-9604 

Rep: Jurgen Rasmus 

RICOS PRODS./ 206 

621 South Flores 

San Antonio TX 78204 US 

Phone:210-222-1415 

Fax:210-226-6453 

Rep: Anita Largen 

Foods/Paper Products 

training program in projection and film handling; 

it's an adventure through the motion 

picture industry. We start behind the camera— 

ROELANTS- 

SCHIEDAM/100-1 

Postbus 42 

3100 AA Schiedam. Nelh. 

Phone:311-0426-0260 

Fax:311-0427-0572 

Rep: J. Schilperoort 

&AUNILB/ER/122.124 

Tiberdreet 4 

3561 GG Utrecht. Neth. 

Phone:313-063-5522 

Fax:313-0635-5609 

Rep: Roland Weening 

SCHNEIDER- 

KREUZNA/ 207 

Ringst. 132. D 55543 

Bad Kreuznach. Ger. 

Phone:496-7160-1280 

Fax:496-7160-1108 

Rep: Bruno Molitor 

SCREEN INTL. I 275 

33-39 Bowling Green 

EC1 ODA London UK. 

Rep: Anne-Mane Flynn 

Trade Newspaper 

SEATING 

CONCEPTS/ 162 

4901 -600 Morena #600 

San Diego CA 921 17 US 

Phone:619-581-5715 

Fax:619-581-5725 

Rep: Denise Dewyse 

SMART THEATRE 

SYSTEMS/ 168 

5945 Peachtree 

Corners E. 

Norcross GA 30071 US 

Phone:404-449-6698 

Fax:404-449-6728 

Rep: Norm Schneider 

Sound Systems 

SONIS S.A./250 

Z.A. de Courtabout- 

B.P. 103. 91943 Les 

Ulis Cedex, France 

Phone:331-6446-2373 

Fax:331-6446-7222 

Rep: Corinne Valery 

SONY CINEMA PRODS. 

/ 194-5. 211-2 

10202 W Washington 

Culver City CA 90232 US 

Phone:310-280-5777 

Fax:310-280-2024 

Rep: G. Richardson 

Digital Sound Systems 

STAGE ACCOMPANY 

271. 274 

Leddenng 

1627 LJ. Netherlands 

Phone:312-2901-1192 

Rep: Joseph Peters 

STEIN IND./189, 192 

22 Sprague Ave 

AmityvilleNY 11701 US 

Phone:516-789-2222 

Fax:516-789-8888 

Rep: Andrew Stem 

Concessions/Ticketing 

STRONG INTL. / 

164-5.193.196 

4350 McKinley St. 

Omaha NE 68112 U.S. 

Phone:402-453-4444 

Fax:402-453-7238 

Rep: John Wilmers 

Projection Equipment 

SUMINISTROS 

KELONIK/254 

Calle Badajoz 159 Bis 

08018Bawebna. Spain 

Phone:343-300-4361 

Fax:343-300-0315 

Rep: J.F. Ruana 

A mps/Loudspeakers 

SUNSHINE GROUP/128 

244 W. 49th Sr #200 

New YoiU NY 10019 US 

Phone:212-246-6460 

Fax:212-265-6428 

Rep: Jimmy Sunshine 

Trade Magazine/Expos 

TEA / 285 

WOPorteroAve. 

San Francisco. CA 

94103. U.S. 

Phone:415-558-0200 

Fax:415-863-1373 

Rep: Karen Lansdon 

TELEPHONETICS/261 

1 Cherrytree Farm 

Cherrytree Lane. WP3 

7HS. Hemel 

Hempstead Herts. U. K 

Phone: 444-4224-2242 

Fax:444-4224-2123 

Rep: Anthony tJIcKay 

Phone Message Systems 

TK ARCHITECTS/120 

106 W 1 1th St. 

Kansas City. MO 

64105 U.S. 

Phone 816-842-7552 

Fax:816-842-1302 

Rep: Sue Knapp 

Planning And Design 

ULTRA-STEREO 

LABS/ 243 

18730OxnardSt #208 

TarzanaCA91356US 

Phone:818-609-7405 

Fax 818-609-7408 

Rep: Jennifer Shutt 

Sound Equipment 

USHIO EUROPE/136. 139 

Bankeroshof 3 

1 183NPAmstBlêen. Neti. 

Phone:312-064-553 

Fax:312-064-362 

Rep: Frans Neve 

Projection Lamps 

VERONESEPAOLO CH- 

EMATOCRAPHY/233 

Via Montefior. No. 12 

20128 Milano. Italy 

Phone:392-259-1988 

Fax:392-2720-1704 

Rep: Paolo Veronese 

VOCEL POPCORN/208 

7450 Metro Blvd 

Edina. MN 55439. U.S. 

Phone:612-896-4328 

Fax:612-832-3468 

Rep: Don Gray 

Popcorn 

WARNER BROS. INTL. 

THEATRES/200 

7667CahillRd 

Minneapolis. MN 

55439. U.S- 

Phone:612-828-0030 

Fax:612-829-0166 

Rep: Phil Rafnson 

Multiplex Operator 

WEAVER POPCORN/200 

Box 395. ISO E Mam 

Van Buien IN 46991 US 

Phone:317-934-2101 

Fax:317-934-4052 

Rep: Jim Labas 

Popcorn 

XANTO SEARCH- 

LIGHTS/ 231-2 

KartuizerstraatSO 

8310 Beugge. Brussels 

Phone:322-478-1410 

Fax:322-478-7597 

Rep: F. Vaudenolorpe 

SEE YOU AT THE SHOW! 


52 BOXOKKICE

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Have you received your... 

1996 BUYERS DIRECTORY QUESTIONNAIRE? 

Dear Reader: 

If you haven't already received your 1996 Boxoffice Buyers Directory questionnaire 

by mail, please phone your request for a form to (21 3) 465-1 1 86, or 

fax your request to (213) 465-5049, Attn: Buyers Directory. 

Each September, we publish what we believe is the best buyers directory In 

the exhibition business, giving complete executive rosters, office addresses 

and contact phone numbers for film distributors, film subdistributors, dealers 

of equipment and supplies, and manufacturers and suppliers of equipment 

and services. The 1996 iteration will mark the 57th annual edition of the 

directory, so make sure you're a part of it! 

We are currently preparing the September issue, so call us now! 

July, 1995 53

CUSTOMER SERVICE 

SPOTLIGHT 

ON CUSTOMER SATISFACTION 

When 

television first reared its head 

back in die 1950s, the motion picture 

exhibitors of America undoubtedly 

quivered in dieir collective boots. 

This radical new form of entertainment was 

understandably viewed as a threat to the 

well-being of die feature film business. 

However, Ben Marcus, the founder of 

Marcus Theatres Corp. in Wisconsin, didn't 

panic. Instead, 

he decided to 

use television 

to his own advantage 

by becoming 

the 

first theatre 

owner in the 

United States 

to advertise 

through this 

newfangled 

medium. 

"Ben ran 

some television 

ads and by 

[the 

following] 

Monday morning 

it was just a 

phenomenal 

growth," re- 

By Jon Matsumoto 

wooden standees 

holding 

bowls containing 

free 

counts Bruce J. 

A Marcus Theatres employee protects patrons from the elements 

Olson, president 

hard candy 

of Marcus 

Theatres. "Instead of a $300 gross it was a 

$2,000 gross. The film company called up 

and mints. 

• Free concession samples given out betiveen 

the Fourtli ofJuly and Labor Day on 

and said, 'What in the world did you guys do Friday and Samrday evenings as guests 

out there?' They were absolutely amazed. 

Ben spent the next year traveling around 

enter the building. 

• Free projection booth tours during slow 

the country telling other exhibitors how to 

use television." 

Sixty-year-old Marcus Theatres has a 

well-earned reputation for being an intelligent 

innovator The company was one of 

the first theatre chains in the nation to otter 

chairs with cupholder arms, easy-to-clean 

tUe floors and wireless headsets for those 

with hearing deficiencies. 

Now the Milwaukee-based company 

(which has theatres in 37 locations in Wisconsin 

and Illinois) has implemented a program 

designed to increase customer 

satisfacdon by offering an array of additional 

services. Called Spoflight Sei-vices, 

this new campaign was created with tlie aitl 

of customer satisfaction surveys and test.s 

conducted by the company in recent years. 

periods. 

Spotlight Services amenities include; 

• Umbrellas 

for guests 

waiting 

in 

li o xo f f i c e 

lines in the 

rain. Ushers 

also escort 

guests to their 

cars with umbrellas. 

• Sweetheart 

Month 

specials in 

February and 

March. During 

these 

months theatres 

provide 

• Glow-in-the-dark S-S-1 1-H-1 1-l I! cards to 

get the message across to talkative guests. 

• Personalized welcomes fi-om auditoriuin 

greetei-s on Friday and Saturday evenings 

during select months, mostiy on adult 

attractions and long-awaited or special movies. 

The greeters open doors, hand out coupons 

to guests standing in line and inform 

guests when shows are sold out, 

offering 

alternative selections, if necessary. 

Tlie personalized greetings are onh' used 

in conjunction with specific types of movies 

and usually when they're being premiered. 

"Obviously, it's [a program that's] not going 

to work on a 'Wayne's World' crowd," says 

Olson. But this service has had a positive 

impact when paired with a more adult oriented 

film like "Forrest Gump." 

The greetings are simple but highly efifective 

ways of further personalizing the 

movie-going experience, says Olson. A 

manager or staff member briefly addresses 

the audience from the front of the auditorium 

prior to a special movie showing. Elxplains 

Olson, "He or she wall say, 'Good 

"We cannot control the quality of 

the product that's on our screen. 

But we can control the environment: 

how clean it is, how well appointed 

it is, and what kind of 

service [customers] get. 

— Bruce J. Olson, president, 

Marcus Theatres 

evening, ladies and gentlemen. I'd like to 

welcome you to the North Shore Cinema 

We're very happy you could join us for tliis 

special attraction, We hope you enjoy it. If 

you have any questions or problems, m\' 

name is Jack. Come and see me.' 

"People love it. They applaud it. It's finm\' 

— if the film goes down, which happ(!ns in 

the best of places, everybody goes'Jaaack!' 

Marcus Theatres' new program focuses on service with a smile 

54 BOXOKFICE

ecause they've had contact with this person 

who's been identified by name." 

One of the keys to maximizing the impact 

ofthe Spotlight Services program is to create 

an aura of surprise. That's one reason why 

Marcus Theatres doesn't publicize its program. 

"You want them to go 'Wow! Wasn't 

that nice,'" says Olson. "If you advertised, 

you'd get their expectations up." 

Marcus Theatre staff members might 

pass out coupons for free soft drinks on 

a hot day or perhaps small bags of 

popcorn to those waiting in a particularly 

long ticket line. If there are customers 

waiting outside to buy tickets 

and it begins to rain, umbrellas are lent 

to those lacking cover 

There are no formal tours of the 

projection booths, but if it's a slow afternoon 

and tliere are a few patrons 

milling around in the lobby waiting for 

a feature to start, an usher might spontaneously 

offer them a walk through 

the booth. "Most people haven't been 

in a projection booth and they find it 

fascinating, 

particularly the platters 

and the rest of the system," says 

Olson. 

For those many moviegoers who have 

been irritated by gabbing patrons, the "S-S- 

H-H-H-H!" cards may be the program's 

most alluring feature. Printed in glow-inthe-dark 

ink, these cards are given to offending 

customers by vigilant ushers. "People 

are so surprised by this card that it works," 

observes Olson. 

On a busy day, ushers with walkie-talkies 

maybe sent outside to check on the number 

of incoming cars or what movies people in 

line are intending to see. Sometimes the 

start of a film will be held up for a minute 

or two in order to accommodate patrons still 

in the ticket line. When a feature is sold out, 

ushers may help customers in line select 

another film. 

S-S-H-H-H-H ! 

QUIET, PLEASE. 

This glow-in-the-dark card silences noisy audience members. 

Olson says moviegoers in the '90s are far 

more demanding than they were 20 years 

ago. Tbday, people not only have the option 

of watching television but of viewing videotaped 

movies and playing video games. 

Therefore, the out-ot-home entertainment 

experience needs to be even more attractive 

for consumers, he believes. 

"I think we in the entertairunent industry 

owe it to people [to ensure] that fliey have a 

better time than they can have in their own 

house," remarks Olson. "We cannot control 

the quality of the product that's on our 

screen. But we can control the environment: 

how clean it is, how well appointed it 

is, and what kind of service [customers] get. 

Wlien they walk out, they may not have 

liked the movie but, gosh dam, they sure 

will have liked die facility and the 

customer service." 

Olson says surveys have shown 

that many Wisconsin movie patrons 

will go out of their way to see a film at 

a Marcus theatre because of the 

chain's reputation for good customer 

service. 

"I hope every theatre owner in 

America will do the things [Marcus 

Theatres has done] and come up with 

their own unique features," states 

Olson, who adds that Marcus Theatres 

also offer patrons suggestion 

cards and an 800 telephone number 

reserved for comments. "The '70s gave 

the entire industry a bad rap because 

tliere were a lot of theatres being buUt that 

were boxy, unattractive, narrow, dirty, and 

acoustically poor, with small screens and 

poor seats. That was a period of time that 

hurt moviegoing tremendously. Since the 

late '80s, there's been a trend toward better 

theatres. But there should always be good 

customer service." „,„ 

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July, 1995 55

Autumn '94A/Vinter '95 Blue Ribbon Poll Results 

DUMBSTRUCK 

Audiences get "Dumb," according to our survey, 

but respondents pick "Pulp" and exit "Eden" 

By Christine James 

Forrest Gump" topped the Spring/Summer 

'94 Blue Ribbon Popularity Poll; 

now "Dumb & Dumber" emerges victorious 

with 311 points. No wonder "I.Q." 

fizzled—dimwits are where it's at! The nobrainer 

"The Santa Clause" took second place 

in the Most Popular category with 288 points. 

Violence and gore were the hallmarks of the 

third and fourth place winners, "Pulp Fiction" 

and "Interview With the Vampire." Theatregoers 

were also wooed en masse by the 

romantic epic "Legends of the Fall," making 

it the fifth most popular film. 

As one of our respondents, Travis Cape of 

St. Louis, put it, "Popularity and best film 

seldom mix." Readers were unanimous in the 

sentiment that "The Shawshank Redemption" 

and "Quiz Show" were greatly overlooked at 

the boxoffice, voting them number two and 

number three on the Best Films list. 

But the mega-successful "Pulp Fiction," 

which has earned over $104 million at the 

boxoffice to date, echoed another reader's 

sentiment: "Great films always win out!" said 

Darren Froula of Columbia Cinema in East 

Wenatchee, Wash. "Pulp" won the Best Film 

category with 315 points, a landslide over 

"Shawshank's" 180 points. 

Voters were more divided on the Worst 

Film category, which might be explained by 

the numerous complaints that there were so 

many bad films to choose from. "Sadly, it was 

challenging to find even five films to fill the 

most popular section of the ballot," said Scott 

K. VanDenBerg of Pella Theatre Corp. in 

Pella, Iowa. "As always, [there were] plenty 

ofworst film candidates." "It's easy to pick the 

worst film—there are so many. Not so for 

good ones," said Lou Radakovich of 

Waynesboro Theatre in Waynesboro, Pa. 

One respondent felt so strongly about his 

Worst Film selection, "Before Sunrise," he 

voted it First, Fourth and Fifth Worst. (Sorry, 

but we couldn't use those last two!) 

"Exit to Eden," the critically unacclaimed 

comedy about a sadomasochistic sex resort, 

won the not-so-coveted first place position in 

this category, with 150 points. "Mixed Nuts" 

was second with 122 points, revealing that 

Christmas comedies about suicide and insan- 

ity are not a hot ticket with audiences. Third 

and fourth were "The Specialist" and "Street 

Fighter." 

The top four Worst Film selections certainly 

reflected the boxoffice takes of the films in 

question, but not so with Number Five, 

"Dumb & Dumber"—which, as you may recall, 

just a few paragraphs ago was revealed 

to be the Most Popular film. "It's a sad commentary 

when the most popular film is also 

the worst film of '95!" said Terri Cabral of 

Cinema 140 in New Bedford, Mass., in reference 

to "Dumb & Dumber." The film has 

taken in a "stupefying" $125 million to date 

in boxoffice receipts. 

knows what conclusions Hol- 

decision-makers might 

Wholywood 

derive from these results. But if 

you see a film in the near future starring a 

moronic vampire dressed like St. Nick, armed 

to the teeth with weaponry while discussing 

Le Big Macs and foot massages with a ferocious 

bear in the wilds of Montana, you'll 

know they were listening. 

am 

Most Popular Film 

Title 

Points 

1. Dumb & Dumber* (311) 

2. The Santa Clause* (288) 

3. Pulp Fiction* (235) 

4. Interview/Vampire* (227) 

5. Legends of the Fall (124) 

6. Disclosure (110) 

7. Star Trek Generations (108) 

8. Stargate(75) 

9. Little Women (47) 

10. The River Wild (39) 

* = gross of over $100 million 

Title 

Best Film 

1. Pulp Fiction* (315) 

Points 

2. Shawshank Redemption (180) 

3. Quiz Show (147) 

4. Legends of the Fall (143) 

5. Interview/Vampire* (83) 

8. Hoop Dreams (76) 

7. Little Women (66) 

8. Disclosure (62) 

9. Ed Wood (60) 

10. Nell (56) 

The Santa Clause* (56) 

Worst Film 

Title 

Points 

1. Exit to Eden (150) 

2. Mixed Nuts (122) 

3. The Specialist (94) 

4. Street Fighter (80) 

5. Dumb & Dumber* (78) 

6. Highlander III (74) 

7. Demon Knight (61) 

8. Mary Shelley's 

Frankenstein (60) 

9. Wes Craven's Nightmare (58) 

10. Junior (53) 

56 BOXOFFICK

I 

I may 

think 

live 

I 

had 

You Said It 

BOXOFFICE readers comment on the films of Autumn and Winter 

It's nice to see a return to basics—story 

power over star power! David Pensak, Movie 

Madness, Cincinnati 

A good year for female performances of 

merit—all in movies that didn't dent the 

boxoffice: Jodie Foster, Jennifer Jason Leigh, 

Jessica Lange, Miranda Richardson, 

Sigourney Weaver, Linda Fiorento—and the 

charming farewell of Jessica Tandy's "Camilla"! 

Kenneth Meehani. Conzaga High School 

Film Society, Washington, DC. 

Newcomer Frank Darabont's ["The 

Shawshank Redemption"] subtle, heartfelt 

direction and polished screenplay set a good 

example for young filmmakers. Was the director 

of "Murder in the First" Shakes the 

Clown? Steven K. Olson. Marcus Theatres. Appleton, 

Wis. 

Patiently waiting for Memorial Weekend 

summer product. Am considering closing 

theatre two months i n spring and two months 

in fall. Hollywood just doesn't seem to get 

it. Lewis Moore Jr., Moore Theatres Inc., Glendive, 

Mont. 

Most Underrated Movie: "Mary Shelley's 

Frankenstein." People were sadly gunningfor 

Branagh. Most overrated movie: "The Santa 

Clause." Opium for the masses, to borrow a 

famous quote. Man Brunson, Break Magazine. 

Charlotte. N.C. 

"The Shawshank Redemption" is by far 

one of the best movies I've ever seen. Too 

bad it wasn't marketed correctly. Tim Robbins 

and Morgan Freeman should be recognized 

and awarded for their work. jason 

Richardson, General Cinema Clearwater 12, Indianapolis 

Great product keeps on coming! Recordbreaking 

grosses don't lie! lim Hmkle, GKC 

Theatres. Elkhart, Ind. 

don't think this was a very good year for 

movies, save for just a few. kfirey w. Atwell, 

Hoyts Cinemas Corp., Laurel, Md. 

be in the minority but I thought "The 

Santa Clause" was awful and very unfunny. 

JerodKaier, Littleton, Colo. 

"Legends of the Fall" was worth the wait; 

"Interview With the Vampire" was not. 

Kevin Tredvvav, Cinemark USA #lb2, ,'\shland, Kv. 

With so many quality pictures released last 

year, I it is a darn shame that a movie 

like "Pulp Fiction" is nominated for an Academy 

Award. If Hollywood considers this one 

of their best, I'd quit going to the movies. 

Robert Douvier, Main Street Theatre, Sauk Centre, 

Minn. 

I'm tired of hearing all these theories on 

why "Quiz Show" bombed. "Quiz Show" 

has made about $23 million on only 800 

screens. What's that per screen? Scott Matthews, 

Graham Cinema. Graham, N.C. 

They need to stop making movies from old 

TV shows. Please!!—C. Williams, Richmond, Va. 

It's truly a shame that I in a city with 

such a limited market. I've never heard of 

some of these films. leff Stuckey. Tulsa Public 

Schools, Tulsa, Okla. 

It was harder than usual to find five worst 

films. Don't get too hopeful; I already have 

five for the first quarter of '95. 

Doug Kinney, 

Douglas Theatre Co., Lincoln. Neb. 

"Legends of the Fall"—no film should end 

with the main character being eaten by a 

was still 

bear. Aidan, Brad, Anthony, and it 

awful. "The Specialist"—Why?— Robert D. 

Hughes, SIM Entertainment. Cinema 4, Geneseo, N. Y. 

The sleeper of the holiday was "Little 

Women." Quality will bring customers in! 

Walter Schuesh, Midcontinent Theatre Co., Bismarck, 

N.D. 

