Boxoffice-November.2001

More documents

Recommendations

Info

nal American theatre circuits found themselves in when they decided to build megaplexes across the street from one another: a face-off nobody thought would ever go the distance, but in which neither company blinked. The result is that in Ontario, Calif., there are now 54 screens within approximately 700 feet of one another, which easily qualifies it as the single most well (or is that over?) screened township anywhere in the world. The jury is still out on whether both theatre complexes will be able to survive over the long term; it will probably take some sort of major slump in production or attendance before one or the other of the Ontario complexes truly feels the squeeze. But as a symbol of just how brutal competition at the highest levels of exhibition has become, Ontario sprung up, ready made, with even some of the participants in this "clash of the titans" shaking their heads over the potential for colossal waste. As the escalating screening of America approaches its next phase, it is perhaps inevitable that consolidation has become the latest trend. Though no-one is ready to say just how much longer the building boom of the '90s can extend itself, common sense indicates that the U.S. market, which remains relatively stable in terms of overall population, can absorb only so many more screens, however well-designed and carefully market researched they may be. "Grow or die" still seems to be the philosophy of the mega-exhibitors; with new construction slated to become an increasingly less viable option in the years ahead, the acquisition of existing circuits selected to increase the reach and national presence of the already farflung circuits which buy them up has emerged as exhibition's next big thing. The starting pistol for this trend was actually fired prematurely a few years back when Cinemark USA came within a hair's breadth of selling out to Cineplex Odeon to form what would have then become the largest North American circuit. That deal never came to fruition, but in retrospect it has a familiar ring. The combined company would have had 2,839 screens; it would have spread the market share of its amalgamated parent company from two major but regionally specific players into a continent-spanning North American behemoth: it would have leapfrogged the combined company up the ranks of the biggest American circuits to claim the top spot with the stroke of a contract's attorney's pen. In retrospect, it was an idea that was ahead of its time. For 1997 has been exhibition's year of the merger, with major companies joining forces at an almost dizzying On the smaller side were the likes rate. of Carmike's purchase of the 105- screen first International circuit and Regal 's buyout of New Jersey-based WHERE THERE'S SMOKE Former BOXOFFICE Editor Ray Greene Discusses America's Relationship With War and Sci-Fi, the History of Exploitation Films and Hollywood-Size Headaches by Jon Alon Walz one of those people who always I'm has to be doing something." Ray Greene remarks while glancing around impatiently for a lighter or a match—or something with which to douse the unlit cigarette burning a hole in his right hand. Help comes swiftly in the patio of a very across Los Angeles since the early 1970s. Greene, an accomplished writer, filmmaker and former editor-in-chief of BOXOFFICE, has quite a lot to say on a number of issues very close to him—not the least of which is his residence in Silver Lake, having recently produced a documentary comprised of nine original shorts about the community. Entitled "Veritas" (Vol. 1), the feature premiered at the 2001 Silver Lake Film Festival. Bad movies, too, are a favorite topic of discourse for Greene: The