Boxoffice-November-2000

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See our new
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BOXOFFICE ONLINE
WEBSITE ADDRESS: http://www.boxoffice.com
E-MAIL ADDRESS: boxoffice@earthlink.net
NOVEMBER, 2000 VOL. 136, NO. 11 HOLIDAY PREVIEW / SHOWEAST
Cover Quote: The first thing that I always do when I get back to
Sweden... is to run to the water and drink it.— IZABELLA SC0RUPC0
DEPARTMENTS
6 MAILR00M
Big sound, big screen. Compiled by Christine James
8 REEL DEALS
Cage Intermediates; a Peircing New Line. By Annlee Ellingson
10 HOT SET
Carrey blacklisted, lives life as tiny-town exhibitor. By Christine James
1 2 STUDIO FILM RELEASE CHART
Major releases slated through February. Compiled by Wade Major
14 INDEPENDENT FILM RELEASE CHART
Compiled by Wade Major
Specialized fare monthly into 2001 .
1 8 TRAILERS: OUR ANNUAL "HOLIDAY HIGHLIGHTS"
Our yearly look at the Thanksgiving/Christmas slate. PLUS: l-views
with screen talents Gareis, Carroll, Schwartzman. By Annlee Ellingson
140 EXHIBITION BRIEFINGS
UATC seeks Ch. 11; Loews and GC consider bankruptcy; Pacific in
Pasadena. PLUS: NATO Regional News; Ticker Time Stock Chart:
Showminder Calendar; movieboss.com tip. By Francesca Dinglasan
143 HILL NEWS
Hoyts sued Down Under; FTC targets violence. By Francesca Dinglasan
144 TECH TALK
Supply Side: Neumade goes Globalmic. Large Format: IMAX-imum
branding. Wired World: InTheater now online. By Annlee Ellingson
PLUS: 9 on the Net—www.marcustheatres.com. By Kim Williamson
146 STUDIO NEWS
Summer fizzle; DGA challenges MPAA. By Annlee Ellingson
148 NORTHERN EXPOSURE
Chase to preside at Famous; Toronto hits. By Shlomo Schwartzberg
149 EUROVIEWS
UGC passing; Spain growing; Belgium selling. By Francesca Dinglasan
150 PACIFIC OVERTURES
Singapore low; Packering bags for India. By Francesca Dinglasan
152 FILM REVIEWS
The 3 1/2-star "Quill" leads our analyses of 98 current and coming
films (see list on p. 1 52), including our coverage of the Edinburgh,
Toronto, Montreal and Telluride tests. Compiled by Christine James
186 MOVIEGOER POLL AND ACTIVITY REPORT
Early book on Hollywood's holiday hopefuls. Compiled by MovieFone
187 HOME RELEASE CHART: November
"X-Men," "Perfect" storm in this month. Compiled by Wade Major
188 AD INDEX / AD FAXBACK FORM / CLASSIFIEDS
How to contact anyone (easily) among this month's long, long list.
193 ANNUAL PUBLISHERS STATEMENT
CIRCULATION INQUIRIES
BOXOFFICE DATA CENTER
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SPECIAL REPORT: SHOWEAST 2000
The big East Coast holiday show moves to the new climes of Orlando for its October 11-14 run.
90 SHOWEAST SPECIAL: Exhibition Market Profile—New York, New York
W i'# l i i i>M rM I. By Frai
96 SHOWEAST SPECIAL: Independent Exhibition Showcase—Belfast, Maine's Colonial Theatre
7,000-resident Penobscot Bay town of Belfast, Maine, independent theatre operators Mike Hurley and Th
so that matter of the elephant on the roof. By Bride
104 SHOWEAST: Booth List
124 SHOWEAST: Award Winners
100 SHOWEAST: Trade Show Floor Plan
1 1 2 SHOWEAST: New Products
>ck (recipient
NOVEMBER FEATURES
52 SNEAK PREVIEW: "Shadow of the Vampire"
56
50
Director Elias Merhige and star Eddie Izzard sink their teeth
into this reimagining of "Nosferatu." By Christine James
SNEAK PREVIEW: "13 Days"
The Brothers Kennedy: Bruce Greenwood and Steven Culp
bring JFK and RFK to life in New Line's historical drama
about the Cuban Missile Crisis. By Francesca Dinglasan
COVER STORY:
"Vertical Limit"
Izabella Scorupco, an action-film
veteran from "GoldenEye," takes
to the high slopes for Columbia's
action/drama heartstopper, bowing
12/8. By Kim Williamson
SPECIAL REPORT:
Fall Books on Film
Marilyn and Kate; U.K. and Eire;
hate and hate; grrl power new
and old; drive-inery; a Variety
tome. By Francesca Dinglasan
SPECIAL REPORT: Cinema Sound
On the power of music. By John F. Allen
N^,.
P0V: Acoustical Design
How to handle the reverberation and the transmission of
sound in theatres. By Ron Moulder and Eddy Scott
80 SPECIAL REPORT:
Exhibition Archive
A tour of the B'hend and Kaufman
Collection, a vast archive of text
and image materials relating to
American moviehouses recently
donated to the Margaret Herrick
Library of the Academy of Motion
Picture Arts and Sciences in
Beverly Hills. By Bridget Byrne
86 EUROPEAN SHOWCASE:
Vouziers' Les Tourelles
In the French region of Champagne-Ardennes, behind
castle-like pillars dating from the 19th century, is the
Cinema les Tourelles, home to art-house and independent
fare for the famed wine region. By Francesca Dinglasan
109 FAXBACK SURVEY: Your Chance to Vote
The polls are open here at Boxoffice, where the editors
would love to hear your comments about our magazine's
monthly contents—features, special reports and news.
151 EDITORIAL CALENDAR: Our Slate for 2001
Bookmark It: An at-a-glance look at our issue-by-issue
special editorial contents planned for the coming year.
194 CLOSE FOCUS: Cinemark's Alan Stock
The ShowEast awardee on the importance of fresh popcorn
to the moviegoing experience, online ticketing, and that
framed hand drawing of some fish. By Kim Williamson
coming: b2boxoffice.com
EDITORIAL STAFF
EDITOR-IN-CHIEF
Kim Williamson kimw@boxoffice.com
MANAGING EDITOR
Christine James christinej@boxoffice.com
SENIOR EDITOR
Francesca Dinglasan francescad@boxoffice.com
ASSOCIATE EDITOR
Annlee Ellingson annleee@boxoffice.com
SR. EDITORIAL/ADVERTISING ASST.
Linda Andrade lindaa@boxoffice.com
EDITORIAL/ADVERTISING ASST.
Sandra Koscho sandrak@boxoffice.com
CONTRIBUTORS
FEATURE CHARTS EDITOR
Wade Major (310) 456-2767; lax (310) 456-9750
CANADIAN CORRESPONDENT
Shlomo Schwartzberg (416) 928-2179
ARTICLE/REVIEW WRITERS
John F. Allen, Bridget Byrne, Tim Cogshell,
Kevin Courrier, Barbara Goslawski, Susan Green,
Dwayne E. Leslie, Wade Major, Ed Scheid,
Michael Tunison. Chris Wiegand
INDUSTRY CONTRIBUTORS
Rick Mitchell, Ron Moulder,
Rein Rabakuk, Eddy Scott
BUSINESS STAFF
PUBLISHER
Robert L. Dietmeier (773) 338-7007
NATIONAL ADVERTISING DIRECTOR
Robert M. Vale (626) 396-0250; bobv@boxoffice.com
ADVERTISING CONSULTANT
Morris Schlozman (816) 942-5877
BUSINESS MANAGER
Dan Johnson (773) 338-7007
CIRCULATION DIRECTOR
Chuck Taylor (312) 922-9326
WEBMASTER
Ken Partridge marlinco@flash.net
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© 2000 RLD Communications. Inc. All rights reserved. Reproduction in whole or in part without permission is prohibited.
November, 2000 5

6 BOXOFFICE
Insurance
services
for the
theatre
MAILROOM
BIG IDEAS
Dear BOXOFFICE:
Regarding John F. Allen's letter in the
August issue ["Quality Sound Makes
'Dinosaur' Roar to Life"], wouldn't the
film presentation have been much better if
it had been in 70mm, especially if the original
photography had been on the bigger
65mm negative? Despite the apparent
popularity of Imax, there has been no
clamor by exhibitors for a return to the
superior image quality of 70mm as a presentation
format, even though most of
those who put in 70mm projection equipment
in the '80s still have it.
No one seems to have pointed out a
trend toward an acceptance of poor film
image quality with the popularity of practices
like originating in formats such as
Super 35 or digital video or stretching
85:1 35mm films over 80-foot screens,
which result in subjecting audiences to
images that often are not that much better
than they get on their TV sets. And none of
the proponents of electronic cinema have
dealt with this question: If you make the
theatrical experience more like the home
video experience,
what reason do people
have to go to see a film in the theatre?
Few contemporary audiences outside
Los Angeles or New York have seen original
65mm productions presented in 70mm
on a proper screen, such as "Lawrence of
Arabia" at Hollywood's Cinerama Dome
or "Tron" at the El Capitan, much less a
blowup of "Titanic." The right films shot in
65mm would be a commercial alternative
to electronic cinema that those exhibitors
with 70mm projection equipment could
take advantage of now with little or no cost.
I doubt that such a film could initially
come from the studios, but an expression
of willingness on the part of exhibitors to
run one might make it possible for an
independent producer to get financing for
the film that could kick off the project.
Rick Mitchell
Film Editor/ Director! Historian
Los Angeles
CORRECTION: A word was omitted in
National Amusements president Shari
Redstone's reply to the question, "Do you
believe online ticketing will be a boon, a
bust, or a breakeven proposition for
exhibitors?" (Close Focus, October 2000).
Ms. Redstone's response was: "Breakeven,
with some potential upside. People will be
drawn even more to the Internet over time,
but the upside to our business will be
through increasing the frequency of
moviegoing and better communication
with our patrons. It will not be as a result of
service charges and advertising revenue."
Send letters to: BOXOFFICE, Mailroom
155 S. El Molino Ave., Suite 100
Pasadena, CA 91101; Fax: 626-396-0248
E-mail: editorial@boxoffice. com
Response No. 62

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have
Oribits Intermedia
REEL
DEALS
isiBMn5g
New Line Doesn't Cry
mmsm
In Tandem
Nashville, Tenn. -based Caylord
Entertainment—whose
activities include radio, hospitality,
event television, sports management
and music publishing
and recording— has segued into
motion pictures, launching a
feature film division called
Gaylord Films and inking a fouryear
co-financing, production
and distribution deal with
Warner Bros. Under the terms of
the deal, Gaylord will produce
and co-fund up to 1
films in the
next four years; Warners will
also share in expenses and distribute
worldwide. The production
outfit— headed by veteran
producer Hunt Lowry, who
ended his first-look deal with
Disney to join Gaylord—already
has a $400 million discretionary
fund provided by its parent company.
Pandora Films, Gaylord's
Paris-based specialty arm, will
also co-produce and finance certain
projects through Warners.
The label's most recent production
is "Donnie Darko," a coproduction
with Flower Films
that stars )ake Gyllenhaal, Jena
Malone, Drew Barrymore, Noah
Wyle and Patrick Swayze.
"Gaylord and I been
planning this venture for a long
time," Lowry says. "We can't
think of a more exciting way for
it
to be realized than through this
relationship between Gaylord
Entertainment and Warner Bros.
Pictures."
"Gaylord is already a first-rate
entertainment company," says
Alan Horn, president and COO
of Warner Bros. Pictures. "We
are looking forward to adding
Gaylord Film features to the
Warner Bros. Pictures slate and
to working with Hunt, [Gaylord
chairman] E.K. [Gaylord III and two-year, first-look production
deal with New Line Cinema.
the other talented people at
Gaylord as they grow this new Peirce and her writing partner
enterprise into a major independent
Andy Bienen have already begun
feature film company." developing an untitled murder
mystery based on a real-life
Square Pictures, the United event, but details are being kept
Square, has pacted with
Columbia Pictures to co-produce
and co-finance three more
computer-generated films. The
two companies plan to release
the $115 million "Final Fantasy,"
based on the video gamer's popular
Pete Williams, the 21 -year-old
off to a great start."
series, this summer.
Under the terms of the deal,
"We are extraordinarily proud
that Kim has selected New Line
creator of MTV's animated series
"The Click," has signed a blind
which provides Columbia access as her home for the next two script deal with Paramountbased
MTV Films, project that
to Square's sophisticated computer
years," says Michael Du Luca,
a
animation house and New Line's president and COO. would mark his screenwriting
grants Square financial and dis-
"She is a uniquely talented direc-
debut.
tribution security, they will
equally split
profits.
both expenses and
Nicolas Cage's Saturn Pictures
has inked an exclusive two-year,
first-look deal with Intermedia,
supplementing the financier's
growing stable of production
labels that include recent additions
Telltale Films, run by Kate
Winslet and her husband Jim
Threapleton (see Reel Deals,
September 2000), and Reese
Witherspoon's as-yet-unnamed
entity (see Reel Deals, October
2000). Intermedia will handle
worldwide distribution and executive
produce the approximately
two films a year as well as fund
overhead and annual discretionary
fund. Saturn, whose
"Shadow of the Vampire" will be
released by Lions Gate this winter,
previously orbited Disney.
"Intermedia has not lost
sight
of their desire to make quality
films despite their substantial
financial resources," Cage says.
"They are very talent-friendly,
and [Saturn VP of creative affairs]
Norm [Golightlyl and I are very
excited about developing and
packaging a wide range of material
in conjunction with them."
"Nicolas is an enormously talented
actor whose career has
spanned the spectrum,"
Intermedia co-chairman Nigel
Sinclair says. "We feel fortunate
to be able to participate in
building
Saturn as a great production
company and we look forward to
being in business with Nicholas
and Norm for many, many
years."
Kimberly Peirce, whose "Boys
Don't Cry" garnered Hilary
Swank an Oscar, has signed a
their willingness to take risks,"
Peirce says. "They have been
totally enthusiastic about the
new project, and we feel we are
tor who has a penchant for
trnaslating fact-based events and
characters to film. Her next project
will be just as daring and
provocative as 'Boys Don't Cry,'
and we look forward to collaborating
with her and Andy as starting
production as quickly as possible."
Helmer John Swanbeck and
his directing-producing partner
Nancy Lane Scanlon have inked
a one-year, nonexclusive, firstlook
deal with Universal-based
Jersey Films for their Tandem
Films, which they formed in
1998. Swanbeck's relationship
with Jersey co-chairman Danny
DeVito began when he directed
the thespian in "The Big
Kahuna." Swanbeck and Scanlon
plan to develop a range of feature
projects with Jersey partners
DeVito, Michael Shamberg and
Stacey Sher. Jersey recently
reupped its first-look deal with
Universal for another three years
(see Reel Deals, July 2000).
Ad helmer Jim Sonzero,
whose most recent campaign
was for Verizon Wireless, has
pacted with
Dimension Films to
direct three films for the specialty
arm, including his directorial
debut, "Deader," about a female
reporter investigating a suicide
cult in Manhattan. According to
Sonzero, the pic "is a thriller that
explores the primal fear that lives
in all
of us—the fear of death. It's
about our dance with death and
the riddle of life."
Previously he
directed a short called "War of
the Angels," about a newly
recruited Nazi who struggles
with his conscience during his
first
execution.
Warner Bros. -based Castle
Rock Entertainment has tapped
screenwriter Tony Gayton to pen
two projects for the shingle, the
first of which will be an untitled
thriller a suspense about man
struggling to prove his innocence
under wraps.
in score-old murder mystery. The
States-based feature film division
of Japanese video game maker "We were drawn to. ..New second is a blind script commitment.
adventurous their
Already development Line's spirit, in if
incredible love of movies and Gayton's script "The Saltan Sea,"
starring Val Kilmer. The scribe's
two-picture deal is worth an estimated
$1 .3 million.
8 BOXOFFICE

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Response No. 100

HOLLYWOOD
HOT SET
mamma
Creating a "Monster"
I'fiVII'HJil'H
For the Love of "Pete"
EHiEIEnmEMg
"Stretch" of the Imagination
"HART'S WAR" This World War "THE ROAD TO PERDITION"
Sam Mendes ("American Beauty")
II drama, to be helmed by
"Frequency's" Gregory Hoblit, will direct Tom Hanks ("The
Green Mile") in this adaptation of
will star Edward Norton ("Fight
Club") as a POW whose law
of murdering a fellow soldier.
Meanwhile, the other captives
hope to use the case as a diversion
to escape. (MCM)
"THE BIJOU" A '50s-era blacklisted
writer ("Me, Myself &
Irene's" Jim Carrey) suffers amnesia
and builds a new life when he
happens upon a small town
where he's mistaken for the son of
the local cinema owner. Frank
Darabont ("The Green Mile")
directs this romantic comedy/
(Distribution is
to be set)
"THE PRINCESS DIARIES" A
rebellious Los Angeles teen
(Anne Hathaway of TV's "Get
Real") discovers she's the
princess of a European country in
this film, scripted by "Coyote
Ugly's" Gina Wendkos and to be
austere blue-blooded grandmother.
(Buena Vista)
"CUBBYHOUSE" Joshua Leonard
("The Blair Witch Project") and
Belinda McClory ("The Matrix")
star in this thriller about an
American family who moves to
Australia and whose new home
comes with a children's playhouse
that's haunted by a demon.
(Distribution is
to be set)
UNTITLED NANCY PIMENTAL
PROJECT Romantic comedies
have done well for Cameron
Diaz, and she returns to the genre
as a woman who must learn the
art
the
of seduction when she meets
man of her dreams. The fact
that a staff writer of TV's "South
Park" (Nancy Pimental) penned
the script intimates that this take
on the lighter side of love will be
more "There's Something About
Mary" than "My Best Friend's
Wedding." (Columbia)
a Depression-era gangster novel
school background leads him to about a hitman known as the
defend a black prisoner accused Angel of Death who wreaks
vengeance when his own family
is murdered. (DreamWorks)
"FRAILTY" Bill Paxton, making
his helming debut, will direct
Matthew McConaughey (with
whom he starred in "U-571") in
this horror-thriller about a father
who fervidly combats evil with
the help of his two psychically
sensitive sons, one of whom is
uncertain about their mission.
(Distribution is
to be set)
directed by Garry Marshall
("Runaway Bride"). She must "CHANGING LANES" Call them
decide whether to live as royalty
or as a normal girl. Heather
Road Rage Warriors: Two business
("Bounce's"
professionals
Matarazzo ("Scream 3") plays Ben Affleck and "Shaft's" Samuel
her best friend, and Julie L. Jackson) have a minor fenderbender
Andrews ("A Fine Romance") her
that escalates into an allout
war. Roger Michell ("Notting
Hill") directs. (Paramount)
"PUKA PETE" A hippie ("Lost
and Found's" David Spade) who
is finally rescued after being
shipwrecked since the '60s finds
it difficult to adjust to modern
society in this comedy.
(Distribution is
to be set)
"SIMONE" A film producer (Al
Pacino) whose leading lady
walks off the set is forced to
secretly substitute a computergenerated
actress. The binary
babe is so realistic that she
becomes an overnight superstar,
but reporters are stymied by the
ingenue's "mysterious" (nonexistent)
past. Catherine Keener
("Being John Malkovich"), Jason
Schwartzman ("Rushmore") and
Pruitt Taylor Vince ("Nurse
Betty") co-star; Andrew Niccol
("The Truman Show") helms and
scripts. (New Line)
"VANILLA SKY" Cameron Crowe
("Almost Famous") directs his
"Jerry Maguire" star Tom Cruise in
this romance, which also stars
Cameron Diaz ("Charlie's
Angels") and Penelope Cruz
("Woman on Top"). (Paramount)
"HIGH HEELS AND LOWLIFES"
A nurse ("Beautiful's" Minnie
Driver) overhears the details of a
bank robbery on her cell phone
and decides to blackmail the
thieves for a cut of the loot in this
comedy, to be directed by Mel
Smith ("Bean"). (Buena Vista)
UNTITLED FRIDA KAHLO
BIOPIC Jennifer Lopez ("The
Cell") may portray Mexican
painter Frida Kahlo in this film,
drama. (Universal)
"MONSTER" A journalist ("The putting her in competition with
UNTITLED WOODY ALLEN
Weight ofWater's" Sarah Polley) Salma Hayek's rival Kahlo production
at Miramax. (UA)
travels to Iceland to track down
PROJECT Shrouded in the usual
secrecy, auteur Woody Allen's latest
her fiance and befriends a mythical
creature (Robert John Burke "THE SAFETY OF OBJECTS"
of TV's "Falcone") in this
film will star himself, Helen
Glenn Close ("102 Dalmatians"),
Hunt ("Pay It Forward") and "Beauty and the Beast"-themed Timothy Olyphant ("The Broken
Charlize Theron ("The Yards"). drama, to be directed by Hal Hearts Club"), Patricia Clarkson
(DreamWorks)
("The Green Mile") and Dermot
Hartley ("Henry Fool"). Julie
Christie ("Afterglow") and Helen Mulroney ("Where the Money
"LAST PARTY 2000" Philip Mirren ("Teaching Mrs. Tingle") Is") will star for director Rose
Seymour Hoffman ("Almost co-star. (UA)
Troche ("Bedrooms and
Famous") and Robert Downey Jr.
Hallways") in this drama about
("Wonder Boys") star in this "THE QUIET AMERICAN" In four unhappy suburban families
Donovan Leitch Jr.-helmed film
whose lives are interconnected.
this 1950s-set thriller, a cynical
chronicling the election
British reporter and opium addict (Distribution is to be set)
process.
("The Cider House Rules'"
Michael Caine) who objects to "CATCH ME IF YOU CAN"
American colonialism in Vietnam
anger on an American
Leonardo DiCaprio ("The Beach")
will star as Frank Abagnale, a
turns his
CIA agent ("Bedazzled's" Brendan
Fraser) with whom he competes
forger and master of disguise who,
at age 18, was the youngest crim-
for the love of a woman. Phillip inal to make the FBI's most wanted
list and who later became a
Noyce ("The Bone Collector")
directs. (Distribution is to be set) consultant for the bureau. Gore
Verbinski ("The Mexican") is in
talks to helm. (DreamWorks)
"CHINESE COFFEE" A struggling
writer and his mentor recollect
the events that shaped their lives
in this drama, to star Al Pacino
("Any Given Sunday") and Jerry
Orbach ("Mr. Saturday Night"
(Fox Searchlight)
"STRETCH ARMSTRONG" A spy
and martial artist ("Shanghai
Noon's" Jackie Chan) discovers a
formula that makes him supermalleable
in this action-comedy.
(Buena Vista)
ET CETERA: Robin Williams will
portray the titular flamboyant!
pianist in Independent Pictures'
biopic "Liberace"...Tim Roth,
Michael Clarke Duncan, Helena
Bonham Carter and Paul Giamatti
have joined Mark Wahlberg
Fox's Tim Burton-helmed "Planet
of the Apes"... A white Southern
family is shocked to discover that
their adopted son ("The Replacements'"
Orlando Jones) is black,
having always believed his pigmentation
was due to a skin condition,
in the Columbia comedy
"Redneck."
10 BOXOIFICK

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91
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88XOFFICE Studio Charts
212-588-6000
310-449-3000
212-708-0300
212-941-3800
323-951-4200
eptember 2000:
September 2000:
luets. 9/15. Dra, R. 112 min, DTS,
SRD. Flat Maria Bello, Gwyneth
'altrow, Andre Braugher, Huey Lewis.
Bruce Paltrow.
lemember the Titans, 9/29, Dra, PG,
14 min, DTS. SDDS. SRD, Scope.
lenzel Washington. Will Patton. Dir:
Ictober 2000:
he Nightmare Before Christmas
eissue), 10/27. Ani. PG. 75 min, DTS.
;DDS, SRD, Flat. Voices: Danny
Ifman. Chris Sarandon, Catherine
)'Hara. Dir: Henry Selick.
Anatomy, 9/8. Thr, R, 111 min, SDDS,
SR, SRD. Scope. Franka Potente. Dir:
Stefan Ruzowitzky.
Circus. 9/15. Com/Act. R, 110 min,
SDDS. SR. SRD. Flat. John Hannah,
Famke Janssen. Dir: Rob Walker.
Urban Legends: Final Cut, 9/22, Thr,
R, 98 min, SDDS, SR, Scope. Jennifer
Morrison, Joseph Lawrence, Anson
Mount. Eve Mendez, Jessica Caufliel,
Marco Hofschneider, Matthew Davis,
Loretta Devine. Hart Bochner, Michael
Bacall. Dir: John Ottman.
October 2000:
NO RELEASES SCHEDULED
Almost Famous (formerly Untitled This is Spinal Tap (reissue), 9/8 ltd. Highlander - Endgame, 9/1 , R
Cameron Crowe project). 9/15 ltd, 9/22 Com. DTS. SDDS. Christopher Guest, Christopher Lambert, Donnie Yen.
exp, 9/29 wide. Dra/Com, R, DTS, Michael McKean, Harry Shearer. Dir: Backstage. 9/6
SDDS. SRD Billy Crudup, Frances Rob Reiner.
Blow Dry. 9/22 NY/LA. Com. Alan
McDormand, Kate Hudson. Jason Lee. Crime + Punishment in Suburbia (lor Rickman, Natasha Richardson.
Fairuza Balk. Noah Taylor, Patrick Fugit merly Crime & Punishment in High
October 2000:
Dir: Cameron Crowe.
School), 9/15 ltd. Dra. R. 98 min,
SDDS. SRD. Flat. Ellen Barkin. Monica
Untitled Jackie Chan. 10/6. Jackie
Keena. Vincent Kartheiser, James De
Chan.
Bello. Jeffrey Wright, Michael Ironside.
Bounce. 10/13, Rom/Dra. PG-13, D
Dir: Rob Schmidt.
Ben Affleck, Gwyneth Paltrow Dir C
The Fantasticks, 9/22 NY/LA, Mus.
PG. 87 min. DTS, SDDS. Scope. Joe
The Yards, 10/20 NY/LA/Chi, Dra.
Mclntyre. Jean Louisa Kelly, Joel Grey.
SRD, Scope. Mark Wahlberg, Jamei
Dir: Michael Ritchie.
Caan, Joaquin Phoenix, Faye Dunai
October 2000:
Charlize Theron Dir James Gray.
NO RELEASES SCHEDULED
02 Dalmatians, 11/22, Fam/Com,
ITS, SDDS. SRD, Flat. Glenn Close,
ierard Depardieu. loan Gruffudd. Alice
Vans. Dir: Kevin Lima.
Inbreakable. 11/22, Sus/Thr, DTS.
iDDS, SRD. Bruce Willis. Samuel L
ackson, Robin Wright-Penn, Spencer
reat-Clark. Dir: M. Night Shyamalan.
lecember 2000:
Imperor's New Groove (formerly
jngdorn in the Sun). 12/15, Ani, DTS,
;DDS, SRD, Flat. Voices: David Spade,
ohn Goodman, Eartha Kitt, Patrick
i/arburton
Dir: Mark Dindal.
) Brother, Where Art Thou?. 12/22
d, Com, PG-13, DTS, SDDS. SRD,
tat John Turturro. Tim Blake Nelson,
ieorge Clooney. Dir: Joel Coen.
anuary 2001:
'earl Harbor, May 2001, Dra, DTS,
iDDS. Cuba Gooding Jr., Ben Affleck,
osh Hartnett, James King, Ewan
iremner, Kate Beckinsale, Guy Torry,
om Sizemore Dir: Michael Bay.
.tlantis. Am. DTS. SDDS. Voices:
lichael J Fox, James Garner. Dir: Kirk
i/ise, Gary Trousdale.
lewport South, PG-13. DTS. SDDS,
.RD Blake Shields, Gabriel Mann,
laymond J. Barry Dir: Kyle Cooper
(CURRENT)
Charlie's Angels. 11/3, Act/Com, -132
min, SDDS, SDDS-8, Scope. Drew
Barrymore, Cameron Diaz, Lucy Liu, Bill
Murray. Sam Rockwell Dir: McG.
The 6th Day. 11/17, SF/Act, -152 min.
DTS, SDDS, SDDS-8. Scope. Arnold
Schwarzenegger. Michael Rapaport,
Tony Goldwyn, Robert Duvall, Michael
Rooker. Dir: Roger Spotliswoode.
December 2000:
Vertical Limit. 12/8. Act/Adv. -122 min.
DTS, SDDS, SDDS-8, Flat. Chris
O'Donnell, Scott Glenn. Robin Tunney,
Bill Paxton, Izabella Scorupco, Temuera
Morrison. Dir: Martin Campbell.
Finding Forrester Dra, SDDS Sean
Connery. F. Murray Abraham, Anna
Paquin, Rob Brown, Busta Rhymes. Dir
Gus Van Sant.
January 2001:
Wedding Planner, 1/26, SDDS.
Jennifer Lopez, Matthew McConaughey
Dir: Adam Schankman.
February 2001
Saving Silverman, 2/16. SDDS. Jack
Black. Amanda Peet, Jason Biggs. Dir
Dennis Dugan.
COMING:
The Tailor of Panama, 1st Qtr 2001.
Sus/Thr. SDDS. Pierce Brosnan,
Geoffrey Rush, Dir John Boorman.
Joe Dirt, 4/6/2001, Com. SDDS. David
Spade. Kid Rock, Roseanne.
Tom Cats. 5/4/2001, SDDS. Jerry
O'Connell. Shannon Elizabeth. Dir:
Gregory Poirier.
A Knight's Tale. 6/1/2001, SDDS,
SDDS-8. Heath Ledger, Mark Addy,
Rufus Sewell. Dir: Brian Helgeland.
Animal, 6/22/2001. SDDS. Rob
Schneider.
Glass House. 2nd Qtr 2001. SDDS.
Leelee Sobieski. Diane Lane, Stellan
Skarsgard. Dir: Daniel Sackheim.
The New Guy, 2nd Qtr 2001 , SDDS
D J Quails, Eddie Griffin, Lyle Lovett
Eliza Dushku. Dir Ed Decter.
Final Fantasy. 7/20/2001 , Ani, SDDS,
Voices of Alec Baldwin. Ving Rhames.
Ming-Na Wen.
The Rock Movie, 8/3/2001. SDDS.
Panic Room. Summer 2001 . SDDS
Dir: David Fincher.
Spiderman. 11/2/2001, SDDS
SDDS-8. Tobey Maguire. Dir: Sam
Raimi.
AM, SDDS. Will Smith. Dir: Michael
All That Glitters, SDDS.
Enough, SDDS
Pimental Script, SDDS.
Riding in Cars With Boys. SDDS
Drew Barrymore, Adam Garcia. Sara
Gilbert. Dir: Penny Marshall.
The Three Stooges. SDDS.
Whitey and Davey. SDDS.
(CURRENT)
The Legend of Bagger Vance. 11/3.
Dra. DTS. SDDS. SRD, SRD-EX. Will
Smith, Matt Damon, Charlize Theron, L
Michael Moncrief, Joel Gretsch, Bruce
McGill. Dir: Robert Redford.
December 2000:
An Everlasting Piece. 12/25 ltd. Com,
DTS, SDDS. Barry McEvoy, Brian F.
O'Byrne, Anna Friel, Billy Connolly. Dir:
Barry Levinson.
January 2001:
NO RELEASES SCHEDULED
February 2001:
NO RELEASES SCHEDULED
COMING:
Shrek. 5/18/2001. Ani, DTS. SDDS.
SRD. Voices: Mike Myers, Cameron
Diaz. Eddie Murphy. John Lithgow,
Linda Hunt. Dir: Kelly Asbury. Andrew
Adamson.
Spirit: Stallion of the Cimaron
Thanksgiving 2001. DTS. SDDS. Dir:
Kelly Asbury and Lorna Cook.
After Man, DTS, SDDS. SRD.
Arkansas, DTS. SDDS, SRD.
Keeper. DTS. SDDS. SRD.
The Man Who Came to Dinner. DTS,
SDDS, SRD. Dir: Danny De Vito.
Mozart and the Whale. DTS. SDDS,
SRD.
Neanderthal. DTS, SDDS, SRD,
The Newports, DTS, SDDS, SRD Dir
Steven Spielberg.
Untitled Charles Lindbergh Project,
Original Sin, Thr. DTS, SDDS. Angelin
Jolie. Antonio Banderas. Thomas Jane,
Jack Thompson. Dir: Michael Cristofer.
NO RELEASES SCHEDULED
Cook, Claire Forlani Dir: Peter Howitt
COMING:
Thr, SDDS. Anthony Hopkins
Moore, Ray Liotta, Giancarlo
Dir Ridley Scott.
The Claim (formerly Kingdom Come,
Untitle Michael Winterbottom Project).
4th Qtr, Dra, DTS, SDDS. Wes Bentley.
Sarah Polley. Milla Jovavich. Peter
Mullan, Nastassja Kinski Dir: Michael
Winterbottom.
Deuces Wild, March 2001, Dra, SDDS.
Stephen Dorff, Fairuza Balk, Frankie
Muniz, James Franco, Brad Renfro,
Matt Dillon Dir: Scott Kalvert.
What's the Worst That Could
Happen?. April 2001. Com, SDDS.
Martin Lawrence. Danny DeVito. Dir:
Sam Weisman.
Rollerball, May 2001, Act/Thr, SDDS.
Chris Klein. LL Cool J, Jean Reno.
Rebecca Romijn-Stamos. Dir: John
McTiernan.
Ghost World, Spring 2001, Com, DTS,
SDDS. Thora Birch, Brad Renfro.
Scarlett Johansson. Dir: Terry Zwigoff.
Heartbreakers (working title, formerly
Breakers), Spring 2001, Com. SDDS.
Sigourney Weaver, Jennifer Love
Hewitt, Gene Hackman, Ray Liotta,
Jason Lee. Dir: David Mirkin.
Windtalkers, July 2001, Act, SDDS.
Nicolas Cage. Adam Beach. Christian
Slater, Noah Emmerich, Emily Mortimer.
Dir: John Woo.
Bandits (formerly Outlaws). August
2001. Rom/Com, SDDS. Bruce Willis.
Billy Bob Thornton. Cale Blanchett. Dir:
Barry Levinson.
Basic Instinct 2, SDDS. Sharon Stone
Hart's War. Dra. SDDS. Edward
Norton. Dir: Gregory Hoblit.
Killing Me Softly. Thr. Heather
Graham. Joseph Fiennes. Dir: Chen
Legally Blonde, Com. Reese
Witherspoon Dir: Robert Luketic.
The Golden Bowl. 11/3 NY/LA, Dra
Nolte, Uma Thurman. Dir: James Ivc
Malena. 11/10 NY/LA.
December 2000:
A Hard Day's Night (restored reissu
12/1 NY'LA. 12/8 exp. 91 min, SR, S
Flat. The Beatles. Dir: Richard Lester
Chocolat, 12/15 NY/LA, 12'22 exp, 1/!
exp. Juliette Binoche. Dir: Lasse Hallsti
Wes Craven Presents: Dracula 20
12/22. Dir: Patrick Lissier.
All the Pretty Horses. 12/25.
Dra/Western, DTS, SDDS, SDDS-8.
Matt Damon. Dir: Billy Bob Thornton.
Vatel. 12/25 NY/LA. Gerard Depardi
Dir: Roland Joffe.
COMING:
About Adam, 3/2/2001 NY/LA,
Dra/Rom Kate Hudson. Stuart
Townsend. Dir: Gerard Stembridge.
Spy Kids. 3/30/2001. Alan Cumminf
" Robert Rodriguez.
Imposter. 1st Qtr 2001 , DTS Mekhl
Phifer, Gary Sinise. Madeleine Stow
Tony Shalhoub, Vincent D'Onofrio. C
Gary Fleder.
O (Othello). 1st Qtr 2001 , min, C
SRD. Flat. Mekhi Phifer, Elden Hen!
Josh Hartnett, Julia Stiles. Rain
Phoenix. Dir: Tim Blake Nelson.
Texas Rangers. 1st Qtr 2001. West
PG-13, SRD. Scope. Ashton Kutcho
Raymond, James Van Der Be
Dylan McDermott. Dir: Steve Miner.
The Third Wheel. 1st Qtr 2001.
Bridget Jones' Diary, 4/13/2001
e Zellweger. Hugh Grant. Colir
Embeth Davidtz Dir: Sharon
Maguire.
Daddy and Them. 2nd Qtr 2001 . C
R. SR, SRD Laura Dern, Billy Bob
Thornton, Kelly Preston, Ben Afflecr-
Diane Ladd. Dir Billy Bob Thornton.

'
: Lord
'
It
i
r).
'
'
Com.
DTS.
November, 20Q
Up (formerly Ghetto Superstar,
! Mix). 9/6, Dra. R. -83 min. DTS,
3, Flat- Ja Rule, Pras Michel.
Jctober 2000:
0/6, R, DTS. SDDS.
on Wayans. Jada Pinkett-Smith,
3n Glover, Tommy Davidson. Dir:
3 Lee.
Souls, 10. 13. Sup/Thr. R, -102
DTS, SDDS, SRD. Scope Winona
yder. Ben Chaplin. John Hurt, Elias
Diehl. Philip Baker Hall,
arah Wynter Dir: Janusz Kaminski.
he Little Vampire (formerly Little
ampires). 10/27, Fam. PG. DTS.
DDS. Flat.
URRENT)
Itle Nicky. 1110. Com, DTS, SDDS,
ID, Flat. Adam Sandler. Patricia
queue, Harvey Keitel, Rhys Ifans,
Covert. Jonalhan Loughran. Peter
ante Dir: Sieve Brill.
n Days. 12/20. Dra. DTS.
3DS. Flat. Kevin Coslner, Bruce
ood. Steven Culp. Bill
r2001:
lockaround Guys. 1/12. Dra. DTS.
)DS. Dennis Hopper, John Malkovich,
een, Vin Diesel, Barry Pepper.
r: David Levien & Brian Koppelman.
igar and Spice, 1 26, Com. DTS,
)DS. Mena Suvan. James Marsden,
2001:
is (aka Celebrity), 2J2,
1/Thr/Sus. R. DTS, SDDS, SRD.
ope. Ed Burns. Robert De Niro.
Isey Grammer, Melma Kanakaredes.
in Herzleld.
Campers. 2/16. Com, DTS.
)DS. Brad Renlro, Dominique Swain.
d Country. 3/16/2001.
im/Com. R. DTS. SDDS. SRD, Flat.
jrren Eeatty, Diane Keaton, Goldie
Andie MacDowell, Garry
andling, Jenna Elfman Dir: Peter
tiss,
3/23/2001, DTS. SDDS. SRD.
)ogg. Pam Grier. Michael T
Clifton Powell, Ricky Harris, Dir:
e Johnson Five, 6/30/2001
, DTS.
DS Adam Sandler.
sh Hour 2. Summer 2001 . DTS.
DS Jackie Chan. Chris Tucker. Chru
in. Dir: Brel Ratner.
of the Rings, 12/19/2001.
itasy, DTS. SDDS Elijah Wood,
te Blanchetl, Sean Aslm, Dominic
naghan, Billy Boyd. Dir: Peter
X. DTS, SDDS Kane Hodder,
oig, Yani Gellman. Kristi Angus,
an Potts, Melyssa Ade. Dir:
nes Isaac.
ion Song, Mus'Dra. R, DTS, SDDS
ip. Mary J Blige, Elvis Cosfello. Fat
Dir: Darnell Martin.
onditional Love. Com. DTS.
DS. Kalhy Bates. Rupert Everett.
edith Eaton. Dan Aykroyd. Dir: P.J.
September 2000:
NO RELEASES SCHEDULED
October 2000:
Ladies Man, 10/13. Com. SRD. Tim
Meadows, Will Ferrell, Karyn Parsons.
Billy Dee Williams, Titfani Thiessen, Lee
Evans. Dir: Reginald Hudlin
Wonder Boys (reissue). 10/20,
Dra/Com, SRD, Flat. Michael Douglas.
Tobey Maguire. Dir: Curtis Hanson.
Lucky Numbers (formerly Numbers).
10/27, Com. DTS, SRD. John Travolta.
Lisa Kudrow. Tim Roth. Michael
Rapaport. Ed O'Neill. Bill Pullman,
Michael Moore. Dir: Nora Ephron.
Rugrats in Paris - The Movie. 11/17,
" DTS, SRD. Voices: Christine
Cavanaugh. Cheryl Chase. Susan
Sarandon. E.G. Daily. John Lithgow.
Debbie Reynolds. Dir: Paul Demeyer &
Slig Bergqvist.
2000:
What Women Want. 12/15. Rom/Com.
n, Helen Hunt, Mansa
Tomei, Lauren Holly. Mark Feuerstein,
Delia Burke, Ashley Johnson, Valerie
Pernne, Alan Alda. Dir: Nancy Meyers.
the Gates. 12/22. Dra. Jude
Law, Ed Harris, Rachel Weisz. Dir:
Jacques Annaud.
Save the Last Dance, 1/12/01. Rom,
SRD. Julia Stiles. Sean Patrick Thomas
Dir: Thomas Carter.
February 2001:
NO RELEASES SCHEDULED
COMING:
Along Came a Spider. SRD Morgan
Freeman, Monica Potter. Michael
Vincorl. Mika Boorem, Dylan Baker,
mton Yelchm. Dir: Lee Tamahori.
Was Made to Love Her. SRD. Chris
Rock. Regina King. Dir: Chris & Paul
Weitz.
Tomb Raider, 6/15/2001. Angelina
Jolie. Daniel Craig Dir: Simon West.
" '
>Loco
The Score Robert De Niro. Edward
Nonon, Marlon Brando. Angela Basset!
~ ^rank Oz.
Shooter
The Stand
mder. SRD. Ben Stiller,
Wilson Dir: Ben Stiller,
Owen
Digimon: The Movie, 10/6. SR. SRD.
Clifton Collins Jr. Dir: Joel Schumacher
Bedazzled. 10/20. Com. PG-13, 93
mm, DTS. SR. SRD. Scope Brendan
Fraser. Elizabeth Hurley, Frances
O'Connor, Orlando Jones. Dir: Harold
Men of Honor (formerly Navy Diver.
The Diver). 11/10. Dra/Act. R, -120 min,
SR. SRD. Scope. Robert De Niro, Cuba
Gooding Jr., Charlize Theron. Dir:
George Tillman Jr.
2000:
Castaway, 12/22, Dra. DTS. SR. SRD.
Flat. Tom Hanks, Helen Hunt. Nick
Searcy. Dir: Robert Zemeckis.
Moulin Rouge. 12/25. SR, SRD,
Scope. Nicole Kidman, Ewan McGregor,
John Leguizamo. Dir: 8az Luhrmann.
January 2001:
Monkeybone. Jan/Feb. Com, DTS, SR
SRD. Brendan Fraser, Whoopi
Goldberg, Bridget Fonda, Chris Kattan
Henry Selick.
February 2001 :
NO RELEASES SCHEDULED
COMING:
The Black Knight. Chris Tucker. Dir: F.
Gary Gray
Disaster Area. SR. SRD. Vince
Vaughn Dir: Harold Zwart.
Squelch. Act, SR. SRD. Leelee
Sobieski. Sieve Zahn. Paul Walker. Dir:
Dahl.
Untitled Mike Judge Film. SR. SRD
Dir: Mike Judge.
Untitled Sean Connery Project, SR,
SRD. Sean Connery.
Planet of the Apes (formerly The
7/4/2001, SR, SRD. Mark
Wahlberg. Paul Giamatti, Helena
Bonham Carter Dir: Tim Burton.
al Husbandry. SR. SRD. Ashley
Judd, Hugh Jackman, Greg Kmnear.
Dir: Tony Goldwyn
Behind Enemy Lines Gene Hackman,
Owen Wilson. Dir: Davis Moore.
Doctor Dolittle 2. SR, SRD Eddie
Murphy. Dir: Steve Carr.
Fantastic Four. SR, SRD
From Hell, Act. SR. SRD, Johnny
Depp. Ian Holm, Nigel Hawthorne.
Heather Graham Dir: The Hughes
Brothers.
High Crimes. SR. SRD
Little Beauty King. SR. SRD.
Minority Report. DTS. SR. SRD. SRD-
EX. Tom Cruise. Dir: Sleven Spielberg.
Say It Isn't So (working title), Com, SR,
SRD Chris Klein, Heather Graham,
Sally Field,
Richard Jenkins. Jack
Plotnick. Orlando Jones. Dir: J.B.
Rogers
The Watcher (formerly Driven), 9/8, R.
DTS. SDDS, SRD Keanu Reeves.
James Spader, Mansa Tomei. Dir: Joe
Charbanic.
October 2000:
Meet the Parents, 10/6, Com, DTS,
SDDS. SRD. Robert De Niro, Ben
Stiller, Teri Polo, Blythe Danner. Dir: Jay
Grinch Stole
Christmas. 11/17, Com/Fam, PG, DTS,
SDDS. SR, SRD Jim Carrey. Molly
Shannon. Jeffrey Tambor, Tayli
December 2000:
lyMan. 12 15. Com, DTS, SDDS.
SR. SRD. Nicolas Cage. Tea Leoni. Do
Cheadle, Jeremy Piven. Amber Vallela,
i Presnell. Dir: Brett Ratner.
NO RELEASES SCHEDULED
February 2001 :
Head Over Heels, 2,9, Rom/Com, DTS
SDDS, SRD. Freddie Prinze Jr. Monica
Potter. China Chow, Shalom Harlow.
Milicevic, Sarah O'Hare, Tomiko
Fraser Dir: Mark Waters.
COMING:
The Mummy Returns, 5/11/2001,
Act/Adv, DTS. SDDS, SRD. Brendan
r, Rachel Weisz, John Hannah,
Oded Fehr. Dwayne "The Rock"
;on, Arnold Vosloo. Dir: Stephen
Sommers.
Caveman's Valentine. Samuel L
Jackson, Colm Feore. Ann Magnuson,
Aunjanue Lawan Ellis. Dir: Kasi
Lemmons.
D-TOX (formerly The Oulpost, Detox).
Sus/Thr, R. DTS. SDDS. SR. SRD,
Scope, Sylvester Stallone. Tom
Berenger. Polly Walker. Kris
"nstofferson. Jeffrey Wright
Dir: Jim
Gillespie.
and the Pussycats. DTS. SDDS
Rachael Leigh Cook. Rosario Dawson.
Tara Reid, Parker Posey. Alan
Cumming, Gabriel Mann. Dir: Deborah
Kaplan.
sic Park 3. DTS, SDDS, SR,
SRD. Sam Neill. Alessandro Nivola. Dir:
Joe Johnston.
'ombie's House of a Thousand
Corpses. DTS. SDDS. SR, SRD. Karen
Black Dir: Rob Zombie.
September 2000:
Bait. 9/15, Dra. R, DTS. SDDS. S
SRD. Scope. Jamie Foxx, David
Doug Hulchison Dir: Antoine Fuc
Into the Arms of Strangers. 9/11
Doc. 122 mm, DTS, SDDS. SR, S
Flat. Dir: Mark Jonathan Harris.
Chain of Fools. 9/22. Act. R. DT
SDDS. SR, SRD, Scope. Salma I
Jeff Goldblum. Steve Zahn. Dir: T
The Exorcist (reissue). 9/22. Hor/TI
mm. DTS. SDDS. SR. SRD. SRD-E
Max Von Sydow. Dir: William Friedk
Best in Show. 9/29, Com, PG-1C
SDDS, Flat. Dir: Christopher Gue
October 2000:
Get Carter. 10/6, Thr. R, DTS. SI
SRD. Scope. Sylvester Stallone.
Stephen Kay
Pay It Forward. 10/20. Dra. PG-'
DTS. SDDS. SR SRD. Flat. Kevir
Spacey. Helen Hunt, Haley Joel
Osment. Dir: Mimi Leder.
r 2000:
Red Planet (formerly Mars). 11/3,
DTS. SDDS. SRD. Scope. Val Kiln
Carrie-Anne Moss. Dir: Anthony H<
December 2000:
Proof of Life. 12/8. Rom/Dra, DTS
SDDS. SRD. Scope. Meg Ryan, Ri
Crowe, David Morse. Dir: Taylor He
Miss Congeniality. 12/22, Act, D
Dir:
Donald Peine.
Flat.
Sandra Bl
NO RELEASES SCHEDULED
NO RELEASES SCHEDULED
COMING:
The Pledge DTS
SRD. Jack Nicholson. Dir: Sean I
2001: A Space Odyssey (reissue
Qtr 2001 . SF. G. DTS. SDDS. Dir
Stanley Kubrick.
3000 Miles to Graceland. 1 st Oti
DTS. SDDS. Kevin Coslner.
Exit Wounds. 1 si Qtr 2001 . DTS.
Wanna Be A Rock Star.
2001 , DTS. SDDS. SRD. Sc
Mark Wahlberg. Dir: Stephen Herf
Catch. 1st Qtr 2001. Re
DTS. SDDS. SRD. Freddie Prinze
Michael Tolkm.
\ 1st Qtr 2001, D
SDDS. Keanu Reeves. Dir: Pat O'C
Valentine, 1 st Qtr 2001 , SD
Pluto Nash. 4/6/2001 . DTS. SDD
Eddie Murphy, Dir: Ron Underwor.
Champs, 4/27/2001 . DTS. SDDS
Sylvester Stallone Dir: Renny Ha
Swordfish. 61 5/2001. DTS. SDC
John Travolta, Hugh Jackman.
6/29/2001, DTS. SDDS. Jude I
Haley Joel Osment. Dir Steven Spi
Angel Eyes, 2nd Qtr 2001. DTS,
SDDS Jennifer Lopez.
2nd Qtr 2001. S
Arnold Schwarzenegger Dir Andrew
James. 2nd Qtr 2001, DTS.
Osmosis Jones. 2nd Qtr 2001. A
DTS. SDDS. Scope. Voices: Chris
2001. Com/Fan. DTS.
Harry Potter and the Sorcerer's
Stone, 11,16/2001. SDDS, DTS.
Dir: Chris Columbus.
hosts. SDDS, DTS,
berty Street, DTS, SRD Ro
De Niro.
Confessions of a Dangerous Mi
DTS. Mike Myers.
Shekhar Kapur.
Human Voices Wake Us Dir
Michael Petroni.

;
j
j
i
BOXOFFICE Independent Charts
OCTOBER
Artisan
310-255-3716
equiem for a Dream, Dra. NC-17,
2 min. Jared Leto, Marlon Wayans,
fen Burstyn. Jennifer Connelly. Dir:
!rren Aronofsky. 10/6 ltd, 10/20 exp
£
i. T and the Women, Dra, R, 122
tn. Richard Gere, Helen Hunt. Dir:
bbert Altman. 10/1 3 wide
Sok of Shadows: Blair Witch 2.
ir/Hor, R. Dir: Joe Berlinger. 10/27
Capitol
|
301-564-9700
'llightenment Guaranteed, Com,
^8 min. Uwe Ochsenknecht, Gustav
uter Wdhler. Dir: Doris Dorrie.
= Castle Hill
: 212-888-0080
>llowers. Dra, 89 min. Sam
?ammell. Eddie Robinson, Jerry
iurino. Dir: Jonathan M. Flicker.
J/1 3 NY, 1 0/27 LA
Cowboy
212-929-4200
tst One Time, Com, NR, 111 min.
sine Janger, Joelle Carter, Guillermo
az, Jennifer Esposito, David Lee
[jssek. Dir: Lane Janger. 10/20
[V/LA
jeorge Washington, Dra, NR, 89
'in. Candace Evanofski, Donald
Damian Lee.
alden, Curtis Cotton III,
jr: David Gordon Green. 10/27
fY/LA
!
Destination
310-434-2700
^ng of Fire (formerly Cowboy Up),
fa/Western, 105 min. Kiefer
jtherland, Daryl Hannah, Pete
ostlethwaite, Molly Ringwald, Melinda
First Look
310-855-1199
•e & Isaac Newton, Doc, 107 min.
jr: Michael Apted.
First Run
,
212-243-0600
Sve Nude Girls Unite!, Doc, 70 min.
=ir: Julia Query & Vicky Funari. 10/6
F, 10/20 NY
he Wolves of Kromer. Dra, 82 min.
ae Williams, James Layton. Dir: Will
i
ould. 10/20 SF. 11/17 NY
Fox Searchlight
310-369-4402
ootmen, Mus/Dra, R, 93 min. Adam
arcia, Sam Worthington, Sophie Lee,
/illiam Zappa, Matt Lee, Chris Horsey,
3e McDonald, Drew Kaluski, Jonno
issler. Dir: Dein Perry. 10/6 NY/LA
Ibex
909-698-9622
orority Girls' Revenge, Com, 91
IMAX
905-403-6500
yberworld, IMAX Ani. Voices: Jenna
ifman. 10/6
Keystone
310-317-4883
MVP: Most Valuable Primate, Com,
PG, 92 min. Kevin Zegers. Dir: Robert
Vince. 10/20
Kino
212-629-6880
Boesman & Lena, Dra. 88 min. Danny
Glover, Angela Bassett. Dir: John
Berry.
Lions Gate
212-966-4670
Two Family House. R, 104 min.
Michael Rispoli, Kelly Macdonald,
Kathrine Narducci. Dir: Raymond
DeFelitta. 10/6 NY, 10/13 LA, 10/20
exp
Stardom, Dra/Com. Dan Aykroyd,
Frank Langella, Thomas Gibson,
Charles Berling, Robert Lepage,
Camilla Rutherford, Jessica Pare. Dir:
Denys Arcand. 10/27
Regent
310-260-3333
Speedway Junky, Dra, 106 min Daryl
Hannah, Jonathan Taylor Thomas,
Jesse Bradford, Jordan Brower, Tiffani-
Amber Thiessen, Warren G. Dir:
Nickolas Perry. LA/NY
Seventh Art
323-845-1455
Always a Bridesmaid, Doc, 90 min.
Dir: Nina Davenport.
Shooting Gallery
212-905-2000
One. Dir: Tony Barbieri. 10/3
A Time for Drunken Horses. Dir:
Bahman Ghobad. 10/27
Sony Classics
212-833-8851
Just Looking. 10/13 NY/LA
AND A ONE AND A TWO: Suyun Ke waits patiently
in Edward Yang's "Yi V7,"a Winstar release that opens October 6.
Lot 47
212-367-9435
Venus Beauty Institute (France).
105 min. Natalie Baye, Bulle Ogier,
Audrey Tautou. Dir: Tonie Marshall.
10/27
Panorama
914-937-1603
Black Eyed Dog, 89 min. Paul
Barnett. Lorean Keating, Clive
Worsley, Dermott Carroll, Phil Coulter.
Dir: Richard O'Connell.
Mr. Rice's Secret, 93 min. David
Bowie, Bill Switzer. Dir: Nicholas
Kendall.
Phaedra
213-380-9323
Downward Angel, Noir, R, 97 min.
Matt Schulze, Jonathan Banks, Gabriel
Fitzpatrick. Dir: Kevin Lewis.
The Sculptress, Thr, R. 92 min. Jeff
Fahey. Patrick Bauchu. Katie Wright.
Dir:
Ian Merrick.
Providence
818-728-9700
Mercy Streets. Eric Roberts, David
White, Cynthia Watros. Stacy Keach,
Lawrence Taylor. Dir: Jon Gunn. 10/31
ltd
Strand
310-395-5002
Boys Life 3. 10/6 NY, 10/20 LA
Universal Focus
310-385-4030
Billy Elliot. Julie Walters, Jamie Bell.
Dir: Stephen Daldry. 10/13 ltd
Loving Jezebel, Rom/Com. Hill
Harper, Laurel Holloman, Nicole Ari
Holt.
Parker, Sandrine David Moscow,
Elisa Donovan. Dir: Kwyn Bader. 10/27
310-385-4400
A Room for Romeo Brass. Dra. R.
Frank Harper. James Higgins. Paddy
Considine, Vicky McClure, Bob Hoskins.
Dir: Shane Meadows. 10/27 NY/LA
Viz/Tidepoint
415-512-1924
Sasayaki (aka Moonlight Whispers).
Dra. 100 min. Kenji Mizuhashi. Dir:
Akihiko Shiota. 10/27 SF, 11/17 NY
Winstar
212-686-6777
Yi Yi (A One And A Two: Taiwan), Dra,
NR, 1 73 min. Wu Nienjen, Issey Ogata,
Elaine Jin, Kelly Lee, Jonathan Chang.
Dir: Edward Yang. 10/6 ltd
NOVEMBER
Cowboy
Lies (co-release with Offli
Releasing), Dra, NR, 115 min. L
sang Hyun, Kim Tae Yeon. Dir: Ja
Sun Woo. 11/17 NY/LA
Fox Searchlight
Quills, Dra, R, 124 min. Geoffrey Rui
Kate Winslet, Joaquin Phoenix, Michi
Caine. Dir: Philip Kaufman. 11/22
Lions Gate
Once In The Life. Lauren
Fishburne, Titus Welliver. C
Laurence Fishburne. 11/3 NY/LA/Ch
Milestone
201-767-3117
The Mystery of Picasso, Doc, 72 rr
Pablo Picasso. Dir: Henri-Georg
Clouzot.
Panorama
Anima, 88 min. George Bartenii
Jacqueline Bertrand. Dir: Cn
Richardson.
Paramount Classics
323-956-5000 212-373-700
You Can Count on Me, Dra, 109 rr
Matthew Broderick, Rory Culkin, Lai
Linney, Mark Ruffalo, Jon Tenney. [
Kenneth Lonergan. 11/17
Phaedra
The Story of O (remake), Erotic, h
Danielle Ciardi, Neil Dickson, fJ
Parish, Michelle Ruben. Dir: F
Leirness.
Shooting Gallery
Non-Stop. Dir: Sabu. 11/10
Strand
Suzhou River, Dra, 83 min. Zhou Xi
Jia Hongsheng. Dir: Lou Ye. 11/8 N"
The Weekend, Dra. Gena Rowlan
Brooke Shields. Deborah Kara Unc
D.B. Sweeney. Dir: Brian Skeet. 11,
NY
Signs & Wonders, Dra. Stel
Trimark
310-314-3040
What's Cooking?, Com. A
Woodard, Dennis Haysbert.
Weldon, Mercedes Ruehl, Victor Rivi
Douglas Spain, A. Martinez, Lai
Kazan. Maury Chaykin. Kyra Sedgw
Julianna Margulies, Estelle Harris, Ji
Chen, Will Yun Lee, Kristy Wu, Jirr
Pham, Brennan Louie. Dir: Gurin
Chadha. 11/3 NY/LA. 11/17 exp
USA Films
In the Mood for Love, Dra. T
Leung Chiu-wai, Maggie Cheung W
yuk. Dir: Wong Kar Wai.
DECEMBER
Destination
Slackers. Devon Sawa, Ja
Schwartzman, James King, Lc
Dewey Nicks. Christm
Prepon. Dir:

I Was
November, 2000
Fine Line
212-649-4800
and Main. Com, ite R. Alec
Idwin. Philip Seymour Hoffman,
arles Durning, Sarah Jessica
'ker, Willliam H. Macy. Dir: David
met. 12/22 NY/LA. 1/12/01 wide
Indican
323-650-0832
/alu, Fan/Dra, R. EJ Callahan.
Ilipe Clay. Terrence Gillespie,
alina Murgea. Dir: Veit Helmer.
29
Lions Gate
adow of the Vampire, Dra/Thr, R,
*min. John Malkovich, Willem Dafoe,
3 Kier, Cary Elwes. Eddie Izzard,
herine McCormack. Dir: Elias
hige. 12/29 NY/LA
Milestone
s Wide Blue Road, Dra, 98 min.
s Montand, Alida Valli. Dir: Gillo
itecorvo.
Phaedra
l ' i Bridge (France), Dra/Rom, 92
Gerard Depardieu, Carole
quet, Charles Berling. Dir: Gerard
>ardieu & Fred Auburtin.
Sony Classics
uching Tiger, Hidden Dragon,
Dra. Zhang Zi-Yi, Michelle Yeoh,
Yun Fat, Chang Zheng, Zheng
Pei, Gao Xi-An. Dir: Ang Lee. 12/8
12/15 LA
Trimark
gcatcher. Dra. Janet McTeer,
in Quinn, Pat Carroll, Jane Adams.
Maggie Greenwald. 12/8 NY/LA,
2exp
USA
fie. Michael Douglas. Catherine
i-Jones, Don Cheadle, James
in, Erika Christensen. Dir: Steven
erbergh. 12/22 NY/LA, Jan 2001
Man Who Cried. Christina Ricci,
iny Depp. Dir: Sally Potter.
JAN. 2001
Artisan
Survivors, Thr. Casey Affleck,
Dushku, Wes Bentley, Luke
on, Melissa Sagemiller. Dir: Steve
e'«f>enter.
Cowboy
e Winter Dark, Dra, NR, 100 min.
ia Blethyn, Miranda Otto. Ray
ett, Richard Roxburgh. Dir: James
Fine Line
Invisible Circus, Dra, R, 98 min.
leron Diaz, Blythe Danner,
ana Brewster, Christopher
3ston. Dir: Adam Brooks. 1/26
e Gig. 95 min. Vince Vaughn, Ed
s. Dir: Gregory Mosher.
Fox Searchlight
'
Beast, Dra. Ray Winstone. Ben
sley, Amanda Redman, Alvaro
e, Cavan Kendall, Julianne White,
lonathan Glazer.
IDP (Samuel Goldwyn,
Stratosphere and Fireworks)
212-367-9435
Faithless (Samuel Goldwyn/
Fireworks: Sweden), Dra. Krister
Henriksson, Thomas Hanzon, Erland
Josephson. Liv Ullmann. 1/26
Dir:
Indican
Shay & Kiki, Experimental. Shay
Laroux, Kiki Doll. Dir: Eric Fournier.
1/27. February wide
Kino
The Legends of Rita, Dra, NR, 104
min. Bibiana Beglau, Martin Wuttke.
Dir: Volker Schlondorff. 1/24/2001
Kippur, Dra, NR, 123 min. Dir: Amos
Gitai.
Lot 47
Chunhyang (Korea). 120 min. Lee
Hyo Jung, Cho Seung Woo. Dir: Im
Kwon Taek. 1/1
Screen Gems
310-244-4000
The Brothers. Bill Bellamy, Morris
Chestnut, Shemar Moore, D.L.
Hughley. Dir: Gary Hardwick.
Sony Classics
Shadow Magic. Dra. Jared Harris, Xia
Yu, Liu Peiqi. Lu Liping. Xing Yufei,
Wang Jingming, Li Yusheng,
ZhangYukui. Dir: Ann Hu. 1/26
FEB. 2001
Kino
Come and See (reissue). Dra, NR,
142 min. Alexei Krauehenko, Olga
Mironova. Dir: Elem Klimov.
Lions Gate
The Widow of St. Pierre, Dra. Juliette
Binoche, Daniel Auteuil, Emir
Kusturica. Dir: Patrice Leconte.
Lot 47
The Price of Milk, 87 min. Danielle
Cormack. Karl Urban. Dir: Harry
Sinclair. 2/14
Providence
Extreme Days. Dante Basco, Ryan
Browning, A.J. Buckley, Derrick
Hamilton, Cassidy Rae. Dir: Eric
Hannah. 2/16
Sony Classics
The Road Home, Dra. Zhang Ziyi, Sun
Honglei, Zheng Hao, Zhao Yuelin, Li
Bin. Dir: Zhang Yimou. 2/16
Trimark
Attraction (formerly Stalk. Rules of
Attraction). Dra. Matthew Settle, Tom
Everett Scott. Gretchen Mol. Samantha
Mathis. Dir: Russell DeGrazier.
USA
One Night at McCool's. Dra. Liv Tyler.
Matt Dillon, John Goodman, Paul
Reiser, Andrew Silverstein, Reba
McEntire. Dir:
Harald Zwart.
WGBH
312-255-1370
Shackletons Antarctic Adventure.
Doc, 39 min.
MARCH 2001
Lions Gate
Bread and Roses.
APRIL 2001
Fox Searchlight
Kingdom Come. Whoopi Goldberg,
Jada Pinkett Smith, LL Cool J, Vivica A.
Fox. Cedric "The Entertainer". Dir:
Doug McHenry.
IDP (Samuel Goldwyn,
Stratosphere and Fireworks)
Better than Sex (Fireworks Pictures).
Com. David Wenham, Susie Porter.
Dir: Jonathan Teplitzsky.
Lot 47
Runway, 105 Hit & min. Michael
Parducci. Peter Jacobson, Judy
Prescott. Kerr Smith. Dir: Christopher
Livingston. 4/6
Russian Doll Natalia Novikova, Hugo
Weaving. Dir: Stavros Kazantzidis. 4/27
MAY 2001
Lot 47
Fast Food, Fast Women, 95 min.
Anna Thompson, Louise Lasser. Dir:
ArnosKollek. 5/11
JUN. 2001
Fine Line
Anniversary Party. Jennifer Jason
Leigh, Alan Cumming, Gwyneth
Paltrow. Dir: Jennifer Jason Leigh &
Alan Cumming.
AUG. 2001
Fine Line
Sleeping Dictionary Bob Hoskins,
Brenda Blethyn, Hugh Dancy. Dir: Guy
Jenkin.
COMING
Arrow
272-398-9577
Dog Run. Dra. Brian Marc. Craig
DuPlessis, Lisa Ristorucci, Elizabeth
Horsburgh. Dir: D. Ze'ev Gilad.
Jump, Dra. James LeGros, Amanda
Peet, Mike McGlone. lone Skye,
Jessica Hecht. Hal Linden. Dir: Justin
McCarthy.
Restless. Rom/Dra. 100 min.
Catherine Kellner, David Wu, Josh
Lucas, Sarita Choudhury, Geng Le.
Dir: Jule Gilfillan.
Artisan
El Norte (reissue). Dra, R. 139 min.
Zaide Silvia Gutierrez, Ernesto Gomez
Cruz. Dir: Gregory Nava. 2001
Castle Hill
Blue Moon. Fall
Two Ninjas. Fall
Cinema Village
272-437-5779
Journey to the Sun (Turkey). Dra,
min. Newroz Baz, Nazmi Oivix. I
Yesim Ustaoglu. Fall
So Close to Paradise (China). Dra,
min. Wang Tong, Shi Yu. Dir: W<
Xiaoshuai. Fall
Destination
Buying the Cow. Rom/Com. Je
O'Connell, Bridgette Wilson, Rj
Reynolds, Bill Bellamy, Ron Livingst
Alyssa Milano, Annabeth Gish.
Walt Becker. Fall
Empire
272-437-5779
Understanding Jane, Rom/Com,
min. Kevin McKidd, John Simm, Ami
Curtis. Dir: Caleb Lindsay. Fall
Fine Line
Dolmani. NY/LA
Female Trouble (reissue). Divine.
John Waters.
Amelia Earhart. Dir: F
Schepisi.
Pimp. Ice Cube. Dir: Bill Duke.
The Ring
Ripley's Game.
Invincible. Dir: Werner Herz
Summer
Human Nature. Patricia Arquette.
Michel Gondry. Fall
First Run
The Day Silence Died, Dra, 108 n
Dario Grandinetti, Gustavo Angai
Dir: Paolo Agazzi.
Les Petits Freres, Dra, 92 n
Stephanie Touly, Hies Sefraoui.
Jacques Doillon.
Light Keeps Me Company, Doc,
min. Sven Nykvist. Dir: Carl-Gus
Nykvist.
The Personals. Dra/Com, 104 n
Rene Liu. Dir: Chen Kuo-fu.
Fox Searchlight
Hard Men (U.K.), Dra. R. Vine
Regan, Ross Boatman, Lee Ross.
J.K. Amalou.
IDP (Samuel Goldwyn,
Stratosphere and Firework
Simon Magus (Fireworks Pictun
Hor/Fan/Rom. Noah Taylor, Ian He
Rutger Hauer. Dir: Ben Hopkins. Fa
Beautiful Joe (Stratosph
Entertainment). Sharon Stone. E
Connolly. Ian Holm. Gil Bellows.
Stephen Metcalfe.
Jails Hospitals and Hip-Hop, Dra,
min. Danny Hoch. Dir: Danny Hoch
IMAX
American Road. Doc.
Mission to Mir. Doc
Indican
Wetonkawa Flash. Com. Kevin Tig
Mark Boone Jr. Dir: Boyd Hale ;
Wendy Hopkins. Spring 2001
Kit Parker
800-538-5838
The River (1951, Reissue), Dra,
min. Patricia Walters. Nora Swinbur
Dir: Jean Renoir. 2001
(can
November, 2000

j
j
J
BOXOFFICE Independent Charts
Palm
312-751-0020
le Criminal, Dra/Thr, 98 min. Steven
ackintosh, Natasha Little, Eddie
Dir: Julian Simpson. Fall
:ard.
ick Down, Dra, R, 105 min. Master
T. Bill Richard Jones, Nunn,
abriel Casseus. Dir: John
essenhop. Fall
le Last Minute. Stephen Norrington.
Panorama
sdboy 13. 88 min. Robert Logan,
won Roy-Brown. Dir: Marcus van
ivel.
Hell With Love, 98 min. David
iburn, Corey Michael Blake, Kate
irselle. Michael McCafferty, Julie
;Kee. Dir: Karl Kozak.
iu Are Here, 81 min. Robert
lepper, Jenny Robertson, Camryn
anheim, John Tillinger, Matthew
iss. Dir: Tom Rooney.
Paramount Classics
ie Gift, Thr. Cate Blanchett, Hilary
rank, Katie Holmes, Keanu Reeves,
eg Kinnear, Giovanni Ribisi. Dir:
im Raimi. Fall
I First Mister, Dra. Albert Brooks,
elee Sobieski, Carol Kane, Mary
ly Place. Dir: Christine Lahti. Fall
Phaedra
meath the Surface (Sweden), Dra,
min. Johanna Sallstrom, Mikael
irsbrandt. Dir: Daniel Fridell. 4th Qtr
Deep In the Woods (France), Thr, 90
min. Clothilde Courau, Clement Sibony,
Alexia Stresi, Vincent Lecoeur, Maud
!
Buquet. Dir: Lionel Deplanque. 4th Qtr
White Badge (Korea), Hist/Dra, 125
min. Ahn Sung-Gi. Dir: Chung Ji-
Young. 4th Qtr
On Guard! (France; aka Le Bossu),
Period Adventure, 124 min. Daniel
Auteuil, Fabrice Luchini, Vincent
Perez, Marie Gillain. Dir: Philippe de
Broca.
Providence
Amati Girls. Mercedes Ruehl, Paul
Sorvino, Cloris Leachman, Sean
Young, Lee Grant, Mark Harmon.
Screen Gems
Brothers. 1st Qtr 2001
Snatched. 1st Qtr 2001
John Carpenter's Ghosts of Mars.
Ice Cube, Clea Duvall, Natasha
Henstridge. Dir: John Carpenter.
Summer 2001
Seventh Art
Coming to Light, Doc, 80 min. Dir:
Ann Makepeace. Fall
Long Night's Journey Into Day, Doc,
94 min. Dir: Frances Reid and Deborah
Hoffman. Fall
Rage: 20 Years of West Coast Punk.
Doc. Dir: Michael Bishop. Fall
Songs for Cassavetes, Doc, 90 min.
Dir: Justin Mitchell. Fall
Sugihara - Conspiracy of Kindness,
Doc, 99 min. Dir: Robert Kirk. Fall
Shadow
207-872-5111
Souvenir, Dra, 78 min. Stanton
Miranda, Hughes Quester, Kristin Scott
Thomas, the voice of Christina Ricci.
Dir: Michael Shamberg. Fall
Under the Sun (Sweden), Dra, 118
min, Helena Bergstrom, Rolf Lassgard,
Johan Widerberg. Dir: Colin Nutley.
Winter
Shooting Gallery
Good Housekeeping, 90 min. Dir:
Frank Novack. Spring 2001
Trimark
Skipped Parts, Com, R. Jennifer
Jason Leigh, Bug Hall, Mischa Burton,
Brad Renfro, Drew Barrymore. Dir:
Tamra Davis. Fall NY/LA
USA
Cherry Falls, Dra, R. Brittany Murphy,
Jay Mohr, Michael Biehn. Dir: Geoffrey
Wright. Fall
Dancer. JulieWalters, Jamie Bell. Fall
Bloody Angels. Reidar Sorensen. Dir:
Karin Julsrud.
The Naked Man, Com. Michai
Rapaport, Arija Bareikis, Racha
Todd Anderson.
Resurrection Man. Stua
Townsend. James Nesbitt, Sea
McGinley, Brenda Fricker. Dir: Mai
Evans.
Snarl Up. Dir: Michael Winterbottom,
Thursday. Thomas Jane, Aarc
Eckhart, Mickey Rourke, Gler
Plummer. Dir: Skip Woods.
What Rats Wont Do (UK,
Rom/Com. Natascha McElhom
James Frain, Charles Dance. Parki
Posey. Dir: Alastair Reid.
Whatever Happened to Harol
Smith?, R. Tom Courtenay, StepN
Fry, Michael Legge, Laura Fraser. D
Peter Hewitt. 2001
Viz/Tidepoint
Untitled (a.k.a. We Are Not Alone
Dra. NR, 115 min. Tsutomu Yamazal
Henry Sanada. Dir: Yojiro Takita.
DISTRIBUTORS:
Fax your schedule updates
to Wade Major
at 310-456-9750