"Pulp Fiction"— Quentin Tarantino: A new 

directorial star is born, and John Travolta's 

career is reborn. — Wendeslaus Schulz. Star Theatre, 

Bay St. Louis, Miss. 

A better than average year for quality. 

Raven Early.grow. Arena Theatre, Point,^rena, Calif. 

For the sake of theatres which do not take 

all films on their national break— please omit 

dates on previews and posters (except advance 

teasers). — Malcolm Neal. Kiva Enlenainnient. 

Las Vegas, N.M 

A poor fall and winter. Give us more movies 

like "Little Women," "Legends of the Fall" 

and "Far From Home." We want less of the 

horror, satanic, value-stripped movies! Loretla 

Bevell. Payson Picture Show, Payson, Ariz. 

"Pulp Fiction" was an excellent film. I 

think with all the Trekkies, "Star Trek" was 

most popular. Larry S. Hall jr., Cinemark Theatres, 

,'\shland, Ky. 

Buena Vista continues to run the gamut 

from high to low in popularity but, picture for 

picture, the Sony duo of Columbia and 

TriStar have released excellent films in recent 

memory. Dwayne Steele, Cinemark CM, Ashland, 

Kv. 

A more complete listing of the year's movies 

would assist in film selection.— TomRamstade, 

Cir)ema I X II. low a Citv, Iowa 

[Films eligible for this round of Blue Ribbon 

Awards bad to be released during the 

period beginning Sept. 1, 1994, and ending 

Feb. 1, 1 995, as noted in the voting instructions 

in our April 1 995 issue— Ed.] 

"The Adventures of Priscilla, Queen of the 

Desert" didn'tgettoLoLiisville until October, 

so I'd like to put it in fourth place as "Most 

Popular," and fifth place as the "Best Film." 

Carl Wohlschleyel. Vogue Theatre. Louisville, Kv. 

[All right, for you we'll make an exception—Ed.] 

It's a shame "Shawshank Redemption" 

wasn't seen by more people. 1 am sick of 

video game movies. Hollywood needs better 

writers, or buy Nintendo systems to get them 

over this recent trend. left Barnes, First international 

Theatres, Manhattan, Kan. 

The only thing good about "Trial by lury" 

is the acting is better than the O.J. Simpson 

trial. 

But neither should be taken too seriously. 

R.E. Revnolds, Wilson Amusement Co.. Atlantic 

Station Cinema, .Atlantic Beach. N.C. 

"The Shawshank Redemption" was the 

best film of the year. It's unfortunate this film 

performed so poorly at the boxoffice. — lames 

Evans, UA Pavilion Crossroads, Roseville, Minn. 

"Shawshank Redemption" was the best 

film of the year with the worst attendance. 

Dennis Udovich, Marcus Theatres, Sheboygan. Wis. 

How- 

Didn't see all the movies on the list! 

ever, I like more of those I saw than I disliked. 

Marty Vestal. United .Artists. Little Rock,,Ark. 

After watching "The Santa Clause," believing 

in the real Santa Claus did not seem really 

dumb! Douglas I. LaCombe, O'Neil Theatres. 

Crowley, La. 

The worst films are ones that did not do 

well at all at our boxoffice. Peggv Matey. Allen 

Theatres. Gallup. N.M. 

The Best Action Film In A Long Time 

Award goes to: "The Professional." Jean Reno 

will be a star of the future. Spencer Ma^ton, 

Carmike Cinemas, Raleigh, N C. 

It is really disappointing that American 

audiences have lowered their standards to 

the point where films like"Dumb& Dumber" 

are hailed as great, and truly superb films like 

"Immortal Beloved" are all but ignored. 

Kristin SeacresI, Private Film A Movie Theatre Research, 

Lawrence, Kan. 

Nothing really outstanding this year— lots 

of mediocre movies that didn't stay very 

long. Tim Rogers. Carmike Cinemas, Butte, Mont. 

"Generations" was a real disappointment. 

The first 15 minutes were the only good ones. 

"The Professional" was an excellent movie 

that was overlooked by movie patrons and 

Academy Award nominations as well. Luke 

Tatoya, Cinemark Movies 6, Alburiuerque, N.M. 

"Pulp Fiction"— this wonderful film could 

have gone on for days. "Stargate"— great 

storyline and even better special effects. 

Wade C/'jrAi, Budget Cinema, Alvin. Texas 

What a year of wonderful parts for the 

talented acting community. The quickness of 

"Ed Wood" to the human reality in "Quiz 

Show." Itcertainly was a year with wonderful 

gems poppingonto the screen each month. 

Cherie Branson. Shooting Star Video, Clarksville, Ind. 

The worst films were picked from the ones 

actually saw. Some of the very worst films I 

avoided! Mike Thompson. United ,Artists, Little 

Rock, Ark. 

Even though "Highlander: The Final Dimension" 

was no boxoffice smash, I think 

Christopher Lambert deserves a break. He 

has the potential to be a great actor. Frank 

Bartosic, Cinemark Movies I0#-J7, Wilmington, Del. 

Video games should stay video games. 

Raul Julia should be remembered for his best 

works, not his last. Chris Mosel, Lone Star Theatres, 

New Brawnfels, Tesas 

What was all the excitement over "Interview"? 

I nothing but complaints and 

walkouts. Also, we are a DTS theatre and 

would like to encourage more DTS releases! 

Mike Blakesley, Rosy Theatre, Forsyth, 

Mont. 

If there was a category for best acting, my 

award would be given to Brad Pitt for his 

proven array of fantastic acting skills in both 

"Legends" and "Vampire." Alicia Cockrun, 

Cineple\ Odeon, Tacoma, Wash. 

There should have been a "most unrecognized" 

category. I would vote for "The 

Shawshank Redemption," "A Simple Twist of 

Fate," "Quiz Show," "Miracle on 34th Street" 

and "Ed Wood." Graham Smith, Maico Theatres, 

\temphis, Tenn. 

July, 1995 57

261-0034 

NEW PRODUCTS GUIDE 

The BN-300 is now being offered by Seating 

Concepts, Inc. The decorative tufts and 

cold molded contour foam enhance the design 

of this theatre chair as well as the comfort. 

Standard features include fabric or 

laminate outer back, oval aisle standards, an 

integrated headrest and a counter balance seat 

pan. This chair is also available in a lounger 

for the ultimate comfort in theatre seating. For 

more information, call (619) 581-5725. Response 

number 301 

The H. Wilson Company announces five 

new U.L. approved wall and ceiling mounts 

and an adjustable VCR bracket. These easyto-assemble 

models hold monitors 1 

3" to 28" 

and feature tilt and swivel capability, durable 

black matte powder coat finish, heavy 1 

gauge steel construction and a lifetime warranty. 

For more information, call (800) 245- 

7224 or fax (800) 245-8224. Response 

number 302 

|BL Professional introduces the 4645B Single 

460 mm (18") Subwoofer System. This 

model is ideal for low-frequency augmentation 

of either analog or digital soundtracks in 

motion picture theatres and for general sound 

reinforcement applications. |BL Professional 

is located at 8500 Balboa Blvd., P.O. Box 

2200, Northridge, CA 91329. Phone: (818) 

895-3426. Response number 303 

The concession equipment division of NCS 

Corporation is introducing their new design 

for bulk candy kiosks and carts, which come 

fully equipped with scales and cash registers. 

They can be customized for any marketing 

campaign including company logos. The 

units have lockable storage compartments beneath 

the display areas and can be finished 

with a variety of colors and materials to match 

existing decor. For more information, call 

(203) 438-3405. Response number 305 

Vista Mfg., Inc. is offering an Omni-Directional, 

waterproof L.E.D. aisle lighting system 

which is aesthetically pleasing and maintenance 

free. Vista's "Bullet-Proof" systems are 

waterproof and air-tight unlike many other 

"relampable adapted systems." The PAL/B-P 

system uses black synthetic channel to provide 

years of scratch-proof beauty with the 

L.E.D. light sealed inside the tubing. Individual 

lengths to 48 feet can be joined at the 

factory yielding a waterproof connection, 

eliminating by-pin connectors. Call (817) 

479-2787 for more information. Response 

number 306 

Christie Inc. presents the High Speed Autowind 

AW3R-HS. It can handle 35 or 70mm 

film with rates of 30, 48, and 60 frames per 

second for 5, 8 and 10 perforation formats. 

Designed with active breaking, full automation 

control, high speed bearings and reinforced 

platter discs, the high speed Autowind 

provides reliable operation at a fraction of the 

cost of a loop cabinet. Each system is supplied 

with a make-up table from which film is fed 

from conventional 2,000 or 6,000 foot reels 

Cummi Bears and Sour lacks Sour Candies 

products lines. The new multi-packs contain 

1 2 individual bags of 1 .25 oz. Care Bears or 

1 .5 oz. Sour lacks. Shrink wrapped tray packs, 

each containing 3 multi-packs, are also being 

added. Call (201 ) 261 -0034 or fax (201 ) 261 - 

5630. 

Additionally, the Promotion In Motion 

Companies/Ferrara Pan Candy Company 

have announced that they have entered into 

strategic licensing agreements with both Sun 

Maid Growers of California, Inc. and 

Nabisco, Inc. The agreement provides the 

New Jersey-based company with the exclusive 

rights to manufacture, market and distribute 

Sun Maid Milk Chocolate Covered Raisins 

and Planters Milk Chocolate Covered Peanuts. 

A wide variety of packs and sizes is 

being produced under both Sun Maid and 

Planters brand labels, encompassingall major 

trade classes, including theatre concession 

boxes and vending size packs. For additional 

information, call (201 1 or fax (201 

261 -5630. Response number 308 

Digital Theatre Systems Inc. presents the 

DTS System which delivers discrete channel 

digital sound to the movies. Moviegoers can 

hear the sound without the limitation and 

degradation of analog optical sound or processes 

which attempt to put the digital audio 

data on the film itself. The DTS System is 

compatible with all existing cinema processors 

so its installation and operation is simple 

and foolproof. For more information, write 

DTS at 31336 Via Colinas #101, Westlake 

Village, CA. 91362 or call (800) 959-4109. 

Response number 309 

A training video for film handlers is now 

being offered by Creative Images. The tape is 

designed to fill the void in basic training for 

projectionists, and especially for employees 

who handle film, but are not fully trained to 

be projectionists. The video is 30 minutes long 

and comes with a 30 day money-back guarantee. 

It covers such issues as the use of 

clamps to move film from one platter to another 

and breaking film down onto large 

(6000 ft.) reels. 

The tape is $39.95 plus $3.50 postage and 

handling for U.S. orders and $10 postage and 

h.indling on international orders. Write Creative 

Images at 3205 Inspiration Drive, 

Wealhorford, T,X 76087 or call (817) 821- 

191 I . Response number 304 

onto the Autowind. Similarly, the same tabic 

is employed for unloading the film from the 

Autowind onto its reels for shipping and/or 

inspecting print quality. For more information, 

contact Herman Associates Public Relations 

at (212) 338-0700 or fax (212) 

338-9450. Response number 307 

Promotion In Motion Companies, Inc., has 

atlded niLilli pac ks lu bolli Us Care Bears 

The SMART AFT660 "Afterburner" is 

being introduced by Cinema Expo as a \\a\ ol 

controlling the loud sound levels of digital 

sound systems in multiclnemas. This new 

produi 1 is M^ m 1i\ e d-t haiincl threshold limiter 

that can control the wide dynamic range 

of any digital player so that |)roblems caused 

by high sound levels can be tamed. The produ( 

t has an adjustable threshold to adapt the 

unit ki any large or small auditorium system. 

The small rack-mounted cabinet fits standard 

e()uipment racks and is electronically inserted 

between the digital player and the stereo processor. 

Installation is simple and quick. Phone 

(800) 45-SMART in the Liniti-d States or Canada. 

Elsewhere call (404) 44't-li()'i8. The fax 

is (404) 449-6728. Response number 310 

58 BOXOFFICE

GOLDBERG BROTHERS, INC. 

Peavey Electronics Corporation introduces 

its new line of audio equipment designed specifically 

for the cinema industry. The Peavey 

CinemaAcousticsline is the first family of audio 

products to be designed with the entire cinema 

audio playback system in mind. Included is the 

CA-DP300 digital cinema processor, the CA- 

M300 Monitor Controller and the analog CA- 

M100 Monitor Crossover. Both monitor units 

incorporate an exciter lamp supply. The line 

also boasts two digital, or switching, power 

amplifiers to meet the power requirements of 

today's cinemas. Analog amplifiers are also 

included in the line. A full line of theatre speakers 

is offered, including the new CA-S300 

Slimline screen speaker and the CA-S1 50 High 

Power Surround speaker. More traditional 

screen speakers are available with the CA-S1 00 

large pattern horn speaker system and the 

CA-S200 small pattern horn speaker system. 

Contact Brent Harshbarger at Peavey Electronics 

at 711 A St., Meridian, MS 39301. The 

telephone number is (601) 486-1408. Response 

number 311 

Swan Corp.'s Swanstone has added a new 

uniquely designed round bowl to its extensive 

line of solid surface sinks. It is available in both 

a drop-in and undermount styles. It is 18-1/2" 

in diameter and its 8-1/2" depth is deeper than 

Slide Projector Port 

With Fully Adjustable Shelf 

• Easily removable • 12" x 12" glass frame 

• Adjustable shelf 

• Non-skid surface prevents projector movement 

Adjustable Film Clamps 

Quick and simple • Transfers up to 16,000 feet of film 

without breaking it down 

• Sold in sets of three 

Projection and View 

Port Glass Frame Sets 

• 16" X 20" hinged glass frame 

• Opens easily • White water float glass 

with anti-reflection coating 

Surround Speaker Mounting Brackets 

• Accommodates most popular surround speakers • Shock 

absorbers between the base plate and side pieces 

• Adjustable for a wide range of speaker sizes. 

Film Guidance Rollers 

• For projectors or wallmount 

most presently available round sinks. Swanstone 

solid surface combines durability with a 

luxurious look. It is offered in 18 solid, aggregate, 

and galaxy colors and has a 10-year limited 

guarantee. 

A new all-products brochure is also being 

offered by Swan Corp. The 24-page, full-color 

guide features a complete review off all Swan 

products, including Swanstone solid surface 

bathroom sinks and SwanTile bathroom wall 

panels. Each product section has extensive 

photography of all models, detailed descriptions 

of features and accessories, and useful 

specification and dimension charts to help the 

consumer and dealer choose the right size 

Swan or Swanstone product for a particular 

need. 

For more information, or for a free copy of 

the all-products brochure, write to Swan Corp., 

One City Centre, St. Louis, Mo. 63101 or call 

(314)231-8148. Response number 312 

Ticket Box 

Show Shipper 

ELR System 

• 6,000 ft & 

12,000 ft available 

• Easily changeable schedule sheets 

• Hinged schedule window w/ access 

to flashlight compartment 

• Lockable stub holding area 

• Separate lockable lost and found area 

• Clipboard holder in door 

Fail Safe Cluster 

• Immediately shuts down 

projector upon film breakage 

• 

Can also work in conjunction 

with bar code scanner 

Star Manufacturing International Inc. announces 

the introduction of the Model 530F 

Electric Fryer. This heavy duty electric counter 

fryer has a large 30 lb. fat capacity nickel plated 

Office: (303) 321-1099 • Fax: (303) 388-0749 

8000 East 40th Avenue, Denver, Colorado 80207 


July, 1995 59

Same unbeatable optics as 

the Xenex II 

35.5" of std. rack space 

Large access doors and 

panels 

Clean and uncluttered 

interbr for 

easy maintenence 

THE NEW KNEISLEY CONSOLE 

Whatever your choice, Console or Xenex II, you 

WILL OBTAIN THE HIGHEST PICTURE QUALITY AVAILABLE. 

Write or call for descriptive literature. 

KNEISLEY 

ELECTRIC 

COMPANY P O Box 4692 

Toledo, Ohio 43610 

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

lift-out kettle that handles all types of fried foods. Standard features 

include a corrosion resistant all-stainless steel cabinet. Performance 

features include snap action adjustable thermostat, hi-limit safety 

thermostat, swing-up control housing with heavy duty immersion 

type tubular elements and a heavy duty on-off switch. Fryer comes 

with two nickel plated fry baskets. 4" high adjustable legs are 

provided as standard. The unit measures 24" X 24-3/4" X 16-5/8" high. 

Contact David L. Brandy, Asst. Sales Mgr., Star Manufacturing International 

Inc., 9325 Olive Blvd., St. Louis, MO 63132, (314) 994- 

0880. Response number 313 

BCW Systems Inc. presents the Model Ml 1 00 dual 1 5" 1 1 00 Watt 

Self-Contained Subwoofer System. It is ideally suited to portable 

sound applications and smaller venues. In cinema settings, one 

Ml 1 00 should adequately cover 220 seats. Despite its compact size, 

it provides 1 24 dB SPL at 1 meter. The Ml 1 00 enclosure is fabricated 

using durable 3/4 inch Baltic Birch plywood, with 1" plywood 

forming the baffle. For more information call, (800) 468-2677 or fax 

(310) 676-671 3. Response number 314 

Labtec has obtained a license for Spatializer 3-D stereo, an 

advanced audio technology that creates a 3-D surround sound 

experience from two conventional stereo speakers. It has gained 

broad acceptance as the premier 3-D sound technology in a market 

that has found it increasingly necessary to support the advanced 

audio effects now found on CD-ROM, on-line services, and the 

internet. For more information, call (360) 896-2000. Response number 

315 

Businesses can now own their own pay phones. Starlite Inc. is 

offering phones that allow you to keep 100% of the cash it generates. 

The TY-006 Counter Top Model and the TY-006 (W) with Wall Stand 

charge proportionally for every call made and it allows you to make 

a commission on credit card, collect, and calling cards calls. Write 

Starlight Inc. at Rt. #2 Box 123, Cadet, Mo. 63630 or call (314)438- 

8814. The fax number is (314) 438-4974. Response number 316 

Response No 4 

COMPLETE AUDITORIUM INTERIORS 

AAAA 

SOUNDFOID 

NOT JUST ACOUSTICAL WALL COVERING SYSTEMS 

NEW 

SOUNDFOLD TRANSPARENT MASKING FABRIC 

APPROVED FOR SOUND TRANSPARENT 

EXCELLENT FOR SIDE MOVEABLES 

FIRE RATED- 54" WIDE 

NON SHRINK POLYESTER 

SAMPLES SENT ON REQUEST 

CALL: 

SOUNDFOLD, INTERNATIONAL 

THE INDUSTRY LEADER 

PO BOX 292125, DAYTON OHIO 45429 

1 800 782 8018 

C-Tel Enterprise Incorporated is also introducing pay phones. 

Model 707 offers time settings from 1 to 16 minutes or unlimited. 

Model 757 is programmable to charge up to 6 quarters for any 

combination of exchanges and area codes. Both allow you to restrict, 

charge or offer for free, for numbers such as 9 1 1 , 800 and 900. Model 

777, a lock-up banker, provides added security', allovs ing the phone 

to be moLinted to a wall or counter. C-Tel is located at 17423 

Shatnerwood Drive, Houston, Texas 77095-1 145. The phone number 

is (713) 550-5592 and the fax is (713) 550-1028. Response 

number 317 

Nestle fjresents the Nestle Pocahontas Milk Chocolate Bar, a series 

of seven molded candy bars with scenes from Disney's 33rd fulllength 

animated feature, "Pocahontas." Designed tocaptureattention 

is the bar wrapper. With gold foil ^nd Disney-illustrated graphics, the 

wrapper shows a smiling Poc ahontas and the character of Capt. lohn 

Smith in the forest with their two conifianions, Meeko, a mischievous 

ratoon and Flit, a spirited hummingbird. The movie-lhemed wrapper 

replaces the traditional blue, rt^d and white Nestle Milk Chocolate 

Bar pa( kaging for a limited time only. For more information contact 

Kulh rhonias at Fleishman-Hillard Inc. at (21 3) 629-4974. Response 

number 318 

60 BOXOFFICE 

Response No. 45

Metrasystems has just announced MAGNAview, a new large 

format rear-projection video display system for the Trade Show, 

TV Broadcast, Entertainment, Theatre, Video-Conferencing, 

Training and Presentation industries. MACNAview's large (6'H 

X 8'W) 120 inch diagonal image and compact simple knockdown 

design, make it ideal for high-quality audio/visual presentations. 

With its light weight and reduced depth of only 5.5 feet, 

MAGNAview provides a smaller foot-print where limited space 

is a concern. This system creates high resolution images even in 

brightly lit locations and the specially designed screen and optics 

allow for a very wide viewing angle. Depending on the application, 

MAGNAview may be considered a giant TV, a compact 

movie theater, a dynamic video advertising medium or a very 

large computer monitor to present high resolution computer 

graphics and software. For further details, sales and rental information, 

call (215) 247-7347 or fax (215) 248-1942. Response 

number 319 

Custom POG promotions are being offered by J & | Snack 

Foods Corp. to its food service customers. POG brand milkcaps 

will be given away as part of promotional program run by | & 

via chain stores and mass merchandisers. Examples include: a 

free POG with the purchase of a frozen carbonated beverage or 

free POG strips in special kids meals. POG brand milkcaps are 

used to play a flipping game which Hawaiian children have been 

playing since the 1920s. The game is very popular and milkcaps 

have become the latest collectible rage. For more information, 

call Jennifer A. Stern at (609) 665-9533. Response number 320 

Caddy Products presents the Caddy Slim armrest which reduces 

or eliminates seat pan downsizing. The armrest slides 

directly onto the steel standard for a custom fit. It will be available 

August, 1 995 in upholstered or non upholstered styles. Call (800) 

845-0591 for information. Response number 321 

| 

GLassForm' 

Fiberglass Trash Receptacles 

• Satisfaction Guaranteed 

• Interior / Exterior 

• 32 Standard Colors 

• Custom Colors Available 

800*842-1121 

800*995-8322 


The Technical Solution 

niiM5^f\jr 

Boyd Coffee Company offers Organic Cafe Rojas. Organically 

grown high in the hills of Mexico, Cafe Rojas is packed in five 

pound whole bean bags and is available in the 1 7 Western States. 

