Boxoffice-January.1998

THE BUSINESS MAGAZINE OF THE GLOBAL MOTION PICTURE INDUSTRY JANUARY 1998, $3.95 

iMm 

.1 

Martin Scorsese 

Travels Along Holy 

Ground In "Kundun" 

IN "DEEP": FAMKE JANSSEN • NATIONAL AMUSEMENTS: LONDON 

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Response No. 191

• 

forward 

FADE IN... 

Welcome to the New Year 1998, and welcome to 

a new year of BOXOFFICE. 

And welcome to the new editorial team at 

BOXOFFICE. As you read in the December 1997 

issue, in editor-in-chief Ray Greene's heartfelt farewell 

to his readers, changes are afoot on your 

magazine's masthead. Along with the new editorship, 

longtime senior editor Christine James has 

quite deservedly been promoted to managing editor, 

and British-bom Lisa Osborne has quickly proved a 

wonderful addition to the staff as senior editor. 

As the photo below of Ray Greene and Martin 

Scorsese suggests, however, fans of Ray Greene's 

writings in the magazine have not lost him at all. As 

our new editor at large, Mr. Greene—despite his 

intense involvement with that plethora of exciting 

new ventures here in Hollywood that enticed his 

departure from the staff—has promised to supply 

BOXOFFICE with a steady stream of his work. The 

year's first issue is an example of what you can look 

to in our 

pages: Mr. Greene 

provides an insightful 

cover interview 

of Martin 

.Scorsese on many 

matters, including 

"Kundun"; a commentary 

on the 

iheatre 

industry's 

megamoves for 

lour 1998 Giants of 

Exhibition survey; 

and—a favorite 

feature for many 

-another in his 

Big Picture series, a section that not only did he 

invent but that could be written by no one else. 

Of course, your day-to-day and month-by-month 

dealings will be with BOXOFFICE' s fresh-faced 

in-house trio, and we pledge to continue to live up to 

those same editorial standards that have made this 

your business magazine of the global motion picture 

industry. Ms. James, along with handling a bevy of 

other editorial duties, now oversees the review section, 

and she will make sure that you continue to 

receive the most and the most timely film commentaries 

available. Likewise, Ms. Osborne, as the new 

head of our theatre desk, will extend the 

BOXOFFICE tradition of providing in-depth profiles 

of new and successful theatres, both chain and independent, 

and of furnishing readers with smart coverage 

of the latest industry news and events. 

Again, welcome to a new year of BOXOFFICE. its 

78th. As with the calendar so too for your magazine; 

What's old is new again.— Kim Williamson *.f 

BOXOFFICE ONLINE 

WEBSITE ADDRESS: http://www.boxoffice.com 

E-MAIL ADDRESS: boxoffice@earthlink.net 

JANUARY, 1998 VOL. 134, NO. 1 GIANTS OF EXHIBITION 

COVER QUOTE: The thing to understand about China is, it's a very 

different way of thinl

— 

SPECIAL REPORT: THE GIANTS OF EXHIBITION SURVEY 1998 

BOXOFFICE's annual exclusive look at the top 50 movie theatre circuits in North America provides full corporate rosters, 

our at-a-glance chart summary, and comparative screen- and site-count data for a three-year span. 

26 COMMENTARY: THE CHARGE OF MEGACIRCUITRY 

1997 proved to be exhibition's year of the big deal. Is the industry grossing the buys, or buying the grosses? 

And what—or who—is next? By Ray Greene 

28 THE GIANTS TABLE: THE FABULOUS FIFTY 

Our one-page at-a-glance chart tabulates the top 50 North American exhibition chains by screen count as of 

January 1, 1998. Compiled by Christine James 

30 THE 1 998 GIANTS DIRECTORY 

Rosters for the top 50 circuits include names, phone numbers, site information and screen-count data 

including chain-by-chain projections for 1 999. Compiled by Christine James 

JANUARY FEATURES 

16 COVER STORY: 

MARTIN SCORSESE 

America's poet of 

mean-streets souls 

examines a different 

kind of spirit in Buena 

Vista's Buddhistthemed 

"Kundun." 

By Ray Greene 

20 SNEAK PREVIEW: FAMKE 

JANSSEN IN "DEEP RISING" 

Bond's Xenia Onatopp goes down under 

against a sea monster in the Buena Vista 

action/thriller. By Jon Matsumoto 

22 EXHIBITION PROFILE: 

NATIONAL AMUSE- 

MENTS' LONDON 

SHOWCASE 

BOXOFFICE visits 

the new Showcase 

Cinemas Newham, 

a 14-screeneron 

London's East Side. 

By Bridget Byrne 

^ 

i

HOLLYWOOD 

REPORT 

SANDRA BULLOCK 

Makes "Magic" 

EDWARD FURLONG 

Picks "Pecker" 

NICOLE KIDMAN 

"Witchy" Woman 

"PRACTICAL MAGIC" Sandra 

Bullock ("Speed 2: Cruise Control") 

will star for director Griffin 

Dunne ("Addicted to Love") in 

this adaptation of Alice Hoffman's 

novel about two witch 

sisters living in modern-day 

New England and looking for 

love. (Warner) 

"SOMETHING ABOUT MARY" 

This film, to be written and 

helmed by "Kingpin's" Bob and 

Peter Farrelly, is about a man 

("Zero Effect's" Ben Stiller) who 

hires a detective to track down 

his high school sweetheart ("A 

Life Less Ordinary's" Cameron 

Diaz), with whom he's still in 

love. But when the detective 

finds her, he falls in love with 

her as well. (Fox) 

by Grammy- 

"CLUBLAND" Lori Petty ("Tank 

Girl") is set to star as India Mac- 

Kenzie, a rock singer whose 

hard, fast-living exterior belies a 

sensitive side. Brad Hunt 

("Dream With the Fishes") will 

play her band's useless manager. 

The script is 

winning songwriter Glen 

Ballard, who co-wrote Alanis 

Morrisette's hit album "Jagged 

Little Pill" and will write and 

produce songs for the film's 

soundtrack. (Distribution is to 

be set) 

"JAKOB THE LIAR" Robin Williams 

plays the title character in 

this comedy/drama set in World 

War II about a Polish Jew in 

Auschwitz who tries to keep the 

spirits of his fellow inmates 

buoyed by lying about having a 

radio and being able communicating 

their plight to the outside 

world. Armin Mueller-Stahl 

('The Peacemaker"), Bob Balaban 

("Deconstrurting Harry"), Gregg 

Bello ("G.I. Jane"), Alan Arkin 

("Four Days in September"), 

Liev Schreiber ("Sphere") and 

Nina Siemaszko ("Suicide 

Kings") also star. Peter Kassovitz 

directs and scripts. (TriStar) 

"PECKER" Notorious filmmaker 

John Waters ("Serial Mom") 

scripts and helms this satire 

about a young man ("Before and 

After's" Edward Furlong) who 

takes photographs of workingclass 

Baltimore life as a hobby 

but winds up discovered by the 

New York art community. 

Christina Ricci ("The Ice 

Storm"), Martha Plimpton ("Eye 

of God") and Lili Taylor ("Ransom") 

also star. (Fine Line) 

"SNOW FALLING ON CEDARS" 

Scott Hicks ("Shine") will direct 

this Ron Bass ("My Best Friend's 

Wedding")-scripfed adaptation 

of the novel by David Guterson 

about a Japanese-American 

man on trial for murder. Ethan 

Hawke ("Gattaca") is set to star 

as a journalist covering the 

trial—who once had an affair 

with the accused man's wife. 

(Universal) 

"A SMALL MIRACLE" This adaptation 

of John Irving's novel 

"A Prayer for Owen Meany" 

about two friends whose relationship 

is strained when one 

accidentally kills the other's 

mother will star Ashley Judd 

("Kiss the Girls") and Oliver 

Piatt ("Bulworth"). Jim Carrey 

("The Truman Show") is set to 

narrate the film and make a 

cameo appearance as the adult 

version of one of the two boys. 

(Buena Vista) 

"SMALL SOLDIERS" Kirsten 

Dunst ("Wag the Dog") will star 

with Gregory Smith ("Harriet 

the Spy") in this Joe Dante 

("Matinee")-directed live-action/computer 

animation fantasy 

about two kids who 

become involved in a battle 

with artificial intelligence-enhanced 

rival toy factions. 

(DreamWorks) 

"TOM SLICK: MONSTERHUN- 

TER" In this comic adventure 

film, Nicolas Cage ("Face/Off") 

will portray Tom Slick Jr., an 

eccentric Texas oil heir who in 

the '50s spent his fortune financing 

expeditions seeking 

legendary creatures like the 

Loch Ness Monster and Bigfoot. 

Cage is also producing. (Fox) 

"I MARRIED A WITCH" The 

1 942 Fredric MarchA'eronica 

Lake starrer about a man who 

unwittingly becomes betrothed 

to the same sorceress his ancestor 

put to death centuries earlier 

will be remade by Tom Cruise 

and Paula Wagner's CW Prods., 

possibly with Cruise and reallife 

wife Nicole Kidman in the 

lead roles. (Columbia) 

"BLACK DOC" Patrick Swayze 

("Three Wishes") will star in this 

action/thriller, in which he'll 

play a troubled but kind-hearted 

ex-con who's set up by the mob 

to drive a truck carrying illegal 

weapons. Randy Travis ("Fire 

Down Below") and Meat Loaf 

("The Rocky Horror Picture 

Show") have also signed on to 

the cast. Kevin Hooks ("Passenger 

57") will direct. (Universal) 

"THE PARENT TRAP" Writer/ 

producer Nancy Meyers ("Father 

of the Bride 11") makes her 

helming debut in this remake of 

the 1961 Hayley Mills starrer 

about twin sisters separated at 

birth who meet by chance at 

summer camp, then swap 

places in a plan to reunite their 

divorced parents. Dennis Quaid 

("Dragonheart") and Natasha 

Richardson ("Nell") will play 

the parents. Meyers co-scripts 

with writing partner and husband 

Charles Shyer. (Buena 

Vista) 

"YOU HAVE MAIL" This adaptation 

of the 1939 film "Shop 

Around the Corner," about contentious 

co-workers who are, 

unbeknownst to either of them, 

each other's secret pen-pal 

amour, updates the scenario by 

having the two fall in love 

through e-mail. Tom Hanks, 

Meg Ryan and scripter Nora 

Ephron, who worked together 

on the blockbuster "Sleepless in 

Seattle," reunite in hopes of recapturing 

romantic comedy 

boxoffice magic. (Warner) 

"TO LIVE ON" Ang Lee will 

helm this adaptation of Daniel 

Woodrell's novel "Woe to Live 

On," which is set in the Old 

West and deals with the aftermath 

of the Civil War. Tobey 

Maguire, who worked with Lee 

on "The Ice Storm," will star, 

and Matt Damon ("Good Will 

Hunting") and pop star Jewel 

are in talks to sign on. (Fox) 

"THE CORRUPTER" This cop 

drama is about a New York 

Chinatown cop (Chow Yun-Fat, 

"The Replacement Killers") who 

turns bad to pay off a debt to a 

crime lord. His partner ("Boogie 

Nights'" Mark Wahlberg) pretends 

to go along with the 

wrongdoings but is secretly investigating 

his colleague. James 

Foley, who worked with 

Wahlberg on "Fear," will helm. 

(New Line) 

ET CETERA: Ben Stiller ("The 

Cable Guy") has replaced 

Danny DeVito as the helmer of 

Universal's comedy-adventure 

"Mystery Men". ..Michael Caine, 

Brenda Blethyn and Ewan 

MacGregor have joined Jane 

Horrocks and Jim Broadbent in 

Miramax's "The Rise and Fall of 

Little Voice"... Robert Carlyle 

("The Full Monty") will play a 

cannibalistic psychopath who 

wants to have Guy Pearce ("L.A. 

Confidential") for dinner in 

Fox's Milcho Manchevski ("Before 

the Rain")-helmed thriller 

"Ravenous"... Steve Martin and 

Goldie Hawn, who worked together 

in "Housesitter," will star 

in Paramount's remake of "The 

Out of Towners," a comedy 

about a couple who go to New 

York where mayhem and mishaps 

ensue. 

6 BOXOFHCE

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Response No. 467

I 

I 

I 

. 

" 

FEBRUARY 

TPIAILERS 

Bringing good things 

(namely, audiences) to life. 

Now here's a bright idea: a year-round release schedule. 

In the movie industry, the months after the holidays used to 

be the time that the little fellows would be able to shine. So one 

(well, except exhibitors) expected that filmgoers, even given the 

chance, would be willing to turn out in droves at the theatres in 

the cold clime of, say, February. So the winter period was one 

spot on the calendar that independent distributors— the 

Coldwyns, the Vestrons, theLorimars— would bunch their product. 

They knew their only competition would be studio product 

the studios had decided they didn't believe in. 

A look back at the February 1988 Boxoffice release charts 

shows that, while the big-boy likes of Fox—which had spent its 

"Broadcast News" and "Wall Street" during the Christmas 

rush— was offering only the Justine Bateman vehicle "Satisfaction, 

" New Century/Vista was slating the Gene Hackman-starrer 

"Split Decisions," Vestron was hoping sex sold with "And God 

Created Woman," and Goldwyn was introducing fulie Delpy to 

arthouse auds with "Beatrice." 

Cut to a decade later, and the change is remarkable. While 

the small players look for a safe place to land, the studios unleash 

,1 barrage of product that in earlier times would have made for 

.1 decent Christmas slate. In particular, Warner Bros, has Dustin 

Hoffman and Sharon Stone in the latest Michael Crichton sci-fi 

.adaptation, "Sphere," on 2/1.i; UA has Leonardo DiCaprio in a 

rendition of the classic "The Man in the Iron Mask" on 2/20; and 

Columbia also travels the classics route with its "Les Miserables" 

on 2/27. And even these titles are going to have to fight it out 

with such competitors as Universal's "Blues Brothers 2000" 

(2/6), Polygram's "The Borrowers" (see photo) and New Line's 

"The Wedding Singer" (2/13), Paramount's "Twilight" (2/20), 

and Buena Vista's "Krippendorf's Tribe" (2/27). 

Last one out, leave on the light. 

FEBRUARY 6 

Blues Brothers 2000 

In this c:omedy sequel, Dan 

Aykroyd reprises his role as Elwood 

Blues in the 1980 hit "The 

Blues Brothers," and John Landis, 

who directed the original, helms. 

Aykroyd also scripts the story 

about a battle of the bands between 

Chicago and NewOrleans. 