subject spurred another documentary last year entitled, "Schlock!: The Secret History of American Movie" ( www.schlockthemovie.com ). which gives a serious look into the minds and the madness behind the explosion of exploitation and sexploitation films during the 1960s. Readers'" of BOXOFFICE might already be familiar with Greene's passion for good movies and intelligent, lively discussions about the state of the world, American film culture and film business— subjects he takes up in his new book, "Hollywood Migraine: The Inside Story of a Decade in Film." The tome recently spent some time at the number two spot on the Los Angeles Times non-fiction bestseller list. BOXOFFICE's talk with Greene takes place the day after the terrorist strikes against New York City and Washington. D.C. and four days before the death of one of the key interviewees in "Schlock": the reviled yet legendary master of the exploitation and teenexploitation genres. hip coffee shop in Samuel Z. Arkoff. the suddenly ultrahip L.A. neighborhood Although it would of Silver take more than a Lake—the present decade for the tenets home stop of wayward of the exploitation artists who film to finally reach have been forced by mainstream Hollywood, the powers of gentrification Writer and filmmaker Ray Greene producers Arkoff and the into an east like by-northeasterly migration pattern esteemed Roger Corman, as well as the genre itself, began with inexpensive science-fiction films that gave B unde voice to an American paranoia that, ironically, was never fully actualized until September 11. 2001. "The really fascinating thing about American sci-fi of the post-war period was that it was really obsessed with invasion, with the physical destruction of the United States." Greene frankly and eerily notes. "In World War II, almost every other country in the world suffered invasion and obliteration, and the average American experienced all the horror of it for the first time in the form of newsreels in their moviehouse. I really believe that a large part of our paranoia during the Cold War not only had to do with our fear of the Russians, but with the fact that psychologically we had already boon invaded during World War II." From these humble beginnings in sci-fi, a select group of ambitious filmmakers with grand notions and highly active libidos but limited funding- began to emerge, each one pushing the limits o\' onscreen acceptability. People like Russ Meyer. Doris W the productio Friedman al ith only a couple thousand doll apiece and a cadre o\' young willing to take their ips off—created a genre of films and n empire of, well, schlock: exploitaon, roughies. sexploitation and 5(1 IJ()\()III(I
New at Speco LP280 The "smartest" digital platter system... with easily replaceable motor control boards! • Interchangeable motor control boards slide in and out for easy maintenance • Signal lights tell you power supplied to boards is OK • Easy to run, simple to repair • Totally digital technology Call 1-800-633-5913 for a complete catalog No adjustments necessary...ever! Easily accessible and replaceable sensor board New roller means less static buildup. Conductive plastic carries static charge away from film IPECC Helping The World Go To The Movies send e-mail enquiries to: higgyl9@idir.net
Page 1 and 2: IE BUSINESS MAGAZINE OF THE GLOBAL
Page 3 and 4: : .-: - i Comfort away from home. [
Page 5 and 6: i — SPECIAL REPORT: SHOWEAST 2001
Page 7 and 8: New JBL ScreenArray Two-Ways' m
Page 9 and 10: .**V****** Local Tootsie hoii Toots
Page 11 and 12: Barco rffgital Cinema Barco Project
Page 13 and 14: I Am). ' , : j November, 2001 Param
Page 15 and 16: . Charlotte I Was Universal Focus o
Page 17 and 18: ' ; One for fhe money... «-* Light
Page 19 and 20: SOUND th:
Page 21 and 22: d ! Ml Mir Originators of Concessio
Page 23 and 24: (,i 120 \< l and are nun h more efl
Page 25 and 26: : Your business Is very Important.
Page 27 and 28: SUPERIOR QUARTZ PRODUCTS, INCj Air
Page 30 and 31: der. : Herbert an . (Miramax, < 'un
Page 32 and 33: i iuple ill ti 'li l fn In' 'Sleepy
Page 34 and 35: I ti > appre 1 lominique When Jespi
Page 36 and 37: Sneak Preview A WALK IN THE "PARK"
Page 38 and 39: l< l Sneak Preview "TAPED" CONVERSA
Page 40 and 41: Qpvet r:oLfcieN op AppeccioN lABOR-
Page 42 and 43: — a cameo in the film as one of t
Page 44 and 45: — "LORD" OF ILLUSIONS FX Master f
Page 46 and 47: WOOD: Exactly! Exactly. BOXOFFICE:
Page 48 and 49: SPECIAL FEATURE: Books On Cinema ^
Page 50 and 51: SPECIAL FEATURE: Books On Cinema—
Page 54 and 55: Magic Cinemas and its 95 screens. S
Page 56 and 57: . FIRST PERSON: Sound WHY SURROUND
Page 58 and 59: | k i From Rmplifier From Rmplifier
Page 60 and 61: Desirable surround frequency respon
Page 62 and 63: SURROUND SPEAKER PLACEMENT mathemat
Page 64 and 65: POV: Staff Management Agreat sage o
Page 66 and 67: SPECIAL REPORT: Security Practices
Page 68 and 69: "That very different dynamic pre- l
Page 70 and 71: Bettencourt says he's lucky—the B
Page 72 and 73: . And the Best Picture Goes to... A
Page 74 and 75: Thinking Retrofit? Think SSE! NATO'
Page 76 and 77: SHOWEAST 2001 Special Contents INDE
Page 78 and 79: INDEPENDENT EXHIBITION SHOWCASE DIV
Page 80 and 81: typical day, movies are jwn at 7:15
Page 82 and 83: SPECIAL REPORT: Showeast Awardees
Page 84 and 85: minimi \pieatre Service &Suf>plij§
Page 86 and 87: SHOWEAST 2001 Orlando, Florida •
Page 88 and 89: " SHOWEAST 2001 Orlando, Florida
Page 90 and 91: I -Mall I BAER AND ASSOCIATES 1505
Page 92 and 93: CINEMA CONCEPTS 219 2030 Powers Fer
Page 94 and 95: I -Mail 1 ; fax — CROWN INTL. 110
Page 96 and 97: 1 1 GOLTERMAN S SABO 323 3555 Scarl
Page 98 and 99: ii 1 050 , mill, 1 ':'-:'" aiipon 1
Page 100 and 101: Cheswick, 1 . NESTLE USA 1508, 1509
Page 102 and 103:
I I Mail ' 1 PIKE PRODUCTIONS 307 1
Page 104 and 105:
Sic San Van t - " ^ ^^B^ ' ! , , j
Page 106 and 107:
J U U U U U U U U U U U u u u u u i
Page 108 and 109:
) I ratings system—the government
Page 110 and 111:
SPECIAL REPORT: AIMC Recap 0*& over
Page 112 and 113:
- EXHIBITION BRIEFINGS TICKER TIME
Page 114 and 115:
1 EXHIB QUIPS 'The fight to keep sm
Page 116 and 117:
WALLACE'S NEW SOUTHWEST PLEX Ore. -
Page 118 and 119:
non-profit group the Amherst Cinema
Page 120 and 121:
l( l HILL NEWS by Franceses Dinglas
Page 122 and 123:
GREAT STATES EXTRA: INDUSTRY VETS S
Page 124 and 125:
' ' don't hope INTERNATIONAL NEWS B
Page 126 and 127:
SS1 INTERNATIONAL NEWS BRIEFS PACIF
Page 128 and 129:
movieTone AOL Movietone (7/ 7 movie
Page 131 and 132:
— TORONTO REVIEWS Jfie horrific t
Page 133 and 134:
LANTANA — — TORONTO REVIEWS •
Page 135 and 136:
THE GREY ZONE — TORONTO REVIEWS
Page 137 and 138:
— TORONTO whose compassion grows
Page 139 and 140:
TORONTO adult sexual and emotional
Page 141 and 142:
Montreal H1Z info® — EDINBURGH h
Page 143 and 144:
— EDINBURGH Angel Gabriel himself
Page 145 and 146:
I I neb — EDINBURGH ing. She spen
Page 147 and 148:
I i.nik Dern) I I In fact. "Life HE
Page 149 and 150:
thrums ]HOPSUEY ••• — — S
Page 151 and 152:
HEARTS IN ATLANTIS • ** Starring
Page 153 and 154:
•• GLITTER Starring Motion Care
Page 155 and 156:
IRON MONKEY • ••• Starring
Page 157 and 158:
and SOUL SURVIVORS *l/2 Starring Me
Page 159 and 160:
ADVERTISER ADVERTISERS INDEX
Page 161 and 162:
ADVERTISERS INDEX ADVERTISER PHONE/
Page 163 and 164:
' : ' Miami ' "'I ind fiei mi. CLAS
Page 165 and 166:
JHf THUHB IS UGtHUm. till M: IVti l
show all

Boxoffice-November.2001

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?