Boyd Coffee Company also presents Island Mist iced tea. It's an 

exotic blend of tropical fruit nectars and premium teas. Island 

Mist has less caffeine than regular teas, but more flavor thanks to 

the tropical fruits. It is packed 48 packages (8/6's) to a case, with 

a one gallon yield per package. In addition, Techni-Brew (a 

division of Boyd) introduces the Reneka Plus line of machines 

which brews one to six cups at a time with a pre-infusion system 

that guarantees a great cup of espresso every time. Available in 

standard blue and burgundy colors, the Reneka Plus may be 

special ordered in gold. Also available is Reneka Basic Espresso 

machines In 2-group (Basic II) and 3-group (Basic III) machines. 

Each group has the ability to produce from one to three espressos 

simultaneously; therefore the Basic III can brew from one to nine 

espressos at a time. The Reneka Single is Techni-Brew's smallest 

machine and brews up to 1 20 cups per hour. Providing hot water 

and steam independently, the Reneka Single's heat exchanger 

heats water instantly. Italia D'Oro, a brand of espresso products 

from Boyd, presents its European Chocolate Base. It is mixed with 

hot milk or milk steamed from your espresso machine to make 

hot cocoa that tastes different from traditional, sweet American 

Digital Audio for Film 

Universal Compatibility 

John Karamon 

J.K. International, Inc. 

19 Berkeley Street 

Stamford, CT 06902 

USA

CINEMA\=iCONSULTANTS 

& SERVICESVjINTERNATIONAL 

Consultants in 

• Management 

• Concessions 

• Construction 

• Multiplexing 

• Upgrading 

Services 

• Draperies 

• Decorative Sound Panels 

• Boxoffice Concessions 

- 

Counters 

• Houskeeping Supplies 

• Carpeting 

Used Equipment 

• Projection • Sound 

• Seating 

Installations 

• Projection • Sound 

• Draperies 

• Seating 

• Screens 

P.O. Box 9672 

Pittsburgh, PA 15226 

412-884-8781 

412-884-2345 FAX 


DEEPER 3D 

^^£Pmwm^. 

Red -Blue/Green 

Anaglyph Glasses 

-LOW PRICES, 

FAST SERVICE 

-24 HR HOTLINE 

DEEP VISION 3-D 

^ 

] P;0, BOX 3 8386 

O HOLLYWOOD, CA 90038 

o 

° 213-465-5819 

o 

l°OooOOOOOOOOOOOri< 


62 BOXOFFICH 

hot chocolate. Italia D'Oro European Chocolate 

Base is patterned after hot cocoa beverages 

served in grand cafes of Europe. Italian 

D'Oro has also added eight new sugar-free 

Italian syrups (including caramel, Irish cream 

and raspberry) to their existing line-up of flavors. 

Made with Nutra-Sweet, Italia D'Oro 

Sugar-Free Syrups offer the true flavor and 

aroma of the originals without the calories. 

They're perfect for Italian sodas, flavored 

lattes, or over ice cream. Contact Tracey Reif 

at (81 8) 707-1 711. Response number 322 

New popcorn bag and drink holders are 

being introduced by Cy Young Industries. The 

holders fit into cupholder armrests, holds s-m-l 

bags and holds 1 4, 20, 32 or 44 oz. cups. It's 

ideal for carrying concessions to your seat 

while minimizing spills. For more information, 

call (800) 729-2610. Response number 323 

Novar presents Futura, the new contouredprofile 

temperature sensors. The sensor case 

has a rounded contour that's attractive, functional 

and less prone to be bumped and 

knocked off a wall. Some important features 

include: an override button, an operating status 

indicator, standard gang-box mounting 

and a temperature setpoint adjustment (optional). 

Contact Novar at 24 Brown St., Barberton, 

Ohio 44203, (216) 74.5-0074. Response 

number 324 

The Ergodyne ProFlex 4020 wrist support 

is being introduced by Ergodyne. Compact 

and lightweight, it is ideal for workers who are 

at risk to strain and injury due to lighter repetitive 

activities and static positions often assoc 

iated with office work, data entry, retail and 

a wide range of manufacturing and assembly 

tasks. It is made of durable Ncoprene, a lightweight 

fabric that provides a snug, custom fit. 

Contact Cathy Roble at ((.12) 642-t)H8

For more information, contact John Evans Jr. at Cold Medal 

Products, 2001 Dalton Ave., Cincinnati, OH 452 14. Or call (800) 

543-0862 or fax (513) 381-1 570. Response number 326 

ORC Lighting Products is introducing the Ultralife"WC" series 

of projection lamps. These liquid cooled short arc, high wattage 

lamps are available in 1 2KW, 1 5KW and 20KW configurations 

for large screen/specialty format applications. Their design provides 

greater brightness and arc stability enhancing overall visual 

quality. Phone (818) 969-3344. Response number 327 

United Marketing, Inc. announces a complete line of steel, 

aluminum, and fiberglass waste receptacles, smokers' urns, and 

planters. The Barclay Series, the company's newest line in fiberglass, 

offers a wide range of sizes, styles and openings designed 

to complement any decor. Indoor receptacles, urns and planters 

include fire-safe steel models in four metallic and three metallic/enamel 

designer finishes and aluminum models in four metallic 

finishes. The waste receptacles are available with 

galvanized steel liners or United Marketing's exclusive antimicrobial 

Germ-Fighter rigid plastic liners. The company also manufactures 

specialized lines for the disposal of infectious waste. 

Contact United Marketing, Inc. 1 4th and Laurel Streets, P.O. Box 

870, Pottsville, Pa. 17901-0870, (800) 233-0314, ext. 220. Response 

number 319 

Theatre Equipment Ass'n 

"DEALER OF THE YEAR" 

We specialize in providing equipment 

for tlie teclinical part of 

your tfieatre: Seats, Sound, Projection. 

(No, we don't sell popcorn!) 

See wtiy more and more, 

Hadden has become the industry 

standard for high performance! 

HADDEN r^t 

THEATRE SUPPLY COMPANY 

10201 Bunsen Way 

Louisville. KY 40299 

(502) 499-0050 

(502) 499-0052 FAX 

Louis Bornwasser, Owner 

Design-Consultation-Sales 


HURLEY 

Custom Projection Screens & Frames 

Featuring 

Since 1935 

SUPERGLO... 

GLASSMATTE... 

smooth pearlescent surface 

SILVERGLO... 

MW-16... 

smooth silver surface 

smooth matte white 

THRUVIEW... 

high quality rear projection 

fiberglass matte finish 

A NOTE TO LISTEES: 

DUE TO THE OVERWHELMING RESPONSE TO OUR 

RECENT NEW PRODUCTS MAILING, IT WAS IMPOSSI- 

BLE TO INCLUDE ALL ELIGIBLE VENDORS IN THIS EDI- 

TION OF THE BoxoFFicE NEW PRODUCTS GUIDE. ALL 

LISTINGS RECEIVED BY OUR DEADLINE WHICH WERE 

NOT INCLUDED HERE WILL APPEAR IN OUR SHOW- 

EAST NEW PRODUCTS GUIDE, TO BE PUBLISHED IN 

NOVEMBER. 

wAUTOMATICKET 

High Speed Automated 

Ticket Issuing Machinery 

110 Industry Lane • P.O. Box 296 

Forest Hili, Maryland 21050 

(41 0) 836-9333 (41 0) 879-3022 

(41 0) 879-6757 (41 0) 838-0036 

FAX: (410) 838-8079 


July, 1995 63

Special Report: 

FEST FEVER 

A Junketeer's Guide to Five Film-Related Festivals 

Without question, 

the best place to 

he if you're an exhibitor 

on the lookout for 

liot Hell's tliat can affect 

yow business is an industry 

bash like NATO/ 

ShoWest every March. Ifs 

geared to yow piiorities, 

with exhibition-related 

seminars and conferences, 

the greatest exhibition-related 

trade shoiv 

on earth, and a deluge of 

pivnoimcetnents from tlie 

studios about tlieir Iwttest 

new titles. 

Just as Europe is multiplexing U.S. style, tJie Continent is duplicating 

Ameiicafbr its coni>ention. Ei

it's 

Given the extensive media coverage Sundance often inspires, 

possible to follow the hot breaking industry buzz through a 

variety of media outlets. But if the chance to see up to 30 independent 

titles well before tliey are nationally released is of interest, 

and if the opportunity to combine business with a mid-winter ski 

vacation in a world-class resort is at all appealing, the Sundance 

Film Festival is worth more than a passing glance. 

THE PLAYERS: 

Robert Redford has become as associated with flie Sundance 

Film festival as Leo the Lion is with MGM, and he does make 

unnannounced appearances each year in a kind of hit-and-nm, 

ceremonial capacity. But Redford is far from symptomattc of the 

type of film personality Sundance draws on; in general, the festival 

rounds up indie stars like Tim Roth ("Little Odessa") and Samuel 

Jackson ("Pulp Fiction"), coupled with more mainstream faces in 

transition (Jasmine Guy, Oliver Piatt, Jerry Lewis). 

CLOSE-UP: 

Since many Sundance titles are without distribution at the time 

the event is held, it's impossible to say whether or not bookings or 

anytliing remotely connected to exhibition can be accomplished 

on-site. As a venue that provides numerous "first look" possibilities 

for upcoming indie tides, however, Sundance is an event that is 

second to none. 

For complete coverage of the 1995 Sundance Film Festival, 

please consult tire review section in our April, 1995 issue. 

—Ray Greene 

Although dates for the 18th SimdaiKe festival arc not yet set, the 

Utah State Film Coimmssion infomts Boxoffice that thefest usuaUij 

starts on the thud TImrsday in Januaiy. In 1996, this would place 

Sundance from Jan. 18 to 28. Make arrangements by Tlianksgiving: 

the festival sells out earlier each year For more info: 801-538-8740 

MIAMI FILM FESTIVAL 

ESTABLISHING SHOT. 

Miami 

Blues, indeed: In recent years, this simny getaway 

has been battered by everything from hurricanes to an 

influx of Haitian and Cuban refiigees to a wave of attacks 

on tourists named Wolfgang. But, once those images have faded, 

the Miami Film Festival shines through that doom and gloom with 

the luster of the 

fiery orange sphere 

that always graces 

the tourist-board 

ads for this beachcomber 

haven. 

As much as 

it 

might want to be, 

the fest isn't one of 

those Hollywood 

hobnobs, where 

Tinseltown's finest 

arrive to glittergulch 

some movie 

outpost. With 

screenings held in 

the beautifiilly 

ornate 

Gusman Center 

for the Performing 

Arts, 

Miami comes close 

/W/am/ festival director Nat Ctiediak witl^ 

Cuban-born actor Andy Garcia. 

to what a festival really 

ought to be: 

Rather than one big business meeting occasionally interrupted by 

inconsequential screenings, it's abona fide celebration of film and 

weU earns its festival credo, "for the love of film." 

Usually boasting great weatiier and organization, tiiis Febniary 

fest is always a hit with the general public. Let's hope that accolade 


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July, 1995 65

doesn't draw more stars and (worse) journalists 

and spoil the innocence of this hidden 

treasure. 

THE PLAYERS: 

Auteurs Henry Jaglom and Pedro Almodovar 

(whose names make an unlikely 

match and whose films could never be confused 

for the other's] are examples of the 

kinds of directors who eat up attention at 

this fest. 

CLOSE-UP: 

Unlike Sundance, the Miami Film Festival 

tends to welcome both independent and 

mainstream features 

with equally open 

arms. In recent years, 

Miami has played 

host to everything 

from Warner Bros. 

"The Mambo Kings" 

and 20th Century 

Fox's "Sugar Hill" to 

art-house fare like 

"Belle Epoque" and 

Almodovar's "Kika." 

Perhaps owing to 

Miami's large Cuban 

expatriate community, 

Spanish language 

(or themed 

titles have found a 

home in Miami. So 

have titles of obvious 

local interest, such as 

star drawing power, 

Troma's Toxic Avenger, the patron saint of AFM. 

Buena Vista's recent 

and even the lessdeveloped 

foreign 

"Miami Rhapsody," 

which screened at the fest this past February. 

But no project is too small for Miami; so devoid of originality that it's 

markets have grown tired of films that are 

possible 

regular festivalgoers are probably still nursing 

memories from 1994 of self-distributing 

writer/director Henry Jaglom and star/ cowriter/wife 

Victoria Foyt, on hand to deliver 

their newest pride and joy, 

"Babyfever" The audience seemed to ooh 

and aah at every neurotic moment in this 

cinematic exploration of the maternal 

urges, made by one of the few males in 

HoUjrwood who seems to have them. 

—Alex Demyanenko 

The 13th Miami Film Festival will he held 

February 2 through February 10, 1996. For 

information, call (305) 576-5873. 

AMERICAN 

FILM MARKET 

ESTABUSIONG SHOTH 

The 

1995 American Film Market returned 

again to Santa Monica, Calif 

for another week of film screenings 

held primarily for international theatrical 

and video buyers, and to promote old and 

new product in the 100-plus suites of Loews 

Santa Monica Beach Hotel (the AFM headquarters). 

AFM is a film event for mavericks, 

and 1995 didn't disappoint; as usual, 

some low-budget distribution compani(!s 

set up shop at various surrounding hotels in 

a not-exacfly-aufhorized attempt to save a 

few dollars on exhibition fees. 

THE PLAYERS: 

The Hollywood studios are taking more 

and more ofan interest in AFM. Large scale 

parties were put on by the attending studios, 

with elaborate props and artwork related to 

upcoming tides. 

As it was in 1994, the emphasis at AFM 

in 1995 was on quality. There was still the 

usual wall-to-wall availability of the everpresent 

erotic thrillers, the neverending karate, 

kung fu and cyborg cop action flicks, 

and the perennial 

teen-oriented comedies. 

But films vnth 

better production 

values, bigger stars 

and more original 

storylmes tended to 

be the hotter tickets 

this year 

The time of the B 

programmer and 

the low-rent independent 

film company 

seems to be 

ending. It has become 

almost impossible 

for such 

films to get theatrical 

bookings, since 

few of them have 

literally to substitute one for the next without 

noticing the difference. 

CLOSE-UP: 

Japanese animation ("anime"), a smattering 

ofgofhic horror titles, and the ubiquitous 

Tioma Films (home of"The Tbxic Avenger" 

were among the more welcome AFM icons 

on the low-budget end of the totem poll this 

year With the studios moving more and 

more in the direction of big-budget science 

fiction like "Stargate," the lower-budget variations 

on futuristic themes found themselves 

competing for space with "A" titles 

that had a far better chance of achieving 

advantageous overseas release patterns. 

The general trend in independent film as 

reflected at AFM 1995 is toward films with 

bigger budgets and at least one major star 

Original and more sophisticated storylines 

were also major selling points. 

—Eric Caidin 

CANNES 

ESTABUSHING SHOD 

For 

independents and sales companies, 

Cannes' unique bkmd of Festival, Marketplace 

and Resort makes it tiie ultimate 

location for film viewing and 

acquisition. All told, including the competition 

and revival sections, a half-dozen tests 

under the broad Cannes moniker; al- 

fall 

most all of them each year offer a selection 

of gems and surprises as bright as the glint 

offthe pool waters at the Du Cap. Tvo weeks 

of concentrated hype and dealmaking 

blended with endless parties, screenings 

and press conferences make for fierce competition 

for attendees' time, but word of 

mouth about must-sees spreads quickly; 

with more than 100 screenings each day, 

finding winners isn't hard. 

Although most of the high-profile tides 

tend to have been taken for major territories 

before the festival, there's usually more 

than enough quality product to go around. 

As the world's pre-eminent festival (and, 

after AFM, the next most productive sales 

event), Cannes provides publicity opportunities 

second to none. For producers, distributors, 

exhibitors and fans, Cannes rarely 

disappoints. 

THE PLAYERS: 

With three Palme d'Or wirmers in two 

years (1993 co-winners "Tire Piano" and 

"Farewell, My Concubine" coupled with last 

year's vvtinner, "Pulp Fiction"), Miramax has 

lately been taking top honors here. American 

majors were largely in absentia during 

last year's May 12-23 run, so the 47th 

Cannes suffered a noticeable loss of glitz 

compared to years past. But, because studio 

attendance is usually geared more toward 

publicity than business, the loss was primarily 

a cosmetic one. 

Among other independents and the minimajors. 

New Line Cinema saw excellent 

sales for its Jim Carrey starrer, "The Mask, 

on the strength of credits and promo reels 

alone. October Films also proved its mettle 

with some high-profile acquisitions, such as 

"Killing Zoe," the writing and directing 

debut of QuentinlSrantino associate Roger 

Avary (who co-wTote "Pulp Fiction" with 

Tkrantino). "The Mask" went on to be huge 

in mass-market America, becoming a member 

of summer 1994's $100 Million Club; 

"Killing Zoe" died at the boxoffice, with 

grosses of less than $500,000 during tlie 

same play period. 

CLOSE-UP: 

Small titles are also welcome at Cannes. 

Among the many films garnering attention 

last year was "Clerks," the $27,000 comedy 

made by first-time vniter/director Kevin 

Smith and based on his experience as a 

convenience-store clerk. The plot: One day 

in the life of two clerks. (Th(^ ending: 

Miramax acquires, only to face a prolonged 

battle over the MPAA's NC-17 rating when 

die film's opening in America approaches. 

Final boxoffice tally for "Clerks": around 

$2.7 million, or approximately 100 times its 

production cost.) 

Other fest favorites that went on to find 

major releases in America inrlucicd ihc 

Australian sleeper "Muriel's WcdLiint;" aiui 

"Eat Drink Man Woni.m," from liun lor .\n>; 

L('(\ 

—Wtitlc Major 

Fbr review anvragc ot this yew's Cannes, 

sec this issue and the August issue. For information 

on Cannes '96. call (33) 1^266-9220 

66 BOXOFTICE

DIGITAL WORLD 

ESTABUSHING SHOE 

Only 

five years old, Digital World is rapidly emerging as one 

of the most significant conferences concerning film-related 

interactive technologies. Given the convergence that many 

are predicting between exhibition and other types of entertainment 

(witness such interactive games become movies as 

Gramercy's "Double Dragon, " Universal's "Street Fighter" and New 

Line's "Mortal Kombat," and theme park-style simulator theatres 

along the Douglas Thimbull/CineMania model). Digital World is 

a good place to learn about current and coming developments. Its 

location— the Los Angeles Convention Center— doesn't hurt, 

being just a short hop from Hollywood's studios and just an hour 

flight from San Jose's Silicon Valley. 

The Digital World exposition, smaller than those of such more 

established shows as Comdex and the Show Biz Expo, allows 

attendees to see and sample many CD titles and tools and other 

new offerings in telecommunications and software. Exhibitors are 

on hand to answer questions and distribute literature. 

Another opportunity to see product is "Digital Demo Day," a 

developer's talent show in which each item receives a half-hour 

demonstration. "Creative Cafe" sessions, co-sponsored by Digital 

World and the Writers Guild of America West, are geared toward 

developers and help air their creative and practical concerns. 

Digital World seems like a show to watch. Increasing mediafueled 

public interest coupled with growing corporate investment 

ft-om giant entertainment conglomerates should make digital 

media an area of explosive market growth and the topic of many 

Business Week covers for the foreseeable fiiture. 

THE PLAYERS: 

Last year, many entertainment and technology executives were 

in attendance, touting their companies' contributions to the digital 

fiiture. The panel sessions proved to be rather undefined, like 

improvisations— the drama and message were often found in the 

interplay among speakers. One exception was the press releaselike 

recitation by Ann Dilworth, group vice president of Times 

Mirror, on the merger between the company's cable division and 

Cox Cable. 

Such entertainment executives as Sid Sheinberg, president and 

chief operating officer of MCA, Tbm Buel, senior vice president of 

Paramount, and Robert Carberry, vice president of technology for 

Blockbuster Entertainment, discussed the digital highway with 

counterparts on die computer side, including James Cannavino, 

senior vice president of strategy and development for IBM, and 

Andy Grove, chief executive officer of Intel. They devoted particular 

attention to business trends, program content, technical 

advancements and limitations, children's issues, advertising and 

privacy. 

CLOSE-UP: 

Digital World offers no films per se, but film and entertainmentrelated 

products. In the CD-ROM arena, music titles included 

"Xplora I: Peter Gabriel's Secret World"; "Jump," starring David 

Bowie; and GraphixZone's CD on Prince (aka "the artist formerly 

known as..."). 

TWo CD-ROMs on display that are breaking the bandwidth 

barrier and delivering beautifiil, fast video are Rocket Science 

Games' "Loadstar," a science fiction game designed by Ron Cobb, 

whose credits include "Alien," "Aliens" and "The Abyss"; and 

Knowledge Adventure's "3-D Body Adventure," which takes the 

user on a fantastic voyage through a computer-generated human 

body. 

interactive art pieces were shown at the "Interactive 

Playfiil 

Media Festival." Also being demonstrated were navigation interfaces 

and delivery systems for the information superhighway, and 

various production tools for developers. 