Jake Blues, the other half of the 

dynamic duo, was portrayed by 

the late John Belushi, and in the 

new script Jake has died while 

Elwood was in jail. John Goodman 

(also in this month's "The 

Borrowers") plays Elwood's 

cousin. Joe Morton ("Of Mice and 

Men") co-stars. (Universal, 2/6) 

Exploitips: This is ttie month's 

single sequel, giving it a presold 

quality. The absence of Belushi, 

however, is tough to overcome; 

Aykroyd was more the sideman of 

the Blues Brothers duo, and his 

lasttrue lead was "My Stepmother 

Is an Alien " a decade ago. Expect 

best results on weekend # / 

The Replacement Killers 

In this actioner. Chow Yun-Fat 

("The Killer") makes his American 

film debut opposite Oscar winner 

Mira Sorvino ("Mighty Aphrodite") 

as a Chinese dissidentturned-assassin 

who teams with a 

forger (Sorvino) to prevent a murder 

he had originally agreed to 

commit. Antoine Fuqua directs; 

Ken Sanzel scripts; Brad Grey and 

Bernie Brillstein produce; John 

Woo ("Face/Off") executive produces. 

See our Dec. 1997 cover 

story. (Columbia, 2/6) 

Exploitips: Like Jackie Chan a 

famed Asian performer (he was 

honored as the Star of the Decade 

at this year's CineAsia) whose 

name recognition stateside is limited. 

Chow Yun-Fat for mainstream 

American audiences will 

less of a pull than the genre, 

hat genre, even with betternown 

names like Steven Seagal 

nd Jean-Claude Van Damme, 

as been underperforming of late, 

with "The Blues Brothers 

OOO," expect aficionados to 

how for the first weekend. 

Monkey 

A wild beauty of the streets 

Italian starlet Asia Argento, of 

3ueen Margot") becomes the 

bject of passion of a schooleacher 

("I Shot Andy Warhol's" 

ared Harris). "Michael Collins'" 

onathan Rhys Meyers and Rupert 

verett ("My Best Friend's Wedling") 

co-star. Michael Radford 

"II Postino") directs; Andrew Da- 

'ies adapts his novel with Mihael 

Thomas; Stephen Woolley 

("Michael Collins") and Colin 

Vaines produce. (Miramax, 2/6 

ltd, exp 2/1 3 & 2/20) 

Exploitips: Moved from several 

1 997 slots, the R-rated "B. Monkey" 

on its limited weekend faces 

some competition from Fox 

Searchlight's "Cousin Bette" and 

also from Orion's "Music From 

Another Room" and Castle Rock's 

"Zero Effect. " Of the four, this is 

likeliest to draw the hip young 

crowd, even as the Radford name 

dra ws from the older art-house set 

inclined toward the literate 

"Cousin Bette." To accentuate 

that pull, highlight the Argento 

and Radford names. 

Music From Another Room 

In this romantic comedy, an 

ensemble cast including Brenda 

Blethyn (Oscar-nominated for 

best actress for Mike Leigh's "Secrets 

& Lies"), )ude Law 

("Gattaca"), Jennifer Tilly 

("Bound"), Martha Plimpton ("I 

Shot Andy Warhol"), Jon Tenney 

("Fools Rush In"), Jeremy Piven 

("Crosse Pointe Blank") and 

Gretchen Mol star in this romantic 

comedy about a man (Law) 

who's searching for his true love 

(Mol)—a woman whose birth he 

assisted when he was five years 

old. Charlie Peters (who also 

scripts this month's "Krippendorf's 

Tribe") directs and scripts. 

(MGM/Orion, 2/6) 

Exploitips: Despite its (acquired) 

studio parentage, "Music 

From Another Room" could play 

best to a more specialized audience, 

given their familiarity with 

the players' previous work. For 

Zero Effect 

Bill Pullman, Ben Stiller and 

Ryan O'Neal star in this comic 

feature debut of 22-year-old 

writer/director Jake Kasdan (son 

of Lawrence Kasdan). The story: 

an eccentric, dysfunctional yet 

brilliant detective, Daryl Zero 

(Pullman), and his beleaguered 

mainstreamers, though, the romantic 

element makes this nice 

counterprogramming for the 

actioner "Replacement Killers," 

the yucks-weighted "Blues Brothers 

2000" and the more purely 

comedic "Zero Effect. 

assistant (Ben Stiller) take on a 

case of a timber tycoon (Ryan 

O'Neal) who's being blackmailed. 

Lisa Henson and Janet 

Yang produce. (Columbia, 2/6 

wide after 1/30 ltd opening) 

Exploitips: Despite its ISOminute 

running time, our critic 

(see our Feb. '98 issue) gives 

"Zero Effect" a four-star review, 

calling the comedy "sharp, original 

and unflaggingly hilarious" 

and according the cast kudos: 

8 BilXMFFICE

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Statistics as oi \o%embtT 1

" 

" 

weekend combatants, the likeliest competition 

could come from "The Education of Little 

Tree" or (depending on rating) from "Sphere, 

with parents possibly opting for fare they 

could also enjoy, if they deem "The Borrowers" 

too kidstuffy. "Borrowers" bookers 

should therefore avoid playing to the young 

set, lest this release suffer the fate of "A Little 

Princess" and "FairyTale: A True Story. 

Sphere 

In this adaptation of the sci-fi novel by Michael Crichton ("Jurassic Park"), a 

team of researchers is sent under water to examine a mysterious spacecraft and 

its even more mysterious contents. Dustin Hoffman (last seen in "Mad City"), 

Sharon Stone ("the Mighty"), Samuel L. Jackson ("Eve's Bayou") and Queen 

Lotifah ("Set It Off") star. Barry Levinson ("Wag the Dog") directs, and he and 

Crichton—who last teamed on "Disclosure"—produce with Andrew Wald and 

Peter Giulano. (Warner Bros., 2/13) 

Exploitips: Doubtless the weekend's big film, if not tfie montfi's, "Sphere" has the 

A-list names to attract mainstream audiences plus the SF element to pull those most 

devoted of moviegoers: younqer males. The Crichton name, thanks to Spielberg's 

"Jurassic" films, is now as solidified with film audiences as it is wi&i paperback 

enthusiasts. Suburban strength should be strong, but so should urban turnout, thanks 

to the popularity of the SF genre and to Samuel L. Jackson's presence. 

"Pullman is wonderfully subtle.... Stiller, the 

archetype of exasperation, is fantastic. " Expect 

the 1/30 limited opening to get out word 

of mouth on this, which could build audiences 

through the Valentine weekend. 

Cousin Bette 

This comic adapation of the classic novel 

by Honore de Balzac tells the 1 840s story of 

the aristocratic Julot family, replete with adultery, 

fortune hunting and characters of suspicious 

virtue. Jessica Lange, Kelly MacDonald 

("Trainspotting"), Elisabeth Shue ("Deconstructing 

Harry") and Bob Hoskins star. Stage 

director Des McAnuff makes his movie helming 

debut. (Fox Searchlight, 2/6 ltd) 

Exploitips: Held from a crowded Christmas, 

this is obviously arthouse material— say 

"Balzac" to many, and they might guess it's a 

video game. The quality cast raises this a 

notch above most arthouse entrants, so emphasize 

the known names. Expect a bookstore 

tie-in to help draw the distaff demo. 

Paul Monette: The Brink 

of Summer's End 

This documentary recounts the life of the 

noted gay writer and activist from his seemingly 

idyllic New England boyhood through 

his death of AIDS in 1 995. Monte Bramer and 

Leslie Klainberg direct. (First Run, 2/6 ltd) 

Exploitips: The film citably won the audience 

award for best documentary at the Sundance 

and Outfest L.A. gatherings and a best 

documentary nod at the San Francisco International 

Lesbian and Cay fest. 

IVIotlier and Son 

In a cabin in a country landscape, an adult 

son tries to come to grips with the approaching 

death of his mother. Alexander Sokurov 

directs the 73-minute drama, which is a German/Russian 

production. (IPC, 2/4) 

Expioitips: The good folks at IFC say this is 

"a painting on film. It's not really about something." 

That nature, along with the foreignlanguage 

soundtrack, means "Mother and 

Son" is a film for devoted arthouse-goers. 

Tlie Borrowers 

FEBRUARY 13 

A clan of very little people—four inches 

tall—named the Clocks live in happy coexistence 

with a normal human household—until, 

that is, an evil lawyer threatens the happiness 

of all by aiming, by hook or by crook, on 

capturing the critters. John Goodman (also in 

this month's "Blues Brothers 2000") stars in 

this PG-rated adaptation of the children's 

books by Mary Norton. )im Broadbent 

("Rough Magic") co-stars. Peter Hewitt directs; 

Working Title heads Tim Bevan and Eric 

Fellner produce with filmmaker Rachel 

Talalay. See photo, page 8. (Polygram, 2/1 3) 

Exploitips: At one time last spring, "The 

Borrowers" was to be the first stateside theatrical 

release by Polygram, which had long 

planned to launch an American distribution 

operation. That kudos ended upgoing to "The 

Came," but this family film now appears on 

a holiday weekend in which that very demo 

could be looking for something to do. Of the 

Tlie Wedding Singer 

In this PG-13 romantic comedy, Adam 

Sandler ("Bulletproof") stars as a romantically 

minded wedding singer whose life turns to the 

dark side when he's jilted at the altar. Drew 

Barrymore co-stars as a good-hearted young 

woman engaged to a man who is already 

having affairs on the side. Frank Coraci directs; 

Ira Shuman scripts; Robert Simonds and 

jack Giarraputo produce. (New Line, 2/1 3) 

Exploitips: New Line was sure enough of 

this to take it to ShowEast, and the timing for 

a romantic comedy could hardly be better: 

Valentine's weekend. Though Sandler isn't 

heartthrob material and his films like "l-tappy 

Cilmore" haven't been big hits, his name and 

Barrymore's are still audience friendly. But, 

with love in the air, the sell is the genre. 

The Education of Little Tree 

Based on the best-selling novel, this $13 

million production stars James Cromwell (so 

busy since "Babe") as the grandfather of a 

young boy named Little Tree ("The Little 

Rascals'" Joseph Ashton) in the hills of East 

Tennessee during the Great Depression; Tantoo 

Cardinal ("Black Robe") plays his grandmother. 

When the trio's unconventional way 

of life falls afoul of local authorities. Little Tree 

is placed in an Indian School ill-conceived by 

the government to educate children with supposedly 

inappropriate Native American upbringings. 

Screenwriter Richard Friedenberg 

("A River Runs Through It") makes his directing 

debut; Jake Eberts produces. (Paramount, 

2/1 3 exp; could go January) 

Exploitips: if the film's previous limited 

opening has built word of mouth, this could 

find a place among family audiences that— 

unless Paramount instead expands this during 

the January frame— are also considering "The 

Borrowers" and "Sphere. " In terms of names, 

the biggest sell obviously is "Babe's" Cromwell, 

though noting Friedenberg's Oscar nom 

for his "A River Runs Through It" script could 

garner useful adult attention. 

Sliding Doors 

Cwyneth Paltrow ("Emma") stars in this 

contemporary love story about Helen, a 

young woman whose destiny is changed by 

the sliding doors of a London subway train. 

From that moment, the film bisects to tell the 

two parallel stories of what happens if Helen 

makes the train and if she doesn't. John Hannah, 

John Lynch ("Nothing Personal") and 

Jeanne Tripplehorn ("'Til There Was You") 

co-star. Peter Howitt directs and scripts; Sydney 

Pollack produces for Mirage with William 

Horberg and Philippa Braithwaite. (Miramax, 

2/1 3 NY/LA, oxp 2/20 & 2/27, nafi 3/6) 

Exploitips: Held from an 1 1/21 bow, "Sliding 

Doors" now slides into the Valentine's 

weekend as the specialized-audience choice 

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for coastal date-nighters; good NY and LA 

reviews could help build interest inland as 

Miramax expands the release. Still, given the 

tale's slightly complex narrative, "Sliding 

Doors" might be opened less by mainstream 

auds than by arthousers. 

Hurricane Streets 

In this drama (aka "Hurricane"), Brendan 

Sexton III ("Welcome to the Dollhouse") stars 

as a poor 15-year-old living with his grandmother 

who falls for a young Latina and 

dreams of a better life. Isidra Vega, Jared 

Harris ("I Shot Andy Warhol") and L.M. Kit 

Carson ("Running on Empty") co-star; Morgan 

J. Freeman directs and scripts, and he produces 

with Gait Niederhoffer and Gill Holland. 

See the Sneak Preview in our Sept. 1997 

issue. (UA, 2/1 3 ltd) 

Exploitips: This garnered three Sundance 

awards: best director, best cinematography, 

and audience. Our reviewer (April 1997 

issue) gave it three stars, calling it "a boy's 

coming-of-age story on the order of '400 

Blows '. " This will play best at art sites, though 

its "Romeo and Juliet" element could draw 

mainstream youths. Held from previous dates. 

The Long Way Home 

This documentary recounts the trials and 

travails of displaced European Jewry in the 

years right after the Second World War. Mark 

Jonathan Harris directs and scripts; Rabbi 

Marvin Hier and Richard Trank produce. 

(Seventh Art, 2/1 3 SF/Miami, reopens LA) 

Exploitips: Our reviewer (Sept. '97 issue) 

gave this three stars, citing the filmmaker's 

excellent choice of images and his simple but 

eloquent script and the effectively controlled 

narration ofMorgan Freeman. 

FEBRUARY 20 

The Man in the Iron IVIask 

In this adaptation of the classic Alexandre 

Dumas adventure novel, Leonardo DiCaprio 

("Titanic") plays twin brothers. One becomes 

the King of France; the other is raised by 

D'Artagnan ("The End of Violence's" Gabriel 

Bryne), famed leader of the Three Musketeers—Athos, 

Aramis and Porthos (played by 

John Malkovich, Jeremy Irons and Gerard 

Depardieu, respectively). Randall Wallace 

(who was Oscar-nominated for his "Braveheart" 

script) directs and writes. (UA, 2/20) 

Exploitips: Book tie-ins and a highlighting 

ofthe writer/director's "Braveheart" credit are 

called for, but the presence of DiCaprio—especially 

after the titanic play given "Titanic"— 

is the key sell here. "The Man in the 

Iron Mask" could draw from a number of 

demos, including younger audiences— both 

male and female— and older moviegoers 

pulled in by the tale's classic nature, who in 

its select sites could also be interested in... 