INTRODUCING
UG Dolby

HOLIDAY \
HIGHLIGHTS 1
nake of the
Saving the best for last
a
NOVEMBER 3
j's Angels
Barrymore ("Never Been
Cameron Diaz ("Any
iven Sunday") and Lucy Liu
hanghai Noon") star in this
'70s action series
out three female private invesators.
Here the women are
nt by their enigmatic boss
arlie to rescue the young, elide
owner of
high-tech
firm who has
been kidnapped
from
his office and
is
about to lose
,i billion dollars.
Bill Murray
("Hamlet")
co-stars as
Bosley. Music
video helmer
makes
McC
his feature film
d irectoi
August ("Titan A.E.,"
debut;
"Co")
John
and Ryan Rowe The Legend
script;
Barrymore, her partner Nancy of Bagger Vance
Juvonen and Leonard Goldberg Matt Damon ("The Talented
("Double Jeopardy"), who produced
Mr. Ripley") and Will Smith
the series with Aaron ("Wild Wild West") form an
Spelling, produce. (Columbia, unusual friendship in this drama
on the green about a World
11/3)
set
Exploitips: This is one of War I vet who agrees to help publicize
those movies where the behindthe-scenes
the opening of a Savannah
gossip could overshadow
golf course in 1931 by competing
the actual picture upon with links legends with the aid of
release. First, the filmmakers
its a mysterious caddy. Charlize
had difficulty nailing down a Theron ("Reindeer Games") and
third angel after Barrymore and Jack Lemmon ("Grumpy Old
Diaz were attached, initially
offering the role to Thandie
Newton, who had to drop out
due to "Mission: Impossible 2's"
unexpectedly long shoot.
Murray seemed hesitant to sign
on, disappearing when his deal
needed to be hammered out,
but perhaps his first instinct was
compensated group of actresses"
he's ever worked with.
While the filmmakers have
emphasized that this update is
set in 2000 and doesn't necessarily
hearken back to its predecessor,
encourage fans of the
TV show to dress up as their
favorite characters sans
firearms— Barrymore insisted
on replacing guns with kung fu
Vance, but the
right: He and fiu reportedly had director ultimately decided to
.i strained relationship on the fot us Ins attention on helming
set. Still, that didn't prevent the $70 million film.
Murray from complimenting his Collaborate with a local country
club to raffle or auction off
profusely at Sony's starstudded
ShoWest luncheon that
culminated with a pyrotechnic
introduction of the "Charlie's
Angels" cast. He called them
nost exciting, adequately
Men") co-star. Robert Redford
("The Horse Whisperer") directs;
Jeremy Leven ("Don Juan
DeMarco") and Richard
LaGravenese ("The Horse
Whisperer") script based on the
novel by Steven Pressfield;
Redford, Michael Nozik
(Redford's
"Quiz Show")
and lake Eberts
("Grey Owl")
produce.
(DreamWorks,
11/3)
Exploitips:
Redford originally
intended
in fill the lead
role himself,
considering
Morgan Freeman
for the
role of Bagger
golf lessons on a nearby
course and arrange with a
neighborhood bookstore to
sell copies of the 1995 novel.
Held from August.
18 BOXOFFICE

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arrie-Anne
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.
Red Planet
In this sci-fi drama, Val Kilmer ("At First
Moss ("The Matrix")
and Toni Sizemore ("Play It to the Bone")
portray a team of American astronauts on
the first manned mission to Mars. When
lipment is damaged, they must put
their differences aside to survive. Simon
Baker ("Ride With the Devil"), Benjamin
rhe Next Best Thing") and Terence
Stamp ("The Limey") co-star. Commercial
helmer Antony Hoffman (the football-playing
Budweiser Clydesdales Super Bowl
spots) directs his feature film debut; Chuck
Pfarrer ("Virus") and Jonathan Lemkin ("The
Devil's Advocate") script; Mark Canton
("Get Carter"), Bruce Berman (who executive
produced "The Matrix") and Jorge
Saralegui produce. (Warner Bros., 11/3)
Exploitips: Warner Bros, was for awhile
in a space race with Disney, who went so
far as to ask its rival to halt development on
"Red Planet" and invest in "Mission to
trad. Warners refused, designating
March 31 as its target release date
Disney ultimately preempted with a March
10 bow for "Mission." "Red Planet" was
then bumped to a summer date— lune 16 —
to distance itself and eventually moved to
November to ensure that the special effectsladen
film was completely ready.
Obviously this isn't the first time that similarly
themed films have hit theatres u ithin a
few months of each other: Consider
"Dante's Peak" and "Volcano"; "Antz" and
"A Bug's Life"; "Deep Impact" and
"Armageddon"; and "The Truman Show"
and "EDtv." There's no reliable formula as
to whether the earlier or later release makes
more money, but the $90 million "Mission"
earned back just two-thirds of its budget
domestically, which could bode well for the
reportedly lower-priced "Red Planet.
What's Cooking?
This ensemble dramedy stars Alfre
Woodard ("Love & Basketball"), Joan Chen
("The Last Emperor"), Mercedes Ruehl
(HBO's "Gia"), Julianna Margulies (TV's
"ER") and Kyra Sedgwick ("Phenomenon")
as culturally diverse family members gathering
for the Thanksgiving holiday in four
Los Angeles households. Gurinder Chadha
directs a script she developed with her husband
Paul Mayeda Berges at the Sundance
Institute's Screenwriters Lab; Jeffrey Taylor
The Golden Bowl
Nick Nolte ("Trixie") stars in this drama
about marital turmoil as a wealthy
American expatriate widower who marries
a much younger woman, who in turn has
an affair with the man married to his
daughter. Uma Thurman ("The Avengers"),
Anjelica Huston ("Agnes Browne"), Kate
Beckinsale ("Brokedown Palace") and
Jeremy Northam ("An Ideal Husband") costar.
James Ivory ("A Soldier's Daughter
Never Cries") directs a script adapted by
frequent collaborator Ruth Prawer Jhabvala
from the Henry James novel; Ivory's partner
Ismail Merchant produces. (Miramax, 11/3
NY/LA)
Exploitips: "The Golden Bowl," nomi-
produx es. (Trimark, 11/3 NY/LA, 11/17 exp)
Exploitips: BOXOFFICE gave "What's
Cooking?" four stars at Sundance this year,
was selected as the opening night
nated for the Palme d'Or at Cannes this
year, completes a trilogy of films based on
lames novels by Merchant, Ivory and
Hint, the April 2000 review says, "Deftly
h I v from one family
Refresh fans' memories by double-
lhabvala.
'What's Cooking?' gets a bit
or triple-billing it with 'The
to the next,
redundant after awhile, circling repetitively Europeans" and "The Bostonians." In a
from one setting to the next. But Chadha two-star review from Cannes in the \ugusi
melds comedy and tragedy so masterfully 2000 issue, BOXOFFICE compared 'The
Golden Bowl" to its predecessors, saying
that one's laughing at and crying for the
characters simultaneous!)
"{The filmmakers! have a harder time with
this sprawling, heavy drama that nevertheless
pleases the eye even as it tries the
patience.
Blue Moon
Ben Gazzara ("The Thomas Crown
Affair") and Rita Moreno ("The Slums of
Beverly Hills") star in this romantic comedy
as an older couple struggling to recapture
their old spark. Alanna Ubach (TV's "The
Huntress") and Brian Vincent ("Black Dog")
co-star as a young couple also struggling
with whether to stay together. John
Gallagher writes and directs; Sylvia
Caminer and Ronnie Shapiro produce.
(Castle Hill, 11/3 NY)
Exploitips: Gallagher won a Gold Award
at Worldfest Houston, a multimedia ei ent
since 1 968, in the Theatrical Feature Films
category.
S«hWharsCookii
Once in the Life
Laurence Fishburne ("The Matrix") I
writes, directs, produces and stars in this
urban drama based on his stage play
"Riff
Raff" about estranged brothers who reunite
after a heist goes terribly wrong. Titus
Welliver (TV's "Falcone"), Eamonn Walkerj
(TV's "Oz") and Gregory Hine-
Preacher's Wife") to-star. The Shooting
Gallery's David Bushell and Fishburne's
manager Helen Sugland produce Liorfi
Gate, 11/3 NY/LAA hi)
Exploitips: A theatre veteran, Fishburne's
pla) -Km Raff" appeared on both Los
and New York stages in I
the thespian always knew he wanted to]
20 BOXOFFICE

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Actor's Studio: Jennifer Gareis, "The Sixth Day" and "Miss Congeniality"
Over the phone Jennifer Gareis does indeed sound like Miss Congeniality: upbeat, polite, chatty and clearly
happy that her future is looking bright. The former Miss New York USA is featured alongside major stars in three
upcoming movies. In the action comedy "Miss Congeniality," she's a beauty queen, Miss New Jersey, whose
identity is impersonated by FBI agent Sandra Bullock. In Arnold Schwarzenegger's world-threatened-by-clones
adventure "The Sixth Day," she plays Michael Rapaport's "girlfriend of the future." And in the realistic drama
"Luckytown," starring Kirsten Dunst, she's a druggy Las Vegas showgirl, ex-lover of gambler James Caan.
Gareis' own experience on the beauty pageant circuit enabled her to bring firsthand knowledge of "the gungho"
contestant mentality to her parody role in Warner Bros.' "Miss Congeniality," which also stars Michael
Caine and Benjamin Bratt. She is seen with what she dubs a "big-pageant-hair, make-up-even-in-the-gym" look,
and she displays a "happy-all-the-time" demeanor.
She had to delve deeper into her imagination for Columbia's "The Sixth Day." She plays a virtual-reality
woman: someone a man prefers to see in lingerie, someone a man would dream up to function perfectly in
every way, but not someone a man need ever have a real relationship with. Prior to the audition, with her
boyfriend's help, Gareis practiced robotic moves. "I'd have a limited amount of movement, and before each
line I'd go back to a resting position," says Gareis, who also put into her voice a tone "like an operator on the
phone running down a list." She's playing somebody/something without a soul.
BEAUTY QUEEN:
Jennifer Gareis stars in
'Miss Congeniality" and
The Sixth Day."
In the independent production "Luckytown," she needed a very different exterior and interior. She says the character she plays is
"not a happy soul. I
kind of look drugged up and slow, barely able to smile.
"Being in a comedy, a futuristic fantasy and a dark drama has been interesting. ..a challenge," says Gareis who loves how acting
"allows you to do things you'd never do in
real life."
Gareis was thrilled to get the chance to be in scenes with headliner stars "who have been around the block." She says, "There is a
lesson to be learned about how at ease they are with their work," noting how their ability to be "incredibly natural" in front of the camera
"makes you rise to the occasion and make sure that you are just as natural."
Born in Lancaster, Pa., Gareis' head-turning attributes were visible early. Fellow high schoolers dubbed her the girl with "best physique."
Iron Butterfly, in its most attractive sense, might also be a totally appropriate nickname for the five-foot, six-inch blonde: An expert swimmer,
butterfly was her best stroke. But behind her beauty and brawn is common sense. At hometown Franklin Marshall College, she earned
an accounting degree. She moved to New York, where she studied acting at the Wynn Handman and William Esper studios. Her parents,
she says, instilled in her a work ethic, encouraged her to be "goal-oriented" with a practical plan about how to achieve her ambitions.
Gareis discovered the benefits of beauty pageants when she was a cash-strapped exchange student in Spain. Money earned winning
a local pageant allowed her to travel around to tourist attractions, museums and art galleries. She moved on from earning just "summer
money" to winning more professional contests, which included Miss Hawaiian Tropic. The Miss New York USA title led to interest
from agents, which helped her to capitalize on her desire to act: "It's amazing how that opened doors," she says, "even with people
who previously wouldn't give you the time of day." Bridget Byrne
"The Sixth Day. " Starring Arnold Schwarzenegger, Tony Coldwyn, Robert Duvall, Michael Rapaport, Michael Rooker, Sarah Wynter,
Wendy Crewson and Jennifer Gareis. Directed by Roger Spottiswoode. Written by Cormac and Marianne Wibberley. Produced by Jon
Davison and Mike Medavoy. A Columbia release. Action. Not yet rated. Opens 11/17.
make it into a film. The Shooting Gallery
quickly signed him in 1998, waiting until
he wrapped filming on "The Matrix" for a
window of opportunity to open. Welliver
also starred in the legit version.
The Amati Girls
In this ensemble drama, Cloris Leachman
("Hanging Up"), Mercedes Ruehl ("What's
Cooking?"), Dinah Manoff, Sean Young
("Dr. Jekyll and Ms. Hyde") and Lily Knight
are four grown sisters and their recently
widowed mother. Paul Sorvino ("Prince of
Central Park") and Kathleen Turner
("Beautiful") co-star. Anne De Savo writes
and directs; James Alex, Melanie Backer,
Steven Johnson and Henry M. Shea Jr. produce.
(Providence, 11/3)
Exploitips: Obviously targeted for a
distaff demo, promote— or, better yet,
screen— "The Amati Girls" at a local
women's group's mother-daughter banquet.
Wonder Boys
NOVEMBER 10
Director Curtis Hanson's follow-up to his
critically acclaimed "L.A. Confidential," this
dramedy stars Michael Douglas ("A Perfect
Murder") as a college professor struggling
from the book by Michael Chabon; Hanson
and Scott Rudin ("Angela's Ashes") produce.
(Paramount, 11/8 ltd)
Exploitips: In its initial release in
February, "Wonder Bins.
though generally HI
ics,
failed to find an
grossing just $18.7 million.
Paramount apparently has
decided to give its marketing
team another chance closer to
Oscar season.
Men of Honor
Cuba Gooding Jr.
("Instinct") and Robert De Niro
("Meet the Parents") star in this
historical drama as Carl
Brashear, the Navy's first
African-American deep-sea
diver who continued to serve
after losing his leg in a salvage
mission, and Billy Sunday, the
rebellious master diver who
was demoted for graduating
Brashear. Charlize Theron
("The Yards") co-stars. Greg
Tillman Jr. ("Soul Food")
directs; Scott Marshall Smith
scripts; Robert Teh
Food") and Bill Badalato
("Alien: Resurrection") pro-
with writer's block after publishing his first duce. (Fox, 11/10)
successful novel. Robert Downey Jr. ("Black Exploitips: To work on this
and White"), Tobey Maguire ("The Cider $ SO million film, previously
House Rules"), Frances McDormand called "Navy Diver," both
("Almost Famous") and Katie Holmes Gooding and De Niro agreed
("Teaching Mrs. Tingle") co-star. Steve to cut their usual fees. Given
Kloves ("The Fabulous Baker Boys"! scripts "U-571's" recent success at
the boxoffice (over $100 million worldwide),
they should make up for it in hackend
participation and bonuses. Held from
22 BOXOFFICE

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Little Nicky
Adam Sandler ("Big Daddy") writes,
executive produces and stars in this
comedy as the timid son of Satan who
must leave his sheltered life in Hell to
retrieve his trouble-making older brothers
from the mean streets of New York.
Patricia Arquette ("Stigmata"), Harvey
Keitel ("U-571"), Rodney Dangerfield
("My Five Wives") and Rhys Ifans ("The
Replacements") co-star. Steve Brill
("Heavyweights") directs as well as
scripts with Sandler's writing partner Tim
Herlihy; frequent Sandler collaborators
lack Giarraputo and Robert Simonds
produce. (New Line, 11/10)
is Exploitips: Sandler understandably
very popular among exhibitors,
eliciting the most enthusiastic
response at New Line's ShoWest luncheon.
He has a history of making
movies for dirt cheap— despite his $20
million salary— and his latest, "Big
Daddy," earned upwards of $150 million.
Non-Stop
In this comedy from Japan, a would-be
bank robber forgets his mask on his first
heist and bungles shoplifting one from a
nearby convenience store. The clerk
chases him out the door and runs into the
mob, to whom he owes money. The
three-way chase continues all night and
into the next day. Tomorowo Taguchi,
Shinichi Tsutsumi and Diamond Yukai
star. Sabu writes and directs his debut;
Moto Seta produces. (Shooting Gallery,
11/10 ltd)
Since "Non-Stop," Sabu has
Exploitips:
directed "Monday," which took home
three awards from this year's Berlin
International Film Festival.
Suzhou River
In this Mandarin-language romance, a
motorcycle courier falls in love with the
beautiful daughter of one of his wealthy
clients. In a botched kidnapping attempt,
she jumps into the Suzhou River. The
courier is sentenced to three years in
prison. When he gets out, he encounters a
dancer who uncannily resembles his lost
love. )ia Hongshen and Zhou Xun ("The
Emperor and the Assassin") star. Lou Ye
writes and directs; Philippe Bober and Nai
An produce. (Strand, 11/8 NY)
Exploitips: "Suzhou River" won the best
actress and Grand Prix awards at this
year's Paris Film Festival and sparked a
fierce bidding war, which Strand won over
other bidders including Sony and
Paramount.
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24 BOXOFFICE

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The Sixth Day
Arnold Schwarzenegger ("End of
Days") produces and stars this sci-fi
in
thriller about a helicopter pilot who
returns home to find that he has been
replaced by a clone. An everyman thrown
into remarkable circumstances, he
becomes a hunted man, on the run from
assassins who have orders to kill him
before he exposes a vast conspiracy centered
on illegal human cloning. Tony
Coldwyn ("Bounce"), Robert Duvall
("Gone in 60 Seconds"), Michael
Rapaport ("Men of Honor"), Michael
Rooker ("The Bone Collector"), Sarah
Wynter ("Lost Souls") and Wendy
Crewson ("Air Force One") co-star. Roger
Spottiswoode ("Tomorrow Never Dies")
directs a script by Cormac and Marianne
Wibberley; Jon Davison ("Starship
Troopers") and Mike Medavoy produce.
(Columbia, 11/17)
Exploitips: As Schwarzenegger
acknowledges in his interview with BOX-
OFFICE last month, cloning is a hot topic
right now, and one can choose from a
variety of marketing directions based on
this theme. The scholarly approach
would be to assemble a panel of science
and government professors from a local
university to discuss the moral, ethical
and legislative dilemmas associated with
the technology. On a lighter note, one
could collaborate with a
P"
7-
Sneak Preview \
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Gold Medal... \
Gold Medal's complete lineup of all your concession
local radio station
to give away opening weekend tickets
to callers with the most creative
answers to the question, "What would
you do if you had a clone?" Another timely
topic is movies and violence, and
Schwarzenegger opted not to pose with
guns for the marketing campaign for
"The Sixth Day." Read his reasoning—
and more about the film— in last month's
cover story. Also, see Actor's Studio,
page 22.
Lies
South Korean ]ang Sun-Woo writes and
directs this erotic drama about the sadomasochistic
relationship that develops
between a sculptor in his late 30s and a
young girl. Lee Sang-Hyun and Kim Tae-
Yeon star. Chul Shin produces. (Cowboy,
11/17 NY/LA)
Exploitips: Based on the banned 1996
novel "Tell Me a Lie" by Jang jun-ll,
"Lies" was itself initially banned in South
Korea until it was selected in the official
competition at the Venice Film Festival,
where it was nominated for the Golden
Lion.
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Rugrats in Paris—The Movie
Tommy, Chuckie, Angelica, Lil, Phil and
Baby Dil return to the big screen in this animated
family adventure based on
Nickelodeon's popular children's cartoon.
Here, Tommy's dad Stu is invited to Reptarland,
a new amusement park in Paris, to work on his
Reptar invention, and the whole gang tags
along. Meanwhile, Chuckie's dad Chas is starting
to date again, and Chuckie looks forward to
finding a new mom. "Rugrats" regulars
Christine Cavanaugh, Cheryl Chase and E.G.
Daily are joined by celebrity guest voices |ohn
Lithgow, Debbie Reynolds and Susan
Sarandon. TV's "Duckman" helmers Stig
Bergqvist and Paul Demeyer direct their feature
film debut; "The Rugrats Movie's" J. David
Stem and David N. Weiss script with (ill Corey,
Barbara Herndon and Kate Boutilier; "Rugrats"
creators Arlene Klasky and Gabor Csupo produce.
(Paramount, 11/17)
Exploitips: The first "RugratsMo\ ie" was a
surprise hit in 1998 bet oming the first non-
Disne) animated movie to gross more than
$100 million. Invite fans of the shi IV
a "Rugrats" lookalike contest on opening
weekend, giving away concession coupons,
"Rugrats" videos or, in a circuit-wide t ontest,
a trip for four to Paris to the winners.
Dr. Seuss'
How the Grinch Stole Christmas
|im Carrey ("Me, Myseli & Irene") stars in
this i artoonish corned} as Dr. Seuss an he
typal Grinch, a creature with a heart two
sizes too small who, annoyed by the boisterous
celebrations going on below his

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Response No. 146

emarkable
NOVEMBER 24
102 Dalmatians
Glenn Close reprises her
Cruella De Vil in this sequel
to the live-action family comedy
about a diva-esque vil
lainess who will stop at noth
ing to make her drearr
Dalmatian fur coat, loar
Gruffudd ("Solomon anc
Gaenor"), Alice Evans, Tirr
Mclnnerny ("101 Dalmatians")
and Gerard Depardiei
("The Man in the Iron Mask"
co-star. Kevin Limj
("Tarzan") directs; Krister
Buckley and Brian Regar
script; John Hughes, whc
wrote and produced the orig
inal, and Ed Feldman ("The
Truman Show") produce
(Buena Vista, 11/22)
Exploitips: The origina
"101 Dalmatians" was <
bona fide boxoffice block
earning $136 millior
buster,
domestically and over $30C
It million worldwide. alsc
led to a
Dalmatian
proliferation o
adoptions— no
necessarily a good thing
according to animal acti
vists. Disney has beer
encouraged to include a dis
claimer with the film indicating
that Dalmatian puppies may not
be suitable for kids, and the studio has
partnered with the Dalmatian Club of
America to promote pet adoption and
education.
Unbreakable
Bruce Willis reunites with his "Sixth
Sense" writer-director M. Night Shyamalan
to star in this supernatural thriller as a blue
collar Philadelphian who is not only the
sole survivor of a tragic train crash, but
emerges without a scratch on him. Samuel
L. Jackson ("Shaft") co-stars as a mysterious
stranger who offers a bizarre explanation,
and Robin Wright Penn ("Message in
a Bottle") co-stars as Willis' character's
wife. Shyamalan and "The Sixth Sense's"
Barry Mendel produce. (Buena Vista,
11/22)
Exploitips: After the unexpected success
of his sleeper hit "The Sixth Sense," which
has grossed nearly $300 million domestically
and well over $650 million worldwide,
Disney was quick to snap up
Shvamalan's follow-up under the studio's
first-look deal with the writer-director,
paying him an unprecedented $5 million
for the script. Shyamalan reportedly got
$10 million in total when directing and
producing fees were added in, plus backend
participation. The film has a fun website
at www.areyouunbreakable.com that
includes stories about "unbreakable" people,
if
a test to see you are unbreakable
and a forum to share close calls and
unbreakable experiences. Collaborate
with a local radio station to give awa)
opening weekend tickets to callers with
unbreakable stories
ii tht it own.
Malena
Giuseppe Tornatore ("The Legend of
1900," "Cinema Paradiso") writes and
directs this Italian-language romantic
drama set in World War II Italy about the
sensuality a beautiful woman awakens in a
group of adolescent boys. Italian actress
Monica Bellucci stars; Miramax co-topper
Harvey Weinstein ("Shakespeare in Love")
and Mario Cotone (who line produced
"Life Is Beautiful") produce. (Miramax,
11/22 NY/LA, 12/25exp)
Exploitips: Miramax here reunites with
Tornatore, whose 1988 "Cinema Paradiso"
put the minimajor on the map and won an
Oscar. Program the two titles in a double bill.
Quills
Rush ("House on Haunted
Geoffrey
Hill"), Kate Winslet ("Holy Smoke") and
Joaquin Phoenix ("Gladiator") form a complex
love triangle as the Marquis de Sade,
the infamous pornographic writer here confined
in an asylum; his chambermaid, who
continues to deliver his popular manuscripts
to the outside world; and a priest
intent on saving the controversial
scribe's
soul. Michael Caine ("Get Carter") co-stars.
Philip Kaufman ("Henry & June," "The
Right Stuff") directs; Doug Wright scripts
based on his stage play; Julia Chasman
("Polish Wedding"), Nick Wechsler ("The
Yards") and the director's son Peter ("Henry
& June") produce. (Fox Searchlight, 11/22
ltd, 1 2/8 exp)
Exploitips: Collaborate with a local
bookstore to promote or sell de Sade's
works during the run of this film. This opening
may also be an opportunity to assemble
a discussion panel on sexuall) charged
material and censorship. In a 3.5-star
review this month, BOXOFFICE says,
"juxtaposing such challenging themes as
pornography, mental illness and religion,
Wright, adapting his stage play, still manages
to lighten things up."
The Weekend
This ensemble drama stars Gena
Rowlands ("Playing by Heart"), James
Duval ("Gone in 60 Seconds"), Jared Harris
"54"),
( D.B. Sweeney ("Dinosaur"), Brooke
Shields ("Black and White") and Deborah
Kara Unger ("The Hurricane") as friends
who gather on the one-year anniversary of
the death of a man who's related to each of
them either by love or by blood. "The
Misadventures of Margaret's" Brian Skeet
and Ian Benson direct and produce, respectively;
Skeet also scripts based on Peter
Cameron's novel. (Strand, 11/22 NY)
Exploitips: "The Weekend" won the
New American Cinema Award for ensemble
cast periormance at this year's Seattle
International Film Festival. Held from
October.
NOVEMBER UNDATED
Original Sin
Antonio Banderas ("Play It to the Bone"
and Angelina Jolie ("Gone in 60 Seconds"
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star in this late-1800s-set thriller about a
wealthy Cuban coffee merchant who
decides to marry an American woman. He
soon realizes, however, that his bride is a
deceptive seductress. Thomas Jane ("Deep
Blue Sea") co-stars. Michael Cristofer (TV's
"Gia," which also starred )olie) writes and
directs; Kate Cuinzburg ("A Thousand
Acres"), Denise Di Novi ("Message in a
Bottle") and Carol Lees produce. (MGM,
November undated)
Exploitips: Have fun with Banderas' character's
occupation, promoting your coffee
selection it you have one and adding
Cuban blends to the menu.
Me & Isaac Newton
Michael Apted ("The World Is Not
Enough," "Inspirations") directs this documentary
that profiles seven scientists in
varying fields: a pharmaceutical chemist,
an environmental physicist, a theoretical
physicist, a computer scientist, a cognitive
scientist, a cancer specialist and a primatologist.
(First Look, November undated)
Exploitips: BOXOFFICE gave "Me & Isaac
Newton" two stars at last year's Toronto
Film Festival in the December 1999 issue,
saying, "Apted does capture the fascination
of science for those who have made it their
life work, but 'Me & Isaac Newton' never
really does justice to their compelling concepts
and ideas.
Simon Magus
In this fantasy, a 19th-century European
Jewish village is on the verge of extinction.
A train station could modernize the community,
but greed and skepticism threaten
the innovation, and a disheveled, perhaps
mad outcast becomes the key to dismantling
the idea. Noah Taylor ("Almost
Famous"), Stuart Townsend ("Wonderland"),
Sean McGinley ("The General"),
Embeth Davidtz ("Bicentennial Man"),
Rutger Hauer and Ian Holm ("Joe Gould's
Secret") star. Ben Hopkins writes and
directs his feature film debut; Robert Jones
(who executive produced "The Usual
Suspects") produces. (IDP, November
undated)
Exploitips:
"Simon Magus" played both
at Sundance this year and at the Berlin Film
Festival last year, where it was nominated
for the Golden Bear award.
The Mystery of Picasso
In this documentary, filmed in the mid-
'50s, Pablo Picasso paints for the camera,
illustrating his creative process at work.
Henri-Georges Clouzot directs; he and
Picasso script. (Milestone, November
undated)
Exploitips: Cooperate with a local museum
or art gallery to coordinate this release
with an exhibition of the artist's work.
Make prints of his paintings available to
patrons at the theatre; unfortunately, the
pieces painted for this film were immediately
destroyed and thus are only viewable
on celluloid.
Anima
While working on a story about taxidermy,
a journalist suspects an elderly
couple's past life because of their freakish
pro-Nazi puppet shows using stuffed
animals—and not the cuddly kind,
either. George Bartenieff and Jacqueline
Bertrand star. Craig Richardson writes
and directs; Dan Partland ("The Ballad
of Ramblin' Jack") and Christopher
The Story of
This American version of Pauline Reage's
erotic novel updates the story of a woman's
expression of love via kink. Phil Leirness
directs. (Phaedra, November undated)
Exploitips: Collaborate with a local
bookstore but with discretion. The material—often
compared to that of the Marquis
de Sade— isn't for everyone.
Sign & Wonders
Stellan Skarsgard ("Deep Blue Sea")
stars in this drama as an American living
in Greece who, influenced by signs and
premonitions, falls deeply back in love
with his wife after having an affair.
Charlotte Rampling ("The Wings of the
Dove") and Deborah Kara Unger ("The
Hurricane") co-star. Jonathan Nossiter
writes and directs; James Lasdun
("Besieged") scripts; Marin Karmitz
(Krzysztof Kieslowski's "Blue, White, Red"
trilogy) produces. (Strand, November
undated)
Exploitips:
"Signs & Wonders" played at
this year's Berlin International Film Festival,
where it was nominated for the Golden
Bear.
In the Mood for Love
Tony Leung Chiu-wai ("Happy
Together") and Maggie Cheung Man-yuk
("Chinese Box") star in this romance set in
1962 Hong Kong as two cordial neighbors
whose respective spouses, they discover,
are having an affair. Wong Kar-wai
("Happy Together") writes and directs; Karwai's
frequent collaborator William Chang
Suk-ping produces. (USA, November
undated)
Exploitips: Nominated for the Palme
d'Or at Cannes this year, "In the Mood for
Love" took home the maximum two
awards: Best Actor for Leung and the
Technical Grand Prize for Chang, who also
edited and did production design, and cinematographers
Christopher Doyle and
Mark Li Ping-bing.
DECEMBER 1
A Hard Day's Night
John, Paul, George and Ringo are back
in this reissue of a day in the life of the
Beatles. Credited with not only illustrating
the mania surrounding the Beatles
but sparking the age of the music video,
"A Hard Day's Night" here sports digitally
remastered sound and additional
footage. Richard Lester directs an
Academy Award-nominated script by
Alun Owen. Walter Shenson, who first
approached Miramax about the rerelease,
produces. (Miramax, 12/1
NY/LA, 12/8exp)
14 BOXOFFICE

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Exploitips: The Beatles, like Elvis, are
still populai toda) with their contemporaries
and latei generations— so attracting
thru fans shouldn't only be easy, it should
be fun, loo. Dress your staff up in appropriate
60s geai and pump Beatles music
through the sound system— or hire a local
band to play Beatles covers in the lobby.
Bettei yet, hold a Beatles trivia contest
and give away tickets and/or < oncessions
as prizes. Cooperate with local music
stores to give your customers a discount
on the "Hard Day's Night" soundtrack
when they bring in a movie ticket stub.
See BOXOFFICE s February 1999 covet
stor) loi .in excerpt of "The Beatles: An
Oral History. " Held from several dati
year.
last
DECEMBER 8
Vertical Limit
Chris O'Donnell ("The Bachelor") scales
K2 in this actioner about a mountain
c limber who has sworn off the sport after
the tragil
death of his father. He's forced to
reconsider, however, when his estranged
sister becomes trapped on the second
tallest mountain in the world. Bill Paxton
("U- r )7l") and Robin Tunney ("End of
Days") co-star. Martin Campbell ("The
Mask of Zorro") directs a script by Robert
King ("Red Corner") and Terry Hayes;
Campbell, King and Marcia Nasatir proilui
e, (( olumbia, 12/8)
Exploitips: Originally intended to be a
summer release, Columbia has cornered
the action-adventure market over the first
couple of weeks of December instead. The
Studio was already aggressively promoting
"Vertical limit" at ShoWest, where its
action-packed preview drew enthusiastic
applause. Campbell, however, assured the
audience, "That was the boring part. " See
BOXOFFlCE's cover interview with Isabella
Scorupco, who stars in the film.
Dungeons and Dragons
Based on the popular fantasy role-playing
game, "Dungeons and Dragons" stars
leremy Irons ("The Man in the Iron Mask")
as the evil wizard Profion, who plans to
dethrone the Empire of Izmer's young
empress Savina ("American Beauty's"
Thora Birch) because she proposes equality
among both the nobility and the commoners.
Both seek a legendary rod that control
dragons and thus grants whoever bears it
uncontestable power. Justin Whalin (TV's
"Lois & Clark"), Marlon Wayans ("Scary
Movie"), Kristen Wilson ("Doctor Dolittle"),
Lee Arenberg, Zoe McLellan, Tom Baker
(TV's "Dr. Who") and Richard O'Brien
("Dark City") co-star. Courtney Solomon
directs and produces his feature film debut;
"Where the Money Is'" Topper Lilien and
Carroll Cartwright script; Thomas M.
Hammel ("Firestorm") and Kia Jam produce.
(New Line, 12/8)
Exploitips: Executive produced by
Warner Bros. -based Joel Silver ("The
Matrix"), the $36 million "Dungeons and
Dragons" was passed over by the studio
and picked up by its Time Warner affiliate
New Line for a reported $5 million
plus a significant P&A commitment and
a guaranteed release by the year's end.
Though the heyday of the game's popu-
Response No. 525
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larity has passed, the general consensus
is that there's still a huge nostalgic tan
base, and New Line could also tie it in
with its hotly anticipated fantasy trilogy
"The Lord oi the Rings," which is due out
next \ ear. Sponsor a mini "Dungeons and
Dragons" convention at your theatre
over opening weekend, setting up a
"D&D" league (be prepared for allnighters—
this isn't Monopoly) and inviting
die-hards to dress in costume as their
fax orite i
haracters.
Proof of Life
Meg Ryan ("Hanging Up") and Russell
Crowe ("Gladiator") star in this romantic
drama about an American woman
whose engineer husband is taken
hostage in a Latin American country.
When his struggling employer refuses to
pay the $6 million ransom, she lures a
hostage negotiator who falls in love
with her during the ordeal. David
Caruso ("Jade") and David Morse
("Bait") co-star. Taylor Hackford ("The
Devil's Advocate") directs a script by
Tony Cilroy ("Bait"); Hackford and
Charles Mulvehill ("Mickey Blue Eyes")
The Gift
Blanchett ("The Talented Mr.
,lars in this Southern thriller as a
u nit <
wed mothei >i three and small-town
who is asked to help the local
pi ih, e force lo< ate a missing and possibly
murdered, debutante. Meanwhile, she
a battered wife and an e< centric
car mechanic:. Katie Holmes ("Wonder
as the MIA woman
Kinnear ("Nurse
the actors on the film. Reeves agreed In
work for scale for the chance to cull
with Raimi. When Boxoffice visited with
Raimi about "For Love of the Can
,
was already trying
Slam hell I, a this n >le. "I only want to make
it with her." he said. "It I ,
rather not make tl
psychk In give leadings in your lobby to
ticket buyers on opening weekend of this
film.
town's redneck bully, Hilary Swank ("Boys
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monkey, Sam Raimi ("Foi Love t tine
Came") due, is a scrip! b\ Bill} Bob
Thornton ("Sim and Tom
("A rhing"); |im Jacks
Mummy") aiid Tom Ro
("The
("Runaway Bride") lui e, (Parami iun1
(lassies, 12/8 ltd, 12/2. 1 e
Exploitips: Between the underperformhue
at the Came' anil hotly
id thus high p
Crouching Tiger,
Hidden Dragon
a and the King")
and Mic helle Yeoh (" [bmorrov\
tai m this period martial arts
romance as a retiring martial artist and the
longtime friend u ith whom lie entrusts Ins
sword, the Green Destiny. When the blade
tii m pai ked < hasi
(with fight choreography b> "I he Matrix's"
Vim Wo I'm-). Zhang Ziyi ("The Road
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Exploitips: While Ryan report*
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thought,
Actor's Studio: Pat Carroll, "Songcatcher"
Intoxicatingly enthusiastic, veteran comedienne Pat Carroll recently chatted with BOX-
OFFICE from La Jolla, Calif., where she is participating in a musical remake of the movie
"Thoroughly Modern Milly," a stage play headed for Broadway that she calls "sheer entertainment.
The old idea of showbiz—entertain the people."
What she's calling about, however, is her involvement in a musical of an entirely different
sort: Maggie Creenwald's "Songcatcher," in which she plays an old, stubborn yet
completely likable Appalachian woman who helps an academic, played by Janet McTeer,
record her people's ballads.
Despite her decades of experience, however, Carroll, whose voice you'll recognize as
Ursula's in "The Little Mermaid," had to participate in an unusual audition for the role. "My
agent called me and said, 'They're looking for a character in this independent film, but they
have to know you can sing,'" she remembers. "And I said, 'Well, tell them to rent a copy of
"Little Mermaid."' And he said, 'No, this is very particular because it's mountain music. So if
you don't mind, they're going to send you a tape of the kind of music they're talking about.'
"I got this dolorous [recording]—I mean it would make you weep, it was so said. It was
like a dirge. It went on and on and on, sung by a 100-year-old lady. It was marvelous, but I
music with it—they just sent the tape of this 1 00-year-old lady singing this dolorous song.
"So I sat on the lawn at my house with a friend's video camera, and I
director and you brilliant writer of this screenplay, I
looked right into the camera, and I
MUSIC TO MY EARS:
Pal Carroll stars In "Songcalcher."
'I can't learn this.' There was no
said, 'Maggie Greenwald, you dear
learn this song. It's too long. It's too in a minor key. But I'm going to sing along with
this darling little old lady. And from that you will deduce that I can sing.' And that's it. They called me two weeks later and said, 'You got it.'"
Learning to perform in the unique style of mountain music, characterized by elastic rhythms and "bending notes," as Carroll puts it,
was one of her biggest challenges on the film. "It was [difficult] at first because I'm a strict metric girl, and to get that relaxation and
that basic rhythm— I suppose in some ways it's like jazz," she concludes. "It was difficult, but my coach [Sheila Kay Adams] was so
fabulous. She just got me into the style of it. She told me stories about her grandma until I the flavor of it. Because your body goes
with it, and it's your attitude about it that's so wonderful."
The shoot, on location in the Appalachian Mountains, consisted of physical challenges as well. "Every place we went, it was up a
hill, it was down a gully.... We always had to walk miles to the John because they had to be at a distance, and the honey wagons were
farther than the Johns," she laughs heartily.
"But those mountains are very special. They're very American— is that tacky to say? But it's true. It's not like the land in England or
Scotland or Ireland. It's very American land. One day I sitting on a far location [on] a little mountainside in a gully. I was just sitting
there—because you have so much time to sit—and I was looking around and I thought, 'There could have been Indians over there
behind that thicket.' You've suddenly got that sense of another time, which I think came across a little bit in the picture photographically."
Annlee Ellington
Songcatcher." Starring Janet McTeer, Aidan Quinn, Pat Carroll and Jane Adams. Written and directed by Maggie Greenwald.
Produced by Ellen Rigas Venetis and Richard Miller. A Trimark release. Drama. Rated PC- 1 3 for sexual content and an intense scene
of childbirth. Opens 12/8 NY/LA, 12/22 exp.
Drink Man Woman") and Tsai Kuo Jung;
Bill Kong and Hsu Li Kong ("The
Personals") produce. (Sony Classics, 1 2/8
NY, 1
2/1 5 LA)
Expioitips: Boxoffice gave this pic
four stars in its July 2000 Cannes coverage,
saying, "If one film dazzled Cannes
critics and crowds alike with almost staggering
solidarity, it was Ang Lee's ferociously
entertaining 'Crouching Tiger,
Hidden Dragon.' So broad is its appeal
and so promising are its prospects that
with savvy marketing and careful planning,
this could be one of the most successful
foreign language films ever
released in the U.S.
Songcatcher
Janet McTeer ("Tumbleweeds") stars in
this early 20th-century drama as a musicologist
repeatedly overlooked for promotion
at her patriarchal university.
Visiting her sister, who runs a rural
school in the Appalachian Mountains,
she discovers that the isolated people
there have preserved Scottish and Irish
folk songs, passing them down from generation
to generation, and sets out to
record them before they disappear forever.
Aidan Quinn ("Music of the Heart"),
Pat Carroll and Jane Adams ("Wonder
Maggie Greenwald ("The
Ballad of Little Jo") writes and directs;
Ellen Rigas Venetis and Richard Miller
("Heavy") produce. (Trimark, 12/8
NY/LA, 1 2/22 exp)
Expioitips: Songcatcher" received a
spec ial jury award for outstanding ensemble
performance at Sundance, where
Trimark aggressi*. ely pursued it, eventually
ponying up a low seven-figure sum.
BOXOFFICE gave the film 3.5 stars at the
festival, calling it "beautifully photographed,
brilliantly performed and
richly textured. " See Actor's Studio,
above.
DECEMBER 15
herder to return him to the throne. David
Spade ("Lost & Found"), John Goodman
("Coyote Ugly") and Eartha Kitt voice.
Mark Dindal ("Cats Don't Dance")
directs; Randy Fullmer produces. (Buena
Vista, 12/15)
Expioitips: More like "Hercules" than
bona fide blockbusters "Tarzan" or "The
Lion king" in tone, the former still made
nearly $100 million, and this year's "The
Tigger Movie" is a rare exception to
Disney's draw-it-and-they-will-come success
in animation.
Emperor's New Groove
In this animated musical family comedy
(with songs by Sting), the selfish young Chocolat
emperor of a mythical mountain kingdom
Juliette Binoche ("The English Patient")
is magically transformed into a llama,
stars in this ensemble romantic comedy as
forcing him to depend on a peasant
40 BOXOFFICE

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a young woman who opens a chocolate
shop in a small French village. Her sweets
have a liberating effect on the locals and
thus are also the center of controversy.
Victoire Thivisol ("Ponette"), Johnny Depp
("Sleepy Hollow"), Judi Dench
in ("Shakespeare Love"), Alfred Molina
("Magnolia") and Carrie-Anne Moss ("Red
Planet") co-star. Lasse Hallstrom ("The
Cider House Rules") directs; Robert Nelson
Jacobs ("Dinosaur") scripts from the novel
by Joanne Harris; David Brown ("Angela's
Ashes"), Kit Golden and Hallstrom's producing
partner Leslie Holleran produce.
(Miramax, 12/15 NY/LA, 12/22 exp, 1/5
exp)
Exploitips: Invite nearby chocolatiers to
include their confections on your concession
menu to give moviegoers a taste of
"Chocolat.
Family Man
Nicolas Cage ("Gone in 60 Seconds")
stars in this romantic comedy as a Wall
Street investment broker who has consistently
made his career his top priority. One
Christmas morning he wakes up to find that
he has instead married his college sweetheart,
has a couple of kids and lives in the
New Jersey suburbs. Tea Leoni ("Deep
Impact"), Don Cheadle ("Mission to
Mars"), Jeremy Piven ("Very Bad Things")
and Amber Valletta ("What Lies Beneath")
co-star. Brett Ratner ("Rush Hour") directs a
script by David Diamond and David
Weissman; Marc Abraham ("Bring It On"),
Zvi Howard Rosenman ("Father of the
Bride") and "Deep Blue Sea's" Tony
Ludwig and Alan Riche produce.
(Universal, 12/15)
What Women
Want
Mel Gibson ("The
Patriot") stars in this
romantic comedy as
a chauvinistic advertising
executive who,
after a freak accident,
can hear what
women are thinking.
At first he tries to use
his new-found talent
to outwit his boss but
because of his discoveries
eventually
changes his ways.
Helen Hunt ("Pay It
Forward"), Marisa
Tomei ("The Watcher")
and Lauren Holly ("Any Given Sunday")
co-star. Nancy Meyers ("The Parent Trap")
directs, produces and polishes a script l>\
|osh Goldsmith and Cathy Yuspa; "Where
the Heart Is'" Matt Williams and Susan
Cartsonis produce with Gina Matthews
("Urban Legends: Final Cut") and Gibson's
producing partner Bruce Davey. (Paramount,
12/15)
Exploitips: A bit of a departure for
Gibson—he normally pursues high-brow
dramas or roles of the action-hero variety
with notable exceptions "Maverick" and
"Bird on a Wire"— "What Women Want"
really required that he put his image on
the line by experimenting with what
women go through every day: shaving
their legs, going to yoga classes, etc.
Collaborate with a local radio station to
challenge area men to come up with similar
feminizing stunts, with the most
humiliating getting tickets for themselves
and a date for opening weekend.
DECEMBER 22
Brother, Where Art Thou?
George Clooney ("The Perfect Storm")
stars in this black comedy by the Coen
brothers ("The Big Lebowski") as the leader
of a trio of chain gang escapees, on the lam
and in search of treasure in the 1 930s deep
South. John Turturro ("Cradle Will Rock")
and Tim Blake Nelson ("The Thin Red
Line") co-star. Joel Coen directs a script he
pens with brother Ethan, who produces.
(Buena Vista, 12/22 ltd)
Exploitips: Clooney signed on with the
Coen brothers just weeks after hanging up
his stethoscope as a popular star of TV's
"ER," even before he agreed to topline this
summer's Fourth of July blockbuster "The
Perfect Storm." BOXOFFICE gave "O
Brother, Where Art Thou"—ostensibl)
based on Homer's "Odyssey" ami
for the film within Preston Sturges'
"Sullivan's Travels"—three stars at Cannes,
where it was nominated for a Palm d'Or, in
the August 2000 issue. "What lingers in the
mind from 'O Brother' are the Coens' collection
of colorful characters and loopy
dialogue, thanks to playful performances
by the three leads," the review says.
Wes Craven's Dracula 2000
In this modern retelling of Bram Stoker's
"Dracula," an antique dealer travels from
London to New Orleans to rescue his
estranged daughter from his family's multigenerational
nemesis, Dracula. Christopher
Plummer ("The Insider"), Justine Waddell
("Mansfield Park") and Gerard Butler ("Mrs.
Brown") star with Jonny Lee Miller
("Plunkett & Macleane"), Omar Epps
("Love & Basketball") and Jennifer Esposito
("Summer of Sam"). Patrick Lussier, who
edited Wes Craven's "Scream" trilogy,
makes his feature film directorial debut;
Joel Soisson ("Highlander: End Game")
scripts as well as produces with W.K.
Border ("Trekkies"). (Miramax, 1 2/22)
Exploitips: One wouldn't normally consider
the year-end holiday season to be ripe
with vampire movies— that's a characteristic
reserved for Halloween. This year is an
exception, however, with Lions Gate's
"Shadow of the Vampire" bowing just one
week from now. "Dracula 2000" is the first
project produced under the "Wes Craven
Presents" banner at Dimension, and the
label could be misleading in that Craven
doesn't direct. Still, his reputation will
attrai t
fans of the genre.
Exploitips:
Cage was originally attached
to "Family Man" as early as the spring of
1998, when Curtis Hanson, fresh off his
Oscar win for "LA. Confidential," was set
to direct. Cage dropped out temporarily
until a reading with Ratner convinced him
to sign back on. Paramount's "What
Women Want, " also featuring a career-oriented
man who learns to love his sorter
side, could he a fierce competitor for the
date-movie crowd this weekend.
42 BOXOFFICE

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Response No. 39

I carry
handle
make
Actor's Studio: Jason Schwartzman, "The Best and the Brightest"
"I'm a geek, but I take it to psycho, stalker levels," Jason Schwartzman earnestly tells BOXOFFICE. The affable
20-yearl-old, however, isn't revealing a disturbing facet of his personality during a casual phone conversation.
The mostly sane young actor, who once concluded a self-written profile with the affectionate statement, "I also
love my grandparents," is describing his character in Dewey Nicks' new comedy "The Best and the Brightest."
"My [character's] feelings for Angela [played by model-turned-actress James King] are very passionate, and
that's normal," says Schwartzman. "But the way I her not reciprocating my love is a little questionable.
a lint roller around with me, and I collect her hair. Wherever she's been I lint roll, and I a little statuette
of her made out of her hair. And I film her when she's not looking. I have a shrine in my bedroom, and I
keep a videologue of her playing all the time."
The role of a youth obsessed with an unattainable, idealized lady love isn't new to Schwartzman, whose
bigscreen debut in 1998's "Rushmore" as an academically weak, but extracurricular activity-driven overachiever
enamoured with a teacher garnered him notable public and critical attention. And while he says "there
are definitely some similarities [between the characters] in the fact that they've got everything riding on a girl,"
there also exist some crucial differences. "Max Fischer [in 'Rushmore') was sort of magnetic. He had a lot of
followers, and he headed up all his clubs, so he had. ..a very special quality where people wanted to know and
wanted to talk to him. Whereas (in 'The Best and the Brightest'], no one wants to talk to me. People keep forgetting
my name throughout the whole movie. It's like one of those things where I really am sort of a loner."
In an attempt to discover ways in which he might win over Angela, Schwartzman's character, named Ethan,
tries to forcibly enlist the help of a classmate, played by Devon Sawa, whom he blackmails with evidence of cheating on schoolwork.
Schwartzman insists that his character's motives aren't as malevolent as they might appear. "At the bottom of my blackmail, all I'm really
saying is 'Show me how to be cool like you guys, show me how to get the girl,' because they're good socially and I'm socially inept.
If they would have liked him, he'd like them back. But since they don't like him, he hates them." The actor adds, however, that Ethan
isn't completely inculpable. "He should be medicated, and once medicated he'd be a very sweet guy."
While Schwartzman's role in the film may have involved social segregation from his peers, he insists that the atmosphere on the set was anything
but exclusionary. "Everyone was just having a wonderful time together," he says, heaping compliment after compliment on his co-stars.
"Devon Sawa's an incredibly sweet kid. He's really professional and really brought the character of Dave to life. James King is obviously a very
pretty lady and a really good actress. Laura Prepon [TV's 'That '70s Show'] is
SCHOOL DAZE:
Jason Schwartzman
stars in 'The Best and
the Brightest"
incredible. She brings this sort of New Jersey rough girl attitude [to
the film], like she could carry a switchblade in her back pocket. She's really great and really funny and couldn't be a nicer person."
With this ensemble young cast and the familiar scenario of a school campus with battling co-eds, "The Best and the Brightest" has
all the markings of a pic specifically geared toward a teen audience. Yet Schwartzman sees it as having a more far-reaching appeal.
"The comedy is really, really smart," he says. "I think what people think about when they say 'teen stuff' [is a plot] that's easy to get.
But I think that there's a lot more depth [to 'The Best and the Brightest'], and it's the kind of movie that on a second [viewing], you'll
pick up on a lot more jokes that you missed the first time. My mom's definitely going on the first weekend." As will surely his beloved
grandparents. — Francesca Dinglasan
"The Best and the Brightest. " Starring Jason Schwartzman, Devon Sawa and James King. Directed by Dewey Nicks. Written by David
Steinberg. Produced by Erik Feig and Neal H. Moritz. A Destination release. Comedy. Not yet rated. Opens December undated.
13 Days
Kevin Costner ("For Love of the Came")
stars in this political drama as the Kennedy
administration's chief of staff during the
Cuban missile crisis. Bruce Greenwood
("Double Jeopardy") and Steven Culp (TV's
"Jag") co-star as John and Robert Kennedy,
respectively. Roger Donaldson ("Dante's
Peak") directs a script by David Self ("The
Haunting"); Armyan Bernstein ("End of
Days," "The Hurricane"), Peter Almond and
Costner produce. (New Line, 12/20)
Exploitips: "13 Days" has a history about
as complex as the event it depicts. First set up
at Universal with "Field of Dreams'" Phil
Alden Robinson attached to direct, the project
was put into turnaround mainly due to
budgetary concerns. (Its $90 million price tag
includes footage of high-tech air shootouts.)
Bernstein's production label Beacon took it to
Sony because of their lucrative partnership
on "Air Force One." But then Robinson
dropped out and Universal once again had a
stab at it due to the studio's complex first-look
deal with Beacon. Martin Campbell ("Vertical
Limit") and Francis Ford Coppola were
names bandied about as possible directors
before the pic ultimately landed at New Line
with Donaldson attached. Though based on
"The Kennedy Tapes: Inside the White House
During the Cuban Missile Crisis" by Ernest
May and Philip Zelikow, there are several
tomes dedicated to this very subject, including
a book called "13 Days" by Robert F
Kennedy. Collaborate with a local bookstore
to display these titles prominently and perhaps
co-sponsor a panel discussion peopled
by an area university's history department.
Invite local classrooms that are studying this
event to plan a field trip to attend a daytime
screening of the pic. BOXOFFICE talks to the
actors who play the Kennedy brothers on
page 56.
Enemy at the Gates
Jude Law ("The Talented Mr. Ripley")
and Ed Harris ("Stepmom") star in this
World War II drama as rival Russian and
Nazi snipers, respectively, who duel it out
in the ruins of Stalingrad. Joseph Fiennes
("Shakespeare in Love") and Rachel Weisz
("The Mummy") co-star. Jean-Jacques
Annaud ("Seven Years in Tibet") writes,
directs and produces; his frequent collaborator
Alain Codard also scripts.
(Paramount, 12/22)
Exploitips: Based on a historical figure,
Law's character Vassili Zaitsev is credited
with 140 kills at the siege of Stalingrad, and
a Nazi named Heinz Thorwald (Harris'
character has been changed to Konig) was
sent to kill him and any other snipers he
came across. Research this pair, starling
with William Craig's book of the same
name (though it's out of print and may be
difficult to find), and create a historical display
in your lobby. At $85 million, "Enemy
at the Gates" is the most expensive film
ever made in Europe.
44 BOXOFFICE

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Cast Away
Tom Hanks ("The
Green Mile") stars in
this adventure
drama as a manic
FedEx systems engineer
who is stranded
on a desert island by
an unexpected
storm during an otherwise
routine overseas
trip. Isolated for
four years, he
reevaluates what's
most important in
his life. Helen Hunt
("What Women
Want") co-stars as
his long-term girlfriend.
Robert Zemeckis ("What Lies
Beneath") directs a script by William
Broyles ("Entrapment"); Hanks and "What
Lies Beneath's" Steve Starkey, Zemeckis
and Jack Rapke produce. (Fox, 12/22)
Exploitips: Hanks first came up with the
idea for this picture and began collaborating
with Broyles when they were working
together on "Apollo 13." The unusual
shooting schedule took place over the
course of 16 months, with a year-long hiatus
during which Hanks lost over 40
pounds and grew a thick beard to illustrate
his characters' physical transformation.
Meanwhile, Zemeckis shot "What Lies
Beneath" with the same crew. Dress your
employees in FedEx uniforms to match the
delivery company's prominent placement
in the film.
Circuits can collaborate with a
travel agency in a drawing for a vacation to
a (semi-)deserted island, only this time the
winner can bring someone along.
Miss Congeniality
Sandra Bullock ("28 Days") stars in and
produces this action comedy about a
tough-as-nails FBI rookie who must transform
into a beauty queen to infiltrate the
Miss United States pageant, which a terrorist
has threatened to bomb. Benjamin Bratt
("Red Planet"), who plays her partner, and
Michael Caine ("Quills"), who plays an
image consultant, co-star. Donald Petrie
("My Favorite Martian") directs a script by
Marc Lawrence ("Forces of Nature"), Katie
Ford (TV's "Mary and Rhoda") and Caryn
Lucas (TV's "The Nanny"). (Warner Bros.,
1 2/22)
Exploitips:
Like "Charlie's Angels," "Miss
Congeniality" joins the growing trend of
butt-kicking female
action heroes. Encourage
distaff fans of
the genre to learn the
same techniques
Bullock's character
does: Invite a selfdefense
instructor to
teach hand-to-hand
combat (which she
learns from Bratt's
character) and a
beauty pageant consultant
to teach ladylike
manners (which
she learns from
Caine's character).
See Actor's Studio,
page 22.
State and Main
David Mamet ("The Winslow Boy")
directs this Hollywood satire about a film
crew that invades a small New England
town. The old-fashioned screenwriter finds
his values challenged when he becomes
the only witness to the star's indiscretions
with a local teenage girl. Alec Baldwin
("Thomas and the Magic Railroad"), Philip
Seymour Hoffman ("Almost Famous"),
William H. Macy ("Magnolia"), Julia Stiles
("Hamlet"), David Paymer ("Bounce"),
Rebecca Pidgeon ("The Winslow Boy"),
Sarah lessica Parker (TV's "Sex and the
City"), Charles Durning ("O Brother,
Where Art Thou?") and Patty LuPone
("Summer of Sam") make up the ensemble
cast. Frequent Mamet collaborator Sarah
Green produces. (Fine Line, 12/22 NY/LA,
1/12/01 exp)
Exploitips: BOXOFFICE gives "State and
Main" three stars in its Toronto coverage
this month, saying it "offers a welcome
group of arresting personalities and performances"
but "Mamet could have punched
up the film's humor a little more—the pacing
is sluggish at times." Held from August.
Traffic
Michael Douglas ("Wonder Boys") stars
in this ensemble thriller as a U.S. judgecum-drug
czar whose hard-line policies
are tested when he discovers that his
teenage daughter is addicted to heroin
and cocaine. Other interrelated stories
include those of undercover DEA agents
in San Diego, a wealthy drug baron
whose wife takes over the business when
he goes to jail and a border patrolman
who sees an opportunity to seize power
46 BOXOFFICE
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from his corrupt boss. Don Cheadle All the Pretty
("Family Man"), Benicio Del Toro ("The
Way of the Gun"), Dennis Quaid Horses
("Frequency") and Catherine Zeta-Jones In this 1940s-set
("The Haunting") co-star. Steven Western, Matt
Soderbergh ("Erin Brockovich") directs a Damon ("The Legend
of Bagger
Vance") stars as a
cowboy who feels
script by Stephen Gaghan ("Rules of
Engagement"); Edward Zwick ("Shakespeare
in
Love"), Marshall Herskovitz
("Legends of the Fall") and Laura Bickford
("Playing God") produce. (USA, 12/22
NY/LA, January 2001 exp)
Exploitips: Caghan's edgy script, based
on the 1989 British television miniseries,
was viewed as an opportunity for several
A-listers—including Harrison Ford and
Kevin Costner— to garner artistic credibility
but naturally strained the pic's moderate
$30 million. Douglas, who initially
turned down the lead role, reconsidered
after reading Ford's notes on the character
and negotiating $10 million and a 10 percent
backend stake— what Ford would
have received had he stayed on board.
"Traffic's" budget is now reportedly north
of $50 million. The film, which claims
neutrality on the subject of the drug war,
is bound to be a controversial conversation
piece. Invite local talk shows to
address this very topic in the weeks leading
up to the release, culminating in a
panel discussion with local leaders on
opening weekend.
DECEMBER 25
bring, er, piece(s) to Northern Ireland.
Broadway vets Barry McEvoy, who wrote
the script while working as a bartender, and
Brian O'Byrne star. Paula Weinstein ("The
Perfect Storm"), Mark Johnson ("Galaxy
Quest"), Louis DiGiaimo ("Donnie Brasco")
and Jerome O'Connor produce.
(DreamWorks, 1 2/25 ltd)
Exploitips: Taking a cue from these characters'
rug rivals, "Toupee or Not Toupee,"
host a friendly pre-show game wherein
audience members must determine
whether contestants' curls are real or fake,
giving out caps bearing the film's logo to
the winners on both sides.
displaced when his
mother sells their
ranch and so rides
into Mexico with a
pal, ending up at a
hacienda where they
are hired to break
horses. He falls in
love with the rancher's
daughter, an illfated
romance that
lands him in jail.
Henry Thomas
("Legends of the
Fall"), Lucas Black
("Sling Blade"), Ruben
Blades ("Cradle
Will Rock") and
Penelope Cruz
("Woman on Top"
co-star. Billy Bob Thornton ("Sling Blade")
directs; Ted Tally ("The Silence of the
Lambs") scripts from the novel by Cormac
McCarthy; Mike Nichols ("What Planet Are
You From?") produces. (Miramax, 12/25)
Exploitips: Naturally Thornton was a hot
commodity after his indie "Sling Blade"
broke onto the Hollywood scene in 7 996
and won a screenwriting Oscar, but his
the move could have more to do with the
studio's inability to convince Thornton to
pare down his reportedly four-hour cut.
Miramax topper Harvey Weinstein, who
sponsored "Sling Blade," probably will
have better luck with him in the editing
suite, and the Disney label's marketing
machine could better serve the title come
Oscar time. Cross-market McCarthy's 1992
novel with a nearby bookstore and dress
your employees in cowboy hats and boots
to fits the pic's Western theme.
Moulin Rouge
Ewan McGregor
("Star Wars: Episode
I—The Phantom
Menace") and Nicole
Kidman ("Eyes
Wide Shut") star in
this "reinvention of
the musical form" as
an innocent poet
who is swept up in
the Bohemian
underworld of 1899
Paris and the popuar
courtesan with
whom he falls in
ove. John Leguizamo
("Summer of
Sam") co-stars. Baz
Luhrmann ("Romeo +
Juliet") writes, directs
and produces; his
writing partner Craig
Pearce also scripts;
and his producing
partner Martin Brown
also produces with
Fox executive Fred
Baron. (Fox, 12/25)
Exploitips: According
to Luhrmann,
"Moulin Rouge" (unrelated
to the 1952
John Huston movie or
the other handful of
movies by the same
name) is the third in a
cinematic trilogy,
"Strictly Ballroom"
and "Romeo + Juliet"
being the first two
installments. Book
these as midnight features
in the weeks
leading up to his latest
release. "Moulin Rouge" will feature
contemporary music in a historic setting—
that may include spoken words to a melody
a la Luhrmann's "Everybody's Free to Wear
Sunscreen"— and other anachronisms. It is
also reportedly loosely based on the
Orpheus in the Underworld myth.
Luhrmann's album "Something for
Everybody," the Orpheus text and literature
on the Moulin Rouge, a popular Parisian
only project since, Miramax's "Daddy and
An Everlasting Piece
nightclub (think this century's Studio 54)
Them," hasn't yet seen the light of a projector.
are among the many tie-ins you could have
Barry Levinson ("Liberty Heights") directs
and produces this comedy set against turbulent
Columbia, which developed and
Horses" with
on display in the lobby during this release.
employees
Two
"All co-financed the Pretty dress your in the
Finally,
1980s Belfast. barbers, a
Miramax, passed the reins to the minimajor
Catholic and a Protestant, become unlikely
Bohemian style of the last turn of the century.
just months before its release, ostensibly
business partners in a scheme to sell
because of their heavy holiday line up—
toupees to their fellow countrymen and
"Charlie's Angels," "The Sixth Day," "The
Vertical Limit" and "Finding Forrester" are
all bowing before the end of the year— but
Vatel
Gerard Depardieu ("102 Dalmatians")
stars in this 17th-century France-set drama
as the titular character, a combination chef
and entertainer who's hired by an ailing
prince to put on a three-day feast to impress
the visiting king. Uma Thurman ("The
Golden Bowl"), Tim Roth ("Lucky
Numbers"), Julian Glover ("Indiana Jones
and the Last Crusade") and Julian Sands
("Timecode") co-star. Roland Joffe
("Goodbye Lover") directs and produces;
Tom Stoppard ("Shakespeare in Love")
scripts from a French screenplay by Jeanne
Labrune; Alain Goldman ("1492: Conquest
of Paradise") produces. (Miramax, 12/25
NY/LA)
Exploitips: Miramax snatched up "Vatel"
on the very day it opened the 2000 Cannes
International Film Festival, where BOXOF-
FICE gave it two stars in the July 2000 issue,
saying, "Director Roland joffe has created a
glorious piece of eye candy, but in the end
it leaves you feeling undernourished."
DECEMBER 29
Tuvalu
Originally shot in black and white (but
later tinted) and dialogue-free, this fantasy
comedy is set in a dilapidated public swim-
48 BOXOFFICE