—Ann Kwinn 

Digital World 199S was slated to be held June 5-7 at the Los Aytgeles 

Convention Center For infontmtion on next year's Digital World 

gathering call (800) 488-2883 

^m 

New York City 

Beglbrd 

118 East 40th Street 

New York. N.Y. 10016 

(Between Park and Lexington Avenues) 

Here J the 

"great dmall hotel" 

you look, for in a big city... 

beautifully (decorated roomd and 

tiuiteti and frienMy, attentive tieri>ice 

combine to offer you total comfort 

at an ideal mi()-Aianhattan 

location. 

The Hotel Bedford uijudt 

a

4/7, 

DTS 

Anamorphic, 

R. 

7/21 

BOXOFFiCE 

June 

JULY 

(Current) 

Buena Vista 

(818)567-5030 

A Gooty Movie (formerly Pals Forever 

Anim. G, 4/7, 76 mins Dolby A, Fiat Dir 

, 

Kevin Lima 

Jellerson in Paris, D, PG-13. 3/31 NY/LA, 

•1/7 Limited Nick Molte, 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 

Crimson Tide. 5/12. 112 mins . SRD. Flat 

Denzel Washington. Gene Hackman. Dir: 

Tony Scott 

Mad Love. D. 5/26. 101 mins 

. SR. Flat Drew 

Barrymore. 

Pocahontas, Anim, 6/23. Flat. Voice: Mel 

Gibson, Dir Mike Gabriel 

Judge Dredd, Ac , 

6/30. Anamorphic. Sylvester 

Stallone, Diane Lane 

Dead Presidents, 6/95. Urban Drama, 

Super 35mm Dir: Allen and Albert Hughes 

Dangerous Minds (a.k.a. My Posse Don't 

Do Homework), 7,95 0, Flat Michelle Reiffer 

Dir John Smith. 

Operation Dumbo Drop. 7/95, Adv , Danny 

Glover, Ray botta 

100 mins . Dolby A. Flat. Sandra Bullock 

Columbia 

(310)280-8000 

Bad Boys. Ac, R, 4/7. 117 mins , 

Dolby A 

SR, SDDS. Flat. Martin Lavwence. Will 

Smith 

Forget Paris. R/C. PG-13, 5/19. SDDS, Dolby 

A & SR. Flat. Billy Crystal, Debra Winger Dir 

Billy Crystal. 

First Knight. 7/7. Dolby A. SR, SDDS, Flat. 

Richard Gere. Sean Connery. 

To Die For. D. 7/21 . Hat. Dolby A. SR. SDDS. 

Nicole Kidman, Matt Dillon. Dir Gus Van 

Sant. 

IfKi 

(212)751-4400 

IVIGIVI/UA 

(310)449-3000 

Ttie Pebble anil the Penguin. Anim . G. 79 

mm . 

DTS. Dolby A FiaL 4/12. Voice: Martin 

Short Dir Don Blulh 

Rob Roy, Adv . 139 mm.. DTS, Dolby A, 

Anamorphic Liam Neeson. John Hurt, Dir 

Michael Caton-Jones 

Fluke, Adv., 6/2, DTS. Matthew Modine. 

Nancy Travis. Dir: Carlo Carlei 

Species. Hor . 7,7, Ben Kingsley, Michael 

Madsen Dir Roger Donaldson. 

Li 

Don Juan De Mari;o, Com /Dram, D, PG-1 3. 

til: 

New Line 

(212)239-8880 

4/7, 97 min . DTS, Dolby A Flat Marlon 

Brando Johnny Depp W/dir Jeremy Leven 

Friday. C. R, 4/28, Ice Cube 

The Baslrelball Diaries. D, R. 4/21, 102 min, 

DTS, SRD. Flat Leonardo DiCaprio Dir: Scott 

IVIy Family (Mi Familial. D. R. 5/3. 126 mm 

, 

DTS, Dolby A, Flat Edward James Dimes, 

Jimmy Smits Dir Gregory Nava 

(310)854-5811 

Kaivert 

Paramount 

(213)956-5000 

Stuart Saves His Family. C, PG-1 3, 4/12, Al 

Franken, Dir 

Harold Ramis. 

Braveheart, Ac/D, R, 5/24, Mel Gibson, Sophie 

Marceau, Dir Mel Gibson 

Congo, 6/9, Thr., Summer '95. Dir: Frank Marshall. 

Indian in the Cupboard. Fam . 7/14. 

Clueless. C, 7:19. Alicia Silverslone. Dir: 

Amy Heckerling. 

(212)333-4600 

Samuel 

Goldwyn 

The Last Good Time, 4/7. Armin Mueller- 

Stahl Dir: Klaus Volkenborn 

Rampo. D, 5/19, 101 mins., SR, SRD, Flat. 

Dir Kazuyoshi Okuyama 

The Perez Family. D. R. 5/12. 110 mins 

. 

Dolby A, Flat Marisa Tomei, Anjelica Huston, 

Dir 

Mira Nair 

Wigstock: The Movie, Doc , 6/95, NR, 82 

mins.. Mono, Flat RuPauL Dir: Barry Shils. 

(310)552-2255 

TriStar 

3 Ninjas Knuckle Up. Ac /Fam . PG-13 

Jury Duty. C. PG-13. 4/12. Dolby A, SR, 

SODS, Flat. Pauly Shore, Tia Carrere 

Johnny Mnemonic, Sci-Fi, R, 5/26, Keanu 

Reeves Dir Robert Longo 

(310)280-8000 

20th (^ntuiy 

Fox 

(310)277-2211 

Kiss ol 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, 130 mins , Meg 

Ryan. Kevin Kline. Dir Lawrence Kasdan 

Die Hard With a Vengeance. Ac, R, 5/19 

(Memorial Day). 130 mins . DTS. SDDS. 

SRD. Anamorphic. Bruce Willis, Jeremy 

Irons, Dir John McTiernan 

Mighty Morphin Power Rangers: The Movie 

6/30. DTS. Rat. Dir: Bryan Spicer 

Nine Months. C.7/14. DTS. Anamorphic. 

Hugh Grant. Robin Williams. Dir: Chns Columbus 

A Walk in the Clouds. D. PG-13. 7/28. 96 

mins . Anamorphic. Keanu Reeves. Anthony 

Quinn, Dir Alfonso Arau 

Universal 

The Cure, D, 4/21 , 

Peter Horton 

Annabella Sciorra, Dir: 

Village of the Damned, Hor , 5/5. 95 

mins 

, SR, Flat Christopher Reeve, 

Kirstie Alley Dir John Carpenter 

Apollo 13, D. 6/30 . 135 mins.. DTS. SR. 

Super 35mm Tom Hanks. Dir: Ron Howard 

Water Wortd. 7/28. Ac/SF, DTS. SR, Rat. 

Kevin Costner 

HM 

(818)777-1000 

Casper. Fant /C. PG, 5/26, 96 mins,, DTS, SR, 

Flat Christina Ricci, Dir: Brad Silberlmg 

(212)759-7500 

Warner Bros. 

(818)954-6000 

A Llltle Princess. Fam./C, G, 5/19 (Easter), 98 

mills . SRD, Flat Dii Alfonso Cuaron 

The Bridges of Madison County. D, 6/2 PG- 

13, June 2, 135 niins , SRD. DTS. Flat Clint 

Eashvood, Meiyl Stieep, Dii Clint Eastwood. 

Batman Forever (Batman 3), Ac-Fant . 6/16, 

Val Kilniei, Jiiii Caiiey, Toiiiiiiy Lee Jones 

Under Siege II: Dark Territory Ac, 7 1 

SRD, Aiidmorphio vSte\'eii Se^^gal Sintimi 

Free Willy 2: Tlie Adventure Home 

Fanv/Adv . . Jason James Rictilei

w 

FEATURE CHART— JULY 

August September Forthcoming

I Id 

BOXOFFICE Independent Feature Chart JULY 1995 

M\i 

Arrow 

212-332-8140 

Bandit Queen (India), Dra/Adv, 

NR, 1 1 9 min. Seema Biswas. Dir: 

Shekar Kapur. 6/30 

Capitol 

202-363-8800 

The Silences of the Palace 

(France/Tunisia), Com/Dra, NR, 

127 min. Amel Hedhilis, Mend 

Sabri. Dir: Moufida TIatli. 

Castle Hill 

212-888-0080 

Hotel Sorrento, Com/Dra. Caroline 

Coodall. Dir: Richard Franklin. 

Filmhaus 

310-320-8383 

Black Bomber, Dra, NR, 1 1 6 min. 

Dragan Bjelogrlic. Dir: Darko 

Bajic. 

Liability Crisis, Dra, NR, 80 min. 

Mirjana Jokovic. Dir: Richard 

Brody. 6/2 

Mod F Explosion, Act, NR, 7S 

min. Amy Davis. Dir: )on 

Moritsusgu. 

Kit Parker 

800-538-5838 

Arizona Dream, Com, NR, 142 

mm. lohnny Depp, Faye 

Dunaway. Dir: Emir Kusturich. 

Blaxploitation Festival (reissues 

of "Superfly" and other titles). 

6/28 New York, San Francisco 

Miramax 

213-845-4200 

Belle de Jour (reissue of 1967 

French classic), Dra. Catherine 

Deneuve. Dir: Luis Bunuel. 6/28 

The Glass Shield, Thr. Michael 

Boatman, Lori Petty. Dir: Charles 

Burnett. 6/2 

Les Visiteurs (France), Com, 1 06 

min. jean Reno, Christian Clavier. 

Dir: lean-Marie Poire. 

The Postman (II Postino) (Italy), 

Dra. Massimo Troisi. Dir: Michael 

Radford. 6/16 

Smoke, Dra. Harvey Keitel, William 

Hurt. Dir: Wayne Wang. 6/9 

Northern Arts 

413-268-9301 

Devotion, Dra, NR, 1 23 min. Jan 

Derbyshire. Dir: Mindy Kaplan. 

ULY/CURREN 

Cinema Parallel 

410-442-1752 

The Cow (Czechoslovakia), Dra, 

NR, 86 min. Alena Mihuloz. Dir: 

Kaarel Kachyna. 

First Run 

Friends (South Africa), Dra, 109 

min. Kerry Fox, Michele Burgers. 

Dir: Elaine Proctor. 

Midnight Dancers (Philippines), 

Dra, 1 1 5 min. Dir: Mel Chionglo. 

Greycat 

The Plutonium Circus, Doc, NR, 

73 min. Dir: George Ratliff. 

I.R.S. 

310-838-7800 

Johnny 100 Pesos, Dra, NR, 90 

min. Armando Araiza. Dir: Gustavo 

Graes Marino. 

Roosters, Dra. Edward James 

Olmos, Sonia Braga. Dir: Robert 

M. Young. 

October 

212-332-2480 

Smoking and No Smoking (double 

feature), Dra, NR, 285 min. 

Sabine Azema, Pierre Arditi. Dir: 

Alain Resnais. 

Savoy 

310-247-7930 

Dr. Jekyll and Ms. Hyde, Hor. 

Sean Young, Tim Daly. Dir: 

David Price. 7/28 

Shadow 

207-872-5111 

Dance Me Outside (Canada). 

Com/Dra, NR, 84 min. Ryan 

Black, Adam Beach. Dir: Bruce 

McDonald. 

Sony Classics 

Living in Oblivion, Com, 91 min. 

Steve Buscemi. Dir: Tom DICillo. 

Strand 

Postcards From America, Doc, 

93 min. David Wojnarowicz. 

7/21 New York. Los Angeles 

Zeitgeist 

272-274-7989 

Art for Teachers of Children. Dir: 

Jennifer Montgomery. 

Ballot Measure 9, Doc. Dir: 

Heather MacDonald. 

Fine Line 

212-649-4800 

An Awfully Big Adventure, Dra 

Alan Rickman, Hugh Grant. Du 

Mike Newell. 

The Incredibly True Adventure of 

Two Girls in Love, Com/Dra. Laurel 

Holloman. Dir: Maria Maggenti. 

UGUS 

Fine Line 

Double Happiness (Canada), 

Dra. Sandra On. Dir: Mina Shum. 

First Look 

310-855-1199 

Party Girl, Com, R, 98 min. Parker 

Posey, Omar Townsend. Dir: 

Daisy von Scherler Mayer. 

First Run 

212-243-0600 

Heaven's a Drag tU.K.), Com, 96 

min. Thomas Arklie, Ian Williams. 

Dir: Peter Litten. 6/23 

I, the Worst of All {Argentina), 

Dra, 100 min. Assumpla Serna, 

Dominique Sanda. Dir: Maria 

Luisa Bemberg. 

Greycat 

702-737-0670 

Meet the Peebles (Puppetry), 

Hor/Com, NR, 96 min. Dir: Peter 

lackson. 

The Neapolitan Mathematician, 

Dra, NR, 108 min. Carlo Cecchi. 

Dir: Mario Martone. 

Kino 

212-629-6880 

Hyenas ISi-ni'fi.ill. I)r,i, NR, 113 

mm. Dir: D|il)ril Diop Mambety. 

The late Massimo Troisi and Philippe Noiret in Miramax s "The Postman.' 

Seventh Art 

213-845-1455 

Sister My Sister, Dra, 92 min. Julie 

Wallers. Dir: Nancy Meckler. 

Sony Classics 

212-833-8833 

Love and Human Remains, Dra, 

R, ')') min. Dir: Denys An and. 

Safe, Dra, Jiilianne Moore. Dir: 

Todd Haynes. 

Strand 

212-247-4100 

Wild Reeds (liance), Dra, NR, 

mm. I ri'dcric Gorny. Dir: 

Andre lechinc. 6/1 .S New York 

Miramax 

Country Life, Com/Dia. .Sam 

Neill, Greta Scacchi. Dir: Michael 

Blakemore. 7/14 

The Crude Oasis, Dra. Jennifer 

Taylor. Dir: Alex Graves. 7/7 

Grosse Fatigue, ( Om. Carole 

Bouquet. Dir: Mic hcl Blanc. 7/1 4 

The Innocent, Ihr, 1 18 min. Anthony 

Hopkins, Isalx'lla Rossellini. 

Dir: |ohn Schlesinger. 

Kids, Dra. Dir: Larry Clark. 7/21 

New Yorker 

212-647-1850 

I Can't Sleep (France), Dra. 

Katorina Golubeva. Dir: Claire 

Denis. 

Fox Searchlight 

310-369-1000 

The Brothers McMullen, Dra. 

lack Mulcahy. Dir: Edward Burns. 

8/9 New York, Los Angeles 

Gramercy 

310-777-1960 

lack and Sarah, Rom. Richard E. 

Grant. On: Tim Sullivan. 8/1 1 

Mallrats, Com/Adv. Shannen 

Doherty. Dir: Kevin Smith. 8/4 

The Usual Suspects, Sus. Kevin 

Spacey, Gabriel Byrne. Dir: Brian 

Singer. 8/1 

Kit Parker 

Broken Harvest ilrelandl. Dra, 98 

min. Colin lane, Niall O'Brien. 

Dir: Maurice O'Callaghan. Boston 

Miramax 

Arabian knight, \ni. Voice: Vincent 

Price. Dir: Richard Williams. 

8/4 

God's Army, Dra 8'2S 

Hellraiser 4: Bloodline, Hor. 

Doug Bradley, liiuce Ramsey. 

Dir: Kevin Yaghor. 8/1 1 

70 BOXOFFICE

BOXOFFICE Independent Feature Chart JULY 1995 

lane Eyre, Dra. William Hurt, 

Anna Paquin. Dir: Franco 

Zeffirelli.8/11 

A Month by the Lake, Rom/Com. 

Vanessa Redgrave. Dir: John 

Irvin. 8/18 

Purple Noon (Plein Soleil) (reissue 

of 1959 French classic), Dra. 

Alain Delon. Dir: Rene Clement. 

Orion Classics 

310-282-0550 

Jeffrey, Rom/Com. Steven 

Weber. Dir: Christopher Ashley. 

Savoy 

Faithful, Com/Thr. Chazz Palminteri, 

Cher. Dir: Paul 

Mazursky. 8/18 

Learning Curves (aka My Generation), 

Rom/Com. Jason London, 

Tia Carrere. Dir: Bruce Leddy. 

8/11 

Scenes for the Soul, Dra. Dir: 

George Tillman Jr. 8/25 

Steal Big/Steal Little, Act/Com. 

Andy Garcia. Dir: Andy Davis. 8/25 

SeventI) Art 

Pigalle (France), Dra. Dir: Karim 

Dridi. 

Wall of Silence (Totschweigen), 

Doc. Dirs: Margareta Heinrich 

and Eduard Erne. 

Sony Classics 

Call Me Victor ()e M'Appelle Victor) 

(France), Com, PC, 100 min. 

Jeanne Moreau, Micheline Presle. 

Dir: Guy lacques. 

Mute Witness, Thr, 90 min. Marina 

Sudina. Dir: Anthony Waller. 

Persuasion, Dra. 

Strand 

River of Grass, Com/Dra. Dir: 

Kelly Reichardt. 8/25 

Roy Cohn/Jack Smith, Dra. Ron 

Vawter. Dir: Jill Codmillow. 

World and Time Enough, Dra. 

Dir: Eric Muller. 

Tara 

415-454-5838 

A Fine Specimen, Com, NR. Lisa 

Eichorn. Dir: Vern Oakley. 

Zeitgeist 

1-900 (Netherlands), Dra. Dir: 

Theo Van Gogh. 

EPTEMBER 

Fine Line 

The Promise, Rom/Dra. Corinna 

Harfouch. 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 Parker 

Queen of Outer Space, SF, NR, 

79 min. Zsa Zsa Gabor, Eric Fleming. 

Dir: Edward Bernds. New 

York 

Miramax 

The Prophecy, SF. Christopher 

Walken. Dir: Gregory Widen. 

9/1 

October 

The Cemetery Man 

(France), 

FHor/Com. Rupert Everett. Dir: Michele 

Soavi. 

DECEMBER 

Sony Classics 

City of Lost Children. Ron Perlman. 

Shanghai Triad, Dra. Gong Li. 

Dir: Zhang Yimou. 

ANUARY 

Fine Line 

The Grass Harp, Com. Walter 

Sony Classics plans an 800-screen release for August's "Mute Witness. 

Tara 

Black !s...Black Ain't, Doc, NR, 

87 min. Dir: Marlon Riggs. 

Trimark 

310-392-2000 

Separate Lives, Thr, R. James 

BeJushi. Dir: David Madden. 

Two Guys Talkin' About Girls, 

Com. DanCortese. Dir: Steven Pearl. 

OCTOBER 

Miramax 

Halloween 6, Hor. Donald Pleasance. 

Dir: Joe Chappelle. 

New Yorker 

Lamerica (Italy), Dra. Enrico Lo 

Verso, Michele Placido. Dir: 

Gianni Amelio. New York 

Trimark 

Kicking and Screaming. Eric 

Stoltz. Dir: Noah Baumbach. 

NOVEMBE 

Gramercy 

Carrington, Dra. Emma Thompson. 

Dir: Christopher Hampton. 

Loch Ness, Com. Ted Danson. 

Matthau, Sissy Spacek. 

Charles Matthau. 1/3/96 

FORTHCOMING 

Dir: 

Cinevista 

212-947-4373 

Sicario (Venezuela). Laureano 

Olivarez. Dir: lose Novoa. 

Filmhaus 

Two Plus One, Rom/Com. William 

Sage, Deirdre Lewis. Dir: Eugene 

Martin. Summer 

Fine Line 

Frankie Starlight, Dra. Anne 

Parillaud, Matt Dillon, Gabriel 

Byrne. Dir: Michael Lindsay- 

Hogg. Fall 

Total Eclipse, Dra. David Thewlis, 

Leonardo DiCaprio. Dir: 

Agnieszka Holland. Fall 

Gramercy 

A Pig's Tale, Com, PC. Graham 

Slack. Dir: Paul Tassie. Summer 

Portrait of a Lady. Nicole Kidman. 

Dir: Jane Campion. 

Grey cat 

Fun, Dra, NR, 105 min. Renee 

Humphrey, Alicia Witt. Dir; Rafael 

Zelinsky. 

Kit Parker 

A Clockwork Orange (reissue of 

U.K. original), Dra, X, 137 min. 

Dir: Stanley Kubrick. 

Body and Soul (reissue; part of "In 

Glorious Black and White" series; 

five other titles follow this listing), 

Dra, NR, 104 min. John Garfield, 

Lilli Palmer. Dir: Robert Rossen. 

Caught (reissue), Dra, NR, 88 

min. James Mason, Barbara Bel 

Geddes. Dir: Max Ophuls. 

Force of Evil (reissue), Dra, NR, 

78 min. John Garfield, Beatrice 

Pearson. Dir: Abraham Polonsky. 

Moonrise (reissue), Dra, NR, 91 

min. Dane Clark, Gail Russell. 

Dir: Frank Borzage. 

The Pitfall (reissue), Dra, NR, 86 

min. Dick Powell, Lizabeth Scott. 

Dir: Andre de Toth. 

Riot in Cell Block 11 (reissue), 

Dra, NR, 80 min. Neville Brand, 

Frank Faylen. Dir: Don Siegel. 

Miramax 

Blue in the Face, Dra. Harvey 

Keitel, Roseanne, Madonna. 

Dirs: Wayne Wang and Paul 

Auster. 