TwHight 

Paul Newman, Susan Sarandon, Gene 

Hackman and Stockard Channing ("The First 

Wives Club") star in this contemporary detective 

story set in Los Angeles. Reese 

Witherspoon ("Fear"), Giancarlo Esposito 

("Fresh") and James Garner co-star. Newman 

reteams here with his "Nobody's Fool" success 

d'estime creators: writer/director Robert 

Benton (who co-scripts with Richard Russo) 

and producers Arlene Donovan and Scott 

Rudin, who's on a winning streak for his 

studio. (Paramount, 2/20 ltd) 

Exploitips: "Twilight"— previously "The 

Magic Hour" and slated for a holiday and then 

late-Jan. debut— has "well-made" stamped on 

it, given the talents before and behind the 

camera. This could also trend toward more 

mature audiences, given Newman's (and 

Benton's) established reputation with that 

demo. Emphasize those strengths and expect 

audience support to take a couple weekends 

to build (whether booked for the limited bow 

or the later expansion), given that mature 

moviegoers aren't frequent first-nighters. 

Enter the Dragon 

The first kung fu action film in which Hollywood 

participated in production (Lalo 

Schifrin even provided the score), this 1973 

U.S./Hong Kong effort stars Bruce Lee and 

John Saxon in a story about a master of the 

martial arts who is enlisted by Western intelligence 

experts to help them stop opium 

smugglers. Robert Clouse directs; Michael 

Allin scripts; Fred Weintraub and Paul Heller 

produce for Warner/Concord. (Warner, 2/20) 

Exploitips: Despite his too-early demise 

and a career in what some thought of as just 

the chopsocky business (Pauline Kael called 

"Enter the Dragon" "a good-natured example 

of the pleasures ofshlock art"), Bruce Lee still 

lives on with some action aficionados. Highlight 

the 25th anniversary nature of this reissue 

to maximize the draw. 

Palmetto 

Woody Harrelson ("Welcome to Sarajevo") 

and Elisabeth Shue (also in "Cousin 

Bette") star in this mystery crime thriller 

adapted from James Hadley Chase's novel 

"Just Another Sucker." The storyline: A good 

guy tries to go bad. Michael Rapaport 

("Metro"), Angela featherstone ("Con Air"), 

Chloe Sevigny ("Kids") and Tom Wright 

("Gridlock'd") co-star. Volker Schlondorff 

("The Ogre") directs. (Columbia, 2/20) 

Exploitips: This pickup adds to an already 

crowded calendar for Sony this month, and 

the major sell here is the Harrelson name. 

Mrs. Dalloway 

In this adaptation of the Virginia Woolf 

novel, an older British woman in 1920s London 

recalls a summer day spent in the country 

1890, when she was beautiful and much 

in 

courted. Three decades later, a key suitor from 

that day arrives, and subsequent events intertwine 

her fate with that of a tragic young 

man—a young man she will never meet. 

Vanessa Redgrave and Natascha McElhone 

("Surviving Picasso") star with Rupert Craves 

("Damage") and Michael Kitchen. Marleen 

Gorris, who directed the Oscar-winning 

"Antonia's Line" (also a First Look release), 

directs; actress-turned-writer Eileen Atkins 

("The Dresser") scripts; Lisa Katselas Pare and 

Stephen Bayly ("The Diamond's Edge") produce. 

(First Look, 2/20 NY/LA) 

Exploitips: Rated PC- 13 (for emotional elements 

and brief nudity), this drama could 

allow exhibitor outreach to local college or 

advanced high-school programs. But arthouse 

auds will be the primary movers here, 

and good rew'ews from "Mrs. Dalloway's" 

Toronto fest appearance could help. Our 

critic gave this three stars, citing the film's 

ability to deliver on its theme of "coming to 

terms with the choices we make in life, and 

the deeper feelings of understanding that 

often need the test of time to be understood. 

FEBRUARY 27 

Krippendorf's Tribe 

In this comedy that returns Richard Dreyfuss 

("Mr. Holland's Opus") to the classroom 

for Disney, an anthropology professor whose 

wife has passed away decides to raise his 

family using grant money, all the while pretending 

his youngsters are New Guinea 

tribeschildren. Todd Holland directs; Charlie 

Peters ("Jungle 2 Jungle") adapts the Frank 

Parkin novel; Larry Brezner produces this 

Touchstone effort. (Buena Vista, 2/27) 

Exploitips: Disney is unlikely to be focusing 

on anything else all month except for "An 

Alan Smithee Film "and this— given that those 

are the only Buena Vista titles slated for February. 

"Krippendorf's Tribe" is a bit of a 

mouthful, but "Mr. Holland's Opus" was 

hardly a "Speed" moniker either, and it generated 

an appreciable booty at the boxoffice. 

Les Miserabies 

In this drama, an adaptation of the Victor 

Hugo novel (and not the Andrew Lloyd Webber 

stage musical), Geoffrey Rush ("Shine") 

plays Javert, a police inspector who chases an 

escaped convict named Jean Valjean ("Michael 

Collins'" Liam Neeson) for years to 

bring him to justice. Uma Thurman 

("Gattaca") portrays Fantine, a factory 

worker-turned-prostitute. Bille August 

("Smilla's Sense of Snow") directs; Rafael 

Yglesias ("Fearless") scripts; former Sony head 

Peter Guber, Adam Platnick and Todd Black 

produce. (Columbia, 2/27) 

Exploitips: The release-soaked Sony offers 

the month's third classic-title adaptation, the 

key other being UA's "The Man in the Iron 

Mask. " The UA film probably has thestaredge 

in Leonardo DiCaprio, but the stage musical 

version has made "Les Miserabies" more of a 

household name. Given the projects' participants, 

one can expect quality work from both; 

the question for the 2/27 frame is if there will 

be enough literate moviegoers to service this 

debut and weekend #2 of "...Iron Mask. 

The Real Blonde 

This R-rated romantic comedy, set in New 

York's fashion and television industries, tells 

the stories of a struggling, disillusioned actor, 

a woman who's sick of the duplicitous men 

in her life, and a successful soap star who's in 

search of the eponymous "real blonde." Matthew 

Modine ("Cutthroat Island"), Catherine 

Keener ("Living in Oblivion"), Daryl Hannah, 

Maxwell Caulfield, Elizabeth Berkley ("Showgirls"), 

Kathleen Turner, Denis Leary, Buck 

Henry and Christopher Lloyd star. Tom 

DiCillo (also "Living in Oblivion") directs and 

scripts; Marcus Viscidi and Tom Rosenberg 

produce for Lakeshore. (Paramount, 2/27)

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14 BoxoFncE Response No. 62 

" 

Exploitips: DiCillo's most recent, "Box of 

Moonlight" for Trimark, drew only a nattering 

of good notices. But "The Real Blonde" has 

one of those cavalcade-of-stars casts that 

could attract various age groups, and 

rom/com is always the mainstream audience 

favorite. One can hope this comes with an 

intelligent script, lest this elicit "Dumb 

'Blonde'" headlines from reviewers. 

No More Mr. Nice Guy 

Hong Kong action maestro Jackie Chan 

plays a good-hearted chef who, by helping a 

woman in distress, becomes involved in fighting 

evil businessmen engaged in skullduggery. 

Richard Norton and Mike Lee co-star. 

Sammo Hung directs; Edward Tang and Fibe 

Ma script; Chua Lam produces for Golden 

Harvest. (New Line, 2/27) 

Exploitips: Screened at ShowEast as "Mr. 

Nice Guy" but tentatively to be titled "No 

More Mr. Nice Guy" for its moved-up release 

by New Line, this Chan film provides the 

usual blend of comedy and action. There's 

just one jaw-dropping Chan-in-action sequence 

here, involving Chan under a gigantic 

earthmover's tires. Expect the usual Chan 

boxofflce results, in the 'teens. 

An Alan Smithee Film 

This satirical look at Hollywood, scripted 

by Joe Eszterhas ("Showgirls"), stars the likes 

of Sylvester Stallone, Whoopi Goldberg and 

Richard Gere, who play themselves in the 

documentary-style comedy. In this film, a 

director whose real name is Alan Smithee 

meets with frustration when he tries to pull his 

name from a terrible recut of his film, only to 

see the DGA's usual director alias (Alan 

Smithee) be credited. In desperation, he steals 

the negative. (Buena Vista, 2/27) 

Exploitips: In a case of real life imitating (at 

least what is hoped to be) art, the director of 

"An Alan Smithee Film," Arthur Hiller, has 

pulled his name from the film, which now will 

be released as an Alan Smithee film. Despite 

the smile that induces, it's hardly an audience 

attractor. Still, the bevy of big names appearing 

plus the directing controversy should win 

this press, although it could be bad press; the 

earliest reviews have not been too friendly. 

Tarzan & Jane 

This romance/adventure again adapts the 

Edgar Rice Burroughs stories about a jungle 

man and the civilized woman who becomes 

his lady. In this telling, with a scenario similar 

to that of "George of the Jungle," the Ape Man 

leaves civilization to return to Africa to save 

his homeland. Casper Van Dien ("Starship 

Troopers") plays Tarzan and Jane March portrays 

Jane. (Live, 2/27 tent.) 

Exploitips: This Live acquisition was made 

long before "Starship Troopers" opened to 

$22 million and made the Van Dien name 

known. Jane March, did the NC- 1 7 "The Lovers, 

" and the director's cut of her "Color of 

Night" also was for adult audiences, so one 

might not expect an especially modest Jane 

here. Sexsells, of course, and might also for... 

The Blood Oranges 

A sexually liberated couple (Charles Dance 

and Sheryl Lee) living in a small European 

town in the 1970s maintain an open relationship, 

having extramarital affairs. Matters turns 

dark when they meet a pair of travelers. Colin 

Lane and Laila Robins co-star. Philip Haas 

directs, and he adapts from a novel with 

Belinda Haas; she produces with Tom Carouso 

and Hector Lopez. (Trimark, 2/27) 

Exploitips: Our Toronto reviewer is no fan, 

calling this "risible and idiotic. ..a maladroit 

adaptation of a novel that should probably 

never have seen the light of day." Similar 

complaints were made of Triumph's "Bliss," 

but it found a select audience, in part due to 

its sensuality. Expect a similar demo in similar 

numbers. Emphasize the Haas' arthouse work 

("Angels & Insects, " "The Music of Chance"). 

Homegrown 

This R-rated drama is a dark comedy about 

three marijuana growers who live the good 

life off profits generated by their overseeing a 

Northern California crop on land owned by 

the mysterious Malcolm— until Malcolm 

turns up dead. Billy Bob Thornton, Kelly 

Lynch, Hank Azaria ("The Birdcage") and 

Ryan Philippe star. Stephen Gyllenhall 

("Waterland") directs and co-scripts; Jason 

Clark produces for Lakeshore. (TriStar, 2/27) 

Exploitips: With Thornton still hot off his 

Oscar scripting win for "Sling Blade, " Sony 

acquired this title at last year's Cannes from 

the folks on a winning streak at Lakeshore, 

who've also found homes for the likes of their 

"Dream With the Fishes," "The Real Blonde" 

(above), "Polish Wedding" and "Still Breathing. 

" Expect the cast and story to draw mostly 

from the twenty- and thirtysomething crowd. 

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Love and Death on Long Island 

This drama, starring John Hurt, Jason 

Priestly and Fiona Loewi, adapts the novel by 

Gilbert Adair and tells the story of a stuffy 

British writer whose wife has died. Going to 

the movies by himself one night, he chooses 

the wrong auditorium and instead of seeing 

an E.M. Forster adaptation finds himself 

treated to a teenage comedy—and is surprised 

to find himself transfixed from there on by a 

male screen idol. Richard Kwietniowski directs 

and scripts; Steve Clark-Hall and Christopher 

Zimmer produce. (CEP, 2/27) 

Exploitips: 

Our Telluride reviewer gives 

this three stars, saying the story provides for 

"an intriguing cultural clash " and that Priestly 

"amusingly spoofs his own teen idol image. 

Still, it's unlikely that TV fave Priestly will 

draw arthousers, so Hurt is the likely sell. 

Suicide Kings 

In this black comedy, four collegians nab a 

retired mobster (Christopher Walken) to help 

them. Denis Leary ("Wide Awake"), Jay Mohr 

("Picture Perfect"), Henry Thomas ("Legends 

of the Fall") and Sean Patrick Flanery ("Powder") 

also star. Peter O'Fallon directs; Wayne 

Rice and Gina Goldman script; Rice produces 

with Morrie Eisenman. (Live, 2/27) 

Exploitips: If the ensemble here strikes 

sparks with the twentysomething crowd, this 

could build word of mouth in a way that "8 

Heads in a Duffel Bag" did not. Our Toronto 

reviewer (Oct. '97 issue) gave this three stars, 

citing Walken's energetic turn and narrative 

twists. Held from several previous dates.

" 

FEBRUARY UNDATED 

Bulworth 

In "Bulworth" (a tentative title), a wealthy 

U.S. senator (Warren Beatty) Is tired of life and 

so sees no reason to avoid a hit that's been 

planned by a friend—until, that is, the senator 

meets a beautiful African-American woman 

(Halle Berry). Paul Sorvino, Oliver Piatt, Jack 

Warden and Don Cheadle co-star. Warren 

Beatty also directs, scripts and produces. (Fox, 

Feb. undated; could go Jan.) 

Exploitips: Fox materials depict the story 

thus: "He must frantically seek out the only 

one who can call off the killer in a hair-raising 

comic chase. "So expect something more akin 

to "Heaven Can Wait" than to "Reds. 

The Gingerbread Man 

This thriller set in the South stars Kenneth 

Branagh ("Hamlet") as a lawyer who takes the 

case of a beautiful but distressed woman 

(Embeth Davidtz) who wants her wealthy but 

mentally unstable father committed. The lawyer 

begins to wonder whether his client's motives 

are altruistic. Robert Altman directs; John 

Grisham adapts his original story; Jeremy Tanenbaum 

produces. (Polygram, Feb. undated) 

Exploitips: The arthouse name Altman and 

the paperback favorite Crisham make for an 

odd couple in terms of audience draw; will 

this pull mainstream or specialized? Expect 

Polygram, despite its earlier decision— since 

rescinded—to recut Altman's version, at least 

to go after the former, so emphasize the 

Crisham side of the parentage. 

Stephen Frears, Mike Leigh and Ken Loach." 

The harshness of the film— which features 

"violence, profanity, blood, sweat and 

tears"— and the script's "episodic nature" 

make this unlikely megaplex fare, but interest 

in the Oldman name should draw specialized 

audiences in decent number. 