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ome
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ould
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laimed
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co-stai
(anny
i
aped
ming pool that is in danger of being razed
by one of the old blind owner's relatives.
Meanwhile, his daydreaming son and button-collecting
cashier try to keep up the
illusion that the place is operating as it did
in its heyday. Denis Lavant ("The Lovers on
the Bridge") stars. Veit Helmer writes, produces
and, well, helms; Michaela Beck also
scripts. (Indican, 12/29)
Exploitips: Equal parts Emir Kusturica
and Charlie Chaplin, "Tuvalu" has won
numerous award throughout Europe,
including the Bavarian Film Award, and
was nominated for the Grand Jury Prize at
Slamdance.
Shadow of the Vampire
In this fictionalization of the making of
"Nosferatu," John Malkovich ("Being
lohn
Malkovich") stars as the enigmal
Murnau, here portrayed as so dedii ated to
realism that he hired an actual vampire in
the first (unofficial) adaptation of Bram
Stoker's book. Willem Dafoe ("American
Psycho"), Cary Elwes ("Cradle Will Rock"),
John Aden Gil let and comic Eddie Izzard
co-star. E. Elias Merhige ("Begotten
directs; Steven Katz scripts; Nicol
takes a producer credit for the first time
with Jeff Levine, who was an associate producer
on "Bringing out the Dead." (I ions
Gate, 1 1/1') NY/LA)
Exploitips: Boxoffice gave "Shadow ol
the Vampire" i.5 s/a/s m the < annes
m the luly 2000 issue, saying, "Assets include
nnc technical values and standout acting,
especially .i nuanced, understated perforni.
tin e by lohn Malkovich as Murnai
thrillingly over-the-top turn by Willem Dafoe
as the vampire." See BOXOFFICE s interviews
with Izzard and Merhige on p
DECEMBER UNDATED
Finding Forrester
Sean Connery ("Entrapment") stars in this
drama as a Salingei esque
isl who takes a bla< k student athlete, who's
having trouble fitting in at Ins prep si hool,
under his wing when he discover that the
basketball stai has ,m\ uncanny pent hant foi
writing as well as hot moves on the court, f.
Murray Abraham ("Star Trek; Insurrei tion"),
Anna Paquin ("Almost Famous") and newcomer
Robert Brown co-star. Gus Van Sant
("Good Will Hunting") directs an original
st n|)i In i\ ro I
si ribe Mike Rii h;
<
lial M.in i. < onnnery .mil
Rhonda lollelson ("I ntrapment") produce.
(Columbia, December undated)
Exploitips: Rh h, a W yeat old fathei ol
three, wrote "Finding I orrestet v\ hile work
mi; as .i radio I 'I in Portland < Ire. Hei ould
n't get anybody to bite en his Si ript, however,
until he was announced as a finalist in
and eventually won the Nicholl Fellow ship
s. reenwriting competition Ent out
Students to emulate the Inn in the film,
sponsoring a short story contest wherein the
winner gets a meeting with a creative writing
proi .ii a fi "
.il uni\ ersit)
The Claim
Michael Winterbottom ("Wonderland")
lis Western drama set during the Gold
Rush of 1 849 about a prospector who founds
his own town but one drunken night trades
his wife and daughter for a bag of gold.
Twenty years later, they return to confront
him. Peter Mullan ("Miss Julie"), Sarah Polley
("Guinevere"), Wes Bentley ("American
Beauty"), Milla lovovich ("The Messenger:
The Story of Joan of Arc") and Nastassja
Kinski ("Playing by Heart") star. Frank Cottrell
Boyce ("Hilar,' and Jackie") scripts loosely
based on "The Mayor of Casterbridge" by
Thomas Hardy; frequent Winterbottom collaborator
Andrew Eaton produces. (MGM,
December or January undated)
Exploitips: "The Claim's" web site
(www.theclaimmovie.com) is among the
most elaborate ever devised tor a movie,
including a detailed account ot the film's
from genesis to post, the script, a
\ irtual lour ot the set, call sheets ami a c onename
the Film when "Kingdom
was , b) a whoopi
: iro/ex ( at Fox Sean blight.
The Best and the Brightest
|ason Schwartzman ("Rushmore") stars
in this i
ollege omedy as ( ,i geek who discovers
that a handful ol Ins peer: in
weaseling then way through si hool without
doing any work. Me blackmails them
into selling him up with the campus' most
girl. Devon Sawa
Destination") and I, lines kin:; CO-Stai
Nil ks dun is i Hi Steinberg
Feig ("I Know What I
You >id
I .is! Summer' and its sequel) ami Neal 1 1.
Moritz ("Urban legends: Final ( ul") pro
dine il lesiinalu m. I
ember undated)
Exploitips: The only teen corned) scheduled
in a month ol Oscai hopefuls The
"Slai kers •
the
Brightest,
pre\ iousl)
<
ailed
be a welt ome respite fot
exhibitors seeking that elusive teen dollar,
interest In i ollaborating
u ith a /in al radio station d
em I passes to t alters with the most
,ui /nnc the) got around
si /ion/ work, .see Actor's Studio, page 1 1.
Chunhyang
In this 13th-century Korean table, narrated
by .i Pansori performer, the son ol a
ernoi falls in Ii ive \\ ith the daughlei
of a ( mules, iii and weds hei in sei ret.
When he's limed hi travel tO Seoul In. inn
plete his si hi iding he promises that he
will return foi her, but in the meai
new i I
governoi pursues hei lung
and (ho Seung Woo star as ihe illil i!
Im kwon lack diiiu is ,i si ript by
Kim Myoung Ki m; Lee rae Wi in
i
(Lot 47, Decembei undated ltd)
Exploitips: Nominated foi thePalmed't h
\es Ibis year, BOXOFFICE will give
hunhyang" tour stars next month
"Sumptuously and expertly cue
'<
hunhyang' is a smart sinew) table that
unfolds m the same deliberate mannei as a
Shakespearean i or a ( ircek tragedy,
evenas it manage-, to sidestep oe/nj
holed by sut b restrii tive Western com epts
The Wide Blue Road
In this 1957 Italian drama, Yves
Montand portrays a playboy whose
lifestyle is challenged when he meets a
played by Alida Va Hi. Gillo
Pontecorvo directs. (Milestone, December
undated)
Exploitips: Like "The Mystery of
The Wide Blue Road" is a 1 950s
title getting a second chance from
Milestone.
The Bridge
Gerard Depardieu ("Vatel") directs, produces
and stars in this French romance
about an adulterous 1960s housewife who
has only stayed with her reliable husband
until now because of their 15-year-old son.
Carole Bouquet, Charles Berling ("Stardom
and Stanislas Crevillen co-star. Fred
Auburtin co-directs; Francois Dupeyron
scripts based on the novel by Alain Leblanc.
(Phaedra, December undated NY)
Exploitips: boxoffice -ace "The
Bridge" 2.5 stars fn last year's Monteral
in the Novembei 1999 is
ing, "The moral oi The Bridge'. ..is best
symbolized b) a sad shrug. A shrug might
.:< e tor an auiliem e S response to
this bittersweet little talc well crafted but
incapable of surprises. "
The Man Who Cried
In this World War II drama, Christina
Ricci ("Sleepy Hollow") stais as a Russian
nl who is separated from her father
as a young girl and raised by a proper
English couple. As a young woman she
to
\niei H ,i .iii.i seeks ti go there hersell by
>
way of Paris, when' she befriends a Russian
chorus girl and tails in line with a gypsy.
The Gift"), lohn Turturro
("< ) Brother, Where Art l"hou?") a

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Sneak Preview
CAST/A/6 A "StfA&OM/"
director EUa* MerfSfre Sinks HU
Teetfr /n+o 'Vaiv>f>ire" tv chr?rt?r,e j^e*
Elias
Merhige is a filmmaker
before his time. Literally.
His college thesis film, 199 1 *s avantgarde,
critically lauded but barely-released
"Begotten," is made to appear to be a
3,000-year-old celluloid artifact from a
long-extinct culture that magically had the
technology to create cinema.
Merhige 's latest work, "Shadow of the
Vampire," takes us to a more recent point
gence. depth, intensity, dreamlike surrealism
and the bizarre.
It was actor Crispin Glover who presented
a copy to Nicolas Cage, who realized
that Merhige would be perfect to
direct a film his production company,
Saturn Films, was developing—a semihistorical
phantasmagoria then called
"Burned to Light."
The film, eventually retitled "Shadow
of the Vampire," is set in 1922 during the
The fearsome Nosferatu takes direction from Elias Merhige on the set of Lions Gate 's
in history, the dawn of cinema, with an
equally imaginative, speculative, paralleluniverse
sort of examination of the passions
and compulsions of groundbreaking
silent-era director F.W. Murnau.
"Begotten" won a place on Time's
Top 10 Films of the Year list, which should
have been enough to rocket Merhige,
then in his mid-20s, onto the A-list of
promising young tyro helmers. But, having
the misfortune to be released at a time
when distributors and exhibitors just
didn't know what to do with such esoteric
art-house fare. "Begotten" was forgotten.
Well, not entirely. It built a following
among a few of the most intriguing artists
and brilliant thinkers of the modern age.
who passed bootlegs between them like a
VHS Masonic handshake to those they
deemed worthy. Among his supporters and
fans. Merhige can count such diverse personages
as Susan Sontag. Werner Herzog
and Marilyn Manson. His work reflects a
"Shadow of the Vampire.
similarly contrasting synthesis of intellimaking
of Murnau's unauthorized
"Dracula" adaptation, "Nosferatu." a
chilling classic, thanks in no small part to
the horrifying realism of lead actor Max
Schreck, who played the title role, a.k.a.
Count Orlock. Schreck—a pseudonym
that means "scream" in German—has
long been a Hollywood mystery, having
played darkly charismatic but dangerous
characters in the few films in which he
starred. As scripted by Steven Katz,
"Shadow of the Vampire" hypothesizes that
Schreck (Willem Dafoe) was in fact a real
vampire, and Murnau (John Malkovich), in
his obsession for perfection, promised the
ghoul the neck of his leading lady in
exchange for a good performance.
Merhige, 36, whose gray hair, contemplative
reflections and transcendent
demeanor belie his young age, revealed to
BOXOFFICE the subtext behind his
chimerical, allegorical take on the
nascence of film, the dark nature of artistic
fire and the ultimate in method acting.
BOXOFFICE: In the age of $20 million
salaries and contracts that include on-set
masseurs and private jets, how unreasonable
by comparison were Schreck's demands?
MERHIGE: Actually, he needs to fire his
agent and get a better one. because he got
the short end of the stick in terms of getting
a decent deal.
BOXOFFICE: "I want the leading lady
and—all the green M&Ms taken out of the
bowl."
MERHIGE: Yeah, exactly.
BOXOFFICE: One assumes Schreck wasn't
really a vampire, and Greta Schroeder wasn't
his O-positive hors d'oeuvre. Were you
perturbed by these niggling little details?
MERHIGE: No, because it was never my
intention to make a "vampire film," and I
mean that in quotes— I didn't want to
make a genre movie where it was about
blood and seduction. I wanted to explore
the nature of vampirism itself. The
Industrial Revolution as vampirism. The
idea that this camera, this black box that's
born out of the industrial revolution, captures
the shadows of the living into itself
and then transfixes us in the dark womb of
the theatre.
The idea was never to create an homage
to Murnau, the real Murnau. It was the
idea to use Murnau as a metaphor for artmaking
obsession, the idea of science and
the quest for immortality, the cinema as
life and art coming together as an immortal
fusion. These ideas are the things that I
really wanted to explore. And I used
Murnau and I used the beginnings of cinema
because early cinemamaking was considered
a freak show. It was considered a
fringe sort of science. It wasn't even an art,
it wasn't a science—no one could figure
out what the heck it was. And the Bram
Stoker estate didn't want to make a movie
j
out of "Dracula." They wanted to do a
stage play in London, because that was the
pinnacle of art. Moviemaking was considered
some weird kind of hocus pocus form
of sorcery or black magic.
BOXOFFICE: I still think it's black magic. I
can't figure it out. If they sent me back in
time, I'd be banging two rocks together like
everybody else.
MERHIGE: Well, you know, when you;
look at ads, that's black magic. Because
you're turning truths into falsities and
falsities
into truths, and you're just creating
this world of illusion. But I think that
is the role of the film director today to
separate the truth from the lie, and to serve
that in a delicious way to the audience, and
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that in a delicious way to the audience, and
to be always truthful and as vigilant to the
truth as possible.
I'm not talking scientifically,
because every truth ultimately
becomes a lie. But I think if you're coming
from your heart in terms of the truth for
that time and place, then something
very important comes through. When
you're deliberately trying to create
something that isn't true, then I think
you're damaging something in the
human psyche.
BOXOFFICE: On the subject of truths,
did Murnau ever purport that Schreck
was a real vampire as part of a publicity
campaign, or was that invented for
the script?
MERHIGE: That was invented for
the script, but when you really look
up any biographical information on
Max Schreck, there is so little on him
that it almost becomes mysterious Count
and spooky, like, "Who is this guy,
and where did he come from, and
what was he really about?"
BOXOFFICE: Did you have to clear any of
this with Murnau's estate?
MERHIGE: Mm-hmm. I thought it was
very funny that Murnau and his producer
Albin Grau, who was a big part of getting
"Nosferatu" made in the 1920s, were pleading
with the Stoker estate, and we were
there pleading with the Murnau estate,
pleading to make "Shadow of the
Vampire." I've always had this reservation
of feeling like I just hope to God that the
Murnau estate doesn't say. "Oh my God,
this is the worst film ever made, and the
main character is our esteemed national
treasure,
Friedrich Wilhelm Murnau. Let's
get this guy Elias' head and put it on a stake
and burn the negative." I have this idea that
when the film plays in Germany. I'm going
to send somebody else as myself, [laughs]
BOXOFFICE: Get a big life insurance policy
on him.
MERHIGE: I'll just appoint [a stand-in] as
the director. And [he'll] say, "Oh my God,
Elias, you're so generous, you're so kind,"
and as soon as [he] steps off the plane, [he's]
shot between the eyes or something.
BOXOFFICE: What were some of the subtextual
themes of this film?
MERHIGE: It was very important to weave
into the film [the ideas I found] when I was
reading journals of Albin Grau. He was
somebody who studied magic and esoteric
lines of religious thought and notions of
reality. What is interesting is that he wrote
this extraordinary journal for five years
[which in
part documented the making of
"Nosferatu"] and the journal was called
Saturn [the same name as Nicolas Cage's
production company].
BOXOFFICE: Synchronicity?
MERHIGE: It's really freaky. When I did
that research in Europe months before
shooting, I called Nic and I said, "You're
not going to believe this, but there's a journal
from [the 1920s], and I have it in my
hands, and it's called Saturn." Saturn
Gnosis was the name of it. The knowledge
of Saturn, Saturn being the sort of symbol
of melancholy, symbol of the Renaissance,
symbol of the genius that exceeds itself
and is hence melancholic.
SO BAD HE'S GOOD
Eddie Izzard Hams It Up as a C-Actor
Orlock (Willem Dafoe) and Gustav Von Wangenheim
(Eddie Izzard) in
Eddie
'Shadow of the Vampire.
Izzard is used to having
people laugh at his performances,
but that's because he's
a world-renowned comedian.
In "Shadow of the Vampire," he's
just plain laughable—but that means he
got it
right.
Izzard portrays actor Gustav Von
Wangenheim. a thespian whose theatrics
would not be out of place in the Ed
BOXOFFICE: What were some of the facts
about "Nosferatu" that you gleaned from
the journal and used in "Shadow of the
Vampire"?
MERHIGE: After World War I, Germany
was just spiritually, economically and
politically wiped. And what happened was
that Europe itself had been pretty devastated.
So that was part of the reason of
creating this really ugly, rat-like fiend-being
in the Orlock of "Nosferatu." This being is
an effigy of the pestilence that was the evil,
that sort of evil cloud that overtook
Europe in the form of World War I.
In "Shadow of the Vampire." I'm using
Murnau as a metaphor for this young idealist
artist, going into the mountains, into
the monastery, calling up the ancient past,
the old idols, the old myths, the old pagan
fascinations, like Richard Wagner sort of
began. And then calling those out and saying,
"You know what? I'm going to be able
to harness all this energy—all this primitive,
all this mad. ancient energy—and all
the misery of all the death of World War I.
And everything that was humiliating about
it. I'm going to be able to take this, lure it
out into the light of day, manipulate it into
a great work of art. and then destroy it.
and leave the great work of art in its
wake."
BOXOFFICE: Your transitions in the film
from real life to filmic black-and-white draw
the audience into a surreal segue that feels
like a timeslip.
MERHIGE: That idea, to iris in and iris
out, was something that I came up with after
the first reading of the script. I mean. I saw
this film from beginning to end when I read
the script. I knew technically, stylistically.
Wood oeuvre. "I found he was not the
first choice [for 'Nosferatu']. so I
got the
impression he was like a B or C actor,"
Izzard told BOXOFFICE. "His best stuff
was up in the castle, with Schreck, but
the [rest] was just [bad]." As for
researching his part, Izzard says he simply
"lifted the bad actor bit!"
"It got slightly confusing, because in
the end, John Malkovich [as F.W
Murnau] was actually directing me to
the extent that in silent movies, the
director could talk right over [the scene]:
'Okay, you're seeing this, what are you
feeling— you're surprised, and then he's
appearing there, who is this person'
and so John Malkovich was just keying
my emotions as I went through. So he
was kind of directing me, which I
thought would be quite freaky, but if I
pulled it off he seemed to be quite happy
about it in character. But I was supposed
to be bad at it, so it really should
have had more of me going, 'No, that's
crap,' and him going, 'No, that's not
good, and you must be shot.'"
color palette-wise, everything, how this film
was to look, feel, communicate itself.
BOXOFFICE: What was the reaction on the
set when everybody first saw Willem's
makeup?
MERHIGE: People were like, "Holy s-
They were like, "Oh my God. Willem, you
look like Max Schreck." But the amazing
thing is, underneath all that makeup and
all of the constrictions of that makeup,
Willem just exploded and brought these
subtleties and gestures and grace to the
character that I always dreamt and wished
the character would have. And Willem
gave it to me tenfold. It was extraordinary.
BOXOFFICE: Was there anyone else besides
Dafoe on the short list to play Schreck?
MERHIGE: Steven Katz wrote the part
for Willem Dafoe when he wrote it 12
years ago. Willem has always been one of
my favorite actors. He's a stunning actor.
When I met with Willem and I met with
John [Malkovich], it was the kind of thing
where if they didn't decide to play the
parts in the movie, I didn't know what
was going to do. That knot in my gut that
if Willem doesn't do this movie and if John
doesn't do this film, I'm going to be so
much more limited in terms of what I can
I
say in this film. Because the limits of your
actors are the limits of your ideas. And
with John and Willem, I knew there were
no limits.
"Shadow of the Vampire. " Starring John
Malkovich. Willem Dafoe, Udo Kier and
Eddie lizard. Directed by Elias Merhige.
Written by Steven Katz. Produced by
Nicolas Cage and Jeff Levine. A Lions Gate
release. Drama. Opens 12/29.
54 BOXOFFICE

- I
-

Sneak Preview
BROTHERS IN ARMS
Bruce Greenwood and Steven Culp
Portray John and Robert Kennedy
in the Cuban Missile Crisis Saga
13 DatfS by Francesca Dinglasan
there's one thing Hollywood hasn't of portraying the
Ifproduced in small quantity, it's the Kennedy brothers:
near-end-of-the-world disaster flick.
Asteroids have been hurled at the earth,
Bruce Greenwood
and Steven Culp.
malevolent aliens have gleefully obliterated
The specia
famous U.S. landmarks, Satan has pressure attached
humanity during the Y2K fes-
to depicting two of
revisited
tivities and prehistoric dinosaurs have
been brought back to life to menace modern
man. Scary sets of circumstances,
unquestionably, but nothing compared to
what's in store for the big-screen come
nuclear weapons in Cuba. In history's
most perilous game of chicken, the two
Cold War enemies faced off over the presence
of the nuclear missiles on the communist
island. Remove the missiles,
demanded President Kennedy of the tooclose-to-home
set of deadly arms, or the
U.S. will enforce a blockade of Cuba and
fire on any Soviet ships attempting to
enter the island.
Now. nearly 40 years since these tense
moments passed happily into the pages of
history, the story is coming back anew in
New Line's upcoming "13 Days."
Based on O'Donnell's memoirs,
"Thirteen Days" features Kevin Costner
as the tough talking, Bostonian presidential
aide who provides a firsthand
view of the political inner sanctum
behind the near-nuclear disaster. While
Costner is, of course, the film's star
draw, the undoubted center of attention
will be the actors rising to the challenge
20th-century
America's most
significant
wasn't lost
figures
on the
thesps. Culp tells
Christmas time: the Cuban Missile Crisis. BOXOFFICE he
Of all the frightening scenarios—digitally
created raptors tearing after chil-
the seriousness of
fully understood
dren included—it's hard to imagine that becoming involved
any event could be as truly terrifying as in such an ambitious
project, which in his case meant
the real-life tale of the two weeks in
October 1962, when the world seemed to bringing the tough-as-nails persona of
come within a hair's breadth of nuclear Robert F. Kennedy to life. "You're playing
these icons," he says, "And you real-
annihilation.
At the heart of this drama was U.S. ly have to have a lot of stuff in your
president John F. Kennedy, who. with the bones just to show up, just to walk into
guidance of his most trusted advisors the room. You're taking a life at a certain
point and putting [forth] an inter-
brother and U.S. Attorney General
Robert F. Kennedy and longtime friend pretation and trying to portray it as true
and aide Kenneth O'Donnell—was to the spirit of somebody as possible."
forced to confront the actions of Russian Greenwood, too. tells BOXOFFICE
premier Nikita Khrushchev regarding the that he realized the high risks inherent to
Soviet Union's strategic placement of a film such as " 1 3 Days" the moment his
agent informed him that the role of John
F. Kennedy was up for grabs. "Are you
kidding?" he thought. "JFK? Forget it. I
want to be a target like that? What if I got
it? What a nightmare!"
The "nightmare" came true, and
Greenwood says he couldn't have been
more excited to be a part of it. "It was
incredibly invigorating because it was
hard work, like the hard work when
you're working out. It feels great." To
which he adds, "I read about it. When
the endorphins kick in, I gather, people
feel good when they're in shape."
While Greenwood—who is currently
on location in Ireland filming his next
project—jokes that getting in shape is a
foreign concept to him (he quips, "I'll
put out my cigarette here and grab a
Guinness"), both he and Culp admit
that they each had to undergo a degree
of physical transformation for their
respective roles.
General Robert F. Kennedy
(left).
"I had to shape myself into
this wiry Bobby Kennedy
body," says Culp. "I'm naturally
just a hair taller and a
hair broader than Bruce. That
was one of the reasons they
wanted to see us together in
the screen test. They had him in a padded
coat and lifts, and I hate to whittle myself
down and pretty much spent five or six
months in training and had a very strict
diet regime."
Greenwood, however, says that his
metamorphosis into JFK involved concentrating
on other areas — posture and
locks, to be exact. "He was in such
chronic pain," the actor says of
President Kennedy. "If you watch the
way he sits, he's always tilted over on one
side to take the weight off his back.
Once I figured out how I was going to
deal with his back pain and that particular
kind of stiffness.. .hair was where we
spent the most time.
"People generally think of [JFK with]
just a tremendously virile thatch, I think,
because so many of those photographs
[of him show] this great, big tousled
shag," continues Greenwood. "[Film
hairstylist] Tony Walker toyed around
with all kinds of stuff, including letting it
come down low. At one point I looked
perilously close to Sam Donaldson, so we
had to change it."
Bad imitations of TV news anchors
aside, preparing for the Kennedy roles was
no small feat, if the hours of study and
research put in by Greenwood and Culp
are any indication. "Tons of reading,
watching tapes and listening to tapes" is
how Culp describes the rehearsal process
for RFK. "I like to do a lot of reading on
tilings anyway because that's just the way

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Response No. 107

I
j
my mind works. So I did a lot of
reading from different point of
views... and I found the best accounts
were the ones that tried to paint the
fullest three-dimensional pictures."
Greenwood echoes this sentiment,
noting that the subjective
nature of memoirs written by various
players in the Cuban Missile
Crisis emphasized the need to take
several disparate sources into consideration.
"There's countless volumes
written about that period and
that incident specifically," he says.
"What I found interesting after getting
a stack of books up to my belt
and reading them was comparing
the different accounts. A lot of people
were reporting on the same meetings
in their books, but of course
their perspectives are completely different
sometimes. Their take on
what the tenor of the room was is
often different, so when you put all
those together, you can get a pretty
good idea of what it was really like."
Getting a feel for the general H
mood of the scenario wasn't the
only area of concern for Culp and
Greenwood. Besides the "tenor of the
room," of obvious importance was capturing
the famous tenor of each Kennedy's
voice. RFK and JFK's distinct accents and
inflections, after all, are the traits that
most readily identify the brothers—any
perceived exaggeration or missed nuance
seems likely to be the first target of criticism
for eager historians and film reviewers
alike. Conscious of the difficulty, the
actors say that they worked together in an
attempt to master each of their Kennedy
tongues.
"People have this sort of generalized
idea of the Kennedy accent," explains
Culp. "One thing you find is that [JFK
and RFK's] voices are different tonally—there's
a real difference. [Bruce and
I] found when we were doing the auditions
together, we would start drifting
towards each other's voice, so we would
call each other up on the phone and do
dueling Kennedys."
"We worked alone on our accents and
then we would get together and talk and
try to avoid leaking into one another,"
says Greenwood. "I tried to avoid having
what he was doing seep into me, and
he tried the same thing. [An] analogy
would be that we each had a flask of our
own Kennedy and we kept pouring it
and hoping they wouldn't mix." (He
modestly undercuts this charming image
by adding, "That's not even a good analogy.
I can find a better metaphor.")
With all these communal rehearsals,
one would think the actors would have
long tired of each other by the time filming
of "13 Days" came to a close.
Both,
however, express a genuine fondness for
the other—rendered all the more sincere
by their ability to kid about their rela-
tionship. Culp, for example, tells BOXOF-
FICE, "Don't believe a word he says,"
when he learns about this writer's interview
with Greenwood. Greenwood,
meanwhile, answers, "Agony. Can we not
talk about it?" when asked by BOXOF-
FICE what it was like to work with Culp.
This shared sense of humor, says Culp,
actually helped the working relationship
between the two performers. "I think
there was a thing that we fell into where
we really were older brother/younger
brother." he explains. "We kind of fell into
that giving each other s— t thing a lot,
which, as far as my understanding, was
very much a part of the Kennedy brothers.
That was how they communicated,
that sort of constant ribbing and cajoling,
and we really fell into that very easily. I
think there was a certain enjoyment to the
fact that we were falling into it and we just
kind of kept it going. There was a real
camaraderie there."
Greenwood shares his friend's sentiment.
"[Steven] was great. We worked
well right from the beginning. We didn't
know each other at all, and ["13 Days"]
is a big deal for both of us. We wanted to
treat each other with respect, and out of
that good things grew."
It's a sense of professionalism and
regard that both actors readily extend to
Costner. the film's star. "Kevin was like
the third brother," says Culp. "[He's]
somebody who really, really wants it all
to be good. He was really focused on the
work and how we can make it better."
"He was tremendous," Greenwood
adds. "It's hard for whatever superlative
I use [to express] how he supported us
and how he was there at all times and
[under] all kinds of circumstances. He
was a gentleman and a force for solidarity.
I have nothing but respect and admiration
for the way he approached
this whole project."
Costner's deep commitment to
"13 Days," is, in fact, well known in
Hollywood circles. The actor stuck
with the project as it was shepherded
through numerous studios and
possible directors, until it found a
home at New Line and with helmer
Roger Donaldson. And while the
reasons behind Costner's strong
attachment to the script is. for the
moment, up for conjecture. Greenwood
and Culp shared some of
their own recollections and connections
to their characters and the
Cuban Missile Crisis.
Culp says for him, the role of
Robert Kennedy, which he previously
played in the HBO special
"Norma Jean and Marilyn," resonated
on a personal level. "The
more I researched him, the more I
admired him, despite his faults,"
he says. "A lot of people's views
are that he was somebody who
never stopped evolving or grow-
?/ aide Kenneth O'Donnell, Cr

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Cover
"VERTICAL"
MOTION
From Poland to Sweden to Italy to America,
"Vertical Limit" Actress Izabella Scorupco
Has Made a Life of Abrupt Change
really nerdy child.. .a
really shy, very insecure
girl"—beneath a
table. Yet, to hear the
now-grown Izabella
Scorupco tell it, here
on a warm and blue
California afternoon
at a bistro in Beverly
Hills, the actress' new
home for the next three
months leading up to
the December release
of "Vertical Limit,"
those distant appearances
of both town and
child would be deceivby
Kim Williamson
in your life when you didn't have
problems, when you didn't have to
think. Because I was just a little kid."
But think the little Iza did, with
plans for where life would take her.
In quick precis, where her life has
taken her so far is to Sweden, where
she made her first film at 17; to
Italy, where the fledgling model
made the cover of Vogue; and to
America, where she became the
"good" Bond girl alongside Pierce
Brosnan in "GoldenEye." It's an arc
of adventure that, says Scorupco,
her relatives in Poland "can't really
one were to travel back in time
Ifand place, to the northeastern
Polish town of Bialystok in the
middle 1970s, a visitor would find
some 225,000 people making their
lives in an industrial city known as a
textile center and key railroad junction.
A ways off the Narew River and
a hundred miles from Warsaw, with
the Soviet Union just a half-hour to
the east, the area might merit the
"gray" that at least one grown exresident
says could be applied to it.
If one were to have glanced in a
particular window on particular
days, they might have seen a gathering
of extended family,
relate to—it's not really Izabella.
with a little girl— "a
"It is gray,"
Scorupco says of
Bialystok and Poland
VERTICAL HOLDS: Bill Paxton, Scott Glenn, Izabella Si
O'Donnell and Robin Tunney piny climbers ascending K2 in "
in general. "Everything is gray. But, They remember me as this shy girl
to me, it's coral blue. Because I sitting under the table. But they
always had a feeling of bright things, obviously didn't know what was
friends, relatives—it was just the time going on in my head.
"I had a cousin, and she was the
star in the family.... She was always
on the table; I was always under the
table. And I always thought, 'She'll
see. I'll show her who will be on the
table in about 10 years.' And I
always knew that was what was
going to happen. I don't think that
anybody in my family could imagine
that this little nervous, shy, embarrassed
creature had so many things
going on in my head."
On this afternoon, Scorupco
looks over the menu, flipping its
slight pages back and forth—and,
although she is trying to find a
selection that sounds
good, it also seems
that she is studying it,
just to see what is
there. "The first thing
I think of, going back
to that age—six [or)
seven—is that we didn't
have bananas,
oranges, fruits—we
had apples and pears
sometimes. But never
things like chocolate
and Barbie dolls.
Those were just things
that you read about,
or you saw on television.
"My mother had a
really good friend who
lived in America, and
ontpco, Chris
she would always send
Vertical Limit
us packages with
oranges and bananas.... There was
always something besides the actual
food, like a little present. And I
remember I [once received! a skirt

Life
changed
dramatically
for Scorupco
in 1978. Her parents—her
father
Lech was a musician,
who passed away
when she was 19, and
her mother Magdalena
is an anesthesiologist-turned-gynecologist-turned-psychiatrist
("I don't
know a person who
has been studying as
much as she has")
had divorced when
Scorupco was a baby.
With her mother fallen
in love with a man
living in Sweden, the
Scorupcos left their
homeland behind. In
some ways, she says,
"it wasn't a big step,
because of the country
being as close as
it is to Poland. It was
friends, unlike back in Biah stock, was
difficult because she didn't know the
language yet. In response, this "'best
creature on earth" became "really
aggressive...because I realized there
was no way for [her fellow students] to
respect for me because of what I said,
because I couldn't speak Swedish. So
I was very tough and difficult."
just over the Baltic
Sea — you could always
go back if you
wanted to." In other
ways, though, the
change for Scorupco
was drastic.
The eight-year-old
found herself a
stranger in a strange
I. In Poland, she
had always had a
my— "a Russian
lady that I was with
:e I was three months The aggression became persistence.
till I was
seven years. And she was really overprotective.
"Since I was nine or 10, I did
I couldn't even cross the my own plays. I forced my class to do
street myself"—and her divorced my plays. It is absolutely embarrassing,
mother had spoiled Iza "with love.
but I believed in them."
I
thought that was the case for even Scorupco says. "It was just silly kid
child. That I was supposed to be the writing; it wasn't classic or anything."
center of attention." Suddenly in
And it wasn't quite her true
Sweden, instead of clasped in a interest: "I wanted to be an actor,
nanny's hand, she traversed really, desperately." Yet, to impress a
Stockholm by subway; making bov she liked, she studied economics
instead. "I was actually quite good,"
Scorupco says with remanent surprise.
"My mother had traveled
through Poland when she was 16, and
won different competitions in mathematics....
I think it was in my genes."
Everything turned, though, when
Scorupco was 17. "One day, we had
a screening of a big movie, the actors
and the director
were touring with
the movie in
Sweden. And I
thought, 'This is
it—this is my
chance! What I have
to do is do anything
to make sure
[Staffan Hildebrand,
the director]
sees me.' I think I
just tried to provoke
him with silly questions.
I knew that he
was going to make a
movie next about a
family that was
divorced for a very
long time, and the
girl suddenly wants
to see her father. I
made up a story
that that was exactly
what I had been
through—which
was not true," she
says. "I said that
this is what I've
been through in my
life. And he says to
himself, 'Ah ha,
that's the girl!'"
Thus Scorupco won
the part of Annelie
in 1988's "Ingen
kan alska som vi"
("No One Can Love
Like Us"). On its
release in the country,
she became a
teenage sensation.
"That was my
spark. Then it's up
to you what vou do
with it."
came another wrenching
Next
move. Thanks to the beauty
that most people think
comes from her mother (Scorupco
thinks her looks come more from
her father's side), the new actress
became a popular model—and so
was off to Milan, Italy, where within
a week she landed the cover of
Vogue, an honor that failed to sink
November, 2000 6!

in "because it came so fast." As
with her winning her first movie
role, Scorupco says, "once again, it
was 'the right place at the right
time.' That's usual in my life
everything is about that."
Back in Sweden, "my mother was
very calm, as I was never a child. I
was always into experimental things.
When I was 12 and 13, I spent two
years in a row in a Catholic convent
with Catholic nuns to study French.
Of course, I went to nightclubs and
such instead, which I'm happy about
now, because I think that's normal
you should do things like that. My
mother trusted me, because I wasn't
into drugs or drinking or anything
like that, and I was very, very sure
about things that were right, wrong,
men, women, all that."
Modeling turned out to be a fitful
pursuit; Scorupco says her personality
made her a poor candidate for the
profession, even for one on the famed
Storm agency's roster. "I was too
outspoken, I was too brave, I was too
angry. I just couldn't take things
they wouldn't talk to you just because
you were a model, they would never
ask what you thought." (She has not
left the profession completely behind,
however; in January 1999, she was
named spokesperson for the cosmetics
company Oriflame.)
By 1989, Scorupco was back in
Sweden, trying her father's calling:
She cut a single, "Substitute,"
which went gold, as did an album
called "Iza." The single "Shame,
Shame, Shame" and album
"Independence" followed. Her
music has been compared to ABBA,
and it's been oft-reported that she is
a huge fan of that Nordic group's
tunes. When asked on this day, however,
she simply replies, "Well,
yeah, well," as though she's heard
that rumor, too.
Then
came America. Although
her acting career continued in
the '90s—1994's "Petri tarar"
("The Tears of St. Peter"), a romantic
comedy set in medieval times in
which she plays a con artist selling a
life-restoring potion; 1998's "Ogniem
I mieczem" ("With Fire and Sword"),
a story of the 17th-century conflict
between Polish nobility and Ukranian
cossacks; 1999's "Dykaren" ("The
Diver"), a contemporary film about a
female courier for the Russian
mafia—the film for which she is best
known stateside, and also the film for
which she will soon be best known

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Response No. 15

;
stateside, are both directed by Martin
Campbell. In 1995's "GoldenEye,"
Scorupco played the scientist/loveinterest
Natalya Simonova; in this
December's "Vertical Limit," she
plays Monique, a French-Canadian
medic who goes to rescue
climbers trapped
near the top of K2.
On her five-year
break between Hollywood
releases, Scorupco
says, "I wasn't too
smart after the Bond
movie. I should really
have concentrated on
Her words trail off, then
she reverses course.
"But you can not 'be
smart,' when it comes to
this business. Either
you can do things or
you can't." There was
also culture shock.
"When I was [in Los
Angeles] before, I felt
extremely lost.... I wasn't ready to
move over here."
But, for an actress whose preferred
genre has always been drama,
she's sure of Martin Campbell. "No
matter how much screaming, and
bawling, and things falling down
64 Doxornci.
("Vertical Limit" is strewn with
scenes of avalanche and plummet],
he's always most concerned about
the drama. He believes that we're
never going to make a good movie if
we don't have the drama.. .if we
don't have good actors who can concentrate
on that part the most and
then try to do good action on the
side, which he is incredible at."
After completing her back-toback
shoots for "The Diver" and for
"Vertical Limit," the latter of which
required her and her fellow stars
Chris O'Donnell, Robin Tunney,
Bill Paxton and Scott Glenn to
spend exhausting weeks 14,000 feet
up a mountain in New Zealand,
Scorupco spent this past summer in
Sweden, "seeing my friends and my
godson, and doing everything that I
missed doing while I was away." It
seems to be her soul country:
Swedish is her primary language,
and she describes the Nordic land as
"an amazing country. It's a very
specific feeling, going into Sweden.
People are very in their own little
world, and it's clean, the water's
clean—the tap water is the cleanest
you can ever drink. So the first thing
I always do when I get back to
Sweden is, I stop even carrying in
my bags, and I run to the water and
drink it."
Now, she's away again, having
taken up residence in Beverly
Hills—where she likes "the heat and
the beautiful weather," as on this
September day—and not feeling
lost: This time, she has a three-yearold
daughter, Julia (from her marriage,
now ending, to New York
Islanders hockey player Mariusz
Czerkawski). "It's such a beautiful
thing when you see that a child is so
dependent on you, that you're just
the most important thing—and it's
so good to just be there.
"She's very herself, but a lot of people
tell me 'she's exactly like you'
because she's a control freak. A h'ttle
bit too early, I would
say." Grandma Mag-1
dalena is an "on the
table" type, Scorupco
j
says: for Julia, matters
seem still in the worksj
or at least Scorupco'sj
take on them. "Julia is
on—no, actually, no,;
but I would like to see
her on the table. She
will be on the table,'
Scorupco says. "I'n
going to be sure she's on
the table." W
" Vertical Limit.
Starring Chris O'Donnell,
Bill Paxton,
Robin Tunney a»4
Izahella Scorupco. Directed by
Martin Campbell. Written by
Robert King and Terry Hayes.
Produced by Martin Campbell,
Robert King and Marcia Nasatir. A
Columbia release. Action-adventure.
Opens 1218.

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Response No. 120

SPECIAL FEATURE: Books on Cinema
AUTUMN LEAVES
BOXOFFICE'S List of Fall Favorites
for the Literate Movie Buff
by Francesca Dinglasan
THE MOVIE TRAVELLER:
A FILM FAN'S TRAVEL GUIDE
TO THE UK AND IRELAND
by Allan Foster
Columbia University Press
302 pgs./S22.95
Despite its
less-than
portable size, Alan
Foster's "The Movie
Traveller" is the perfect
tome for film buffs with a serious case of
wanderlust. The painstakingly reuaMgf

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Response No. 150
^iS)C€
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In addition to enhancing cinematic
touring for the voyager interested in taking
a peek at the childhood residences of
Michael Caine and Daniel Day-Lewis or
retracing the steps taken by characters in
1991's "The Commitments," "The
Movie Traveller" also makes for fascinating
reading for those contented to
travel
armchairs.
the world in the comfort of their
I HATED, HATED, HATED
THIS MOVIE
by Roger Ebert
Andrews McMeel Publishing
391 pgs./$14.95
R!
oger Ebert, arguably
the most popular
.film critic in America,
has assembled over 200
of his negative reviews into
a wildy amusing collection appropriately
entitled. "I Hated, Hated, Hated This
Movie." Ranging from flicks that merely
bored the poor reviewer to
pure Hollywood pap that
caused him unbearable agony
from opening to closing credits,
Ebert's expressed pains
make for simply delightful
reading. Comprised of twostar
and below rated critiques,
the writer defends his
hilariously
biting analyses early on,
stating, "I am not proud of all
the smartass remarks in this
book, but remember the
reviews were written soon
after undergoing the experience
of seeing the movies, and
reflect that when a film insults
your intelligence, your taste,
and your patience all at once,
it brings out the worst in you. The
movies made me do it." From universally
despised films such as "Jaws the
Revenge" to long-forgotten disasters
such as 1980's "Prom Night," Ebert's
irony-laden comments about the
onscreen disasters never disappoint.
2000
Bass
HOLLYWOOD 101
The Industry's Best
Reference Guides
THE VARIETY ALMANAC 2000:
THE ONLY INDEPENDENT FACT BOOK
OF THE ENTERTAINMENT WORLD
edited by Peter Cowie and the editors of Variety
Boxtree (division of Macmillan UK)
416 pgs./$37.50
FILMMAKER'S DICTIONARY:
2ND EDITION
Lone Eagle Publishing
by Ralph S. Singleton and James A. Conrad
360 pgs./$22.95
ince fall is synonymous with back-to-school season, BOX-
OFFICE thought it only appropriate to recommend a coue
of entertainment industry reference guides providing
easy access to a wide range of details important to dedicated
film students—or even just the casual movie lover.
"The Variety Almanac 2000" is one such wellspring of
data, covering 1999's most important Hollywood or
Hollywood-related events. The year's awardees for the
Golden Globes, MTV Movie Awards and various film festival
and critics associations are provided as well as a bonus
listing of annual Oscar recipients from 1927-99. The reference
guide also catalogs boxoffice gross, both domestic and
international, for all films in release during the period; the
trade paper's movie reviews; and synopses of pics slated for
near-future release. BOXOFFICE's favorite feature, however.
is the fact-a-day desk calendar-style facts listed chronologically
at the bottom of each page. Successive flips lets one
know that on March 5, 1999 "The Academy chooses Robert
De Niro and Martin Scorsese as the presenters of a Lifetime
Achievement Award to Elia Kazan," or that on August 10th
of that year "Francis Ford Coppola [agreed to] oversee a recutting
of MGM's $60 million shelved sci-fi thriller 'Supernova' due to
Walter Hill's departure from the project."
And, since "The Variety Almanac 2000" isn't
limited to films (similar sections focus on
television, theater, music, video and books),
the work is a handy source for the entertainment
industry in general.
I Hated,Hated
rami
,
!ovie
Take, for example, Ebert's astute
observations about the sequel to "Jaws."
"Here are some of the things I do not
lso infinitely useful to
the truest of film lovers
is the "Filmmaker's
Dictionary," which goes to
impressive lengths to leave no movie industry
term left undefined. From the phrase "A"
("Abbreviation for 'actor' used on union
forms") to "Z-Smoke tablet" ("Compressed
powder in a large tablet shape that produces
dense white smoke when burning"), the reference
work's easy-to-understand language
unravels the mystery of even the most foreign
of filmmaking concepts. Need to know
the difference between what a "flyman" and a "focus puller" does?
Wondering about the slight variations among a "medium close-up," "medium
long shot" and "medium shot"? Find your answers and impress your fellow
flick fanatics with the wealth of knowledge you've gained through the
"Filmmaker's Dictionary." mi
!>8 Boxoffice

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can ruin an entire movie-going
experience. It won't happen with
the new CSC Series of screen
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And whether you're sitting way up front,
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not a bad seat in the house.
The application of our most advanced
research to date has led to a breakthrough in horn
technology, with optimum sound blanketing the entire seating
area. Excess energy is directed away from ceilings and walls
where it can reflect into the listening area to cause
disruptive interference that compromises vocal clarity.
We've also addressed the problems that occur when sound
passes through the screen, smoothing and clarifying coverage
even more.
Perhaps more relevant, this exciting new technology
performs flawlessly in rooms with either stadium seating
or traditional configurations.
The CSC Series
also
EAW's
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Technology,
reducing
incorporates
distortion
as well as
frequency problems in
the critical midrange
section. Dialog is further
purified, sounding clearer and more
natural than ever before.
Installation of a screen system
has never been easier, requiring only
simple line of sight aiming for
optimum coverage.
Both mid- and highfrequency
horns feature a
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flare design, minimizing
energy radiated at the
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Missing key dialog is no joke. The CSC Series guarantees
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Response No. 144
SEAW

elieve [would happen]," he writes.
"That Mrs. Brody could be haunted by
flashbacks to events where she was not
present, and that, in some cases, no survivors
witnessed. ...That the shark would
stand on its tail in the water long enough
for the boat to ram it."
While readers may not always agree
with any one of the hundreds of films
Ebert puts his poisonous pen to in "I
Hated. Hated, Hated This Movie," most
of the fun comes from just sitting back
and reading the head-on attack.
DRIVE-IN MOVIE MEMORIES:
Popcorn and Romance Under the Stars
by Don and Susan Sanders
Carriage House Publishing
128 pgs./$19.95
With
the ending of
summer and the
onset of fall, Don
and Susan Sanders' nostalgic
"Drive-In Movie Memories" is the
perfect tome to leaf through during the
more melancholy season. Part history
lesson, part photo-essay covering the
highlights of the ozoner era and part
collection of remembrances shared by
people with a passion for outdoor exhibition,
this beautifully assembled work
seems likely to appeal to a wide variety
of readers, including
those who may not
have a particular
interest in this once
hugely popular way
of catching the latest
bigscreen flick.
Touching on a
spectrum of topics
associated with
drive-in theatres,
from "Backseat
Love at the Passion
Pit" to the irresistible
glow of the
neon lights. "Drive-
In Movie Memories'"
intensely personalized
approach makes for an intimate
portrait of one of modern
America's most sentimentally remembered
traditions. H8
GIRL POWER
The Feminine Side of the Biz
AT THE CENTER OF THE FRAME:
LEADING LADIES
OF THE TWENTIES AND THIRTIES
by William M. Drew
Vestal Press
379 pgs./$29.95
GIRL REEL
by Bonnie J. Morris
Coffee House Press
192 pgs./$14.95
Filled
with beautiful blackand-white
portraits and
stills from popular films
CrnU;\ IV
of iL^ramo
{ 5&
during the 1920s and 30s, "At the
Center of the Frame" is an attractive tome for those interested in Hollywood's
Golden Era. Writer William M. Drew divides his bibliographical collection into
chapters corresponding to the genres with which the subjects of his research are
associated. "Silent Glory" includes sections devoted to actresses Billie Dove, Fay
Wray and Annabella; "The Song-and-Dance Craze" highlights onscreen musical
stars Anita Page and Dorothy Lee; "From Stage to Screen" is devoted to Marian
Marsh and Constance Cummings—female thespians who brought their theatrical
talents to Hollywood; and "The Class of "33" features Evelyn Venable, Jean
Muir and Claire Trevor—described by Drew as "part of a wave of young film
players, often college educated ...[who] mirror the conflicts and the creativity of
those years when Hollywood moved from a time of unpredictable fluidity to an
age of both mediocrity and masterpieces."
Replete with oral histories based on the actresses' personal recollections as
well as clear, concise historical backgrounds for each of the special years covered
in the book, the visual appealing "At the Center of the Frame" is an illuminating
read into the on and offscreen lives of women who have been traditionally
considered to be Tinseltown's earliest heroines.
Fast-forward 70 years to Bonnie J. Morris' "Girl Reel," and an
entirely different, yet wholly engaging, interpretation on what
it means to be a female role model in Hollywood emerges. In
her book, Morris uses both film critiques (tracing the representation
of gay and lesbian issues as they gradually are integrated into more mainstream
features) and personal experiences to draw conclusions as to how movies and the
media can affect a girl's perception of herself. Chapters are framed as the "reels"
of her life ("Reel 1: Girlhood," "Reel 2: Adolescence" and "Reel 3: Higher
Education"), reflecting the author's evolving knowledge of herself as a female,
Jewish lesbian attempting to make her way in a male-dominated, homophobic
world. In each of these phases of life, Morris' self-discovery
comes, to some extent, in relation to her emotional engagement with a
film. In "Reel 2," for example, Morris describes how the film "Julia"
made a profound impression on her during those tumultuous years. She
writes, "During my last three years as a teenager— — 1978 to 1981 'Julia'
was the only movie in my life, the sanctum sanctorum of my brooding
adolescent lesbianism." "Girl Reel" is full of such film-related insights,
ranging from the impact that the Barbra Streisand starrer "Yentl" had on
the author ("We consume and worship 'Yentl' because as scholarly
Jewish girls we have been told all our lives that we have the potential to
succeed in college, but that being smart will turn off our future mates. In
'Yentl' we see that conflict writ large in our spiritual heritage, when scholarly
girls were nothing short of abnormal") to the not-so-subtle reinforcement
of societal standards ("Big-screen 'Batman' in 1989. ..turned
out to be the wrong movie for anyone seeking diversion from insults
about physical appearance. The movie deliberately fed on the audience's
fear of ugly people").
Thought-provoking in its attempt to demonstrate how movies can serve as a
tool for self-realization, "Girl Reel" is compelling reading for the film lover
open to introspection, am
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SPECIAL REPORT: Sound
have often been reminded that silent
movies were anything but silent.
I Motion pictures of the silent era
were presented with orchestras or
organs accompanying the films. Theatre
organs were fitted with any number of
elaborate and clever sound effects. Many
of these instruments survive today and
are often heard in special concerts. In
recent memory, we have been treated to
at least two opportunities to experience
a film presented with a live orchestra.
Presentations of Abel Gance's "Napoleon"
and Disney's "Fantasia 2000"
afforded audiences in selected cities the
chance to hear a film at its best. Why?
Because there were no ugly sound systems
to get in the way of the music.
If one is uncertain just how important
music is to motion pictures, just think of
what it would be like to watch a film
without it. It would be akin to watching
a silent ballet. We wouldn't have the
slightest idea what the dancers were
doing jumping around the stage.
Similarly, a film without music would be
equally confusing.
Music is often used for important and
subtle cues. Recalling a pivotal moment
in "Born on the Fourth of July," a group
of soldiers was under fire. John
Williams' score for this scene was neither
frightening nor heroic. Rather, the
haunting, tragic music became a gripping
reminder of the futility and utter
waste resulting from such a war.
Music helps set the mood and creates
the emotional connection to the story. It
THE POWER
OF MUSIC
A Critical Marketing Tool Remains Largely Unexploited
by John F. Allen
experience I had with this past summer's
"Dinosaur"—a film I had seen in two
different theatres. I saw the film for the
first time with a group of industry professionals
in a theatre with a much better
than average sound system. The second
theatre was my reference theatre in
Framingham, Mass.
With respect to the digital sound presentations
in the two theatres, without
exception, both I and the people I was
with were unimpressed with the
"Dinosaur" mix, as heard over the better
than average sound system in the first
theatre. When the credits rolled, we
ignored them, as most often happens,
Music is the glue
that holds it all
together.
and began to walk around. We talked
specifically about the "lack of punch"
and the "lifeless sound." One gentleman
remarked that someone else had also
commented to him about the "lack of
dynamics and punch" upon seeing this
film in another theatre. I had liked the
music, but was not overly impressed.
There were occasional moments when
I thought that the music sounded interesting,
but it was entirely too dull and
too much in the background. I liked the
movie. But I did not feel that I needed to
see it again, even though the animation
was so outstanding. All in all, it had
been a "ho-hum" experience.
After hearing this presentation, I
decided to watch "Dinosaur" again in
my reference theatre. I was curious to
know what it would sound like.
However, I was not prepared for the
flow that I realized had been missing in
the first theatre. It was similar to the
excitement of listening to a great symphony
in a concert hall. I didn't want it
to end. Remarkably. I cared more about
the characters. The sound was very
dynamic and had plenty of the kind of
punch that had been so absent in the
other theatre. The music sparkled. I
wanted to know who wrote it (James
Newton Howard). I wanted to buy the
soundtrack CD. When the credits rolled,
I stayed and listened to the very end. If
there had been time, I would have
watched the film again, maybe even
twice. It was a totally different movie.
When I got home, I couldn't sleep, still
thinking about the wonderful experience
that this film had been the second time.
Subsequently, I did watch the film again
in this reference theatre—twice on one
occasion. When I bought the soundtrack
CD, I played it almost continuously
for more than a week.
Obviously, I liked the music—an
understatement. But had I not taken
the trouble to watch the film a second
time in a superior theatre, I would never
have connected to it or discovered the
score. Perhaps more importantly, I
would not have thought to recommend
it
to others. The film simply worked in
the better theatre and didn't in the
other. It was a perfect example of the
power of music and the importance of
a first-rate presentation.
In my experience, many other films
were ultimately made successful by their
scores. Indeed, were it not for their
music, there are quite a few films I
would not have found especially compelling,
let alone worth seeing more than
once. One such example is 1999's "Star
Wars: Episode 1—The Phantom Menace."
Although the special effects were
is the glue that holds it all together.
Without it, the motion picture experience
would be pretty dull indeed. In fact,
without music, I doubt the palette available
for creating and telling stories in
movie theatres could be as rich and varied
as it has become. Movies as we know
them would simply not exist. So, obviously,
interesting and obviously well done, the
storyline me somewhat cool.
left
the quality of sound reproduc-
tion, how well we hear it and how well emotional impact I was about to experience
However, in my opinion, it was the score
we feel the musical score are vitally
during the second viewing. In a few by my friend John Williams that pulled
important factors in how we will words, I was stunned by the difference. the elements of this film together and
respond to a film.
From the beginning, I was drawn into made it a totally satisfying entertainment.
In its August 2000 issue, BOXOFFICE
published a letter of mine detailing an
the film, into the sound and especially
the music. The entire film had gained a The pacing and melding of visual
as well as sound effects, along with his
72 BOXOFFICE

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exciting music, including choral forces,
produced an experience I found so
enjoyable that I saw the film 10 times.
Another film that had a similar effect for
me was "Star Trek: Insurrection" with
an absolutely wonderful score by Jerry
Goldsmith. I went to the first show of
the day and ended up staying for the
next two. Music is equally important in
lighter films. The incidental music and
selected songs in the remake of "The
Parent Trap" were used so effectively
that it could almost be called a musical.
The clarity of the music made this a far
better and more enjoyable film. Such
clarity is possible only with a large and
superior sound system.
While I'm at it, other favorite film
scores of mine include Alan Silvestri's
"Forrest Gump." Alan Menken's and
Howard Ashman's "Beauty and the
Beast," James Horner's "Glory."
Bernard Herrmann's "North by
Northwest," John Barry's "Dances With
Wolves" and Elmer Bernstein's "To Kill
a Mockingbird." (In addition to these
and other composers, credit also needs
to be given to the countless arrangers
responsible for so many wonderful
orchestrations.) I could go on. but I will
end this very incomplete list with
"Spartacus." I was 12 years old when
Alex North's music for this film moved
me to buy the soundtrack album before
I owned any equipment on which to play
it. I then proceeded to build my first
stereo system. It truly was the beginning
of my audio career.
My experience with "Dinosaur"
reminded me once again about the
greater importance of sound quality
over anything else when presenting
motion pictures. Unfortunately, most
audiences are deprived of the opportunity
to connect with and enjoy films as
much as they could, due to the inadequate
and poorly tuned sound systems
found in too many of today's otherwise
modern theatres. Although it is often
and correctly stated that dialogue intelligibility
is the most important attribute
of a motion picture sound system, I
maintain that it is equally important
that the sound system be able to reproduce
the music with accuracy, crystal
clarity, full dynamic range and lifelike
natural tone. The dialogue tells the
story, but it is, with some rare excep-
the music that establishes the allimportant
tions,
emotional connection with
each and every person in the audience.
of the principal weaknesses of
Onetypical cinema sound systems
having a direct impact on music
quality is the inadequate size of the
woofers used in the main screen channels.
They are simply too small. The
smaller the woofer, the smaller the lowfrequency
radiating area—critical for
quality sound. As a rule of thumb, there
is essentially no such thing as too much
low-frequency radiating area.
However,
theatres less than 70 feet long or 45 feet
wide can get by with woofers with as little
as four square feet of radiating area
—though, I confess, I like to have more.
Larger theatres, up to 80 feet long,
would be better served with woofers providing
at least six square feet of radiating
area. Theatres larger than 80 feet
long should be equipped with woofers
having at least 10 square feet of lowfrequency
radiating area.
A woofer cabinet with two 15-inch
drivers has a radiating area of about 1 .6
square feet. In other words, the music we
hear in most theatres would sound significantly
better if the woofer sections of
the main screen channels were tripled.
Such an upgrade would give music
reproduction a depth and richness that
is impossible with today's typical speaker
configurations. In addition, all main
Unfortunately,
most audiences
are deprived of
the opportunity
to connect with
and enjoy films
as much as
they could.
screen speaker systems should be
upgraded to three-way configurations
something I have been recommending
for more than 20 years.
Larger and better surround speakers
need to be installed and expertly placed
in order to create the sense of envelopment,
so important to the enjoyment of
music. Sound system tuning is another
issue and beyond the scope of this article.
I will just repeat that present-day
methods do not work and are responsible
for the mistuning (sometimes gross
mistuning) of most of the sound systems
in movie theatres around the world.
I firmly believe that, if everyone who
saw "Dinosaur" had been able to do so
in a theatre with a superior sound system,
the film's grosses would have been
considerably higher and the prospects
for its video release would have been
equally enhanced. This, of course,
would also be the case for many other
films. To put it another way. as long as
the typical undersized and underpowered
sound systems remain unchanged
in all too many movie theatres, everyone
loses. Customers lose. Exhibitors loose.
Distributors lose. Filmmakers lose.
While writing this article, I j
received the following note
from a former exhibitor:
"I just had a bad experience at a theatre.
I wanted to see 'The Patriot,' so I
went to a local cinema. It was a tiny theatre,
though not had. The screen and lenses
were OK. but the picture was out of the
masking around two sides of the screen.
The sound was fuzzy, with too much bass
and muddy dialogue.
"Tickets were $8.00 in the afternoon. I \
found the popcorn and candy too expensive.
I did without, as I was not hungry
anyway. Many of the clients brought their
own food and complained about the toohigh
prices for everything. People around
me were making rude comments all
through the show.
"For me, the future is a good TV
screen, a DVD player and good speakers.
In short, I need a better (mine is sort of
OK) home theatre. I would rather be
comfortable in my own house with great
sound, healthy snacks and no gross people
to contend with. It doesn't have to be that
way when you go out to the movies. By the
way, I loved The Patriot."'
Despite the poor presentation and
everything else, she still liked the picture.
But is this any way to treat a customer?
How can she be expected to go back?
Just her comments about the poor presentation
speak volumes about what
needs to be done. She hasn't lost her love
of movies, just of movie theatres. Is it
any wonder that some people no longer
attend? As exhibitors are faced with
financial challenges including, in some
cases, basic survival, new methods of
attracting audiences to movie theatres
need to be embraced and present ones
need to be enhanced.
Although some have sincerely tried to
remain current with sound technology,
the state of the industry with respect to
quality sound reproduction is not where
it could be and is in need of great
improvement. The power of music as
heard through truly superior sound systems
remains an unexploited resource.
The means are available. The soundtracks
are here. The rewards await us all!
© 2000 John F. Allen. All rights
reserved.
Note: A complete discussion of the
current state of cinema sound systems
from the BOXOFFICE series can be
downloaded at the following URL:
http://www.hps4000.com/pages/
special/missing.pdf
John F. Allen is the founder and president
of High Performance Stereo in
Newton, Mass. He is also the inventor of
the HPS-4000 cinema sound system and
in 1984 was the first to bring digital sound
to the cinema. He can be reached by email
at johnfallen(w,hps4000. com.
74 BOXOFFICK

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Response No. 215

POV: Sound
SOUND ADVICE
On the Acoustical Design
of Today's Movie Theatres
The
By Ron Moulder,
Senior Principal Product Development Engineer,
and Eddy Scott,
President,
Ecophon CertainTeed
acoustical design of specialized
facilities such as theatres, concert
halls and recording studios has
advanced enormously in recent years. This
is due in part to the desires of movie producers
and performers to promote the
optimal audio experience. It is also due to
the interest of theatre owners and managers
to provide a quality experience so
patrons will increase the frequency of their
visits. If sound is not controlled, it bounces
around and can cause echoes and hot spots
in the theatre where there are different
noise levels in different parts of the room.
Sound levels must also be controlled so
that adjacent theatre soundtracks do not
interfere with each other.
So, how do you plan the optimum layout
to control sound in your theatre to
satisfy today's discriminating producers
and theatregoers? By controlling both
the reverberation of sound and the transmission
of it. Experts generally agree
that sound control should be attacked in
three ways: absorption, or controlling
the acoustical environment in the theatre
itself; transmission, controlling sound
from one theatre to any adjacent ones;
and background noise, controlling sound
from such things as the heating, ventilating
and air conditioning system (HVAC).
Achieving appropriate ambient noise
levels is largely the result of careful
selection and location of construction
assemblies and materials. Many materials
and sound assemblies have been
rated based on their ability to absorb
sound or act as a barrier to sound.
The HVAC System
The goal here is to eliminate or minimize
sound from HVAC systems. Low volume/low
flow HVAC systems should be
considered for all theatres. These systems
minimize the rushing noise often associated
with the flow of hot and cold air.
The American Society of Heating,
Refrigerating and Air Conditioning
Engineers (ASHRAE) has established
standards and procedures for rating the
output of mechanical equipment. Keep
this in mind when evaluating systems.
Also, to limit noise from air handling systems,
consider installing long duct runs
from the mechanical equipment room to
theatres, increasing the duct size, specifying
noise-absorptive fiberglass duct liner
or duct board and creating noise diffusers
or sound traps in the space.
The Ceiling
Noise in a theatre is controlled by the
acoustical ceiling and the sound-absorbing
walls.
CertainTeed Corporation
Specifically relating to the ceiling,
there are two schools of thought as to
which products make the most sense here.
Traditional mineral board products
have been used for years as ceilings in theatres.
They are often chosen due to their
thick, solid properties, which help block
sound particularly over partition walls
and into adjacent theatres. Yet soft surfaces
with little mass, such as fiberglass
ceiling tiles, are better sound absorbers
and accept the impact of sound striking
their surfaces, in turn preventing it from
being transmitted into the space.
Softer materials such as fiberglass insulation
or acoustical ceilings absorb in curved varieties to add form and inter-
Fiberglass ceiling tiles are also available
sound so the interior of the space is esting aesthetic perspectives to a theatre.
made quieter and less reverberant.
When looking at acoustical ceilings to
To demonstrate an optimal theatre absorb the maximum amount of sound,
design, let's start at the top and work our study the noise reduction coefficient
way down.
(NRC) of the ceiling material. The NRC
rates the ability of the ceiling material to
absorb sound. A material with an NRC of
over .65 is recommended in a theatre
where the ceiling needs to absorb a substantial
part of the sound. An NRC .65
means that 65 percent of the sound that
strikes the material is absorbed.
Fiberglass ceiling tiles can absorb as much
as 85 percent of the sound that strikes it.
The Walls
With the walls, there are four locations
to be concerned about: the two
side walls, the screen wall and the back
wall. On the two side walls in a theatre,
the best design and functional option
today is black or dark curtained walls
covering black-faced fiberglass board or
fiberglass blanket insulation. Both fiberglass
boards and blankets have abuseresistant
black surfaces and are ideal
when interiors need to be dark. They
help to control room reverberation,
reduce noise levels and eliminate echoes.
Black fiberglass products minimize light
reflection in theatres as well.
As far as the screen wall is concerned,
the trend today is to install screens that
are not completely opaque white. On the
wall directly behind the screen, blackfaced
insulation is the preferred insulation
type for sound absorption. The
acoustical insulation usually consists of
two-inch thick black fiberglass blanket
insulation. It provides a smooth, nonreflecting
dark surface that works both
aesthetically and acoustically. This
acoustical insulation is installed in about
55 percent of new theatres. Acoustical
wall panels are installed in 25 percent of
theatres to aid in sound absorption, and
15 percent of theatres have no side wall
treatments for sound absorption.
Inside side walls, fiberglass acoustical
insulation is installed in 75 percent of
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today's new theatres.
This insulation is
several inches thick without a facing.
The side walls should have a sound
transmission class (STC) of 65 or higher
to prevent sound from one theatre
impacting an adjacent theatre. With
today's high-level digital sound, an STC
of 70 or higher is preferred.
Back walls are similar to side walls.
Generally, whatever sound-absorbing
product is installed on the side walls is
also installed on the back wall.
Various wall constructions are used to
separate movie theatres in a theatre multiplex.
They range from simple to complex.
In one example, the construction
consists of drapery, one inch of acoustical
insulation, 12 inches of concrete
block filled with grout, one inch of
acoustical insulation and drapery. This
wall construction yields roughly a 55 to
60 STC rating. Another construction is
drapery, one inch of acoustical insulation,
three layers of 5/8-inch gypsum
board, a row of six-inch steel studs with
six-inch batt insulation, a space, six-inch
steel studs, three layers of 5/8-inch gypsum
board, one inch acoustical insulation
and drapery. This construction has
an STC value in the 65 to 70 range. A
third option is drapery, one or two inches
of acoustical insulation, concrete
block, a two-inch space, six-inch steel
studs, one or two layers of 5/8-inch gypsum
board, one or two inches of
acoustical insulation and drapery. This
wall construction provides approximately
a 65-plus STC rating. The final example
is drapery, one or two inches of
acoustical insulation, two layers of 5/8-
inch gypsum board, a 2.5-inch deep
metal cassette panel with 2.5 inches of
acoustical insulation, six-inch thick
insulation in the column cavity, a 2.5-
inch deep metal cassette panel with insulation,
two layers of 5/8-inch gypsum,
one or two inches of acoustical insulation
and drapery. This construction
yields a 74 STC rating.
The Seating
Furniture in a theatre consists largely
of stadium-type seating today. There are
seats available today made of soundabsorbing
materials that can help control
sound.
The Carpeting
Carpeting, rather than tile or wood, is
a good element of acoustical control for
theatre floors as it reduces surface-generated
noise from footsteps. Consider a
thick carpet and pad. A thick carpet
with a polyurethane pad has been shown
to be significantly better at reducing
noise levels by both absorbing sound
and minimizing surface-generated noise.
For example, a concrete floor has an
NRC of .05, a conventional carpet has
an NRC of .20, and a thick
polyurethane pad and carpet has an
NRC of .50.
Other Tips
Also keep in mind include the following:
• Seal all air leaks in walls with
caulking so that the isolation characteristics
of the wall are not degraded.
• The walls of the projection booth
should offer adequate isolation from the
rest of the theatre.
• To minimize noise due to structure-born
vibration, rooftop chiller units
(RTUs), as well as any other large
mechanical equipment (e.g.. pumps, elevators
and generators), should be placed
on spring isolators and mounted over a
load-bearing wall or over the projection
booth. In addition, consider locating
any mechanical rooms as far from the
seating area as possible.
• Use autotransformer- rather than
SCR-type dimmers to eliminate audible
noise from dimmers. In addition, to
avoid the hum created by fluorescent
lights, incandescent lighting should be
used wherever practical.
• Be mindful of hinges on auditorium
doors and seats so they do not create noise.
By taking into consideration the many
aspects of good acoustical planning,
producers will be happier with your theatre,
and your patrons will, too. tM
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J