The Crossing Guard, Dra. Jack 

Nicholson, Anjelica Huston. Dir: 

Sean Penn. Fall 

Four Rooms (vignettes), Dra. Tim 

Roth, Bruce Willis. Dirs: Alison 

Anders, Alexandre Rockwell, 

Robert Rodriguez and Quentin 

Tarantino. Fall 

The Horseman on the Roof, 

Adv/Rom. Juliette Binoche. Dir: 

Jean-Paul Rappeneau. Fall 

The journey of August King, Dra. 

Jason Patric. Dir: John Duigan. Fall 

Restoration, Dra. Robert Downey 

Jr., Meg Ryan. Dir: Michael Hoffman. 

Fall 

Talkof Angels, Dra. Polly Walker. 

Dir: Nick Hamm. Fall 

Things to Do in Denver When 

You're Dead, Act/Com. Andy 

Garcia, Gabrielle Anwar. Dir: 

Gary Fleder. Fall 

Victory, Sus. Willem Dafoe. Dir: 

Mark Peploe. Fall 

Savoy 

Around the Block. Fall 

Foreplay, Thr. Winter 

Goldbergs and Romanos. Fall 

Inflammable. Fall 

Let It Be Me, Dra. Campbell 

Scott, Jennifer Beals. Dir: Eleanor 

Bergstein. Fall 

Skouras 

310-285-5455 

A Boy Called Hate, Dra, 105 min. 

Scott Caan, James Caan. Dir: 

Mitch Marcus. 

A Business Affair, Rom/Com, R. 

Christopher Walken, Carole Bouquet. 

Dir: Charlotte Brandstrom. 

Triumph 

310-280-8000 

Magic in the Water, Com/Adv. 

Mark Harmon. Dir: Rick Stevenson. 

Screamers. Winter. 

July, 1995 71

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EXHIBITION BRIEFINGS 

THERE'S THE 

(ALCOHOL) RUB 

Cmeplex Odeon Corp. and Cinemark USA 

Inc. announced that they have mutually 

agreed to terminate plans to implement their 

intended $350 million merger, which would 

have resulted in the formation of the world's 

largest theatre company, with over 500 theatres 

and nearly 2,900 screens. This decision 

followed Montreal-based beverage marketer 

Seagram Co.'s $5.7 billion acquisition of 80 

percent of MCA Inc., a major Cineplex shareholder. 

Seagram's controlling shareholder, 

the Bronfman family, also has a trust that owns 

a significant share of Cineplex. The MCA 

acquisition therefore gave the Bronfmans 

more voting rights than Vice Chairman and 

Chief Executive Officer of Cinemark Lee Roy 

Mitchell, and this reportedly caused the collapse 

in negotiations. Mitchell and Allen 

Karp, president and chief executive officer of 

Cineplex Odeon, indicated that they plan to 

explore possible joint opportunities in the 

future on a much less ambitious level than a 

full merger. 

PRESIDENT ELECTS 

TO STAY ON AT NATO 

Reversing his decision to resign as president 

of the National Association of Theatre 

Owners when his contract expires at the end 

of 1995, William F. Kartozian has agreed to 

stay on tor another two years. "We are obviously 

extremely pleased and grateful that Bill 

has agreed to stay on," says NATO chairman 

Pete Warzel. "His extraordinary acumen has 

been well-tested, and everyone in NATO is 

keenly aware that Bill is the logical choice to 

provide our organization with the necessary 

stability and continuity it needs to build and 

grow for the future." Kartozian left his position 

as president in 1992 and was replaced by 

Harmon "Bud" Rifkin, but returned in 1993 

when Rifkin's health problems forced him to 

resign. (Rifkin passed away April 29; see obituary 

below). Kartozian, a graduate of both 

Stanford University and Harvard Law School, 

began his exhibition career in 1 967 when he 

joined the United Artists Theatre Circuit as its 

vice president and corporate counsel. He 

founded his own theatre circuit. Festival Enterprises, 

which had more than 100 screens 

in Northern California at the time it was sold 

to Paramount Communications in 1986. 

Kartozian became president of NATO in 

1988. NATO is the world's largest motion 

picture exhibition trade association, representing 

more than 1 4,000 screens throughout 

N(jrth

NATIONAL NEWS 

DREAM OF $1 BILLION A REALITY 

South Korea-based One World Media 

Corp. is investing $300 million in 

DreamWorks SKC. This, combined with 

Microsoft co-founder Paul Allen's recent investment 

of $500 million and other investments, 

brings Steven Spielberg, Jeffrey 

Katzenberg and David Ceffen very close to 

their goal of $900 million in outside funding 

for their film, television and multimedia entertainment 

company. DreamWorks' founding 

triumvirate put up $100 million among 

them for a 67 percent stake; outside investors 

will splita 33 percent stake, with Allen taking 

1 8.5 percent and One World 1 0.8 percent. 

At press time, DreamWorks was also talking 

with Seagram Co. Chief Executive Officer 

Edgar Bronfman )r. about an alliance with 

MCA/Universal, under which MCA would 

have international theatrical distribution 

rights to DreamWorks films. Seagram acquired 

80 percent of MCA from Matsushita 

Electrical Industrial Corp. in April for $5.7 

billion. Terms of the DreamWorks/MCA deal 

are reportedly nearly finalized. 

In a related item, director/producer 

Spielberg recently announced at a ceremonial 

dinner for the Artists Rights Foundation 

that DreamWorks intends to grant its 

filmmakers "moral rights" to protect the original 

versions of their films after release. Infringements 

on these rights would include 

colorization, re-editing, technological alterations 

or any other changes made post-release. 

MUSICAL CHAIRMAN? 

Creative Artists Agency Chairman Mike 

Ovitz has refuted speculation that he plans 

to close a deal with Seagram's Edgar Bronfman 

Jr. 

to take over Lew Wasserman's position 

as MCA chairman. (Wasserman would 

then be shifted to a chairman emeritus position). 

Rumors still persist, however, based in 

part on articles in The New York Times predicting 

the move, and on the claims of investment 

bankers, analysts and Hollywood 

insiders who assert Ovitz is talking to MCA. 

Several sources have even outlined points in 

the discussions. Reportedly, Ovitz will only 

make the move if a DreamWorks SKG/MCA 

pact goes through (see above). Ovitz denies 

there have been any negotiations, and CAA 

maintains that Ovitz is not leaving the 

agency. 

IT'S A CUTTHROAT INDUSTRY 

Carolco's much-publicized financial troubles 

continue to spiral downward. The independent 

film company began selling off 

development assets earlier this year in order 

to keep alive "Cutthroat Island," the $80 

million Renny Harlin-directed epic pirate 

actioner starring Ceena Davis. Now, as part 

of an ongoing effort to make cutbacks in staff 

and overhead, Caroico has sold its building 

at 8800 Sunset Blvd. to real estate investment 

company Dolphinshire L.P., the mortgage 

holder. Caroico continues to occupy office 

space in the building through a lease arrangement 

with Dolphinshire. Meanwhile, "Cutthroat," 

intended to be a summer blockbuster 

and the company's financial savior, has been 

pushed back to a Christmas release because 

the May delivery date could not be met for its 

originally scheduled July 21 release through 

MGM. 

Pioneer Electric Corp., which owns 41 

percent of Caroico, feared throwing good 

money affer bad and announced it would 

write off' $90 million in losses from its investment. 

This ruled out the possibility of a fiscal 

infusion, thereby placing Caroico on the 

vergeof bankruptcy and possible liquidation. 

OCTOBERFRETS 

Lipsky, October Films' founding part- 

Jeff 

ner and co-managing executive in charge of 

marketing and distribution, abruptly resigned 

left Lipsky 

from thecompany in April. Conflicts between 

Lipsky and his partners, Bingham Ray, Amir 

Malin and John Schmidt, were reportedly the 

reason behind his departure, though Lipsky 

would only say he wanted to "pursue other 

interests." Sources speculated that October 

bought out Lipsky's share for about $1 million. 

October's recent releases include "Red 

Firecracker, Green Firecracker," "Moving the 

Mountain" and "Search and Destroy." October 

grabbed headlines earlier this year when 

the company sued the Academy of Motion 

Picture Arts and Sciences in an unsuccessful 

attempt to make eligible its acclaimed film 

"The Last Seduction," which was disqualified 

because it had been shown on HBO prior to 

receiving a Los Angeles theatrical release, 

which is prohibited in AMPAS regulations. 

Lipsky founded October Films with Ray in 

1991. 

EXPORTS BRING IN $4.1 BILLION 

1994 was a record-setting year for American 

international distribution receipts. The 

major U.S. film distributors took in nearly 

$4.1 bill ion from theatres worldwide, beating 

lastyear's record by approximately $700, 000. 

Germany proved to be the top export market, 

a position held by second-place Japan for the 

previous nine years. 

MGM AND DANJAQ WIN 

INJUNCTION AGAINST HONDA 

Metro-Goldwyn-Mayer Inc. and Danjaq 

Inc. have won their request for a preliminary 

injunction against American Honda Motor 

Co., with a federal court in Los Angeles enjoining 

Honda from any further broadcasts of 

a Civic del Sol commercial. MGM and Danjaq 

alleged that the commercial was a "patent 

ripoff" of the James Bond character. "The 

Court believes that Plaintiffs are likely to 

prevail on their copyright claims," said Judge 

David V. Kenyon, who ruled that "several 

specific aspects of the Honda commercial 

appear to have been lifted from the James 

Bond films." The court rejected Honda's 

claim that the James Bond character is not 

sufficiently developed to warrant independent 

copyright protection. MGM's 17th installment 

of the Bond series, "Goldeneye," is 

being cross-promoted with BMW, who designed 

the new roadster used in the film as 

Bond's "company car." The film stars Pierce 

Brosnan and is slated for a Thanksgiving 

release. 

ONE MAN'S POISON... 

while campaigning in Ohio, Sen. Bob 

Dole, the Republican presidential front-runner, 

publicly admonished Hollywood because 

he feels the entertainment industry 

"poisons the mindsof our young people." He 

further stated on "Meet the Press"; "If I'm the 

President of the United States, I'm going to 

encourage consumers to. ..not patronize 

these movies," in reference specifically to 

"Priest," a film that incited furor and boycotts 

from the religious right. Although Dole says 

he does not believe censorship is the answer, 

he believes we should "hold Hollywood accountable 

for putting profit ahead of common 

decency." 

A NEW ALLIANCE 

Alliance Communications Corp., 

Canada's largest independent producer, received 

shareholder approval for a stock restructuring 

plan in an attempt to gain U.S. 

investors. The plan involves reclassifying Alliance 

common shares into voting and nonvoting 

classes, with each common share 

being exchanged for one-half of a Class A 

voting share and one-half Class B nonvoting 

share. All shareholders will retain their current 

proportional share of equity and voting 

control. Alliance Chairman Robert Lantos 

said that limitations would be put on U.S. 

control of Alliance so that the company 

would remain eligible for film and television 

funding support from the Canadian government, 

along with regulatory benefits. 

July, 1995 75

••••• 

CANNES REVIEWS

CANNES REVIEWS 

In the key roles, Hugh Grant plays Meredith 

Potter, an exacting director of a 

repertory company whose desperate 

town is still recovering from years ofbombardment; 

dreaming of escape from the 

blue-collar aunt and uncle who care for 

her, a motherless girl, Stella (Georgina 

Gates), joins the rep as assistant stage 

manager and falls in love with Potter; 

with ticket sales slow for the rep's season, 

a much-admired actor, PL. O'Hara (Alan 

Rickman), comes aboard for a run of 

"Peter Pan". Not only does audience turnout 

increase, but Stella is able to matterof-factly 

lose her virginity with O'Hara in 

her continuing pursuit of understanding 

life. Although it 

strains credulity, what comes 

nextbetween Stella and O'Hara 

(who still pines for a young 

woman who'd exited the Isles 

years ago) carries a powerful 

emotional impact. 

As does the film as a whole. 

What will make this a tough sit 

for mainstream stateside audiences 

when Fine 

Line begins 

its rollout late this month, however, 

are the movie's themedarkness 

and desperation 

reside inside every human 

soul— and its dialogue, which 

with its Liverpudlian lingo 

sometimes resists decipherization. 

(The name of the film's 

costume trainee— one Eimer 

Ni Mhaoldomhnaigh— symbolizes this 

difficulty.) The usually light Grant performs 

admirably in this darker turn, and 

Rickman is equally on the money, but it's 

Gates who captures the most attention, 

not only because her character is the 

film's focus but because she seems to 

inhabit Stella's cells. Unlike those of 

Newell's recent optimistic work, the denouement 

here is depressing, but for specialized 

audiences who value artistic 

excellence this might be a minor-key 

masterpiece.— KiHi Williamson 

SAFE •••1/2 

Starring Julianne Moore. 

Directed and written by Todd 

Haipies. Produced by Christine Vachon. 

In Cannes' Directors Fortnight. A 

Sony Classics release. Drama. Rated R 

for a sex scene and some language. 

Running time: 118 min. 

What would you do if you discovered 

your environment was toxic— so toxic 

you couldn't live in it anymore? That's 

the dilemma facing Carol White (Julianne 

Moore) in "Safe." Moore is fascinating 

as an affluent housewife whose 

insulated existence in Southern 

Galifornia's San Fernando Valley is presumed 

"safe." The wife of a corporation 

man, she's demure and pleasant as she 

attends to her routine— picking up the 

dry cleaning, meeting friends for lunch, 

driving the Mercedes to the mall. Suddenly, 

she begins experiencing anxiety 

attacks, nose bleeds and fits of vomiting. 

FLASHBACK: NOVEMBER 10, 1958 

What BOXOFFICE said about.... 

FATHER PANCHALI 

[For the first time in four decades, a classic film from India was slated 

at Cannes. Satyajit Ray's "Father Panchali," which won the fest's Human 

Document Prize in 1956, was set for a May 18 Director's Fortnight 

screening presented by the Merchant & Ivory Foundation and the Academy 

of Motion Picture Arts and Sciences Film Archive, which have 

restored many of the late director's works. This summer, Sony Classics 

continues its rollout of "Father Panchali" and eight other Ray titles.] 

As the first major Indian film to be 

shown in the U.S., this tragic and truthful 

drama about life and death in a povertystricken 

Brahman family is powerful, 

out-of-thc-ordinary fare for art-house patrons. 

Produced and directed by Satyajit 

Ray, who also wrote the screenplay, this 

has won many awards, including at 

Cannes — an exploitable factor for class 

^ y^ bookings. Although beautifully photo- 

•'5lfc, 

graphed (many shots are like tapestries) 

^"^ 

and splendidly acted, the picture's pace is 

too deliberate and the theme too depressing 

for general audiences. 

But, for those discerning moviegoers 

who appreciate the unusual or exotic, it 

will prove an unforgettable experience. 

The acting is intensely real, with Uma Das 

Gupta giving a sensitive portrayal of 

Durga, the young girl who steals fruit for 

her old grandaunt but loves her mother and little brother, and Chunibala 

Devi is both touching and amusing as an aged crone. The latter's pitiful 

death in a field, alone and unwanted, is a dramatic highlight. In the end, 

after more heartbreak for the devoted family, they set out hopefully for 

another city with their meager belongings. 

Her physician, a paternal type, believes 

her problems are but psychological. 

Xander Berkeley is stunningly cold as 

Carol's husband, Greg. His relationship 

with his wife is shallow and uncommunicative 

as the two play out their traditional 

marital roles. Eventually, it becomes apparent 

that Carol's illness results from 

environmental sensitivity; she can no 

longer tolerate traffic fumes, perfume 

fragrances and the everyday chemicals 

surrounding her. She leaves for an Albuquerque 

holistic center whose sterile environment 

comes complete with face 

masks, oxygen tanks, purified water and 

foods with reduced mold antigens. Carol 

begins to metamorphosize as she's forced 

to live life on its own terms. 

The multilayered "Safe" takes a hard 

look at our world. It's a beautiful movie, 

featuring haunting music and bold visuals. 

But it's anything but comfortable: 

This film will give audiences a frightening 

outlook on their world. In "Safe," 

which Sony Classics had slated for a solo 

debut in New York in late June, 

writer/director Todd Haynes ("Poison," 

"Superstar: The Karen Carpenter Story") 

once again takes thought-provoking subject 

matter and turns it into a meaningful 

visual commodity. —Pat Kramer 

LISBON STORY ^^1/2 

Staning Riidiger Vogler and Patrick 

Bauchaii. 

Directed and written by Wim 

Wenders. Produced by Ulrich Felsberg 

and Paolo Branco. 

In Cannes' Un Certain Regard. No 

distiibiitor set. Mystery. Not yet rated. 


Winner of three major awards at previous 

Cannes fests (for "Paris, Texas," 

"Wings of Desire" and "Faraway, So 

Close"), writer/director Wim Wenders 

finds himself out of the competition selection 

and in the less prestigious Un 

Certain Regard sidebar. And with good 

reason. Moving him ever closer to complete 

incongruity, Wenders' latest effort 

showcases both the best and worst of the 

famed German auteur's aesthetics. 

The mostly English-language "Lisbon 

Story" centers on the curious adventures 

of a movie sound technician (a compelling 

Rudiger Vogler) who bolts to the 

Portuguese capital at the urgent call of a 

filmmaker friend for whom he's been 

assembling a soundtrack. Upon his arrival, 

he discovers his friend has disappeared, 

leading the technician into an 

apparently thickening web of intrigue. 

July, 1995 R-55

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CANNES 

DEMISE CALLS UP ^^1/2 

Staniug Tim Daly. 

Directed and written by Hal Saliven. 

Produced by J. Todd Harris. 

In Cannes' Critics Week. No distributor 

set. Comedy. Not yet rated. Running 

time: 79 niin. 

A film that's literally talking headsscene 

after scene of people engaging in 

phone conversations — comes with 

a 

built-in uh-oh factor, but "Denise Calls 

Up" is, if limited, a surprising success. 

The phonecord-tangled storyline pairs 

off three twosomes: an ex-boyfriend 

("Year of the Comet's" Tim Daly) and 

ex-girlfriend (Dana Wheeler Nicholson) 

trying to arrange a blind date between 

two of their single friends (Liev Schrieber 

and Caroleen Feeney), plus a pregnant 

woman (Alanna Ubach as the titular Denise) 

who's telephonically tracked down 

the man (Dan Gunther) who provided 

her sperm-bank donation. 

The conceit of this Davis Entertainment/Skyline 

Partners effort— that these 

New Yorkers are too busy in their workat-home 

schedules to ever meet in person—gives 

them a certain loonybin aura 

and undercuts writer/director Harold 

Salwen's serious interest in these emblems 

of today's angst. But the players 

bring to life a script that could've seemed 

scholastic, and Salwen keeps onscreen 

happenings interesting with numerous 

quick cuts and, at the end, one perfectly 

restful frame.— Ki'w Williamson 

RUDE ***1/2 

Starring Maurice Dean Wint, Rachel 

Crawford and Clark Johnson. 

Directed and written by Clement 

Virgo. Produced by Damon D'Olivcira 

and Karen A. King. 

In Cannes' Un Certain Regard. No 

distributor set. Drama. Not yet rated. 


Clement Virgo's feature debut is startling 

and powerful, fulfilling the promise 

of his award-winning 1993 short, "Save 

My Last Nigga' Soul." As a pirate radio DJ 

broadcasts to Toronto, various characters 

reach turning points in their lives. Maxine 

(Rachel Crawford) has been brutally 

dumped by her boyfriend after revealing 

she was having an abortion. Jordan 

(Richard Chevolleau) is a boxer whose 

participation in a gay bashing makes him 

examine his hidden homosexuality. And 

"the General" (Maurice Dean Wint) has 

left jail and is trying to reconcile with his 

loan-shark brother Reece (Clark Johnson), 

policewoman wife Jessica (Melanie 

NichoUs-King) and young son. 

Though Virgo interweaves the three 

stories, their characters never meet. It's 

a mark of his skill that "Rude" never 

falters; each tale is compelling, and none 

ends in an expected way. His structure 

also lets Virgo tackle numerous themes, 

including black perceptions and stereotypes 

of law enforcement, male/female 

relations, family responsibility and, most 

impressively, black homophobia. 

REVIEWS 

At times, "Rude" betrays a fondness for 

style over content; there are a few too 

many gorgeous shots of clouds moving 

over the city and pixelated visions of 

Toronto traffic. But there's also an exhilaration 

in every frame, coming from a 

director who can make his film look great 

(also courtesy of cinematographer Barry 

Stone) and move fast. "Rude" is one confident 

piece of work, and well acted to 

boot. It might not be quite as personal 

as "Soul Survivor" (p. R-56), by the other 

Toronto-based Jamaican filmmaker represented 

at Cannes, but Virgo's is the far 

stronger. —S/i/oMio Schwartzberg 

THE POISON TASTERS ^1/2 

Stamng Fiench Stewart, Karolina 

Rosinska, Veerlund Tliomas Bierce and 

Aga Lange. 

Directed by Vlrik Tlieer. 

Written by 

Veerlund Tliomas Bierce. Pioduced by 

Hong Ting and Veerlund Thomas 

Bierce. 

In Cannes' Ihi Certain Regard. No 

distributor set. Drama. Not yet rated. 