General Chaos: 

Uncensored Animation 

Manga, now aka Island Digital Media, 

launches what it plans to be an annual minifest 

of "uncensored" animated shorts; the 

1998 iteration includes "Looks Can Kill," "a 

burlesque girlie show with unexpected 

thrust"; "Zerox and Mylar" from Will Vinton 

Studios; and the latest from Bill Plymptonand 

from the Bolex Brothers ("The Secret Adventures 

of Tom Thumb"). (Island Digital Media, 

Feb. undated; could go in Jan.) 

Exploitips: Not for the "Anastasia" crowd, 

this should perform best in college towns and 

in arthouses that have experience drawing 

their patrons to the experimental. 

Tokyo Fist 

This Japanese-language new-waver tells of 

a love triangle. (Island Digital, Feb. undated) 

Exploitips: Quotably, "Tokyo Fist" has 

been described as "an assault and battery of 

a movie. " Held from previous dates. 

The Butcher Boy 

In a small Irish town in the early 1960s, a 

young boy (Eamon Owens) with an alcoholic 

father ("Michael Collins'" Stephen Rea) and a 

manic-depressive mother (AislingO'Sullivan) 

but one good friend (Alan Boyle) has his life 

turn for the worse when all three exit his life. 

Neil Jordan (also "Michael Collins") directs 

and produces, and he scripts with Patrick 

McCabe. (Warner Bros., Feb. undated) 

Exploitips: In a four-star review (Sept. '97 

issue), our Calway fest critic said Jordan's 

10th film— held from a fall release — is "an 

extraordinary piece of cinema.... [N]ot only 

are the performances stunning; so is Jordan's 

direction, ofthecaliberthatsays 'Oscar. '" The 

R rating makes this one for adult audiences, 

probably in the same number that attended 

"Michael Collins" ($ 1 1 million). 

Nil by IVIouth 

This R-rated drama—which our Cannes reviewer 

calls "a sort of South London version 

of 'Once Were Warriors'"—tells the travailfilled 

story of a working-class English family: 

athuggishoaf named Ray (Ray Winstone), his 

world-weary wife Valerie (Cathie Burke) and 

Valerie's junkie brother Billy (Charlie Creed- 

Miles). Gary Oldman makes his directing 

debut and scripts, and he produces with Luc 

Besson ("The Fifth Element") and Douglas 

Urbanski. (Sony Classics, Feb. undated) 

Exploitips: In a three-star review, our 

Cannes critic compares Oldman's work here, 

mostly favorably ("he does the tradition 

proud"), to that of "gritty English realists like 

Response No. 30 

February, 1998 15

— 

Cover 

GRACE 

PERIOD 

Martin 

Legendary Director 

MARTIN SCORSESE 

Makes a New Kind 

of Religious Epic 

With "KUNDUN'' 

by Ray Greene 

Scorsese hates to fly. As luck 

would have it, another round of "El 

Nino" stormfront rumors was circulating 

on one of the few recent dates when 

Scorsese decided to make the New York-to- 

L.A. run. Lx)s Angeles might yet wash off into 

the ocean at some pwint during the winter, but 

it didn't this time: In a pattern that had already 

repeated itself all summer long and into the 

early fall, broadcast commentators nationwide 

were gleefully predicting L.A. rainfalls of 

biblical proportions for Scorsese's late September 

travel day, only to have nothing more 

than modest, periodic and only slightly 

noticeable showers materialize. 

Still, given his flight phobia and the 

meteorological speculation Scorsese 

woke up to, it was a near chance that he 

might decide to call off his east/west trek 

(thereby potentially derailing the January 

cover plans of a certain national film 

periodical that shall remain nameless). 

But Scorsese's love of movies apparently 

supersedes all other considerations: 

At the last minute, he threw 

caution to the winds, chanced the whiteknuckle 

plane ride to the City of Angels, 

and amved just in time to attend the kind 

of event the film buff in him ju.st loves: 

an American Movie Classics salute to 

the golden era of Hollywood///m noir. 

As with almost any subject related to films 

and filmmaking, Scorsese's comments on the 

AMC tribute are ultimately a statement of his 

philosophies as a director. "There was a genuine 

warmth, a real love, you could say, of the 

images," a scratchy-voiced Scorsese says on 

the moming after the event. "It's a world that's 

gone by, but we have these incredible artifacts, 

and the artifacts make you think about history. 

"I'm addicted to history. And I think when 

you're addicted to history it's really about studying 

human behavior What htqjpens [when you 

watch an old movie] is that these people are up 

there on the screen behaving. And they're not 

really behaving for themselves, they're behaving 

for a whole culture of that time." 

o; 

ver breakfast, Scorsese seems both 

|whip-smart and a bit the worse for 

wear after his journey. He is highly 

verbal—almost parodistically the fast-talking 

native New Yorker Words spill from him in 

a How dare we make a film 

about a man who represents 

compassion and peace, and 

kindness and tolerance. ..a 

story about a man whose 

job is to care about 

every living thing. " 

staccato torrents, with rapid-fire, fully articulated 

ideas and opinions .seeming to compete 

for mastery in his conversation. 

The loud clanking of a barman wiping down 

waterglasses sets him on edge, actually derailing 

his train of thought more than once, as does 

a particularly shrill cellphone that goes off at 

berant 

regular intervals over the course of the meal. 

He flinches at the sounds— piercing and rever- 

in the paneled half-light of a restaurant 

off the foyer of his posh Beveriy Hills hotel 

and then laughs the reaction off. "I get like 

Roderick Usher now," he says. "You know, 

'The Fall of the House of Usher'?" He 

clenches his hands and hunches forward in a 

burlesque of horror movie menace worthy of 

Dwight Frye: "The cat's paws drive me mad!" 

Given the thematic complexity of his films, 

it's no surprise that Scorsese is a sharp interview, 

or that the jangled, nervous energy that 

seems such a part of his directing style is also 

part of his personality. He is, after all, the man 

who kickstarted his career and redefined 

the American crime film with the bloodsoaked 

gangster morality tale "Mean 

Streets"in 1973, making stars ofHarvey 

Keitel and Robert De Niro in the process. 

'Taxi Driver." his scary tale of an 

obsessed gun lover and would-be political 

incite a 

assassin, proved potent enough to 

1980 copycat assassination attempt 

by John Hinckley against thenpresident 

Ronald Reagan. And "Raging 

Bull" (1980). Scorsese's poeticized rendering 

of the violent life and times of 

boxer Jake LaMotta is routinely hailed 

as the greatest American film of its decade 

and, along with Robert Wise's 

"The Set-Up," is the most realistic depiction 

of the brutality of the fight game 

ever committed to film. It would be a contradiction 

in tenns ifScorse.se caine off like, say, 

a mild-mannered small-town librarian. 

What is surprising is that this most urban and 

American of filmmakers has gotten up early on 

a gray LA. moming to discuss a project that, 

on the surface at lea.st, seems to play against 

almost all of his acknowledged strengths. 

"Kundun"—a rural religicxis epic set in Tibet 

16 BUXOFFICE

.lanuarv. 1998 17 

and featuring an all-Asian cast of nonprofessional 

actors—chronicles the early life of 

Tibet's exiled spiritual leader, the Dalai Lama. 

"Why not?" Scorsese says when asked if he 

thinks he's the kind of director for this sort of 

material. "It's basically a story about a man 

who lives a life in the spirit, and how one lives 

a spiritual life in this world, which is to a 

certain extent what Charlie is trying to do in 

"Mean Streets.' You know, he was trying to 

lead an ethical life, according to the precepts 

of his religion, in a world where there are 

gangsters and there are thieves. [In 'Kundun'] 

there's no magic, there are no visions. [The 

Dalai Lama] is trying to lead a good life and 

be an example, I think, to all of us." 

with so much of what makes Scorsese 

Astick, the journey that led to "Kundun" 

began in the darkened 

moviehouses of his '50s New 

York boyhood. It was there 

that he discovered an early 

passion for religious 

spectacle, 

fueled by period epics like 

195rs "Quo Vadis?" and 

1952's "The Robe." "I remember 

'Quo Vadis?'—the 

MGM one—and my father 

taking me to see it," he says. 

"I was fascinated by the beautiful 

three-strip Technicolor 

and what looked to me like the 

artifacts of ancient Rome. 

"The next one was 'The 

Robe,' and it was the first film 

in CinemaScope. The curtain 

opening at the Roxy Theatre 

for that new kind of image, and 

then the music coming up— it 

was quite extraordinary." 

The '50s boom in religious 

spectaculars came at a particularly 

auspicious moment in 

Scorsese's development, harmonizing 

events from his life 

with impressions taken from 

the fihns he loved at a very 

early age. "I had spent my first 

year in Catholic grammar 

school, and I became an altar 

boy," he says. "And the ancient Roman world 

became in my mind part of the Church, and 

part of the ritual of the Church. The music of 

the Church became completely mixed into the 

music in 'Quo Vadis?' or 'The Robe.'" 

A less well-known epic of the period provided 

Scorsese with what he remembers as his 

first significant exposure to an ethnographic 

moviemaking approach he would explore in 

depth later on. A fictional account of the building 

of Egypt's Great Pyramid, 1955's "Land 

of the Pharoahs" boasted one of Hollywood's 

finest directors in Howard Hawks and a script 

worked on by (of all people) Southern gothic 

novelist and Nobel laureate William Faulkner. 

Though it predated Cecil B. DeMille's 

more setbound 1956 remake of "The Ten 

Commandments," "Pharoahs" had nothing 

like the commercial impact of DeMille's 

Bamumesque spectacle of ancient Egypt. Except, 

that is, in the New York moviehouse 

where a prepubescent Marty Scorsese saw it 

and found the experience indelible. 

"I guess what I was really interested in there 

was the way Egypt looked. 'Land of the 

Pharoahs' gave the impression that you were 

really in ancient Egypt, mainly because they 

shot there. And the scale [of the drama] was 

more human size [than in most '50s spectaculars] 

and very interesting. 

"I hadn't seen architecture like that before. 

I had seen the film 'The Egyptian' before that, 

but that looked more like Hollywood Egypt, 

very pretty," he says. "Whereas 'Land of the 

Pharoahs' really had a sense of being like a 

documentary of ancient Egypt." 

That realistic edge became something 

Scorsese started to look for as he became more 

interested in making films of his own. He cites 

CROWNING GLORY: A moment of grace with the young Dalai Lama. 

"Land of the Pharoahs" as a direct influence 

on "Kundun," which was shot entirely on location 

in Morocco in order to capture the 

timeless rural isolation of pre-communist 

Tibet. "In Morocco," he says, "if you look at a 

village outside of Ouarzazate, you are looking 

at a village that has been that way for 5,000 

years." This attention to realistic detail has 

been a hallmark of Scorsese's approach to 

filmmaking from the beginning of his career. 

"By the time I saw documentaries in the '50s 

and '60s," he says, "and neorealism, Italian 

films, I realized I would love to make films 

where literally you see what the person eats, 

the kind of food they're eating, the way it's 

presented, the way it's prepared. I began to 

realize I wanted to make films that depict the 

culture of the people. You get that in 'Mean 

Streets,' you get it in 'GoodFellas,' and I beheve 

you get it in 'Kundun.'" 

Tibet is an awfully long way from the 

Still, 

Little Italy of "Mean Streets," and the 

Dalai Larna's difficult early passage is a 

story that exists in a unique and very specialized 

milieu. "Kundun" (the title means "The 

Precious One") begins in 1937, when a twoyear-old 

Tibetan boy named Tenzin Gyatso is 

recognized as the 14th reincarnation of the 

Buddha of love and compassion. "With Buddhism," 

Scorsese says, "the idea is that it's the 

same boy who was here the last time, and the 

one before that, and the one before that. At one 

point, when he's 1 6 years old, [the Dalai Lama] 

asks this fellow who sweeps the kitchen and 

played with him when he was little, 'Do you 

ever wonder if the regent found the right boy?' 

And the man says back, 'No. Of course he did. 

Who else would be here?'" 

In the Tibetan system of the 1 930s, the Dalai 

Lama was not just the spiritual 

but also the political leader of 

his country. Rigorous training 

in the philosophies of Buddhism, 

including the central 

Buddhist tenet of absolute 

nonviolence, occupied much 

of Tenzin Gyatso's childhood 

and early adolescence. But at 

the age of 15 both the Dalai 

Lama's hfe and the life of his 

country were irrevocably 

changed by an event that 

would eventually send the 

Dalai Lama into exile: the invasion 

of Tibet by the armies 

ofChairman Mao Zedong, and 

its 

subsequent annexation as 

part of communist China. 

The collision ofTibet's nonviolent, 

spiritualist way of life 

with the militaristic and materiaUst 

culture of Maoism is the 

skein of tragedy that runs 

through "Kundun," which 

ends with the Dalai Lama's 

forced departure from his 

homeland in 1959. In the decades 

since, Tenzin Gyatso has 

become one of the world's 

most revered figures. Global 

interest in Buddhism is 

at an 

all-time high, and the Dalai Lama's political 

efforts, which continue to espouse the cause of 

nonviolence as well as that of a free Tibet, were 

rewarded with a Nobel Peace Prize in 1988. 

The rising interest in Buddhism as well as 

in Chinese politics has been reflected in a spate 

of recent Hollywood projects. Preceding 

"Kundun" into the marketplace were both 

Jean-Jacques Annaud's "Seven Years in 

Tibet," starring Brad Pitt as an Austrian 

cUmber who undergoes a Buddhist conversion 

experience, and "Red Comer," the political 

thriller-cum-expose about the oppressive realities 

of the communist Chinese legal system. 

Although "Kundun" began as the brainchild 

of "E.T." screenwriter Melissa Mathison 

a half-decade ago and is a film that 

Scorsese has been involved with for more 

than three years, Scorsese acknowledges 

that his film's arrival at this time does seem

— 

a 

to reflect part of a wider shift in Western 

attitudes about Eastern spiritualism. 

"It's a hunger, I think," Scorsese says. 

"There's kind of a hunger for peace of mind. 

On the downside, it may signal a lack of faith 

in our traditional religions in the West. That 

doesn't mean everybody's going to become 

Buddhist, but I think you could learn certain 

things from Buddhism." 

Scorsese is philosophical about the fact 

that "Kundun" has become part of a sort of 

Chinese thematic subgenre. "I would have 

liked to have done this film before 'Casino,'" 

he says, "but I couldn't. It just tums 

out that you have ['Kundun'], and you have 

people even realizing it, 

the Jean-Jacques Annaud film, and it all 

seems to be coming through in a kind of 

torrent. A process has happened without 

[and] it's all coming 

to fruition this year." 