SPECIAL REPORT: Exhibition Archives
a
An Industry Legacy Takes Up Residence at
the Academy of Motion Picture Arts and Sciences
ant to know
what the Idle
Hour Theatre
in Hyannis, Mass., used
to look like?
Want to check the attendance
figures at Los
Angeles' El Rey in 1954?
Want to know the
entire history of the Fox
Theatre in San Francisco,
from groundbreaking
to demolition?
Want to feel nostalgic
for the days way before
the corporate multiplex,
when every small town
had its Main or High
Street theatre—sometimes
even two—with
seductive names like Isis,
Gem, Avalon, Amuse-U
ABOVE: The Lubin and Bijou Family theatres on Broad Street's 'Theatre Row" in Richmond, Va.
(froma 1911 postcard). BELOW: The Delmar Air Dome open-air theatre in St. Louis, circa 1910.
(Note: All images are from the Shend S Kaufmann Collection, AMPAS/Margaret Herrick Library.)
—and the nation's cities
boasted theatres that:
were truly palaces, temples
and odeums?
It will take you much
longer than an idle
hour, but practically
anything you might
want to discover about
the business and beauty
of early American
movie theatres— particularly
during the period
from the 1920s through
the 1940s—can now be
found in the B'hend &
Kaufmann Collection at
the Margaret Herrick
Library of the Academy
of Motion Picture Arts
and Sciences, located in
Beverly Hills, Calif.
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he file cabinets contain photos
and papers from theatres all
across the country. Los Angeles,
San Francisco, Chicago, Philadelphia
and New York are the most fully
archived cities, but there is material frorc
every state. In several cases the coverag*
is quite complete, from blueprint
restoration or teardown: the facts, the
figures, the media coverage, the inside,
the outside, the projection area, the
thickness of the curtains, the craftsmanship
of the decor, the width of the aisles,
the uniforms of the ushers, the state of
the box-office—all catalogued in print
or, more significantly, in image.
"He was a hound for images.... I think
what he really lived for was the image of
the theatre," says Prouty, who finds the]
collection of black-and-white and handcolored
postcards of small town theatres
among the most appealing items. "What
must he have spent for archival sleeves
alone!" says Prouty, thrilled by the
he collection came
_ preservation efforts
from the estate of
made by Kaufmann,
Preston Kaufmann.
although the collection
along with a $140,000 contribution
is now undoubtedly
to its preservation.
better off in the cool
Academy Executive Director
air of the Academy's]
Bruce Davis says it's "among
temperature-controlled
the most unusual gifts the
vaults than it had been]
library has ever received."
in the Pasadena house.
Cabinet files, boxes and
Prouty never met
storage tubing from the
Kaufmann and, to his!
Kaufmann home and garage
knowledge, Kaufmann]
in Pasadena, Calif, are now
never came to the]
in the archives at the
Academy library—
Academy building on La
although Kaufmann
Cienega Boulevard. To open
spoke on several occasions
them is a delight and, for
by phone with
Howard Prouty, the Academy's
Photograph Curator
Acquisitions Archiv-
ist, still a discovery trip.
Robert Cushman.
"I had heard he had
"Although Preston was a
private collector, he thought
and
an amazing collection,
but I wasn't ready for;
its scope. It was overwhelming
like an archivist a
librarian. He was not simply
to discover."
accumulating stuff like some sort of
pack rat," says Prouty, grateful that
most of Kaufmann's material was well
filed, although there is some still in
need of sorting. "Oh, sure, he was a bit
of a pack rat, but my sense is he was
dedicated and obsessive and he turned
that to great advantage, elevating himself
above pack-rat status.
"Nothing fell outside his extremely
narrow range of interest.... He loved
every detail," says Prouty, who still has
an extensive job ahead to fully catalogue
the entire collection. But Kaufmann's
industrious "pre-cataloguing" means it
will be available to researchers sooner
than is typical with special collections.
N. 's
TOP: Geneva, Y Temple Theatre, as shown
in a postcard from the 1920s. MIDDLE: Hyannis,
Mass. Idle Hour Theatre, in a 1920 postcard.
BOTTOM: Houston's Isis, from a 1913 postcard
that boasts of "the finest and most complete

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Cushman recalls.
Kaufmann's
interest in theatres
apparently
stemmed from the
time he was seven,
when he accompanied
his father
and brother to the
demolition site of
San Francisco's
Fox. Later, in
1979, this onceglorious
edifice
would become the
subject of a book
he published, bearing
the subtitle "the
story of the world s
finest theatre."
Tom B'hend,
editor of Console
Magazine, wrote
the introduction
to the book. An
authority on theatre
organs, he
and Kaufmann
ABOVE: The ornate interior of the Nortown
Theatre, which opened in Chicago in 1931.
BELOW: The Tower Theatre in Fresno, Calif.,
1939— a moviehouse designed by S. Charles Lee.
met via mutual interests and made their
life together. Kaufmann's enthusiasm
built on the collection of theatre-related
material B'hend had already collected.
"I don't think they were wealthy, but
they clearly had enough money not to
have what might be called real jobs, so
this is what they were able to do," Prouty
says. He notes that it would be virtually
impossible for someone to whom it was
just a hobby to collect such a wealth of
detailed material, even though it was in
such a specialized field—so they probably
didn't run into intense bidding wars
with other collectors. For instance,
Kaufmann drew the line at collecting
posters, and though his home contained
some movie memorabilia that was not a
focus of his enthusiasm.
hend died in 1994. Kaufmann continued
collecting until his own death in
1998. It was only then Prouty was
informed that Kaufmann had made
arrangements for the bequest to the
Academy, which in volume surpasses the
library's previous entire collection of
motion picture theatre materials.
"Overnight, we've become a
repository of this kind of material," s
Library Director Linda Mehr.
routy tugs open file cabinets,
open boxes, unfurls bluepri
flips through albums of postci
with glee, satisfaction and his own
sonal nostalgia for old theatres. Just
hour spent beside him uncovers mia
laneous theatre tickets, some pricedl
low as 10 cents; a box containing the!
stationery; hardware catalogues*
license to operate the projector in I
City Empire Theatre in Watervl
Maine, dated May 1, 1935; an "Em
and an "Aisle 4" sign; handout leaS
describing "ways to keep cool"; archMi
tural sketches by the firm of R.L. Gilj
and Sons; in-house newsletters; i
copies of Moving Picture World fn|
1917, which he used for his own reseal
— sometimes cutting out pictures, sol
times photographing them and mall
copies from high-quality negatil
(Who after all wouldn't want a photl
children surrounded by their pet da
standing outside the Fox Orpheural
North Platte, Neb., in 1930. after paa
ipating in a contest to win tickets tol
a program of "Dogville Comedies.")!
Prouty understands. He grew upl
Shelton, Neb., where the theatre!
Main Street closed down when he I
just three years old—though it II
opened up to host Santa Claus' anil
arrival at Christmas time.
Prouty believes most everyon«
touched by nostalgia whenever theyj
an old abandoned moviehouse or fill
bowling alley, supermarket or car lqj
a place where one once stood. When d
ving home to Nebraska from Californ
he has often stopped to take photol
84 BOXORICE

ABOVE: From the 1930s,
a Fanchon & Marco "Hats Idea"
stage presentation.
uch places, and he lately discovered that
n old college roommate had also shot
ome of the same images. Their friendhip
had drifted apart over the years, so
hey had never discussed this mutual
iterest, but somehow they had been
rawn by the same feeling—as Prouty
aits it, by "that particular kind of pang."
Kaufmann possessed that pang to a
sver point. For his Fox Theatre book,
detailed research included interviewlg
about 250 people, from ushers to Fox
Vest Coast Theatre officials. The pubshed
book, now out of print, is on the
academy shelves. The Academy owns
le rights but is not yet sure whether to
epublish this study of and ode to the
glorious theatre, its rose gold lobby
wreathed in cherubs and bedecked with
chandeliers—all long gone under the
demolition hammer.
Kaufmann captured in word and
image every aspect of this place, which
was the spark that ignited his life's work.
It's all in there, from birth to death, from
the arrival of Gary Cooper, carrying
Lupe Velez in his arms on the occasion
of the 1929 opening, to Jane Russell's
presence at the close in 1963.
If he could, Kaufmann would probably
have loved to tell every detail of
every theatre. He certainly tried. During
his life, he was often contacted by other
historians and by owners eager to
restore old moviehouses. With restoration
becoming more and more popular,
it's the Academy now that is already getting
those calls, seeking to find out if the
wondrous B'hend & Kaufmann collection
contains vital blueprints, photos of
murals and marquees, seating plans, historical
data—any image to help in the
revival process of an abandoned theatre.
The odds are good that it does.
Kaufmann's goal, after all, was (as
B'hend wrote in the intro to the Fox
book) "to urge all who love and enjoy
esthetic creations to become active in
helping to save them as treasures for present
and future generations."
Thanks to Kaufmann, the reality of
the bricks and mortar, the plaster, the
paint and the neon live on in the
Academy archives, all wrapped in the
spirit of those feelings evoked inside the
walls of those halls called the Vogue, the
Temple, the Grand, the Liberty, the
Novelty, the Idle Hour—all these showcases
of a nation's dreams.
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November, 2000 85

LES BELLES TOURELLES
Why a French Small-Town Cinema Stands
aS PillarS Of the Community by Francesca Dinglasan
Driving
through the Champagne-
Ardenne region in eastern France,
one is immediately struck by the
intense serenity and beauty of the landscape.
Country roads gently lead the
meandering tourist through settings
ranging from 1 9,000 hectares of the oakand
beech-filled Argonne Forest to the
World War I battlefields-turned-farmlands
of the Meuse and the Semoy to the
famous Champagne vineyards, where
several gallons of the bubbly substance
are produced annually to help millions
ring in the new year or raise toasts to a
just-married bride and groom.
The panoramic setting is also dotted
with quaint, ancient towns that sometimes
seem as if they've sprung out of
nowhere to greet approaching motorists.
One such hamlet is Vouziers,
which, since its naming in 1 140, has survived
foreign invasions, religious battles
and two world wars to thrive as a cultural
gathering point for regional inhabitants.
At the heart of this artistic district
is a cinema known as Les Tourelles.
Like the town in which it's located, the
eye-catching theatre appears as a welcoming
rest-stop for the casual landloper,
eager for leisurely entertainment
after a tiring day of playing road warrior
among French drivers.
This is why BOXOFFICE decides to
stop at Cinema les Tourelles, although
it's the theatre itself that arouses interest
rather than any particular film playing
in one of the venue's two auditoriums
during the evening visit. French for
"The Towers," Les Tourelles' name
comes from the two brick pillars that
grace the pathway leading to the theatre.
They're trie only 19th century structures
in Vouziers. cinema managing director
Fabrice Depuiset tells BOXOFFICE in
his native French, to have survived the
German attack on the city in 1918.
"The building that is now the theatre
is fairly new," says Depuiset. "It was
erected in 1988. But the towers in front
were part of the original factory that
used to be here."
The transformation of the locale
from a production company of travel
goods and baskets to an art house-style
movie venue was one gladly received by
the community, especially since the
availability of that particular form of Cinema les Tourelles' brick pillars have been i the 19th century.
86 BOXOFFICE

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Response No. 170

entertainment was almost non-existent in
the area. "Vouziers has about 5,000 people."
says Depuiset. "But in the region,
there are about 30,000, and this is the only
cinema [in the vicinity].'"
The lack of competition is an obvious
advantage to the independent theatre.
Yet. the lonesome position also means
that Depuiset needs to ensure that his programming
choices reflect the variegated
tastes of the community as a whole, rather
than appealing only to a specialized niche
crowd. Like in every other exhibition market,
an important determining factor is
what time of year it happens to be. "In
July and August, I would say that the
largest demographic coming to the theatre
is the 15- to 30-year-old group, which
makes up 70 percent of the audience," says
Depuiset. "The high period [among all
ages] is really October-December."
The popularity of the cinema during the
summer months among younger moviegoers
is, of course, consistent with the U.S. market
because of the school holiday period. The
main difference lies in the fact that the dog
day season is also a boom moviegoing time
for American adults. Depuiset explains that
in France, just as in the rest of Europe, "fa
grosse periode" at movie theatres is always
the colder months, when people are inclined
to take shelter from the elements in the communal
warmth of a cinema auditorium.
While these demographics are the guiding
factors in terms of which films receive
play at Les Tourelles, Depuiset says that
Hollywood release patterns, which do not
88 BOXOFFICE
always conveniently conform to French
cinema habits, also need to be considered.
"We heard a lot about 'Gladiator,' and
that's why we got it
as soon as it was available
here." says Depuiset, who decided to
run the Russell Crowe starrer in his theatre
in June, despite his estimation that it
would be a strong draw for older audiences
who prefer to attend the cinema in
fall and winter. Depuiset says it's for this
same reason that he would show
Columbia TriStar's "The Patriot"—also
more likely to be favored by adults—during
its late-summer release in France.
While some of these programming
choices may make Cinema les Tourelles
appear to be cut from the same cloth as
any American suburban multiplex, the
venue's location at the center of the town's
artsy neighborhood, its interior design
and the evenhanded approach Depuiset
takes in film selection provide a truer picture
of the spirit of the movie theatre.
The cinema is part of a larger cultural
center, which, like the building, is called
Les Tourelles. Situated on Verlaine
Square, named after the famous 19th century
poet who live in the region from
1877-1885, the Les Tourelles complex
includes a library, an exhibition hall that
features temporary scientific and literary
displays and a music center, which provides
lessons and sponsors public performances
and concerts.
As for the theatre itself, which consists
of a staff of two full-time workers and
three part-timers, the entrance and lobby
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are a true example of modernist space,
reaching out both horizontally toward the
skylights and vertically to the auditoriums.
Its two screens are open every day and can
play as many as four different films
between them each week. The larger auditorium,
says Depuiset, is outfitted with
digital surround sound and is sometimes
used for live shows. About one-third of the
films screened fall under the categories of
"experimental" and "artistic," or what
Americans would consider foreign films.
The 30 percent figure comes as somewhat
surprising to BOXOFFICE, simply
for the fact that the French government
has become notably vociferous about the
perceived need to protect the country's
culture from falling by the wayside in the
wake of American dominance—film, of
course, being a primary concern.
Depuiset. however, takes the state's
urgings
in stride.
"It's true that the culture minister
prefers cinemas to play French and
European films," he says. "50 percent is
the quota given. But it's not obligatory,
it's just strongly recommended."
Depuiset is one well accustomed to the
infinite number of ways in which the infamous
French bureaucracy can affect cinema
operations. When asked about the importance
of concessions to his business, the
managing director explains why the sale of
food and drink items isn't as much of a profit
source for him as it is to his American, and
even fellow French, counterparts. "The regional
government, under the counsel of the
community, has a say as to if and which concession
items can be sold in the cinema," he
says. "Sometimes a vendor might complain
about the cinema favoring a competitor. As
a result, I'm not really permitted to sell many
concessions. Ten percent or so of my cinema's
profit comes from concessions, compared
with other theatres, which might make
anywhere from 20 to 40 percent profit."
Triflings such as this, however, do not
seem to damper Depuiset 's enthusiasm for
his work. He says that although he pursued
accounting in his formal studies, it was his
passion for movies that ultimately determined
his career path. "I started as a projectionist."
he says, "and was eventually
offered a position at the managerial level. I
absolutely love my job."
It's
this devotion, along with the dedication
of the people of Vouziers, says
Depuiset, that makes him confident that
Cinema les Tourelles will continue to
thrive in the future, even should the day
come when a competing theatre—including
the dreaded corporate-run multiplex—bows
in town. "I think what makes
this cinema special is that I'm completely
accessible to our patrons," he explains.
"People can come and see me after a
screening and tell me what they thought
about the film. They can also let me know
what it is they would like to see, and I do
my best to fulfill their wishes."
It's personalized small-town service such
as this, combined with the fleeting glimpse
of Cinema les Tourelles' lovely towers
amidst the azure sky in the rearview mirror,
that leaves BOXOFFICE wistful about bidding
mi revoir to Vouziers.
Hi

SHOWEAST 2000
$p@®itl Contents
EXHIBITION MARKET PROFILE:
New York, New York 90
INDEPENDENT THEATRE SHOWCASE:
Belfast, Maine's Colonial 96
PLUS: INSIDE SHOWEAST—
Events Schedule

MARKET PROFILE: New York City
TIMES SQUARE FLAIR
Why Loews and AMC Are Reaping
the Fruit of Their Labor in the Big Apple
As
weren't
climate
if today's exhibition
challenging
enough—with analysts
and competing circuits
alike lamenting the
woes of overbuilding,
crippling old leases and
inconsistent product performance—a
few theatre
operators have decided
to up the ante even further
by taking on the formidable
task of entering
what is arguably the
most difficult market in
the world: New York
City. After all, with factors
such as exorbitantly
high-priced real estate,
scarcity of available,
unoccupied ground for
new building and fierce
competition for the
entertainment dollar, the
Big Apple certainly isn't
for the faint of heart.
And yet, despite these
demands inherent to the
most urban of landscapes,
not to mention the
general feeling of uncertainty
running through
the exhibition industry as
a whole, a proliferation of theatre j.
construction has, in fact, been taking
place within the market.
Keep in mind, though, that it's not
any projector-and-popcorn affair that
can call itself a successful Gotham
movie house—the elite and cosmopolitan
crowds would be done with an
unattractive, uncomfortable venue in a
New York minute. The status quo here
are beautiful modern builds that reach
high into the Manhattan sky, going
upwards because there simply isn't
room for any other type of expansion.
Knoxville, Tenn. -based Regal
Cinemas has gotten into the act, with a
multiscreener dubbed the Battery Park
16 recently opening its doors to the
by Francesca Dinglasan
Cineplex's E-Walk cinema on 42nd Street features a skyscraper-themed concessions stand.
public. Colorado circuit United Artists,
too, entered the NYC fray, having
bowed a plex in Union Square that
consistently ranks as the company's
highest grossing venue.
However, if there's one prize fight for
which industry observers are particular
interested in securing ringside seats, it's
the toe-to-toe match between local kid
Loews Cineplex Entertainment and
visiting contender Kansas City-based
AMC. The two exhibition giants face
each other across Times Square
Loews' E-Walk theatre has been open
since November 1999 and AMC's
Empire 25 since last April.
While many might have expected this
positioning to be the death of either
one or both of the multimillion dollar
venues, both Loews president Travis
Reid and AMC Empire 25 managing
director Mario Marques have indicated
that this supposition couldn't be further
from the truth. Supported by an
upwardly mobile, entertainment-hungry
populace eager to see movies as
well as the hard-won luck of being
located in one of the world's most
exciting and energetic neighborhoods,
Reid and Marques tell BOXOFFICE
that Times Square—competition
included—is absolutely the place to be.
90 Boxoiiici:

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BOXOFFICE: Why build in
the heart of Times Square?
TRAVIS REID: [Loews has]
always been in Times Square. I
think that Loews was the first
operator in the area. ..and
we've always had a huge success
there. We just looked at
what was happening on 42nd
Street and along Broadway,
and we saw that things were
changing and it was coming
back. We really felt that a
modern facility, in conjunction
with the other things that were
going on along 42nd Street,
but really in Times Square in
general, would be a major success—and
it has been. The
area's got huge attendance,
and we've—a number of
times—been the number one
grosser in the country on a
movie that we've opened. The
theatre is consistently among
the top performers, both in our
circuit and in the country.
If you were in Times Square
a few years ago and in Times
Square now, you'd be amazed
at the difference. There's tons
more to do besides just playhouses.
It's really become a
varied entertainment center.
There's really a ton of energy
there, and what we had found
about Times Square from customer
origin surveys in the past is that
we drew from the entire metropolitan
area, and that's been true of our new
theatre, the E-Walk. We get people
from Brooklyn, Queens, the Bronx
and some from New Jersey. It's really a
very regional draw.
MARIO MARQUES: [AMC's] interest
in this particular location developed
in the very early stages of planning
for the renovation of the whole
Times Square area. Back in 1990 is
when we first [showed] our interest
here.. .and there's been a lot done to
arrive at this point. Essentially, we feel
that this is a pretty natural home for a
megaplex theatre. The whole area was
being reoriented toward entertainment
in the densest market in the world, and
with all the other supporting entertainment
infrastructure to assist the theatre—the
restaurants, the clubs, the
Broadway theatres—it's a pretty natural
place for us to look. If you're going
to enter into the [New York City] market
with a major investment, this
would be an ideal location to [establish]
that initial presence.
BOXOFFICE: Did the proximity of
competing movie theatres cause your
circuit any pause before deciding to
enter the market?
The exterior of AMC's Empire 25
on Times Square.
REID: New York City is a highly
competitive atmosphere. You've got
United Artists Theatres with their
highest grossing location in Union
Square, you've got American Multi-
Cinemas with the Empire 25 on 42nd
Street, you've got City Cinemas with a
number of locations and Clearview
Cinemas with a number of locations.
There's a number of people operating
movie theatres, but I think that the
market has been able to accommodate
the screens—at least today.
MARQUES: Here's the thing: The
average nationally right now is a little
over 7,000 people per screen. Here in
Manhattan, the average is over 13,000
per screen. You're not going to find a
great market without competition.
However, by a lot of standards. New
York is one of the more underserved
areas. You can take 13.000 per screen
versus 7,000 and that would certainly
indicate that.
BOXOFFICE: What about the high
real estate prices attached to the New
York City market? Was that factor a
great concern?
REID: Well sure. New York City is
both expensive and difficult
to develop. [New projects]
typically have to be redevelopments
since there's not
very many parcels of ground
that don't have something
built on them already.
Typically it has to be a vertical
development, which is a
more complicated, less efficient
way to build a movie
theatre. So all of those factors
are certainly true. You
would definitely need an
increased attendance to
counterbalance some of
those economic disadvantages.
MARQUES: New York
City is.. .one of the most
expensive real estate markets
in the country, and there's a
reason for that. It is a very
attractive market. It's very
entertainment-oriented, it
has a [high] moviegoing level
already [and] a bright, cultural
diversity. So you're
going to have to pay to get
into this market, but we
think the potential is
there.
BOXOFFICE: Could you
please describe the design of
your new Times Square theatre?
REID: It's a theme toward
the old Loews locations, so it has an
old movie palace-type feeling. We really
wanted [that design] in the case of
[the E-Walk on] 42nd Street because it
is somewhere we've operated for a very
long time. It was. I believe, where the
first movie theatres in New York were
located. We went in that direction,
looking to pay homage to the old
Loews movie palaces, and we hired
David Rockwell, a well-known architect
here in New York, to do the
design work.
MARQUES: [The AMC Empire
25] is a real dichotomy. There is a very
good contrast between the historical
and the modern. We went to great
lengths to maintain the historical
nature and maintain the original
Empire Theatre, [...which was] built in
1912. as part of the project. It was an
old vaudeville house, [and] in fact, it's
the first location in which Abbott and
Costello performed together. [The theatre]
was more towards the east side of
the block, but we wanted to join it
with. ..the new complex. So the building
was actually lifted and moved 160
feet, and then we fully restored the
interior and right now that is our
entrance lobby area—that whole theatre.
That's where the boxoffice area
resides, and after purchasing your
(
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tickets [and going] through a series of
escalators, you enter into the new part
of the project, which is 13 stories of a
very modern building [with] 25 auditoriums....
The bulk of the project is a
glass curtain wall, so regardless of
what level you're on, the star of the
design is really the skyline of
Manhattan.
BOXOFFICE: What are some of the
key differences between urban and suburban
exhibition markets?
REID: What you have in Manhattan
is a
huge frequency
of moviegoing.
First of all,
you've got a lot
of film students,
but in
general a lot of
the population
is either single or
married
without
children, or if
they do have children,
there's a
significant
amount of them
that have live-in
help,
which creates
a couple of
things. Most of
those people
work and live in
Manhattan
therefore, they're
not commuters.
They're available
every
night to do
something
[since] they
don't have an
hour commute each direction. They
aren't as housebound as some of us
suburbanites are by the time we get
[home], where we have our children
weeknights aren't even an option at
that point. So [in New York] you've
got people that are probably on average
attending films twice as frequently
as the national average. The weekday
business [in our New York venues] is a
stronger percentage of the overall
attendance than it is in our suburban
locations.
MARQUES: I've worked for AMC
for many years — part of that time was
in Texas, and I also worked for AMC
in Europe, so I was in the Barcelona
market. Portugal and France and so
forth. And actually New York has
more similarities with those markets
than it does with the U.S. suburban
[areas] in many ways. One great thing
about this urban market, first of all, is
the transportation situation. Urban
markets tend to be well communicated,
transportation-wise, so we draw over
40 percent of our customers from boroughs
— Queens, Brooklyn and so
forth. Ten percent of our customers
come from New Jersey. Because we
have the strength of the rest of the
portfolio of Times Square, we're able
to draw people from very wide market
areas, and I think that's something
that's true of urban markets.
Another key difference is that in an
urban market, you. ..tend to [have]
seven-day business. The weeknights
remain quite strong, [and] don't drop
off very much. We have a lot of guests
who come
straight from
work to catch the
TALE OF TWO
CEILINGS: Murals
from Loews' E-Wulk
(above) and AMC's
Empire 25 (right).
six o'clock or
seven o'clock
show. The reason
ter [than in suburban
plexes], I
think, is because people don't have the
commute to deal with. People here
often get on the subway and they're 15
minutes away from their home... so it's
very easy to get something to eat and
watch a movie, and they don't have to
deal with the commute problem that
you would have to in a suburban market.
[It] you've got 45 minutes to an
hour to drive home, that kills your
night right there!
BOXOFFICE: New York City has
consistently ranked as the country's top
market for art-house fare. Is your
venue catering to this group of moviegoers?
REID: In our circuit, we don't have
the relative performance
is betany
theatres in Manhattan today that
are dedicated to specialty programming.
However, we do have a number
of theatres that crossover and play
both specialty and commercial programming
alternatively. Pretty much
all of them [do], but most frequently
would be our downtown locations.
MARQUES: We have a concept on
the top floor [of the Empire 25] called
the "Top of the Empire," which is an
art-house concept. So with the seven
auditoriums [on that floor], we book
exclusively foreign, independent or
art-house films. [There is also] a cafe
up there. It's really quite nice because
you're on the 1 3th floor and you have
a beautiful view of Manhattan to the
west and to the north.
This is a new location for that type
of product, so we're applying some
patience in that we have to build up
that mar-
BOXOFFICE: Industry analysts
have declared that there's a crisis in
exhibition today. Do you think this
applies to New York City?
REID: No, I don't think so. I think
the New York theatre business is very
strong, and one of the great things
about running movie theatres in New
York is that a huge variety of films
does business. So. while the rest of the
industry may not be embracing [different
types of] films, usually in New York
there's an audience for them. So no, I
don't think there's a crisis whatsoever.
MARQUES: [When] I speak for
New York, I sense no crisis. I think it's
a very healthy state.
H
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NDEPENDENT EXHIBITION SHOWCASE
TUSKMASTERS
Mike Hurley and Therese Bagnardi "Start the Show From
the Sidewalk" With the Colonial Theatre's Elephant Mascots
by Bridget Byrne
What
Shnners motor past Belfast. Maine's elephant-bedecked Colonial Theatre.
do you call a man who has
an elephant on his roof? A
showman, certainly.
"I'm a big believer in showbusiness," says
Michael Hurley, co-owner of The Colonial
Theatre in Belfast, Maine. "The show starts
on the sidewalk." Obviously.
When Hurley and his wife. Therese
Bagnardi, purchased The Colonial six years
ago, there was no giant mammal on the
roof, and the place itself was, well, something
of a white elephant. It had been in the
same family (the Kursons, once owners of a
large chain of small-town theatres) for years.
The same manager had run the place for
about 50 years. It looked old and tired. It
was playing sub-runs.
Hurley admires the previous owners for
"keeping it alive when it should have died"
during the period of time when so many independents
folded. But he trumpets, as gleefully
as that elephant, that now "it's very healthy."
An element of chance, followed by a solid
investment of time, money, imagination and
showmanship, brought about this revival.
"Ah, well," says Hurley, pausing like a
seasoned storyteller for a slight second to
gather momentum, before beginning to tell
the tale of how a businessman, merely a fan
of movies, became a theatre owner.
"My wife, who is a commercial artist,
was having a bit of a dry spell and. when
looking in the local paper for possible
work, we noticed that The Colonial was
for sale." The theatre first opened in 1912.
on the very day the Titanic set sail. The
original structure burned down in 1923 but
was rebuilt. In the 1970s, the interior had
been shortened and the stage area abandoned.
The two-screen division was
makeshift. The lobby had become a video
rental store. As a longtime patron. Hurley
didn't want to see the whole place sink into
oblivion. So, upon seeing the ad, he said to
his wife, "Why don't you buy the
Colonial!" And she did. The initial cost
was around $160,000, but about $300,000
had to spent to renovate inside and out.
Those renovations included the addition of
a third screen and the revival of the original
balcony and stage area. The seating capacity
is now 500— 160-plus in each theatre.
The decor is essentially Art Deco, from
carpeting to paint work in multiple shades
of greens and purples. The neon is
And the new roof supports the
restored.
fiberglass elephant, named Hawthorne,
which Hurley purchased at an auction,
along with its smaller counterpart. Baby
Hawthorne. "[Hawthorne] used to be a
roadside attraction at a place called
Perry's Nut House, which had been
around since the '20s but finally went out
of business," he explains. While rival bidders
had plans for the pachyderms that
would take them out of public view,
Hurley was determined not to let that
happen. After Hurley won the tense round
of bidding for Hawthorne Sr.. the crowd
went wild with cheers. Baby Hawthorne
was next on the block, and the audience
booed Hurley's competition and cried,
"Don't separate them!" Hurley won both
auctions and proclaimed. "They're staying
in Belfast!" to his elated supporters.
Hawthorne, tusks and trunk upraised,
now trumpets above the Colonial, while
Baby Hawthorne lives in the lobby for kids
to ride on.
>)(S
BOXOFHCE

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1 1
ends
is
Belfast
a town of about 7,000 in a
county of 40.000. It's a coastal
community on Penobscot Bay
about 200 miles north of Boston, Mass.
"Though we are a rural town, the people
here are pretty sophisticated. They know
what's playing. They are impatient to see
what's new," says Hurley, who became
mayor of the town in June.
Although being the mayor is essentially a
volunteer position, he had to take into
account his theatre owner status and make
sure that what politics there are remain
completely separate from business.
Now 49, Hurley is originally from New
Jersey but has lived in Belfast for 28 years.
Mind you, he says that's "only 28 years" to
many locals, who tend to ask even longtime
residents, "Are you from away?"
Hurley
almost giggles when he
recails his first objective as a neophyte
exhibitor: "I'm going to
find out where they get the movies!" He says
he's known all sorts of businesses but he
finds the exhibition industry "the oddest,
but most lovely."
His theatre plays primarily first-run features:
"There is rarely a big picture we
don't open," he says, while admitting that
"with just three screens it becomes verv
Mike Hurley rides Baby Hawthorne.
difficult to choose, especially when the
three best are all R-rated." He adds that he
would always choose "a good R over a bad
PG-13," although, catering to every demographic,
he tries to make sure family and
children's movies are not absent from at
least one screen for too long.
In spring and fall, in the gaps between
studio blockbusters, he programs a 10-12 film
art/independent/foreign series—nothing
too esoteric, but upscale in tone. These are
also times to play "catch-up," he says, mentioning
the success he had this late summer
w ith "Disney's The Kid," which had gotten
lost in the early summer release rush
Prior to Christmas, he always stages free
kids' matinees, with support from the business
community, so that parents can drop
off their children and go holiday shopping.
That's an idea he learned from communicating
with another independent theatre
owner he read about in BOXOFFICE. Says
Hurley, "The tie-in with local firms is
invaluable, the cross-promotion perfect
and the concession sales huge!"
To keep up on the latest exhibition
and information, Hurley attends
98 BOXOFFICE
Promotions Assistant Heidi Norweg (left) and
co-owner Therese Bagnardi at the Colonial's boxoffice.
trade shows and reads many magazines,
including, of course, BOXOFFICE, but also
cites online resources as being very important
to him both for research and customer
relations. He uses "very aggressively"
his website, www.colonialtheatre.com,
which includes schedules, contests,
information, a chat site and his
"Mike's Aisle Seat" column, which
customers can also receive via e-mail.
This builds on the outreach he gains
by advertising in seven newspapers
and putting up 70 posters every week
throughout his county.
Hurley obviously has a flair for
marketing, and his promotional skills
earned him a $2,500 prize from Sony
for his 1998 "Mask of Zorro" campaign,
for which wife Therese donned
the title character's duds and barbecued
hot dogs for patrons.
"One of the things about being a
little guy in the movie business is that when
you screen a first-run movie, you feel really
honored to be part of something which is a
huge event," Hurley reflects. "You can walk
into a McDonald's and see all the kids playing
with the toys and feel part of something
that has huge impact—not just commercially,
but artistically and emotionally."
At
the theatre, Therese is the main I
operater. says Hurley, and his own
role is essentially "background,
booking, programming the website," though
he does work in the theatre most weekends.
Help is drawn from a part-time staff of
10-12 people. Two projectionists work the
two projection booths on weekends to make
sure there are no problems and, because the
lobby is small, the concession area must be
well staffed so there is no backup.
"We tell the staff that before they even
enter the theatre, filmgoers have begun the
surrender process. They come up to the
ticket window getting ready to surrender.
It's a delicate state of mind; one rude or
careless moment can ruin it all for them,"
says Hurley.
Good service is essential, although the
Colonial has little competition; the closest is
45 miles away. "Every now and then there
have been rumors of a megaplex," says
Hurley, but he considers that unlikely in light
of the problems of the nearest multiplexes
which, overscreened. have had to drop ticket
prizes and hand out free popcorn.
Hurley believes that independents are
here to stay.
"If they were going to be killed
off, they have been. It's going to be okay for
those which have survived," he reasons.
"Having been in the business six years
now, I can wax very philosophical about it,"
he laughs. "Movies are just an updated version
of storytelling. They are like the traveling
storyteller who came into town a thousand
years ago. People gathered round the
good ones. If he couldn't tell a good story,
they didn't. Scare me, thrill me. horrify me,
make me happy! That's what movies do, and
they do it best in a movie theatre. It's a completely
different experience from watching at
home, when the wife walks in and says
something, the phone rings, a car drives by.
In movie theatres there is just the movie.
There's never been anything like it. I can't
imagine there ever will be." mi
THE COLONIAL
163 High Street, Belfast, Maine 04915
(207) 338-1930 (recording); (207) 338-1975 (office)
MOST USEFUL BOXOFFICE FEATURE: The Independent Exhibition
Showcase. I pick up a little from each one. I often call the people interviewed
to find out more tricks of the trade. It was a theatre owner in
Kansas who gave me the idea for the free Christmas matinee for kids. I
also use the reviews, particularly on the website.
FAVORITE BOXOFFICE FEATURE: The Independent Exhibition
Showcase.
EARLIEST MOVIE MEMORY: Seeing "The Spirit of St. Louis" in a theatre
in Europe— I was bom in Germany, where my father worked after the war.
FAVORITE CONCESSION ITEM: M&Ms and a can of Moxie soda.
ADVICE TO OTHER EXHIBITORS: Use the Internet. Stay in touch with
other theatre owners. Go to trade shows. Pay your bills on time. Think of distributors
as friends, not enemies. Work hard to keep customers happy. Run
a clean, friendly, fair business. The show starts on the sidewalk!

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SHOWEAST 2000
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OF EVENT!
+ Muvico Pointe 21
TUESDAY, October 10 WEDNESDAY, October 11
p.m.
Welcoming Lunch. Address:
John Fithian, NATO President
30-4 p.m. Technical Seminar: "What Can
Be Done to Improve 35mm
Projected Film Quality." Moderator:
Pat Moore, Strong Intl. Host: ITEA
iO
Coffee Break. Host: DTS
Seminar: "The International
Distribution Scene—
Upcoming Product"
5- 7:30 p. m. International Buffet Dinner.
Host: Imax Corp.
Screening: IMAX's "Cyberworld"
1:30-9:30 a.m. Breakfa
9:30 a.m.- Seminar: "Overview
11:30 a.m. Cinemagoing in the U
American and Caribbei
Marketplace. " Moderate
Karsten Grummit, Dodona Reseat
11-11:30 a.m.
11:30 a.m.-
12:30 p.m.
12:30-2 p.m.
2-4 p.m.
Coffee Break. Host: Dl
Seminar: Digital Ciner
Host: Texas Instrumer
Luncht
Concessions Semme
"The South and Central America
Theatre Market: Past, Present
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Proctor Ltda, Sao Pac
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SHOWEAST 2000
lo, Florida • October 11-1
SCHEDULE OF EVENT!
•sure Island 24
WEDNESDAY, October 11
JAY, October 12
p.m.
Trade Show Registration
) a. m.-8 p.m. Convention Registration
5 p.m. ShowEast Hospitality Suite.
Hosts: Nestle USA
and Omniterm
45-6:15 p.m. Opening Night Cocktail
Reception and Dinner.
45-8:45 p.m.
9-11 p.m.
Hosts: Media Salles and the
Newspaper Association of America
Screening: Columbia's
"Finding Forrester"
Gala Opening Night
Dessert Reception and
Party. LOCATION: Sea
World. Host: Pepsi-Cola
7:30-8:30 a.m. Continental Breakfa
9-10:15 a.m. Technical Semim
"Development of Standards at
Goals for Digital Cinema— Joi
Presentation by NATO, Ml
and SMPTE." Plus: "An Updi
on Dye Tract'
9-10:15 a.m. Concessions Semin<
"Turning Concessions Challenc
Into Opportunities." Moderat
Shelley Feldman, N/
10:30 a.m.- Screening: Columbu
12:30 p.m. "Vertical Lir
1 -2:30 p. m. Luncheon. Host: Sony Pictur
2:30-6 p.m. Trade Show. Cocktail Host: Dc
6-7:30 p.m. Dinner. Hosts: Warner and Kc
8-10 p.m. Screening: Warner Br
1 0- 1 0:30 p. m. Coffee Recept
10:30 p.m.-12:15 a.m. Screen,?
FRIDAY, October 13
SATURDAY, October 14
Breakfast. Hosts:
Hollywood Reporter and CinCom
8:30-11:30 a.m.
Trade Show. Breakfast
Host: EIMS/Splyo
Opening Ceremonies.
Address: John Fithian, NATO
m.- 12 noon Screening: Universal's
"Family Man"
2 ncon-4 p.m. Trade Show. Luncheon
Host: Texas Instruments.
Beverage Sponsor: TMS/Zap2it
:30- 7: 1 5 p. m. Screening:
New Line's "13 Days"
:30-9 p.m. Dinner Party. LOCATION: House
of Blues. Host: New Line
Beverage Sponsor: hollywood.com
5 p.m. Screening: Fox
Dessert Party
Host: Fox
10:30 a.m.-
12:30 p.m.
1-2:30 p.m.
3-5:15 p.m.
5:45-7 p.m.
8:30-11 p.m.
Screening: Miram%
Luncheon. Host: Miramax
Screening: Dreamworks
"The Legend of Bagger Vanc4
Final Night Cocktal
Reception at Poolside: 4
Visit With Exhibitor Relationi
Final Night Banque
and Award Ceremony
Host: Coca-Coli

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SHOWEAST 2000 BOOTH LIST
Acco Acoustic Panels 1503
1 1 390 Armand Chaput, Montreal, Quebec
CANADA H1C 1S7
514-643-0800
Ace Audiovisual 206/208
33-49 55th Street, Woodside, NY 11377
718-429-2555
Adaptive Micro Systems 1304/1306
7840 N. 86th Street, Milwaukee, WI 53224
414-357-2020x283
C. Cretors & Co 707/709
3243 N. California Ave., Chicago, IL 60618
773-509-5691
Camatic Seating 401/403
2606 Julianne, Belton, TX 76513
254-939-9392
Cargill Foods 1404
15407 McGinty Road West, MS93
Wayzata, MN 55391
612-742-6273
David Tyson Lighting 617
P.O. Box 1932, Callahan, FL 32011-1932
800-385-3148
Digital Projection
55 Chastain Rd., Suite 115
Kennesaw, GA 30144
770-420-1365
Suite N
Digital Theater Systems Suite K,
813/815/817, 712/714/716
5171 Clareton Drive, Agoura Hills, CA 91301
818-706-3525
12900 Automobile Blvd., Suite U
Clearwater, FL 33762
727-571-1888
Allen Products Co 1105
1635 E. Burnett Street, Signal Hill, CA 90806
562-424-1100
American Intl. Concession 719/721/723
20 Dubon Court, Farmingdale, NY 1 1735
516-420-1868
American Licorice Co 418
2477 Liston, Union City, CA 94587
708-371-1414
Atlas Specialty Lighting 117
7304 No. Florida Avenue
Tampa, FL 33604
813-238-6481
Automated Bar Controls 1406
790 Eubanks Drive, Vacaville, CA 95688
707-448-5151
Banner Candy Mfg. Corp 1512
700 Liberty Avenue, Brooklyn, NY 1 1208
800-221-0934
BarcoUSA
Suite L
3240 Town Point Dr., Kennesaw, GA 30144
770-218-3274
Barlo Signs 1603
158 Greenley Street
Hudson, NH 03051
603-882-2638
Bass Industries 1021
380 NE 67th St., Miami, FL 33138
305-751-2716
BGW Sytems Inc 405
P.O. Box 5042
Hawthorne, CA 90251
310-973-8090
Big Sky Industries 417/419
259 Center Street
Phillipsburg, NJ 08865
908-454-6344
Birtcher Construction 1422
275 E. Baker Street, Suite A
Mesa, CA 92626
949-629-4300
Axminster 314
! ! 856 Artistry Lane, Greenville, MS 38703
I
662-332-1581
Cassarino Inc 1216
407 Old County Rd„ Belmont, CA 94002
650-595-5496
Christie Inc
Suite Q
10550 Camden Drive, Cypress, CA 90650
714-229-5158
Cincom 312
P.O. Box 2533, Salem, NH 03079
603-893-4403
120/122, 221/223
2441 SW 130th St., Miami, FL 33186
305-232-8182
Cinema Film Systems...501/503/505, 400/402/404
779 N. Benson Avenue, Upland, CA 91786
909-931-9318
Cinema Products Intl 1205
1015 5th Ave. North, Nashville, TN 37219
615-248-0771
Broadway # 207, San Antonio, TX 78205
'10-223-2100
U.S 1005/1007, 904/906
8753 Lion Street
Rancho Cucamonga, CA 91730
909-481-5842
The Coca-Cola Co 901/903/905/907/909,
800/802/804/806/808
PO Drawer 1734, Mail Code USA 873
Atlanta, GA 30313
404-676-2121
Colgate-Palmolive 304
191 East Hanover Avenue
Morristwon, NJ 07962
973-631-9092
Component Engineering 1500/1501
4237 24th Avenue West, Seattle, WA 98199
206-284-9171
Connie's Pizza 916
601 E. Algonquin Road
Schaumburg, IL 60173
847-348-7102
Crown International 1505
1718 W. Mishawaka Rd., Elkhart, IN 46517
219-294-8200
Data Display USA 1611/1612
5004 Veteran's Memorial Highway
Holbrook, NY 11741
516-218-2130
Dolby Laboratories... 900/902, 1001/1003
100 Potrero Avenue, San Francisco, CA 94103
415-558-0200
1201
1435 S. Fanta Fe Avenue
Compton, CA 90221
310-761-1640
Durkan Patterned Carpet 1313/1315
405 Virgil Dr., Dalton, GA 30720
706-278-7037
E-Lite Technologies 107
2285 Reservoir Ave., Trumbull, CT 0661
203-371-2070
EarthStar 1601
2536 Honeysuckle Avenue
Baton Rouge, LA 70808
225-931-4410
Eastern Accoustic Works 612/614/616
One Main Street, Whittinsville, MA 01588
508-234-6158
EIMS INC 313/315/317, 212/214/216
8801 State Highway 16, Suite A
Gig Harbor, WA 98332
253-857-6411
Eisenberg Gourmet 51
3531 N. Elston Avenue, Chicago, IL 60618
773-588-2882
EVI Audio 1013/1015/1017/1019
9600 Aldrich Ave. S„ Minneapolis, MN 55420
800-828-6107
Ezcaray International 222
Carretera de Santo s/n
P.O. Box 105, Ezcaray, La Rioja, SPAIN
34 941 354054
Fantasy Entertainment 1312/1314
8 Commercial Street, Hudson, NH 03051
603-324-3240
Fashion Seal Uniforms 1402
P.O. Box 4002, Seminole, FL 33775
727-397-9611
Field Container Co 1405
15322 Winter Mist, San Antonio, TX 78247
210-496-0397
Figueras Intl. Seating 821/823, 720/722
Ctra. Parets a Bigues, KM 77, Llica de Munt
Barcelona, SPAIN 08186
34938445050
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ENTURY R-3 TR/3 AS IS 900.00
NTURYR-3TR/3 REBUILT 1250.00
JA 9030 AS IS 450.00
MPLEX SH1000 AS IS 750.00
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SHOWEAST 2000 BOOTH LIST
Filmack Studios 509
1327 S. Wabash Avenue. Chicago, IL 60605
800-345-6225
Funacho 818
2165 Central Parkway, Cincinnati. OH 45214
800-386-2246
Gabriella Imports 523
5100 Prospect Avenue, Cleveland, OH 44103
216-432-3651
ITEA 1202
244 West 49th Street, Suite 200
New York, NY 10019
J&J Snack Foods Corp
6000 Central Hwy., Pennsauken, NJ 08109
609-665-9533
Jarco Industries 615
125 Laser Court, Happauge, NY 11788-3911
631-851-9100
Martek 1604/1605
P.O. Box 532. St. Joseph. MI 49085
616-982-0031
Max Racks 1322
32 West 39th Street, 8th Floor
New York, NY 10018
212-575-2800
Media Salles 1614/1615
Via Soperga 2, Milano. ITALY 20127
in; Mousing Way. Cannon Falls. MN 55009
800-538-8377
619
10639 Roselle Street, Suite A
San Diego, CA 92121
800-995-8322
Globalmiclnc 1317
1070 Morrison Dr., Ottawa, Ont.
CANADA K2H 8K7
613-820-0654
Globe Ticket & Label Co 1321
3435 Empire Blvd., Atlanta, GA 30354
404-762-9711
Gold Medal Products Co 1508/1509
10700 Medallion Drive Cincinnati, OH 45241
513-769-7676
Goldenberg Candy Co 518
7701 State Road. Philadelphia. PA 19136-3405
215-335-4500
Golterman & Sabo Inc 1607
5901 Elizabeth Avenue, St. Louis, MO 63110
314-781-1422
Gould Evans Affiliates 323
4041 Mill Street, Kansas Citv, MO 641 1
816-931-6655
Great Western Products 613
30290 US Hwy 72, Hollywood, AL 35752
800-239-2143
HarknessHall 708
10 Harkness Blvd.. Fredericksburg, VA 22401
540-370-1590
High Performance Stereo 1608
64 Bowen Street, Newton, MA 02459-1820
617-244-1737
620 26th Street. Suite 370 S.
Santa Monica. CA 90404
310-586-2031
IC0N/ETM 921/923,822/820
949 South Coast Dr. #300
Costa Mesa, CA 92651
714-444-5600
International Cinema Equipment Co
213/215/217/219/221/223,
112/114/116/118/120/122
100 NE 39th Street, Miami. FL 33137
305-573-7339
Irwin Seating Company... 91 3/91 5/91 7,
812/814/816
P.O. Box 2429. Grand Rapids, MI 49501
616-574-7319
JBL Professional 1101/1103, 1000/1002
8500 Balboa Blvd., Northridge. CA 1329
818-894-8850
K.C.S 507
c/Badajoz 159 BIS, Barcelona. SPAIN 08018
3433000315
Kawasho International Suite C, 1413/1415
44 Montgomery Street, Suite 1010
San Francisco, CA 94104
415-445-0203
Kelmar Systems Inc 1018
284 Broadway, Huntington Station, NY 11746
516-421-1230
Kinetics Noise Control 1616
6300 Irelan Place. Dublin. OH 43017
614-889-0480
Kinetronics 1514
1778 Main Street. Sarasota. FL 34236
941-951-2432
Kinoton GmbH 100/102/104, 201/203/205
Industriestr, 20a
Germering. GERMANY 821 10
Klipsch & Associates 316/318
8900 Keystone Crossing, Suite 1220
Indianapolis, IN 46240
317-581-3185
Lawrence Metal Products 1200
P.O. Box 400-M. Bay Shore, NY 11706
516-666-0300
LinoSonego 519/521
Via Resel Nr. 51. Pianzano Di Godega
ITALY 31010 39 438430026
Lucasfilm THX 1213/1215, 1112/1114
P.O. Box 10327, San Rafael. CA 94912
415-492-3945
MAH Communications 319
I5l Kalmus Drive, STE J-7
Costa Mesa, CA 92626
800-267-4624, ext. 108
Marcel Desrochers 1 502
1440 Raoul-Charrette
Joilette. Quebec, CANADA J6E 8S7
514-526-2686
MARS 200/202,301/303
565 Fifth Avenue. New York, NY 10017
212-652-6372
Mars Inc./M&M Mars 309/307
800 High Street, Hackettstown, NJ 07840
908-852-1000
Media Technology Source 601/603/605,
500/502/504
10501 Florida Ave. S. Minneapolis. MN 55438
612-829-0161
& Smith Architects..
148 Kenwook Avenue
Toronto, Ont., CANADA M6C 2S3
416-656-5751
.1613
MHB Design Group 1515
985 Parchment SE, Grand Rapids. MI 49546
616-942-1870
Mobiliario S.A. DE C.V. 1120/1122
Calle Del Sol #3 Col. San Rafael
Chamapa. Naucalpan Estado de Mexico
Mexico CP. MEXICO 53660
525-300-0620
MovieadCorp 1023
3500 N. Andrews Avenue
Pompano Beach. FL 33064
800-329-4989
Multimedia Inc 1408/1410
3300 Monier Circle, Suite 150
Rancho Cordova, CA 95742
916-852-4220
Multiplex Co 1316
250 Old Ballwin Road, St.Louis, MO 63021
314-256-7777
MVEInc 1218
3505 County Road. 42 West
Burnsville. MN 55306-3803
612-882-5185
NAMC0 Cybertainment Inc 621/623, 520/522
877 Supreme Drive. Bensenville, IL 60106
630-238-2200, ext. 2299
National Carbonation 321
P.O. Box 31007. Charlotte, NC 28231-6098
704-509-0516
National Ticket Co 819
P.O. Box 547, Shamokin, PA 17872
717-672-2900
NATO 1308
4605 Lankershim Blvd.. Suite 340
North Hollvwood, CA 91602
818-506-1778
NCS Corporation
99 Limestone Road, Ridgefield, CT 06877
203-438-3405
Nestle USA 1506/1507
30003 Bainbndge Rd„ Solon. OH 44139
440-349-5757
106 BOXOFFICE

BUSINESS
1 5 MOTION.
FOCUS.
I ADVERTISING INFORMATION,
L BOB VALE AT 626-396-0250
SUBSCRIBE TODAY AT
www.boxoffice.com

SHOWEAST 2000 BOOTH LIST 1

l
M#:/i
At BOXOFFICE, we love to receive reader response, pro or con, about the contents of our pages. Twice a year,
we provide this "Faxback" opportunity to share your thoughts with us about the feature sections and
news departments with which we compose your magazine's contents.
All
respondents will be entered in a drawing for a complete set of our limited-edition cover posters: Tom
Cruise for "Mission: Impossible," Pierce Brosnan for "GoldenEye," Tommy Lee Jones and Will Smith for
"Men in Black," Patrick Stewart for "Star Trek: First Contact," Antonio Banderas for "The Mask of
Zorro," Will Smith and Kevin Kline for "Wild Wild West" and, new this year, Mel Gibson for "The Patriot."
To enter, complete the form below and fax it to us at 626-396-0248 by Bee. 1. INCLUBE YOUR CONTACT
INFORMATION ON YOUR COVER SHEET. We will contact the three winners before Bee. 15. We thank you
in advance for your extra effort to help us provide the best editorial focus for your needs.—Me editors
VALUE OF FEATURE ARTICLES
VALUE OF NEWS COLUMNS/BEPARTMENTS
Dower Story Profiles high moderate low
Table Of Contents high moderate low
Sneak Previews high moderate low
of Future Releases
Exhibition Profiles high moderate low
of Circuit Theatres
Independent Showcases high moderate low
of Indie Theatres
MailrOOm (Letters) high moderate low
Reel Deals (movie pacts) high moderate low
Hot Set (movies in production) high moderate low
Studio Release Chart high moderate low
Independent Release Chart high moderate low
NEW) Close FOCUS Profiles high moderate low_
of Theatre Execs
iJALUE OF ANNUAL SPECIAL REPORTS
Trailers (next month's movies in depth) high moderate_ iow_
Exhibition Briefings high moderate low
(NEW) Regional News high moderate low
Showmandiser (in-theatre) high moderate_ iow_
lan.: Giants/North Amer. Exhibition high moderate_ iow_
(NEW) Hill News (legislative/judicial) high moderate_ low_
:
eb.: Sight & Sound high moderate low
|flar.: Barometer (year in review) high moderate_ iow_
(NEW) Cinema Design/Arch, high moderate_ low_
tpr.: ShOWest high moderate low
Independent Film
high moderate low
.flay: Concessions high moderate low
Drive-In Exhibition high moderate low
(NEW) Tech Talk high moderate low
Supply Side (supplier news) high moderate low
Digital Cinema high moderate low
Large Format high moderate low
Wired World (WWW news) high moderate low
9 on the Net (exhib website profile) high moderate_ iow_
Northern Exposure high moderate low
Euroviews high moderate low
lune: Canadian Exhibition high moderate low
Pacific Overtures high moderate low
uly: European Exhibition high moderate low
Film Reviews high moderate low
ug.: Australian/NZ Exhibition high moderate low
ep.: Buyers Directory high moderate low
Festival Reviews high moderate low
(REV.) MovieFone Moviegoer Chart high moderate_ iow_
Ct.: New Technologies high moderate low
Home Release Chart high moderate low
ov.: Showeast/Eastern Exhibition high moderate_ iow_
(NEW) Expanded Advertiser Index high moderate low
ec: Asian Exhibition high moderate low
Classifieds high moderate low
ew topic suggestions:
new topic suggestions:

Eliminate BRAINWRAP at the Source
StaticWisk Anti-Static Platter Brush

W$t Cfjeater jUanaser's
draper.
0\) loth, let this; night be beboib of error.
let the popcorn pop anb the sioba floto.
let the s«m not sfticb to the theater carpet.
let the feeppab remain brp.
let the electricity run aplenty.
JWosft of all, bear lorb, map mp management
system not be brought toith problems.
You don't have to depend on a higher power to keep your theater running smoothly. Introducing MARS Sequel, the industry's
most reliable and flexible theater management system. With Windows NT software and Microsoft SQL Server 7.0,
MARS Sequel can be customized to meet your most complex needs while being more dependable than ever. Because MARS
is a division of AOL MovieFone, moviegoing is more convenient for millions of moviegoers with Internet ticketing,
Teleticketing, Automated Kiosks and Reserved Seating. Now you can take control of your theater without divine intervention.
MARS
Response No. 78

ShowEast 2000
New Products Guide
r
PROJECTION
Boston Light & Sound introduces
Kinoton's PK60E, a fully electronic
35mm projector for the theatrical market.
This machine is virtually maintenancefree
and provides unprecedented image
stability. Visit Booth 100; write 290 N.
Beacon St., Boston, MA 02135-1990;
call (61 7) 787-31 31 ; fax (61 7) 787-4257;
e-mail tony@blsi.com; or logon to
www.blsi.com.
j
Component Engineering has introduced
the ASR-40, a new series of
low-cost analog-only reverse scan
readers that feature a long-life red
LED and a compact, low-noise power
supply. This combination gives superior
high-frequency response, lower
distortion and near-perfect decoding
of analog sound tracks. This new
reader includes a feature to silently
turn off the LEDs when not needed,
thereby extending their life. Installation and alignment of the reader is simple and
straightforward. The ASR-40 is available for Simplex, Century, RCA and Ballantyne VII
projectors. Visit Booths 1500-1501 ; write 4237 24th Ave. W., Seattle, WA 981 99; call
(206) 284-9171; fax (206) 286-4462; e-mail bpurdy@componentengineering.com; or
logon to www.componentengineering.com.
Superior Quartz Products Inc. has begun to manufacture 15KW-32KW High Pressure
Xenon Liquid-Cooled Lamps. Superior Quartz Products Inc. brings its 44 years of mediumpressure
ultraviolet lamp and high-pressure air-cooled short arc lamp manufacturing experience
to this latest endeavor. Their experience and expertise in the linear and short-arc
fields make for a natural progression into high-pressure xenon liquid-cooled lamps. The
three main applications of these lamps are projection lighting, search lighting and solar simulation.
Visit Booths 1417 and 1419; write 404 Route 519, P.O. Box 618, Phi II ipsburg, NJ
'
08865; call (908) 454-1 700; fax (908) 454-41 54; e-mail superior@sqpuv.com; or logon to
Schneider Optics Ar-Port Projection
Ports are the only way to
solve the stray
light problems associated with the need for
wide-angle projection lenses in shortthrow
stadium seating theatres. These ports
minimize reflections, control stray light
and ensure that maximum untinted light
reaches the screen.
for digital
projection.
Schneider Optics' free-of-charge
Digital Projection Design Pro 1 .5 gives
AV and cinema designers the first tool that
can help them analyze the factors necessary
to determine the best digital
The latest version of Schneider's Theatre
Design Pro software, Theatre Design Pro
2.5 helps theatre designers analyze all of
the factors necessary to determine the best
projection lenses for a given theatre design.
Version 2.5 features keystone control calculations,
easier porthole size calculations
and includes digital cinema formats.
projection
lenses for a given venue. Features
include keystone control calculations and
easy calculation of lens and picture sizes
Schneider Test Film CLT 2000 is specifically
designed for the evaluation of highperformance
cinema projection lenses.
This test film features ultra-fine MTH test
patterns located at critical areas for
anamorphic- and flat-lens evaluation and
has horizontal and vertical grids for the
evaluation of lens distortion, keystoning
and curved geometric distortion.
CineQ Automation
Technology cuts personnel
costs, ensures show schedule
and effects control time after
time. The CineQ.A2
Automation-the new streamlined
version of our system
CineQ. A1 Automation- saves
|
. energy and service costs by
managing equipment between
I shows. Visit Booth 1317; write
1070 Morrison Dr., Ottawa,
I ON K2H 8K7, CANADA; call
! (613) 820-0654 or (800) 387-
I 4842; fax (613) 820-1773; e-
I mail ccrupi@globalmic.com;
" or logon to www.cineq.org.
Robert Film Service's best-kept secret is
an advanced technological innovation that allows any 35mm film
the Xenlyte 35 XHD—
to be viewed on a large-format screen with increased definition,
crystal-clear clarity and brilliant colors, minus the hefty price that
comes with large-format films. Write 6969 Transcanada Highway,
Suite 105, Ville St. Laurent, QC H4T 1V8, CANADA; call (514)
337-4956; fax (514) 337-9790; e-mail robert@generation.net; or
logon to www.robertfilm.com.
For information on any of Schneider Optics' new products, visit
Booths 1107 and 1109; write 285 Oser Ave., Hauppauge, NY
11788; call (631) 761-5000; fax (631) 761-5090; e-mail
nfo@schneideroptics.com; or logon to www.schneideroptics.com.
L
112 BOXOFFICE

New Products
The center of Neumade's NeuExcel 2000 console is the integrated
automation system, which provides the complete lamphouse
monitoring system as well as all function controls. The new
console now has a completely redesigned focus mechanism simplified
in concept and reliable in operation. Neumade has also
added a new highly efficient 1 5-inch dichroic reflector designed to
accommodate large-screen presentations. The new reflector has
improved rigidity as well as improved light output. Neumade also
has designed the appropriate spacing for the installation of the
standard sound processors, monitors and power amplifiers, providing
a total of 20U spaces. The unit is capable of containing a
six-channel digital sound system, eliminating free-standing rack
expenses for auditoriums with 300 seats and below.
The heart of Neumade's computer-based NeuExcel 2000
automation series A is an 8031 micro controller board. A touch
screen controls point-and-touch operation. A modem interface creates
upgrade capabilities through the theatre manager's PC. The
unit also features a modem for a remote trouble-shooting interface.
The NeuExcel 2000 has management program capabilities utilizing
Windows 95/98 and 2000 and full control of all functions
through the manager's PC. It supports RS232 communication and
uses an RS485 protocol. It
also includes built-in dimmer capability
and user-friendly diagnostics. The design concept of the system
also allows complete manual backup operation independent of the
computer system for all projector and house functions. The system
is capable of operating any projection function along with house
functions from any cinema for any other cinema.
For information on Neumade's products, visit Booths 513, 515,
412 and 414; write 30-40 Pecks Lane, Newtown, CT 06470; call
(203) 270-1100 or (800) 526-0722; fax (203) 270-7778; e-mail
webmaster@neumade.com; or logon to www.neumade.com.
Filmack Studios has recently upgraded its
video-to-film transfer
process for rolling-stock cinema advertising. Now high-quality
flat and scope transfers can be produced from any analog or
digital commercials, and theatre trailers can be duplicated in
Filmack's facility. Visit Booth 509; write 1327 S. Wabash Ave.,
Chicago, IL 60605-2574; call (312) 427-3395 or (800) FILMACK;
fax (312) 427-4866.
NOW SHOWING
Stadium Seating Retrofitting
at these fine theatres:
t United Artists Theatre Circuit Inc.
t Century Theatres
Edwards Theatre Circuit Inc.
t Muller Family Theatres
t Pacific Theatres
t Brenden Theatres Corp.
(now also in Europe)
SOUND
When popcorn and Red Vines aren't enough,
theatre operators nationwide turn to
Stadium Seating Erectors' patented retrofitting system.
I
I
|
Unveiling
ShowEast is the
Dolby CP650 all
digital cinema r s s p o c e o
Supporting all
Dolby film formats,
the CP650 incorporates the latest in digital signal processing
technology, using the best components and manufacturing
processes available to provide unparalleled sound. The CP650's
innovative design contains several built-in features including
Dolby Digital Surround EX, an Ethernet operational interface and
multichannel sound decoding capability for digital cinema applications.
Key hardware features include a front panel access door
that eases installation and operation; expansion ports that provide
easy installation of future upgrades; and an Ethernet connection
for future connectivity. Software features include all-digital
implementation
of Dolby A-type and Dolby SR decoding; third-octave
equalization and built-in test instrumentation; built-in diagnostic
facilities to verify performance of the complete sound system; and
a full-featured PC setup software package (available in several
languages) with a real-time analyzer to facilitate system setup.
Visit Booths 900, 902, 1001 and 1003; write 100 Potrero Ave.,
San Francisco, CA 94103; call (415) 558-0200; fax (415) 863-
1373; e-mail website@dolby.com; or logon to www.dolby.com.
Stadium Seating Erectors, a joint venture
between Cinema Stadium Erectors and DMJM,
is the industry leader in stadium seating retrofitting.
See us at ShowEast, Booth 1422
^^
Stadium Seating
Erectors
275 E. Baker Street, Costa Mesa, California 92626
949/629-4300 or 877/244-SEAT
www.birtcherconst.com
DMJM BCS
November, 2000 113

Odyssey
CA
i
Eastern Acoustic Works introduces the
CSC Series of cinema screen loudspeakers,
featuring numerous technological advances
that optimize coverage from the front row
to the back while also dramatically enhancing
dialogue clarity. The series includes the
CSC723 and the THX-approved CSC923,
both three-way systems ideal for use in stadium
seating and traditional configurations.
The CSC series features horns with an
unusual asymmetrical flare design that produces
a narrow pattern at the rear of the
room and a wider pattern at the front. The
mid-range cone also includes EAW's
patented Radial Phase Plug, which significantly
reduces throat distortion and frequency
"time smear," resulting in clearer,
more neutral dialogue. Visit Booths 612,
614 and 616; write One Main Street,
New Products
I A new version of the EZ-PHASE
" Polarity and Phase checker has been
I introduced by SMART Theatre
. Systems. The EZ-PHASE 2 is lower in
cost yet maintains many of the same
I features as the original model. This
Whittinsville, MA 01588; call (508) 234-
smart@smartdev.com; or logon to |
6158 or (800) 992-5013; fax (508) 234-
8251; e-mail mmayfield@eaw.com; or
logon to www.eaw.com.
_ . _ . _ . —«. expanded
Products
Quick Connect
has
. „_ . __ . __ . __! its
"ne
cabl«
of circuit boards and
Hafler's new fixed-install GX amplifier!
' cinema-specific
to accommodate the
series includes features
J
test equipment is very useful to cine-
| ma installation and service techni-
. cians to quickly check the phase and
I wiring of hundreds of surround and
stage speakers in a multiplex installa-
J
Ition that may normally take days. The
product can also determine correct
electrical phase through stereo
such as fourth order low-pass, high-pass |
* j
3 ?.'^ C^ ^?"fZ
I processors, amplifiers and electronic crossovers. A very low cost
. checker and a precision tester accompany the new product. Visit
Booths 512 and 514; write 5945 Peachtree Corners E., Norcross,
I CA 30071-1337; call (800) 45-SMART or (770) 449-6698; fax
(770) 449-6728; e-mail info@smartdev.com or
;
or full-range; 500 or 800 Hz crossover fre-
These time- and cost-saving
. boards make quick work of
.
horn ' wiring for sound, monitoring, automat and solar cell
30" of low-pass time delay; continuously variable CD
interface.
to
Visit Booths 113 and 115; write 5845 Oakbrook Parkway, Suite C
equalization; and a phase inversion switch. Write 546 S. Rockford
Dr., Tempe, AZ 85281 ; call (480) 51 7-3157 or 423-537l"'fax
Norcross
<
30093; call (770) 825-0243; fax (770) 825-0245; e-
.
I
mail odysseyproducts@mindspring.com; or logon tc
(480) 894-1 528; or logon to www.hafler.com.
www.odyssey-products.com.
It's a BIG TOWN SHOWBIZ Policy Trailer where we
SWING through the canyons of the city to the
FIZZ and POP of the best things
'.';/._
at the Refreshment _^^a-^ ^3
^—
PiKE
*f*%»
».H6*POtf
-^ The
niessage is direct
__
but friendly as the track puts
'
!— out BIG TOWN SWING MUSIC in SRD. Both
FLAT and SCOPE versions are available in this exciting
OVERTURE to the MOVIES. See us at Showeast Booth #1513
r IIVE PRODUCTIONS PHONE

New Products
_
THEATRE FURNISHINGS
LED (Lighting and Electronic Design) has released an
innovative aisle/seat lighting system that directs light
where it is needed—on the aisle. Hed-Lite's rotating lens
directs perfect placement of high intensity light. A single
module can be positioned anywhere in the extrusion and
illuminates a four-foot area. Write 141 Cassia Way, Units B
and C, Henderson, NV 89014; call (800) 700-5483; fax
(702) 568-8753; e-mail led@ledlinc.com; or logon to
Mobiliario Seating introduces the
Vincensa, an exclusive design totally
ergonomic and anatomically manufactured
to provide the best comfort and rocker
lull movement. The 40.5-inch-high, 22-
to 24-inch wide design includes such features
as a loveseat, cupholder, anatomic
seat and an optional fixed back. Visit
Booths 1 1 20 and 11 22; write Calle Del Sol
#3 Col./San Rafael Champa, Naucalpan de
Juarez 53660, MEXICO; call (52) 5 300-
0620; fax (52) 5 300-2136; e-mail bcamacho@mobiliarioseating.com;
or logon to
www.mobiliarioseating.com.
Targetti-Tivoli's newest innovation in
stadium lighting, Softstep, incorporates a
foot-friendly, resilient, bullnose with contrasting
reflective stripe and an LED light
channel for superior step illumination.
Softstep features high light output, easy
installation and excellent value in a completely
integrated step lighting system.
Write 1 51 3 E. Saint Gertrude Place, Santa
Ana, CA 92705; call (888) 578-8111 or
(714) 957-6101; fax (714) 957-1501; e-
mail tusa@targettiusa.com; or logon to
www.targetti.com.
Seating Concepts introduces the BC-900
Epic model. Impeccably engineered, the
BC-900 Epic features retractable armrests,
swing rocker movement and the company's
new injection molded polyethylene
back and seat pan. It is available in overall
heights of 40, 42 and 44 inches with chair
widths up to 24 inches. Sculpted to conform
to the human body, it is a comfort you
have to feel to believe. Visit Booths 1305,
1307, 1309, 1204, 1206 and 1208; write
4901-600 Morena Blvd., San Diego, CA
92117; call (858) 581-5715; fax (858) 581-
5725; logon to www.seatingconcepts.com. .
HJLTioif^l ^wmmmjk service
ff£A
(800) 726-2609
www.ncservice.com
VISA
INSTALLATION
AUDIO RACKING
THX RECERTIFICATIONS
TECHNICAL CONSULTING
24 HOUR ANSWERING SERVICE
VIDEO PROJECTION
INTERMITTENT REPAIR
PROFESSIONAL SERVICES AND PRODUCTS
INCLUDING
EQUIPMENT
PROJECTION SERVICE*
SOUND SERVICE*
PARTS
BOOTH SUPPLIES
"Annual Contracts cir
Demand Service
XENON BULBS
SOUND SYSTEMS
CONCESSION EQUIPMENT
LOBBY FIXTURES
FRONT ENDS
LENSES
USED EQUIPMENT
P.O. Box 10799
New Orleans, Louisiana 70181
GOOD SIGHT, GOOD SOUND
THE KEY TO GREAT CONCESSIONS
November, 2000 115