Shot in black and white, this exercise 

in Kafkaesque territory might rival even 

the most pretentious of the European 

entries at this year's Cannes (and that's 

saying quite a lot). Set in a small Lodz 

apartment on the eve of Nazi Germany's 

1939 blitzkrieg into Poland, this Basilik 

Films production focuses on the relationship 

between two men— an angst-ridden 

moralist, Crawford (French Stewart), and 

a cynical amoralist, Georg (Veerlund 

Thomas Bierce)— who yap and stammer 

about ethics, morality, heroism, integrity, 

anarchy, loyalty and an assortment 

of other philosophical meanderings that 

seem unlikely to occur to people on the 

verge of hostile occupation. 

While Georg is indulging his sexual 

insatiability with the landlady's daughter, 

Crawford tmds more virtuous solace 

in the friendship of Anna, a young Jewish 

girl whose fleeing family has sought shelter 

in their flat. By day's end, Crawford 

and Anna have fallen in love and married, 

at which time Crawford confides his 

and Georg's "secret." Unfortunately, this 

"Twilight Zone-ish" secret is patently ridiculous, 

making the rest of the film even 

more unnerving than it might have been 

with a halfway sensible conclusion. 

Faced with the daunting task of having 

to dig themselves out of their overwrought 

nightmare, the filmmakers decide 

to go the madness route, wherein 

everyone goes bonkers and the audience 

is left scratching their heads over the 

purposelessness of it all. Most of the 

blame lies with co-star/producer/screenwriter 

Bierce, whose triple credit can't 

begin to indicate the apparent extent of 

his self-absorption. First-time director 

Ulrik Theer might well be the only one 

to emerge relatively unscathed from the 

mess, proving himself an able and commanding 

stylist when confined to tight 

spaces. — Wade Major 

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•*••• 

REVIEWS

REVIEWS 

That neither the fihii nor its characters 

seem to know where they're headed adds 

to the invigorating sense of spontaneity. 

Occasionally dark, often hopeful but always 

intriguing, "Smoke" is a triumph of 

minimalist independent filmmaking— as 

leisurely and natural as a Sunday drive, 

and just as pleasurable. — VTrtde Major 

BRAVEHEART •*•• 

Starring Mel Gibson, Patrick 

McGoohan, Sophie Marceau and Catherine 

McCormack. 

Directed by Mel Gibson. Written by 

Randall Wallace. Produced by Mel Gibson, 

Alan Ladd Jr. and Bnice Davey. 

A Paramount release. Drama. Rated 

R for brutal medieval waifare. Running 

time: 177 min. 

It would be easy to say that director/star 

Mel Gibson in "Braveheart" has 

simply situated his Road Warrior in a 

Middle Ages context. Based loosely on 

the factual exploits of William Wallace, a 

13th-century Scot whose ruthlessness 

and talent for strategy helped his land 

win independence, the film is filled with 

enough battle carnage and hand-to-hand 

combat to sate virtually any "Road Warrior" 

fan's bloodlust. But this second Gibson-directed 

film offers much more than 

kinetic combat; it's a historical epic worthy 

of comparison to "Spartacus" and 

"Lawrence of Arabia." 

Wallace (Gibson) initially wants no 

part of his countrymen's move to drive 

the oppressive English from their soil. 

He's seen the toll taken in life and limb 

on those who dared contest the authority 

of the brutal King Edward (Patrick 

McGoohan), and he'd rather settle down 

with his lifelong love (Catherine McCormack) 

to focus on raising a family. When 

the cruelty of the occupation dashes that 

dream, however, he leads a small insurrection 

that snowballs into a revolutionary 

army strong enough to vanquish the 

king's previously indomitable troops. 

As evidenced by director Gibson's first 

directorial outing, the small and moving 

"The Man Without a Face," the star is as 

assured behind the camera as he is in 

front of it. Despite the larger scale of this 

period piece, he exhibits an even greater 

control of the medium. As with Lean's 

approach to Lawrence and (to a lesser 

extent) Kubrick's take on Spartacus, 

Gibson's presentation of Wallace never 

lets the sprawling epic elements squash 

the delicacy and elegance of the lead 

character's personal motivations. Nor 

does Gibson allow the protagonist's simply 

told story to trivialize the grandeur of 

that hero's historic exploits. Wallace's 

motivations are as plain as the love of a 

good woman, but that doesn't cheapen 

the significance of battles that cost thousands 

of lives and ultimately led to the 

alteration of European geography. Exquisitely 

shot by Oscar winner John Toll and 

superbly acted by Gibson and his entire 

supporting cast, "Braveheart" is enthralling 

for all its three hours. —Jon Silberg 

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Response No. 86

JOHNNY MNEMONIC •• 

Stamng Kcami Reeves, Dina Meyer, 

Dolph Linidgien and Ice-T. 

Directed by Robert Lotigo. Written by 

wmifon Gibson. I^xxbuxd by Don Ceo-niodij. 

A Sony /TriStar release. SFAction/Adventiae. 

Rated R for strong sci-fi idole^tce 

and language. Running time: 97 min. 

Award-winning cyberpunk author William 

Gibson's short story on which this 

film is based had a lot of potential for 

big-screen translation, but the tale shortcircuits 

in its celluloid execution. The 

filmmakers make the most of the visual 

medium with incredible computer effects 

rendering a brilliantly inventive vision 

of the future Internet interface, but 

the plot surrounding the technology 

a less than imagina- 

prognostications is 

tive race-against-time actioner enacted 

by utterly uninteresting thespians. 

Keanu Reeves stars as Johnny, a courier 

who, for a very high price, transports 

valuable information by downloading it 

into a computer implant in his brain. To 

earn enough money to buy back the 

piece of long-term memory he had to 

dump in order to make room for his 

cranial hard drive, he accepts a file transfer 

that's more than double his storage 

capabilities, causing life-threatening data 

seepage. As malevolent Pharmkom 

Corp. baddies steal part of the download 

code and chase Johnny with the intenfion 

of decapitating him to retrieve the 

information, our blank-eyed hero goes 

online and into the streets in search of 

someone who can get the information 

out before his head literally explodes. 

He hooks up with Jane (Dina Meyer), 

a saucy would-be bodyguard suffering 

from NAS, a technology-induced disease 

that has afflicted half the world. Of 

course, Jane and Johnny are to fall in 

love, but Reeves' portrayal of Johnny is 

so flat it's doubtful he would win 

anyone's affection, and there's little in 

the writing or rendering of this character 

that makes the audience care whether 

he lives or dies. 

Ice-T plays J-Bone, leader of the 

Loteks, a tribe-like resistance network of 

ragged hackers dedicated to decrypting 

corporation secrets. In a hammy performance 

as the Street Preacher, Dolph 

Lundgren's turn as a killer with a messiah 

complex who literally crucifies his 

victims is so silly he's annoying rather 

than frightening. And the ridiculous introduction 

of a computer "conscience," a 

digital personality imprint of Pharmkom's 

benevolent but now-deceased 

founder, does little to advance the plot, 

and instead seems like a shoddily 

worked-in facilitation of the far-out concept 

of combining science and parapsychology. 

There are a lot of great ideas 

here, but much more work should havi; 

been put into developing them, instead 

of throwing them all together and hitting 

"puree." The audience can only be diverted 

so long by cool laser-whips and 

neat-o graphics. —Oinsfiwc James 

REVIEWS 

CASPER •*• 

Stalling Christina Ricci, Bill Pidlman, 

Cathy Moriaitij and Eric Idle. 

Directed by Brad Silberling. Written 

by Sherri Stoner and Deanna Oliver. 

Produced by Colin Wilson. 

A Universal release. Comedy/Adventure. 

Rated PG for mild Imignage and 

tlietnatic elements. Running time: 96 min. 

Harvey Comics' classic "friendly 

ghost" and his trio of devilish uncles are 

brought to life in this entertaining 

Amblin production that also features 

four human stars and a batde of wills for 

the rights to Whipstaff Manor. Christina 

Ricci plays Kat, the daughter of eccentric 

psychotherapist Dr. James Harvey 

("While You Were Sleeping's" Bill Pullman), 

whose specialty is therapy for wayward 

spirits. Dr. Harvey's goal is to 

contact his dearly departed wife (Amy 

Brenneman). When the ghostbuster is 

hired by a greedy heiress, Carrigan 

Crittenden (Cathy Moriarty), to evacuate 

haunted Whipstaff, he gets more than he 

bargained, as he has to take on three 

feisty ghosts. Eric Idle provides plenty of 

slapstick humor as the heiress' bungling 

sidekick. But the movie's emotional bedrock 

is the friendship that builds between 

Kat and Casper, both ofwhom have been 

yearning for a friend. 

Although the seasoned Steven 

Spielberg executive produces, there are a 

lot of first-timers on this film, including 

the director, producer and screenwriters—which 

might account for some of its 

flaws. Although the effects for the manor 

and the Ghostly Trio are impressive, and 

the sound work adds a fine realistic quality, 

Casper's character more closely resembles 

a cardboard cutout than a ghost, 

and Crittenden's ghost looks like an overinflated 

balloon. Also, although apparently 

a tale intended for tots, too, some 

none-too-mild language could be objectionable 

to parents of young children. 

The actors work well with the ghostly 

effects. Newcomer Malachi Pearson is 

splendid as the voice of Casper, as are the 

voices of Stretch, Stinkie and Fatso. Cameos 

by Clint Eastwood, Dan Aykroyd and 

Father Guido Sarducci add amusing 

touches. But in the end "Casper" falls just 

short of being magical.— P«f Kramer 

A PURE FORMALITY •• 

Starring Gerard Depardieu and 

Roman Polanski. 

Directed by Giuseppe Tornatorc. 

Written by Giuseppe Toniatore and 

Pascalc Qiiignard. Piodnccd by Mario 

& Vittorio Cecchi Gori. 

A Sony Classics release. Drama. 

French-language; sublilied. Rated I'G-IA 

for brief shocking violence and monunlary 

language. Running time: lOll min. 

A violent storm rages as an unidentified 

man (Gerard Depardieu) runs frantically 

through woods in the French 

countryside. The police, investigating a 

murder committed that evening, pick 

him up and take him to an isolated station 

for questioning. It's "just a formality," 

he's told. Under interrogation by the 

Inspector (Roman Polanski), the mangj' 

stranger says he is the famous novelist 

Onoff, though he carries no identification. 

What ensues is a sophisticated, often violent 

game of cat and mouse as the two 

men match wits and wills. Is this man 

really Onoff or an impostor' (Depardieu 

fans will recall a similar theme in his "The 

Return of Marfin Guerre" and "Colonel 

Chabert.") Is he responsible for the murder? 

If he's innocent, why does he keep 

changing his story? And' why does he 

suffer memory lapses? 

Mixing shades of "Sleuth" and Kafka, 

"A Pure Formality'" begins as an artful 

psychological thriller that asks the question, 

Is it possible to kill and not remember? 

But all is not as it seems, and a 

surprise ending proves the unfolding 

murder mystery plot to be a red herring. 

A deeper metaphysical mystery is revealed 

beneath all the misdirection, 

i 

transforming the proceedings into a 

meditation on the subjects of identity, 

memory, literature, existence and death. 

But the" result plays like a dreary cross 

between an absurdist play by existentialist 

Jean-Paul Sartre and" an episode of 

"The Twilight Zone." 

Director Giuseppe Tornatore, best 

known for his Oscar-winning "Cinema 

Paradise," abandons the emofion and 

warmth of earlier character-driven work 

for cool conceptualism. The title is apt, 

for the film possesses little vitality; it opts 

for a formal approach in its dramatization 

of philosophical issues. In spite of 

convincing performances by both 

Depardieu and Polanski (making a rare 

acting appearance outside a film of his 

own direction), the movie is an overly 

symbolic, talky exercise in art-house intellectualism 

masquerading as a modern 

thriller. The surprise ending might startle 

some theatregoers, but most are 

likely to find it a predictable and gimmicky 

conclusion to nearly two hours of 

pretentious prattle.— Mic/irtc/ Hailc 

FORGET PARIS 

•*** 

Starring Billy Ciystal, Dcbra Winger, 

Joe Mantegna and Cynthia Stevenson. 

Directed and produced by Billy Ctystal. 

Written by Billy Ciystal, Lowell 

Ganz and Babaloo Mandel. 

A Columbia release. Romantic comedy. 

Rated PG- 13 for language, including 

some se.x-related dicdogue. Running 


This romantic comedy marks Billy 

Crystal's second foray (after "Mr. Saturday 

Night") into directing and is a logical 

sequel to his l!i89 hit, "When Harry Met 

.Sally...." Here, the falling-in-love is but a 

blip on the screen, and th(; action fast- / 

forwards into post-honeymoon territory, 

examining the trials and tribulations that 

can troubli- a modern marriage. 

Crystal plays Mickey Gordon, a muchon-the-road 

pro basketball referee who 

| 

R-60 BOXOFFICK

REVIEWS 

exits bachelorhood when he meets airhne 

executive Ellen Andrews (Debra Winger), 

an American living in Paris. Using a fullcourt-press 

of his charms, Mickey woos 

her and wins her— and then their troubles 

begin. Ellen gives up her beloved Paris 

and position and moves into Mickey's 

L.A. apartment [a sort of shrine to ESPN) 

while he continues his itinerant life working 

the NBA games. Left alone, her discontent 

and resentment build. When he 

agrees to take a year off from refereeing, 

the crisis is only delayed, because now it's 

his turn to burn. 

Some of the best shots and funniest 

exchanges occur on-court between 

Mickey and NBA stars doing cameo 

turns, including Charles Barkley, 

Kareem Abdul-Jabbar and Isiah Thomas. 

Crystal and fellow scribers Lowell Ganz 

and Babaloo Mandel capture the strife 

and compromise of married life with a 

blend of realism and humor. Their storytelling 

is aided by the fine supporting cast 

(Joe Mantegna, Cynthia Stevenson, Ilichard 

Masur, Julie Kavner, John Spencer 

and Cathy Moriarty) who, as Mickey and 

Ellen's mutual friends, tell the story in 

flashback while sitting in a restaurant 

awaiting the duo's arrival. The film has 

the ingredients (laughs aplenty, good storytelling, 

fine direction— and Billy Crystal) 

to make it a water-cooler movie, with 

weekend attendees spreading the word 

to their office mates. —Paula Hess 

DIE HARD WITH A 

VENGEANCE ^^^1/2 

starring Bruce Willis, Samuel L. Jackson 

and Jeremy Irons. 

Directed by John McTicman. Written 

by Jonathan Hensleigh. Produced by 

John McTicman and Michael Tadross. 

A Fox release. Action. Rated R for 

strong violence and pervasive strong 

language. Running time: 128 niin. 

'Tort Knox— it's for tourists!" sniffs the 

newest "Die Hard" Germanic bad guy, 

Simon (Jeremy Irons, doing a human 

Scar). He's after the $140 billion in the 

New York Federal Reserve, the repository 

of the gold holdings of many European 

nations, and he doesn't care how 

many Big Apple department stores, subway 

stations, water dams and cargo ships 

he has to blow up to acquire it. One thing 

he should worry about, though, is Detective 

John McClane (Bruce Willis), who 

Simon has racing around New York in a 

particularly dangerous variant of the 

children's pastime Simon Says. The 

game is all a feint to draw the police 

forces of New York away from the real 

action, but McClane— now partnered 

with a white-hating Harlem store owner 

named Zeus (Samuel L. Jackson)— sees 

through the ruse, and the real game is on. 

In audience terms, this Fox/Cinergi 

co-production is a sequel's sequel by both 

definitions: This III sets at least a silver 

standard for other sequels to go by, and 

summer audiences— already roused by 

the likes of "Bad Boys" and "Crimson 

Tide" — can be expected to start 

Hollywood'ssummer off with abigbang. 

In artistic terms, though, it's less successful, 

as Jonathan Hensleigh's script 

bounces between a right-on reality that's 

truly frightening and stretches of believability 

for which there's only more frenetic 

action to attempt damage control. 

In terms of that action, the film's first 

half is far more successful than its second, 

in which one bomb turns out to be 

a fake and another, which seems large 

enough to flatten Manhattan, proves just 

potent enough to toss McClane and Zeus 

from a boat into the water. The denouement 

is over too quickly; unlike the satisfying 

length of the slow-motion fall and 

jetfuel-fuse bad-guy death dramatics of 

parts one and two, "Die Hard With a 

Vengeance" ends so swiftly it doesn't fulfill 

its title's promise.— Ki'in Williamson 

CRIMSON TIDE ••1/2 

Starring Dcnzcl Washington and 

Gene Hacknian. 

Directed by Tony Scott. Written by 

Michael Schiffer. Produced by Don 

Simpson and Jerry Bruckheimer. 

A Bucna Vista release. Action/thriller. 

Rated R for strong language. 


Better than run-of-the-mill but not 

nearly as good as it might have been, the 

cliche-ridden "Crimson Tide" is destined to 

do some prettj' brisk business around the 

globe, largely because the films it draws so 

heavily on (some of which are granted a 

fast oral homage when crewmen entertain 

themselves by reeling off submarine 

movie titles) are so distant as to make 

"Crimson Tide" seem new. Viewers will no 

doubt be reminded of Tom Clancy novels 

tlianks to this film's popcorn political milieu 

and its emphasis on military hardware, 

but the real inspirations behind this Hollywood 

Pictures production are the platoon 

movies of the WWII era and Cold War 

sea-hunt fodder like "The Bedford Incident" 

and "Ice Station Zebra." 

Denzel Washington is the idealistic 

young XO sent to sea with a Queeg/Blighiike 

egomaniacal captain (Gene Hackman) 

on the U.S. nuclear submarine 

Alabama. Renegade Russian right-'s\'ingers 

have seized control of some of Russia's 

nuclear weapons and submarines, and 

the U.S. military is on its highest state of 

alert since the Cuban missile crisis. A 

renegade Akula-class Russian sub attacks 

our heroes, damaging their ability to receive 

radio messages and sending their 

craft plummeting toward a depth of 1 ,850 

feet, where water pressure would crush 

their ship like an egg— but at the last possible 

minute the ship rights itself. That's a 

good thing, because Washington has relieved 

Hackman of command owing to a 

disagreement over whether or not 

they've been ordered to launch their nuclear 

missiles against Russia. Hackman 

counters by leading a mutiny in an attempt 

to fire his missiles from a location 

in the lower decks. He's just about to 

launch four nukes but at the last possible 

minute Washington retakes control on 

the bridge. This makes both men furious, 

so Hackman, Washington and 

their respective loyalists square off at 

gunpoint, ready to shoot each other 

rather than risk opposing courses of 

action that each man believes may result 

in global nuclear annihilation. But 

at the last possible minute... 

And so it goes, in a plot that, despite 

some surface cleverness, repeats itself 

endlessly (there are two scenes of commanding 

officers being arrested, and two 

armed mutinies) and never delves into 

the subterranean depths of possibility 

that its underwritten script guesses at but 

fails to sound. The "war of wits" between 

Hackman and Washington has more 

than a bit of untapped potential; both are 

fine actors in top form, but after a promising 

start (with Hackman needling 

Washington, Ahab-like, in ways that suggest 

ulterior and dark desires) "Crimson 

Tide" givesboth men little to do but shout 

orders and sweat profusely. 

Director Tony Scott is among the most 

enjoyable of the new generation of stylish 

movie hacks, and his work here 

(aided by wonderful underwater effects 

footage) is tidy and brisk. He lights a 

submarine the way he lights just about 

everything— like a blue jeans commercial, 

all long lenses and gritty diffusion. 

But it's an attractive enough look, and 

Scott knows how to move his plot along 

quickly, a necessary talent when there's 

this much political mumbo jumbo and 

military technobabble to get through. 

Given its intriguing premise ("under 

what circumstances can an executive officer 

relieve his captain of command?") 

and high level of craft, a better movie 

than "Crimson Tide" could undoubtedly 

have been made with these raw materials. 

But that won't keep Disney (and resurgent 

producers Don Simpson and 

Jerry Bruckheimer) from laughing all the 

way to the bank.— Ray Greene 

••• 

FRENCH KISS 

Staning Meg Ryan, Kevin Kline and 

Timothy Hiitton. 

Directed by Lawrence Kasdan. Written 

by Adam Brooks. Produced by Tim 

Sevan, Eric Fellner, Meg Ryan and 

Katliryn F. Galan. 

A Fox release. Romantic comedy. 

Rated PG-13 for some sexuality, language 

and drug references. Running 


As in "When Harry Met Sally..." and 

"I.Q.," Meg Ryan here portrays another 

spunky charmer, the kind of role that's 

made her the dominant romantic comedienne 

of the '90s. (Make that the "early 

'90s," now that Sandra Bullock has arrived.) 

As Kate, Ryan plays a fiancee 

who, learning that her betrothed (Timothy 

Hutton) has dumped her for a young 

French lass, jets to Paris to woo him back. 

Her transatlantic seatmate is Luc (Kevin 

Kline), a Frenchman of questionable in- 

July, 1995 R-61

REVIEWS 

tegrit}' and dubious hj'giene. Lur plans a 

stolen necklace in Kate's bags to sneak it 

through customs and, while making a 

number of attempts to retrieve the jewelry, 

becomes Kate's unwanted tour 

guide and romantic advisor. 

Rebounding from the turgid "Wyatt 

Earp," director Lawrence Kasdan has 

mounted a handsome, light-hearted production 

and wins amiable turns from his 

leads. Ryan manages to bring freshness 

to what is (despite a few harder edgesj 

essentially a reincarnation of similar past 

roles. Kline exhibits his usual energy and 

physical flair but never disappears into 

his character; we're always aware of a 

talented American trj'ing to be French. 