The potency of the Dalai Lama as a 

symbol ofTibetan struggle is demonstrated 

by the ongoing hostility that "Kundun" has 

met with from the current Chinese regime. 

Almost as soon as the Scorsese project was 

announced, the Chinese government, in an 

extraordinary move, threatened to block 

"Kundun" maker The Walt Disney Co. 

from future access to China's vast 

and potentially lucrative markets if 

the project went forward. 

The issue appeared to be resolved 

after a petition signed by a 

wide-ranging group of American 

filmmakers sided with Scorsese's 

right to tell the Dalai Lama's story, 

and Disney, to its credit, has stood 

behind "Kundun" from the first. 

Yet, even as this story was going to 

press, the plot continued to thicken: 

During the recent visit to the 

U.S. by the current Chinese 

president, China announced 

that it was suspending all business 

dealings with Disney as 

well as with "Seven Years in 

Tibet" distributor Columbia 

TriStar and "Red Corner" 

backer MGM in protest against 

what its government views as 

each film's unwarranted attack 

on Chinese sovereignty. 

Ironically, 

Scorsese considers 

himself a lover of Chinese 

culture, particularly of Chinese 

cinema. "I think Chinese cinema 

is the best cinema in the 

world," he says. "The filmmakers, 

the cinematographers—I 

love their pictures." 

Scorsese does, however, draw a 

distinction between Chinese culture and the 

repressive excesses of the current rulers. 

"About the repres.sion of their regime—we're 

talking about the regime now, not the people 

I think it's extreniely dangerous. I've seen 

articles in French magazines about their daily 

executions of 'dissidents,' quote unquote, or 

'drug dealer;,' quote unquote. Kids in their 

20s, they shoot them in the back of the head.... 

The Tibetan women who go in to have a child. 

and they actually kill the child or sterilize the 

woman. It's a matter of genocide, really. 

'The thing to understand about China is, it's 

a very different way of thinking about life, a 

very different way of thinking about freedom, 

and a very different way of thinking about 

privacy—they have a lot of people there. 1 read 

"Because what is our nature? 

Is it our nature to be violent, 

or is it our nature to love, 

and be compassionate?'^ 

an article about [Maoist guerilla] Pol Pot in 

Cambodia, where they killed those millions of 

people. [Cambodia's genocidal civil war was 

chronicled in the 1984 Oscar winner 'The 

Killing Fields."] What I got ftxim the article 

was that he felt those millions of people deserved 

to die, becau.sc it was their bad karma, 

so it was understandable. In Western culture, 

karma is not necessarily something that we 

believe in. Everybody has a right to live." 

I 

t is an odd coincidence that "Kundun" is 

both Scorsese's second attempt at religious 

spectacle and the second of his films to be the 

subject of vehement ideological attack before it 

has even been released. A decade ago, Scorsese's 

controveisial adaptation of Nikos Kazantzakis' 

'The Last Temptation ofChrist" inspired pickets, 

threats of boycott and mass demonstrations 

by American religious conservatives— 

situation that still angers Scorsese in a remarkably 

immediate way given how much 

time has passed. "1 can understand being 

offended and that sort of thing, but to try to 

force us not to go into the theatre is outrageous," 

he says of the "Last Temptation" 

controversy. "People say, 'You're offending 

my vision of my religion, and you're blaspheming 

my God.' Well, he's everybody's 

God, and people approach God differently. 

And this is America you know? You should 

be able to do that... The reality is that what 

happened at that time was a bullying of the 

American public. A bullying." 

He is equally firm in his views about the 

fact that "Kundun" has become a very different 

kind of flashpoint for attempts at 

ideological suppression. "What does this 

man represent?' he asks, referring to the 

Dalai Lama. "Compassion. How 

dare we make a film about a man who 

represents compassion and peace, 

and kindness and tolerance.... Basically, 

it's a story about a man whose 

job is to care about every living thing. 

And to love every living thing. And 

the outrage that we should be told on 

this side of the world that we can't 

make the picnire. And the outrage 

that the story of a man like this could 

be considered controversial." 

To Scorsese, whose signature 

films have so often depicted 

hard, brutal men caught in grim 

and violent worlds, there is a 

strange paradox in the fact that 

"Kundun," about the life of a 

man of peace, would be the subject 

of such political rage. 

Richard Gere [who has long 

l-)een one of the Dalai Lama's 

most public adherents] and I 

were talking about it, and he 

said, 'Maybe nonviolence is 

truly revolutionary.' Maybe it is. 

Maybe that's the ultimate revolution. 

Because what is our nature? 

Is it our nature to be 

violent, or is it our nature to love, 

;ind be compassionate?" 

Scorsese hesitates, as if pondering 

again a question so cental 

to .so many of his films. "It's both." he says 

finally. "But one has to win out some time or 

other. Because if it doesn't we have the ability 

to be extinct any second we choose." 

^H 

"Kundun." Starring Tenzjn Thuthoh Tsanmg. 

Directed hy Martin Scorsese. Written by 

MelLisa Mathison. Produced hy Barlwra De 

Fina. A Buena Vista release. Drama. Opens 

12/25 NY/IA, widens mid-Jan. 

18 BoxoFncE

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Response No. 29

Sneak Previewi— 

" 

"RISING" STAR 

Plumbing the Depths With 

'^Deep Rising ^s^' Famke Janssen 

by Jon Matsumoto 

looking for a major break 

when she suddenly got the call to 

audition for a part in the 1995 

James Bond movie "GoldenEye." 

"[I was told], 'We're interested 

in meeting you for one ofthe parts. 

I can't tell you what it is but you're 

a Russian,'" recounts Janssen by 

phone from her home in New 

York City. "That's all I knew. I 

screen tested, got the part and then 

read the script. I had a heart attack. 

I thought. 'What am I supposed to 

do? I can't say no now. I have to 

do this part.' I thought it was the 

end of my career, which wasn't 

that interesting in the first place." 

The role the Dutch-bred actress 

landed was that ofXenia Onatopp, 

a sadistic Russian villainess with 

a penchant for rough and sometimes 

lethal sex. Janssen knew 

about the stigma of being a Bond 

bimbette (oftentimes a career 

killer) and worried that the image 

of this kinky and cartoonish character 

might be even more difficult 

to overcome. 

Luckily, her deliciously overthe-top 

performance in the fantastical 

"GoldenEye" brought her to 

the attention of more than just the 

purveyors of fleshy action/adventure 

flicks. Since then, she's managed 

to impress two filmmakers 

with far more high-minded intentions: 

Robert Altman ca.st her as a 

ATTACK FROM ABOVE: Famke Janssen and Treat Williams find 

danger at every turn in Buena Vista 's "Deep Rising. 

Famke Janssen was essentially 

an unknown actress soon-to-be-released "The 

Southern alcoholic divorcee in his 

Gingerbread 

Man," and Woody Allen 

also pegged her for a part in his 

as-yet-untitled movie that's currently 

in production. That project 

will also feature Kim Basinger, 

Drew Barrymore and Leonardo 

DiCaprio. 

Today, Janssen marvels at how 

"GoldenEye" has managed to affect 

her career in some very unexpected 

ways. "I don't think 

anyone would have said, 

'You're going to come out of 

a movie like 'GoldenEye,' a 

Bond girl, and you're going to 

be able to work with Woody 

Allen and Robert Altman. 

That's the biggest miracle of 

all," she says. "Bui at the same 

time [the Onatopp image] will 

be the thing that I will have to 

fight and always be typecast 

as. [At this point,] if I want to 

do a big budget film, I have to 

act in that genre. I'm turning toward 

independent films for the 

characters I want to play and that 

I'm closer to." 

Jan.ssen's strategy is to balance 

high-profile big studio films with 

independent projects in order to 

play a wide range of roles. In the 

new Disney horror/action/thriller 

"Deep Rising," she plays a kleptomaniac 

on board a cruise ship 

that's been infiltrated by a murderous 

creature. Her character is on 

the ship in order to steal a valuable 

necklace. Along the way she falls 

in love with Treat Williams' character 

as the two work together to 

combat the elusive monster, 

which has been stealthily killing 

off the passengers. 

Janssen says 

she appreciates 

that her character 

is more human 

than the over 

sexed fighting 

machine persona 

that largely defined 

Onatopp. 

She almost didn't 

get the part in 

"Deep Rising" because 

the films 

producers thought 

she might be too identifiable as her 

hard-to-forget Bond character 

If she so desired (and she 

doesn't), the 5' 11" beauty could 

probably forge a nice living 

strictly playing Amazon women 

toting semi-automatic weapons. 

"I definitely see a trend [toward 

physically aggressive roles for 

women]," she acknowledges. "If 

you look at the movies of the '40s 

you'll see that women were never 

these superhuman creatures. They 

used their intelligence a lot more 

and they used their sexuality and 

they used a lot of different things 

that are very feminine. 

"But Hollywood is still a maledominated 

society and action 

films are probably the most suc- 

"/ definitely see a trend 

[towardphysically aggressive 

roles for women]. I don V 

view women that way in my 

everyday life. I don 't view 

men that way either. I don 't 

see Arnold Schwarzeneggers 

running around in my life 

cessfijl. 

If women want to compete 

on that level they have to turn 

to those types of parts. I don't see 

them really as feminine parts. 

They (are male parts] written for 

women. I don't view women that 

way in my everyday life. To be 

honest, I don't view men that way 

either. I don't see Arnold 

Schwarzeneggers mnning around 

in my life." 

While growing up in Holland, 

Janssen had little ambition to become 

an actress. She had been 

studying economics and working 

as a model when she moved to 

New York at the age of 20. 

Janssen studied literature and 

writing at Columbia University 

and began to take acting lessons. 

She eventually 

procured guest 

roles in television 

series Uke "Star 

Trek: The Next 

Generation" 

and 

""Melrose Place." 

She was also cast 

opposite Jeff 

Goldblum in 

1992's "Father 

and Sons" and 

starred in Clive 

Barker's 1995 

honor/thriller "Lord of Dlusions." 

Since 

"GoldenEye," Janssen 

has made a number of independent 

films. Yet-to-be-released projects 

in this genre include a small 

comedy called "RPM" in which 

she stars opposite David Arquette, 

who plays a car thief She also 

portrays a self-destructive working-class 

woman in Ted Demme's 

"Noose," a movie about Irish- 

American gang life in Boston. 

Janssen can talk at length about 

the failings of Hollywood and the 

big studio system. For instance, 

she is outraged that Polygram 

even considered re-editing "The 

Gingerbread Man" after Altman 

completed the film. (Polygram 

backed down from this threat after 

Altman said he would remove 

f> 

his name from the project.) 

One of the reasons why 

Janssen moved back to Manhattan 

after a period of living 

in Tinseltown was to iinmerse 

herself in an environment that 

was more creative and less 

business-like. 

"It was difficult for me to 

live in a place like L. A. where 

you're constantly reminded of 

your position in the business," 

she says. "Now that I've been living 

in New York, where there's a 

lot more stuff going on that interests 

me culturally, I'm more inspired." 

"Deep Rising. " Starring Treat 

Williams aixd Famke Janssen. Directed 

and written by Stephen 

Sommers. Produced by Laurence 

Mark and John Baldecchi. A 

Buena Vista release. Action/ 

thriller. Opens Jan. 30. 

20 BoxoFncE

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3 

' 

Exhibition Profile 

JOLLY GOOD SHOW 

National Amusements Opens Two New 

Showcase Cinemas in the U.K. 

by Bridget Byrne 

D 

SSsr, 

POPULAR PALACE: Showcase Cinemas Newham had 9,000 visitors on National Cinema Day. 

Easy 

to reach"—that's 

a key factor for 

Showcase Cinemas Newham, one of 

National Amusements' latest multiplexes 

in the British Isles. This state-of-the-art, 

14-screen, 4,000-seat movie complex is 

situated 

on the east side of London, a slice of 

flashy, modem Americana in an area that 

looks like it hasn't flilly recovered ftom the 

ravages of World War 11. 

On a rare sunny morning in England, 

Box

" 

ofUiming the abandoned Battersea Power Station 

into a $56 million entertainment center 

with a 32-screen multiplex. 

As these and other companies jockey to 

become leader in the cinema multiplex industry, 

National Amusements, the 60-year-old 

family-run company which owns the "Multiplex" 

trademark now considered synonymous 

with large theatre complexes, opens another 

multiplex. Its 15th U.K. Showcase Cinemas is 

a 14-screen, 3,800-seat complex located in 

Scodand in Paisley's new leisure park. The 

Phoenix. National Amusements executives, 

including John Bilsborough, vice president of 

international operations, flew in to attend charity 

and premiere screenings and gala opening 

ceremonies. 

British-bom Bilsborough used the occasion 

to reflect on the company's decade 

of business in Britain. "About 10 years 

ago, the obvious lack of development in the 

United Kingdom attracted everyone's attention, 

suggesting a natural market," he says. 

Many neighborhood theatres had closed and 

most that remained lacked modem amenities. 

Initially, National Amusements buih theatres 

which were top-grade technically but 

somewhat plain aesthetically. But recendy, the 

company has begun constmcting edifices 

which truly merit the label "palaces." 

"Anyone who hasn't been to a theatre for 

five or 10 years and who now comes to one of 

ours is truly amazed," Bilsborough says. Audiences 

which had very low expectations when 

they started visiting the new multiplexes 

quickly became sophisticated in their desires. 

'Ten years ago in Nottingham, the people 

working for us on the building site thought we 

were crazy," Bilsborough recalls. "They 

thought people would never come back to the 

movies; they couldn't visualize the market 

turnaround that has hapjjened. But as soon as 

that theatre opened, the people began coming 

in droves and other businesses realized how 

desirable we were as an 

anchor business." 

In general, the British 

public has embraced the 

American-style theatres, 

where, Bilsborough 

notes, "unless you look 

outside and see a doubledecker 

bus, you might 

think that you are in 

the United States." 

The Newham theatre is clearly designed to 

bring back what Bilsborough calls "the magic 

of moviegoing," and to attract a wide audience 

ranging from children to seniors. "My motherin-law, 

who hadn't been to the cinema in 28 

years, went to one of our theatres to see 

'Schindler's List,' and she has been going 

regularly ever since," says Fox. 

Bilsborough adds, "We are trying to make 

moviegoing an event again, with glitz and 

glamour. The buildings have evolved from 

merely functional to those that reflect both an 

ongoing and nostalgic interest in the movies." 