PAMUOGK
New Products

New Products

So
New Products
Server Products has introduced the Server Advantage, a revolutionary
sealed hot topping dispensing system. The Server Advantage will
accept a flexible plastic product bag equipped with an integral circular
fitment. When pierced by the pump, it forms an airtight, germ- and
drip-free connection—eliminating dangerous or messy cans while permitting
the fast,
portion-controlled dispensing of hot fudge, cheese or
gravy. Refilling the Advantage is easy because the unit holds a heated
pouch in reserve. Write P.O. Box 530, Menomonee Falls, Wl 53052-
0530; call (800) 558-8722 or (262) 251-7100; fax (262) 251-2688; e-mail
pump@execpc.com; or logon to www.server-products.com.
Among the most recognized
brands in theatres, Sour Patch
products are enjoyed by theatregoers
of all ages. Quality products and
brand awareness are sure to increase profits
and guarantee repeat sales. Now introducing
Sour Patch Watermelon, available
in five oz. Write Plaza 9, 900 Route 9
North, Woodbridge, NJ 07095-1003; call
(732) 726-2700; fax (732) 726-0667.
Proctor Companies is now supplying the reliable
Stoelting line.
Stoelting makes the highest quality
soft serve and yogurt freezers as well as popular
frozen drink dispensers. The Stowaway frozen beverage
dispenser will
pour up to seven gallons an
hour of high-margin cocktails. The Mirage unit dispenses
three different frozen drinks at one time.
Visit Booths 1009 and 908; write 1 0497 Centennial
Road, Littleton, CO 80127; call (303) 973-8989;
Wunder-Bar introduces a low-cost CounterTop
condiment dispenser that accepts three-gallon bagin-the-box
containers while requiring no electricity,
no C02 and no installation and eliminates messy
and expensive portion packs. The dispenser is
available in plastic and stainless steel finishes.
Write 790 Eubanks Dr., Vacaville, CA 95688-9470;
call (707) 448-51 51 ; fax (707) 448-1 521 ; or logon
to www.wunderbar.com.
fax (303) 973-8884; e-mail bproctor@proctorco.com
or logon to www.proctorco.com.
Just Born introduces new and improved I
-j Mike and Ike Tropical Typhoon and Berry
— " "" "" " "" "" " "" "" " "" "" "
"— """" ' '
— "
—
' "" '
~ ~ Blast candies. Tropical Typhoon now con-
This versatile Cretors Modular Countertop Self-Serve . s i sts
of kiwi lime, orange pineapple,
I
Warmer with dual serving sides is designed for solo use or Caribbean punch, pineapple banana and strawberry banana flacombines
with the Cretors Roc N' Roll warmer to increase I
VO rs, and Berry Blast now includes mixed berry in addition to
i
storage and serving capacity. The product's innovative design strawberry, red raspberry, wildberry and blueberry. Both lines are
includes recirculating hot air, bi-fold doors and adjustable a | now made with real fruit juice. Write 1300 Stefko Blvd.,
|
shelving to ensure easy and practical use. Visit Booths 707 .
___^^^^^_^ Bethlehem, PA 18017; call (610) 867-7568
and 709; write 3243 N. California Ave., Chicago, IL 60618; i rX^|BB or (800) 445-5787; fax (610) 867-5537; e-
call (773) 588-1690; fax (773) 588-2171; e-mail bcretors® I
f ^fj [j~^ | fl j mail mpye@justborn.com; or logon to
cretors.com; or logon to www.cretors.com.
IIJhl4^^&4HM www.justborn.com.
ATLAS SPECIALTY LIGHTING®
PRESENTS
PROJECTION CONCEPTSM
i IVV **
rum FLU, SERVICE. REPAIR REP.MR AND DESIGN'FACILITY
*35MM& 70MM SYSTEMS* *S70. SLMl 1ATOR & 3D FORMATS*
NEW& USEP PROJECTION SYSTEMS - SIMPLEX CENTURY BALLANTYNE
XENON ARC LAMPS UP TO 20.000 WA TTS
SOUND SYSTEMS - DTS J5L
PROJECTION SYSTEMS - OVERHAUL
QSC
UPGRADE (LOANERS A VAILABLE)
INTERMITTENT REBUILDING - (LOANERS A VAILABLE) 24 hour t
ITEM (300) 333-5354
NORTH FLORIDA AVENUE TAMPA, 7304 Fl ; wSi
118 BOXOFKIC'K
Response No. 113

New Products
HARDWARE/SOFTWARE
EIMS Inc., developer of the Splyce
" family of products, has developed e-Pipe,
a unique Internet communication technology.
e-Pipe has made possible the
development of true real-time Internet
ticketing, real-time monitoring of sales
information from any Internet connection
regardless of operating system and automated
technical monitoring of POS sta-
I
tus. Visit Booths 313, 315, 317, 212, 214
and 216; write 8801 State Highway 16,
Suite A, Gig Harbor, WA 98332; call
(253) 857-6411 or (888) 4-SPLYCE; fax
(253) 857-6461; e-mail debbie@eimsinc.com
or logon to www.splyce.com.
Birtcher Construction Services has
established the first-ever web cam service
for the theatre construction indu
Theatre owners can monitor their projects
by accessing Birtcher Construction's website,
which shows a real-time image of the
site. The image is updated every 30 seconds.
Visit Booth 1422; write 275 E. Bakei
St., Suite A, Costa Mesa, CA 92626-4504
call (949) 629-4300; fax (949) 629-4310;
or logon to www.birtcherconst.com.
Retriever Software introdin es a powerful labor sc heduler to enhance i
its Venue Theater Management Software. Venue's Labor Scheduler "~£
allows theatre managers to establish job categories, positions and shift "ii*W
lengths. Easy point-and-click tools create schedules quickly based on tSj
employee availability. The scheduler forecasts daily labor costs and gen- h _—^3
erates reports. Visit Booth 305; write 1978 S. Garrison, Suite 101; M
Lakewood, CO 80227; call (888) 988-4470 or (303) 988-521 3; fax (303)
969-9852; e-mail pnorrish@retriever-pos.com; or logon to www.retreiver-pos.com.
Schult Industries' combination of Artlite (a patented process
that imitates neon with glowing vibrant colors and 3-D effect on
plexiglass) with FXoptiX ( a patent-pending process that adds
movement to Artlite) creates an eye-stopping effect perfect for
headings, logos and design elements within concession and other
theatre signage. Visit Booths 101 and 103; write 318 Cedar,
Pleasant Hill, MO 64080; call (800) 783-8998 or (816) 540-4798;
fax (816) 540-4790; e-mail sales@schult.com; or logon to www.schult.com.
Moviead Corp. introduces DTA (Digital Title Art), a boxoffice directional
or auditorium system displaying movie title art graphics downloaded
from Moviead's website directly to the theatre's computer.
Graphics, movie title, showtimes and ratings are then displayed on
computer monitor screens. Complete systems start at only $2,500.
Financing is available. Visit Booth 1023; write 3500 N. Andrews Ave.,
Pompano Beach, FL 33064; call (800) 329-4989; fax (954) 784-0700; e-mail
ejnoah@moviead.com; or logon to www.moviead.com.
TicketPro Systems is
pleased to announce a special financing deal exclusively offered
for the TicketPro System from Sierra Cities. Special packages include $90 for the first three
months with many payment options. Visit Booths 119 and 121; write 870 Mercury Dr.,
Lawrenceville, GA 30045; call (800) 552-0313 or (770) 682-5485; fax (770) 682-8397;
e-mail ticketpro@bellsouth.net; or logon to www.ticketpro.org.
Brighten Your Image
Have Your Screens Cleaned!
Since 1988 Al Wigington and David Stuck have been proving to skeptics in the
U.S. that movie screens can be cleaned without hurting their reflective properties.
Now with our exclusive TS2 Movie Screen Cleaning Process, a secondgeneration
screen cleaning method, we're bringing that expertise to the world.
Theatre Services International, Inc. will continue to provide products and performance
you can trust on all levels - local, national and international.
THEATRE SERVICES
800-545-0114
INTERNATIONAL INC.
Internet keyword: Brighten Your Image
November, 2000 119

Congratulations
To All ShowEast
Award Recipients
,-;
STOCK ~*
f"\
f^Ts

F
SONY
PICTURES ENTERTAINMENT
PROUDLY CONGRATULATES
DIRECTOR
MARTIN CAMPBELL
Ve^jncaL limit
on receiving the
2000 ShowEast Award Of
achievement in filmmaking
Lighting Up Screens Around The World'

high school memories
chromium steel

PARAMOUNT PICTURES
PROUDLY CONGRATULATES
THE SHOWEAST 2000 AWARD HONOREES
JAKE EBERTS
George Eastman Award
TERRY PRESS
Show "E" Award
JIM THARP
Show "E" Award
ALAN STOCK
Salah M. Hassanein Humanitarian Award
MARTIN SHAFER
Lifetime Achievement Award
MARTIN CAMPBELL
Achievement in Filmmaking Award
GEORGE LEVITT
Al Shapiro Distinguished Service Award
SPERIE PERAKOS
The Founder's Award
MUNIR FALAH
Media Salles International Achievement Award in Exhibition
WW:

SPECIAL REPORT: ShowEast 2000
STOCK WATCH
Cinemark USA President Alan Stock
Receives the Salah M. Hassanein Humanitarian Award
guess I just loved the people. It's a
fun industry. People are always
I upbeat and happy. They're here to
have a good time."
That's why Cinemark USA's president
and chief operating officer is the recipient
of this year's Salah Hassanein
Humanitarian Award.
Stock's outreach includes his membership
in the Church of Jesus Christ of
Latter Days Saints, which he describes as
son of a veterinarian. Stock's first contact
with the theatre business came about
because "it was just a good job for a kid."
As a teenager he worked in a Castle
Rock, Colo, drive-in doing "Everything."
he says. "Picking up the lot, fixing the
speakers, selling concessions."
Following high school, Stock spent
two years in Chicago on a mission for
the Mormon Church. He then attended
Weaver State College in Odgen, Utah
with the intention of studying optometry.
While a student, he worked for
Consolidated Theatres, a company
based in Salt Lake City, which operated
about a dozen regional cinemas.
Becoming more and more entrenched
in the business, he eventually was named
district manager of the company's
northern division before he finished college.
In 1985 Cinemark purchased three
of Consolidated's properties. Stock
by Bridget Byrne
signed on as director of
operations for Cinemark,
which then ran only about
a dozen theatres, mostly in
That's Alan Stock's explanation for
what this self-described "quiet individual"
Texas, with some in Utah
and Louisiana.
is doing in exhibition.
By 1987 Stock was
A man for whom family and church appointed general manager,
ascending to the posts
are the first priorities. Stock has brought
almost equal devotion to his work and.
most significantly, to the people that he
of senior VP in 1989, COO
in 1992 and company president
working to reach out to.
in 1993. Cinemark
is founder Lee Roy Mitchell
is on record as having
described Stock as someone
who is "a good manager,
gives good counsel and
is a fair man."
"People trust Alan and
"the foundation for my life." In Piano. he leads quietly, by example,"
says Mitchell, whom
Texas, where he lives and works, he volunteers
in numerous church activities and Stock credits with actively
serves as first councilor to the bishop of encouraging Cinemark ex-
his ward. He is also intensively involved ecutives and employees to
with the Muscular Dystrophy "follow their hearts and get
Association ("following my heart," he involved" in a range of
says) because two of his five children have charitable causes in the
MD. Additionally he works with the Boy communities.
Scouts of America, the North Texas Those communities "[Ifeel] very blessed to be working in
Variety Club, the Will Rogers Institute
and the PTAs at his children's schools.
have expanded widely in
the 15 years Stock has
a fun industry with good people."
Originally from Moscow, Idaho, the been with Cinemark,
which has rapidly grown from a mere a fondness for the action genre, personified
by James Bond or Indiana Jones.
handful to roughly 2,800 screens and has
crossed into Canadian and Latin He says his family—wife Cheri,
American markets.
daughter Suzanne, sons Brian. Chad,
Stock attends all theatre openings, Brent and Evan—also love movies, but
often checks in as a customer to see the
business from the other end and travels
to the major conventions and to New
York ("for the banks") and Hollywood
("for the industry").
He believes in fundamentals, concerned
along with many others in the
industry that too much building "without
thought" has led to the woes of
overscreening. He's not interested in
playing politics, believing in a good partnership
with the people who make the
movies, and good service to those who
watch them.
He also likes to watch, having always
loved movies—and though he doesn't
like to play favorites, he admits to having
essentially the children, who range in
ages from 9 to 17, want to play. So the
family is very involved with outdoor
activities. They like to bike, he likes to
play golf (though he won't reveal his
handicap) and often conducts river trips
for the Boy Scouts.
His work ethic is built on his church's
tenets of integrity. He says tht he feels
"very blessed to be working in a fun
industry with good people." He believes
that maybe one of the reasons Cinemark
has been successful is because "
always keep in mind that work is just a
part of a bigger picture. For me [that]
includes my church, family and charitable
and community endeavors."^
124 BOXOFFICE

UNIVERSAL PICTURES
We Proudly Congratulate the
JIM THARP
Show "E" Award
TERRY
PRESS
Show "E" Award
ALAN STOCK
I. Hassanein Humanitarian Awan
MARTIN CAMPBELL
Award of Achievement in Filmmaking
MARTIN SHAFER
Lifetime Achievement Award
GEORGE LEVITT
ipiro Distinguished Service Award
JAKE EBERTS
George Eastman Award
SPERIE PERAKOS
The Founder's Award
UM
www.universalstudios.com

jeans
the alps

And Congratulates All Of The Award Winners
JIM THARP, Head of DreamWorks Theatrical Distribution
TERRY PRESS, Head of Marketing, DreamWorks SKG
Show *E' Award
Salah M. Hassani
ARIAN AWAR1
MARTIN SHAFER, President, Castle Rock Entertaini
Lifetime Achievement Award
Director MARTIN CAMPBELL
Award Of Achievement In Filmmaking
Producer JAKE EBERTS
George Eastman Award
GEORGE LEVITT, Senior Vice President, Film, National Ar
ll Shapiro Distinguished Service Award
SPERIE PERAKOS, Former President, Connecticut Associ-* ;"" **
The Founder's Award
MUNIR FALAH, Cine Colombia
JTERNATIONAL ACHIEVEMENT AWARE

SPECIAL REPORT: ShowEast 2000
DREAM TEAM
DreamWorks Pictures' Jim Tharp
and DreamWorks SKG's Terry Press
Receive the Show '£' Award by Bridget Byrne
Commitment
to
and achievements
in enhancing
the motion picture
experience" that's
what the 2000 Show 'E'
Award recognizes.
The recipients are
Jim Tharp, head of
DreamWorks SKG's
domestic theatrical distribution,
and Terry
head of marketing
Press,
for the company,
which was formed in
1994 by three men with
an almost fanatical
commitment to the
wonders of showbiz:
Steven Spielberg, Jeffrey
Katzenberg and
David Geffen.
Together Tharp and
Press have recently
brought to the public
via the cinema—the each only have to make a one-
Tharp (above) is very happy
to he sharing the award with
Press (right). "This way we
ciuck humor of Chic- minute speech," he laughs.
ken Run," the bloodbath
of "Gladiator." the
heroic tragedy of war in "Saving Private
Ryan" and the ironic bitterness of family
life in "American Beauty." They've
been almost equally successful selling
modern angst. ancient drama or ants, or,
as they prefer to spell it, "Antz."
Films they've distributed and marketed
have won the big awards (Oscars) and
earned the top dollars (more than $100
million).
This fall they are focusing on getting
the most out of Cameron Crowe's personal
rock-and-roll odyssey "Almost
Famous," the political thriller "The
Contender" and Robert Redford's paean
to the mystique of golf "The Legend of
Bagger Vance."
Tharp acknowledges that "commitment"
probably comes a little easier
when the company you're working for
only distributes a small selection of
films per year, although even just 10 or
so each 12 months hardly gives a person
time for a major vacation. When he does
get a break, however, Tharp and his wife
Jan, whose children
are grown,
like to travel,
play golf and are
getting into
scuba diving.
Tharp says he
was "basically
handed a blank
piece of paper,"
when hired by
the newly formed
DreamWorks.
He's in on the projects
at ground level, which
enables early understanding
of how distribution
for a particular
picture should be
structured. He has
created a system that he feels is better
"interlinked" in this swift communication
age to create solid, profitable relationships
with exhibitors to maximize
their common goal. "The word 'partnership'"
is key, he stresses.
Tharp says he can't really make comparisons
as to the way DreamWorks
does business because this is the only
distribution job he's had at this level.
Just "looking for a job," he started
back in 1966 in the sales department of
Warner Bros, in Memphis, Tenn. He
moved two years later to Paramount
sales. In 1970 he joined General Cinema
Corporation as the assistant film buyer
in Dallas, going on to become regional
buyer for the southern states and then
regional VP. In 1983 he was promoted
to VP of film, moving to the company's
Boston home office. He continued to be
promoted, ending up as senior VP of
film and film marketing prior to being
hired by DreamWorks.
"I think once you get into this business
you don't find many people getting
out," says Tharp. "On every level, even if
you are more on the business side, it's a
fascinating and interesting business."
Press, a California native, attended
Santa Monica College and earned a
degree from the
UCLA Film School.
She first worked in
the film department
of the Los Angeles
County Museum of
Art and then with
Landmark Theatres.
When she joined the
independent company
Crown International
Pictures she
was half of a two person
department, a
perfect nurturing
ground to learn all
aspects of publicity,
promotion and
advertising.
In 1987 she moved
to Disney Studios'
publicity department
as a staff writer. Two
years later she became national publicity
director for the Hollywood Pictures division
of the company and later senior VP
of marketing for the Disney Motion
Picture Group, where she honed her
skills on such films as "Toy Story, "The
Lion King," and "Beauty and the
Beast," which was the first animated film
to ever earn a Best Picture nomination at
the Academy Awards.
She joined DreamWorks at the start
of 1996.
Tharp is very happy to be sharing the
award with Press, if only for the simple
reason that if it had been a solo honor
he'd have to make a two-minute speech.
"This way we each only have to make a
one-minute speech," he laughs. UM
128 BOXOFFICE

Sony Pictures Entertainment
Proudly Congratulates
The following
2000 ShowEast Award Winners
Martin Shafer
LIFETIME ACHIEVEMENT AWARD
Munir Falah, Cine Columbia
Media Salles International
Achievement Award in exhibition
Alan Stock
salah m. hassane1n
Humanitarian Award
Sperie perakos
The Founder's award
Jake Eberts
George Eastman Award
George Levitt
al shapiro
Distinguished Service Award
jimTharp And Terry Press
Show "E" award
Leroy Mitchell, Barry Reardon,
Carl Patrick, T.G. Solomon, Nat Fellman
And Our pat notaro
Hall Of Fame Inductees
SONY
pictures-
LIGHTING Up Screens Around The World"

the poems of rilke
the spirit of st. louis

NATIONAL AMUSEMENTS
CONGRATULATES THE AWARD WINNERS
OUR OWN
GEORGE LEVITT
AL SHAPIRO DISTINGUISHED
SERVICE AWARD
JIM THARP and TERRY PRESS
SHOW "E" AWARD
ALAN STOCK
SALAH M. HASSANEIN
HUMANITARIAN AWARD
SPERIE PERAKOS
THE FOUNDER'S AWARD
MARTIN CAMPBELL
AWARD OF ACHIEVEMENT
IN FILMMAKING
MARTIN SHAFER
LIFETIME ACHIEVEMENT AWARD

SPECIAL REPORT: ShowEast 2000
GOLDEN EYE
"Vertical Limit" Helmer Martin Campbell
Revecives the Award of Achievement in Filmmaking
by Annlee Ellingson
not going to Disneyland," director
Martin Campbell says, laughing.
I'm
"That's what I'm looking forward to
doing [at ShowEast in Orlando, Fla.]:
not going to Disneyland."
The British helmer of such international
blockbusters as "Golden Eye"
and "The Mask of Zorro" may not relish
the locale in which he'll be honored
for achievement in filmmaking, but he
definitely appreciates the award.
"Really, I've never [won] any sort of film
award," he says, "so it was quite a shock.
My first question was, 'Well, why? What
have I done? I've achieved nothing.'"
Exhibitors beg to differ. Since moving
to Hollywood in the late '80s, Campbell's
pictures have generated well over
$500 million in ticket sales worldwide.
Born in New Zealand, Campbell says
he "always was keen on movies," first
admiring the work of John Frankenheimer.
"The first movie that really
influenced me was 'The Manchurian
Candidate' that Frankenheimer directed.
I was a huge fan of Frankenheimer
in those days, and that was my first real
sort of kick to say, 'Gosh I'd love to
somehow get involved in movies.'"
He — first aspired to be a video cameraman
"I had no idea what a director did
in those days." he says— paying his own
Filmine "Vertical Limit
fare for a boat ride to England. He
worked at the BBC, eventually directing
"Edge of Darkness," a 1986 miniseries
about political corruption in England's
nuclear policy that earned
six BAFTAs and paved his
way to Hollywood.
"They do this wonderful
sort of two-week tour
where you meet all the
sublevel bloody agents
and so forth in Hollywood,"
Campbell says.
"They all tell you you're
wonderful and then you
go home and there's radio
silence."
In 1988 he was asked to
direct "Criminal Law,"
starring Gary Oldman
and Kevin Bacon, in the
subsequent years helming
"Defenseless," "No Escape"
and a couple of
episodes of "Homicide:
Life on the Street" before
his induction into the
Bond franchise in 1995.
In a sense, Campbell's
now come full circle,
returning to New Zealand's
Southern Alps near
Queenstown and Mt.
Cook to shoot the highaltitude
"Vertical Limit,"
due out this December and
screening
at
ShowEast.
Zealand.
Campbell's
not one for
nostalgia, however.
"At the end of the
day. [I've] been away
for so long [that] it's
sort of become like
another country and
just another location
you go to to shoot."
he says. "It happened
to be a magnificent
location, so
that was a real plus.
As to my roots and so
forth, I'd been away
for so long that it didn't really connect
that much."
Though it's set on K2, a peak that
rivals Everest in height, Campbell and his
"Really, I've never [won] any sort of
film award, so it was quite a shock.
My first question was, 'Well why?
What have I done? ,n
colleagues chose to shoot in Net
Zealand in a lower range that resembles
the Himalayas rather than duplicatinj
the location indoors—a challenge that
was worth the extra effort, Campbell
says. "It's never going to look real on a
soundstage. You've got to get up IB
mountain to do it. There were somt
scenes in the film [where] the views aif
absolutely magnificent, which justifies
going up on the mountain.... You could
never, ever recreate it in a soundstage.
"Logistically it [was] a nightmare," h(
continues. "But you just sort of cloS
your eyes and say, 'Well, it's impossible
but let's just go at it and see what hap
pens.'" ShowEast attendees will have i
chance to see the results themselves at
screening held just before Campbel
accepts his award. HiH
132 BOXOFFICE

CONQ'BJAT'llLWfiONS
ACShapiro DistinguishedService Award
George Levitt
Show "£" Award
Jim Thorp
Sfiow "2" Award
'ferry Tress
SaCah M. tfassanein humanitarian Award
ACdn Stock
Award of Achievement in Jummakmg
Martin CampBed
Lifetime Achievement Award
Martin Shafer
George ^Eastman Award
Jake XBerts
founder's Award
Sperie Terakos

true loue
BOXOFFICE
Things that last.
Vour magazine, since 1 920,

CONGRATULATIONS
TO ALL THE 2000
SHOWEAST AWARD
WINNERS FROM
BOXOFFICE ONLINE
www.boxoffice. com
November, 2000 135

SPECIAL REPORT: ShowEast 2000
HOOKED ON SERVICE
George Levitt, National Amusements
Senior VP of Booking, Receives the
Al Shapiro Distinguished Service Award by Bridget Byme
George
M. Levitt has successfully
avoided giving interviews for
many, many years. He wasn't
altering that rule for BOXOFFICE,
though we were eager to find out about
the man receiving the Al Shapiro
Distinguished Service Award.
Here are some facts we gleaned from
Levitt's biography, provided to us by
Dedham, Mass.-based National
Amusements, where he's senior vice
president of booking.
Levitt's held that title since 1995.
Previously he was vice president of
booking for seven years, and for 14 years
prior to that, he served as the circuit's
film booker.
He was born is Brooklyn and began
working in the New York retail business,
but in 1964 a job in Chicago as salesman
for Columbia Pictures lured him over to
show business. For two years in the early
'70s he worked as branch manager for
National General Pictures, but in 1974
he was convinced by Sumner Redstone
to move to Boston as a booker for
Redstone Theatres.
His friends thought he'd be back in
Chicago within two weeks. Wrong. It's
26 years later, and he's still in
Massachusetts.
BOXOFFICE
also learned that Levitt
holds a B.A. in psychology from
Syracuse University; he's active in
many industry organizations; his wife's
name is Judy and their three children are
named Mallory, Jason and Brian.
Listed as his primary interests in life
are family, friends, fresh air and, of
course, film. He's also an avid stripedbass
fisherman, as the picture above
surely indicates.
The final sentence of his bio reads,
"It's said he books films as well as he
hooks fish." BOXOFFICE was certainly
hooked, and we had to know more
about this enigmatic man. With the help
of National Amusements assistant VP
of corporate communications, Dana
Wilson, we were able to glean some
insight into the man being honored for
his distinguished service.
BOXOFFICE: What
prime qualities does Levitt
possess that make him a
good booker?
DANA WILSON: George
is tenacious, determined,
dedicated and he has a loud
voice.
BOXOFFICE: What was
is it about the movie business
that drew him in?
GEORGE LEVITT: I
thought it would be interesting—and
it was. I thought it
would be fewer hours and
I'd make more money—ha!
BOXOFFICE: This Show-
East award is for distinguished
service, but would
Levitt choose a different
way to describe his long,
successful career?
LEVITT: It's been hard
work and dedication.
BOXOFFICE: What did
Sumner Redstone say in
1974 that convinced Mr.
Levitt to join the company?
WILSON: George felt
working under the guidance
of Sumner Redstone, one of
the most brilliant exhibitors
in the business, was a "second-to-none"
opportunity
not to be missed.
BOXOFFICE: Why have
Mr. Levitt and National
Amusements been such a good fit for all
these years?
WILSON: The common goal of
being the best he could be and doing the
best he could.
BOXOFFICE If there is one big question
exhibitors should be asking themselves
about the state of the business
right now, what is it?
LEVITT: 'Are we building strategically
and not carelessly?"
BOXOFFICE What should the question
be for distributors?
LEVITT: "Where are the good scripts
that pull in audiences?"
BOXOFFICE Does he have an anec-
"It 's said that he books films
as well as he hooks fish."
National Amusements' biography
on George Levitt.
dote to tell that illustrates how a degree in
psychology has been helpful in his job?
WILSON: George feels he developed
a lot of common sense by studying psychology.
[He says,] "It has served him
well in buying and settling films."
BOXOFFICE Which industry organizations
has Levitt been active in?
LEVITT: The Foundation of Motion
Picture Pioneers, the New York Motion
Picture Club and Variety Club of New
England.
BOXOFFICE What's the biggest fish
he's ever caught?
WILSON: He swears he's telling the
truth: A 42-inch, 27-pound bass. WM
136 BOXOFFICE

would like to congratulate
- ALAN STOCK,
Salah M. Hassanein Humanitarian Award
- GEORGE LEVITT,
Al Shapiro Distinguished Service Award
- SPERIE PERAKOS,
Founders Award
- JIM THARP AND TERRY PRESS,
Show "E" Award
- MARTIN SHAFER,
Lifetime Achievement Award
- MARTIN CAMPBELL,
Award of Achievement in Filmmaking
and all the ShowEast award winners
at the 2000 gathering — and honor
the venerable industry names being
added to ShowEast's Hall of Fame.

SPECIAL REPORT: ShowEast 2000
AWARDEES
One
by Annlee Ellingson
Founder's Award
of the original partners of ShowEast and currently serving as the Connecticut Association of Theatre
Owners chairman of the board, Sperie Perakos has been recognized this year with the annual Founder's
Award.
Having graduated from Cheshire Academy and Yale University and attended Harvard Law School, Perakos served in
the army for five years during World War II as an intelligence captain. After the war, he joined the family business,
Perakos Real Estate Investments, which his father founded in 1906 with a nickleodeon. By the '50s, the operation, characterized
by single-screeners, covered three states—Connecticut. Massachusetts and New Jersey.
Perakos' involvement in the film industry wasn't limited to exhibition, however. He also served as president of Norma
Film Productions and produced Sophocles' 'Antigone" starring Irene Papas and members of the Greek Royal Theatre.
An active Yale alumni, Perakos has been involved with the university's Drama School Alumni Council, Film
Committee, Pierson College, Alumni Board, Peabody Museum and Art Gallery. He is also a philanthropist, contributing
to the Greek Orthodox Church and Seminary, Saint Basil's orphanage, Saint Michael's Home for the Aged and academic
scholarship funds. His hobbies include sailing, tennis, golf, the theatre, opera and, obviously, films. His loved ones
say that he has been known to sit through four films back-to-back.
This
George Eastman Award
year's recipient of the ShowEast George Eastman Award is producer Jake Eberts, who has been involved in
a number of critically acclaimed films throughout his 20-plus-year career—films that have garnered a total 70
Oscar nominations and four Best Picture Academy Awards. Graduating from McGill University and Harvard
Business School. Eberts began his career on Wall Street, later working for London-based Oppenheimer & Co., where
he arranged production financing for the animated version of Richard Adams' novel "Watership Down."
In 1977, Eberts founded and served as chief executive at Goldcrest Films, an independent production company that
was involved in developing and/or producing films such as "The Howling," "Chariots of Fire," "Local Hero,"
"Gandhi," "The Killing Fields" and "The Dresser." In 1985, he founded Allied Productions, an independent feature
film development and production company. Since then. Eberts has served as an executive producer on "The Name of
the Rose," "Hope and Glory." "The Adventures of Baron Munchausen," "Driving Miss Daisy," "Dances With
Wolves," "Black Robe" and "A River Runs Through It."
Most recently Eberts executive produced last summer's "Chicken Run" and this fall's "The Legend of Bagger Vance."
Lifetime Achievement Award
Acknowledging his prolific production company and longtime association with the industry event, ShowEast has
awarded Castle Rock Entertainment co-founder and president Martin Shafer the 2000 Lifetime Achievement
Award. Shafer founded his label, which has an output deal with reception sponsor Warner Bros., in 1987 with
Alan Horn, Glenn Padnick, Rob Reiner and Andrew Scheinman. In his role as president, he oversees the development,
production and distribution of all of the company's films, which have included "Misery," "A Few Good Men," "The
American President" and "The Green Mile"—all of which have screened at past ShowEast events. Upcoming Castle
Rock projects include Christopher Guest's "Best in Show," "Proof of Life," starring Meg Ryan and Russell Crowe,
Sandra Bullock's action-comedy "Miss Congeniality," and "Pluto Nash," starring Eddie Murphy. Hi
138 BOXOHICK

towwtto* Z Tnute &fani
-for tfa fi&ia/Pwtfb HaAjetpto&e
^dddddddd.ddddddddC
qDDDDDDDDDDDDDDDDt
November 14-16, 2000
Hong Kong Convention and Exhibition Centre
For More Information Contact:
(Asia/Pacific - Regional Office)
c/o Michael J. Werner
Trans-Pacific Media Consultants Group
10 Knutsford Terrace, 14th Floor
T.S.T., Kowloon, Hong Kong
852.2311.9777
fax 852.2311.8023
mjw@asiaonline.net
Sunshine Group Worldwide
244 West 49th Street, Suite 200
New York, NY 10019
212.246.6460
fax 212.265.6428
cineasia@sunshineworldwide.com
www.cineasia.com
PRESENTED BY SUNSHINE GROUP WORLDWIDE
aWvnu company

EXHIBITION
BRIEFINGS
LEAD STORY: UATC
FILES FOR BANKRUPTCY
Seeking Chapter 1 1 protection from its
creditors is Colorado-based circuit United
Artists Theatre Company, whose recent decision
to complete the filing comes shortly
after exhibition giants Carmike Cinemas and
Edwards Theatres announced their own declarations
of bankruptcy (see Exhibition
Briefings, October 2000). According to
UATC, approval of the company's Chapter
11 petition has been issued by a Delaware
court,
allowing the circuit to continue paying
for expenses accrued through daily operations,
such as payroll and film rental fees.
The chain indicates that the bankruptcy filing
was pre-arranged—before reaching
court, UATC creditors, shareholders and the
majority of its bondholders approved a
restructuring deal that gives Denver billionaire
Phillip Anschutz controlling interest in
the chain. In exhange for the 55 percent
share acquire by Anschutz, who has steadily
purchased UATC's public debt in his apparent
takeover bid, the investor will provide a
$25 million credit facility to the circuit.
Additional terms of the restructuring include
a reduction in the company's current debt of
$715 million to $252 million and, most
importantly, court-supervised negotiations
between UATC and its landlords regarding
the theatre chain's exiting of certain leases
on underperforming venues. UATC president
and CEO Kurt Hall has reiterated his
confidence in the circuit's ability to emerge
as a stronger company from the bankruptcy
filing. "I am excited about working with
Anschultz's team as we complete the
restructuring and rebuild and defend the
company's key market positions," he states.
GENERAL CINEMAS AND LOEWS
ON THE VERGE OF BANRUPTCY
Following close behind UATC, but not yet
at bankruptcy court, are Chestnut Hill,
Mass. -based General Cinemas and New
York City-based Loews Cineplex
Entertainment. In a recent filing with the
Securities and Exchange Commission,
General Cinemas unveiled that the circuit is
presently negotiating terms of payment with
its creditors as well as considering the possibility
of closing and selling some of its operations.
The company noted, however, that it
was also exploring the option of filing for
Chapter 11 protection. Citing "a decline in
patronage and profitability.. .due to the
buildup of megaplex theatres over the last
several years and an inability to terminate
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declare bankruptcy by securing a waiver
from its bankers, buying the company 90
more days to meet loan conditions on a $1
billion credit facility. Loews originally
expected to default on the loan last August
a move that would have given its major
creditors, including Deutsche Bank, Bank of
America and Bank of New York, the right to
withdraw any further funding. According to
a statement issued by the company, the 90-
day waiver allows Loews to "have further
access to funds to meet. ..financial obligations,"
while the chain works with its banks
"to arrive at a long-term solution."
FAMILY-RUN
DICKINSON THEATRES
SOLD TO STAFF
One of the last family-owned cinema circuits
in the country has announced its deci-
the business. Wood Dickinson,
sion to sell
CEO of Mission, Kan. -based Dickinson
Theatres announced
last September
that the
chain has been
purchased by a
group of key executives
working
at the company.
Dickinson says
that the decision
to sell the circuit,
which has remained
in his
family's hands for the past 80 years and has
spanned three generations, was motivated
by his desire to pursue interests outside of
exhibition as well as his expectations that
none of his eight children wish to work in
the industry. "None of the Dickinson fourth
generation shows an interest in the theatre
business, so it would be just a matter of time
before total top management of the chain
would be held by non-Dickinson family
members," he expressed in a prepared statement.
Among the group of executives taking
over Dickinson Theatres are circuit president
leases," General Cinemas has indicated that
company reorganization after a bankruptcy
may be a viable remedy for its present difficulties.
John Hartley, who will also assume the role
of CEO; company director of film marketing
Ron Horton; and director of theatre operations
General Cinemas parent company
GC Cos. saw its shares drop by nearly 37
percent following the announcement.
Brett H. Miller, who will hold the same
responsibilities as Dickinson vice presidents.
Hartley is optimistic about the future of the
Loews Cineplex, the country's second 210-screen chain, stating, "We are focusing
largest exhibitor, has avoided having to on. ..intermediate and small markets with
family entertainment complexes of 10 to 12
screens and a FunHub arcade. We are looking
at areas that have no theatres or have
outdated facilities
and would prefer the latest
in motion picture theatre features like stadium
seating, super wall-to-wall screens and
digital sound. The opportunities have been
unprecedented."
PACIFIC BUILDS UP IN PASADENA
Pasadena, a Los Angeles suburb and home
of BOXOFFICE, will be receiving a new $100
million entertainment complex to be
anchored by a Pacific Theatres multiplex.
Located on busy Colorado Boulevard, the
new 1,600-seat, eight-auditorium movie
house will feature the circuit's ArcLight concept,
which offers such amenities as reserved
seating and a cafe to clients with more discerning
tastes. Los Angeles-based Pacific
Theatres seems to have a fondness for the
town of Pasadena, considering that the chain
also plans to operate a new 14-screener,
which will anchor a separate mixed-use complex,
located just down the street from the
Colorado Boulevard development.
MALLS TO FACE FALL OUT
FROM EXHIB BANKRUPTCIES
While the exhibition industry's recent
string of bankruptcy filings has obviously
been the most detrimental to movie theatre
owners and operators, several analysts also
foresee the trend as having a significant
impact on shopping centers throughout the
country. With as many as 600 screens
expected to close over the next few years,
many shopping complexes will be seeing
cinema operators exiting their lease, and
thus leaving a huge amount of space open
within malls. Industry observers believe that
the vacated square footage will be a hard
sell to any other business besides exhibition.
In addition, theatres anchoring shopping
complexes have traditionally been a benefit
to other retailers and services in the mall,
such as restaurants, which draw patrons
who arrive or stay after a movie. The exact
monetary figures resulting from the shuttering
of screens within entertainment complexes
have yet to be determined, but both
landlords and analysts alike believe that the
majority of theatres that will close are older
venues holding less than 10 screens, with
more confidence being placed on modern,
larger plexes.
140 BOXOFFICE

OBITUARY
Age away Terry William Boyle, 56, passed last
September 14. Boyle spent over 40 years in the motion
picture business. Among the numerous movie houses he
worked at are Kimo Theatre in Kansas City, MO; NuArt
Theatre in Los Angeles; Samuel Coldwyn Pavillion
Cinemas in Los Angeles; Fashion Valley Four Theatres in
San Diego, Calif.; and the Riviera Theatre in Santa
Barbara, Calif. During his long career, Boyle was recognized
with many industry awards, including the Show-A-
Rama "Showman of the Year" honor. In addition to his
management positions at movie theatres, Boyle also
served as director of advertising for Metropolitan Theatre
Corp., West Coast advertising director for AMC Theatres
and most recently as national marketing director for
AMC Artplex Theatres.
Boyle is survived by his mother, Alethea Boyle of
Aurora, Colo, and his brother Kerry Boyle, also of
Aurora. Cards may be sent to Mrs. Althea Boyle at 460 S.
Victor Way, Aurora, CO 8001 2.
TICKER TIME
so*
to*.

MARCUS EXPANDS
IN APPLETON
Milwaukee-based
Marcus Theatres has
unveiled plans to
expand the number
its
of screens in
Hollywood Cinema
multiplex located in
Appleton, Wise. The
venue was originally
an eight-screener
when it first opened
four years ago and
has sinced grown to include 11 screens.
The latest addition will see the construction
of three more all stadium-seat, ail-digitally
equipped auditoriums—one of which will
house a 65-foot wide, wall-to-wall
UltraScreen for large-format features. Says
circuit president Bruce Olson of the new
larger-than-life screen, "The UltraView
auditorium, with seating for over 400, will
boast a screen 65 feet wide by 28 feet tall.
Our UltraScreens are the biggest traditional
movies screens in the Midwest."
ON THE MOVE
Scottsclale, Arz. -based Harkins Theatres has appointed Randall Blaum as its new director
of marketing services. Blaum's 23-year-career in exhibition has included his most
recent position as vice president of advertising for Knoxville,
Tenn. -based Regal Cinemas and vice president of marketing
and advertising for Act III Theatres. He actually got his start in
the movie theatre business when in the late '70s Viola
Harkins, circuit president Dan
Harkins' mother and co-founder of
the company, first gave Blaum a
job at one of her theatres. In his
new post, Blaum will be responsible
for all advertising, marketing
and promotional activities.
Redondo Beach, Calif.-based
Krikorian Premiere Theatres has
named Dale Davison as its director
of corporate development. For the past 1 7 years, Davison
has served as president and CEO of CinemaCal Enterprises
and he has also worked as a real estate consultant for Resort
Theatres of America. Says Davison of his new position, "I am
very excited about the opportunity to help the circuit's owner,
George Krikorian, reach his vision for the future."
CALENDAR
Remember to save these dates:
ShowEast, Oct. 11—14, Mariott Worldwide, Orlando, Fla. Call (212) 246-6460...CineAsia, November
14— 16, Hong Kong Convention and Exhibition Centre, Hong Kong. Call
(212) 246-6460...ShoWest, March 5—8, 2001, Bally's Hotel/Paris, Las Vegas. Call
(212) 246-6460...ShowCanada, April 28—May 2, 2001, Quebec City, Quebec. Call
Adina Lebo at (416) 969-7057...NAC Convention, May 8—11, 2001, Ramada
International Plaza, San Francisco, Calif. Call Meredith Ely at (312) 236-3858...Cinema
Expo, June 25—28, 2001, RAI, Amsterdam. Call (212) 246-6460.
CINE
G&S Entertainment, LLC
IS PROUD TO
Since May 12, 2000
ftlcickwell Theatre
Blackwell Square Shopping Center
3378 Canton Road Marietta, GA 30066
Seating 300 and 250 with a stage
Soon starting our 20th week of
rm ww wmn nmm

HILL
NEWS
^^^^^^Hfl
^H^^^^H
by Francesca
Dinglasan
LEAD STORY: FTC REPORT SAYS
HOLLYWOOD MARKETS ADULT
PRODUCT TO CHILDREN
The results are in from the
_jjlL Federal Trade Commission's close
£2ii3 investigation into the marketing
practices of the entertainment
industry, and they don't reflect well on the
hard business of selling Hollywood product.
The report, which was first ordered by
President Clinton in June 1999 after the
fatal high school shootings in Littleton,
Colo, by two boys believed to have been
influenced by violent music lyrics, cites
hard evidence against various media outlets,
claiming that the companies intentionally
and aggressively marketed their adultthemed
products to younger consumers.
The FTC's 104-page report says that the
state-run organization was able to obtain
internal documents from major film studios,
record companies and video game
manufacturers proving that the businesses
actively sought out children and teenagers
as a potential market by advertising in magazines
and comic books, as well as running
commercials during television programs,
that target the younger demographic.
The FTC report has resulted in an even
louder outcry from Washington, where
scrutiny on Hollywood activities has steadily
increased over the past several months.
The fact that this is an election year has also
contributed to the vociferous nature of many
politicians, such as presidential candidate Al
Core, who recently stated on TV's "The
Oprah Winfrey Show" that he plans to give
the entertainment industry six months to
improve its record on marketing adult product
to underage audiences before he actively
pursues legislation that would hold the
companies liable for such practices. Gore's
call for industry executives to adopt a plan of
self-regulation is one echoed by numerous
public figures, including FTC chairman
Robert Pitofsky, who suggests that the entertainment
industry redouble its
efforts regarding
adult-content labeling as well as produce
annual reports that relate how effective
the system is at keeping such products out of
the hands of underage consumers.
COSMOPOLITAN TAKES
HOYTS TO COURT
Aussie independent theatre Cosmopolitan
Twin Cinemas is filing a lawsuit against
Hoyts Cinemas for alleged "breach of conduct"
on the part of the exhibition giant.
According to the two-screen venue, Hoyts
was given permission to build and operate
an eight-screen plex in the town of Woden,
near the Australian capital of Canberra, with
the understanding that the company must
"enter into a mutually satisfactory commercially
agreement with the owners of the
Cosmopolitan Twin Cinemas." However,
Cosmopolitan says that there was no communication
between the two theatre operators
from mid-1998 to the beginning of this
year, during which time Kerry Packer's
Consolidated Holdings acquired the Hoyts
chain. In a prepared statement, Cosmopolitan
says, "Hoyts never intended to
enter a joint venture arrangement and kept
changing 'the goal posts' so as to make it
impossible for the owners of the
Cosmopolitan Twin to meet its proposed
obligations uder the joint venture arrangement."
SMART PEOPLE
KNOW TO HIRE THE BEST
NEW YORK SHOWS SUPPORT
FOR SAG STRIKE
Last September, actors from the stage,
screen and television joined with New York
State comptroller H. Carl McCall to show
their support for the striking Screen Actors
Guild. Prominent performers assembling
with McCall included Kevin Bacon, Harry
Belafonte, )ohn Turturro, Philip Seymour
Hoffman and Richard Dreyfuss. One of the
specific targets of the demonstration was
telecommunications giant AT&T, which has
been using non-union actors in commercials
during the longstanding strike.
DO YOU HAVE NEWS ABOUT
LECAL ISSUES AFFECTING THE
EXHIBITION INDUSTRY?
PLEASE SEND CLIPS TO:
BOXOFFICE
155 S. EL MOLINO AVE.,
SUITE 100
PASADENA. CA 91101
ATTN: HlLL NEWS
THEATRE & VIDEO PRODUCTS
CALL US!
Our company is a full-line cinema & studio equipment supplier.
We create custom Sound & Projection Systems tailored to your requirements.
We have three engineers and a full support staff to serve you,
and we EXPORT WORLDWIDE.
921 N.E. 79th Street
Miami, FL 33138
Visit our website at: tvpmiami.com
COME SEE US AT BOOTH #1221
Phone 305-754-9136
Fax 305-759-0863
Response No. 117
November, 2000 143

I COO
|
chief
I been
I head
I
Schneider
|
eran
TECH
TALK
SUPPLY SIDE
by Annlee Ellingson
AND THE OSCAR CONSIDERATION
GOES TO...
The Academy of Motion Picture Arts and
Sciences' Scientific and Technical Awards
Committee has selected 18 scientific or
technical achievements to be further considered
for the 73 rd Academy Awards. Among
them are JBL's ScreenArray cinema loudspeakers,
models 4632 and 3632; Dolby's
measurement technique, equipment design
and control program implementation for
loud trailers; and ISCO-OPTIC's projection
lens series for cinema and studio purposes.
The achievements will be demonstrated in
October for the committee, which will make
recommendations to the Academy's board of
directors, and the awards will be presented
next March.
(T)RN DMC
DistributedMedia.com (DMC), a subsidiary
of NCT Croup, has acquired the
Theater Radio Network (TRN) in a stockswap
transaction. Currently providing entertainment
audio programming in multiplexes
nationwide via compact disks, TRN will
now convert to DMC's Sight & Sound system,
which will add a visual billboard component
and remote delivery, improving efficiency
and enabling quick execution of programming
changes. The system also continually
adjusts the volume based on background
noise.
"The Sight & Sound system will immediately
increase our revenue-generating
capacity because it will expand our current
programming from primarily the screening
areas of the theatre into theatre lobbies, concession
and waiting areas," says TRN CEO
Allan Martin, who will continue to run the
company. "We expect to make great strides
forces with the Xenon light industry's preeminent
supplier," says Ballantyne CEO
and president John P. Wilmers. "With the
worldwide cinema and digital projection
bulb replacement market approaching $60
million annually, LTI's products have the
potential to become a significant new
'razorblade' product for our replacement
parts business."
"We are thrilled to have the opportunity to
work with Ballantyne in this capacity," adds
LTI president and CEO Ken Luttio. "Together
we will offer the highest quality, U.S. -manufactured
lamps and lighting equipment
available on the market today."
NEUMADE GOES GLOBALMIC
Neumade Products and Clobalmic have
joined forces to develop an advanced theatre
automation for use in Neumade projection
systems, adding another level to
Neumade's market expansion and marking
Canada-based Clobalmic's entry into the
U.S. market.
ON THE MOVE
Michael Karagosian, president of MKPE
Consulting, has been named digital cinema
consultant for the
National Association
of Theatre Owners.
Karagosian will work
closely with NATO
VP and executive
director Mary Ann
Crasso, president
John Fithian and
other NATO leaders
to "spearhead
NATO's efforts to
manage in an orderly fashion the motion
picture exhibition industry's transition
toward celluloid-free projection," according
to Grasso.
Barco has appointed Harry Mathias as
the projector developer and manufacturer's
I director of digital
cinema. Mathias, a
I
1 9-year industry vetwho
most
recently served as
the worldwide director
of motion picture
technology and the
of west coast
operations
for
Optics,
in market penetration with this larger multimedia
guide the strategic
presence."
"Every month, TRN reaches more than 40
ill
planning, mar-
coordination of the
keting and technical
million listeners on behalf of its advertisers,"
Barco Digital Cinema projector rollout in
says DMC CEO and president James A.
McManus. "Now, those advertisers can
the U.S.
Klipsch Audio Tech
deliver visual impressions to their theatregoing
nologies has restructured
audience as well as audio program-
its executive management,
ming."
dividing the company
two key business units: the
BALLANTYNE AND LTI
worldwide products group
and the worldwide manu
BRING GOOD THINGS TO LIGHT facturing and supply man
Lighting Technologies International (LTI),
Hfll^H
agement group. T. Paul
a manufacturer and marketer of specialty
Jacobs, who has been with the company
light sources and systems, has named
since 1991, has been
Ballantyne of Omaha and its Strong
named executive VP and
International unit as the exclusive distributor
of the products
for the sale of its Xenon bulbs to the motion
group; Michael F. Klipsch,
picture spotlight industries.
and
counsel and senior
"This is a stellar opportunity for a quality
equipment manufacturer to join
VP at the company, has
promoted to execu-
VP and COO of the
U.S. manufacturing and supply management
group.
LARGE FORMAT
IMAX-IMUM BRANDING
Still courting potential buyers (see Tech
Talk, September 2000), Imax Corp. is seeking
to extend its brand into new product categories
such as consumer electronics and
has hired consulting firm Highgate Partners
to evaluate opportunities.
"The Imax brand is known around the
world for the highest quality family entertainment
presented via images that are]
unsurpassed in size, clarity, impact and
sound," Imax co-CEOs Richard Celfond and
Bradley Wechsler say. "The worldwide
awareness of the Imax brand and its strong
attributes may create significant opportunities
to license the brand into other products
and markets."
The brand-extension campaign won't be
fully realized, however, until the sale of the
company is complete.
WIRED WORLD
INTHEATER NOW ONLINE
The National Cinema Network (NCN)—
best-known for its InTheater film, slide and
audio advertising—has expanded to the
Internet, creating an online network of
movie-related sites called National-
Cinema. net. AMC, Marcus and Bainbridge
are among the first circuits that will benefit
from NCN's nationwide sales force that will!
offer potential advertisers the opportunity to
market on several movie-related sites
through one deal with NCN.
"NationalCinema.net enables us to focus)
on our core business while reaping ancillary
revenue from our online presence," says]
AMC senior VP of corporate communications
Rick King.
"Many sites don't generate enough traffic
individually to merit an active sales effort,"
says NCN president Chuck Batteyj
"NationalCinema.net allows movie-related
sites to combine resources, yielding high
traffic and a powerful audience that's highly
desirable to advertisers."
SURF'S UP AT MARCUS
Milwaukee, Wis. -based Marcus Theatres
has inked with New Lenox, III. -based
eKiosk.com to install broadband Internet
access kiosk workstations in four of its theatre
lobbies in their respective home states.
Offering 10 minutes of free browsings
patrons can check out Marcus' newlw
relaunched site (see 9 on the 'Net), watch
previews and in the future buy tickets at the
eKiosks. The companies also predict that
eventually moviegoers will be able to download
MP3s or purchase CDs from the units.
"It's
a great way for our guests to stay con-j
nected," says Marcus president Bruce Olson.
"eKiosks are another example of our dedication
to offer the latest and best in today's
technology to enhance the moviegoing
experience."
"This is a tremendous opportunity to
expand our Internet service offerings to the
20 million moviegoers that visit Marcus
Theatres every year," says eKiosk CEO Don
Heidrich.
144 BOXOFFICE

BOXOFFICE: What was involved in inte-
your site with the online movie
capabilities provided by movie-
tickets.com?
Michael Tiemeyer, Marketing and
it Director: remains extremely
i
grating
|
ticketing
i
!
Advertising
I
I
i ; Marcus
'
send
i
I
i them
i our
: ring
9 ON THE 'NET: Michael Tiemeyer Disccusses the Relaunched www.marcustheatres.com
important to us to build our own brand identity
on the web. In our markets, we have a strong
brand identity that we have built over our 65
years of exhibition. We did not want to simply
|
send our guests to another website that has
new and possibly unrecognizable branding in
our markets. It takes years to build a brand, and
we are confident that our guests will feel invited
to logon to marcustheatres.com.
Our strong partnership with hollywood.com
allows us to have the best of both worlds: a
loyal customer base and an innovative ticket
fulfillment partner in movietickets.com. Our
goal was to make the process seamless to our
guests: They can search by theatre or by
movie, then select a showtime in our environment,
which will take them to our co-branded
ticket fulfillment page for the exact movie and
time that they chose in our environment.
Our designers, Netrox of Miami, Fla.,
achieved the seamless co-branded integration
by mapping data from our point-of-sale (POS)
system with the data to the movietickets.com
system. The procedure eliminates the duplicating
of processes by the customer. This was
truly a monumental task but was extremely
necessary for a successful co-branded site.
BOXOFFICE: How did you handle the E-
Mailed Showtimes, program-wise?
Tiemeyer: This is truly a dynamic feature
that I am most excited about. Our guests can
sign up for our service called E-Mailed
Showtimes. It is quick and simple with only
three clicks. Our subscribers
sign up
|
and
Iget their favorite
Marcus Theatres showtimes
e-mailed weekly
to their desktops, personal
digital assistants
(PDAs) or to their wire-
I less pagers or cell
phones. We also provide
a return link to
our page for customers
to purchase tickets.
The ancillary values
lihere are incredible.
We have now been
invited to e-market to
Theatres
moviegoers. We can
announcements
throughout the week about other programs,
and the customer will in most cases not delete
because the e-mail is invited and not
i considered spam. In addition, we lessen the
importance of print advertising. As we grow
subscriber base, we are able to limit the
size and frequency of our directory advertising.
With the combination of interactive voice
I response (IVR) systems and the web, I can see
running a one-inch directory print ad defer-
our guests to our web or IVR systems.
I This process involved designing a database
to house all of the subscriber's e-mail
addresses and data strings from our POS
indicating the theatre(s) that they choose. A
cold fusion script was written that sends the
e-mails, theatres and movie information
from our database to their e-mail address at
precisely the same time every week.
BOXOFFICE: How did you settle on your
tabbing system?
Tiemeyer: I am a tirm believer that redundancies
are important in a website. You must
give the user multiple paths to the same
information as different users search in different
ways. Our tab system is
always at the top
of every page. It is designed as a quick link to
what we consider frequently accessed pages.
If we bore them (that will never happen on
this site!), we give them a quick link to the
information they want no matter
what page they are on.
The blue highlighted tabs are
what I consider to be the most
accessed pages: Buy Tickets,
Theatre List, E-Mailed Showtimes.
We wanted these tabs to be
quickly recognizable and therefore
easily accessed.
BOXOFFICE: How will users be
able to personalize their Marcus
pages?
Tiemeyer: Some users will
want
to quickly go online to purchase tickets
in two minutes or less, avoiding all of the
peripheral functions that we offer. Our My
Marcus Theatres function allows our guests to
select up to four of their favorite Marcus
Theatres. When they go online,
the theatre(s)
that they have selected will be listed on the
home page in our topper. The guest is literally
two clicks away from the ticket fulfillment page.
BOXOFFICE: How was the Marcus Reward
MasterCard program with Wells Fargo
developed?
Tiemeyer: The world of co-branded credit
cards is about as crowded as movie screens
today. We are proud of our Marcus Reward
MasterCard program
because it includes
most Marcus properties
(theatres, hotels and
resorts, limited lodging).
We are building a customer
loyalty base by
offering reward points
with our internal entities
as well as our external
partners. Guests will
earn double rewards
points when they use
their Marcus Rewards
MasterCard to purchase
movie tickets and concessions.
Guests can
earn free tickets to
Marcus Theatres with
accumulative points
earned from all purchases. In lieu of a theatre
frequency program, with our Marcus Rewards
MasterCard we are developing guest
loyalty
with a revenue-generating program.
We have designed a co-branded application
page with Wells Fargo that will allow
Marcus Theatres guests to apply for their
Marcus Rewards MasterCard online.
BOXOFFICE: What are the upsides of having
an NCN banner on each page? And
what benefits come from the proffered ad
opportunities with Movie Review Magazine
and with CD ROMer Digital Sparx?
Tiemeyer: Ancillary revenues have never
been more important to exhibition than
now. We have a wide range of advertising
opportunities because we draw such a
strong demographic. At 20 million plus ticket
buyers annually (averaging four million
unique ticket buyers annually), Marcus
Theatres has a strong captive audience of
consumers. Currently we have more than
100,000 unique users monthly online, and
that segment is growing incrementally.
Our banner advertising revenue goes
towards offsetting our expenses to maintain
our website in-house. Our decision to go with
NCN was due to the fact that they partnered
with Doubleclick (the largest online ad agency
in the U.S.) and that we currently partner with
NCN for our onscreen advertising
program. Although our demos are
impressive, no single circuit is
attractive enough to garner the
quality and number of advertisers
on national media buys.
We have also had a multiplicity
of in-house ancillary programs
that are designed to generate revenue
while adding customer value
to our locations. In most cases
these programs such as Movie
Review Magazine, Digital Sparx
and e-Kiosk (in-lobby Internet
access) are partnered programs. To our guests
and some advertisers, they are viewed as simply
Marcus Theatres programs. We have created
an online source for potential advertisers
to easily inquire about the multiple advertising
opportunities with Marcus Theatres.
BOXOFFICE: How was the Movie Store
page developed?
Tiemeyer: Similar to our co-branded ticket
purchase page, we have co-branded a Movie
Store page with hollywood.com. We wanted
to offer movie memorabilia to our guests, but
unfortunately inventory can be hit-or-miss with
this specialty type of merchandise. Fulfillment
can be equally cumbersome and administratively
expensive. Our decision to partner with
hollywood.com on this venture allows us to
offer an eclectic inventory of movie-related
merchandise and memorabilia, without the
responsibility of inventory and fulfillment. The
benefit is that we have in this program another
revenue stream, with no overhead costs.
BOXOFFICE: Could you describe the
upcoming "Dinner and a Movie" service?
Tiemeyer: Dinner and a movie is almost a
cliche. It is the most common form of evening
entertainment. Our Dinner Reservations feature
is designed to offer the guest another reason to
come to marcustheatres.com for their entertainment
planning. Currently we are in the marketing
stages with local restaurants to subscribe to
this service. We are also negotiating a co-brand
with a possible established partner that specializes
in online dinner reservations. Our plan is to
create an ask-you text box that will allow guests
to choose restaurants within a five-mile radius
of the theatre from which they purchased tickets.
Guests will also be able to make dinner
reservations without buying tickets
simply by
going to the Dinner Reservations tab and selecting
by region or ethnic cuisine.
We may be able to work with several
restaurants to create the reservations in real
time, but for the immediate future our plan
will be through an e-mail reservation and
confirmation format.
BOXOFFICE: How many unique users
does www.marcustheatres.com see monthly,
and what has your unique users growth
been in the past 1 2 months?
Tiemeyer: Current unique users monthly:
127,000. Past 12 months unique users
growth: 64 percent.
November. 2000 145

STUDIO
NEWS
DGA PROPOSES
NEW RATINGS SYSTEM
by Annlee Ellingson
Responding directly to the Federal Trade
Commission's recent report on
Hollywood's marketing practices (see Hill
News, page 143), the Director's Guild of
America has called for a universal ratings
system for all media— including movies,
television, music and video games—that
will "give parents and other consumers the
most detailed information possible regarding
the true nature and content of a film
or other media—and the reason for its
rating
so that they can make informed decisions
for themselves and for their children,"
according to a statement released by the
organization.
The statement was issued on the same
day that Motion Picture Association of
America president Jack Valenti vehemently
defended the decades-old ratings system to
the Senate Commerce Committee in
Washington, D.C. The DGA ostensibly supports
the FTC's findings, as long as the
resulting discussions stay on the topic of
marketing and do not stray to conversations
about content. "We think it would be both
CORPORATE REPORT CARD
Revealing its first-quarter results for fiscal 2001, Vancouver, British Columbia-based
Lions Gate, which recently secured a $200 million credit facility led by Chase Securities
(see Studio News, October 2000), reported a net income of $1 .7 million, up from a loss
of $3.5 million last year. Revenue rose a substantial 93 percent from $28.2 million to
$54.4 million, and earnings before interest, taxes, depreciation and amortization
reached $4.7 million after a loss of $1.4 million during the same timeframe in 1999.
Largely due to "American Psycho's" $15 million gross, the company's film division
reported revenues of $31.4 million, up 43 percent from $22 million a year ago.
However, Lions Gate's 45 percent stake in Mandalay Pictures resulted in a loss of
$700,000 for the company.
First Look parent Overseas Filmgroup reported a second-quarter net loss of $666,705,
or 10 cents a share, compared with $47,714, or one cent a share, in 1999. Revenue likewise
decreased 48 percent to $4.4 million from $6.5 million. Losses were blamed on higher
administration costs and debt reduction.
Harvey Entertainment, the home of Capser the Friendly Ghost, revealed a $6 million
loss, compared with $2.1 million in the red in 1999, in the second quarter,
including a $4 million loss related to its sale of Kushner-Locke stock. Revenue rose
to $5.1 million from $361,000 the year before due to its acquisition of PM
Entertainment.
inappropriate and unconstitutional for any
government agency to regulate or enforce
any potential ratings system through civil
penalties, criminal prosecution or other
means," the statement says.
The Guild also appealed to exhibitors to
enforce a "zero tolerance" policy to prevent
underage customers from seeing inappropriate
films.
NEWS CORP. PLANS
STOCK BUYDACK
Citing a surplus in corporate cash,
Sydney, Australia-based News Corp. has
announced that it will buy back up to $1.5
billion, or 6.5 percent, of its preferred shares
over the next 12 months. This kind of move
often means that a company deems its
shares undervalued.
CREDIT SUISSE
INVESTS IN DLJ
Investment bank Credit Suisse First Boston
has announced its impending purchase of
rival Donaldson Lufkin & Jenrettefrom Parisbased
insurance group AXA in a cash-andstock
deal worth over $11 billion. Both firms
are heavily involved in the entertainment
industry, with DLJ recently underwriting
Destination Films for $100 million.
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Response No. 40

Sherak,
ISPER
ITS FRIENDLY
ITH MR. MAGOO
utting an end to months of speculation,
|d investor Classic Media has signed a letof
intent to purchase a majority stake in
rvey Entertainment, a move previously
icipated to be made by Lions Gate (see
^dio News, October 2000). Classic,
owns rights to Mr. Magoo, would
frhange $30 million in cash and stock to
: 10 million shares in Harvey, home
jasper the Friendly Ghost, or almost 60
cent, with the option to buy up to 73
LEAD STORY:
SUMMER SIZZLE FIZZLES
For the first time in four years, this summer's
boxoffice did not exceed last year's.
Between May 5 and Labor Day (industry
insiders have expanded the season as summer-ish
blockbusters such as "Gladiator"
and "Mission: Impossible 2" have consistently
been getting pre-Memorial Day
release dates), boxoffice receipts totaled
$3.13 billion according to estimates by
Exhibitor Relations, down five percent from
1999's record-breaking $3.28 billion.
Given this year's higher average ticket
price— up 17 cents to $5.25—summer
moviegoing was even chillier: Admissions
were down eight percent to 595 million
from another 1999 record of 645 million.
These lagging figures are of particular concern
since 40 to 50 percent of annual boxoffice
revenues are earned during the
hottest months of the year.
"The bar was raised in 1999 with the
record grosses that we saw that year,"
Exhibitor Relations president Paul
Dergarabedian tells BOXOFFICE. "To rise to
that level was going to be tough, and we
were unable to do it this year. I think it just
had to do with [the fact that] we never really
had the momentum that we needed. Last
summer, 'Phantom Menace' kicked things
off in a big way, and then film after film
captured the imagination of moviegoers.
"But remember," he cautions, "it was still
the second biggest summer ever in terms of
revenue. It's really that we're comparing
[this summer] to the granddaddy of all summers,
the summer of '99, so anything is
going to pale by comparison."
The season's top five grossers were
Paramount's "Mission: Impossible 2" ($213
million), DreamWorks' "Gladiator" ($183
million), Warner Bros.' "The Perfect Storm"
($178 million), Fox's "X-Men" ($153 million)
and Miramax's "Scary Movie" ($150
million).
[•cent.
IERAK JOINS
^
.
IE REVOLUTION
Dn the heels of Bill Mechanic's abrupt
parture from Twentieth Century Fox (see
»dio News, September 2000), Tom
the studio's
^^HH^ Domestic Film
Group chairman,
has also resigned,
becoming an equity
partner in Joe Roth's
Revolution Studios.
The industry vetervho
oversaw
250 films (including
the "Die Hard" and
"Star Wars" franises)
during his 17-year tenure at Fox,
III
contribute his expertise in distribution
Id marketing as well as negotiate with
Iny, with whom the production banner
I; its domestic distribution deal. The
live wasn't entirely unexpected, as the