The film's weakest link is Adam 

Brooks' script. As with most romantic 

comedies, the ending is a foregone conclusion, 

but Brooks fails to make Kate's 

fiance a serious obstacle on the me 

d'amour. Furthermore, a series of predictable 

and easily resolved complications 

(focusing on Luc's thieving past and his 

dreams for the future) propel the plot but 

distract from the true joy of a good romantic 

comedy: seeing a genuine love 

evolve between two appealing characters. 

In comparison, Richard Linklater's 

recent "Before Sunrise" far more successfully 

depicted both the romance of Europe 

and the blossoming of a relationship. 

"French Kiss" has many of the right ingredients 

for a delicate romantic souffle, but 

its undercooked script makes the result 

fall just a bit flat.— £»ic WiUimns 

MY FAMILY •••l/Z 

Stalling Jimmy Smit.s, Esai Morales, 

Edward fames Olmos and Ednardo 

Lopez Rajas. 

Directed by Gregoty Navn. Written 

by Gregory Nnva and Anna Tliomas. 

Produced by Anna Thomas. 

A New Line release. Drama. Rated R 

for strong language, some graphic violence 

and a scene of sexuality. Running 


Encompassing three tumultuous eras 

in the life of one Mexican-American family, 

Gregory Nava's ambitious and uneven 

"My Family" (also being promoted 

by the distributor as "Mi Familia") is by 

turns sentimental and charming, mawkish 

and grittily realistic. Narrated by Paco 

(Edward James Olmos), a would-be 

writer and the eldest son of the Sanchez 

family, the story begins in the 1920s on a 

note of magical realism as it follows the 

teenaged Jose (Jacob Vargas) as he attempts 

the impossible: to walk from his 

remote Mexican village to Los Angeles. 

Jose eventually meets and marries an 

American citizen, Maria (Jennifer Lopez 

and, as an adult, Jenny Gago). Pregnant 

with their third child, Maria is abducted 

by immigraticm officials and deported to 

Mexico. It takes her two years to rejoin 

her family in East Los Angeles and almost 

costs her her life, as she and her 

infant son Chucho almost drown whiUtrying 

to ford a raging river. 

After that h(jmeconiing, the narrative 

leaps to the late '50s, by which time Jose 

(now played by Eduardo Lopez Rojas) 

and Maria have six children. One daughter 

decides to become a nun, another 

marries; one son kills a rival gang member 

and is hunted by police, another becomes 

a respected attorney. 

If the stoiT sounds trite, it is. But Nava 

proves that a sensitive, imaginative director 

can breathe life into even the most 

conventional material. For example, one 

simple scene — in which the grown 

Chucho (Esai Morales) teaches the neighborhood 

how to mambo— overflows with 

exuberance. "My Familjf" does bog down 

in the middle (one set piece at a high 

school dance could have been an outtake 

from "West Side Story") but it picks up 

again in an '80s section when Jimmy 

Smits appears as the youngest, Sanchez 

(Jimmy Smits). Smits is electrifying as an 

angry yoting tnan. Best of all, however, is 

Rojas as Sanchez pere in the '50s and '80s 

segments. His bewilderment at what has 

happened to his clan in Ainerica is inovmg 

and memorable. His performance 

forms the heart of this lyrical, sweeping 

and unapologetically emotional celebration 

of family life. — Ricfc Schultz 

GORDY ••l/Z 

Staning Doug Stone, Kristy Young 

and Michael Rocscher. 

Directed by Mark Leiins. Written by 

Leslie Stevens. Produced by Sybil Robson. 

A Miramax release. Adventure. Rated 

G. Running time: 90 min. 

Talking, imperiled animals on dangerous 

but meaningful journeys are often 

the subject matter of children's films. 

This variation opens with an introdtiction 

to an adorable pig family living happily 

on a farm. Immediately, however, 

evil men prod the porcine patriarch oitto 

a truck headed for a sausage factory. 

Gordy, one of the piglets, tries to rescue 

his father but fails. As the truck pulls 

away, Gordy runs after it bleating, "I love 

you. Daddy!" It's enough to incite sobs 

and instill vegetarian tendencies in tots 

and adults alike. 

When Gordy returns to the farm, he 

finds his mother and siblings have also 

been taken away, so he sets out to find 

them. On his travels, he hooks up with a 

country singing family, is accorded hero 

status for saving a billionaire's grandson 

from drowning, becomes a spokesmodel 

and then is named a corporate CEO. 

Throughout its course, the movie talks 

down to kids; though that won't hamper 

their enjoyment, it prevents the film 

from being any more than momentary 

entertainment. The message is "you can 

do anything you put your mind to," but 

the victories d(;picted are mainly attained 

by fluke. Thi; only life l(\sson children 

could actually apply to ihemseh'es 

is "be kind to pigs." 

"Gordy" relies much too heavily on the 

cutencss of the protagonist piglet (finding 

every opportunity to dress the; poor 

creature in human clothing), and slacks 

off in human characterization. The film's 

child actors are fine, but the adults can 

do little with their cartoonish roles. Nevertheless, 

youngsters are likely to be satisfied 

with the proceedings and, for the 

grownups, a lot of country music is 

thrown in and some "legends" of countr\' 

make cameos —Christine James 

TOP DOG •• 

Starring Chuck Nonis. 

Directed by Aaron \oms. M^ritten 

by Ron Swanson. Produced by Andy 

Howard. 

A Live release. Action /Comedy. 

Rated PG-13 for shootings and martial 

Pet Detective," "Turner & Hooch" 

arts violence. Running time: 87 min. 

In this film, where the canme actutg 

bests that of its human counterpart, 

super cop Jake Wilder (Chuck Norris) 

takes on a white supremacist group 

threatening San Diego. For this mission, 

he's teamed with the highly decorated 

Reno— a police dog who steals the limelight 

in every scene. 

Like such predecessors as "Ace Ventura: 

and "K-9," "Top Dog" is more a showcase 

of animal talent than a hardcore action 

movie. The action scenes are predictable 

and, like Norris' deadpan delivery, the 

film moves at a snail's pace. Were it not 

for the considerable comic relief offered 

by its shaggy co-star, "Top Dog" would be 

a real bowzer.— Prtf Kramer 

••• 

FRIDAY 

Staning Ice Cube, Chris Tucker and 

Nia Long. 

Directed by F. Ganj Gray. Writtoi by 

Ice Cube and DJ Pooh. Produced by 

Patiicia Cliarbonnct. 

A New Line release. Comedy. Rated 

R for pcn'asive strong language and 

dnig use and for a brutal fight . Running 

time: 89 min. 

Unlike "Wayne's World," "Bill and 

Ted's Excellent Adventure" and any 

Pauly Shore vehicle, all of which feature 

obvious "stoners" but refrain ftom sho\\'- 

ingthem withbongin hand, "Friday" has 

the courage of its pothead convictions. 

In fact, a search for marijuana propels 

the plot of this Ice Cube starrer, ^^'hich 

comes off like a 'hood variant of a 

Cheecli and Chong picture, transplanted 

from East L.A. to South Central. 

As the film's co-screenwriter. Ice Cube 

displays a surprising deftitess with observational 

humor, and as an actor he 

proves that his sullen charisma in the 

likes of "Boyz N the Hood" and "Higher 

Learning" was no fluke. Wisely, though, 

he leaves the mugging to the rubberfaced 

and charismatic Chris Tucker. F. 

Gary Gray's direction is wildly uneven, 

but the comedic highs are well worth the 

less frequent lows. Though suffused 

\\'ith pot smoke throughout, "Friday" 

feels like a breath ot tresh air in these 

overly PC times.— S

REVIEWS 

DESTINY TURNS ON THE RADIO • 

Stalling Dylan McDcnnott, Nancy 

Travis, James LeGros, Qiientin Tarantino 

and James Beliishi. 

Directed by Jack Baran. Written by 

Robert Ramsey and Matthew 

Stone. Produced by Gloria 

Zimmennan. 

A Savoy release. Romance/ 

Fantasy. Rated R for language. 


One protagonist's 

name is 

Thoreau. A fringe character is 

called Vinnie Vidivici. This in 

itself is a good gauge of the level 

of fresh-out-of-film-school pretentiousness 

permeating Robert 

Ramsey and Matthew 

Stone's script. Intended to be 

clever and hip, this thin and 

inane tale tracks the intertwined 

lives of two goodhearted 

bank robbers (Dylan 

McDermott as the cool one, and 

James LeGros as the eccentric 

one), a Las Vegas lounge singer 

(Nancy Travis), her goonish boyfriend 

(James Belushi) and a mystical entity 

called Johnny Destiny (Quentin Tarantino), 

who is mythologized as a sort of 

god embodying the luck of Sin City. 

Though Tarantino's acting isn't bad 

(his turn in "Pulp Fiction" was perhaps 

overmaligned), this film simply W association 

will further poison his attempts to 

build a thespian career. Performances all 

around are adequate but can't overcome 

the writing. The parts of the plot that are 

supposed to be whimsically magical are 

lumpen and underdeveloped, and the 

part that's based in reality has holes big 

enough for Siegfried and Roy's tigers to 

j ump th ro u gh — 

. Ch listine James 

A PYROMANIAC'S 

LOVE STORY •• 

Stalling William Baldwin, John 

Legitizmno, Sadie Fivst and Eiika Eleniak. 

Db-ected by Joshua Brand. Writtai by 

Moigmi Wm-d. Pivduccd by Mark Gordon. 

A Buena Vista release. Comedy. 

Rated PG for mild language. Running 

time: 93 min. 

Its fairj'-tale underpinning revealed 

with the opening epigraph, "Once upon 

a time in a city not that far away lived a 

poor pastry boy named Sergio," this Hollywood 

Pictures production only fitfully 

ambles toward a fairy-tale ending. The 

story of one fire, two competing males, 

three confessors to the blaze, and four 

pining hearts, "A Pyromaniac's Love 

Story" ventures more determinedly— and 

thus less realistically— into the quirky terrain 

mined by director Joshua Brand in his 

TV series "Nortliem Exposure." 

Although virtually the movie's sole 

focus, the two love affairs— between 

Sergio (John Leguizamo of TV's "House 

of Buggin'") and a cafe waitress (Sadie 

Frost from "Bram Stoker's Dracula"), and 

between a pyromaniac (William Baldwin) 

and a rich girl (Erika Eleniak of TV's 

FLASHBACK: NOVEMBER 20, 1967 

What BOXOFFICE said about... 

CAMELOT 

[On July 7, Columbia releases "First Knight," another silver-screen take 

on the myth of Arthur, Guinevere and Lancelot. In 1967, HoUjTtood did 

the legend according to Lemer and Loewe in "Camelot."] 

While King Arthur's love affair, his courdy 

^vars and eventual woes are familiar to all, 

new life was brought to the old tale when Alan 

Jay Lemer and Frederick Loewe turned T.W. 

WTiite's "The Once and Future King" into the 

stunning Broadway musical "Camelot" wth 

Richard Burton and Julie Andrews. Producer 

Jack L. Warner and director Joshua Logan 

have converted the play into film, leaving in 

much of the theatricality and using some 

good, but less than inspired, performers in 

place of the unmatchable originals. Richard 

Harris is the King and Franco Nero is Lancelot, 

but Vanessa Redgrave steals the show from 

everyone and everything, except Loewe's glorious 

music. She is ravishingly beautiful and 

acts, sings and moves with grace— a vision to 

be ever remembered. Less successful is 

Logan's affected direction and Harris' mannered 

acting. John Truscott's costumes and 

production design make this a lavish movie helped by the photography 

and music. In this harsh, cruel world of the mid-1960s, it's refreshing to 

be set-ved such glowing entertainment, reservations aside, and "Camelot" 

naturally becomes the successor to Jack Warner's "My Fair Lady." 

EXPLOITIPS: 

SELLING ANGLES: This roadshow attraction should be promoted via 

the famous title and the music with record store tie-ins. WB-7 Arts has 

an extensive traveling display of costumes. 

CATCHLINES: The Love Story of the Ages.. .The Most Beautiful Musical 

in Years. .."As Long As You Live, You Will Remember 'Camelot.'" 

"Baywatch")— never gains real depth. Instead, 

the film settles on the offbeat but 

creates no "beat" to be "off from; with 

another of her signature kooky scores 

that have made her the Johnny Depp of 

composers, Rachel Portman gives the 

proceedings its most even keel. In supporting 

roles as an older German couple 

who run the pastry shop, Armin Mueller- 

Stahl and Joan Plowright are splendid, 

investing their characters with more 

than caprice.— Kwi Williamson 

VILLAGE OF THE DAMNED •^^ 

Stalling Chiistophcr Reeve, Kirstie 

Alley and Linda Kozlowski. 

Directed by John Cai-pcnter. Written 

by David Himmclstein. Produced by 

Michael Piegcr and Sandy King. 

A Universal release. HoiTor. Rated R 

for some sci-fi tenor and for violence. 


John Wyndham's book "The Midwich 

Cuckoos," upon which the 1960 version 

of this remake was based, was born from 

the SF author's interest in the way the 

cuckoo propagates: It lays its eggs in the 

nests of another species, which then 

raise its young. In this interplanetary 

variant, aliens undetectably implant fetuses 

in 10 women in the small town of 

Midwich (though they would have been 

instantly detectable had any of the protagonists 

been horror movie fans, in 

which case they would have known that 

Eerie Omnipresent Whispering = Aliens 

or Ghosts). Individual joy at motherhood 

turns to fear when tlie town doctor 

(Christopher Reevej uncovers the truth. 

The film acknowledges the possibility 

of abortion (an alternative that couldn't 

be considered in the 1 960 adaptation) but 

doesn't clearly explain why all the 

women decide to carry to term. Nine of 

the 10 offspring survive; a federal program 

to monitor them is headed by a 

dispassionate scientist (Kirstie Alley, 

conveying a convincing blend of authority 

and apprehension). As the children 

grow older, their differences from humanity 

in look, mind and emotion become 

far more obvious than for their 

1960 predecessors. Their growing control 

of mind over matter lead to several 

fatal "accidents" for those who cross their 

paths, but "glowing eye" special effects 

that accompany their evildoing are unimpressive 

to today's audiences, jaded 

even to morphing and sophisticated animatronics. 

And the action is repetitious; 

whenever the aliens feel threatened, 

they simply mete out far greater punishment 

(which is increasingly macabre). 

The alien race's plans to take over the 

planet remain too ainbiguous to incur 

July, 1995 R-63

SPECIAL FORMATS 

WINGS OF COURAGE •• 

Starring Craig Sheffer, Tom Hulce, 

Elizaberii McGovern and Val Kilmer. 

Directed by Jean-Jacques Annaud. 

Written by Alain Godard and 

Jean-Jacques Annaud. Produced by 

Antoine Compin and Charis Norton. 

A Sony Classics release. Drama. 

Rated G. Running time: 40 min. 

The biggest little picture to come along 

in a while, "Wings of Courage" lasts 

under an hour and will set you back nine 

bucks. But Mamma Rose knows "you gotta 

have a gimmick," and this^the first narrative 

film to be shot and presented in the 

IMAX 3-D format—has them in spades. If 

a stereoscopic image measuring 100 by 

80 feet isn't enough, there's also IMAX's 

Personal Sound Environment to add individualized 

3-D audio enhancements. 

Such a Brave New Cinematic World is 

fraught with danger: Dismiss it and fear 

being haunted by the specter of "The Jazz 

Singer"; embrace it and run the risk of 

"Entertainment Tonight" 

promotion. In all the 

Duzz about the creation 

of a "new" format for the 

telling of stories and 

Sony Entertainment's 

hope to have a 3-D IMAX 

at every multiplex in the 

lend, the actual movie 

tends to become lost. 

Throughout film history, 

most movies that launch 

technical innovations 

have been below snuff 

artistically; wrestling 

with a slew of new practical 

problems on-set 

leaves less time to attend 

to creative matters. 

Here, director Jean-Jacques Annaud 

("Quest for Fire") and his team fore well. 

Considering their camera is refrigeratorsized, 

weighs a ton and holds only a threeminute 

film load, some passages of 

"Wings of Courage" are remarkable. 

Set in the early days of aviation, the 

drama tells the true story of pilot hlenri 

Guillaumet ("Roommates' ' Craig Sheffer), 

one of the first fliers for Aeropostale, the 

company that invented airmail. Guillaumet 

is taking over the dangerous Andes route 

pioneered by Jean Mermoz (new "Batman" 

Vol Kilmer), a daredevil who 

founded the airline with Antoine de Soint- 

Exupery ("Amadeus'" Tom Hulce), best remembered 

for his book "The Little Prince." 

Though the tale is fairly predictable, Annaudliondles 

it and the actors well, giving 

nice rhythm to the narrative despite the 

short running time. Even some risky conceits—grainy 

black-and-white flashbacks 

and hallucinations—work most of the time. 

(One is shift-in-your-seat dreadful.) There's 

not much room for character development 

or nuance, but the principals—especially 

Sheffer— turn in solid performances. (Except 

for Kilmer; his take on a cocky 1 930s 

flyboy would have seemed overplayed 

even in that era.) 

The story itself is a good choice for this 

maiden voyage, simple enough to fit in 40 

minutes a length that seems dictated by 

the limits of headset wearability as much 

as by the economics of audience turnover. 

Even with its self-referential aspect (pioneers 

getting off the ground a perilous 

venture based on unproven technology), 

"Wings of Courage" is full of the things 

that IMAX movies, even 3-D ones, do well. 

There are plenty of aerial shots, breathtaking 

vistas and moments of rollercocster 

vertigo; in fact, most of the movie deals 

with one man's battle against nature, 

which is fortunate given tfiat this format 

has great trouble depicting interiors. In the 

realm of IMAX 3-D, a plane crash atop a 

frozen mountain is cake compared to four 

people talking around a table, and therein 

lies the crux of the matter. Sony (via its 

Sony Pictures and Sony Theatres wings) is 

attempting to lure the VCR-habitated public 

back to moviehouses by making the 

moviegoing experience an experience 

Val 

Kilmer 

in Sony 

Classics 

^^Wings of 

}} 

Courage 

again. Along with stressing courteous customer 

service, providing Tree mints and 

reviving aspects of movie-palace decor, 

rescuing the IMAX format from ho-hum nature 

documentaries and delivering it to the 

domain of the vastly more popular (and 

profitable) narrative film is a crucial part of 

the corporate strategy. The one thing standing 

in the way is the IMAX format itself. 

The hugeness of its image, on asset when 

the lens is capturing the great outdoors, is a 

liability for an enclosed set. Because it's 

almost impossible to frame a human actor in 

a conventional closeup, scenes are played 

in medium to wide shots; as a result there's 

literally too rr.uch information onscreen too 

much of the time, with nowhere else for the 

director or editor to go. At first, the fact that 

so much of everything is so plainly visible 

seems cool, but once you get over that infatuation 

witfi "the thingness of things" then (for 

example) the crisply focused cubes of cheese 

on a trey just become meaningless clutter. 

Conventional cinematography can moke a 

place for such level of detail on occasion, but 

in IMAX it's part and parcel. The whole 

concept of artfully framing and orchestrating 

the action—constructing a scene, not merely 

recording it— is nearly rendered moot. But 

Annaud, a skillful filmmaker, uses careful 

framings that mask large sections of the 

image in shadow, plus two well-designed 

camera moves that play with scale and the 

amount of information revealed. 

But the Achilles heel of "Wings of Courage" 

in close, "narrative" settings is the 3-D 

effect. Bluntly, it often doesn't work. That's 

not due to any technological crudity—the 

system relies on sophisticated headgear 

with independent, infrared-activated shutters 

in each eyepiece—but because, in limited 

fields of view, there are simply too many 

discrete objects on which to focus. 

For example, a restaurant scene with all 

the key players is a visual nightmare; 

When the angle of view is adjusted to 

accommodate one character, someone or 

something on the other side of the screen 

splits in two. And that isn't the only chronic 

distraction, because almost every cut (indoors 

or out) requires fine tuning of 

viewers' head placement. As for the IMAX 

Personal Sound Environment (essentially a 

small set of speakers mounted in the 3-D 

viewing helmet), the only use made of 

it is to send Guillaumet's "inner 

thoughts" into your left ear. It would 

seem lame if it weren't so annoying. 

In 

choosing to wed IMAX and narrative 

and 3-D, Sony might hove created 

on unworkable menage a trois. 

Humans don't like change, so anything 

but the tried and true is often 

greeted with catcalls. The Talkies 

doubtless seemed as gimmicky as the 

Tingler. In the long run, though, what 

determines the fate of an innovation 

is whether it enhances filmmakers' 

ability to tell stories. Sound did. Color 

did. Sensurround and Odorama 

didn't. With 3-D, the jury seems to 

hove been in quite a while; in fact, it 

came in twice, both times with verdicts 

of guilty. In the '50s, 3-D come, 

fitfully, and went; in the early '80s, it 

worked fairly well and still died—as if, 

after "Jaws 3-D," the possibilities of a 

ViewMaster-like cinematic experience had 

been exhausted. That's a joke, but it's not 

for from the truth. 