He notes the specially-designed poster and 

neon walls at Newham, a prominent customer 

ii' 

They thought we 

were crazy. They 

couldn 't visualize the 

market turnaround 

that has happened. 

JUST A SNIP: VP of international operaions John 

Bilstorough and Paisley Provost Nancy Allison open 

Scotland's Showcase Cinemas at the Phoenix. 

service booth, a counter selling movie tie-in 

products, a video wall of upcoming attractions, 

a video game area, a gjant central concession 

stand, cafe seating and both automated and 

manned ticket booths. 

The "Hollywood" themed neon display depicts 

both classic and modem icons from "Fred 

and Ginger" to "OOT' and "Rick's Cafe" to 

"Cinderella's Coach." 

But the theatre's grand opening brought a 

Uve Hollywood screen legend, Kim Novak, to 

Newham to headUne celebrations which included 

a screening of the restored version of 

"Rcnic," the 1955 movie adaptation of the 

William Inge play, in which she starred with 

Williain Holden. A party for local dignitaries 

followed, and featured the unveiling of a 

plaque naming one ofthe 14 screens "The Kim 

Novak Auditorium." 

The theatre also boasts Dolby digital sound 

systems, the rocking recliner chairs that National 

Amusements pioneered, and a couple of 

luxuries even rarer in 

Britain: air-conditioning 

and freshly popped 

popcorn. 

The English are notorious 

for their sweet 

tooth, and 70 percent 

of the popcorn sold is 

sweet rather than salty, 

a marked distinction 

from America. Additionally, 

more than 50 types of candy are on 

sale at the "Pic-n-Mix" self-serve counter. 

Management is trained to run all aspects of 

the theatre, including the giant, pristine oneperson 

projection booth. Theatre managers 

wear tuxedos so they can be easily identified 

by customers. 

"The United Kingdom was an area where 

we had to regenerate interest in moviegoing. 

It's an area for growth and an area where there 

is still more room for growth. 

"We want to bring people back to the moviegoing 

experience and that's what we think 

about all day, every day," says Bilsborough. 

"We live and breathe it." 

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.Tanuarv. 1998 23

24 BuxorncE 

. The 

INDEPENDENTEXHIBITION SHOWCASE 

ANEW ARENA 

Raven Earlygrow Describes How a Community 

Pooled its Resources to Resurrect the Local Theatre 

by Susan Lambert 

over 10 years ago, Boxoffice began 

Just 

a series ofprofiles of innovative theatre 

owners. It was marked by some as the 

beginnings of the Independent Exhibition 

Showcase. In this issue, Boxoffice revisits 

a theatre owner and cinema that we originally 

profiled in April, 1987 to see what a 

difference a decade makes. 

THROUGH THURSDAY 

STARTING FRIDAr COPLAND 

POWER OF THE PEOPLE: A:,:. 

brand new DTS sound system and a rebuilt 

projector with a new console and platter In 

fact, the entire theatre is new—rebuilt, quite 

literally, from the ground up. And on September 

12, 1997,PointArena,atown of about 450, 

celebrated the grand re-opening of its favorite—and 

only—movie venue for 100 miles. 

Raven, who also serves as the mayor of 

SPAWN AND ULE£S GOLD 

AND LA PflOMESSE SHOW T:MtS "o2 3456 

: or the Arena came from the community with 

no individual donation over $5,000. Thousands at people donated money, time or supplies. 

With 

the changing face of exhibition, 

we've had to adjust in order to stay 

in business," says Raven Earlygrow, 

owner of the Arena Theatre in Northern 

California's small city of Point Arena "We're 

confident that what we've created is an a.sset 

to the entire area, especially for those ofus with 

a need for laige screen films as a part of our 

lives." 

Raven might have said it more than adecadc 

ago, but the sentiment still holds true today. For 

not only arc Raven and his Arena Theatre still 

there 10 years later, despite closing the 

theatre's doors almost three years ago on 

Valentine's Day. 1995, but the small-town cinema 

now boasts a new interior, new seats, a 

Point Arena, says business was good in 1995, 

but years of neglect by the former owners and 

the ravages of time had taken their toll on the 

building and the city finally condemned it. 

"The theatre really was the heart of the 

community and when it closed, people were 

devastated," says Raven. 

The unassuming 1927 building was originally 

constructed as a legit stage venue, converted 

to a moviehouse sometime in the '.10s. 

Since then, it has served as an arena for movies, 

plays, concerts, dances and even community 

and town meetings. 

Raven, in partnership with a former theatre 

employee, bought the cinema in 1983 after 

years of running a 1 6mm film series in town 

that threatened the success of what was then a 

mn-down, dilapidated Arena cinema. Despite 

their best efforts to improve the structure during 

the '80s, it was a losing battle. 

Afterthe closing, Raven immediately began 

plans to re-open the theatre, but there was long 

debate over whether it was worth trying to save 

the building. There was so much work needed 

to bring it up to code that it was less expensive 

to build a new theatre. That approach would 

also allow Raven to put in two or more screens. 

But the Point Arena community rallied to save 

the building. 

"People have a lot of history there and they 

wanted to keep it," explains Raven. Alocal arts 

organization, the Arena Renaissance Co., 

bought the building, sponsored the refurbishment 

and now leases it to Raven's Reel Point 

Arena business, which runs the theatre. Raven 

says the theatre is nicer now than it ever was 

before, calling the Arena, in her new form, 

"classy, historic and community-oriented." 

The $300,000 needed to restore the theatre 

was raised within the community with no individual 

donation over $5,000. Thousands of 

people, some from as far as Santa Rosa donated 

money, time or supplies. Volunteers and 

local artists redid the interior and, adds Raven, 

"from the time we started gutting it, the surrounding 

restaurants have supplied free 

lunches for everybody who's working. If we 

had paid for everything that's gone into this 

building, it would have cost us millions of 

dollars. Just for the work that's been put in by 

local artists and craftspeople—we have 

stained glass light sconces in the concession 

area, hand-painted recessed niches, handmade 

tile in the bathrooms and a copper-covered 

marquee. The list goes on." 

The Arena doesn't face the same problems 

as other independents becau.se of its location. 

"We're kind of in a unique position because 

we're so far away from everything," says 

Raven. "We could get films right away if we 

wanted, but we u.sually mn them two or three 

weeks after opening becau.se the terms are so 

much better." 

newly-

— 

I»nii»rv IQQS 2S 

CREATIVE TOUCH: Local artists fashioned lights for the concession area 

theatres in the rest of the world, but he feels 

safe that nobody will be building a multiplex 

near the Arena anytime soon. 

"I think we are lucky," he says. "Independent 

theatres have to be special in order to 

not going to be technology 

survive. If it's 

which is unlikely because you can get that at 

the multiplexes—it's got to be in service and 

theatre design and what films they show." 

Raven's confident the newly-restored Arena 

is a showcase cinema worth visiting just to see 

the faciUty itself. The new theatre will also 

stage shows and concerts. It even has removable 

seats that reveal a large dance floor perfect 

for local celebrations. But at least 22 nights a 

month will be devoted 

to screening films. 

Raven works with 

the local theatre group 

to provide free admission 

for high school 

drama students to any of 

the 

Shakespeare films, 

imd liaises with the local 

merchants' 

association 

to provide free kids' 

matinees during Christmas 

shopping times. 

He just started working 

with the Spanishlanguage 

community to 

try to show Mexican or 

Spanish-language cinema. 

Explains Raven, 

"With DTS you can just put in a different disk 

and suddenly the movie's dubbed. So we're 

going to experiment with that." 

Raven says his most triumphant moment 

has to be the grand re-opening of the Arena. 

Three days of celebration were kicked off by 

an open house and equipment demonstration 

and ended with a sold-out, $100-p)er-person 

fundraiser for the Arena Renaissance Co. 

But what Raven loves most about the business 

is his audience. "It's a Uttle unique here. 

People come to the movies partly to see the 

movies, partly to go to the theatre itself and 

partly to be with their friends. 

"When you're in a small town, people come 

ARENA THEATRE 

214 Main Street 

Point Arena, CA 95468 

(707) 882-3020 

EARLIEST MOVIE MEMORY: 

A double feature — "Down to the Sea in 

Ships" (1 922) and "The Red Shoes" (1 948). 

FAVORITE CONCESSION ITEM: 

Organic popcorn with brewer's yeast. 

MOST USEFUL Boxoffice FEATURE: 

"The advertising, oddly enough. We find 

sources of materials, supplies and equipment 

there that we don't find elsewhere." 

FAVORITE Boxoffice FEATURE: 

Independent Exhibition Showcase. 

ADVICE FOR OTHER EXHIBITORS: 

"Stick to it— 

'[Derseverance furthers,' 

that's l^^^tjt^'6 l-Ching puts it." 

in early and hang out. There's people shouting 

across the room at each other and saying heUo 

and spending time with their friends. You don't 

see that in your basic cracker box in the mall. 

Going to the movies here really is a public 

experience." 

Growing up. Raven says he developed a 

love of movies. "I still find profound influences 

from things I saw many, many years ago. 

Films Uke 'Black Orpheus' or any of the 

Godard films where the images stay with you. 

I 

like the idea of being able to provide that to 

the next generation around here." 

^M 

Elevate concession per capitas 

to a higher level with 

Proctor Companies 

We combine efficient and 

contemporary design 

with all 

you equipment needs. 

Contact US today to 

design your cafe. 

Call for your FREE 

Proctor Catalog 

(800 221-3699 ext 284 

stproctor companies 

10497 Centennial Rd. Littleton, CO 80127 USA 

Phone: (303) 973-8989 Fax: (303) 973-8884 E-mail: pdKgprcctorco.com 

Response No. 206

26 BOXOKFICE 

Commentary 

— 

MEGACIRCUITS, INC. 

1997: The Year of the Big Deal by Ray Greene 

Afew montiis ago, I was fortunate enougli 

to spend an afternoon in the company 

of a legendary and still active film producer 

whose career extends all the way back 

into the early 1 950s. His conversation was wide 

ranging, opinionated, at times even cantankerous—and 

instructive in almost every regard 

Uncovering my affiliation with BoxoFFiCE, 

he waxed nostalgic about the magazine's significance 

as a promotional vehicle for producers 

like him who began their careers outside 

the studio system. He had war stories to tell 

delightftil tales of colorful personalities in exhibition, 

of booking deals cut at the last 

possible minute in bare-bulb back offices, of 

improvised strategies that beat his competitors 

to the punch. In a few quick sentences, he 

conjurad up a time when the men who made 

the movies and the people who screened them 

sat down face to face to hash out the details of 

getting product to the public—a time long 

gone in an industry run today by management 

teams as opposed to the gut instincts of a 

hustling handful, flying through each deal by 

the seat of their pants. 

CXir conversation wandered into the contemporary 

exhibition scene. He was mindful of the 

technological transformations of the last decade 

or so, ofthe improvements in seating and presentation 

that have done so much to bring audiences 

back into moviehouses. But he sounded an interesting 

cautionary note, one I hadn't heani elsewhere, 

when he said that the way things were 

going the film industry might easily blunder its 

way into a situation not unlike the one it got 

caught up in during the late '40s and eariy '50s. 

When I asked what he meant, he actually used 

the word "antitrust" in his response. 

What this very experienced industrywatcher 

was getting at was his own 

take on several of the more overwhelming 

trends in the exhibition field during 

recent times. In the late '40s, when soidioowned 

circuits booked studio-created product 

for studio-derived profits, the U.S. government 

decided that much of exhibition was in fact 

operated according to monopolistic principles. 

As a result, the Supreme Court handed down 

what became known as the "coasent decree" 

the court-ordered divestiture by the studio production 

centers of the studio-owned circuits, an 

event that split the exhibition field wide open 

for a time. By 1953, when Hollywcxxl holdout 

MGM at last severed its ties to the Lxkws Inc. 

chain, studio ownership of moviehouses was a 

thing of the past—or so it seemed. 

In fact, though it took a few decades, many 

of the studios have again become important 

partners in the exhibition field. The wonl "partners" 

is significant here: In most cases, major 

circuits with direct stodio ties are co-owned 

rather than owned outright by their studio foster 

parents—an important distinction in drawing 

analogies with die past The word "studio" is 

also in need of redefinition, because the vast, 

multi-tiered full-service entertainment corporations 

of today (in which movie production 

and distribution rarely account for the primary 

revenue stream) are a far cry from the "one 

company, one product" approach of Hollywood's 

formative moguls. Studios don't so 

much own a piece of the exhibition action as 

exist under giant corporate umbrellas that also 

happen to keep a circuit or two out of the rain. 

Put succinctly, there is not today and probably 

never can be anything resembling the 

closed dominance over American production, 

distribution and exhibition that a handfiil of 

companies exercised a half-century ago. The 

GIANTS OF 

EXHIBITION 

1998 

situation is far more amorphous than it once 

was: Va.st independent circuits such as Carmike, 

Regal and United Artists sit atop ourown 

Giants of Exhibition survey, and a close examination 

of those circuits with direct studio ties 

indicates that, in many cases, studio aflTiliations 

are a haphazard byproduct of a more general 

and industry-wide trend toward companies 

with related interests absorbing one another. 

Consolidation itself, however, is both the 

biggest exhibition story of our time and 

an at least potentially worrying development 

over the long term. The building spree 

of the pa,st five years has seen the U.S. market 

grow in sheer screen count at an unprecedented 

rate. North America—already the most wellscreened 

and competitive movie market in the 

world as the 1990s began—has now become 

almost a "kill or be killed" situation. This is 

particularly true in those coveted population 

centers capable of sustaining the modem 

equivalent of the movie palace: the state-ofthe-art 

megaplex of 20 screens or more, a type 

of build for which there was no prototype a 

decade ago, but which has emerged in the 

1 990s as the new industry standard. 

Though offering multiple opportunities for 

"economies of scale," megaplexes are costly to 

build and costly to operate, and therefore need 

to maintain a high rate of attendance to stay 

profitable. That the time was right for such a 

development within the exhibition industry is 

demonstrated by the overall success of the 

megaplex model at luring audiences back into 

the American moviehouse. The continuing and 

uninterrupted climb in U.S. attendance figures 

charted by NATO and the MPAA in 

recent 

years can be attributed in no small measure to 

the lure of megaplex-style complexes in urban 

and heavily populated suburban markets. 