J
INTERNATIONAL NEWS BRIEFS
NORTHERN EXPOSURE
Canadian News Notes by Shlomo Schwartzberg
CHASE IS ON AT FAMOUS
Famous Players Inc., through parent company Viacom Inc.. has announced
that Robb Chase will be the circuit's new president and chief operating officer,
replacing John Bailey, who becomes Famous Players' new chairman and chief
executive officer.
"The reason [for the move] is we're completing the end of our building phase,"
said Joanne Fraser, Famous' VP of corporate affairs, in an interview with BOX-
OFFICE. "Now that we have wonderful new theatres, we can concentrate on
branding and marketing. [Bailey's] job is done and he can turn it over to Robb."
Chase will concentrate on such Famous Players initiatives as its Techtown and
Playdium entertainment complexes. "With his background, Robb is a perfect fit,"
says Fraser. He comes to Famous Players from Pepsico, where he was vice president
of marketing for Pizza Hut International and, most recently, senior vice president
of international franchising for Pizza Hut, KFC and Taco Bell.
Bailey's new role will be to "oversee the whole general operations [of Famous
Players]," says Fraser.
With three more builds and 44 screens set to open by the end of 2000,
Famous Players will reach a total of 1 10 locations and 900 screens. Of these. 41
sites and 523 screens are from its 1997-2000 building phase.
Despite recent downturns in the exhibition business (Cineplex Odeon faces
the possible closing of many of its Canadian multiplexes due to the financial
woes of its parent company, Loews Cineplex Entertainment), Famous Players is
in good shape, insists Fraser. "We're very fortunate [because we secured] our
locations earlier then everyone and they're good locations. The ownership by
Viacom is helpful. Our parent company consistently supported us through the
whole building process. When you have the biggest entertainment conglomerate
in the world behind you, it's positive."
That doesn't mean that Famous Players won't consider closing some of its
older houses. "We're looking at our older theatres," she says, especially since "the
public goes out of its way to new theatres." But nothing is imminent. "It's a challenging
time to be in the exhibition business, but we're in a different position
than our competitors. Generally, things are going fine."
FINANCING PLAN TO PUT CANADIAN PROJECTS
IN THE BLACK
Blackwatch Communications Inc. continues its push to
become one of the more important producers/distributors in the
country with its recent announcement of an innovative financing
plan for film and TV producers. Blackwatch has announced that
between November 2000 and June 2001, through Blackwatch
Financial Inc., it will provide interim financing to producers for
their film and TV projects. The CS3-5 million (US$1. 8-3 million)
fund will lend money to producers who are waiting for bank loans
or for tax credits and certificates, which are currently backlogged
four to five months.
Blackwatch also announced that it will offer gap financing for
producers who need funds to complete productions against the
potential revenue of those productions. And in June 2001, the company
will begin to loan money against secured commitments from
established domestic and international broadcasters. A C$50 million
(US$30 million) fund will be drawn on for all three loan phases.
Though Blackwatch can accept collateral in the event the production
defaults, Blackwatch president William Mariani told
BOXOFFICE, "I'm not investing in film, [but] cash flowing. If a
good commercial, viable production may not go forward, we will
be there to help." It's not an altruistic act, says Mariani, but a way
for the company, which recently went public, to make money. "I'm
not a saint." says Mariani. "With our distribution, production
arm [and financial arm], we will use all three to assist producers."
Blackwatch will also provide auxiliary services.
such as credit analyses, which will determine if
film and TV productions are eligible for
Canadian-content tax credits.
On the distribution side, Blackwatch, which has
output deals with Sony Pictures Classics. Trimark
and The Shooting Gallery, is riding high, with its
very successful Canadian roll-outs of "All About
My Mother" (CS1.5 million; US$900,000) and
"The Winslow Boy" (C$450,000; US$270,000).
among others. Recent hits include "The Color of
Paradise" and current releases "The Tao of Steve''
and "The Girl Next Door," and Mariani is optimistic
about the upcoming "Crouching Tiger,
Hidden Dragon" and "You Can Count on Me."
At age 31, describing himself as a "very aggressive
guy." Mariani, a former pizza delivery boy,
confident that Blackwatch will continue to make
waves in the generally staid Canadian production/distribution
scene. "We are exactly where I
said we'd be."
"CROUCHING TIGER," "WAYD0WNT0WN"
TAKE TOP TORONTO PRIZES
This year's 25th anniversary edition of tft
Toronto International Film Festival was bursting ai
the seams—many critics could not get into the press
screenings—but it received—and deserved—higb
marks for its films, with big-budget Hollywood
movies like "Almost Famous" being praised alongside
"obscure" foreign films such as Taiwan's "Yi Yi
(A One and a Two)" and the Iranian dramas "A
Time For Drunken Horses" and "The Circle."
This year's prizes were, for the most part, predictable,
with Ang Lee's "Crouching Tiger, Hidden Dragon''
scooping up the People's Choice award, as selected by festival
audiences. The Australian comedy "The Dish" placed second, and
Paul Cox's "Innocence," also from Australia, and the British film
"Billy Elliot" were tied for third. Other winners: Gary Burns'
"waydowntown" for Best Canadian feature; Philippe Falardeau's
"La Moitie Gauche du Frigo" for Best Canadian first feature; and
"George Washington" and "101 Reykjavik," which shared the
Discovery award for best first or second film without a distributor.
The FIPRESCI award went to the Thai gangster fiM|
"Bangkok Dangerous." Boxoffice for this year was reported to be
C$1.7 million (US$1 million). The festival does not release attendance
figures but the audience numbers were estimated to be.
around 250,000.
To commemorate its anniversary, the festival commissioned the
Preludes. 10 short films by Canadian filmmakers (including Atom
Egoyan and David Cronenberg), which were almost all stellar!
For BOXOFFICE's first installment of Toronto Festival
reviews, please turn to page 160.
DO YOU HAVE AN EXHIBITION-RELATED NEWS ITEM
ABOUT THE CANADIAN MARKET? CONTACT SHLOMO
SCHWARTZBERG IN CARE OF OUR CANADIAN NEWS
BUREAU AT (416) 928-2179, OR FAX (416) 324-8668
148 BOXOFFICE

i
INTERNATIONAL NEWS BRIEFS
EUROVIEWS
European News Notes by Francesca Dinglasan
LEAD STORY: UGC OFFERS TO SHARE PASS PROFITS
PARIS—In an attempt to appease the French film industry, Gallic ciruit
UGC is offering to share some of the profits earned from the company's
unlimited movie pass, which has been the cause of endless conroversy
since its introduction last March (see EUROVIEWS, July 2000).
The chain has proposed to split money earned from the promotional
lass on a per-admission basis, which is currently set at 33 francs
US$5)—half would be given to independent exhibitors, who have com-
PANISH EXPANSION
MADRID—Unfazed by gloomy Financials reported by
'arner Lusomundo Sogecable, which recently announced plans
add 93 screens to its present 65 by year-end 2003. Among the
ght new multiplexes currently being developed are a 4,050-seat,
'-screener in the northern city of Oviedo and a 13-screen plex in
alencia, slated for groundbreaking sometime next year. The fivear
old circuit says that it
will model its new builds after its highsuccessful
theatre in Seville, which is located in a converted railay
station. According to a company spokesperson, former train
ations are ideal because of their excellent placement in the cenrs
of towns and the high rate of pedestrian traffic surrounding
em. Warner Lusomundo Sogecable ultimately hopes to have a
tal domestic screen count of 225 within the next four years.
CI BRINGS ON THEFILMW0RKS
LONDON—Also showing no signs of slowing down is
ropean exhibition powerhouse United Cinemas International,
hich has unveiled plans to launch a new theatre brand throughit
the U.K. and Ireland. Dubbed thefiimworks, the brand's flagip
venue—a 20-screen plex containing an Imax large-format
iditorium—is scheduled to open its doors this month in the
itish city of Manchester, with a second site slated to bow in
>ndon in 2001. The 348-screen circuit intends to expand its new
and at a rate of as much as three new sites annually over the
St three years. While UCI, a joint venture between studios
iramount and Universal, will not redesign its existing theatres to
corporate the new theme, the circuit says that all new future cinnas
it opens in the two countries will fall under thefiimworks
and.
COMPETITION HEATS UP IN NORWAY
OSLO—Norway's state-run Oslo Cinemas is about to receive
first major competitor. Norway Cinema Group, which runs the
lax Theatre in Oslo, has unveiled plans to open a 10-screener in
city's Aker Brygge neighborhood. Claiming that he was
ompted to establish a new theatre chain by the need to break up
slo Cinemas exhibition monopoly, Imax Oslo managing director
:rje Kristansen also says that he was motivated in part by recent
marks made by Oslo Cinemas topper Ingeborg Moraeus
Hansen. Local distributor SF Norge is currently leveling a
lawsuit against Hansen for negative criticisms she made in
public against one of its products (see Hill News, October
2000). Kristansen has denounced Hansen for her comments,
stating, "A movie's fate in Oslo could be decisive
for its success in the rest of the country. Oslo Cinemas displays
an incredible arrogance of this responsibility."
Norway Cinema Groups says its new plex will bow sometime
in 2003 and is presently seeking foreign partners to
plained that the all-access ticket threatens to put them out of business,
tnd distributors, who say that the pass will hurt their revenue. UGC says
help expand the chain throughout the country.
hat its own profits would be made through increased concession sales
ind the price of the pass. Indie theatres and territory distributors have CINESTAR RISING IN ITALY
/et to comment on the offer.
ROME—Germany-based Kieft & Kieft and Italian
companies Mediaport and Dora have announced the
opening of the first theatre through their Cinestar partnership.
Located in the Italian city of Udine, the new plex will be followed
hibitors in North America, Spanish movie theatre operators are by venues in the markets of Padova and Avellino, both slated to
azing ahead with expansion plans throughout their native terrify.
One company displaying such optimism is Madrid-based side of Rome, in early 2001. Cinestar eventually plans to operate
bow by the end of this year, as well as in Fiano Romano, just out-
20 theatres throughout the Boot, including Mediaport 's existing
nine-screener in Genoa. The circuit is majority-owned by Kieft &
Kieft. which holds a 40 percent stake in
the joint venture, while
Mediaport and Dora each have a 30 percent share. Cinestar has
yet to appoint a company head, although the new topper is
expected to be German.
JOYOUS JULY FOR BELGIAN EXHIBS
BRUSSELS—July proved hot for Belgian exhibitors, who saw
local admissions soar to a record-high 2.25 million during the
period, up by 30 percent compared with the previous year.
Analysts attribute the upturn to the territory's consistently bad
weather in July and films in release during the month, including
"Gladiator." "Mission Impossible 2," "The Whole Nine Yards"
and "Me, Myself and Irene," which, combined, accounted for
sales of close to two million tickets. Boxoffiee gross for the period
exceeded BF500 million (US$12 million)—a phenomenal result
for the usually slow moviegoing four-week period.
M0VIEG0ING DOWN AMONG YOUNG GAULS
PARIS—According to the latest report released by France's
Centre National de la Cinematographic the all-important demographic
of people between the ages of six and 24 is attending the
cinema less frequently than in years past. The study found that
while overall moviegoing in the country has increased by 2.6 million
from 1993 to 1999, the growth is attributed to patrons aged
25 and up. During the timeframe, moviegoers aged 24 and
younger have decreased by 195.000. making up only 37.8 percent
of the theatre audience in 1999 compared to 44 percent in 1993.
Also taking a dive is the overall share contributed by the youngsters
to the Gallic boxoffiee. falling from 46.5 percent in
1996 to
42.3 percent last year. As a result of these findings, many in the
industry are paying attention to the demographic's cinemagoing
preferences in an attempt to woo them back to the movie theatre.
The CNC's report indicates that the age group values the quality
of a theatre's seating and technical equipment as much as the
movie playing as well as discounted ticket prices to accommodate
their student status.
November. 2000 149

INTERNATIONAL NEWS BRIEFS
PACIFIC OVERTURES
Notes From the Pacific Rim by Francesca Dinglasan
LEAD STORY: SLOW TIMES AT SINGAPORE THEATRES
SINGAPORE—Statistics released by Singapore's Ministry of
Trade and Industry indicate that moviegoing in the territory has
dropped to a record-low. According to the report, ticket sales have
tumbled from over 20 million in 1990 to last year's 14.8 million—a 20
percent decline for the 10-year period. Local exhibitors have attributed
the disappointing numbers to an increasing amount of competition
for the entertainment dollar that has emerged over the past
decade, including cyber cafes, sporting events and easier access to the
Internet and cable television. In an attempt to attract crowds back to
movie theatres, especially patrons aged 16-25—the demographic that
has fallen off most dramatically—cinema operators have resorted to
cutting ticket prices from last year's SIN$7 (US$3.75) to SIN$5
(US$2.7) for Monday-Friday screenings as well as outfitting existing
venues with improved equipment and seating.
0Z CINEMAS COMPETE WITH THE OLYMPICS
SYDNEY—Another territory that had taken to lowering cinema
admission fees is Australia, which hopes to keep moviegoers
coming during the Sydney-held Olympic Games. Oz's major theatre
chains, including Hoyts, Greater Union and Village Cinemas,
all introduced special September discounts that saw ticket prices
drop to AUS$8.5 (US$5.10) from as high as AUSS12 (US$7.20).
Distributors in the territory have also taken special note of the
mid-September through October ceremonies, identifying
teenagers and families as those most likely to attend movies during
the two-week period. Among the pics slated for release during
the timeframe are "Road Trip," "The Road to El Dorado" and
"Pokemon the Movie 2000." Circuit reps said that fares would
return to normal after the Olympic Games.
JUSTICE FOR READING?
SYDNEY—In its longstanding fight to establish itself in
Australia, U.S.-run circuit Reading Cinemas may have won a decisive
battle against local distributors. Complaining that all
Australian majors have refused to provide Reading's five-screener
in Sydney with first-run product since the venue opened back in
1998, the company brought its case up with the industry's codeof-conduct
committee, which in turn suggested that independent
arbitrator David Newton take up the investigation. According to
industry observers, Newton's findings suggest that Reading has
not been treated fairly by Oz distributors, naming 20th Century
Fox and Roadshow as the first two companies under scrutiny,
with more to follow. Reading believes that its five-plex in Sydney's
busy Market City location has been denied new releases because
of the studios' relationships with competing Oz circuits Hoyts,
Village and Greater Union. The distributors have two weeks to
reply to Newton's decision.
percent
stake in the new company, dubbed Nine Broadcasting
India, to PBL's 49 percent holdings. In addition to cinema
construction, the outfit plans to finance film and television
productions as well as invest in Internet opportunities. Former
Sony Entertainment Television head of programming Ravina
Kohli has been appointed head of the new company.
SLIGHT PROFITS RECORDED BY ROADSHOW
SYDNEY—Australian film giant Village Roadshow has
unveiled its financials for the fiscal year ending June 30.
While the company's exhibition sector, like its U.S. counterparts,
have recorded continually dismal figures, returns from
Roadshow's radio, theme park and production divisions
buoyed net profit to $AUS45.3 million (US$27.2 million) for
the period—an increase of 178 percent over the previous
year. The gain comes despite a charge of almost AUSS76.5
million (US$46 million) absorbed by the company.
KIWIS FIGHT AGAINST PARALLEL IMPORTS
WELLINGTON—New Zealand distributors are currently lobbying
their government to reinstate a ban on parallel importing
that prohibits any video software or DVD product from entering
the country until a year after the film's first international theatrical
release. Since the restriction was lifted in 1998, Kiwis have
been able to rent U.S.-produced DVDs during, and even before, a
movie's bigscreen roll out in the territory. While the exact effects
of parallel importing on New Zealand exhibition and distribution
have yet to be determined, insiders say that the local industry may
have to match day-and-date release patterns in the U.S. if the ban
remains lifted. The direct result of this would be fewer wide openings
of Hollywood releases in the country. Territory distributors—forced
to roll out new prints instead of the standard practice
of purchasing less-expensive secondhand versions—are
expected to reduce the overall number of prints as a cost-cutting
measure.
CHINESE IMPORT WALL LOOKS TO FALL
BEIJING—Cino-American relations are literally on the verge
of opening up to new possibilities. The U.S. Senate has recently
indicated that legislation, which calls for the establishment of per-j
manent normal trade relations with China, looks likely to receive
approval. In exchange for the country's acceptance into the World
Trade Organization, expected to happen later this year, Beijing
has promised to loosen current restrictions on the import of
American and foreign goods into the territory. Many U.S.-based
industries have been eager to gain access to the market, including
Motion Picture Association topper Jack Valenti, who has been
lobbying to allow more American-made bigscreen products into
the Communist country (see Hill News, July 2000).
AUSSIE COMPANY TO BUILD IN INDIA
NEW DELHI—Australian multimedia mogul Kerry Packer's
Publishing and Broadcasting Ltd., parent to Oz-based Hoyts
Cinemas, has unveiled plans to open a chain of multiplexes in India
through its newly formed partnership with local company
Himachal Futuristic Communication. The joint venture will see
majority share go to the India-based partner, which owns a 51
DO YOU HAVE EXHIBITION-RELATED NEWS
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150 BOXOFFICE

EDITORIAL CALENDAR: B
PPl JANUARY

••••• OUTSTANDING
•••• VERY GOOD
••• GOOD
•• FAIR
• POOR
(no stars) BOMB
EDINBURGH
ageR-116)
Beaver Trilogy, A Brief History of Errol Morris.
Caesar's Park, County Kilburn, Cut, Deep in
the Woods, Faithless, Gohatto (Taboo), Hotel
Splendide. The House of Mirth, In the Mood for
Love, The King is Alive, The Little Vampire, The
Low Down, The Luzhin Defence, Some Voices,
There's Only One Jimmy Grimble
TORONTO
Attraction, Brother, Chasing Sleep, Chinese
DAY AND DATE: NOVEMBER 22
QUILLS ***1/2
Starring Geoffrey Rush, Kate Winslet,
Joaquin Phoenix and Michael Caine.
Directed by Philip Kaufman. Written by
Doug Wright. Produced by Julia
Chasman, Nick Wechsler and Peter
Kaufman. A Fox Searchlight release.
Drama. Rated R for strong sexual content
including dialogue, violence and
language. Running time: 120 min.
Philip Kaufman, whose "Henry & June"
was the first NC-17-
ratecl film, ups the ante
with a fictional account
of the final days of history's
most infamous
pervert with a pen, the
Marquis de Sade.
Geoffrey Rush stars
as the institutionalized
erotic novelist whose
compulsion to write is
encouraged by Abbe
de Coulmier (Joaquin
Phoenix), who governs
the Charenton Asylum
by his humanistic principles.
Believing that
the Marquis is purging
"his evil thoughts upon
Geoffrey Rush and Kate Winslet
Fox Searchlight's "Quills."
the page," Abbe is
unaware that innocent chambermaid
Madeleine LeClerc (Kate Winslet) is
smuggling the audacious writings out of
the asylum and into the hands of eager
readers. Determined to muzzle the
Marquis by any means necessary,
Napolean assigns Dr. Royer-Collard
(Michael Caine) to the asylum in an
advisory position; it soon becomes clear
to the doctor that Abbe's ardent appeals
the Marquis are doing no good and
>rc severe tactics are necessary.
Rush relishes his role, delivering
screenwriter Doug Wright's unexpectedly
funny lines with lascivious glee while
still bringing a certain gravity to the
character as he suffers increasingly
humiliating torture at the hands of Dr.
Royer-Collard. Winslet, who post-
"Titanic" has reliably chosen interesting
and challenging projects, is likewise
captivating as a virginal young woman
who nonetheless
zealously devours
the Marquis' prose
and passes it on to
others. Winslet captures
both the beauty
and the spirit of the
character who acts
as the apex in a love
triangle among her,
the Abbe and his
most controversial
patient, and ultimately
sacrifices her
virtue to the horrors
of her environment.
Juxtaposing such
challenging themes
as pornography,
mental illness and
religion, Wright, adapting his stage play,
still manages to lighten things up, particularly
in the Marquis' scathingly sarcastic
dialogue. In addition to a multitude
of double entendres— he exclaims
"Bottoms up!" when sharing a glass of
wine with Madeleine—the Marquis
repeatedly confronts Abbe's staunch
Catholicism, sneering, "[Cod] strung up
his own son like a side of veal. I shudder
to think what he'd do to me." Annlee
Fllingson
Coffee. The Dish, Harry, He's Here to Help,
How to Kill Your Neighbor's Dog, Les Glaneurs
et la Glaneuse, Memento, Men of Honor, Me.
You. Them, Les Destinees Sentimentales,
Liam, Pandaemonium. Paragraph 175, Pollock,
Possible Worlds, The Princess and the Warrior,
Sexy Beast, Shadow Magic, Stardom, State
and Maine, Vulgar, Waydowntown. The Weight
of Water
MONTREAL
onpageR-131)
The Adventures of God, The Big Animal,
Breaking the Silence. Canone Inverso—Making
Love, Daughters of the Sun, The Day the
Ponies Came Back, Epouse-Moi (Marry Me),
Innocence, The Legends of Rita, Le Gout des
Autres (The Taste of Others), Light Keeps Me
Company, Love Me, Love Torn in Dream
(Combat D'Amour en Songe), The Manuscript
of the Prince, Midsummer Night Dance. My
Little Devil, My Mother Frank, The Nine Lives of
Tomas Katz, Nora, The Origin of Man, Relative
Values, Sade, Saint-Cyr (The King's
Daughters). Second Skin. The Sky Falls, Smell
of Camphor, Fragrance of Jasmine
TELLURIDE
on page R-139)
Aberdeen, Better Than Sex, Boesman and
Lena, Chopper, Dinner Rush, Kippur. One Day
in September, A Time for Drunken Horses
REVIEWS (beginning on page R-141)
Almost Famous, The Art of War, Bait,
Beautiful. Best in Show, Bittersweet Motel,
Bring it On, The Contender, The Crew, Dark
Days, Duets. Highlander: Endgame, Human
Resources, Into the Arms of Strangers, Just
Looking, Remember the Titans, Schlock!,
Tigerland, Turn it Up, The Watcher, Yi Yi
nAY AND DATE: 11/22
(R-115)
BOXOFFICE

]
Cheung
EDINBURGH REVIEWS
H THE MOOD FOR LOVE • • • •
Starring Maggie Cheung, Tony Leung,
Vebecca Pan and Lai Chen. Directed, writyn
and produced by Wong Kar-Wai. A
ySA release. Drama. Not yet rated,
'unning time: 96 min.
I Wong Kar-Wai's latest picture, which
las selected as the closing film for the 2000
dinburgh International Film Festival, is
le account of an unusual love affair set in
long Kong in the 1960s. Starring the directs
regular collaborators Maggie Cheung
rid Tony Leung (who won the Best Actor
ivard at Cannes for his performance), the
lm is a moving study of events during a
ecade that the director last visited in
Days of Being Wild."
plays Mrs. Chan, a secretary
j'ho at the start of the film rents a room for
erself and her husband in an apartment
dock. On the day that she arrives, newspajer
editor Chow Mo-Wan (Tony Leung)
loves in to a neighboring room. As time
asses, the two become acquainted and,
liaring a meal one day,
jartling realization
Tony Leung in USA's "In the Mood For Love.'
they come to the
that their other halves
re having an affair. Fascinated by the
vents that have passed between their parters,
they are drawn into an intimate reenbtment
of the liaison. During these rolelaying
games, they find themselves slowly
rowing closer to each other.
After the washed-out visuals of Kar-
/ai's "Happy Together," "In The Mood
or Love" is a stylish cornucopia of color,
pom Cheung's breathtaking outfits to the
rpartments' furnishings. The film is beautillly
lit by Christopher Doyle and Mark Li
ing Bing, and elegantly and intelligently
irected by Kar-wai. Each scene is
beautitlly
framed and the director frequently
Bows his camera to linger long after the
ialogue has finished, simply appreciating
le beauty of each scene. The film uses a
sophisticated repetition of shots, such as
those of Mrs. Chan arriving in and leaving
her apartment, so that it begins to work
rather like a symphony. The similarly repetitive
and emotive classical score is accompanied
by a selection of Nat King Cole's
Latin songs. This is an astonishingly rich
and multi-layered film that is possibly the
director s finest to date. Chris Wiegand
THE HOUSE OF MIRTH ***l/2
Starring Gillian Anderson, Dan
Aykroyd, Laura Linney and Eric Stoltz.
Directed and written by Terence Davies.
Produced by Olivia Stewart. A Sony
Pictures Classics release. Drama. Not yet
rated. Running time: 140 min.
This elegant adaptation of Edith
Wharton's classic novel is set at the end of
the 19th century and tells the story of Lily
Bart (Gillian Anderson), a beautiful
Manhattan socialite in search of a wealthy
husband. Opportunity presents itself in
the form of Lawrence Selden (Eric Stoltz)
but, missing her chance, Lily is forced to
explore the limited circle of other available
suitors. In order to pay off gambling debts,
she also finds herself in a difficult position
with Gus Trenor (a remarkably nasty Dan
Aykroyd). When she is wrongly suspected
of having an affair, Lily falls out of favor
with her social circle and is excluded from
the only world she has ever known.
Wharton's novels supply a much-needed
cast of strong female roles for the cinema,
and Gillian Anderson is a revelation
as the tragic Lily Bart. Her performance
carries the film and there is hardly a scene
in which her presence is not felt. Lily's
tragic downfall from socialite to seamstress
is captivating to watch, and the
scenes between Anderson and Stoltz are
impressively charged. Not since Bogart
and Bacall has cigarette smoking been so
damn sexy. There are also strong performances
from Laura Linney as the savage
hostess Bertha Dorset, and Elizabeth
McGovern as one of Lily's rapidly
decreasing number of confidantes. The
twin obsessions of Wharton's world—sex
and money—are of course still strikingly
relevant, and her story of blackmail and
compromised sexuality, of people either
on their way up or down in society, has a
contemporary appeal. Chris Wiegand
THE LUZHIN DEFENCE
•••
Starring John Turturro, Emily Watson,
Geraldine James and Stuart Wilson. Directed
by Marleen Gorris. Written by Peter Berry.
Produced by Caroline Wood, Louis Becker,
Stephan Evans and Phillipe Guez. A Sony
Pictures Classics release. Drama!Romance.
Not yet rated. Running time: 108 min.
Marleen Gorris's adaptation of
Vladimir Nabokov's little-known chess
novel looks and sounds stunning, with
some beautiful locations and a wonderful
score by Alexandre Desplat. It is also
imaginatively directed, yet fails to reach
the tragic heights it strives for.
Luzhin (John Turturro) is a disheveled
and erratic Grand Master who arrives at a
resort in the Italian Lakes to play in the
chess world championships. Having visited
the same resort many years earlier with his
cold and distant parents. Luzhin is troubled
during his stay by childhood memories.
Among the guests at the resort is the
beautiful Natalia (Emily Watson), who is
hounded by her mother (Geraldine James)
into the search for a perfect husband.
Believing the handsome Stassard
(Christopher Thompson) to be the perfect
candidate, her mother is horrified when
Natalia embarks on an unconventional
relationship with Luzhin. As the final of
the tournament approaches, Luzhin's
aggrieved former mentor Valentinov
(Stuart Wilson) arrives at the resort, plotting
to put him off his game.
Gorris' film benefits from John
Turturro 's tremendous performance as the
tormented genius whose obsession threatens
to bring about his downfall. The recurring
flashbacks to Luzhin's chess-fixated
childhood effectively convey his instability
and the disorientation he feels when he
falls for Natalia. His complicated relationships
with Natalia, his parents and his
mentor are all presented in the film, but
only one is explored to a satisfactory
level—his relationship with the game itself.
The movie suffers from some flawed
stereotypes such as the villainous
Valentinov and the society-obsessed mother,
and these distract from what is essentially
a dark story of humans using each
oilier as pawns in a game. This is an ambitious
feature with some original touches.
but as with her 1997 adaptation of "Mrs.
Dalloway," Gorris has been forced to sacrifice
textual complexities when bringing
the story to the screen. Chris Wiegand
November, 2000 (R-l 16) 153

EDINBURGH REVIEWS
**•
THE KING IS ALIVE ***i/2
i
THE LITTLE VAMPIRE
GOHATTO (TABOO) **1/2
adult features "Last Exit to Brooklyn" and Matsuda as the central character Kano. after all to remove the superficial pretensions
of modern cinema. Chris Wiegand
"Body of Evidence." Chris Wiegand — Chris Wiegand
Starring Jonathan Lipnicki, Richard E. Starring Takeshi "Beat" Kitano, Starring David Bradley, Janet McTeer,
Grant, Jim Carter and Alice Krige. Directed Ryuhei Matsuda, Shinji Takeda and Jennifer Jason Leigh and Romane Bohringer.
hy Uli Edel. Written by Karey Kirkpatrick Tadanohu Asano. Directed and written by Directed by Kristian Levring. Written by
and Larry Wilson. Produced by Richard Nagisa Oshima. Produced hy Shochiku Kristian Levring and Anders Thomas Jensen.
Claus. A New Line release. Fantasyl Co. Ltd. A New Yorker release. Drama. Produced by Patricia Kruijer and Vibeke
Adventure. Rated PG for some mild peril. Not yet rated. Running time: 100 min. Windelov. No distributor set. Drama. Not
Running time: 91 min.
Nagisa Oshima's first feature film yet rated. Running time: 108 min.
Jonathan Lipnicki ("Jerry Maguire")
The fourth offering from the Dogme 95
since 1986 is an intriguing study set
confirms his status as one of the best child against the fall of the samurai and the end collective is an extraordinary and imaginative
actors around in this family film based on of the Shogun Tokugawa. Despite some
examination of human nature. A
characters from Angela Sommer- strong performances, the film ultimately group of tourists traveling through the
Bodenburg's popular children's books.
Namibian desert find themselves trapped
disappoints, especially in comparison to
"The Little Vampire" successfully subverts
in an abandoned mining town thanks to a
the director's 1983 masterpiece, "Merry
Christmas, Mr. Lawrence."
faulty compass. The most experienced
Based on two historical traveler among them. Jack (Miles
works by the popular contemporary
Anderson), goes to find help, leaving the
Japanese writer Ryotaro others to pass the time until his return.
Shiba, "Gohatto" follows the When food supplies start to dwindle and
apprenticeship of Sozaburo Jack doesn't show up, tensions begin to
Kano (Ryuhei Matsuda.) An mount. Observing the behavior of those
attractive and effeminate young around him, retired actor Henry (David
man. Kano is recruited by the Bradley) is reminded of Shakespeare's
rapidly growing Shinsegumi "King Lear." Writing down what he can]
militia to become a samurai remember of the play, he slowly persuades
warrior and protect the Shogun. the others to put on their own production
Apprenticed at the same time is of the tragedy. As the days pass, the sentiments
Hyozo Tashiro (Tadanobu
of the play prove more and more
Asano), who finds himself applicable to the characters' situation and
all are forced to accept some difficult
instantly attracted to Kano.
Jonathan Lipnicki and Richard E. Grant have a grave
in New
This attraction begins a chain
Line's "The Little Vampire."
truths.
of rumors and suspicions that "The King is Alive" is the first Englishlanguage
traditional representations of the undead, leads to great confusion within the militia
Dogme film and features an eclec-
presenting the story of a family of vampires
and threatens to destroy their ancient tic and ethnically diverse cast that includes
that want to become humans, not rules of order. The story is set in Kyoto, American, European and South African
bite them.
and the events take place over a period of actors. There are standout performances
Lipnicki plays Tony Thompson, a one year, from Spring 1865 to Spring from Janet McTeer (with an extremely persuasive
young boy who has just moved from San 1866.
American accent) and Lia Williams
Diego to a remote village in Scotland. Despite the important factual significance
and Chris Walker, playing a couple whose
Tony finds it hard to adapt to life in a new
of the film's setting, "Gohatto" is relationship slowly evaporates in the desert
school and a new country, especially when primarily a character-driven piece as heat. The film uses Shakespeare's play intelligently
he is teased by his classmates about his opposed to an historical account. An otherworldly
and outclasses the recent crop of lit-
obsession with vampires. Neglected by his
meditation on beauty, honor erary adaptations that simply update the
busy parents, all Tony really wants is someone
and death, it is also one of the first films action and fail to offer new dimensions to
to play with, so he is delighted when he to openly explore the samurai's homosex-
the original work.
is visited one night by Rudolph (Rollo uality (the 'taboo' in question) amongst Levring's film shows a group of people
Weeks), a similarly lonely vampire boy. the exploration of his code of
Rudolph introduces Tony to his family, conduct. Oshima's classical
who are hunting for the lost half of a magical
direction gives the film an aus-
amulet, which they need to perform a tere quality and several scenes,
ritual that will make them human again. such as the opening kendo contest,
Tony agrees to help them, but the cigarchewing
are extremely striking.
vampire hunter Rookery (Jim There is also a haunting electronic
Carter) follows close behind.
score from Ryuichi
Scriptwriters Larry Wilson Sakamoto, who provided the
("Beetlejuice") and Karey Kirkpatrick music for "Merry Christmas,
("James and the Giant Peach") have successfully
Mr. Lawrence."
combined their experience work-
The film successfully con-
ing on irreverent children's movies to create
trasts the young apprentices
this delightful tale of curses, secret pas-
with the older guard, embodied
sages and magical amulets.
by commander Isami Kondo
"The Little Vampire" also looks great, (Yoichi Sai) and lieutenant Jennifer Jason Leigh plays one of several stranded travelers
with fantastic costumes from Academy Toshizo Hijikata (an impressive who grow "Leafy of their situation in "The King is Alive."
award-winning designer Jim Acheson, special
Takeshi "Beat" Kitano.) At
effects that include flying cows, and times frustratingly slow-moving. whose superficial layers are stripped away
some imaginative sets. This is a successful "Gohatto" is most memorable for a to reveal their stark humanity. For this reason
change of pace for director Uli Edel, whose beguiling performance from the inexperienced
it is perhaps the most relevant film to
previous films include the somewhat more
high school student Ryuhei come from the collective, which intends
i54 (R-117) BOXOFFICE

:
:
i
• Footage
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EDINBURGH
CAESAR'S PARK **l/2
HOTEL SPLENDIDE
Directed andproduced hy Sarah Price. A Starring Toni Co/lettc, Daniel Craig, Katrin
Bluemark production. No distributor set.
Documentary. Not yet rated. Running time:
67 min.
Cartlidge and Stephen Tompkinson. Directed
and written by Terence Gross. Produced by
lldiko Kemeny. No distributor set. Comedy.
This documentary, directed by Sarah
Price (producer of "American Movie"),
explores the lives of the residents of
Caesar's Park. Milwaukee. When Price
moved into the neighborhood, she was
excited by the prospect of making new
friends. What she found was a community
of people who had lived there for years but
hardly knew their own neighbors. Her
slow-moving and meditative documentary
is strangely intriguing, yet ultimately fails
to satisfy.
The film follows the everyday lives of
Polish war bride Jeannie; 94-year-old Tillie
and her two daughters;
married couple Don
and Dolores: amateur
photographer Richard;
land junk hunter
Charles. Price filmed
over a period of 12
months, checking in
with the residents
throughout the seasons.
Jeannie dominates the
film and shares a teasing
and affectionate relationship
with the filmmaker.
Remarkably
foul-mouthed, she gives
us her opinions on the
neighborhood, which
she believes to be going
downhill, and details the
basic outline of her day, from watering her
plants to watching Ricki Lake and Jerry
Springer. The second principal interviewee
Richard, a recovering alcoholic and eager
.photographer who has the world's worst
photo collection, which features snapshots
of his television, his new shower system and
every tombstone in the military cemetery.
Musician Charles provides the film's soundtrack,
with his discordant guitar and harmonica
improvisations.
By simply hanging out in the homes
and gardens of the locals. Price gives us an
accurate representation of their daily
habits. The flavor of the community is subly
depicted through slight comments and
mall observances. Aside from footage of
Jeannie's garden party, a birthday celebration
and a 4th of July parade (featuring the
jworld-famous All-Kazoo Band), Price's
[interviews are conducted during mundane
moments. Richard talks whilst repairing
his bike, Charles whilst sitting on the front
porch. Many of the inhabitants' attitudes
;owards life are resolutely unenthusiastic.
especially
those of Jeannie and Richard,
.vho moan about the uninspired way in
vhich their vacations pass. This is a pecuiarly
affectionate portrait of a community
argely devoid of typical displays of affecion.
Chris Wiegand
*••
Not yet rated. Running time: 94 min.
Not since Jeunet and Caro's "Delicatessen"
have cinemagoers been faced with a
residence as terrifyingly surreal as the Hotel
Splendide. The titular abode of Terence
Gross' debut feature is a crumbling ruin situated
on a remote island, whose guests
arrived from the mainland years ago and
have since found it impossible to leave.
Following the recent death of his
beloved hotelier mother, Dezmond Blanche
("Brassed Off's" Stephen Tompkinson) has
taken on the task of running the Hotel
Splendide himself. His brother Ronald
Daniel Craig and Toni Collette get cooking in "Hotel Splendide"
("Love is the Devil's" Daniel Craig) is the
chef, while sister Cora ("Career Girls'"
Katrin Cartlidge) runs the hotel's colonic
treatment room. Their mother's presence is
still
felt in the daily life of the hotel, but her
established routines are put into a spin with
the arrival of the former sous-chef Kath
("The Sixth Sense's" Toni Collette). who
has returned to the island to straighten out
her relationship with Ronald. Kath spices
up the hotel's menu, subsequently awakening
the guests' interests in life on the mainland,
much to Dezmond's disapproval.
The stylized look of "Hotel Splendide"
has clearly been influenced by
"Delicatessen." The sets, painted in a ghastly
palette of sickly colors, are similarly elaborate
and the hotel's
residents are equally
grotesque. Our initial guide is the red-haired
Stanley Smith (an impressive Hugh
O'Conor), who performs bizarre cabaret
routines in the hotel bar. dressed in a variety
of shocking checked suits. Stephen
Tompkinson gives a tour-de-force performance
of greasy creepiness as the repulsive
Dezmond, contrasting with Toni Collette's
delightful turn as the life-loving Kath. This
is a promising and fantastical feature
debut, and Gross tells his story with a welljudged
combination of humor and menace.
Chris Wiegand
I
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November, 2000 (R-118) 155

CUT •••
EDINBURGH REVIEWS
Starring Molly Ringwald, Jessica Napier,
Simon Bossell and Kylie Minogue. Directed
by Kimble Rendall. Written by Dave Warner.
Produced by Martin Fabinyi, Bill Bennett
and Jennifer Bennett. No distributor set.
Horror. Not yet rated. Running time: 81 nun.
The post-"Scream" postmodern horror
trend continues with this enjoyable if
unambitious feature film debut from
Australian music promo veteran Kimble
Rendall.
"Cut" tells the story of a group of film
students who take on the task of completing
"Hot Blooded," a schlocky horror
movie about a masked killer that was
abandoned mid-production when its director
(Kylie Minogue) was gruesomely murdered.
Whenever the original footage has
been screened since, someone has invariably
reached a messy end. Unperturbed by
these mysterious deaths, the students gain
the rights to the movie and divide the acting
and producing roles between them.
They even persuade original heroine
Vanessa Turnbull ('80s bratpacker Molly
Ringwald), currently languishing in
celebrity golf hell, to reprise her role.
Shooting commences at a remote mansion
and—no big surprises here—things soon
start to turn gory. As tensions rise, filming
and real life merge with devastating results,
which are played out against a lively Ozdominated
soundtrack.
Rendall's fast-paced movie features
strong performances from a predominantly
young cast. Jessica Napier is particularly
promising as the passionate and determined
Raffy. and Ringwald, who is not so
much "pretty in pink" as "bathed in blood"
throughout the film, clearly took great
delight in her role as "Hot Blooded's" testy
heroine. Dave Warner's script features a
number of imaginatively-staged murders,
and these are effectively realized through
Paul Katte and Nick Nicolaou's sophisticated
make-up effects. Rendall directs with
his tongue firmly in his cheek, and as in the
"Scream" trilogy there are many humorous
references to other horror films. "Cut"
is often too light-hearted for its own good,
however, and could have gained some edge
with an injection of real terror. Hardly an
intelligent or original contribution to the
horror genre, it nevertheless remains an
entertaining one. Chris Wiegand
DEEP IN THE WOODS *1/2
Starring Clotilde Courau, Clement
Sihony, Alexia Strcsi and Denis Lavant.
Directed by Lionel Delplanqitc. \\ rittcn by
Annabelle Perrichon. Produced by Marc
Missonnier and Olivier Delbosc. A Phaedra
release. Horror. French-language; subtitled.
Not yet rated. Running time: 84 nun.
This instantly forgettable tale of a
group of actors who find themselves
rapped deep in the woods with a serial
illei n the loose takes a familiar horror
setting (spooky Gothic house in the mid-
156 (R-119) BOXOFFICE
Molly Ringwald is an
die of nowhere) and does very little of
interest with it. Despite its enthusiastic
and liberal doses of gore and naked flesh,
Delplanque's crude feature debut fails to
either excite or scare.
The film follows five hip. oversexed
actors who stay at the chateau of the mysterious
Baron Axel de Fersen (Francois
Berleand) in order to perform their
unique stage version of the Little Red
Riding Hood myth for the baron and his
son Nicolas (Thibault Truffert.) When the
play has finished, they become increasing-
suspicious of the baron, who displays
ly
an unnerving interest in hunky Ryan
Phillippe-type Wilfried (Vincent
Lecoeur). When one of the actors goes
missing, the remaining four find themselves
in the midst of confusion and fearing
for their lives.
One of a spate of largely mediocre
late-night horror flicks at this year's
Edinburgh International Film Festival,
"Deep In The Woods" suffers primarily
from its stereotypical characters, such as
the creepy count, the weird gamekeeper
("Beau Travail'"s Denis Lavant), the suspicious
policeman (Michel Muller) and
the troupe of bitchy actors. From the
opening news bulletins about the murderer
at large, this is all rather predictable
nonsense.
The film's premise is consistently reminiscent
of Kimble Rendall's "Cut," also
showing at the festival. It lacks the humor
of Rendall's film, however, and in comparison
comes across as all the more pretentious
with its gloomy Gothic overtones
and choral accompaniments. There is
some experimental and successful use of
sound distortion and Delplanque occasionally
uses the dark interiors and exteriors
to good effect with some fluid camerawork,
but such touches fail to save an
otherwise dull and embarrassing attempt
at horror. Chris Wiegand
who gets the axe in "Cut."
COUNTY KILDURN
••
Starring Ciaran Mcmenamin, Rick Warden,
John Bowe and Simon Sherlock. Directed
and written by Elliot Hegarty. Produced by
Nick Hey worth. No distributor set. Comedy.
Not yet rated. Running time: 82 min.
Elliot Hegarty 's first feature film is a
light-hearted comedy set in a pub in
London's Irish community of Kilburn.
Despite a charismatic central performance
from Ciarin Mcmenamin and a lively
soundtrack, "County Kilburn" diverts
rather more than it entertains.
Irish Barman Mickey (Mcmenamin) is
days away from his 25th birthday and is
frustrated with the way his life is going.
Offered a job by his TV star brother, he has
decided to return to Ireland after a final
week's work at his pub. The film focuses on
Mickey's last few days as he chats and
drinks with regulars Black Jack (John
Bowe), Eighties Billy (Simon Sherlock)—
man still obsessed with the music, clothes
and cars of the 1980s—and aging lovebirds
Torvill and Dean (Kay D'Arcy and
Patrick Duggan). Mickey also has to deal
with quintessential pub characters such as
the bore who always talks about the weather
and the workman who only ever comes
in to use the washroom. The week pa:
in its usual way until a surprise visit from
old school friend Sue (Georgia Mackenzie)
forces Mickey to do some quick thinking
about his future.
Hegarty's script features many humorous
observations, but his film suffers from
one quirky character too many. Its predominant
subject matters—Catholicism, sex and
drinking— start to jar after a while, and you
sometimes wish the characters would pipe
down so you could listen to the pub's jukebox,
which features an impressive selection
of reggae, ska and indie as well as an unsurprising
contribution—this is a film about
Irish pubs after all—from Pogues' frontman
Shane MacGowan. Chris Wiegand

1
EDINBURGH REVIEWS
HE LOW DOWN •••
Starring Aidan Gillen, Kate Ashfield,
lean Lennox Kelly and Tobias Menzies.
directed and written by Jamie Thraves.
'rodueed by John Stewart and Sally
Jewellyn. No distributor set. Dramal
'omance. Not yet rated Running time: 94 min.
Jamie Thraves' eye-catching music
ideos for British bands such as
.adiohead, Blur and The Verve always
romised great things, and the director's
rst feature film does just the same. By no
leans a masterpiece, "The Low Down" is
owever an auspicious debut that exames
the lives and loves of a group of twen-
/somethings in London.
Frank (the charismatic Aidan Gillen) is
his late 20s and is approaching a transional
stage in his life. Tired of sharing
mporary accommodation with slacker
atmates, he decides that it might be time
> buy a place of his own. When he begins
> look for suitable properties, he finds
ore than he'd planned on in estate agent
uby (the excellent Kate Ashfield), a simirly
aged and newly-single woman with
horn he tentatively begins a relationship.
Shot in a naturalistic style reminiscent of
:an-Luc Godard and John Cassavetes,
The Low Down" is a realistic slice of
ban life with some acute observations on
[ty-dwelling. Thraves has an uncanny eye
for detail in portraying the lifestyles of
Frank's generation, from the boozy excess
of a night out clubbing to hungover breakfasts
in the local cafe. The film could easily
have ended up as yet another self-indulgent
examination of contemporary relationships.
Instead, it is a smart and original
character study that presents real truths the
viewer can recognize. Chris Wiegand
BEAVER TRILOGY •••1/2
Starring Sean Penn, Larry Huff and
Crispin Glover. Directed and written by
Trent Harris. Produced by Waiter Hart. No
distributor set. Documentary!Drama. Not
yet rated. Running time: 83 min.
If there was one film that captured the
imagination of audiences at this year's
Edinburgh International Film Festival, it
was Trent Harris's "Beaver Trilogy." A collection
of three short films, each with their
own unique style, it features early performances
from Sean Penn and Crispin Glover.
The trilogy opens with "The Beaver
Kid," in which Harris meets a young man
from Beaver, a small town in America, who
entertains him with a number of impersonations
and speaks of his obsession with
Olivia Newton-John. Shortly after this
encounter, Harris receives a letter from the
kid, asking him to attend a talent show at
Beaver High School, where he will be performing
as "Olivia Newton-Dawn." Harris
accepts the invitation and travels to the
town to film the preparations and the main
event. In the second film, "Beaver Kid
#2," Sean Penn appears as the kid and studiously
mimics his
dialogue and idiosyncrasies.
Shot on a home video camera in
black and white, this shorter film replays
the events of the first with some important
additions and questions the sincerity of
"real life" documentaries. The final film,
"The Orkly Kid," stars Crispin Glover and
offers a deeper look at the central character's
relationship with his mother.
This is a haunting set of films that
questions the viewer's perception of documentary
and fiction. What starts as a
quirky character observation becomes a
complex study of an individual and his
small-town surroundings. "The Beaver
Kid" is a fascinating piece in itself, but the
second and third films suggest new contexts
in which to read it. As certain comments
and scenes are replayed in
the later
films, the viewer begins to recognize their
significance. Penn and Glover in particular
give powerful performances, each playing
the character as a tragic and misunderstood
hero. At turns comical, sinister and
genuinely touching, "Beaver Trilogy" is an
infectious and rewarding oddity. Chris
Wiegand
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Response No. 236 Response No. 55
November, 2000 (R-120) 157

EDINBURGH REVIEWS
SOME VOICES ***1/2
Starring Daniel Craig, David Morrissey,
Kelly Maedonald and Julie Graham.
Directed by Simon Cellan Jones. Written by
Joe Penhall. Produced by Damian Jones
and Graham Broadbent. No distributor set.
DramalRomance. Not yet rated. Running
time: 99 min.
No one falls apart onscreen quite like
Daniel Craig. In "Love is the Devil" Craig
gave an astonishing performance of emotional
disintegration as Francis Bacon's
Kelly MacDonald in
tumultuous partner George Dyer. In
"Some Voices," the feature film debut of
acclaimed British TV director Simon
Cellan Jones, he is sucked into a similarly
destructive downward spiral as the troubled
schizophrenic Ray.
At the start of the film, Ray is released
from a psychiatric institution into the
care of his overworked brother (David
Morrissey), who offers him a job in his
cafe on the condition that he sticks to his
prescribed diet of mood-stabilizing pharmaceuticals.
On the brink of forming a
new life, Ray meets and falls in love with
Laura ("Trainspotting's" Kelly
MacDonald). a pregnant young Scottish
woman who is in the middle of a messy
break-up with her violent boyfriend Dave
(Peter McDonald). Laura and Ray
embark on an unconventional yet increasingly
tender relationship, but when Ray
stops taking his medication and Laura's
ex refuses to leave her alone, things begin
to turn sour.
"Some Voices" is an unlikely love story
ship. Ray's gift for appreciating life helps
him hunt out simple and colorful pleasures
amidst such squalor and he brings
an equal measure of comfort and destruction
to the lives of those closest to him.
The film's tone is determined by his
precarious mood swings, so that it is at
turns comical and violent. Simon Cellan
Jones' compassionate direction subtly
incorporates some symbolic motifs and
displays Ray's schizophrenic episodes
through the original use of distorted
"Some Voices."
set in a grim London landscape reminiscent
of Michael Winterbottom's
"Wonderland." Aerial shots of the city
dominate the film, providing an ominous
backdrop for the lovers' fragile relationvisuals.
But it is the performances of
Maedonald, Morrissey and Craig in particular
that make this an essential piece of
British cinema. Chris Wiegand
FAITHLESS (TROLOSA)
•••*
Starring Lena Endre, Erland
Josephson, Krister Henriksson and
Thomas Hanzon. Directed by Liv
Ullmann. Written by Ingmar Bergman.
Produced by Kaj Larsen. No distributor
set. Drama. Swedish-language; subtitled.
Not yet rated. Running time: 155 min.
Liv Ullmann's "Faithless" is
an emotionally
devastating study of adultery,
adapted from a loosely autobiographical
monologue written by her long-term collaborator
Ingmar Bergman. At the start
of the film a writer named Bergman
(Erland Josephson) composes a story
based on his memories. He conjures a
female character, Marianne (Lena
Endre), who begins to tell the story of her
affair with her husband's best friend
David (Krister Henriksson.) The affair is
recounted in painful detail, from
Marianne and David's first night together,
through to the fruition of their
"planned and staged adultery" which
takes place whilst Marianne's husband
Markus (Thomas Hanzon) is conducting
an orchestra on a world tour. Caught in
the middle of this love triangle is Isabelle
(Michelle Gylemo), Markus and
Marianne's nine-year-old daughter.
Ullmann draws tremendous performances
from her principal actors in this
film, especially Lena Endre, whom
Bergman intended to play the role of
Marianne. The theatrical experiences of
the leading actors are evident throughout.
The drama is played out in a series of
increasingly intense conversations that
take place in largely domestic interiors
such as hotel rooms and apartments.
Marianne narrates her story in the
writer's study that, like Ingmar Bergman's
own house, looks out onto the surrounding
ocean. The characters are fully realized,
as are the predicaments in which
they find themselves. They remain constantly
aware of the resonance of their
actions, yet are inexplicably drawn to
commit them whatever the consequences.
Ullmann's particular strength as a director
is that she steadfastly refuses to condemn
their behavior.
The script's predominant themes of
jealousy and guilt recall Ingmar
Bergman's earlier work, and the writer's
exploration of the events of his past
brings to mind "Wild Strawberries." Such
brutal and emotionally honest filmmaking
often makes for uncomfortable viewing,
but it is an invigorating experience to
see the work of a masterful director fully
in control of her craft. Chris Wiegand
THERE'S ONLY ONE
JIMMY GRIMBLE **i/2
Starring Robert Carlyle, Gina McKee,
Ray Winstone and Lewis McKenzie.
Directed by John Hay. Written by Simon
Mayle, John Hay and Rik Carmichael.
Produced by Sarah Radclyffe, Jeremy Bolt
and Alison Jackson. No distributor set.
ComedylDrama. Not yet rated. Running
time: 104 min.
This football fairytale from TV director
John Hay is the naive and affectionate
story of a young boy's coming of age in
the north of England.
Life is tough for 15-year old Jimmy
Grimble. It's hard enough being a
Manchester City fan when everyone else
supports United, but to make matters
worse his mum's got a new boyfriend and
none of the girls at Jimmy's school give
him a second look. Things might be better
if he could find success with the
school football team, but he lacks confidence
on the pitch—especially in the
intimidating presence of school bully
Gorgeous Gordon Burley (Bobby Power).
Then, one night, Jimmy meets a mysterious
woman who gives him a special pair
of football boots. When he plays in the
boots in the first round of the School's
Cup, he scores the winning goal. As the
team progresses toward the final, things
158 (R-121) BOXOFFICE

EDINBURGH REVIEWS
mprove for Jimmy, especially when he
meets Sara (Samia Ghadie), the new girl
at school. But he still faces challenges
both on and off the pitch.
Hay's feel-good film gives a successful
and realistic portrayal of adolescence,
examining typical childhood anxieties
such as bullying and the fear of rejection
in both love and team sports. This is primarily
due to Simon Mayle's authentic
screenplay and a charming performance
from newcomer Lewis McKenzie. who is
ably supported—and not overshadowed—by
British favorites Gina McKee
("Wonderland"), Ray Winstone ("Nil by
Mouth") and Robert Carlyle ("The Full
Monty"), who plays the team's disillusioned
coach. The relationship between
Jimmy and his coach is the most convincing
as both experience bullying of one
kind, yet find inspiration through each
other during the course of the movie.
There are also some impressively realistic
match scenes (football coach Simon
Clifford worked with the boys to improve
their skills), which are backed by a lively
Britpop soundtrack. In terms of characterization,
this certainly fares better than
ritish footie flicks such as "When
Saturday Comes," yet remains little more
han an entertaining TV movie. Chris
Wiegand
A BRIEF HISTORY OF
ERROL MORRIS ••*
Starring Errol Morris, Werner Herzog
and Phillip Glass. Directed by Kevin
Maedonald. Produced by Paula Jalfon and
Colin MacCabe. A Minerva Pictures production.
No distributor set. Documentary.
Not yet rated. Running time: 47 mitt.
Kevin Macdonald's follow-up to his
Academy Award-winning "One Day in
September" is an all-too-brief introduction
to the life and work of cult documentary
filmmaker Errol Morris. An
unsuccessful student, Morris had two
early obsessions— the cinema and
death.
So it is not surprising that before long
he was interviewing murderers such as Ed
Gein, the serial killer who provided the
inspiration for Alfred Hitchcock's
"Psycho." Morris' interest in Gein was
such that he even moved to his hometown
of Plainfield, Wisconsin. Morris is a
committed filmmaker, devoted to understanding
his subject material. He also
relocated to make his documentary
"Vernon, Florida," a film about the capital
city of U.S. insurance fraud. Death
and murder dominate most of his work,
from "Mr. Death" (the study of an executioner)
to "Gates of Heaven" (a film
about two pet cemeteries in California).
His feature-length documentary about
the murder of a Dallas policeman, "The
Thin Blue Line," found him a mainstream
audience and was so influential that it
saved a man from death row.
Morris' skill as an interviewer is
explored in the documentary and a link is
drawn to his previous work as a private
detective in New York City. In explaining
his methods of getting people to talk
frankly, Morris shows Maedonald his
interratrom camera— a machine he
invented to allow the interviewee to face
both the interviewer and the camera at
the same time. Maedonald uses a similar
technique in his film, as Morris explains
his fascinations head on.
The film features entertaining and
insightful interviews with both Werner
Herzog (in which he relates the hilarious
account of an aborted project about
an overgrown chicken named "Mr.
Weirdo") and Phillip Glass, who composed
the music for "The Thin Blue
Line." Macdonald's documentary has a
powerful and haunting score itself,
complementing Morris' unending
obsession with what he refers to as "that
one truly grand theme—death." Chris
Wiegand
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Response No. 22 Response No. 162
November, 2000 (R-122) 159

TORONTO REVIEWS
Ray Winstone is a retired gangster livin' la
••*
SEXY BEAST
Starring Ben Kingsley, Ray Winstone,
Amanda Redman and Ian McShane.
Directed by Jonathan Glazer. Written by
Louis Mellis and David Scinto. Produced by
Jeremy Thomas. A Fox Searchlight release.
Drama. Rated R for pervasive language,
strong violence and some sexuality. Running
time: 84 mitt. Opens January 2001.
Mindless fun. Gary (Ray Winstone). a
retired gangster living in Spain with his
wife, Deedee (Amanda Redman), is sunning
himself by his pool when a huge boulder
rolls down the hill, just misses his head,
and ploughs right into his swimming pool.
That opening scene serves as a dark and
funny omen for what follows in this stylish
thriller that evokes numerous British crime
dramas like "Performance" and "The Long
Good Friday." The director. Jonathan
Glazer, wisely platforms the actors rather
than just his visual pyrotechnics.
One day, Gary is visited by his former
colleague-in-crime, Don (Ben Kingsley),
who has been hired to put together a team
to crack into an impregnable English
bank. But Gary has lost the desire for
crime, while Don just wont take no for an
answer. Their showdown that leads to an
unpredictable conclusion.
It's fun watching Ben Kingsley, the man
who played the saintly Gandhi, portraying
such a ramrod gangster. Every second word
is an obscenity. And he's so taut, with his
shaved head and goatee, that if he smiled
his bones would break. Kingsley plays the
role as if he's on holiday. But Ray Winstone
Courrier
vida lazy in "Sexy Beast.
HARRY, HE'S HERE TO HELP **
Starring Laurent Lucas, Sergi Lopez
and Mathilde Seigner. Directed by Dominik
Written by Dominik Moll and Giles
Moll.
Marchand. Produced by Michel Saint-Jean.
A Miramax release. Thriller. French-language;
subtitled. Sot yet rated. Running
time: 117 min. Opens 1 126101.
Michel (Laurent Lucas) is your typical
harassed family man, with three misbehaving
children, financial worries and a house
that's falling apart. On the way to his ramshackle
summer home, he bumps into amiable
Harry (Sergi Lopez), an old classmate
from 20 years ago whom he doesn't
remember. But Harry not only recalls
Michel, he's in awe of him and, soon
enough, decides to help Michel change his
life to what he thinks it should be. It's aid
that involves murder.
In the hands of a master like Hitchcock
or Dominik Moll's fellow French director
Claude Chabrol. "Harry, He's Here To
Help" could have been a really chilling
thrill ride. But Moll's direction is poky and
the film never comes to life. Sergi Lopez's
Harry occasionally reminds one of Robert
Walker in Hitchcock's "Strangers on a
Train." but Laurent Lucas' inexpressive
performance gives Lopez little to play
against. Harry's got some edge, but the
film does not. Shlomo Schwartzherg
CHINESE COFFEE **l/2
Starring A I Pacino and Jerry Orbach.
Directed by Al Pacino. Written by Ira
Lewis. Produced by Michael Hadge, Larry
Meistrich and Robert Salerno. A Fox
Searchlight release. Drama. Not yet rated.
Running time: 94 min. Opens 2001.
Basically a two-hander. "Chinese
gives "Sexy Beast" what little depth it has.
Gary still prides himself a solid criminal,
but he knows that he's just not up to it anymore.
And that wistfulness gives the role
some ambiguity. Amanda Redman is also Coffee" has the usual defects of theatre
superb as Deedee. She knows how foul Don that is turned into film. It never quite surmounts
its stage origins.
is, yet she also fears his influence. And Ian
McShane turns in a scary performance as Based on Ira Lewis' 1983 play,
Teddy, the ringleader for the bank job, who "Chinese Coffee" is a dark night of the
is way past having illusions about anybody. soul for two men. On a cold New York
"Sexy Beast" isn't anything special, but winter night in 1982, Harry Levine (Al
Jonathan Glazer has a playful spirit that
gives the picture some bounce. Kevin
160 (R-123) BOXOFFICE
Pacino), a twice-published novelist, drops
by the apartment of his friend. Jake
Manheim (Jerry Orbach), to get Jake's
opinion of his new manuscript. Jake has
read it but tells Harry he hasn't. The reasons
why slowly come out as the men
argue, accuse and, in effect, dissolve their
frayed friendship.
Strong on words but short on images,
though its flashbacks are generally compelling,
"Chinese Coffee" awkwardly tries
to graft its thoughts on art, life and relationships,
onto Lewis' flimsy structure. But
the film, despite its often sharp dialogue
and humorous interludes, feels incomplete
and manipulative. And Pacino (who has
played Harry on stage) and Orbach are
both too old for their parts.
The acting is strong, particulary
Orbach's, whose intellectual Jake is every
bit the writer that Harry is but who has
chosen, inexplicably, not to do anything
with his art. We haven't really seen his like
on screen before. Harry, by contrast, is an
overly familiar archetype, the starving
writer for whom the work is all and who
throws over lovers and friends in his bid
for success. Pacino does his best, but Harry
is someone who never quite jumps off the
page. As the women in Harry and Jake's
lives. Susan Floyd and Ellen McElduff,
make the most of their paltry roles.
"Chinese Coffee" is most touching in
its delineation of the slow destruction of
Harry and Jake's bonds. That's enough to
make the film interesting, but not enough
to make it a powerhouse.—Shlomo
Schwartzberg
ATTRACTION •
Starring Samantha Mathis, Matthew
Settle, Gretchen Mol and Tom Everett
Scott. Directed and written by Russell
DeGrazier. Produced by Jonathan Krauss,
Russell DeGrazier and Mike Elliott. A
Trimark release. Drama. Not yet rated.
Running time: 95 min. Opens Spring
2001.
Matthew (Matthew Settle) is a sex
columnist who is stalking his ex-girlfriend
Liz (Gretchen Mol). His editor (Tom
Everett Scott) stalks Matthew so he doesn't
continue to harass Liz. Then, in order
to make Liz jealous, Matthew starts to
date her best friend, Corey (Samantha
Mathis). who pretty soon gets stalked herself.
There's so much stalking and chasing
going on that there's barely time for a
coherent story. For instance, with all his
extracurricular activities, when does
Matthew even have the time to write anything?
We're also not given any clue as tc
what attracts him and Liz. Matthew Settle
can only provide the movie with vacuous
Jason Patric grins. And Gretchen Mo
makes up her character as she goes along
Samantha Mathis tries to act up a storrr
but it's
only wasted energy.
Russell DeGrazier, in his debut film
tries for a hyper-realistic atmosphere bu
ends up with nothing but smoke and mir
rors. Kevin Courrier

STATE AND MAIN
TORONTO REVIEWS
***l/2
Starring Alec Baldwin, Philip Seymour
Hoffman, Sarah Jessica Parker and
William H. Macy. Directed and written by
David Mamet. Produced by Sarah Green. A
Fine Line release. Comedy. Rated Rfor language
and brief sexual images. Running
time: 90 min. Opens 12122.
Small-town America and big-time
Hollywood moviemaking are gently
mocked in David Mamet's affectionate
satire about what happens when a movie
crew invades the bucolic life of a small
Vermont town.
Director Walt Price (William H. Macy)
has been forced to relocate his period
drama to the town of Waterford. But his
hopes for a smooth shoot are immediately
dashed when Waterford's advertised old
mill, a key part of the film, turns out to
have been burnt to the ground 40 years
earlier. The movie's screenwriter, Joseph
Turner White (Philip Seymour Hoffman),
then has to rework the script, even as he
begins to feel that his vision is being eroded
by Hollywood. The lead actress (Sarah
Jessica Parker), meanwhile, has changed
her mind about doing the movie's nude
scenes and the lead actor (Alec Baldwin) is
indulging his penchant for underage girls.
Unlike "The Player." "State and Main"
prefers to go easy on its targets. There are
no out-and-out villains here, except for a
local politician (overplayed by Clark
Gregg) who tries to squeeze the movie
crew. Conversely, Mamet doesn't make the
mistake of overstating the virtues of smalltown
life; the denizens of Waterford are a
pretty savvy bunch who know what's what.
"State and Main" offers a welcome
group of arresting personalities and performances,
including Macy's increasingly desperate
director, the film's tough-guy producer
(David Paymer) and its likable writer
who, as played by Hoffman, makes for a
wonderfully unlikely but sweet leading man.
Mamet could have punched up the film's
humor with a little more bite, and the pacing
is sluggish at times, but its charms are
ma n ifold Shlomo Sehwartzherg
.
MEN OF HONOR
•••
Starring Robert De Niro, Cuba Gooding
Jr. and Hal Holhrook. Directed by George
Tillman Jr. Written by Scott Marshall
Smith. Produced by Robert Teitel and Bill
Badalato. A Fox release. Drama. Not yet
rated. Running time: 120 min.
Carl Brashear is a little-known but
important figure in the American civil
rights movement—little-known since the
battle he fought was personal; important
because he took on the U.S. Navy and
won. At a time when there was no "movement"
to speak of, Brashear challenged the
Navy's unwritten rules of systemic racism.
Cuba Gooding Jr. plays Brashear, a
young man from a poor rural farm area.
When he leaves to join the Navy, his father,
whom he idolizes, makes him promise that
no matter what he encounters or how hard
things get, he will never, ever give up.
Brashear stubbornly clings to this promise,
setting his sights high: He wants to be a
Navy diver. Navy divers are an elite group
that must endure the toughest of training
programs, and no black man had ever even
been allowed to train. With formidable will
and determination, Brashear not only targets
this career, he aims for the top rank of
Master Chief.
Brashear's nemesis is Master Chief Billy
Sunday, played by Robert De Niro. In this
role. De Niro savors his chance to do what
he does best as an actor — play an ornery
tough guy, who really does have a heart in
there somewhere. As these two powerhouse
characters clash, Brashear earns Sunday's
respect, and ultimately his friendship.
Gooding's solid performance is one of
the most powerful aspects of "Men of
Honor." In a film about heroism, where
hyperbole is unavoidable and myth-making
requirement, Gooding creates a credible
a
depiction of Brashear's phenomenal
strength of character. Barbara Goslawski
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Response No. 67 Response No. 529
November. 2000 (R-124) 161

STARDOM
TORONTO REVIEWS
••
Starring Jessica Pare, Dan Aykroyd,
Frank Langella, Camille Rutherford and
Robert Lepage. Directed by Denys Arcand.
Written by Denys Arcand and J. Jacob
Potashnik. Produced by Robert Lantos and
Denise Robert. A Lions Gate release.
Drama. English!French language; subtitled.
Not yet rated. Running time: 102 min.
Opens 10127.
In "Stardom," the Opening Night film
of the Toronto International Film
Festival, Denys Arcand tell us that becoming
a famous supermodel is soul-destroying
and corrupting. Quel surprise! Coming
from a director of the caliber of Denys
Arcand ("The Decline of the American
Empire," "Love and Human Remains"),
"Stardom" is a big disappointment. What
Arcand has done, ironically, is made a
movie that's more superficial than the
industry he's depicting.
Tina Menzhal (Jessica Pare) is a pretty
girl from a small Canadian town who suddenly
hits the big time as a supermodel.
Before long, she is the toast of New York,
Paris and Milan. That is, until she becomes
the desire of certain unscrupulous men.
"Stardom" is about the rise and fall of a
simple girl whose sweet dreams are shattered
by an industry that denies her an
identity.
There's something rather smug and
knowing about "Stardom" because it never
implicates us in our own fascination with
the glamorous world of fashion. Arcand's
ready-made judgments tend to keep us at a
careful distance.
It's also surprising that Arcand, who is
often so particular about creating interesting
and distinct characters in his movies,
hasn't allowed Tina to have a personality.
We never see what really attracts her to
becoming the next Cindy Crawford.
Arcand probably thinks it's clever to tell
Tina's story only through the media coverage
of her life, but that becomes a cute
device that diminishes any possibility for
depth. Kevin Courrier
THE WEIGHT OF WATER *1/2
Starring Sean Penn, Sarah Policy and
Elizabeth Hurley. Directed by Kathryn
Bigelow. Written by Alice Arlen and Chris
Kyle. Produced by Janet Yang, Joni
Sighvatsson and A. Kitman Ho. A Lions
Gate release. Drama. Not yet rated.
Running time: 110 min.
A true unsolved crime of two immigrant
women murdered in New Hampshire
in 1873 is paralleled with a present-day
(fictional) investigation of that event by a
photojoumalist (Catherine McCormack).
As she delves into the details of the case,
and closes in on a solution to the killings,
portents of violence and sexual jealousy
start to swirl around her, her novelist husband
(Sean Penn), his brother (Josh Lucas)
and the brother's seductive girlfriend
(Elizabeth Hurley).
Portentous and pretentious, "The
Weight of Water" is appropriately titled,
given the heavy-handedness of it drama.
Penn, whose character is supposedly troubled
and distraught,
looks bored with it
all, and Sarah Polley. in a game try as a
hard-working immigrant woman, still
can't surmount her clunky dialogue and
the film's farfetched scenario. Audiences
will be hard-pressed to wade through this
murky tale. Shlomo Schwartzberg
•*
BROTHER
Starring Takeshi Kitano, Omar Epps
and Claude Maki. Directed and written by
Takeshi Kitano. Produced by Jeremy
Thomas and Masayuki Mori. A Sony
Pictures Classics release. Drama. Japaneselanguage;
subtitled. Not yet rated. Running
time: 107 min.
Takeshi Kitano's career has certainly
been an illustrious one. For over 10 years,
he's directed and starred in numerous comically
violent gangster melodramas—such
as the international hits "Fireworks (Hana-
Bi)" and "Sonatine." In those films, Kitano
has played a completely deadpan and
bemused action figure. With a sense of
humor about as stoic as a statue, he packs
some of that Clint Eastwood emotional
armor, adds a pinch of Charles Branson's
rugged features, puts on some Roy Orbison
sunglasses, and then—with a twitch of his
eye—becomes this immovable screen icon.
In "Brother." he brings his Yakuza
gangster legend to the shores of
California. Yamamoto (Takeshi Kitano) is
outfit into a powerful one that holds a grip
on the L.A. underworld.
Kitano's stock brutality is in full evidence
in "Brother." Yet despite the intermittent
jokeyness, the cheap gangster
mythologizing gets a bit tiresome. If
"Brother" were an exploration of how
Yamamoto's code of honor provided a
perfect home for his psychopathic tendencies.
"Brother" might be about
something. Kevin Courrier
••
POLLOCK
Starring Ed Harris and Marcia Gay
Harden. Directed by Ed Harris. Written by
Barbara Turner and Susan J. Emshwiller.
Produced by Fred Berncr, Ed Harris and
John Kilik. A Sony Pictures Classics
release. Drama. Running time: 119 min.
The tumultuous life and death of painter
Jackson Pollock has been turned into a less
than tumultuous film biography. Pollock
(Ed Harris), now considered by many to be
one of the best American modernist artists
of the 20th century, was also a violent alcoholic,
prone to mental illness, and someone
who spent most of life struggling for fame
and acceptance in the art world. It's the stuff
of exciting moviemaking, but "Pollock" is
decidedly underwhelming.
Based on the Pulitzer prize-winning
biography, "Jackson Pollock: An American
Saga" by Steven Naifeh and Gregory White
Smith, "Pollock" dutifully trots out the high
and low points of the man's life, including
his insane rages, his tempestuous relationship
with Lee Krasner (Marcia Gay
Harden), a fellow artist who sublimated her
own career to boost Pollock's, and his insecurities,
even as he became one of America's
best known, most controversial talents. But
the psychological underpinnings of the film
are skin deep. Pollock's jealousy of his four
artistic brothers and his lifelong attempt to
win his stem mother's approval are briefly
dealt with but never reverberate emotionally.
And Harris, while convincing enough,
still turns in a dull performance. It doesn't
help that the actor, making his directorial
debut, is playing opposite Harden ("Space
Cowboys"), a consistently weak actress who
fails to galvanize the screen the way Krasner
galvanized Pollock.
"Pollock" is beautifully shot by Lisa
Rinzler ("Three Seasons") and there is a
nice cameo by Jeffrey Tambor as Clement
Greenberg, the first art critic to appreciate
Pollock, but none of the other characters in
Pollock's orbit register.
Harris has said that
"Pollock" was a passion that he spent 10
years making, but if so, little of that has
been translated to the screen. Shlomo
Schwartzberg
a member of the Japanese Yakuza who is
deeply involved in a gang war. When he
gets banished to the United States, he PARAGRAPH 175 ••
looks up his younger brother. Ken (Claude
Maki), who's fighting a drug war of his
own against the Mafia. Yamamoto, with Friedman,
the help of his brother and new-found Cole. A New Yorker release.
friend (Omar Epps). turns their small-time
Directed by Rob Epstein and Jeffrey
Friedman. Produced by Rob Epstein, Jeffrey
Michael Ehrenzweig and Janet
Documentary.
English- and German-language, subtitled.
Unrated. Running time: 81 min.
"Paragraph 175", the 1871 German antisodomy
law, was used by the Nazis in a campaign
of "purification" to send some
10,000-15,000 gay men to the concentration
camps, where most of them died.
It's
a provocative subject, but one that
is undermined by directors Jeffrey
Friedman and Rob Epstein's overly narrow
focus. Their decision to only interview gay
men imprisoned by the Nazis, instead of
gay men in general from that time, means
thai the pool of interviewees is necessarily
limited. In fact, only five gay men—one
Jewish, four Christian—are interviewed
for the film, along with a (token) Jewish
lesbian, and their stories are generally too
similar. One wonders what happened to
gay men who weren't sent to concentration
camps; how did they survive the war? And
the look at pre-War Weimar Germany,
which was remarkably accepting of gays,
is merely glancing. This important issue
deserves a better, deeper treatment.
— Shlomo Schwartzberg
162 (R-125)BOXOFFICE