No representation of sensory experience, 

from painting to still or motion photography 

is really "like" reality. A 

narrative film is a complex and artificial 

construction that is especially "unlike" it, 

but the form has the power to seduce and 

render its own machinations transparent, 

delivering an experience that engages 

and envelops. Even when "successful," 

3-D has always worked against that closure 

and against the narrative because it 

constantly calls attention to itself. When on 

IMAX-sized image and space

REVIEWS 

REVIEW DIGEST«*««« 

panic; in any case, cinematic 

schemes to enslave our species 

have lost the fearful impact 

they had during the Red 

Scare. Insights into what the 

aliens' home culture is like 

would have added interesting 

facets. Though the offspring 

are creepily well-played and 

we care enough about the 

main characters, if the 

filmmakers— particularly a 

horror veteran like John Carpenter—had 

used more imagination 

rather than settling 

for what is (aside from some 

'90s feminism and gore) a 

straight facsimile of the original, 

this thriller could have 

Plus, 

been more thrilling. 

any contemporary release in 

which an angry mob of 

townsfolk is actually depicted 

brandishing torches 

immediately incurs some demerits.— 

C/irisriHC James 

SISTER MY 

SISTER *••* 

Stan-ittg Julie Walters, 

Joely Richardson and 

Jodhi May. 

Directed by Nancy 

Meckler. Written by Wendy 

Kesschnan. Produced by 

Nonna Hcyman. 

A Seventh Art release. 

Drama. French -language; 

subtitled. Unrated. Running 

time: 89 min. 

The true story of incestuous 

sisters driven to madness 

and murders in 1 930s provincial 

France forms the basis of 

this stunning film from firsttime 

director Nancy Meckler. 

A cauldron of psychological 

instability seething with repressed 

sexuality, "Sister 

My Sister" plays like a cross 

between ""The Remains of 

the Day" and "Rosemary's 

Baby" — a claustrophobic, 

class-conscious exercise in 

domestic horror executed 

with an uncannily balanced 

blend of dramatic 

restraint 

and stylistic flourish. 

Adapted by Wendy Kesselman 

from her play, the Channel 

Four production stars 

Joely Richardson ("I'll Do 

Anything") and Jodhi May 

("A World Apart") as sisters 

Christine and Lea, workingclass 

French girls fortunate 

enough to secure jobs together 

as maids in the home 

of Madame Danzard ("The 

Wedding Gift's" Julie Walters 

and her foppish daughter Isabelle 

("The Summer House's" 

Sophie Thursfield). Beneath 

the sisters' meek personae lie 

curiously tormented souls, 

products of a repressive upbringing 

that's left them psychologically 

scarred and 

dangerously prone to obsessive 

sexual deviance. 

Unlike Jean Genet's acclaimed 

play "The Maids," 

which first popularized the 

sordid tale, "Sister My Sister" 

revels in a minimalism rarely 

seen onscreen. Set almost entirely 

within the confines of 

the Danzard home and featuring 

no speaking parts 

other than those of the four 

principals, the film gives little 

due to the outside world, 

instead focusing on the inner 

sides of its characters and the 

tenebrous fates they chart. 

Together with producer 

Norma Heyman, Meckler 

and Kesselman have revisited 

a real-life feminist nightmare 

whose modern-day 

parallels and considerations 

will leave lingering impressions 

on many a discriminating 

filmgoer for a long 

time to come. — Wade Major 

BLACK IS... BLACK 

AIN'T •••1/2 

Directed and produced by 

Marlon T. Riggs. 

A Tara release. Documentary. 

Unrated. Running 

time: 87 mirt. 

This California Newsreel 

documentary masterfully 

splices archival footage, personal 

experiences, music and 

interviews (among the notable 

names are activist Angela 

Davis and poet Essex 

Hemphill) in a way that rewrites 

what was assumed to 

be true about black America. 

Such stereotypical outlooks 

and supposed facts along 

with homophobia and black 

identity are dealt with in a 

no-holds-barred style. "Black 

Is. ..Black Ain't" teaches more 

about black history and what 

black really is than virtually 

any book or college course. 

Marlon T. Riggs ("Tongues 

Untied") weaves this story of 

his people's history with a recounting 

of his own struggle 

with AIDS. Riggs died in April 

1994, but his co-producers, 

Nicole Atkinson and Christiane 

Badgley, were able to 

finish the 

film— named best 

documentary at Sundance— 

from Riggs' notes and footage. 

—Dwayne E. Leslie 

H S 

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

(C) Comedy: (D) Dnima: (Doc) Docmnentciry: (F) Fantasy; 

(Hor) Horror: (M) Musical: (My) Mystery; (R) Romance; 

(SF) Science Fiction: (Siis) Suspense: (Th) Thriller; (W) Western. 

3 g .t e 

t. 

U w b 0. > 

U-* ^ t*l fS — 

a

READY THEATRE SYSTEMS 

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RATES: $1 .00 per word, minimum $25, $15 extra 

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HELP WANTED 

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 

chain/management group. Rapid training and advancement 

potential for film onented person with 

some entry level or college background. Write in confidence 

to County Amusement. 3200 Elton Road, 

Johnstown, PA 15904. 

MANAGERS & ASSISTANT MANAGERS for our 

new theatres in metropolitan Chicago and throughout 

Michigan, Indiana and Illinois. Candidates should 

have experience in multiplex theatres, retail or fast 

food industry. While a college degree is preferred, it is 

not necessary. We offer competitive salanes. concession 

commissions, and quarterly bonus programs. Our 

benefits include BCBS with dental, optical and prescnption 

coverage, paid vacations and a 401 K plan 

We will pay moving costs to relocate managers. 

Please send resume, references and salary requirements 

in confidence to: General Manager. Goodnch 

Ouality Theatres Inc.. 4417 Broadmoor SE, Kentwood, 

Ml 49512. 

National Amusements Inc. is looking for expenenced 

managers for positions in the Cincinnati/Louisville 

area. Multiplex experience a must. Solid growth potential. 

Good benefits and salary package. Please mail 

resume to Regional Manager, National Amusements 

Inc., 3408 Bardstown Rd.. Louisville. KY 40218. 

EQUIPMENT FOR SALE 

3 DRIVE-IN SCREENS for sale in the Chicago area. 

Selby screens in excellent condition, each approximately 

1 05 ft. in width. Reasonable offers considered. 

Phone L. Marks, 708-673-5600. 

BURLAP WALL COVERING DRAPES: $2 05 per 

yard, flame retardant. Quantity discounts. Nurse & 

Co., Millbury Rd., Oxford, MA 01540 (508) 832-4295. 

COMPLETETHEATRE EQUIPMENT: (New, Used or 

Rebuilt) Century SA, R#, RCA 9030. 1 040. 1 050 Platters: 

2 and 5 Tier. Xenon Systems 1000-4000 Watt. 

complete line of. . 

. 

Concession, Snack Bar and Janitorial Supplies 

plus Projection and theatre equipment also parts 

For The Best In Service. . .Give 

Us a Call 

(IXKMA SI PPI.V COMPANY 

I'.C). BOX 148, MILLHRSBURG, PA. 17061 

['HLEPHONE: (717) 692 4^44 

I ,S()()-4i~ .vSd.'i 

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pay 

Action Lighting 89 

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DeClercq's Theatrical Specialties . 78 

. 

Deep Vision 3-D 62 

Digital Theatre Systems C-2 

Dolby Labs 37 

Eastman Kodak 52 

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Gold Medal Products 14 

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Hadden Theatre Supply 63 

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Hotel Bedford 67 

Independent Theatre Supply 78 

International Cinema Equipment ... 39 

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JBL Professional 5 

Kit Parker Films 79 

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LucasFilmATHX 34 

Manutech 65 

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McAllister Associates 16 

NATO of Ohio 44 

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National Cinema Supply 55 

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Odell's 40 

Optical Radiation Corp 25, 65 

Optikote 79 

OSRAM Sylvania 19 

Peavey Electronics 31 

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Proctor Companies 18 

Promotion in Motion 13, 15 

QSC Audio Products C-3 

Ready Theatre Systems 88 

Smart Theatre Systems 23, 43 

Sony Dynamic Digital Sound 7 

Soundfold International 60 

Stein Industries C-4 

Strong International 33 

T.W.I. Intl. Exhibition Logistics .... 45 

Technikote 78 

Theatre Service & Supply 81 

Ultra-Stereo Labs 17 

Weaver Movie Popcorn 35 

Young Industries, Cy 53 

Intosh, Marantz, etc. Call Audio City at (818) 701- 

5633, or write to Audio City, P.O. Box 802, Northridge, 

CA 91 328-0802. 

VERY OLD THEATRE SOUND EQUIPMENT by 

Western Electric, Langevin, Jensen. Westrex, JBL. 

Tannoy, Pultech. Alted, etc. Amps, pre-amps, speakers, 

drivers, stage horns, electron tubes, etc. Always 

need Cinemeccanica heads 8.8R. Contact Kurluff 

Sound, 4331 Maxson Rd., El Monte, CA 91 732, Or call 

1-800-334-8223, (818) 444-7079, Fax (818) 444- 

6863, 

Wanted: Car speakers for drive-in theatre, new or 

used, to buy. Please call Mike at (209) 782-1420, 

WANTED DEAD OR ALIVE: We will purchase Century 

projectors or soundheads, new or old, complete 

or incomplete, for cash. Also interested in XL and 

SH-1000, Call (502) 499-0050. Fax (502) 499-0052, 

Hadden Theatre Supply Co,, attn, Louis. 

THEATRES FOR SALE/LEASE 

CINCINNATI, OHIO (near) Blanchester Showplace 

Cinemas-Discount 1st Run, 3 screens, low overhead, 

ample parking, completely remodeled. Real estate 

avail., including 2 store-fronts. Call anytime 513-784- 

2888. 

MOVIE THEATRE FOR SALE: 400 seats, 

single 

screen theatre (has potential for twin screen). Located 

in university setting. Asking pnce $150,000. Call 

LYNN—FULLER PARTNERS REAL ESTATE, 203 

University Street. Martin, TN 38237. Or call 901-587- 

3157 or 901-587-2141. 

MOVIE THEATRES FOR SALE: Well established in 

Southern California, two locations, one twin and one 

single screen. Owner retinng. Easy acquisition for 

qualified buyer. Proven track record of profitability. For 

more information contact Jill Ttiompson Business & 

Commercial at (619) 621-9052, 

THEATRES WANTED 

DRIVE-IN THEATRES, anywhere in US. Lease, purchase. 

Phone (603) 366-5528. or write Drive-ln, P.O. 

Box 5083, Weirs Beach, NH 03247. 

THEATRES BOUGHT AND SOLD. East, 

Midwest, 

and South by progressive circuit operators/consultants. 

All replies confidential. Reply Holiday Entertainment/Cinema 

Associates, 3200 Elton Road. 

Johnston, PA 15904. Phone (814) 266-4308. 

DRIVE-IN CONSTRUCTION 

DRIVE-IN SCREEN TOWERS Since 1945 Selby 

Products, Inc. P,0 Box 267, Richfield, Ohio 44286 

(216) 659-6631 . 

800-647-6224, 

SCREEN TOWERS INTERNATIONAL New. used, 

transplanted, complete tower service. Box 399. Rogers, 

TX 76569- Phone: 800-642-3591 

THEATRE SEATING 

800-IRWIN CITATIONS available in good condition 

Please call (305) 449-7700. 

"ALL AMERICAN SEATING" by the EXPERTS! 

Used seats of quality. Various makes. American Bodlform 

and Stellars from $12.50 to $32,50, Irwins from 

$12.50 to $30,00 Heywood & Massey rockers from 

$25.00, Full rebuilding available. New Hussey chairs 

from $70,00, All types theatre pro|ection and sound 

equipment. New and used. We ship and install all 

makes. Try us! We sell no Junk! TANKERSLEY EN- 

TERPRISES P.O, BOX 2039, 2100 Stout Street, Denver, 

CO 80201 Phone: 303-298-8077 Fax: 

303-296-4080, 

ALLSTATE SEATING is a company that is specializing 

in refurbishing, complete painting, molded foam, 

tailor-mayde seal covers, installations, removals. 

Please call for pricing and spare parts for all types of 

theatre seating, Boston. MA. Phone (617) 268-2221, 

FAX (61 7) 268-7011, 

ON-SITE UPHOLSTERY REPLACEMENT COV- 

ERS— all fabrics available. Complete auditoriums upholstered 

with payments up to 60 months. Samples 

made up FREE, always. See what you're getting 

before you buy. No one beats our pnces. quality or 

service ever, guaranteed. Our BAKERS DOZEN gives 

you 1 3 covers for the cost of 1 2. Call 1 -800-252-6837 

for information anytime. We offer service nationwide, 

COMPLETE INDUSTRIES, INC, 1 395 Pebble Beach 

Ct,, Hanover Park. IL 60103, 

SEAT BACK/COVERS: Most fabrics in stock, Cy 

Young Inc, Call 1 -800-729-2610, 

USED AUDITORIUM CHAIRS: Choose from a large 

selection of different makes and models and colors, 

American Stellars and Irwin Citations competitively 

pnced, shipped and installed, ACOUSTIC SOUND 

PANELS AND CUSTOM WALL DRAPERIES available 

in flameproofed colors and fabrics, artistic or 

plain, CINEMA CONSULTANTS & SERVICES IN- 

TERNATIONAL, Inc, P,0, Box 9672. Pittsburgh, PA. 

15226. Phone (412)884-8781 , (412)884-2345. 

(t DIRhCT IMPORTtRS MANUFACTURERS 

ACTI^ 

. I S 

H T= N G 

\NA[)A ,V 

X()ll-24K-0()76 


ACOUSTIC SOUND PANELS & CUSTOM WALL 

DRAPERIES available in flameproofed colors and 

fabncs, artistic or plain, CINEMA CONSULTANTS & 

SERVICES INTERNATIONAL, INC. P.O. Box 9672, 

Pittsburgh, PA 15226, Phone (412) 884-8781, FAX 

(412)884-2345, 

MARQUEES, SIGNS 

MARQUEES: Repossessed, Eight feet by 20, double 

face with supports; A 5' by 33'6" bronze single face for 

building installation: Will sell or lease at fraction of cost, 

Bux-Mont Electrical Advertising Leasing, 215-675- 

1040, Fax: 215-675-4443, 

SERVICES 

ATTN: DRIVE-IN THEATRBSEASONAL THEATRE 

OWNERS: Use your down time! Send your reflections 

to Ultraflat for an Ullraflat shine. Dull flat mirrors restored 

to brightness. Now is the time! Contact Ultraflat, 

20306 Sherman Way. Winnetka, CA, 91 306-31 08. Or 

call (818) 884-0184. 

DULL FLAT PICTURE? RESTORE YOUR XENON 

REFLECTORS! Ultraflat restores Xenon reflectors - 

repolish and recoat, "Hopeless Cases" restored to 

bnghtness. Contact Ultraflat. 20306 Sherman Way, 

Canoga Park, CA 91306-3108 (818) 884-0184, 

INTERMITTENT & PROJECTOR REBUILDING— all 

ma|or projector makes and models. Wholesale and 

retail. Dealer inquires invited. New & used projection 

equipment. Stereo system design & installation. Complete 

booth service & installation. Cinema Service & 

Supply, (800)231-8849, 

NEW FILM BUYING/BOOKING SERVICE - BEST 

RATES AROUND! Let us book your theatre, and 

watch your profits rise. Check us out! Call (307) 

634-3980, 

WE WANT TO BUY your business. Sales of $2-$10 

million. Must be cash positive and profitable for last 

three years. Reply in confidence to Boxoffice Response 

Number 472f 

MISCELLANEOUS 

8 to 35MM EDUCATIONAL, Adult, Exploitation—all 

subjects. Features, shorts. Buy/sell any size collection. 

Archives, Box 10672, Oakland, CA 94610. 

Phone/fax5f0-451-7145. 

MOVIE POSTERS WANTED: All eras 

- all sizes - all 

styles - Gigantic collections or individual items. Absolute 

highest prices paid lor your vintage material. Call 

toll-free f -800-21 3-8431, Or write: Ron Kreenberg, 

PO Box 577196, Chicago, IL 60657-7196, 

MOVIE POSTERS WANTED! I top dollar for 

vintage matenal, John Hazelton, 235 Horton Highway, 

Mineola, NY f 1 501 . Call toll-free -800-CAGNEY4, 

1 

WANT TO BUY MOVIE POSTERS, lobbies. Bruce 

Webster, 426 N,W. 20th, Oklahoma City, OK 73103, 

Phone (405) 524-6251, 

WANTED: 35min XXX TITLES. Wanted in good condition. 

Please send your titles to FAX # (416) 533- 

8939. attn Mr, Green, 

Wanted: Films (16mm and 35mm), projection equipment 

(working), movie memorabilia (1 sheets, lobbies, 

etc.). any vintage, small lots or entire collections. Let 

me know what you have—anything movie or theatre 

related Refer me to collections and I will reward. Call 

evenings (903) 509-4551 or 24 hour fax (903) 509- 

3039. Tony Calvert, P.O. Box 131172, Gilmer, Tx 

75713, 

WANTED: MOVIE POSTERS, lobbies, stills, etc. Will 

buy any sized collection. The Paper Chase, 4073 La 

Vista Road, Tucker, GA 30084 Phone 1-800-433- 

0025. 

July, 1995 89

The lOia IPicture 

A' 

s a left-leaning action star who weaves politics into his 

movies, Steven Seagal is an anomaly in a field where 

and serving as GOP spokespersons for the President's Council 

on Physical Fitness. In a way, it seems incongruent to be a 

peers like WUlis and Schwarzenegger confine their political 

energies to endorsing Republican presidential candidates 

gunslinging, eyegouging, 

kick-boxing 

macho superstar 

who espouses 

the touchy-feely 

agenda of the left. 

But there is at least 

one precedent for 

the contradiction 

between Seagal's 

philosophy and his 

occupation. 

That precedent is 

Ibm Laughlin, the 

creator, performer 

and filmmaker who 

gave the '70s one of 

tlieir most successful 

action heroes 

when he wrote, directed 

and starred 

in a series of films 

about a man named 

BUly Jack. After a 

token appearance 

as the character in 

his oviTi low-budget 

1967 biker flick 

"The Bom Losers," 

Lauglrlin hit the bit^ 

time with 197r.N 

"BUly Jack," one ot 

the last great dri\'rin 

hits, and a film 

which— thanks Ui 

inventive marketing—became 

one ( )t 

die biggest independent smashes of its era. 

Until "BUly Jack," the usual pattern with low-budget indie 

fodder was to rely on pre-booking to recoup— a strategy that 

made sense if you were an exploitation studio like A. I. P., with 

lower margins and lots of product in the pipeline, but which 

would have put an independent Filmmaker like Laughlin at a 

distinct disadvantage, since he had only one film to sell. Like his 

non-conformist hero, Laughlin decided to march to the tune of 

his own drummer— in the process pioneering a release strategy 

still utUized by the big Hollywood studios today. 

What Laughlin did was to go into a particular releasing 

territory and then book his film simultaneously into as many 

theatres as would have him. He then self-financed media buys, 

raising wide audience interest by promoting "Billy Jack" on local 

TV stations around the clock— a given in today's marketplace, 

but a radical innovation in 1971 . The result was both an indie 

blockbuster and the birth ofa tactic which, when applied to more 

mainstream tare like "Jaws" and "Star Wars" later in the decade, 

would yield some of tiie biggest hits of all time. 

It's doubtful Laughlin could have pulled it off if "BUly Jack" 

hadn't delivered the goods. The film was well-made and wittily 

scripted by action standards, with Laughlin's BUly given enough 

memorable quips (delivered, as was the style even then, just before 

beating his enemies to a pulp) for tliree Schwarzeneêr titles. 

More importantly, the seeming incongruity of being a buttkicking 

peacenik was perfectly attuned to the temper of the 

times. In 1 971 , America was in a conflised and tumultuous state 

thanks to the ongoing 

Viemam crisis. 

As the screen's original 

vigUante Vietnam 

vet (he gets 

drav\Ti into protecting 

a hippie commune 

from a towm 

full of rednecks), 

BUly Jack reflected 

both the increased 

mUitancy of the student 

left (which 

often rioted in the 

name of "peace") 

and the "law and 

order," "let's take 

back our streets" 

agenda of the right. 

Watching "BUly Jack, 

audiences saw the 

contradictions 

world 

of the 

they Uved in 

recondled at the business 

end of Laughlin's 

denched fist 

In 1974, Laughlin 

released his magnum 

opus, the three 

hour "Thai of Billy 

Jack," which restated 

earlier plotlines 

in much more 

violent terms borrowed 

from Ohio's 

Kent State massacre. 

One of the most 

politically paranoid action fUms ever made, "Trial" did some 

business within BUly Jack's fan base, but lengfli and ideological 

shrUlness made for a far more limited success. 

In Billy Jack's swan song, Laughlin forsook action altogether 

by sending his hero to tlie Senate. He called his unofficial Capra 

remake (what else?) "BUly Jack Goes to Washington," and so far 

afield had Laughlin gone that his film went virtually unreleased. 

But tile idea it expressed was clearly close to his heart; In 1992, 

LauglUin resurfaced briefly to declare his unsuccessful and 

Quixotic candidacy for President of the United States. 

Laughlin has emerged periodically to proclaim tliat another 

Billy Jack project is in the works, tliough it's doubtful his 

half-breed \agilante will ever reclaim his NL\on-era popularity. 

But Laughlin's influence survives, not only in Seagal actioners 

like "On Deadly Ground" (which demonstiated die same concern 

for Native American issues which L

Edwards Theatres 

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The Pacific Cinerama, another Hollywood landmark, is powered by 

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Response No. 26

"i 

c?e 

;x^ 

V 

"THE ULTIMATE POPPER" 

'^ 

V' 

The KING POPPER stands as a masterpiece of modern technology, dedicated to 

todays demanding needs. The KING POPPER combines the state-of-the-art 

technology with professional craftsmanship that has been acclaimed for 

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Response No. 101

Boxoffice-July.1995

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