Still, there is grumbling afoot At ShoWest last 

year,MGM chiefFrank Mancuso illustrated how 

exhibition might be "buying the grosses" by 

spending far more on infrastmcture to gain a 

relatively modest increase in returns. NATO 

president Bill Kartozian used the occasion of his 

address to the convention to coin a phrase that 

snapped into focus a fear that was already on a 

lot of people's minds, and he did so in terms 

worthy ofan 1 1 th commandment Quoth Kartozian: 

"Thou shalt not Ontario one another" 

The reference, ofcourse, was to the infamous 

competitive situation that two major, well-mn, 

seemingly rational American circuits found 

themselves in when they decided to build 

megaplexes across the street from one another—a 

faceoff 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 

the city as the single most well (or is that over?) 

screened municipality anywhere in the world. 

The jury is out on whether both complexes 

will survive long temi; it will likely take a 

major slump in production or attendance before 

one or the other of the sites truly feels the 

squeeze. But the Ontario scenario seemed to 

spring up, ready made, at just the time when 

thinking people in exhibition were Icwking for 

a symbol ofjust how bmtal competition at the 

highest levels has become. When the dust 

cleared, even some of the participants in this 

"clash of the titans" were .shaking their heads.

ResDonse No. 51 

As 

the rescreening of America approaches 

its next phase, it is f)erhaps 

inevitable that consohdation 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 a limited number of additional 

screens, however well-designed and carefully 

market-researched they may be. "Grow or die" 

still seems to be the philosophy of the megaexhibitors; 

with new construction destined to 

become an increasingly less viable option for 

expansion in the years ahead, the acquisition 

of already existing circuits has emerged as 

exhibition's next big thing. 

The starting pistol for this trend was actually 

fired prematurely back in March 1995 when 

Cinemark USA came within a hair's breadth of 

merging with 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 

merged company would have had 2,839 

screens; it would have combined the market 

share of two major but regionally specific players 

into a continent-spanning North American 

behemoth; and it would have leapfrogged the 

third-largest and sixth-largest theatre chains 

into the top spot with the stroke of a contract 

attorney's pen. The proposed Cinemark/ 

Cineplex alliance was nothing if not ambitious; 

had it gone forward as planned, it is quite likely 

that the amalgamated company would still hold 

the top slot in terms of screen count to this day. 

In retrospect, it was an idea that was ahead 

ofits time. For 1997 has been exhibition's year 

of the merger, with major companies joining 

forces at an almost dizzying rate. On the 

smaller side were the likes of Carmike's purchase 

of the 105-screen First International circuit 

and Regal's buyout of New Jersey-based 

Magjc Cinemas and its 95 screens. Such deals, 

though not quite commonplace, have been a 

consistent part of overall growth patterns for 

more than a decade. But next came what appeared 

to be the big one: Regal's purchase of 

the massive 643-screen Cobb Theatres, taking 

Regal's total screen count past the 2,000 mark. 

In any normal year, the Regal/Cobb combine 

would have been exhibition's biggest 

merger story. But, even as the Regal deal was 

announced, a rumor began to circulate: Sonyowned 

Loews was negotiating to merge with 

Cineplex Odeon to create the largest exhibition 

chain m history. As our Giants of Exhibition 

survey approached its deadUne, that rumor 

became fact: If all goes to plan, the combined 

Loews Cineplex Entertainment (LCE) circuit 

will officially come into existence this spring. 

It would be too easy to find cheap cautionary 

messages in developments like these. At the 

level of metaphor, there has always been something 

in the human character that blanches at 

alliances of overwhelming size. Look at "Star 

Wars": The most popular movie myth of all time 

pits a ragtag assemblage of renegade roughnecks 

against an evil empire defined almost 

completely in terms of unimaginable scale. 

But with size comes power As the building 

boom continues and old companies join forces 

to create giant new ones, an ever-smaller number 

of megacircuits will now exercise an unprecedented 

amount of control over what 

American audiences go to see. Such influence 

will be theirs even if they don't wish to have 

it, simply by dint of sheer numbers. 

Knowing and observing the major players, 

there is as yet no reason to view this devel opment 

as anything otherthan virtue rewarded, the upside 

for a handful of visionaries who are reinventing 

the history of exhibition in our time. But big 

companies can also represent big taigets, as 

Microsoft's ongoing antitrust difficulties cleaiiy 

demonstrate. The bad old days of the consent 

decree will almost surely never return, but that 

doesn't mean exhibition can't leam from its history 

in a time where megacircuits for which there 

has been no pre-existing precedent start to define 

themselves and take shape. 

In 

a noteworthy sidebar to the Loews/ 

Cineplex merger, visionary Sony/Loews 

executives Barrie and Jim Locks decided 

to return to their roots at the 82-screen Loeks- 

Star circuit rather than run the newly formed 

LCE—a task that, as their public pronouncements 

made clear, seemed less than appealing 

to executives with a direct, hands-on, entrepreneurial 

management style. What the next five 

years of exhibition history might tell us is 

which was the more historically significant 

gesture: the deal that created the largest 

megacircuit the world has ever known, or the 

choice by the two people who could have reasonably 

expected to run it that, sometimes, less can 

actually be a whole lot more. 

Hi 

CINEMA EQUIPMENT, Inc. 

Theatrical and Motion Picture 

Equipment Sales and Services 

Systems Design 

Interior Design 

In-House Engineering and Designing 

Authorized Distributor of: 

JBU SDDS, QSC, DTS, Irwin, Smart, Dolby, 

Peavey, Strong, Component Engineering 

Worldwide Distribution 

One Stop Shopping Source 

Professional Support Team 

We Have Everything Vou Need For 

Your Theater But The Movies!! 

CINEMA EQUIPMENT 

1375 N.W. 97th Avenue, Suite 12 

Miami, Fl 33172 

Tel (306) 594-0570 Fax (305) 592-6970 

E-mail gyounger@worldnet.att.net 

Internet http://www.miamicinema.com

THE FABULOUS FIFTY 

Below is a listing of the nation's Top 50 circuits, based on screen count. 

For complete corporate information, please see the 

Giants of Exhibition directory, which begins on page 30. 

i

iiT m

30 BOXOFFtCE 

Giants of Exhibition 

A Directory of North America's 

50 Largest Circuits Raniced by Size 

(asof Jan. 1,1998) 

I.CMMIKE CINEMAS 

1301 First Avenue 

Columbus, GA 31901 

PHONE: 706-576-3400 

FAX: 706-576-3419 

EXECUTIVE ROSTER: 

Michael W. Patrick, Pres. & CEO 

John Barwick 111, CFO 

Fred W. VanNoy, Operations 

Lamar Fields, VP, Real Estate & 

Development 

Matthew H. Shirley, Concessions 

Anthony J. Rhead, Film Buyer 

Jim Davis, Equipment Buyer 

Larry M. Adams, VP, Info. Systems 

Marilyn Grant, Advertising 

YEAR FOUNDED: 1982 

TOTAL SITES: 536 

TOTAL SCREENS: 2780 

SITES LAST YEAR: 530 

SCREENS LAST YEAR: 2575 

RANK LAST YEAR: 1 

NEW (1997) SCREENS: 205 

PROJECTED SCREENS, 12/98: 3130 

THEATRE EMPLOYEES: 10,500 

CORPORATE EMPLOYEES: 125 

THEATRE LOCATIONS: 35 states: 

AL, AR, CO, DE, FL, GA, ID, IL, 

lA, KS, KY, LA, MD, MI, MN, 

MO, MT, NE, NM, NY, NC, ND, 

OH, OK, PA, SC, SD, TN, TX, UT, 

VA,WA,WV,WI,WY 

2. REGAL CINEMAS if 

7132 Commercial Park Drive 

Knoxville, TN 37918 

PHONE; 423-922-1 123 

FAX: 423-922-3188 

URL: www.regaldnemas.com 


Mike Campbell, Pres., Chair & CEO 

Gregory Dunn, Exec. VP, COO 

Lewis Frazer IH, Exec. VP, CFO 

Robert Engel, Sr. VP, Film & Adv. 

Keith Thompson, Sr. VP, Real Estate 

& Dvlpmnt 

Denise Gurin, VP, Head Film Buyer 

Robert J. Del Moro, VP, Food Service 

Michael Levesque, VP, Ops., North 

Michael Kivett, VP, Operations, South 

Leon Hurst, VP, Security 

Susan Seagraves, VP, Corp. Controller 

Roger Frazee, VP, Technical Services 

J.E. Henry, VP, Mgmt. Info. Systems 

Kip Daley, VP, Advertising 

Ronald Kooch, VP, Construction 

R. Neal Melton, VP, Equipment k 

Purchasing 

Barry Steinberg, Asst. Head Film 

Buyer 

Tony Beery, Dir., Training & Safety 

Ray DuiJap, Dir., Construction 

Jan Frazee, Dir., Oper. Support Svcs. 

Mark Monroe, Dir., Acctg. Projects 

Phil Zacheretti, Dir., Mktg. & PR 

Dean Duncan, Entertainment Centers 

Debbie Robertson, Dir., Human Rsrcs. 

John Roper, Dir., Leasing 

Lisa Depew, Dir., Risk Mgmt. 

Lesia Keck, Dir., Adv. 

Jermifer Bohlken, Promotions Mgr. 

Susan Milam, Concession Acctg. Mgr. 

Joseph Marlowe, Asst. Controller 









THEATRE EMPLOYEES: 9875 



AL, AR, CA, DE, FL, GA, IN, KY, 

LA, MD, MI, NC, NJ, NY, OH, 

OK, PA, SC, TN, VA, WA, WV 

3. UNITED ARTISTS 

THEATRE CIRCUIT 

9110 E. Nichols Ave., Suite 200 

Englewood, CO 80112 

PHONE: 303-792-3600 

FAX: 303-790-8907 


Kurt C. Hall, COO 

Dennis Daniels, Exec. VP, Ops. 

Mike Fade, Exec. VP, Film 

Bruce Taffet, Exec. VP, Concessions 

Jim Ruybal, Exec. VP, Bus. Dev. 

Tim Tarpley, Exec.VP, Dvlpmnt. 

Tom Elliot, Exec. VP, International 

Gene Hardy, Exec. VP & General 

Counsel 

Ray Nutt, Sr. VP, Corporate Ops. 

Steve Koets, Sr. VP, Tax 

Judy Paquet, Sr. VP, Financial Info. 

Svcs. 

Becky Wilcox Dow, Sr. VP, Legal 

Trent Carman, Sr. VP & Treasurer 







NEW (1997) SCREENS: -133 

PROJECTED SCREENS, 12/98: N/A 



THEATRE LOCATIONS: U.S., Asia 

UATC (Central) 

1900 S. Central Expressway 

Dallas, TX 75215 

PHONE: 214-421-1900 

FAX: 214-426-1943 


Chris Taylor, VP 

UATC (East) 

3521 U.S. Rte 1, Princeton, NJ 08540 

PHONE: 609-520-8822 

FAX: 609-520-9277 


Charlie FogeLVP 

UATC (West) 

21700 Oxnard St., Suite 1000 

Woodland Hills, CA 91367 

PHONE: 818-593-4000 

FAX: 818-593-4040 


Neal Pinsker, VP 

4. AMC if 

106 W. 14th St. 

Kansas City, MO 64141-6615 

PHONE: 816-221^000 

FAX: 816-480-4617 


Stanley Durwood, Chairman & CEO 

Philip Singleton, President & COO 

John McDonald, Sr. VP, Corp. Ops. 

Richard King, Sr. VP, NE Ops. 

Rolando Rodriguez, Sr. VP, South Ops 

Richard Walsh, Sr. VP, West Ops. 

Richard Westerling, Corp. Mktg. 

John Sherley, Dir., Food Mktg. 

Richard Fay, President, Film Mktg. 

Gary Thyer, Intl. Ops. 

Mark McDonald, Asia Ops. 

Bruno Frydman, Pres., AMC Europe 

Charles ^lley, Pres., Centertainment 

Sam Giordano, Exec VP, Design/ 

Construction, Centertainment 

Nick Bashkiroff, VP, Dvlpmnt, Cent. 












AZ, CA, CO, DC, DE, FL, GA, IL, 

KS, LA, MA, MD, Ml, MS, NC, 

NE, NJ, OH, OK, PA, TX, VA, 

WA; Japan; Portugal 

AMC (Northeast Division) 

Main St. Plaza 1000, Suite 503 

Voorhees, NJ 08043 

PHONE: 609-751-6300 

F/OC: 609-751-1838 


Rick King, Sr. VP 

Ed Moyer, VP, Div. Ops. Mgr. 

AMC (South Division) 

Northside Square, Ste. 320 

29399 U.S. Highway 19 North 

Clearwater, FL 34621-2139 

PHONE: 813-789-2911 

FAX: 813-786-5961 


Rolando Rodriguez, Sr. VP 

Neil Katcher, VP, Div. Ops. Mgr. 

AMC (West Division) 

Two Century Plaza 

2049 Century Park East, Ste. 1020 

Los Angeles, CA 90067 

PHONE: 310-553-0515 

FAX: 310-553-1734 

EXECUTIVE ROSTER; 

Richard Walsh, Sr. VP 

Nora Dashwood, VP, Div. Ops Mgr. 

AMC (International Division) 

2029 Century Park E., Suite 3945 


5. CINEMARK USA ir 

7502 Greomille Ave., Suite 800 


PHONE: 214-696-1644 

FAX: 214-696-3946 

URL: www.cinemark.com 

E-MAIL: FrontRowJoe@Cinemark.com 


Lee Roy Mitchell, Chairman & CEO 

Alan Stock, President 

Tim Warner, Pres., Cinemark Intl. 

Ken Higgins, Pres., Cinemark de 

Mexico 

Tandy Mitchell, Exec. VP 

Robert Carmony, Sr. VP, Operations 

Jeff Stedman,Sr.VP, CFO 

Jerry Brand, VP, Film Licensing 

Mike Cavalier, General Counsel 

Walter Hebert, VP, Purchasing 

Randy Hester, VP, Mktg. & Comm. 

Don Harton, VP, Construction 

Margaret Richards, VP, Real Estate 

Philip Wood, Dir., Mgmt. Info. Sys. 





* = On The Move: Denotes Screen Increase Of More Than 10%

A 

f 








AR, AZ, CA, CO, DE, PL, GA, IL, 

IN, KS, KY, LA, MI, MN, MS, 

NC, NE, NJ, NM, NY, OH, OK, 

OR, PA, SC, TN, TX, UT, VA, WA 

Cinemark USA (Central) 

1818CoitRd. 

Piano, TX 75075 

PHONE: 972-985-4673 

FAX: 972-519-8444 


Tom Harmegan, Region Leader 

Cinemark USA (Gulf States) 

13280 NW Freeway, Suite F123 

Houston, TX 77040 

PHONE: 713-460-1468 

FAX: 713-460-2258 


Patti Castillo, Region Leader 

Cinemark USA (N.E.) 