TORONTO REVIEWS
E, YOU, THEM ••
Starring Regina Case, Lima Duarte,
enio Garcia and Luiz Carlos lasconcelos.
reeled by Andmcha Waddington. Written
Elena Soarez. Produced by Leonardo M.
Barros, Pedro B. de Hollanda and Andrucha
addington. A Sony Pictures Classics
tease. Drama. Spanish-language; subtid.
Not yet rated. Running time: 102 min.
If you're a fan of those quaint and cozy
azilian comedies like "Dona Flor and
:r Two Husbands," you'll probably
spond more favorably to "Me, You,
lem" than most audiences will. It's not the
uial romp that "Dona Flor" was, but it
s that same folksiness that makes sex
:m as harmless as porridge.
Darlene (Regina Case) is an impoverled
peasant girl who is left pregnant at the
;ar by the father of her child. After leavl
town to raise the infant, she returns
me three years later to bury her mother.
hen she encounters Osias (Lima Duarte),
old sexist coot, she decides to accept his
oposal of marriage. Despite being his virslave.
Darlene soon has affairs with
>ias' cousin, Zezinho (Stenio Garcia), and
er, Ciro (Luiz Carlos Vasconcelos), a
ung stud who happens to be a farm hand.
hen she becomes pregnant with Ciro's
ild, she attempts to set up a three-way
lationship in order to raise her children.
Despite the potency of polygamy as the
subject of "Me, You, Them," it never effervesces
into anything deeply funny. That's
partly because Darlene is the virtuous victim
who finally finds a way to take charge.
Since the movie never questions her
motives, or satirizes them. Darlene ends up
becoming earnest and dull. And the men,
emasculated fools who become foils for
Darlene's schemes, don't have the personalities
to provide some sexual tension among
the pairings. As for the children. Darlene
barely acknowledges them. In fact, neither
do we since we can barely remember their
faces, let alone their names. In the end,
"Me, You, Them" isn't terribly memorable
because you can't remember Who, What or
Why. Kevin Coumer
THE PRINCESS AND THE WARRIOR
••
Starring Franka Potente, Benno
Furmann, Joachim Krol and Marita Breur.
Directed and written by Tom Tykwer.
Produced by Stefan Arndt and Maria Kopf.
A Sony Pictures Classics release. Drama.
German language; subtitled. Not yet rated.
Running time: 132 min.
In his hit film "Run Lola Run," Tom
Tykwer dealt with the metaphysical issues
of fate and coincidence, but they were
explored in a spree. "Run Lola Run" moved
so fast that his heady ideas went down without
the audience falling into an existential
funk. One barely had a moment to question
the logic of the film. In "The Princess and
the Warrior," however, Tykwer has got the
Antonioni bug, which means that the movie
becomes a weighty and ponderous exercise
in spiritual ennui. And this time out, the
plot holes are bigger.
Franka Potente, who played Lola in
"Run Lola Run," stars as Sissi, a nurse who
works in a psychiatric hospital. Bondo
(Benno Furmann) is an aimless drifter who
can't get over the death of his wife. Their
lives intersect when Sissi is hit by a truck,
and Bondo saves her life. After she recovers,
she hunts down Bondo to see if his saving
her had a deeper significance. But Sissi finds
that Bondo doesn't believe, as she does, that
"nothing is meaningless." "The Princess
and the Warrior" is about how she tries to
redeem him from his spiritual malaise.
Tom Tykwer does set up some beautiful
compositions, and he's obviously trying to
expand and deepen the themes he treated
in simple pop terms in "Run Lola Run."
But "The Princess and the Warrior" takes
itself far too seriously. There's no spirit of
adventure, or fun, in Sissi's passionate
quest. The movie puts one in such a fugue
state by the end that it might be called
"Crawl Lola Crawl." Kevin Courrier
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TORONTO REVIEWS
LES DESTINEES SENTIMENTALES
(SENTIMENTAL DESTINIES) ••
Starring Emmanuelle Beart, Charles
Berling and Isabelle Huppert. Directed by
Olivier Assayas. Written by Olivier Assayas
and Jacques Fieschi. Produced by Bruno
Pesery. No distributor set. Drama. Frenchlanguage;
subtitled. Running time: 180 min.
One can see why skilled director Olivier
Assayas ("Irma Vep") was attracted to
Jacques Chardonne"s historical novel; it's an
intelligent drama that has all the juicy ingredients
of exciting movies, including illicit
love, the issue of women's rights and the
changing face of early 20th century capitalism.
Assayas' film adaptation of this epic is,
however, decidedly uninvolving.
Gary Burns' uncanny knack for
"Les Destinees Sentimentales" dances around the heart of the
Beart), with whom he falls in love. His life
is further altered when he is chosen to run
the Barnery porcelain factory.
Though well acted and mounted, "Les
Destinees Sentimentales" is a sluggish
movie. It gets the details of its time frame
right but it completely misses its emotions.—
Shlomo Sch wurtzberg
WAYD0WNT0WN ***l/2
Starring Fabrizio Filippo, Don McKellar
and Gordon Currie. Directed by Gary Burns.
Written by Gary Burns and James Martin.
Produced by Shirley Vercruysse and Gary
Burns. No distributor set. Comedy. i\ot yet
rated. Running time: 83 min.
Winner of the Best Canadian Feature
Award at this year's Toronto International
Film Festival, "waydowntown" showcases
creating
clever satire from the most ordinary of situations.
In the film, he skewers the (literally)
suffocating downtown corporate office
culture familiar to North American citydwellers.
Tom (Fabrizio Filippo) is a young
trainee who is bored with his job, and happily
immune to the company's indoctrination
techniques. Some of his co-workers
are not so lucky, and he is surrounded by a
veritable menagerie of neurotic kooks.
Meanwhile, he and a group of colleagues
have bet a month's wages on who can stay
indoors the longest. Since they all live and
work downtown, they can get where they
need to go simply by using the underground
tunnels.
Charles Berling plays the central figure
Director Burns displays admirable
of this drama. Jean Barnery, a Protestant
minister who, as the film begins, is newly
from
restraint: he avoids slipping into silly
shenanigans and turns "waydowntown"
estranged his possibly unfaithful wife
(Isabelle Huppert). Barnery 's ambivalence
about whether or not to dissolve his marriage
when
into a cogent yet hilarious
our soul-destroying
— Barbara Goslawski
indictment
urban
of
existence.
complicates his life he meets
the independent Pauline (Emmanuelle
HOW TO KILL YOUR NEIGHBOR'S
DOG
••
Starring Kenneth Branagh, Robin Wright
Penn and Jared Harris. Directed and written
by Michael Kalesniko. Produced by Michael
Nozik, Nancy M. Ruff and Brad Weston. A
Millennium release. Comedy. Not yet rated.
Running time: 108 min.
Don't let its title fool you. "How To Kill
Your Neighbor's Dog" is anything but a
black comedy. It's a trifle of a movie, with
a few laughs surrounding an unremarkable
soft center.
The laughs come from Kenneth Branagh.
who's very funny as the curmudgeonly
Peter McGowan, a renowned, critically
acclaimed playwright fallen on hard times
and poor boxoffice. His problems are exacerbated
by the pressure put upon him by his
wife (Robin Wright Penn), who wants kids,
which he couldn't care less about. And his
attempts to fix up his latest production are
being jeopardized by his neighbor's noisy
dog, who's keeping him awake at night.
Don't worry, McGowan doesn't kill the
dog, nor does he stand fast in his determination
to resist his wife's plea for children.
In fact, he learns to like them when he
befriends a mildly handicapped little
girl
(Suzi Hofrichter) who moves in next door.
It seems that only the Farrelly brothers can
get away with killing animals onscreen. As
for hating children, that's a taboo that
Americans simply won't challenge.
"How To Kill Your Neighbor's Dog"
wants to make nice so, despite a few
barbed jokes at the expense of McGowan's
mother-in-law (a wonderfully dotty Lynn
Redgrave) and the genuinely sharp
sequences interspersed throughout the film
in which McGowan goes head-to-head
with a semi-vacuous morning talk show
host (Peri Gilpin of TV's "Frasier"), the
film pulls back from drawing blood. In
fact, the gags about the dog are pretty
much dropped when Peter meets the man
(Jared Harris) who's been impersonating
him around the neighborhood. Their interplay
is quite dull and indicative of director
Michael Kalesniko 's inability to sustain a
comedic mood.
If you think that jokes about vapid
L.A. life are courageous, then this film's
for you. Shlomo Schwartzberg
CHASING SLEEP ***1/2
Starring Jeff Daniels, Emily Bergl, Gil
Bellows and Zach Greater. Directed and
written by Michael Walker. Produced by
Oliver Glaas and Thomas Bidegain. No distributor
set. Drama. Not yet rated. Running
time: 99 min.
This promising first feature from
writer-director Michael Walker combines
some of the nightmarish aura of David
Lynch's "Eraserhead" with the creeping
paranoia of Francis Coppola's "The
Conversation." "Chasing Sleep" is a
smoothly crafted psychological thriller
about a man who can no longer tell his
waking life from his dormant one.
Ed Saxon (Jeff Daniels) is an English
professor whose wife doesn't come home
one evening. After he spends the first night
worrying, Ed gets detectives involved in
trying to find her. Meanwhile, the pipes in
his house are dripping and odd objects
start turning up, and as Ed takes more pills
to make him sleep, the world becomes a
stranger place. But through his delusions,
Ed tries to unravel clues that might lead to
the fate of his wife.
Jeff Daniels has always had a knack
for getting deep inside the hidden lives of
shallow men. And Daniels is superb at
unraveling the wormy anxieties and desperation
at the heart of Ed's existence.
"Chasing Sleep" is the stuff of lingering
dreams. Kevin Courtier
164 (R-127) BOXOFFICE

TORONTO REVIEWS
LES GLANEURS ET LA GLANEUSE
(THE GLEANERS AND I)
••••
Directed and written by Agnes Varda.
Produced by Agnes Varda. No distributor
set. Documentary. French-language; subtitled.
Not yet rated. Running time: 82 min.
Veteran film-maker Agnes Varda
("Vagabond," "Jacquot de Nantes"), who
began her career as a photographer, returns
to her roots as a photojournalist in this sublime
documentary which explores the centuries-old
tradition of gleaning in France.
What began as a process where peasants
gleaned the leftover produce after the harvest
has now become a way of life for many
homeless people, artists and chefs.
Varda creates a richly textured essay
that essentially looks at how one class of
society lives off of the refuse of another.
But besides raising the political and social
implications of gleaning, Varda goes even
deeper into something personal, by examining
the process of aging itself, and raising
questions of real value. Such as. when
do we become mere scrap on the junk pile
of life?
"Les Glaneurs et la Glaneuse (The
Gleaners and I)" is an elliptically subtle
and beautifully evocative portrait of how
one man's trash becomes another man's
treasure. Kevin Courtier
POSSIBLE WORLDS •
VULGAR *
Starring Tom McCamus and Tilda Starring Brian Christopher O'Halloran
Swinton. Directed by Robert Lepage. and Jerry Lewkowitz. Directed and written
by Bryan Johnson. Produced by Monica
Hampton. No distributor set. Drama. Not
Written by John Mighton. Produced by
Sandra Cunningham and Bruno Jobin. No
distributor set. Science Fiction. Not yet
rated. Running time: 93 min.
Who killed George Barber (Tom
McCamus) and why was his brain stolen? It
has something to do with alternate realities
and the existence of more than one George
Barber but, whatever the explanation, audiences
can be forgiven for thinking it's
not
just Barber's brain that's missing.
Robert Lepage ("Le Confessional",
"No") is very talented but "Possible
Worlds" is very dumb. It's not that the
film's concept, adapted by John Mighton
from his play, is a bad one, but that
Lepage's execution of it is so inept and so
annoyingly solemn. McCamus plays his
parts monotonously and Tilda Swinton as
both a neurology professor and a businesswoman
fails to delineate her two characters.
Other than the differing hairstyles,
they may as well be the same person. Add
some scientific mumbo jumbo, some
pointlessly exotic sets and a whole lot of
pretentious dialogue and you'll wish you
were in any world but this one. Shlomo
Schwartzberg
yet rated. Running time: % min.
How's this for a premise: A put-upon
professional clown, Will (Brian
Christopher O'Halloran). constantly
abused by everyone, decides to reinvent
himself as Vulgar, a transvestite clown
who hires himself out as the entertainment
at bachelor parties. On his first gig,
he is savagely raped by three men. He gets
his own TV show, but the trio try to
blackmail him with videotapes of his
rape, an act which leads to Vulgar swearing
revenge.
The idiocy of "Death Wish" crossed
with the contempt of "Chuck & Buck"
makes for a pretty unpleasant viewing
experience. First-time director Bryan
Johnson wants to have it both ways, showing
disdain for his main character and then
trying to redeem him. It doesn't work,
despite the A-list credentials of executive
producers Scott Mosier and Kevin Smith.
the guys behind "Clerks" and "Dogma."
Badly written, directed and acted,
"Vulgar" is empty-headed and
disposable. Shlomo Schwartzberg
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Response No. 151
November. 2000 (R-128) 165

TORONTO REVIEWS
MEMENTO ••••
Starring Guy Pearce, Carrie-Anne Moss
Imagine: You're a man whose wife has
been raped and murdered. You stumble
upon the crime scene and receive a brain
injury which permanently disables your
short-term memory. You still remember
everything about your life until the accident
but every new memory is forgotten
after 15 minutes. How do you function and
how can you avenge your wife's death?
That's the fascinating premise of
"Memento," one of the cleverest movies to
comes along in ages. British director
Christopher Nolan, whose first film,
"Following," was a promising albeit undeveloped
debut, outdoes himself here, structuring
an ingenious multi-layered, fragmented
storyline that could easily have collapsed
like a house of cards but never does.
In effect, the movie unfolds like the faulty
memory of its lead character, Leonard
Shelby (Guy Pearce, brilliant as a human
cipher). He needs to refer to photographs
and written notes so he can remember who
the individuals in his life are when he meets
them again. The film, based on an unpublished
short story by the director's brother,
Jonathan, does the same, introducing a
scene, then going backwards to reveal its
secrets. Either the real motivations of the
characters are uncovered or we learn how
a specific photo came into being and why
been labeled a certain way. Then there
it's
are the disquieting black-and-white
sequences, which seem to hint at a solution
to the mystery, wherein Leonard speaks to
an unidentified person on the phone about
someone else with the same faulty memory
syndrome. It all makes for riveting, compelling
cinema.
Most impressive is the way Nolan juggles
all the elements of this highly fractured
narrative, artfully revealing the big
picture but also slipping in an unanticipated
and chilling climax, one that makes you
reappraise everything that has gone before.
"Memento" is that rare film that needs
and deserves—second viewings. It's that
unique. Shlomo Schwartzberg
THE DISH
••*
Starring Sam Neill, Kevin Harrington,
Tom Long, Patrick Warburton and Bille
Brown. Directed by Rob Sitch. Written by
Santo Cilauro and Tom Gleisner. Produced
by Debra Choate, Santo Cilauro, Tom
Gleisner, Michael Hirsh, Jane Kennedy
and Rob Sitch. No distributor set. Comedy.
Not yet rated. Running time: 101 min.
Rob Sitch ("The Castle") directs this
comedy that's replete with the dry humor
and ironic tone characteristic of any
halfway decent Aussie pic. Based on a
true story, the film's title
refers to a large
satellite dish located in the rural
Australian town of Parkes. In July 1969,
and Joe Pantoliano. Directed and written by the dish played a pivotal role in transmitting
voice and television signals from
Christopher Nolan. Produced by Jennifer
Todd and Suzanne Todd. A Newmarket NASA's Apollo 1 1 mission—the first time
release. Drama. Not yet rated. Running ever that man set foot on the moon.
time: 113 min.
The movie depicts the excitement that
engulfs the citizens of Parkes when they
learn the importance of their dish in
bringing the historic event to TV sets
around the world. Special pressure falls
on four men in charge of operating the
dish (Sam Neill. Kevin Harrington, Tom
Long and Patrick Warburton), whose
quirky personalities fall into neat categories.
There's the leader whose strict
dedication and seriousness rubs other
members the wrong way; the shy one, who
is too quiet and meek to ever rock the
boat; the smart-ass, whose wise cracks
Dish" a truly Australian product, such as a
scene of cricket being played on the allimportant
titular equipment, keeps the film
from becoming a mere copycat of a
Hollywood adventure into outer space
(minus Tom Hanks). Francesco Dinglasan
PANDAEMONIUM
The Australian NASA team frantically tries to track Apollo 1 1
provide comic relief in times of tension;
and the sagacious one, who always knows
exactly the right thing to say. Together,
the diverse group manages to do their
part in the NASA mission and bring great
pride to the town, despite the obligatory
mishaps such as a lost connection with
the Apollo because of a power failure and
60 mph winds that threaten to blow the
dish over at the very moment of astronaut
Neil Armstrong's descent from the vessel.
With a charming ensemble cast and a
script that offers consistent humor from
blast-off to landing, "The Dish" delivers
exactly what it promises: good-natured, fun
fare. Weak points in the film tend to be
when it apes elements of previouslyreleased,
big budget Apollo mission pics,
including an overdone, unrelenting musical
score and an attempt to inspire emotions
that never quite come to fruition. However,
the added local flavor that makes "The
••
Starring John Hannah, Linus Roache,
Samantha Morton and Emily Woof.
Directed by Julien Temple. Written by
Frank Cottrell Boyce. Produced by Nick
O'Hagen. No distributor set. Drama. Not
yet rated. Running time: 120 min.
Julien Temple's "Pandaemonium" is a
ghastly marriage between MTV and Ken
Russell. You don't learn anything about
the emergence of English romanticism, or
the nature of the conflicting personalities
of poets William Wordsworth (John
in the comedy 'The Dish
Hannah) and Samuel Taylor Coleridge
(Linus Roache). Temple and screenwriter
Frank Cottrell Boyce barely set the context
for the period, and we're off spinning
in opium delusions and poetic hyperbole.
Amidst all the visual razzle-dazzle is the
banal idea that these literary mavericks
were doomed idealists.
What made Wordsworth and
Coleridge such opposing forces in romantic
literature was that Wordsworth depicted
nature as a benevolent force, while
Coleridge saw nature as something dark
and daemonic (especially in "The Rime of
the Ancient Mariner"). But
"Pandaemonium," besides fumbling a
number of historical facts, never delves
into those artistic sensibilities. If the
movie did, we'd understand why they
both attracted and repelled each other.
"Pandaemonium" instead becomes pretentious
chaos. Kevin Courrier
166 (R-129) BOXOFFICE

, NO
REVIEWS
LIAM ***l/2
Starring Ian Hart, Claire Hackett and
Anthony Borrows. Directed by Stephen
Frears. Written by Jimmy McGovern.
Produced by Colin McKeown and Martin
Tempia. No distributor set. Drama. Not yet
rated. Running time: 88 min.
Another gem from director Stephen
Frears, "Liam" is a stripped-down, emotionally
resonant story of a Liverpudlian
family in the dirty, Depression-era '30s
and the circumstances that eventually tear
them apart.
A subtly drawn, painstakingly detailed
period piece, "Liam" begins on a comic
note with Liam (Anthony Borrows), a
stuttering seven-year-old boy, being
harangued on the meaning of sin by his
teacher and the parish priest, a concept he
barely understands. Liam's family is poor
bur manages to survive— until his father
(Ian Hart) loses his job. That begins a
downward spiral that brings him into orbit
of the local fascists, who blame the Irish
and the Jews for all their problems.
"Liam" touches on many issues, including
class warfare, scapegoating, religious
exploitation and sexual infidelities, but it
never feels like a history lesson.
Superbly acted by all concerned—newcomer
Borrows is a real find "Liam"
—
builds in mood and intensity until it reaches
its powerful, highly poignant climax. Its
balancing act of tragedy and humor never
falters, and even its melodramatic aspects
can be attributed to the way Liam views
his world. Shlomo Schwartzberg
SHADOW MAGIC
**i/2
Starring Jared Harris, Xia Yu, Lu Peiqi
and Lu Liping. Directed and written and
produced by Ann Hu. No distributor set.
Drama. Chinese-language; subtitled. Not
yet rated. Running time: 115 min.
Ann Hu's "Shadow Magic" is certainly
an extravagant account of the momentous
arrival of cinema in China at the turn of
the century. But the story becomes something
far more conventional.
The year is 1902, and an ambitious
photographer, Liu (Xia Yu), who is about
to photograph one of China's great opera
stars, finds himself looking ahead to the
future. The future arrives in the presence of
Raymond Wallace (Jared Harris), a British
entrepreneur, who brings the discovery of
the motion picture. Although the images
overwhelm the Chinese populace, Liu sees
the power contained within them. But it
also puts him in conflict with the owner of
the photo shop and the woman he loves.
"Shadow Magic" is obviously a labor of
love for the director, but it fails to stoke
imagination. Hu concentrates the drama
on Liu and Wallace's budding and conflicting
friendship rather than the many
reasons why movies would stir strong reaction
in Chinese culture. All "Shadow
Magic" lacks is magic.
Kevin Courrier
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November, 2000 (R-130) 167

NORA **•*
MONTREAL REVIEWS
Starring Ewan McGregor, Susan Lynch,
Peter McDonald, Andrew Scott and Kate
O' Toole. Directed by Pat Murphy. Written
by Pat Murphy and Gerard Stembridge.
Produced by Bradley Adams, Damon
Bryant and Tracey Seaward. No distributor
set. Biographical drama. Not yet rated.
Running time: 106 min.
Most sex acts depicted on the screen are
gratuitous, but erotically-charged love is
precisely the point in "Nora," a biographical
look at James Joyce and his commonlaw
wife. It's a portrait of obsession, devotion
and the madness of literary pursuits.
Susan Lynch plays the title role of the
savvy, enigmatic woman who intrigues the
Irish author even though she is never his
intellectual equal. Ewan McGregor moves
light years away from his "Star Wars"
character as Joyce, a troubled genius with a
wild Celtic soul. When they meet in
Dublin, he's still unpublished; she's a hotel
line between jealousy and libido, using one
as an aphrodisiac to stimulate the other in
a degrading cycle. The screenplay, adapted
by director Pat Murphy and Gerard
Stembridge from a historical account by
Brenda Maddox, sizzles with a carnal and
verbal intensity. Lynch and McGregor,
who also sing a few lilting tunes in the film,
bring this fervor to perfection. Susan
Green
INNOCENCE
**i/2
Starring Julia Blake, Charles Tingwell,
Terry Norris and Robert Menzies. Directed
and written by Paul Cox. Produced by
William T. Marshall, Paul Cox and Mark
Patterson. No distributor set. Drama. Not
yet rated. Running time: 95 min.
Paul Cox's tribute to geriatric romance,
which shared the Grand Prize of the
Americas at the Montreal World Film
Festival, is an uneven study of a muchneglected
subject. Where most movies
James Joyce (Ewan McGregor) and his wife and muse (Susan Lynch) share a kiss in "Nora.'
maid escaping an abusive home in Galway.
Yet Nora is able to provide a solid emotional
foundation to counter the crippling
effect of his rational and irrational fears.
She becomes his unwitting muse, inspiring
such stories as "The Dead." They also are
significantly ahead of their time—the early
1900s— in the dynamics of physical passion,
which the movie details with honesty
rather than prurience.
James and Nora are so immersed in
each other, in fact, their two children exist
as something of an afterthought. The kids
arrive after the couple relocate to Italy
because Ireland stifles them in body, mind
and spirit. They manage to scandalize
Victorian society even in the more liberated
artistic circles of Trieste. Joyce's work,
particularly a short story collection called
"The Dubliners," is repeatedly rejected by
editors who consider his writing "dirty."
After a while. Joyce's paranoia blurs the
today suggest that adolescents are the only
deliciously horny people with an enormous
itch to scratch. Cox makes an honest
plea for love and lust among the venerable.
And he's not afraid to show how sensuality
and desire become very fragile when the
vulnerability of old age brings you one
step closer to the Great Beyond. But Cox
also brings a high-cultured solemnity to
the proceedings. He's so busy lighting
incense sticks at the altar of pure romantic
love that he loses touch with the basics of
the story.
Andreas (Charles Tingwell) is a retired
music teacher and widower who starts
reminiscing about a love affair he had with
Claire (Julia Blake) 50 years earlier.
Impulsively, he decides to contact Claire,
who has been in a loveless marriage, and
asks to see her again. When the former
lovers do reunite,
they discover that their
feelings for each other haven't died.
The actors in "Innocence" certainly
bring just the right kinds of tentative emotions
to the table. There's a delicate intensity
to the way Blake plays a woman facing
the hoax of her marriage. And Tingwell
gives Andreas' desire for Claire an underpinning
of desperation. But Cox ("Man of
Flowers," "Molokai: The Story of Father
Damian") treats their affair with far too
much reverence. There's no dramatic
meaning in the flashbacks he shows to
contrast their younger selves with the present.
Cox presents their love as so unsullied
and sacred that he blurs the specifics
of their carnal desire. "Innocence" turns
into highbrow kitsch. Kevin Courrier
SADE **1/2
Starring Daniel Auteuil, Marianne
Denicourt and Jeanne Balibar. Directed by
Benoit Jacquot. Written by Jacques Fieschi.
Produced by Patrick Godeau. No distributor
set. Drama. French-language; subtitled.
Not yet rated. Running time: 100 min.
For his controversial (in France) take
on the infamous Marquis de Sade, French
director Benoit Jacquot ("School of
Flesh") has chosen to focus on a short
period late in Sade's life.
In 1794, five years
after the French Revolution, Sade (Daniel
Auteuil), a victim of the bloodthirsty rule
of the vicious Robespierre, is imprisoned,
along with many other aristocrats, and
faces the likelihood of going to the guillotine.
His protection—so far—comes from
an ex-mistress, Sensible (Marianne
Denicourt). who attempts to save him by
giving herself to Fournier (Gregoire
Colin), one of Robespierre's lieutenants.
While in jail. Sade. who has not yet admitted
authorship of the infamous sadomasochistic
novel "Justine," which would
hasten his
death, mocks and antagonizes
his fellow prisoners and plots the seduction
of a young girl, who is fascinated by
the lecherous but strangely intriguing man.
Jacquot has decided on an unusually
sympathetic approach to Sade, casting him
more as a likable roue than the disreputable
Casanova he's generally perceived
to be. That's fair and, perhaps accurate,
but it's
a problematic decision. As personified
by Auteuil, and despite the character's
manipulations and deceits. Sade
comes across as fairly ordinary and mild,
even when setting up a threesome between
the young lady he's set his sights on, a male
prison employee and another young man
who's been jailed. (That scene is cut short,
which is odd since sexuality was such an
integral part of Sade's existence.) Depicting
Sade as mundane may be Jacquot's point
but it renders inexplicable why we are still
shocked by his writings today. After all, it's
not very often that an individual has a sexual
predilection named after him. Though
beautifully shot and well acted, "Sade"
lacks the danger and excitement you would
expect from its subject. It's curiously
chaste. Shlomo Schwartzberg
168 (R-131) BOXOFFICE

THE BIG ANIMAL
MONTREAL REVIEWS
••••1/2
Starring Jerzy Stuhr and Anna Dymna.
Directed by Jerzy Stuhr. Written by
Krzysztof Kieslowski and Jerzy Stuhr.
Produced by Janusz Morgenstern and
Slawomir Rogowski. No distributor set.
Comedyldrama. Polish-language; subtitled.
Not yet rated. Running time: 75 min.
"The King of Hearts" was a 1960s cult
favorite from Europe that played for something
like five years at one Boston-area
theatre. With a timely anti-war message, it
also tapped into a populace just emerging
from stultifying conformity. Although the
Zeitgeist has now changed—Americans are
consumed by insidious conformity of
another kind — "The Big Animal" deserves
attention for its gentle rage against the
machine of social convention.
The modest black-and-white film
observes what happens in a Polish village
when a camel abandoned by a circus wanders
into the front yard of a middle-aged
couple, the Sawickis. This simple tale with
layers of meaning comes from an unfinished
screenplay by the late Krzysztof
Kieslowski (the filmmaker behind masterpieces
such as "The Decalogue") that was
completed by director Jerzy Stuhr, who
plays the mild-mannered Mr. Sawicki. It
launches a cross-species love affair of the
purest intentions. Pawel Edelman's gorgeous
cinematography frames them eating
dinner in front of their large open window
and putting treats on the sill for the waiting
creature to munch, a transcendent
image. And who knew camels were such
wondrous creatures?
Mr. Sawicki, a banker who plays clarinet
in a local band, takes the camel for
walks as if it were a pet dog. When the
weather turns cold, his schoolteacher wife
(Anna Dymna) sews a patchwork quilt
with two hump-sized holes. They even
build a gigantic enclosure, incorporating
Middle Eastern architecture to make the
creature feel more at home. But no offbeat
individualism shall go unpunished. The
townspeople become jealous, fearful and
vindictive, seeing the camel as a freak
rather than the charming friend adored by
the Sawickis. "The Big Animal" is a true
classic. Susan Green
SAINT-CYR (THE KING'S
DAUGHTERS) ••
Starring Isahelle Huppert, Nina Meurisse
and Morgane More. Directed by Patricia
Mazuy. Written by Patricia Mazuy and Yves
Thomas. Produced by Denis Freyd. No distributor
set. Drama. French-language; subtitled.
Not yet rated. Running time: 119 min.
The true story of Saint-Cyr, a boarding
school for the daughters of destitute nobility
which was set up by the wife of Louis
the 14th in the late 17th century, is a tale of
the pull of sensuality versus the lure of
spirituality. That's a provocative mix, but
the movie is nevertheless a dull affair.
Madame de Maintenon (Isabelle
Huppert), who founded Saint-Cyr, is a
woman ahead of her time, a feminist who
teaches her charges that they need not be
dependent on men for their livelihood. Her
views, undergo a sea change, however,
when she realizes that Saint-Cyr's young
women are magnets for the rapacious men
of Louis the 14th's court. Fearing the
flames of hell, Madame de Maintenon
turns Saint-Cyr into a virtual monastery,
an action which pits her against Anne de
Grandcamp (Morgane More), one of
Saint-Cyr's most independent young
women, who is especially disturbed that
her best friend, Lucie de Fontonelle (Nina
Meurisse). has fallen wholly under
Madame de Maintenon's religious sway.
While the penultimate scene, in which
Madame de Maintenon becomes aware of
the sexual attractions of the young women
of Saint-Cyr, is brilliantly realized. "Saint-
Cyr" rarely comes to life. Reducing
Madame de Maintenon's religious and sexual
fears to a battle of wills with Anne is
too narrow a focus for what is really a larger
tale. We never even really get an understanding
of why de Maintenon's husband,
the King (Jean-Pierre Kalfon). is so indulgent
of her radical efforts. Shlomo
Schwartzberg
THE ADVENTURES OF GOD
••
Starring Pasta Dioguardi. Written and
directed by Eliseo Subiela. Produced by
Orgon Films. No distributor set.
Fantasyldrama. Spanish-language; subtitled.
Not yet rated. Running time: N5 min.
With elements of Sartre's "No Exit,"
Beckett's "Waiting for Godot." Fellini's "8
1/2" and David Lynch's "Eraserhead." this
self-described metaphysical thriller by
Eliseo Subiela suffers from tortured symbolism.
In "The Adventures of God," he
abandons the whimsy and magic realism of
such earlier work as 1995's "Don't Die
Without Telling Me Where You're Going."
A grotesque travelogue through the
subconscious, the new film deposits The
Protagonist (Pasta Dioguardi) at a seaside
hotel unable to remember his own name.
He does, however, have his elderly mother
in a duffel bag and feels compelled to
slaughter her every time she reappears. His
fellow guests are just as bizarre: Valerie
(Flor Sabatella) periodically gives birth to
small inanimate objects, for example.
The Protagonist eventually recalls realworld
alienation from a wife and newborn
child, but understands he is trapped in
someone else's nightmare. By then, the
unrelenting, grim surrealism has worn
thin.
Susan Green
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November. 2000 (R-132) 169

170 (R-133) BOXOFFICE
MONTREAL REVIEWS
•••
BREAKING THE SILENCE
Starring Gong Li, Gao Xin, Shi
Jingming, Guan Yue and Yue Xiuqing.
Directed by Sun Zhou. Written by Liu
Heng, Sun Zhou and Shao Xiaoli.
Produced by Huang Yong and Zhao
Xinxian. No distributor set. Drama.
Mandarin-language; subtitled. Not yet
rated. Running time: 90 min.
In what seems an unusual gambit for a
film from the People"s Republic of China,
"Breaking the Silence" swipes at the pitfalls
of nascent capitalism and sympathizes
with the underground economy
that has resulted.
Within this context, a single mother
named Sun Liying (Gong Li) struggles to
provide for her largely deaf son, Zheng
Da (Gao Xin). Her goal is to teach him to
speak clearly enough so that the boy can
be accepted at a mainstream school to
receive the best possible education.
Liying is aided by a female friend who
sells books at an illegal outdoor stall and
a male teacher (Shi Jingming). He just
might be gay—if so, another cinematic
oddity for China—and therefore not
quite the knight in shining armor she
envisions.
At one poignant juncture, Liying sits
weeping inside a McDonald's, perhaps a
testament to the joylessness of Happy
Meals.
Otherwise, the picture's subtle performances
are overwhelmed by an unnecessary
narration and a sentimental score.
— Susan Green
•••
SECOND SKIN
Starring Jordi Molla, Javier Bardem,
Ariadna Gil and Cecilia Roth. Directed by
Gerardo Vera. Written by Angeles
Gonzalez Sinde. Produced by Andres
Vicente Gomez. No distributor set. Drama.
Spanish-language; subtitled. Not yet rated.
Running time: 104 min.
In the electrifying mode of many
recent Spanish films, director Gerardo
Vera's "Second Skin" maintains a breathless
momentum while chronicling one
man's sexual confusion. Alberto (Jordi
Molla) is a well-to-do aerospace engineer,
husband of the lovely Elena (Ariadna
Gil) and father of a young boy. He is also
the lover of Diego (Javier Bardem), a doctor
comfortable being gay. Unable to
make a clear choice, the terrified Alberto
cannot stop the deception even when
Elena learns of his adultery. He promises
fidelity but continues seeing Diego, who is
still unaware of Alberto's marriage. The
anguish builds; his secure world crumbles.
What might otherwise pass for soap opera
benefits from a smart script and terrific
cast— particularly Bardem, a generous
actor. Cecilia Roth of "All About My
Mother" fame has a supporting role as
Diego's friend. Vera pulls a surprisingly
positive conclusion out of a hat filled
with dire doings. Susan Green
•••
RELATIVE VALUES
Starring Julie Andrews, William
Baldwin, Jeanne Tripplehorn, Colin Firth,
Stephen Fry and Sophie Thompson.
Directed by Eric Styles. Written by Paul
Rattigan and Michael Walker. Produced by
Chris Milburn. No distributor set. Comedy.
Not yet rated. Running time: 90 min.
Noel Coward's witty but broad theatrical
strokes do their devilish best to entertain
a contemporary movie audience in
"Relative Values," a romantic comedy
directed by Eric Styles that gently tweaks
the aristocracy. Class consciousness in the
1950s English countryside means that the
Earl of Marshwood (Edward Atterton)
cannot reasonably expect to marry fiancee
Miranda Frayle (Jeanne Tripplehorn), a
Hollywood star with embarrassing secrets.
To discourage her son's attachment to the
actress, the Countess (Julie Andrews) devisevery
frame. Iran now walks a tightrope
between repression and reform, creating a
tension that enlivens art. This opportunity
to express subtle truths has emboldened
filmmakers there, much as it briefly did in
China during the early 1990s. The censors
sleep, but not for long.
The Western-educated Shahriar traces
the harrowing plight of Amangol (Altinay
Ghelich Taghani), who reluctantly leaves
her small village with a shaved head and
dressed as a boy — measures intended to
protect her virtue. When she shows up for
prearranged employment at a small carpet
workshop in a desolate town, it's the girl's
health and sanity that are threatened.
Amangol endures brutal conditions and
long hours in a crypt-like room because her
family desperately needs the wages. The
boss is a violent-tempered man prone to
persecuting his terrified young rug makers.
Miranda (Jeanne Tripplehorn) and Don (William Baldwin) are the pawns in a stratagem of "Relative Values."
es a clever plan that involves cousin Peter,
the fop (Colin Firth); Moxie, the timid maid
(Sophie Thompson); and Crestwell, the
wise-cracking butler (Stephen Fry). The
arrival of Miranda's former flame and fellow
thespian. Don (William Baldwin), adds
fuel to the drawing room fire. Tripplehorn
and Baldwin seem too contemporary to
effectively portray the larger-than-life
celebrities of five decades ago. Emulating
films of that era. the dialogue is quick—but
the laughs are sporadic. Susan Green
DAUGHTERS OF THE SUN ••••
Starring Altinay Ghelich Taghani,
Soghra Karimi, Zahra Mohammadi and
Habib lladdad. Written and directed by
Maryam Shahriar. Produced by Jahangir
Kosari. No distributor set. Drama. Arabiclanguage;
subtitled. Not yet rated. Running
time: 90 min.
Heart-wrenching at every turn, Maryam
Shahriar's elliptical feature debut is a spare
but complex story about sacrifice.
Precise
historical forces resonate without fanfare in
Things become more problematic when
a coworker named Belgheis (Soghra
Karimi) falls in love with the stoic
Amangol. who cannot reveal her gender but
feels drawn to the only human warmth
available in such an unforgiving place. This
relationship is beyond taboo in a land that
discourages even heterosexual contact
before marriage.
With minimal dialogue, the understated
commentary in "Daughters of the Sun"
speaks volumes about the horrors, particularly
for women, in a 21st-century feudal
society ruled by ayatollahs. What have the
country's 1979 revolution and subsequent
fundamentalism accomplished for the
poor?
The picture, which snagged the Prix de
Montreal for Best First Fiction Feature,
was a selection in the Montreal World
Film Festival's Cinema of Tomorrow: New
Trends category. It's a dicey proposition;
the cinema of tomorrow could become far
less interesting in Iran if repression overtakes
reform. Susan Green

REVIEWS
••
MY LITTLE DEVIL
Starring Rushabh Patni, Pooja Batra
and Om Puri. Directed and written by Gopi
Desai. Produced by Rock Demers. No distributor
set. Drama. Dubbed in English.
Not yet rated. Running time: 88 min.
"My Little Devil" begins idyllically
with a series of snapshots of the poor but
happy life of a young Indian boy named
Joseph (Rushabh Patni). Then his mother
dies and he is sent away to a Catholic-run
boarding school. He has trouble fitting in
but makes friends with Tom, the school's
cook (Om Puri). But it's Joseph's decision
to steal food for a starving fellow student,
Sandu (Gaffar Modi), that changes him
forever.
As per usual with the children's
films
of Quebec producer Rock Demers ("The
Dog Who Stopped The War"). "My Little
Devil" looks great and is generally well
acted. But the kids are idealized—none of
them bully or antagonize Joseph—and
the potentially interesting relationship
between Joseph and Tom is barely examined.
When the bar for kids' flicks has
been set high by movies like "Babe: Pig in
the City" and "A Little Princess," films
PRESENTING THE FANTASTIC 4
XR171
ANTI-STATIC
non-yellowing
pearlescent surface
like "My Little Devil" just don't cut it.
— Shlomo Schwartzberg
CANONE
INVERSO—MAKING
LOVE *1/2
Starring Gabriel Byrne, Hans
Matheson, Melanie Thierry, Lee Williams,
Nia Roberts and Ricky Tognazzi. Directed
by Ricky Tognazzi. Written by Graziano
Diana, Simona Izzo and Ricky Tognazzi.
Produced by Vittorio Cecchi Gori and
Mario Cotone. No distributor set.
Historical drama. Not yet rated. Running
time: 109 min.
Where else but the movies would
Czech citizens speak English with French,
Irish and Italian accents? Clearly out to
make an epic, director Ricky Tognazzi
cooks up "Canone Inverso—Making
Love" as a melodramatic international
stew accompanied by a lavish Ennio
Morricone score.
A canone inverso is a melody that
sounds the same when played backwards,
symbolism that doesn't really say much
about this convoluted plot with one too
many coincidences. Jeno (Gabriel Byrne)
appears as a haunted violinist who tells
his saga-via-flashbacks to a young musician
(Nia Roberts) just before the 1968
Soviet invasion of Prague: Almost three
decades earlier, Jeno (Hans Matheson) is
a fatherless, self-taught child prodigy on a
pig farm. Finally able to study at a conservatory,
he befriends David (Lee
Williams) and woos a married pianist
(Melanie Thierry). As Jews, they are all
targeted by the Third Reich. David and
Jeno discover a long-buried secret linked
to a special violin and — you guessed it—
canone inverso.
Susan Green

MONTREAL REVIEWS
LE GOUT DES AUTRES (THE TASTE
OF OTHERS) •••
Starring Agnes Jaoui, Jean-Pierre Bacri
and Brigitte Catillon. Directed by Agnes
Jaoui. Written by Agnes Jaoui and Jean-
Pierre Bacri. Produced by Charles Gassot.
No distributor set. Drama. French language;
subtitled. Not yet rated. Running
time: 108 min.
"Le Gout Des Autres" does what the
French do best, craft romantic dramas that
ring true and offer wisdom and insight into
the relationships between men and women.
Chief among them are Castella (Jean-
Pierre Bacri), a likable boor who finds
himself attracted to Clara (Anne Alvaro),
a 40-year-old actress who has given up on
ever finding love. At the same time, her
friend Manie (Agnes Jaoui) begins a relationship
with Castella*s tough bodyguard,
Moreno (Gerard Lanvin), who has vowed
to never settle down with any woman.
Then there's Castella's neurotic wife,
Beatrice (Brigitte Catillon), who prefers
animals to people, and his driver,
Deschamps (Alain Chabat). who has
romantic problems of his own. The linkages
between the characters are never
forced and the performances are uniformly
pleasurable. Some of the people, such as
Beatrice, could have been sketched in more
depth and Jaoui's direction is somewhat
clunky but this sweet film will leave you
smiling. Shlomo Schwartzberg
MY MOTHER FRANK ***1/2
Starring Sinead Cusack, Sam Neill and
Matthew Newton. Written and directed by
Mark Lamprell. Produced by Phaedon
Vass, Susan Vass and John Winter. No distributor
set. Comedy IDrama. Not yet rated.
Running time: 96 min.
To be funny, uplifting and authentic, a
film must jump through a few hoops. "My
Mother Frank" sometimes stumbles in
reaching for those goals, but the effort
seems rather heroic. The story is more
touching than maudlin, depicting a population
rarely profiled on the big screen
these days: middle-aged women.
Frank—Frances Regina Aileen Nano
Kennedy (Sinead Cusack)—is an Irish
Catholic widow living in Australia. Her
children have become the entire focus of a
life that is increasingly lonely. Although
living at home, David (Matthew Newton)
is a college student who really needs his
privacy from an interfering parent. The
bourgeois Margaret (Sacha Horler) has
kids of her own.
A religious upbringing has meant that
each problem Frank faces is merely her
"little cross to bear," as Sister Sebastian
(Melissa Jaffer) regularly points out. She
and Sister Bemadette (Joan Lord) do not
know, however, that one very heavy cross
awaits their former parochial school pupil
before the movie ends.
David suggests Frank pursue an educait
is dismayed when she enrolls at his
university.
He's trying to win the heart of
his friend Jenny (Rose Byrne), who is
involved with a macho overachiever
named Mick (Nicholas Bishop). Frank,
meanwhile, has a literature class run by
Professor Mortlock (Sam Neill), an
authoritarian
teacher with no mercy for
the struggles of his adult female students.
Director Mark Lamprell (he helped
write "Contact" and "Babe: Pig in the
City") takes an occasional misstep. Frank
is the only person sporting colors at a garden
party filled with oddball ladies in hats
wearing white, an example of that Aussie
tendency to create caricatures rather than
David's mom— and fellow collegian—
is nothing if not Frank in "My Mother Frank."
characters. "Sweetie," "Ballroom" and
"Muriel's Wedding" come to mind.
Thankfully, this movie is less frenetic. And
Cusack imbues her role with a good deal
of Down Under dignity. Susan Green
LIGHT KEEPS ME COMPANY •••
Starring Sven Nykvist, Ingmar Bergman,
Liv Ullmann, Stellan Skarsgard, Roman
Polanski, Woody Allen, Vilmos Szigmond,
Vittorio Storaro and Susan Sarandon.
Directed by Carl-Gustaf Nykvist. Written by
Michal Leszczylowski, Gudrun Nykvist and
Carl-Gustaf Nykvist. Produced by Gudrun
Nykvist, Carl-Gustaf Nykvist, Klas
Olofsson, Lars Blomgren and Gunnar
Carlsson. A First Run release. Documentary.
Swedish- and English-language; subtitled.
Not yet rated. Running time: 85 min.
The visual power of 123 films, from
"Cries and Whispers" to "Fanny and
Alexander" to "Pretty Baby" to "Crimes
and Misdemeanors" to "Sleepless in
Seattle," can be credited to Sven Nykvist.
Though his name is most frequently evoked
association with Ingmar Bergman's, the
in
Swedish cinematographer also labored
alongside the likes of Roman Polanski,
Louis Malle, Woody Allen and Philip
Kaufman. Now 77 and incapacitated by
dementia, Nykvist has ended the fivedecade
career that made him a legend. That
legacy is examined by his son, Carl-Gustaf
Nykvist, in "Light Keeps Me Company."
The documentary, although tackling an
endlessly fascinating subject, lacks the dramatic
force of a great biography. Talking
heads attest to the father's achievements but
clips from his considerable body of work
are surprisingly sparse, often going unidentified.
And, because the elder Nykvist can
no longer speak very coherently, his voiceover
perspective seems secondhand.
Bergman recalls his sense when they
first met that "this guy's reliable. There's a
hand to hold." Colleague Vilmos
Szigmond observes that Nykvist "makes
everything look very natural." Giuseppe
Rotunno suggests that his images always
"give more meaning to the story."
Liv Ullmann and other actors remember
Nykvist's warmth and sensitivity, his tendency
to mist up the viewfinder with tears
while capturing particularly great performances.
Real life brought him grief with a
divorce from his wife of 16 years and the
suicide of one of his sons. He found comfort
in the arms of Mia Farrow in 1978 but,
long after the liaison ended, reportedly felt
dismay witnessing her relationship with
Allen when the three were together in New
York to shoot "Another Woman."
Nykvist's passion for his craft is the
more relevant issue and Bergman gets to the
heart of it: "The camera sees more than I
do.. .(It) registers the human soul reflected
in the human face." Susan Green
THE NINE LIVES OF TOMAS KATZ
•1/2
Starring Thomas Fisher, Ian McNeice,
Tim Barlow and Janet Henfrey. Written and
directed by Ben Hopkins. Produced by
Caroline Hewitt. No distributor set. Black
comedy. Not yet rated. Running time: 90 min.
A shape-shifting otherworldly villain
intent on destroying the planet, or at least
London? A blind police chief who surfs the
astral plane via Ouija board? Yikes! It's
"The Nine Lives of Tomas Katz," a British
satire aimed at corporate greed and government
culpability that comes disguised as a
Franz-Kafka-meets-Ed-Wood farce. Katz
(Thomas Fisher) emerges from a sewer and
begins transforming himself as one character
or another in an effort to move up the
human food chain. He foments war, mass
suicide, insanity and worse. The cop (Ian
McNeice) is always several steps behind. It
all has something to do with an impending
solar eclipse. Everybody's nuts, kind of
Monty Pythonish with menace. The selfindulgent
film by Ben Hopkins employs
German Expressionist atmospherics and
sets that are meant to be contemporary or
even futuristic, but they look more like a
Flash Gordon episode from the 1950s.
— Susan Green
172 (R-135) BOXOFFICE

MONTREAL
MIDSUMMER NIGHT DANCE
**1/2
Starring Gianni Carina, Valentino Cervi
and Carlo Delle Piane. Directed by Pupi
Avati. Written by Pupi Avati and Antonio
Avati. Produced by Antonio Avati, Pupi
Avati and Fiorenzo Senese. No distrubor
set. ComdylDrama. Italian-language; subtitled.
Running time: 121 min.
In the late 1920s, in a mountain region of
Italy, the event that everyone is waiting for is
the Midsummer Night Dance. Traditionally,
it
is the duty of one man, referred to only as
'Loris' brother' (Gianni Cavina), to
announce the impending dance as he treks
up and down hills signing up the eligible
men who want to attend, in hopes of landing
a bride. One of those potential spouses is
Ines (Valentina Cervi), who is in love with
her boss' son, a young man who doesn't
even know she exists, or so she thinks.
Though competently made,
"Midsummer Night Dance" is one of those
romantic films that covers everything with a
sentimental sheen. There aren't a whole lot
of surprises in
the movie and everyone is
just a little much: a tad too eccentric,
charming or cute. Pupi Avati ("The Best
Man") specializes in these types of period
pieces but he brings nothing new to the
table. Shlomo Schwartzberg
THE DAY THE PONIES COME BACK
•
Starring Guillaume Canet, Burt Young
and Monica Trombetta. Directed by Jerry
Schatzberg. Written by Jerry Schatzberg
and Robert Cea. Produced by Alain Rocca.
No distributor set. Drama. Not yet rated.
Running time: 104 min.
"The Day the Ponies Come Back" could
only have been made by someone completely
out of touch with the realities of
American life. Reportedly, director Jerry
Schatzberg ("No Small Affair"), who hasn't
made a movie in over a decade, lives in
France, which explains a lot. But someone
involved in this production should have
realized how nuts the film's premise really is.
Guillaume Canet is Daniel Moulin, a
French musician and repairman of musical
instruments, who is obsessed with finding
the American father he never knew.
When an employment opportunity finds
him in New York, he sets out to find his
dad, by going to his last known address,
now a hellhole in the Bronx. One drive-by
shooting and mugging later, both of which
take place seconds after Daniel gets there,
he's sheltered by a kindly African
American family in their apartment and
befriended by their unusually precocious
grandson, William (Jay Rivera), who
wants to be a writer.
He also begins a relationship with his
employer's daughter Tilly (Monica
Trombetta) and meets up with the slumlord
who owns the property William's family
rents, a nasty man named Jack Stoller (Burt
Young) who just may be Daniel's father.
Pretty much from the start,
"The Day
the Ponies Come Back" inhabits that
movie universe known as cloud cuckooland.
From Daniel's incredulity that
exploitation and crime exit in America
(can anyone be that uninformed?) to the
court order that forces Stoller to live in his
ramshackle property, where he promptly
sets up a lawn chair and sunbathes, "The
Day the Ponies Come Back" doesn't just
stretch credibility but snaps it completely.
Young and Nick Sandow as Tilly's abusive
husband overact tremendously, but even
the better performances are undone by the
film's ridiculously hard-boiled B-movie
dialogue. Shlomo Schwartzberg
SMELL OF CAMPHOR,
FRAGRANCE OF JASMINE **l/2
Starring Bahman Farmanara, Roya
Nonahali and Reza Kianian. Directed and
written by Bahman Farmanara. Produced
by Morteza Shayesteh. No distributor set.
Drama. Farsi-language; subtitled. Not yet
rated. Running time: 93 min.
It's a sign of the general high quality of
Iranian cinema that a movie like "Smell of
Camphor, Fragrance of Jasmine," which
doesn't really succeed in its aims, is still
more compelling than most of what's out
there. And whatever its flaws, the movie is
the most hard-hitting film to come out of
Iran to date. Directed by Bahman
Farmanara. who hasn't directed anything
since before the Iranian Revolution, and
who stars as the film's titular character,
"Smell of Camphor, Fragrance of
Jasmine" begins stunningly with its first
act, entitled "A Very Bad Day." Director
Bahman Farjami, is a put-upon filmmaker
whose failure to get a script past the
Iranian censors has reduced him to making
a documentary for Japanese television
on Islamic burial rites. Setting out for his
annual pilgrimage to his wife's graveside,
he picks up a female hitchhiker who is carrying
a stillborn baby, which may have
died as result of beating the woman
received from her husband. Upon arriving
at the cemetery, Farjami finds out that his
burial plot has been usurped by someone
else, who now lies in his intended resting
place.
That promising opening, startling in its
depiction of heretofore taboo subjects in
Iranian film (it took Farmanara 1 1 tries to
get the script past the censors), is not sustained.
Acts two and three are a messy
melange of dream sequences, scenes from
Farjami's TV documentary, incidents of
his repeated heart attacks and his
approach to the portals of death—which,
unfortunately, remind one of nothing less
than a tepid Iranian version of "All That
Jazz." "Smell of Camphor, Fragrance of
Jasmine" remains provocative throughout,
but whether because of too many script
revisions or Farmanara's rusty directing
skills, the movie simply doles not hold
together. Shlomo Schwartzberg
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Response No. 198
November, 2000 (R-136) 173

MONTREAL REVIEWS
Vincent Perez is the marrying kind—or is he?—in "Epouse-Moi."
EPOUSE-MOI (MARRY ME) • • •
Starring Vincent Perez, Michele Laroque,
Miki Manojlovic, Arnaud Giovaninetti and
Audrey Tautou. Directed by Harriet Marin.
Written by Laurent Chouchan and Harriet
Marin. Produced by Sidonie Dumas and
Jean-Claude Fleury. No distributor set.
Comedy. French-language; subtitled. Not yet
rated. Running time: 90 min.
Ah. those French romantic comedies!
So breezy yet philosophical. "Epouse-
Moi" begins when Oriane (Michele
Laroque) consults a goofy psychic (Miki
Manojlovic) on how to find her ever-disappearing
husband. Hadrian (Vincent
Perez, "I Dream of Africa"). He has been
confused and guilt-ridden for two years
about his best friend s suicide—after losing
Oriane to Hadrian. Unemployed and
drinking too much, Hadrian spends nights
at the top of the Eiffel Tower to wallow in
self-pity. Oriane sees several scenarios in
the fortuneteller's crystal ball: Xavier
(Arnaud Giovaninetti) accidentally falls to
his death from the tower and Hadrian
becomes smitten with his girlfriend.
Marie-Ange (Audrey Tautou). An alternate
future has Oriane wooed by Xavier.
Are we able to change our fate? To solve
that puzzle, director Harriet Marin's feature
debut keeps things moving along at a
nice clip. It's a dizzy ride on the roller
coaster of love. Susan Green
LOVE TORN IN DREAM (COMBAT
D'AMOUR EN SONGE) •
Starring Melvil Poupard, Elsa
Zylberstein and Lambert Wilson. Directed
and written by Raoul Ruiz. Produced by
Paulo Branca. No distributor set.
•I Fantasy. French-language; subtiv
;>f yet rated. Running time: 123 min.
Nine fanciful interlocking tales, including
stories about 22 rings, a magic mirror,
dopplegangers. cannibals, a website that
predicts the future, a Catholic man who
finds out that he is actually Jewish, a pirate
colony and theological discussions on the
existence of God-famed Chilean filmmaker
Raoul Ruiz has lumped all these elements,
and many more, together into a
stew whose tropes remind one of Peter
Greenaway. Greenaway. however, is usually
clear in his intent and execution.
"Combat D'Amour en Songe" makes no
sense at all and keeps coming around again
and again to the same totems and fantastic
effects. It's bewildering, annoying and tiresome,
peopled with a talented cast, many
of whom play more than one role, forced,
ad nauseum, to act out variations on the
same characters. The film may seem to
have a surfeit of imagination, but, in actuality,
it's all smoke and mirrors. Shlomo
Schwartzberg
•••*
THE LEGENDS OF RITA
Starring Bihiana Beglau, Martin Wuttke,
Nadja Uhl, Harald Schrott, Alexander
Beyer, Jenny Schily, Mario lrrek and
Thomas Arnold. Directed by Volker
Schlondorff. Written by Wolfgang Kohlhas
and Volker Schlondorff. Produced by Arthur
Hofer and Emmo Lempert. No distributor
set. Drama. German-language; subtitled.
Not yet rated. Running time: 101 min.
Three decades ago, the German government
instituted repressive measures to
counter Marxist/anarchist terrorism.
Alarmed by the loss of civil liberties in a
country still reeling from the Nazis, many
filmmakers reacted with searing indictments
on celluloid. The most successful of
these was Volker Schlondorff's "The Lost
Honor of Katharina Blum," a 1975 look at
the abuse of power.
He directed a mixed bag in the intervening
years, from the Oscar-winning antifascist
statement of "The Tin Drum" to
the diluted nightmare of a right-to-life
world in "The Handmaiden's Tale." But
Schlondorff has continuing compassion
for his nation's tattered left-wing legacy.
"The Legends of Rita" does not condone
violence in the service of political
ideals, yet understands people who once
believed the revolution was imminent. To
the soundtrack accompaniment of the
Rolling Stones' "Streetfighting Man," Rita
Vogt (Bibiana Beglau) and her comrades
foster rebellion. She's in love with Andi
(Harald Schrott), the manipulative leader
of their clandestine group. They all go
underground after a jailbreak turns bloody
and eventually take refuge in East
Germany, which has sympathy for the devil
of dialectical materialism while maintaining
an official anti-terrorism stance.
With help from Hull (Martin Wuttke),
a member of the secret police, Rita
becomes Susanne—her first new "legend"—to
join the actual working class. At
a factory job, she meets the downhearted
Tatjana (Nadja Uhl), whose goal is to flee
to the West. When her cover is blown,
Rita's next assumed identity as Sabine
unfolds at a children's summer camp.
There, she falls for Jochen (Alexander
Beyer), but the past quickly catches up
with her when the Berlin Wall crumbles.
Schlondorff has created a magnificent,
beautifully-acted portrait of the Cold
War's last gasp, as seen through the eyes of
a young radical on the run. Susan Green
THE ORIGIN OF MAN *1/2
Starring Gabe Anderson, Stuart Hynson
Culpepper and Phil Beaumont. Directed,
written and produced by Stuart Hynson
Culpepper. No distributor set. Drama. Not
yet rated. Running time: 78 min.
Yet another film about guys and their
emotional dilemmas, particularly surrounding
their relationships with women,
Stuart Hynson Culpepper's very low-budget,
raw drama does have the virtue of
honesty, but it's a badly executed film that,
strangely enough, barely features any of its
leads in romantic relationships, which
undercuts what the film is supposed to be
about.
Instead, we have the tame story of Nick
(Culpepper), who suddenly finds out that
he has an illegitimate son (Gabe
Anderson) whom he brings into his life.
Meanwhile, sexually irresponsible Ed (Phil
Beaumont) faces the specter of AIDS, and
Mitch (Lou Seitchik), well, he doesn't do
much of anything. Bracketed by conversations
the three roommates have about
women and sex, and generally badly acted
and edited (by Culpepper), "The Origin of
Man" stays on the surface and never
amounts to anything compelling or startling.
Mostly, it's strictly amateur-hour
filmmaking. Shlomo Schwartzberg
R-137) BOXOFFICE

THE SKY FALLS
MONTREAL
*•
Starring Isabella Rossellini, Jeroen
Krabbe, Veronica Niccolai, Lara Campoli
and Paul Brooke. Directed by Andrea and
Antonio Frazzi. Written by Suso Cecchi
D'Amico. Produced by Carlo M. Cucchi
and Vittorio Noia. No distributor set.
Comedyldrama. Italian-language; subtitled.
Not yet rated. Running time: 98 min.
A well-intended mess of a movie, "The
Sky Falls" begins as the kind of blithe
Italian comedy that requires everyone to
speak in exclamation points. Two young
orphaned sisters. Penny (Veronica Niccolai
and Baby (Lara Campoli), come to live
with distant relatives named Einstein in a
sumptuous Tuscany country estate. Uncle
Wilhelm (Jeroen Krabbe) and Aunt
Katchen (Isabella Rossellini) are decent
people with two daughters
of their own. The
family is also Jewish,
not a good thing in fascist
Italy of 1943. The
nieces, reared to worship
Mussolini and the
Catholic church, are
transformed by the loving
kindness of a
household that includes
friends on the run from
the Nazis. One of them
the eccentric Mr. Pit
is
(Paul Brooke), who
appears to have wandered
in from a Charles
Dickens novel. All the
light-heartedness suddenly
evaporates when
the bad guys commandeer
the Einstein home,
a jarring change of
pace. Susan Green
THE MANUSCRIPT OF THE PRINCE
••
Starring Michel Bouquet, Jeanne Moreau
and Paolo Briguglia. Directed by Roberto
Ando. Written by Roberto Ando and
Salvatore Marcarelli. Produced by Francesco
Tornatore. No distributor set. Drama. Italianlanguage;
subtitled. Running time: 90 min.
The last days of Prince Giuseppe
Tomasi di Lampedusa, author of the
posthumously celebrated novel "The
Leopard," forms the basis of "The
Manuscript of the Prince." Beginning in
the present, it eventually works its way
back 50 years when the Prince befriended
two young men.
A vain man, now fallen on hard times,
the Prince is still highly respected in the
community, both for his title and for his
intellect. The latter is what attracts the
cerebral young man, Marco, to audition to
be his student. But class gets in the way
when the Prince decides to adopt the aristocratic
Guido and entrusts his novel to
him, an act seen as a betrayal by Marco.
While the Prince is a fascinating figure
and Michel Bouquet's performance has a
quiet dignity to it, this understated to a
fault movie rarely delves deep into its
characters. And Jeanne Moreau is wasted
in the role of the Prince's companion.
— Shlomo Schwartzberg
LOVE ME • •*
Starring Sandrine Kiberlain, Johnny
Hallyday and Julian Sands. Directed and
written by Laetitia Masson. Produced by
Alain Sarde. No distributor set. Drama.
French-language, subtitled. Not yet rated.
Running time: 107 min.
A delicious mix of the wry humor of
Jim Jarmusch and the fanatical world of
Alan Rudolph, "Love Me" is one of the
more unique French movies of recent
memory. Beginning
with a woman,
Gabrielle (Sandrine
Kiberlain), dressed in
pink, strutting in front
of beachfront house
and lip-synching to
Elvis Presley's "Heartbreak
Hotel," "Love
Me" soon segues into
that woman's candycoated
world, which
may or may not be a
figment of her imagination.
Gabrielle, suffering
from amnesia, finds
herself in an unidentified
American city
where she soon encounters
Lennox, a French
blues singer (played by
real-life singer Johnny
Isabella Rossellini in The Sky Falls. Hallyday). She falls for
him and begins to follow
him around town, hoping to connect
with him emotionally. She, in turn, is also
being sought, but by a mysterious assassin
(Jean-Francois Stevenin) who's kidnapped
her daughter (Salome Stevenin) and who
wants something from her (we never find
out what). Eventually they all collide, with
unexpected results.
It doesn't take long to realize that
"Love Me" is a deliberately unrealistic
movie—almost everyone in this America
speaks French and almost everyone is
African American—but it's a conceit that,
by and large, works. A frothy tribute to the
French fascination with—and disdain
for—American culture, "Love Me" has the
courage of its convictions. It's neither
falsely clever nor condescending to its
characters and it manages to stay interesting
for a lot longer than it
should, considering
that not much actually happens in
the movie. Laetitia Masson's deft camerawork
and beautiful use of color and
widescreen also help propel "Love Me"
over its occasionally tiresome scenario and
redundant imagery. It might not add up to
much but it's fun. Shlomo Schwartzberg
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Response No. 58
November, 2000 (R-138) 175

