Boxoffice-July.1995

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Response No. 467 DTS. Great Sound In Any Languag n ^rli^',^ Film was made for picture, the CD was made for sound. And your customers know it. So why settle for less than the crisp, pure digital sound of DTS in your theater? DTS, with its CD-based equipment is the true solution for multilingual exhibition, because all you change are CD's -not prints. Affordable, reliable and backed by an experienced global dealer network, DTS has quickly become the standard release format audiences expect. It's So join the DTS revolution. a sound idea that is music to your customer's ears. 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) J^uu^^*^
Page 1: 35T»: JULY 1995, $4.95 ^FECIAL REP
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•••• ANNOUNCING . From Cy Y
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w FEATURE CHART— JULY August Sept
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BOXOFFICE Independent Feature Chart
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EXHIBITION BRIEFINGS THERE'S THE (A
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••••• CANNES REVIEWS
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INDEPENDENT THEATRE SUPPLY, INC. De
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Boxoffice-July.1995

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