'
ABERDEEN
TELLURIDE REVIEWS
***l/2
Starring Stellan Skarsgard, Lena
Headey, Ian Hart and Charlotte Rampling.
Directed by Hans Petter Moland. Written
by Hans Petter Moland and Kristin
Amundsen. Produced by Tom Remlov and
Peter J. Borgli. No distributor set. Drama.
Not yet rated. Running time: 112 min.
For an estranged father and daughter, a
trip from Norway to Aberdeen, Scotland,
has unforeseen consequences. After celebrating
her promotion at a London law
firm, Kaisa ("Onegin's" Lena Headey)
receives a telephone call from her mother
Helen ("The Wings of the Dove's"
Charlotte Rampling) who lives in Aberdeen.
Helen asks her daughter to bring Kaisa 's
alcoholic father from Norway to Aberdeen
for rehab. Kaisa has not seen her father,
Tomas (Stellan Skarsgard), for 10 years, and
now finds him in a perpetual drunken stupor.
Kaisa discovers that her mother had a
different reason for trying to arrange the
family reunion, and tenaciously attempts to
get her father to Aberdeen.
Because the drunken and vulgar Tomas
is refused a seat at the airport, he and
Kaisa are forced to take a longer trip by
car. The frigid Scandinavian weather
reflects the chilly father/daughter relation-
Kaisa (Lena Headey) braces for a reunion with her father in "Aberdeen
ship. Both have been bruised by life. Tomas
and Kaisa clash both with each other and
with most of the people they encounter on
the way to Aberdeen. They are befriended
by a truck driver, Clive ("The End of the
Affair's" Ian Hart), to whom the emotionally
distant Kaisa becomes drawn.
Hans Petter Moland, "Aberdeen's"
Norwegian director, previously collaborated
with Skarsgard on "Zero Kelvin" in 1995.
The script, co-written by Moland. takes
some unexpected directions. Moland brings
to his film a sensitivity to the complexities of
evolving relationships. The actors give distinctive
performances: Skarsgard is exceptional,
subtly showing the pain and selfloathing
beneath Tomas' alcoholic haze as
he's forced to confront his past, and Headey
K conveys Kaisa's toughness and
as well as her emotional transform-Erf
ScAeM
KIPPUR ***l/2
Starring Liron Levo, Tomer Ruso and
Uri Ran Klauzner. Directed by Amos Gitai.
Written by Amos Gitai and Marie-Jose
Sanselme. Produced by Michel Propper and
Amos Gitai. A Kino release. Drama.
Hebrew-language; subtitled. Running time:
121 min.
Israeli director Amos Gitai
("Kadosh") has based "Kippur" on his
personal experiences in the 1973 Yom
Kippur War started by surprise attacks
on Israel by Egypt and Syria. The film
begins with an extremely sensual scene of
an artist and his lover with paint and canvas.
After the war breaks out, Weinraub
(Liron Levo) the artist and his friend
Ruso (Tomer Ruso) rush to join their
unit. The unit has already left so the two
join an air force rescue team. In constant
danger, Weinraub and his helicopter team
tenaciously persevere in evacuating the
dead and wounded.
Gitai's forceful direction realistically
captures the chaos, dislocation and agony
that the helicopter team witness and experience.
A sequence in which the men frantically
try to rescue a wounded soldier
without collapsing into the surrounding
mud is particularly harrowing. The film is
also very compelling
since Gitai humanizes
the conflict by never losing
sight of the soldiers'
reactions. Ed Scheid
CHOPPER •**
Starring Eric Bana,
Simon Lyndon and David
Field. Directed and written
by Andrew Dominik.
Produced by Michele
Bennett. No distributor
set. Drama. Not yet
rated. Running time: 96
min.
"Chopper" is based
on the experiences of
Mark "Chopper" Read, a
gangster who became one of Australia's
best-selling authors. The action begins
with Chopper ("The Castle's" Eric Bana)
incarcerated in a prison's maximum security
wing. His brutality makes him such a
threat to fellow inmates that he is repeatedly
stabbed by his best friend Jimmy
(Simon Lydon). Surviving multiple
bloody wounds, Chopper has another
inmate cut off his ears so that he can
transfer out of maximum security.
Eventually released from prison. Chopper
fears for his life.
The charismatic and explosive performance
of Eric Bana holds together the
conventionally plotted film. Bana is a
stand-up comic who was recommended
for the role by the real Chopper.
Director/writer Andrew Dominik, who
previously directed music videos, gives his
feature debut a vivid and grisly atmosphere.
To emphasize Chopper's increasing
paranoia, colors are both intensified and
washed-out. The film disappoints when it
comes to explaining how Chopper's memoirs
made him a celebrity. Ed Scheid
ONE DAY IN SEPTEMBER
• •••1/2
Narrated by Michael Douglas. Directed
by Kevin Macdonald. Produced by Arthur
Cohn and John Battsek. A Sony Pictures
Classics release. Documentary. Not yet
rated. Running time: 93 min.
"One Day in September," which
received the 1999 Oscar for best documentary,
examines the tragedy of the
1972 Munich Olympics when 11 Israeli
athletes were held hostage by Palestinian
terrorists. Director Kevin Macdonald and
editor Justine Wright have masterfully
combined a variety of footage to recount
the unfolding events from different perspectives.
By covering these events
chronologically, the documentary
becomes remarkably suspenseful.
A humorous travel film of Munich
gives an ironic counterpoint to what will
unfold. To avoid memories of German
militarism, security at the Olympic village
was lax; many guards were unarmed. On
September 5, 1972, after the Games had
started, eight members of the Black
September movement snuck into the
Israeli quarters of the Olympic compound.
Two athletes were killed right
away and nine others became hostages.
This documentary becomes extremely
compelling as it individualizes the
hostages and shows the emotional toll on
their families. Film and photos document
the lives of the Israeli Olympians. The
daughter of the wrestler who was one of
the first killed poignantly talks about how
she knows her dead father only from stories
people have told her about him. One
of the hostages was the fencing coach;
throughout the film, the comments by his
wife give an immediacy to the unfolding
events. In shadowy clips, Jamil Al Gashey,
the only surviving Black September
hostage taker, gives his view of the events.
Other interviews include a German
policeman and the head of Israeli intelligence.
The Israeli authorities unfortunately
trusted in the idea of German efficiency.
Without archival clips, including footage
from ABC TV, much of what happened
would seem unbelievable. An inept
attempt to rescue the hostages is covered
live on television. The International
Olympic Committee is determined that
the Games continue, leading to a bizarre
scene of Olympians sunning themselves
outside the very building where their fellow
Olympians are held at gunpoint.
Director Macdonald meticulously details
the decisions and consequences that led
to the shattering conclusion, with a devastating
final revelation. Ed Scheid
W-1 W» Rnvnrvirir

TELLURIDE REVIEWS
BETTER THAN SEX **1/2
Starring David Wenham and Susie
Porter. Directed and written by Jonathan
Teplitzky. Produced by Bruna Papandrea
and Frank Cox. No distributor set. Comedy.
Not yet rated. Running time: 84 nun.
In Australia, Josh (David Wenham, the
upcoming "'Lord of the Rings") and Cin
("Welcome to Woop Woop's" Susie Porter)
meet at a party and decide to spend the
night together at Cin's apartment. Since
Josh is returning to London in three days,
they plan to share a night of casual sex
without any emotional complications.
They enjoy themselves so much that Josh
stays longer than expected. Cin and Josh
become increasingly comfortable with
each other. A brief visit by Cin's competitive
friend Sam (Catherine McClements)
initially amusing. "Better" seems drawn out
even at less than 90 minutes. Ed Scheid
A TIME FOR DRUNKEN HORSES
•••1/2
Starring Ayoub Ahmadi, Rojin Younessi,
Ameneh Ekhtiar-Dini and Mehdi Ekhtiar-
Dini. Directed, written and produced by
Bahman Ghobadi. A Shooting Gallery
release. Drama. Kurdish- and Farsi-language;
subtitled. Not yet rated. Running
time: 80 min.
"A Time for Drunken Horses" is set in
a small remote mountain village in the
Kurdish region of Iran near the border of
Iraq. The Kurds are an ethnic minority
that has been suppressed by various governments.
In the harsh poverty of the
Kurds, smuggling is a way of life, and
horses have to be given alcohol to deaden
their senses to the heavy loads they are
forced to carry uphill in frigid weather.
Like many Iranian films, "Horses" uses
non-professionals. Director/writer
Bahman Ghobadi. who is Kurdish, said
that his cast had never seen a movie camera
and that the village where he filmed is
without electricity. Ghobadi's film has a
deep sensitivity to the hardships of his
people. The straightforward direction realistically
conveys the daily struggle of
Ayoub (Ayoub Ahmadi), his brothers and
sisters. Their widowed father makes regular
smuggling runs over the border to Iraq.
Every day. Ayoub and the other village
boys beg to be in the group taken to the
small town to work at menial jobs that
include smuggling objects under their
clothes. Ayoub's family is told by a doctor
that Madi (Mehdi Ekhtiar-Dini), Ayoub's
beloved handicapped brother, is critically
ill and will die without an operation that
will only prolong his life for a few months.
The family is resolved
that Madi must have
the surgery; in desperation,
Ayoub takes Madi
and joins a group of
smugglers on a trip to
Iraq to sell a mule to
pay for the procedure.
Ghobadi has shot
haunting and tense
scenes of Ayoub and
Madi's trek in the freezing
weather, in which
they brave danger from
both snipers and land
BOESMAN AND LENA ••••
Starring Danny Glover, Angela Bassett
and Willie Jonah. Directed and written by
John Berry. Produced by Francois Ivernel
and Pierre Rissient. A Kino release. Drama.
Not yet rated. Running time: 88 min.
"Boesman and Lena" is the film version
of Athol Fugard's play about the internal
and external damage caused by apartheid
in South Africa. This is the last film directed
by John Berry, who died a few days
before completing post-production. After
being blacklisted in the '50s, Berry left
Hollywood and later directed throughout
the world. Berry had an affinity for
Fugard, and staged various theatre productions
of the work of the South African
playwright, including "Boesman and
Lena" in New York in 1970.
A shanty town in Cape Town is bulldozed
by government forces. Once again,
Boesman (Danny Glover) and Lena
(Angela Bassett) are forced to gather up
their meager belongings to find a new
home. Using found rubbish, including a
car door, they build a makeshift home on a
deserted muddy slope. With hostile rage.
Boesman continually belittles Lena, who
remains defiant against his abuse.
Director Berry, who also wrote the
screenplay, gives a strong sense of the desolation
and emptiness of the physical setting,
which is reflected in the relationship
of the characters. Throughout the film.
Berry skillfully intercuts scenes of the two
in happier and more prosperous times.
Besides cinematically developing the past
of Boesman and Lena, the flashbacks also
contrast their intense conversations. They
encounter an old tribesman (Willie Jonah).
who's even lower on the government classification
scale that they are. While Lena
tries to comfort the old man, his presence
makes Boesman even angrier.
mines. The unaffected
complicates the situation.
Most of the film takes place in Cin's performances of
apartment, where the lovemaking is filmed Ahmadi and the other
A boy risks his life to save his brother in "A Time For Drunken Horses.'
with a physical frankness. The evolving children movingly show
relationship is intercut with comments by both the family's determination as well as Danny Glover, who has starred on
Josh, Cin and their acquaintances.
Wenham and Porter have good screen
their loving concern for each other. With
his naturalistic style, Ghobadi has made a
stage in every major Fugard work except
"Boesman and Lena," impressively personifies
chemistry and create engaging characterizations,
but the script by writer/director Camera d'Or award at Cannes for best first
deeply affecting film which shared the
how the repressive government of
South Africa has embittered and dehumanized
Jonathan Teplitzky is light but slight and film. Ed Scheid
Boesman. Angela Bassett is mem-
leads to a predictable conclusion. Though
orable in an award-caliber performance of
remarkable range. Bassett's portrait combines
warmth, passion and anguish, as
well as Lena's increasing strength. Berry
and his two stars have collaborated on a
powerful cinematic version of Fugard's
penetrating play about pain and
endurance. Ed Scheid
DINNER RUSH
•••
Starring Danny Aiello, Edoardo Ballerini
and Vivian Wu. Directed by Bob Giraldi.
Written by Brian Kalata and Rick
Shaughnessy. Produced by Lou DiGiaimo
and Patti Greaney. No distributor set.
Comedy. Not yet rated. Running time: 97 nun.
It's the dinner rush at a trendy
Manhattan restaurant. Louis (Danny
Aiello), the owner of the restaurant, is also
a bookie who is being threatened by gangsters.
The "star chef" Udo (Edoardo
Ballerini), Louis* son, is in culinary conflict
with his father. Duncan, the sous chef
(Kirk Acevado), owes money to the mob.
Both chef and sous chef are attracted to
the restaurant's sexy hostess ("The Picture
Book's" Vivian Wu). Also showing up during
the hectic night are a snobby food critic
(Sandra Bernhard), demanding diners
and a smooth Wall Street trader (John
Corbett) who hangs out at the bar.
Director Bob Giraldi maintains a lively
pace as the action moves between the interconnected
stories. Giraldi, who owns several
New York restaurants, gives "Dinner
Rush" an insider's view that captures the
tension, frenzy and egos behind the dining
scene. The actors in the large ensemble create
flavorful characterizations. Watching
this enjoyable film is like sampling a table of
tasty hors d'oeuvres. Ed Scheid
November, 2000 (R-140) 177

:
K-141) BOXOFFICE
THE CONTENDER **1/2
Starring Joan Allen, Jeff Bridges and
Gary Oldman. Directed and written by Rod
Lurie. Produced by Marc Frydman,
Douglas Urbanski, Willi Baer and James
Spier. A DreamWorks release. Drama.
Rated R for strong sexual content and language.
Running time: 125 min.
"The Contender" is one Laine
Hanson (Joan Allen), a U.S. senator
picked by the sitting president (Jeff
Bridges) to replace the recently deceased
vice president.
Opposing them is the
head of the House
Judiciary, Sheldon
Runyon (Gary
Oldman), who, for
personal reasons, is
determined to block
her appointment at all
costs.
Rod Lurie, whose
debut, "Deterrence"
was a crackling and
complex political
thriller, seems at first
REVIEWS
tioned at grimy Fort
to be heading in the
same smart direction
Polk, Louisiana, an
with
"The
undistinguished
Contender." When a
piece of real estate
sexual indiscretion
that is about to liven
from Hanson's past
up when a rebel
suddenly surfaces, she
draftee named Bozz
refuses to comment on
(Colin Farrell) enters
it, not even confirming
the picture. He's
Laine Hanson (Joan Allen)'s bid for the vice presihindered
nor denying whether it by a scandal in The Contender.
dency
determined
sassy,
did indeed happen.
and, slowly, he's
That forces Runyon to try to get at her in
other ways, including assailing her morali-
beginning to make a difference, as he starts
to get his friends exempted from the con-
ty and politics, in order to make she never
becomes vice president.
But what seems to be a hard hitting
look at the political—and moral—expediency
of American politics and its destructive
partisanship, turns soft. Lurie doesn't
inserts some
Runyon's wife lectures
trust his audience and
speechifying—where
him about his stance and a
young
senator (Christian Slater) realizes he's
backing the wrong horse—which simplifies
the material. Then the jingoism and
patriotism kicks in and Chomsky becomes
Capra, as honesty is tossed by the wayside
in favor of the usual Hollywood upbeat
ending.
This cop-out undermines the fine performances
of Bridges as the earthy, stubborn
president and Allen, for whom the
role was written, as the determined
Hanson. Their rough edges are sanded
away, and by film's end, these "good
guys" aren't morally complex anymore.
And while Oldman's Runyon is more of a
villainous cardboard cutout than a flesh
and blood person, even his few character
tradings are dropped eventually. Lacking
u! age of its convictions, "The
ler" emerges as an also-ran
a 'onto Schwartzberg
TIGERLAND
•••
Starring Colin Farrell, Matthew Davis
and Clifton Collins, Jr. Directed by Joel
Schumacher. Written by Ross Klavan and
Michael McGruther. Produced by Arnon
Milchan, Steven Haft and Beau Flynn. A
Fox release. Drama. Not yet rated. Running
time: 97 min.
Director Joel Schumacher, best known
for glossy Hollywood movies like
"Batman and Robin" and "A Time to
Kill," brings us their exact opposite with
flict.
"Tigerland," a very
gritty Vietnam War
drama mostly shot
with hand-held cameras.
It's 1971, and the
American people
and U.S. military
brass know they're
beginning to lose the
war. Soldiers, however,
are still being sent
off to fight in
Vietnam. One such
unit is
currently sta-
Bozz, a George Clooney lookalike.
too good to be true—though, like the
whole no-name cast, Farrell is excellent
and the film's contrasting of him with volunteer
writer/soldier Paxton (Matthew
Davis) was handled much better by Oliver
Stone in "Platoon." But the strength of
"Tigerland" is in the details: the near-documentary
look of Fort Polk, the monotonous,
profane insults of the unit commanders
and the riveting portrait of army rituals.
The film reaches heights of complexity
in its depiction of the higher-ups at Fort
Polk. Some are sadists, to be sure, as are
some of the grunts, but most just want to
educate their charges on how to survive
combat in Vietnam. After the My Lai massacre,
however, the soldiers can barely disguise
their contempt for their superiors.
It's a corner of the time that hasn't
been captured before on film. In that
respect, it's much like "84 Charlie
Mopic", another "small," impressive film
that followed an army unit, strictly
through the eyes of a cameraman.
"Tigerland," too, is a worthy addition to
the Vietnam War film genre. Shlomo
Schwartzberg
is
JUST LOOKING **i/2
Starring Ryan Merriman, Joseph
Franquinha, Peter Onorati, Gretchen Mol,
Patti Lupone, Amy Braverman, liana
Levine, Richard V. Licata and A Hie Spiro-
Winn. Directed by Jason Alexander.
Written by Marshall Karp. Produced by
Jean Doumanian. A Sony Pictures Classics
release. Period comedy. Not yet rated.
Running time: 102 min.
Given the number of major Jewish
filmmakers and playwrights who grew up
in New York between 1935 and 1955, it's
not surprising that coming-of-age stories
about Jewish boys growing up in New
York during that period have proliferated
on stage and movie screens for some three
decades now. Unfortunately, that doesn't
make them all worth seeing. Jason
Alexander's "Just Looking" is a case in
point, an assured but ultimately unremarkable
directing debut for the veteran
stage, television and film actor best
known for his role as George Costanza on
"Seinfeld."
While Alexander and screenwriter
Marshall Karp try hard to create unique
and endearing characters, the ghost of
Neil Simon haunts them from the start.
The story of 14-year-old Lenny (Ryan
Merriman). his dysfunctional nuclear and
extended family and a summer vacation
spent desperately trying to witness the act
of copulation hits few beats that audiences
haven't already seen tenfold, mostly in the
likes of Simon's "Brighton Beach
Memoirs." Familiar archetypes include the
concerned mother (Patti Lupone), the
hated stepfather (Richard V Licata), the
outcast Italian in-law (Peter Onorati), the
conspiratorial buddy (Joseph Franquinha)
and the obligatory "older woman"
(Gretchen Mol) from whom all adolescent
fantasies flow. A pair of sexually overeducated
Catholic girls (the endearing Amy
Braverman and Allie Spiro-Winn) round
out the colorful cast of characters, all of
whom dutifully perform their appointed
rounds, doing precisely what they're
expected to do, precisely when they're
expected to do it.
Were it not for Alexander's feel for the
material and sincere affection for the
characters, "Just Looking" would be
strenuously tedious. But thanks to a genuinely
fine group of actors and
Alexander's keen instincts for directing
them, what winds up on screen is usually
more than enough to sustain interest.
Merriman, first seen opposite Michelle
Pfeiffer in "The Deep End of the Ocean,"
is especially good here, exuding the same
kind of confident charm that first drew
audiences to Leonardo DiCaprio and
River Phoenix. It should be stated, too,
that some viewers may find the film's
derivative nature more endearing than
off-putting, the familiar settings and situations
less affectation than earnest nostalgia.—
Wade Major

Yl Yl (A ONE AND A TWO
••••1/2
Starring Wu Nienjen, Kelly Lee and
Jonathan Chang. Directed and written by-
Edward Yang. Produced by Kawai Shinya
and Tsukeda Naoko. A Winstar release.
Drama. Chinese-language; subtitled.
Running time: 173 min.
Edward Yang deservedly won the Best
Director award at this year's Cannes film
festival for "Yi Yi," an exquisitely photographed,
heartbreakingly sensitive depiction
of one Taiwanese family's attempt to
find its way within an often cruel but also
beautiful world.
Father N.J. (Wu Nienjen) has just met an
old love for whom he still has feelings, even
though he deserted her 30 years
that Gerry is frequently
earlier.
Wife Min-Min (Elaine Jin) has her unhappiness
brought to the surface when her
mother takes ill. Introspective daughter
Ting-Ting (Kelly Lee) blames herself for
grandmother's stroke, even as she falls for
the troubled boyfriend of her neighbor.
And precocious brother Yang-Yang
(Jonathan Chang) simply tries to make
sense of an often confusing and inconsistent
adult world.
Taiwanese director Edward Yang shoots
much of his film in long takes, the better to
situate his characters against the backdrop
of teeming, ultra-modern Taipei. The traffic,
noise and skyscrapers may obscure but
they do not hide the often tragic, sad lives
lived by the city's residents. And though
they often seek spiritual guidance or
answers, they don't get them, not because
urban values are inferior to religious ones
but because the two are simply too far apart
to meet. Yang also poignantly and effectively
juxtaposes the modern world — personified
by a pregnant bride at her wedding
and the ancient one: The wedding day is
chosen because it's under a lucky sign. "Yi
Yi" is full of contrasting moments like that
and startlingly affecting sequences, such as
the long talk about values between N.J. and
a kindly Japanese businessman.
"Yi Yi" is a deliberately paced, contemplative
mood film that could test those
unprepared to give themselves over to its
subtle rhythms. But there's not a wasted
shot in the film.. Shlomo Schwartzberg
BEST IN SHOW • ••
Starring Eugene Levy, Parker Posey,
Catherine O'Hara and Fred Willard.
Directed by Christopher Guest. Written by
Christopher Guest and Eugene Levy.
Produced by Karen Murphy. A Warner
Bros, release. Comedy. Rated PG-I3 for
language and sex-related material. Running
time: 90 min.
Director Christopher Guest follows up
his praised "Waiting for Guffman" with
another quirky look at the foibles and rituals
of unsophisticated American life,
namely dog shows, exemplified by the fictional
Mayflower Dog Show. Better than
the insufferably cute "Waiting For
REVIEWS
Guffman." "Best in
Show" is an uneven but
likable comedy with its
fair share of laughs.
Much of the best
humor comes from
Guest's favored cast,
many of whom have
worked for him before.
"SCTV" veterans
Eugene Levy and
Catherine O'Hara are
terrific as Gerry and
Cookie Fleck. He literally
has two left feet
and she's got a promiscuous
past, something
reminded of as they
keep bumping into her old boyfriends en
route to the dog show. Also a hoot are
Parker Posey and Michael Hitchcock as
the neurotic Swans, who take their dog to
their therapist and treat it as coddled child.
But Fred Willard as the oblivious co-host
of the Maytlower show, who knows nothing
about his subject and says anything
that comes into his mind, steals the film.
He's simply hilarious.
The other actors, including Guest himself
as Southerner Harlan Pepper and
John Michael Higgins and Michael
McKean as a flamboyantly gay couple, are
not as well-utilized. And a lot of the
comedic situations, such as the Fleck's
hotel troubles, aren't as funny as Guest
must have envisaged them to be. Too often,
"Best in Show" sputters along, only coming
to life when Levy or Posey or Willard
do their stuff. The result is a movie that
feels stretched out to twice as long as it
needs to be. By the time the dog show itself
is wrapped up, the film's energy has dissipated,
too. Shlomo Schwartzberg
Michael McKean, John Michael Higgins and their Shih Tzus in "Best ot Show"
BITTERSWEET MOTEL
•••
Starring Trey Anastasio, Mike Gordon,
Jon Fishman and Page O'Connell. Directed by
Todd Phillips. Produced by Todd Phillips. An
Image Entertainment release. Documentary.
Unrated. Running time: 84 min.
"Bittersweet Motel." a documentary by
Todd Phillips ("Frat House," "Road
Trip"), tracks the improvisational jams
and backstage antics of Phish, a group
that inherited the Grateful Dead's
nomadic following. While snagging
dynamic concert footage, however, he
neglects to offer adequate exposition.
His cinema verite approach captures
few poignant moments, but musician high
jinks abound. At a Maine gig that attracts
about 70,000 fans, the camera seems to be
searching desperately for a Woodstock
high that isn't
really there, despite the tiedye,
pot smoke and partner-free dancing.
Although Phillips falls short of creating
a rock 'n' roll movie for the ages,
Phisheads are sure to be blissed out.
—Susan Green
PREVIOUSLY REVIEWED: OCTOBER/NOVEMBER/DECEMBER FILMS
The alphabetical list below notes the issue of BOXOFFICE in which our review of an
upcoming film appeared, the star rating and the distributor/release date information.
"Billy Elliot" • ••1/2: Universal Focus, 10113; see October 2000.
"Crouching Tiger, Hidden Dragon" ••••: SPC, 1218; see July 2000.
"Dr. T and the Women" •••: Artisan, 10113; see October 2000.
"Jails, Hospitals & Hip-Hop" ••1/2: IDP, 2000 undated; see June 2000.
"Me & Isaac Newton" • *: First Look, November undated; see December 1999.
"O Brother, Where Art Thou?" • ••: Buena Vista, 12122; see August 2000.
"Requiem for a Dream" • **l/2: Artisan, 1016; see August 2000.
"Restless" ••1/2: Arrow, 2000 undated; see October 2000.
"A Room for Romeo Brass" ••: USA, 10127; see November 1999.
"Shadow of the Vampire" •••1/2: Lions Gate, 12129; see July 2000.
"Songcatcher" •••1/2: Trimark, 1211; see April 2000.
"Two Family House" •••1/2: Lions Gate, 1016; see October 2000.
"Vatel" ••: Miramax, 12125; see July 2000.
"What's Cooking?" ••••: Trimark, 10127; see April 2000.
"Wonder Boys" (re-release) ••••: Paramount, 10120; see April 2000.
"The Yards" ••••: Miramax, 10120; see August 2000.
"You Can Count on Me" •••: Paramount Classics, 11110; see April 2000.
November, 2000 (R-142) 179

: !43i RoxoFFir f
j
J
I
BEAUTIFUL •
Starring Minnie Driver, Hallie Kate
Eisenberg, Joey Lauren Adams and
Kathleen Turner. Directed by Sally Field.
Written by Jon Bernstein. Produced by John
Bertolli and B.J. Rack. A Destination
release. Drama. Rated PG-l 3 for language
and thematic elements. Running time: 112
min.
There's plenty of movie corn being
husked in Sally Field's debut directorial
effort. '"Beautiful," but it's certainly no
Thanksgiving. There's so much fake virtue
and bogus redemption peddled in the
name of common folk that "Beautiful" is
like watching Norma Rae Goes to the
Pageant.
Mona Hibbard (Minnie Driver) is a
small-town working-class girl from Illinois
who has her heart set on being crowned
Miss American Miss. And she's determined
to do it, no matter how self-centred
and obnoxious she has to be. Coming from
an abusive family, Mona finds her only
supporters in amiable pal Ruby (Joey
Lauren Adams) and Ruby's outspoken
daughter, Vanessa (Hallie Kate Eisenberg,
strongly resembling a mini Minnie). But
when Ruby is incarcerated for a crime she
didn't commit, Mona has to balance taking
care of Vanessa with fulfilling her
dreams of wearing that silver crown.
"Beautiful" is a compendium of problems
compounded by the fact that Minnie
Driver does not have the kind of beauty
that wins contests. And we know that the
only reason she's so narcissistic is that later
circumstances will redeem her. This is why
we have the precocious child (who doesn't
seem the least bit traumatized that Ruby is
in jail) constantly lecturing Mona with
Shirley Temple lines that have been carted
out of mothballs. Joey Lauren Adams has
a likable presence in a selfless part that
doesn't suggest what she has to gain by
putting up with Mona's infantile nonsense.
Fine comedies like Michael Ritchie's
1975 film "Smile" and last summer's
unsung "Drop Dead Gorgeous" have
already mined this territory with sharp,
satirical aplomb. "Beautiful" has many
twists and turns, but they lead to only one
conclusion: having people on their feet
cheering. But by that time, most audience
members' feet will have already cleared the
theatre. Kevin Courrier
REMEMBER THE TITANS
**l/2
Starring Dcnzel Washington, Will
Pat ton, Donald Faison and Nicole Ari
Parker. Directed by Boaz Yakin. Written by
Gregory Allen Howard. Produced by Jerry
Bruckheimer and Chad Oman. A Buena
Vista release. Rated PG for mild violence.
Running time: 107 min.
Based on a true story, "Remember the
the latest bigscreen drama to utihe
sports-as-a-metaphor-for-life for-
Unfortunately, it's a metaphor that
ither fiat,
despite the valiant efforts
REVIEWS
of an ensemble cast lead by Denzel
Washington.
Set in Virginia during the early '70s, the
story revolves around Herman Boone
(Washington), an African-American football
coach who, as a part of the state's
effort to racially integrate its school system,
is transferred to a high school in
Alexandria. This doesn't sit well with the
local community, which stands behind the
school's present and Hall of Fame-bound
white coach. Bill Yoast (Will Patton), who
has guided the town's beloved Titans football
team through many winning seasons.
Taking a demotion as the team's defensive
coordinator, Yoast agrees to come to summer
football camp, where Boone rules with
an iron—but fair— fist. With his eyes on
the prize. Boone determinedly attempts to
shape his hostile players—both black and
white—into a true team, which means getting
them to put aside racial prejudices. By
forcing them to interact on and off the
field, Boone slowly but surely sees results,
and the blossoming
interracial friendships
includes one between
him and Yoast.
However, all the
progress made at camp
becomes severely
threatened when the
Titans return to the
reality of a divided
Alexandria, where the
community is not quite
ready to accept the genuine
camaraderie
between black and
white individuals.
Washington, who
has built a career on
delivering onscreen
rousing speeches ("The Hurricane," "The
Siege," "Crimson Tide"), is given ample
opportunity in "Remember the Titans" to
once again do what he does best. It's just
too bad that his immense talent is wasted
on such cliche-ridden moments as a tearful
cry for unity next to the Gettysburg
cemetery or a locker room half-time
speech urging his players to be the best
that they can be. That's not to say that
these scenarios are inherently beyond
hope, but simply that Washington's past
performances have raised the bar on
heartstring-pulling monologues and, in
spite of his characteristic strong delivery,
the weakness of the script never allows
him to fully move the audience as much as
intended.
However, "Remember the Titans" is
not without its moments, and football
enthusiasts in particular will appreciate the
cast's believable portrayals of players passionate
about the game. One only wishes
that the fervor depicted within the 100
yard markers could have successfully carried
over to the racial issues being explored
off the field. Francesco Dinglasan
ALMOST FAMOUS
•••
Starring Billy Crudup, Kate Hudson,
Patrick Fugit, Frances McDormand, Philip
Seymour Hoffman and Jason Lee. Directed
and written by Cameron Crowe. Produced by
Cameron Crowe and Ian Bryce. A
DreamWorks release. Drama. Rated R for
language, drug content and brief nudity.
Running time: 125 min.
Cameron Crowe makes romantic films
about finding authenticity in the things he
loves most. And, as he demonstrated, in
"Say Anything," "Singles" and "Jerry
Maguire," Crowe often makes this quest
with an ample supply of generous humor, a
whimsical slyness, and a true compassion
that never turns treacly.
In "Almost Famous," he's now turned
that devoted lens onto his most personal
subject yet—his beginnings as a rock & roll
critic in the mid-'70s. As one might expect,
given his closeness to the subject, Crowe
comes up with mixed results.
William Miller (Patrick Fugit), based on
Patrick Fugit and Kate Hudson in DreamWorks' "Almost Famous."
Crowe, is a 15-year-old boy in San Diego
who is totally in love with rock and dreams
of being a critic. His very protective mother,
Elaine (Frances McDormand), on the
other hand, has other ideas. But after meeting
maverick rock scribe Lester Bangs
(Philip Seymour Hoffman), William
becomes obsessed with the idea. He decides
to do a feature on his favorite group,
Stillwater, and their lead guitarist, Russell
Hammond (Billy Crudup), for "Rolling
Stone." As he tries to keep his sanity on the
i
road. William also falls head over heels for
Penny Lane (Kate Hudson), a groupie
who's in love with Hammond. "Almost I
Famous" is about William's rites of passage
as both a writer and an adolescent.
When Crowe is concentrating on the
{
glitter and decadence of the rock milieu,
with its wild assortment of characters, the
film is a funny and poignant tale about the
grinding insanity of life on the road. But
William is a little too virtuous a presence
in the film. It's funny and oddly charming
when William's mother lectures Hammond
about sex. drugs, and rock & roll. But
when William starts dispensing homilies,
the movie turns solemn. Kevin Courrier

DUETS •
Starring Gwyneth Paltrow, Andre
Braugher and Scott Speedman. Directed by
Bruce Paltrow. Written by John Byrum.
Produced by Kevin Jones, Bruce Paltrow
and John Byrum. A Buena Vista Release.
Drama. Rated R for some violence, sexuality
and language. Running time: 112 min.
Utterly misconceived
and completely unbelievable.
"Duets" is an
embarrassment for all
concerned. Based on the j=
dubious premise that
karaoke is a way of life,
as one character puts it.
the movie brings together
an unlikely group of people
who compete for a
$5,000 purse at a big
karaoke contest in
Omaha, Nebraska.
Singer Huey Lewis is
a hustler who ends up
performing with the
daughter (Gwyneth
Paltrow) he didn't know
he had. Scott Speedman
("Felicity") is the slacker
cabbie who hooks up
with a tough waitress
(Maria Bello), who browbeats
him into driving her across country.
And Paul Giamatti is the salesman who
walks away from his stressful life and
meets up with an escaped convict (Andre
Braugher) who loves to sing.
The characters are farfetched and so is
the movie, which plays like "Flashdance"
without the style. It's a plodding, dull and
frequently idiotic tale whose best acting
comes from a non-actor, namely Lewis.
That says a lot about how director Bruce
Paltrow directs his cast, with his daughter
Gwyneth in particular hitting a career low
as a bimbo who just wants to be happy.
Gwyneth doesn't do dumb well. And
Braugher is too good an actor to have to
essay such a stereotyped individual.
Speedman is dull and Giamatti, whose
persona is the most over the top, also has
to deliver the film's most vapid dialogue,
something about ridding America of consumerism,
strip malls and fast food.
Maybe so. but "Duets" is as disposable as
anything it attacks. Shlomo Schwartzberg
••
BAIT
Starring Jamie Foxx, David Morse and
Doug Hutchison. Directed by Antoine
Fuqua. Written by Andrew Scheinman &
Adam Scheinman and Tony Gilroy.
Produced by Sean Ryerson. A Warner
Brothers release. Action. Rated R for language,
violence and a scene of sexuality.
Running time: 120 min.
The latest entry in the action movies
sweepstakes offers more characterization
and reality than is the norm but is
hindered by a bland leading man and
REVIEWS
Exploitation filmmaker Harry Novak
with a (nearly) "nudie cutie."
SILVERLAKE, CA FILM FESTIVAL
SCHLOCK! THE SECRET HISTORY
OF AMERICAN MOVIES •••
Starring Roger Carman, Samuel Z.
Arkoff, Peter Bogdanovich and Forrest J.
Ackerman. Written and
directed by Ray Greene.
Produced by Ray
Greene and Wade
Major. A Protagonist
Productions presentation.
No distributor set.
Documentary. Not yet
rated. Running time: 90
With their sensationalistic
subject matter,
attention-grabbing
titles and hilariously
over-the-top poster art,
the cheapie "exploitation"
films of the '50s
and '60s provide a very
different window into
the national consciousness
than the outwardly
more respectable
product aimed at mainstream and arthouse
audiences. Writer-director Ray
Greene's documentary feature "Schlock!
The Secret History of American Movies"
taps this rich vein of junk culture, examining—and,
yes, exploiting—the Z-movie
genre in a style that proves as entertaining
as it
is insightful.
Forget about Hollywood's great filmmakers
and classic works for a moment
this is the story of cinema's fast-talking
and faster-shooting bottom-feeders, who
took advantage of the breakup of studio
ineptly directed action sequences. Jamie
Foxx ("Any Given Sunday") plays Alvin
Sanders, a buffoonish thief, who's just
been busted for stealing prawns. He's
put in a cell with John Jaster (Robert
Pastorelli), half of a duo that's nabbed
$42 million in gold. Jaster's managed to
hide the loot but. when he suddenly dies.
the Feds decide to use Sanders as bait in
order to smoke out Jaster's psychopathic
partner, Bristol (Doug Hutchison).
Their thinking: If Bristol assumes
Sanders knows where the bullion is. he'll
go after him and the cops will nab
Bristol in
turn.
Plausible enough. "Bait" never
descends into silliness but it's not exactly
the most exciting movie, either. Antoine
Fuqua ("The Replacement Killers") can't
direct action to save his life but even if he
could, there would still be the obstacle of
Foxx to contend with. He's given Eddie
Murphy-type smart-mouthed lines to
distribution monopolies in the late '40s
and early '50s to turn profits with lowbudget
niche productions focusing on
lurid sex, graphic gore and easy-to-simulate
monsters. The Who's Who of
exploiteers interviewed for the film
includes legendary schlockmeisters such
as producer-director Roger Corman and
producer Samuel Z. Arkoff, who built
veritable empires under Hollywood's
radar screen one quickie shocker at a
time. Less famous but just as fascinating
is pioneering female director Doris
Wishman, who broke in making a series
of nudist-colony love stories in the early
'60s. then segued to far darker "roughies"
focused on disturbingly intense violence
against women.
Greene, a veteran movie journalist
(and former BOXOFFICE editor-in-chief),
maintains a fair-minded perspective on
the films and filmmakers he highlights,
neither exaggerating their quality in the
manner of revisionist trash-movie aficionados
nor automatically dismissing
them for their single-minded focus on
outrageous elements—their very reason
for being, as he points out. In his softspoken
narration, he emphasizes the larger
historical and cultural contexts that, in
retrospect, make these often laughably
amateurish screen efforts such telling
barometers of the period's Zeitgeist. The
micro-budgeted "Schlock!" itself isn't
particularly technically sophisticated, but
even minor flaws such as stretches of
awkward editing and its simplistic use of
titles fit its drive-in movie spirit. Schlock
it certainly isn't. Michael Tunison
deliver but he possesses none of
Murphy's charisma.
David Morse is better as the chief
Treasury official obsessed with nailing
Bristol, but reliable actors like David
Paymer and Kimberly Elise as. respectively,
a member of Morse's team and
Sanders' fed-up girlfriend, are given little
to do.
Doug Hutchison's Bristol, who is a
master computer hacker, could pass as
John Malkovich's younger brother and.
mercifully, has few of the annoying
quirks that killers in American movies
tend to possess, but his character is still
too much of a cipher to register meaningfully.
Key plot points are telegraphed in
advance and the whole thing devolves
into an unlikely battle between good and
evil on the site of a race track. Audiences
should resist this slick bait. Shlomo
Schwartzberg
November. 2000 (R-144) 181

.' management
145) BOXOFFICK
INTO THE ARMS OF STRANGERS:
STORIES OF THE KINDERTRANS-
PORT •**•
Directed and written by Mark Jonathan
Harris. Produced by Deborah
Oppenheimer. Narrated by Judi Dench. A
Warner Brothers release. Documentary.
Rated PG for thematic elements. Running
time: 122 min.
The true story of the Kindertransport,
which ferried 10,000 mostly Jewish children
from Germany, Austria and
Czechoslovakia to England in the months
preceding the Second World War, has been
turned into a moving and compelling documentary.
Writer/director Mark Jonathan Harris,
who also made the equally powerful "The
Long Way Home," about adult survivors
of the Holocaust who helped found the
state of Israel, now switches focus to the
children, with equally stunning results.
The kinder may have been rescued, but
often at the cost of losing their families,
their childhood and their peace of mind.
With his usual adroit and apt mix of stunning
archival footage and illuminating
interviews, Harris sensitively draws out
painful—and occasionally victorious
tales of children trying to
save their parents,
a tragic reversal of the usual scenario.
Their testimonies will stay with you; so will
the film. Shlomo Schwartzberg
HUMAN RESOURCES •••1/2
Starring Jalil Lespert, Jean-Claude
Vallod, Chantal Bane and Yeronique de
Pandelaere. Directed by Laurent Cantet.
Written by Laurent Cantet and Giles
Marchand. Produced by Caroline Benjo and
Carole Scotta. A Shooting Gallery release.
Drama. Not yet rated. Running time: 100
min.
"Human Resources" is the dramatic
story of how a new governmental scheme
affects the lives of a family in France.
Laurent Cantet's film recalls the socially
and politically aware cinema of Jean-Luc
Godard, and was a talking point at this
year's Edinburgh International Film
Festival.
Franck (Jalil Lespert), a 22-year-old
graduate from business school in Paris,
returns to his provincial hometown to take
a job as a management trainee at the factory
where his father and sister work.
Whilst at first admired by his family for his
academic success, Franck soon experiences
hostility from his old school friends, many
of whom are now laborers at the factory.
Working for the Human Resources department,
Frank is placed in charge of assessing
the implementation of the new 35-hour
week. His investigations into the workers'
views on the matter soon raise suspicion
from the union as well as Franck's father.
in a conflict between a doubleand
the suspicious
Franck's unfortunate predica-
REVIEWS
ment is fully realized by Cantet, especially
when he learns that his father is to be dismissed
five years before retirement (after
30 years with the factory) to make way for
automated welding.
Shot in a documentary style, "Human
Resources" is a painfully astute tale, intelligently
directed and co-scripted by
Cantet, who has clearly researched his subject
material in great detail. Cantet chose
to cast a number of unemployed factory
workers in the film, talking at length with
them before creating their roles. He draws
impressive performances from these firsttime
actors, in particular Jean-Claude
Vallod as the father who just wants to
work out his final years in peace. Jalil
Lespert, the only professional actor in the
film, is outstanding as the compromised
and increasingly disillusioned Franck.
There are some powerful moments, including
the scene where Franck's father proudly
shows his son the mind-numbing work
he performs at his machine, and when
Franck clashes with his heartless boss
(Lucien Longueville), who views the workers
in his factory as simply 'human
resources.' This is the most socially relevant
film to come out of France since
Matthieu Kassovitz's "La Haine." Chris
Wiegand
THE WATCHER **1/2
Starring Keanu Reeves, James Spader,
Marisa Tomei, Robert Ciechini, Ernie
Hudson and Chris Ellis. Directed by Joe
Charbanic. Written by David Elliot and
Chris Ayers. Produced by David Elliot,
Jeremy Lappen and Elliott Lewitt. A
Universal release. Mystery I Thriller. Rated
R for violence and language.
Running time
min.
"The Watcher" is so
utterly derivative of far
superior serial killer
thrillers — "The Silence of
the Lambs" and "Seven" to
name but two—that it
almost doesn't deserve any
notice at all. However, it's
so much better than most
recent films in the genre
particularly last year's
"The Bone Collector"—
that it shines by comparison.
James
Spader
("Supernova") is great as
burnt-out FBI Agent Joel Keanu Reeves sets his trap in Universal's "The Watcher."
Campbell. Campbell is
wickedly witty and droll, despite his addic-
line on the original myth and the television
tion to several narcotics. On disability
leave after making a fatal mistake while
tracking a serial killer in Los Angeles,
Campbell, now living in Chicago, finds
that the same serial killer. Griffin (also
played with a sardonic coolness by Keanu
Reeves), has followed him to the Windy
City and has started the game again.
His
technique is to send Agent Campbell a
photograph of a woman he intends to kill,
allowing him 12 hours to try to stop him.
There is not a single original thought in
"The Watcher," but as these things go, it's
not awful. There are several solid supporting
performances, including Marisa Tomei
as Campbell's therapist and Chris Ellis
("October Sky") as a Southern-born police
detective who has a colorful way with a
phrase. Tim Cogshell
HIGHLANDER: ENDGAME
••
Starring Christopher Lambert, Adrian
Paul, Bruce Payne, Ian Paul Cassidy, Adam
Copelnad, Donnie Yen Jim Byrnes, Peter
Wingfield and Lisa Barbuscia. Directed by
Douglas Aarniokoski. Written by Joel
Soisson. Produced by Peter Davis and
William N. Panzer. A Dimension release.
Rated R for violence and some strong sexu-
Running time: 87 min.
ality.
The original "Highlander" quickly
developed a cult following after its 1986
release: The combination of sword-wielding
high adventure, intricate myth and the
driving music of Queen was just too much
for most teenage boys to withstand. Over
the years,
the series was tarnished by the
release of two not-well-received sequels.
However, the popularity of Highlander
lore experienced a resurgence via the internationally
popular "Highlander" television
series starring Adrian Paul as Duncan
MacLeod. cousin to Christopher
Lambert's Connor MacLeod.
Fortunately for the faithful,
"Highlander: Endgame" completely and
deliberately ignores the two sequels to the
original film. "Endgame" bases its story-
series, though audiences needn't have seen.
either to understand this simple story of
revenge and redemption. A powerful
immortal named Jacob Kell (Bruce Payne)
has sworn to plague the life of Connor
MacLeod for a sin he believe Connor committed
against him. Jacob has taken more
heads than any other immortal (immortals

REVIEWS
can only die by being beheaded) and neither
Connor nor Duncan alone can defeat
him. There's not much more to it, though
the film features an impressive combination
of swordplay and martial arts, choreographed
by the great Donnie Yen, who
also appears as one of the immortals.
"Highlander: Endgame" is truer to the
original than the sequels, but it plays
more like a television program than a theatrical
release, which will matter little to
the die-hard fans. After all, if "there can
be only one" (the series' tagline/mantra).
one doesn't have much of a choice.— Tim
Cogshell
TURN IT UP **
Starring Ja Rule, Prakazrel "Pras"
Michel, Jason Statham, Tamala Jones and
Vondie Curtis Hall. Directed and written by
Robert Adetuyi. Produced by Guy
Oseary and Happy Walters. A New
Line release. Drama. Rated R for
strong violence and language and
for some drug content. Running
time: 83 min.
In his feature acting debut, rap
artist Ja Rule explodes on the
screen in this gritty urban tale of
Gage, an aspiring musician struggling
against the odds for a chance
to leave the ghetto. This thug-life
entrepreneur's intentions are reasonable;
however, his ruthless execution
makes him a character you
love to hate. A short temper and a
loaded weapon are what Gage uses
to acquire what he wants. When his
childhood friend and fellow musician
Diamond ("Mystery Men's" Pras Michel)
decides to record a demo track. Gage sets
his sights higher and insists that he cut a
whole album. As Diamond's manager.
Gage's first task is to get enough money to
cover studio time—any way he can.
While all Diamond wants is become a
legitimate player in the music industry.
Gage is on a mission to wrench respect
from those who flaunted their wealth in his
face. But Diamond must pay the price and
deal with the consequences of the shady
acquisition of funds used to finance his
album.
The story plays out like a storybook
fantasy with a profane twist. When he is
not in the studio recording. Diamond
backs Gage as he makes life-threatening
deliveries for the local druglord (Jason
Statham of "Lock, Stock and Two
Smoking Barrels"). Although highly
skilled in using a gun. Diamond is by
nature a mild-mannered individual, and all
the while is dealing with serious family
issues, including death, pregnancy and a
reconciliation with his estranged father
(Vondie Curtis Hall). The film's overall
emphasis on action make the focus on
Diamond's personal life a jarring shift in
tone, and all the violence leaves little time
for closure. Dwayne E. Leslie
FLASHBACK: December, 1993
What BOXOFFICE Said About...
FEARLESS
["The Sixth Sense's" star Bruce Willis and director M. Night Shyamalan reteam for
"Unbreakable" (opening November 22 through Buena Vista), a drama about a
man who mysteriously emerges from a train wreck unscathed and finds himself
impervious to harm. The protagonist of "Fearless" is rendered similarly
invulnerable after surviving a tragic plane crash which utterly transforms him
and his perceptions of life.]
Starring left Bridges, Isabella Rossellini and Rosie Perez. Directed by Peter Weir.
Written by Rafael Yglesias. Produced by Paula Weinstein and Mark Rosenberg. A Warner
Bros, release. Drama. Rated R for language and violence. Running time: 121 min.
Though nothing he's made in the past 10 years has been an out-and-out cinematic
failure, with "Fearless," director Peter Weir has rebounded from the semi-mediocrity
of films like "Green Card" and
"Mosquito Coast" to remind us that he is
one of the finest living practitioners of the
director's craft. Grappling with some of
the weightiest issues there are (mortality,
the limits of human kindness), Weir has
fashioned a film that is clearly intended as
a work of art but which never spills over
into pretentiousness—a movie that stands
not only with the best of Weir's past works
and among the best releases of the year,
which may very well be one of the
handful of truly great works to emerge
from a director of Weir's generation.
Compassion is a rare quality in contemporary
filmmaking, but it is precisely
that attribute which distinguishes "Fearless" from every current major release save for
"The Joy Luck Club." The story has the simplicity and force of a fable. Max Klein (Jeff
Bridges) survives an air crash and becomes a hero because, as the plane went down,
Klein discovers he's been fundamentally changed by the trauma of the experience:
He no longer feels fear about anything, or any of the other emotions which seem to
plague all the people in his life, though he does have an unnerving tendency to flirt
with destruction by walking into traffic or dancing on the edge of a skyscraper to test
himself, and to keep the cork in place on his deeply bottled-up emotions.
When an airline psychiatrist (John Turturro) hooks Max up with a chronically
depressed woman (Rosie Perez, in a breakthrough performance) who lost her baby in
the crash, Max's God complex kicks in and he is drawn to the idea of rescuing another
crash victim. The result is an emotionally charged relationship with unexpected
twists and deep emotional resonance.
Along with Robert Altman's "Short Cuts," "Fearless" is one of the least compromised
films to come out of Hollywood in years. Virtually no relationship is rendered
with false sentimentality; unlike almost any other Hollywood treatment of psychological
disturbance—from "One Flew Over the Cuckoo's Nest" to "The Dream Team"
to Hitchcock's "Spellbound"—Weir neither glamorizes nor sensationalizes his character's
pain preferring to present Max's delusional post-crash behavior with all its
human cost and complexity left entirely intact. The payoff, when it comes, is neither
a complete transformation for Max nor a guarantee that his problems will
ultimately
be resolved.
By his acute attention to every subtle detail of a moving and compelling situation,
Weir gets more dramatic resonance out of one small, faltering step in the right direction
than most directors manage to pack into their entire careers. This is a movie that
takes the perilous view that we are all clinging to the planet by our fingernails and
then makes it work by standing unashamedly on the side of joyous humanity, closing
with a strong affirmation of the value of everyday life. "Fearless" is that scarcest and
most singular of commodities: a film made in contemporary America that actually
deserves to be called wise.
November, 2000 (R-146) 183

•U7) BOXOFUCE
DARK DAYS
••••
Directed and produced by Marc Singer.
A Picture Farm production. A Palm release.
Documentary. Unrated. Running time: 80
min.
This feature-length documentary,
which won the Audience Award at
Sundance, is the astonishing portrait of a
community of homeless people living in a
subway tunnel underneath New York
City's Penn Station. The future of the
community is jeopardized by Amtrak. the
firm that owns the tunnel and plans to
evict those living there.
"Dark Days" depicts the lives of New York's homeless community.
Shot in black and white. Marc Singer's
compassionate film introduces the audience
to the tunnel's many inhabitants,
some of whom have lived underground for
25 years. We are shown their daily routines
as they travel up to the streets to search for
food and attempt to raise money by selling
items found in the garbage. The film
reveals the advantages of such a subterranean
existence, such as the free supply of
electricity as well as the obvious savings in
rent. The tunnel also offers the homeless a
certain security and freedom that they
don't believe they would find in government
shelter. One of the youngest residents.
Tommy, left home at 1 6 to escape his
abusive father and has discovered a new
sense of pride through building his own
shack. Singer draws frank and open reflections
from the community, many of whom
regret their behavior in their previous existences
above ground.
The director never underplays the community's
problems and unflinchingly
depicts the prevalent drug dependency and
poor hygiene levels in the tunnel (with
some unnerving close-ups of the rodent
population). Despite this graphic detail,
"Dark Days" is a strangely uplifting experience
-a testament to the initiative and
resilience of some extraordinary individuals
who have succeeded in creating new
homes and new lives for themselves. Singer
>r the documentary and built
i
nmaking equipment (such
REVIEWS
as the dollies) from scratch. The dark Biehn as a fellow spy and Cary Hiroyuki
underground environment is complemented
by DJ Shadow's atmospheric and magnate. It's a mostly formulaic exercise
Tagawa as a powerful Hong Kong business
haunting score, which helps make this one that might have ended up lost somewhere in
of the best documentaries of recent the back of a corner video store if not for
years. Chris Wiegand
the involvement of Snipes, who made the
THE ART OF WAR •*
Starring Wesley Snipes, Marie Matiko,
Anne Archer, Maury Chaykin, Donald
Sutherland, Michael Biehn and Cary
Hiroyuki Tagawa. Directed by Christian
Duguay. Written by Wayne Beach and
Simon Davis Barry. Produced by Nicolas
Clermont. A Warner
Bros, release. Actionthriller.
Rated R for
strong violence, some
sexuality, language and
brief drug content.
Running time: 117 min.
An odd checkerboard
of rousing set
pieces and dialogue
scenes so banal as to
defy description. "The
Art of War" is a painfully
uneven film that
works best when its cast
is silent, allowing the
audience to conveniently
forget how little of it
makes any sense at all.
Taking its title from
the ancient Sun Tsu handbook on passive
warfare. "The Art of War" stars Wesley
Snipes as Neil Shaw, a covert operative for a
top secret United Nations spy team charged
with furthering world peace through espionage.
Insuring that an impending trade
summit between the U.S. and China goes
off without a hitch seems like an easy
enough assignment, until the Chinese
ambassador is assassinated with cameras
rolling. Even worse, the incident has been
orchestrated so as to frame Shaw for the
killing, forcing him into a kind of
"Fugitive" scenario
in which he must
solve the case while
also clearing his
name.
A host of stock
characters soon
join the fray,
including the obligatory
"reluctant
female companion"
(a Chinese journalist/translator
played by Marie
Matiko) as well as
the "always one
step behind FBI
film something of a pet project, helping
attract such talent as director Christian
Duguay (TV's "Joan of Arc"). Duguay 's set
pieces, in fact, are the best things about the
movie—visually arresting interludes
between prolonged bouts of narrative
ennui. When the action stops, the film
grinds to a halt, leaving the cast to fumble
with dialogue so bad that the interceding
action scenes start to seem like recurring
apologies for what precedes them.
Impressively, Snipes survives the debacle
with dignity, almost single-handedly
elevating the film around him by sheer
force of his personality. In the end, it's a
lost cause but the effort does not go unnoticed.
Wade Major
BRING IT ON **l/2
Starring Kirsten Dunst, Eliza Dushku,
Jesse Bradford and Gabrielle Union.
Directed by Peyton Reed. Written by
Jessica Bendinger. Produced by Marc
Abraham, Thomas A. Bliss and John
Ketcham. A Universal release. Comedy.
Rated PG-13 for sex-related material and
language. Running time: 98 min.
The world of competitive high school
cheerleading forms the backdrop for the
wonderfully stupid "Bring it On," a film
that succeeds more accidentally than intentionally,
finally stumbling across the finishline
without much grace, but finishing
nonetheless.
Kirsten Dunst brings her real-life cheerleading
experience to bear as Torrance
Shipman, the newly-appointed cheerleading
squad captain whose duty it is to help
maintain her San Diego high school's long
string of national championships. Her task,
however, is complicated by personality con-
agent," played
refreshingly lowkey
ey. N. spy Neil Shaw (Wesley Snipes) demonstrates "The Art of War"
by Maury
Chaykin. Rounding out the cast is Donald
Sutherland as the U.N. Secretary General,
fiicts within the squad, the addition of a talented
but temperamental new girl. Missy
Anne Archer as Snipes' boss, Michael Pantone (Eliza Dushku of TV's "Buffy the

My)
REVIEWS
Review Digest
Genre key: (Ac) Action; (Ad) Adventure: (Ani) Animated:
(C) Comedy: (D) Drama: (Doc) Documentary: i F) Fantasy: (Hor)
Horror. (M) Musical: < Mystery; t R) Romance: (Sail Satire:
(SF) Science Fiction: (Sits) Suspense: (Th) Thriller (Wj Western.
BSE
'£'/
OS u u
1 1
The Adventures of Rocky
andButlwinklePGlUnil
Cheerleaders square off in a battle of the pom-pons
Vampire Slayer"), and budding
feelings for Missy"s older
brother Cliff" (Jesse Bradford).
As if things weren't already bad
enough, Torrance then discovers
that her predecessor stole most
of their championship routines
from the squad of a Los
Angeles inner city school, now
captained by the ferociously
determined and resentful Isis
("Love and Basketball's"
Gabrielle Union).
With time running out before
the two teams meet at the
national championships,
Torrance and her squad devote
their energies to doing the
impossible -
-devising a new routine
from scratch that will help
restore the school's reputation
and salvage their wounded pride.
More "Showgirls" than
"Clueless." "Bring It On" is the
kind of dim-witted fun that's
almost impossible to critique.
For as much as it fails on every
conceivable level as a movie, the
fact that it never really knows
how bad it is gives it an almost
irresistibly idiotic charm. Key to
whatever marginal success the
film may enjoy is the assemblage
of a very talented cast, with
Dushku and Union the most
noteworthy standouts. Together
and separately, they quite literally
make "Bring it On" a better
THE CREW *1/2
Starring Richard Dreyfuss,
Burt Reynolds, Dan Hedaya,
Seymour Cassel and Jennifer
Tilly. Directed by Michael
Dinner. Written by Barry
Fanaro. Produced by Barry
Sonnenfeld and Barry
Josephson. A Buena Vista
release. Comedy. Rated PG-13
for sexual content, violence and
language. Running time: 88 nun.
All their lives, Bobby
(Richard Dreyfuss), "Bats"
(Burt Reynolds), "The Brick"
(Dan Hedaya), and "The
Mouth" (Seymour Cassel)
wanted to be wiseguys. When
they were young, they fearlessly
walked the streets; now, in their
twilight years, they can only
reminisce about the good old
days while sitting on the porch
of their senior-citizen residence.
But, in a scheme to daunt those
who would evict them, the guys
concoct a plan that involves an
unidentified, already-deceased
cadaver to make it appear as
though they are a force to be
reckoned with—that is, until the
body is discovered to be the
father of a local druglord. This
complication, along with the
demands of a blackmailing
stripper (Jennifer Tilly) and the
suspicions of local
authorities,
is more than the has-been hit
men bargained for.
The Grumpy Old Goodfellas
shtick isn't enough to carry the
film whenever either of them is
on screen, wringing dignity and
drama from characters so scantily-written
it's a wonder they film. Although The Mouth's
even have names.
Dunst, meanwhile, is pleasantly
another
Viagra-fueled exploits arouse a
few laughs, the plodding, clicheriddled
story's visual gags and
diverting in yet one-liners that continuously
variation on her "Dick" and
"Drop Dead Gorgeous" performances,
miss their marks. One should
though it's clear that take heed of the film's overdone
her talents are not best served by catchphrase and "Fuhgeddaboudit."
such repetition. Wade Major
Dwayne E. Leslie

fflSviefone
Moviegoer Poll and Activity Report for August 2000
QUESTION OF THE MONTH:
Have You Heard of the Upcoming Movie...

I^Bp^*^
HOME RELEASE CHART
November 2000
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i
ADVERTISERS INDEX
ADVERTISER PHONE/FAX E-MAIL/WEBSITE PAGE
AICP (AMERICAN INT1
CONCESS ION PRODUCTS)
mikemactn n hi .
com
ASC CINEMA SYSTEMS GROUP
ATLAS SPECIALTY LIGHTING
7304 North Florida Avenue
Tampa, FL 33604
mdh@bigscreenblz.com
www.bigscreenbiz.com
BOSTON LIGHT AND SOUND
10550 Camden Drive
Cypress, CA 90630
CINEMA CLEANING SYSTEMS
3102 Oak Lawn Av
Dallas, TX 75219
info@cinemacleaning.com
Tyler Strove
www.cinprod.com
CINEMA SUPPLY COMPANY INC. admin@cinemasupply.com Marvin R. Troutman
CINEMADEALER.COM
CINEVISION CORPORATION
COLGATE-PALMOLIVE COMPANY barbara kiefel@colpal.com
4237 24th Avenue West bpurdy@componentengineering.i Bill Purdy
DEEP VISION 3-D
post@3Dglasses.com
DOLBY LABORATORIES
website@dolby.com
DTS (DIGITAL THEATER SYSTEMS 51711
Agoura Hills, CA 91301
EASTMAN KODAK CO.
EAW (EASTERN ACOUSTICS
One Main
EDW. H. WOLK INC.
Norman Lauterbach
FILMACK STUDIOS
1327 South Wabash Avenue
Chicago, IL 60605-2574
Robert N. Mack
glassform@aol.com
, ON K2H 8K7 CANADA
jevans@gmpopcorn.com
www.gmpopcorn.com
GREAT IVESTERN PRODUCTS 30290 US Highway 72
Hollywood, AL 35752
info@gwproducts.com
www.gwproducts.com
Louis Bornwasser
11) Harkness Blvd.
Fredericksburg, VA 22401
sales@harknesshall.com
Joe Ward, Frank Fisher
HOCOLATE USA

marchorinea;
>
i
, ;
ADVERTISERS INDEX
ADVERTISER PHONE/FAX E-MAIL/WEBSITE CONTACT
HI6H PERFORMANCE STEREO
HURLEY SCREEN CORPORATION
info@hurleyscreen.com
EQUIPMENT CO. INC.
www.theatre-displays.com
IRWIN SEATING COMPANY
JARCO INDUSTRIES INC.
Grand Rapids, Ml 49544 www.irwinseating .
com
www.concessionstands.com
JMC (JOHN MEYER CONSULTING)
KINETRONICS CORPORATION
www.johnmeyerconsulting.com
www.kinetronics.com
LARGO THEATRE CONSTRUCTION
LAWRENCE METAL PRODUCTS INC. 260 Spur Drive South, P.O. Box 400-M
Bay Shore, NY 11706
LIGHTING TECHNOLOGIES
800-773-5852 magnorth@aol.com
631-732-4577 www.MagNorthlnc.com
831-655-8794
randy@drive-in.net
MAROEVICH, O'SHEA & COGHLAN
415-957-0577
MCALLISTER ASSOCIATES INC. 274 Main Street, Suite 301
Reading, MA 01867-3611
MCRAE THEATRE EQUIPMENT
mcrae@wport.com
MOBILIARIO S.A. DE C.V.
NATIONAL CINEMA SERVICE
P.O. Box 547
n, PA 17872
Customer Service
NCS/CORPORATE OFFICE
www.ncsco.com
NESTLE FOOD COMPANY
i Airmotive Way, Suite 290 odells@popntop.com
PERKINELMER OPTOELECTRONICS
Somers, NY 10589-2201
donna.reina@perkinelmer.ee
www.perkinelmer.com/opto
Shannyn Roberts
PIKE PRODUCTIONS INC.
POT O'GOLD PRODUCTIONS INC.
comazza@pogusa.com
PROCTOR COMPANIES
PROSTAR INDUSTRIES
t.promotioninmotion.com
November, 2000 189

ADVERTISER
ADVERTISERS INDEX

AD INFO FAXBACK FORM
NOVEMBER 2000
To receive more information on any of the products advertised in BOXOFFICE,
check the appropriate box(es), fill out the requested information
and fax the form to (626) 396-0248.
Company.
Street _
_TMe
City
Phone
Fax
AICP (AMERICAN INT'L CONCESSION PRODUCTS)
AMERICAN LICORICE CO./CORPORATE
ASC CINEMA SYSTEMS GROUP
ATLAS SPECIALTY LIGHTING
BARCO DIGITAL CINEMA
BIGSCREENBIZ.COM
BOSTON LIGHT AND SOUND
CADDY PRODUCTS (A DIV. OF MTS INC.)
CHRISTIE INC.
CINEASIA
CINEMA CLEANING SYSTEMS
CINEMA CONSULTANTS & SERVICES INTL. INC.
CINEMA EQUIPMENT INC.
CINEMA PRODUCTS INTERNATIONAL (CPI)
CINEMA SUPPLY COMPANY INC.
CINEMADEALER.COM
CINEVISION CORPORATION
COLGATE-PALMOLIVE COMPANY
COMPONENT ENGINEERING
CY YOUNG INDUSTRIES INC.
DEEP VISION 3-D
DOLBY LABORATORIES
DTS (DIGITAL THEATER SYSTEMS INC.)
EASTMAN KODAK CO.
EAW (EASTERN ACOUSTICS WORKS)
EDW. H. WOLK INC.
FILM IT/ISG INC.
FILMACK STUDIOS
G & S ENTERTAINMENT LLC
GLASSFORM
GLOBALMIC INC.
GOLD MEDAL PRODUCTS CO./CORPORATE
GREAT WESTERN PRODUCTS
HADDEN THEATRE SUPPLY COMPANY
HARKNESSHALL
HERSHEY CHOCOLATE USA
HIGH PERFORMANCE STEREO
HURLEY SCREEN CORPORATION
INTERNATIONAL CINEMA EQUIPMENT CO. INC.
INTERNATIONAL DISPLAY SYSTEMS INC.
IRWIN SEATING COMPANY
JARCO INDUSTRIES INC.
JBL PROFESSIONAL
JMC (JOHN MEYER CONSULTING)
KINETRONICS CORPORATION
LARGO THEATRE CONSTRUCTION
LAWRENCE METAL PRODUCTS INC.
LIGHTING TECHNOLOGIES INTERNATIONAL
M&M/MARS
MAG NORTH INC.
MANUTECH
MARBLE COMPANY
MAROEVICH, O'SHEA & COGHLAN
MARS THEATER MANAGEMENT SYSTEMS
MCALLISTER ASSOCIATES INC.
MCRAE THEATRE EQUIPMENT
MOBILIARIO S.A. DE C.V.
NATIONAL CINEMA SERVICE
NATIONAL TICKET CO.
NCS/CORPORATE OFFICE
NESTLE FOOD COMPANY
NICK MULONE & SON INC.
ODELL'S
PACER/CATS
PEPSI-COLA COMPANY
PERKINELMER OPTOELECTRONICS
PERMLIGHT PRODUCTS INC.
PIKE PRODUCTIONS INC.
POT O'GOLD PRODUCTIONS INC.
PROCTOR COMPANIES
THE PROMOTION IN MOTION COMPANIES INC.
PROSTAR INDUSTRIES
QSC AUDIO PRODUCTS INC.
RDS DATA GROUP INC.
READY THEATRE SYSTEMS L.L.C.
RETRIEVER SOFTWARE
RICOS PRODUCTS CO. INC.
ROBERT L. POTTS ENTERPRISES
SCHNEIDER OPTICS INC.
SENSIBLE CINEMA SOFTWARE
D SMART THEATRE SYSTEMS
SOS (SYSTEM OPERATING SOLUTIONS)
SOUNDFOLD INCORPORATED
SOURCE ONE THEATRE SUPPLY
SPECO (SYSTEMS & PRODUCTS ENGINEERING CO.)
STADIUM SEATING ERECTORS (SSE)
STEIN INDUSTRIES INC.
STRONG INTERNATIONAL
SUPERIOR QUARTZ PRODUCTS INC.
TANKERSLEY ENTERPRISES INC.
TECHNIKOTE CORP.
TEMPO INDUSTRIES INC.
THEATRE SERVICE & SUPPLY
THEATRE SERVICES INTERNATIONAL INC.
TICKETPRO SYSTEMS
TOOTSIE ROLL INDUSTRIES INC.
TVP (THEATRE & VIDEO PRODUCTS INC.)
UNIVERSAL CINEMA SERVICES INC.
VOGEL POPCORN CO.
WALLACE THEATER CORP.
WAUSAU TILE INC.
WORDS PLUS CONNECTIVITY
November, 2000 191

KATES: -

Close Focus
SUBJECT:
TITLE:
COMPANY:
ALAN STOCK
President and COO
Cinemark USA
Which do you most frequently use: PC, pen, pencil, email, or phone?
I most frequently use email. It is a much more efficient way to
communicate, especially when traveling. As a bonus, if I don't
want to read some, I can just delete.
What is your favorite least essential item in your office?
My favorite possession is a framed hand drawing by my
youngest son of some fish.
What is your favorite concession when you're at a movie?
Hot, fresh popcorn the way Cinemark pops it and
absolutely without butter.
Do you believe online ticketing will be a boon, a bust, or a
breakeven proposition for exhibitors? Why?
Online ticketing is a great thing for our industry. All you have to do is buy a ticket online one t
and you will recognize why. People will not want to purchase a movie ticket in any other way.
// industry elves were at work in the industry, what might their best bit of midnight magic
It would be to require everyone to attend a movie theatre at least once a week. How great it would be to
worry about having too many people in our theatres each day!
IB B^I^H *F*m HP!*
When you visit a Cinemark theatre, what's the first thing you check? What's the last?
The first thing I check is general cleanliness and organization. Then I usually go straight for the
auditoriums and check for quality presentation. I like to sit down in each auditorium and see what the
customers are experiencing. I have always said that, if the customer has an enjoyable time in the
theatre, then he will be back. ... vy
to be held Oct. 10-14 in Orlando, Fla., Alan Stock will be honored with the Salah M. Hassanein
Humanitarian Award. Stock has been involved in charity activity both privately and through the work of the
Church of Jesus Christ of Latter-Day Saints. Cinemark founder and CEO Lee Roy Mitchell, himself a previous
Hassanein awardee, named Stock president of the Piano, Texas-based circuit in 1993; Stock has been with
•emark since its inception. After ShowEast (detailed in this issue), the next convention is the seventh annual
---

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