2570 Bethel Road 

Columbus, OH 43220 

PHONE: 614-538-0404 

FAX: 614-538-0405 

EXECUTTVE ROSTER: 

Charly Street, Region Leader 

Cinemark USA (S.E.) 

425 CodeU Drive 

Lexington, KY 40509 

PHONE: 606-269-5404 

FAX: 606-269-5601 


Michael Nett, Region Leader 

Cinemark USA (Southern) 

3407 Wells Branch Pkwy. 

Austin, TX 78728 

PHONE: 512-388-7547 

FAX: 512-388-7548 


Bill BoUing, Region Leader 

Cinemark USA (Western) 

3601 S. 2700 W. 

West Valley City, UT 84119 

PHONE: 801-969-6737 

FAX: 801-969-9322 


Kim Phillips, Region Leader 

6. CINEPLEX ODEON ir 

1303YongeSt. 

Toronto, Ontario, M4T 2Y9 

PHONE: 416-323-6600 

FAX: 416-323-6677 


Allen Karp, President & CEO 

Ellis Jacob, CFO 

Irwin Cohen, Exec. VP, Operations 

Mike Herman, Exec VP, Corp. Affairs 

Robert Tokio, Exec. VP 

Stephen Brown, Sr. VP, Treasury /Tax 

James Vassos, Sr. VP, Business Affairs 

Michael McCartney, Sr. VP, Head 

Film Buyer 

Howard Lichtman, Exec. VP, 

Mktg/Communications 








PROJECTED SCREENS, 12/98: N/ 




AZ, CA, DC, FL, ID, IL, MD, MN, 

NJ, NY, TX, UT, VA, WA; 6 

Canadian provinces: Alberta, 

British Columbia, Marutoba, 

Ontario, Quebec, Saskatchewan 

Cineplex Odeon (Chicago) 

70 East Lake St., Suite 1600 

Chicago, IL 60601-5905 

PHONE: 312-726-5300 

FAX: 312-726-2732 


Pat Bums, VP, North & Eastern 

Divisions 

Cineplex Odeon (Los Angeles) 

1925 Cenhjry Park East, Ste. 300 


PHONE: 310-551-2500 

FAX: 310-203-9698 


Michael McCartney, Sr. VP, Film 

Cineplex Odeon (Montreal) 

2388, Rue Beaubien Est. 

Montreal, Quebec H2G 1N2 

PHONE: 514-374-7440 

FAX: 514-374-3181 


Guy Gagnon, General Manager 

Cineplex Odeon (New York) 

241 East 34th St. 

New York, NY 10016 

PHONE: 212-679-2000 

FAX: 212-679-4953 


George Sautter, General Maiiager 

7. NATIONAL AMUSEMENTS 

200 Elm St., Dedham, MA 02026 

PHONE: 617-461-1600 


Sumner Redstone, Chairman & Pres. 

Shari Redstone, Exec. VP 

Jerome Magner, Sr. VP, Finance 

William Towey, Sr. VP, Operations 

Edgar Knudson, Sr. VP, Adv & Pub 

George Levitt, Sr. VP, Film Bcxjking 

William Moscarelli, VP, Real Estate, 

Latin America 

Thaddeus Jankowski, VP/Gen. Cnsl. 

Mark Walukevich, VP, Film Intl. 

John Bilsborough, VP, Ops. Intl. 

Peter J. 

Brady, VP, Construction 

James Hughes, VP, Concessions 

Stephen Sohles, VP, Mgmt Ir\fo Sys. 

James Murray, VP, Operations 

John Zawalich, Asst. VP, Sales & Mktg. 

Patricia Reeser, Asst. VP 

Dana Wilson, Asst. VP, Corp. Comm. 












CT, L\, IL, IN, KY, MA, MI, NH, 

NJ, NY, OH, PA, RI, VA; United 

Kingdom; South America 

8. GENERAL CINEMA 

THEATRES 

1280BoylstonSt. 

Chestnut Hill, MA 02167 

PHONE: 617-277-4320 

FAX: 617-277-8875 


Paul Del Rossi, President & CEO 

Bill Doeren, Exec. VP & COO 

Alan de Lemos, VP, Film—East 

Dan Stravinski, VP, Human Rsrcs 

Frank Stryjewski, Sr. VP, Operations 

Poston Tanaka, Sr. VP, Devlpmnt 

Page Thompson, VP, Theatre Mktg 

John Townsend, VP, Construction 

Ben Barbosa, VP, Film—West 

Ellie Aub, VP, Global Cinema 

Network 












CA, DE, FL, GA, IL, IN, LA, MA, 

MD, ME, MI, MN, NC, NJ, NM, 

NY, OH, OK, PA, RI, SC, TN, TX, 

VA,WA 

General Cinemas (California) 

15760 Ventura Blvd., Suite 1225 

Encino,CA 91436 

PHONE: 818-380-6100 

FAX: 818-981-2317 


Rich Boynton, Regional VP, Film 

General Cinemas (Eastern) 

22 Flutie Pass 

Framingham, MA 01701 

PHONE: 617-264-8459 

FAX: 508-628-4422 


Tom Evans, Regional VP, Film 

General Cinemas (Texas) 

12377 Merit Drive, Suite 220 

DaUas, TX 75251 

PHONE: 972-934-7700 

FAX: 972-934-7717 

EXECUTTVE ROSTER: 

Web Brainerd, Regional VP, Film 

9. LOEWS/SONY THEATRES 

711 5th Ave., New York, NY 10022 

PHONE: 212-833-6200 

FAX: 212-833-6292 


Travis Reid, President 

Michael Norris, Exec. VP 

Seymour Smith, Exec. VP, General 

Counsel 

John Walker, Sr. VP, Finance 

Terrance Jackson, Sr. VP, Real Estate 

Dorian Brov^n, Sr. VP, Corp. 

Dvlpmnt & Admin. 

Shauna King, Sr. VP, Film 

Brian Blatchley, VP, Ops.—East 

Len Westenberg, VP, Ops.—West 

Fred Gable, VP, Concessions 

Marc Pascucci, VP, Mktg. & Adv. 

Eric Swartwood, VP, Construction 

Peter Foumier, VP, Human Resources 

David Badain, VP & Deputy General 

Counsel 

Jim Fagerstrom, VP, Info. Sys. 

Joseph Sparacio, VP, Finance & 

Controller 

Tom Hogan, Sr. Dir., Purchasing 












CA, CT, GA, KY, IL, IN, MA, MD, 

NH, NJ, NY, PA, OH, TX, VA 

10. HOYTS CINEMAS if 

One Exeter Plaza 

Boston, MA 02116 

PHONE: 617-267-2700 

FAX: 617-262-2751 


Peter Ivany, CEO 

Roger Eaton, President & COO 

Alan Johnson, GM 

Terry Moriarty, CFO 

Jud Parker, Sr. VP, Film 

Daniel Vieira, Sr. VP, Construction 

Andrea McKerma, Sr. VP, Mktg. 

Hal Cleveland, Sr. VP, Dvlpmnt. 












CT, MA, MD, ME, MI, NH, NJ, 

NY,OH,PA,RI,VT 

11. ACT HI THEATRES if 

919 S.W. Taylor St., Suite 900 

Portland, OR 97205 

PHONE; 503-221-0213 

FAX: 503-228-5032 

URL: www.act3theatres.com 


Walt Aman, President & COO 

Wade Canning, VP, Finance 

Tim Wood, VP, Operations 

Tim Reed, VP, Real Estate 

Steve Guffey, Theatre Operations 

Robert Perkir\s, Dir., Concessions 

Bob Lenihan, VP, Film Buying 

Randall Blaum, Dir., Adv & Mktg 









CORPORATE EMPLOYEES: N/A 

THEATRE EMPLOYEES: N/A 


AK, ID, MO, NV, OR, TX, WA 

Act III 

(Texas) 

4522 Fredricksburg Rd. 

San Antoruo, TX 78201 

PHONE: 210-736-2666 

FAX: 210-736-0129 


Mark Reis, Division Manager 

12. EDWARDS CINEMAS ^ 

300 Newport Center Dr. 

Newport Beach, CA 92660 

PHONE: 714-640-4600 

FAX: 714-721-7170 


James Edwards III, President & CEO 

Bemice Edwards, Co-CEO 

Joan Edwards Randolph, CFO 

Marcella Sheldon, Exec. Secy. 

Chris LeRoy, VP, Fihn 

FrarJc Haffar, VP, Concessions, 

Equipment, Construction 

Don Barton, VP, Mktg & Adv. 

Lawrence Davidson, VP & Gen. Cnsl 

Kurt Macfarlane, VP & Chief Engineer 

Carola Anderson, VP, Film/Ins. Claims 


TOTAL SFTES: 86 



January, 1998 31







THEATRE LOCATIONS: CA, ID 

Edwards Theatres 

(Los Angeles) 

12100 Wilshire Blvd., Ste. 1680 


PHONE: 310-447-7890 


Chris LeRoy, VP & Supervisor, Film 

Buying 

13. FAMOUS PLAYERS 

146 Bloor St. W. 

Toronto, Ontario, M5S 1P3 

PHONE: 416-969-7800 

FAX: 416-964-5839 


John Bailey, President 

Ton Kars, Exec. VP & CFO 

Brian Holberton, VP, Operations 

Michael Scher, VP, General 

Counsel 

Roger Harris, VP, Marketing 

Joe Strebinger, VP, Booking 











THEATRE LOCATIONS: Canada 

Famous Players 

(Eastern Canada) 

1255 University, Ste. 914 

Montreal, Quebec H3B 3W4 

PHONE: 514-861-6017 

FAX: 514-861-4969 


John Xinos, Exec. Director, Film & 

Advertising, Quebec & E. Canada 


(Southwest Ontario) 

983 Wellington Rd. S. 

London, Ontario N6E 3A9 

PHONE: 519-685-0244 

FAX: 519-685-0473 


John Dwyer, Dist. Mgr, S.W. Ontario 


(Western Canada) 

1086 Park Royal 

W. Vancouver, BC V7T lAl 

PHONE: 604-926-7321 

FAX: 604-926-5831 


David Polny, Dir., W. Canada 

14. HOLLYWOOD THEATRES 

2911 Turtle Creek Blvd., Suite 1150 


PHONE: 214-528-9500 

FAX: 214-520-2323 


Thomas Stephenson Jr., Pres. & CEO 

Robert Painter, COO 

James R. Featherstone, CFO 

Harold Sawtelle, Dir., Operations 

Gary Golden, Head Film Buyer 

Carri Irby, Film Buyer, Southern 

Division 

Hal McClure, Film Buyer, Midwest 

Division 

Tracy Bundy, Dir., Mktg. 

John Curreri, Controller 




SITES LAST YEAR: N/A 

SCREENS LAST YEAR: N/A 

RANK LAST YEAR: N/A 

NEW (1997) SCREENS: N/A 




THEATRE LOCATIONS: ID, KS, 

MO, OH, OK, TX 

15. CENTURY THEATRES 

150 Pelican Way 

San Rafael, CA 94901 

PHONE: 415-451-2400 

WEBSITE: www.centurytheatres.com 


Raymond Syufy, President & CEO 

Joseph Syufy, Sr. Exec. VP 

Lynn Oates, CFO/Treasurer 

Michael Plymesser, Exec. VP, 

Business Affairs 

David Shesgreen, Exec. VP, Corp. 

Dvlpmnt. 

Jim Naify, Sr. VP, Film 

Bill Hulme, Sr. VP, Operations 

Nancy Klasky, VP, Marketing 

Bob Shimmin, VP, Concessions 

Tom StoUer, VP, Construction 

Chris Duffie, Equipment Buyer 

Harry Whitson, Booking 

Don Farrar, Booking 

Morrie Bimbaum, Booking 

Pia Nepomuceno, Booking 

Bob Workman, Advertising 

Bob Ficken, VP, Human Resources 









THEATRE EMPLOYEES; 4000 


THEATRE LOCATIONS: AZ, CA, 

NM, NV, UT 

16. KERASOTES THEATRES • 

104 N. Sixth St. 

Springfield, IL 62701 

PHONE: 217-788-5200 

FAX: 217-788-5207 


Anthony Kerasotes, Pres. & CEO 

Dean Kerasotes, VP & COO 

Roger Hurst, CFO 

Pat Rembusch, Head Film Buyer 

John Miller, GM, Operations, 

Concessions, Advertising 

Tim Johnson, Theatre Operations 

Fred Walraven, Equipment Buyer 

Barry Tester, Advertising 











LOCATIONS: lA, IL, IN, MN, MO, 

OH 

THEATRE 

EXHIBITION 

EQUIPMENT 

NCS Corporation 

WORLDWIDE CINEMA SUPPLY DEALER 

CONCESSION 

& 

LOBBY 

PRODUCTS 

Corporation 

nSlltei 

XENON 

BULBS 

jt ONE STOP SHOPPING SOURCE 

liF FACTORY DIRECT PRICING 

LOBBY 

& 

BOX OFFICE 

FIXTURES 

;f TOLL FREE ORDERING 

BOOTH 

SUPPLIES 

& 

LENSES 

J^ ^ MAJOR CREDIT CARDS ACCEPTED %^ 

;^ PROFESSIONAL SUPPORT TEAM 

^ WORLDWIDE PRODUCT DISTRIBUTION 

M- OUR GUARANTEE - 100% SATISFACTION 

FILM 

PROJECTORS 

& 

SOUND 

SYSTEMS 

call 1-800-776-6271 

HEB 

SuppUfiHf tAe S*tte'it^)u*uH€Ht ^KcUtAintf Since t926 

p 

SCREENS 

& 

FRAMES 


32 BoxoFf'iCE

September, 1997 

Dear Exhibitor, 

The SDDS sound system played an important role in the success of MEN IN BLACK. 

Not only was the dynamic range extraordinary compared to a non-digital sound 

system, but the low end sub-woofer frequencies added a great deal of manliness to 

the soundtrack. 

What separates Sony's SDDS digital system from any other digital format is the 

eight channels of sound. The spread in sound, especially music, gives a sense of 

scope and richness that no other format matches. 

More and more, it is the sound system that creates a sense of scale, scope and 

importance to the movie-going experience. I was very pleased that MEN IN BLACK 

was released in SDDS. 

Best regards. 

Barry Sonnenfeld 

Director 

MEN IN BLACK 

10202 West Washington Boulevard • David Lean Building, Suite 300 • Culver City, Califomia 90232

1 

17. MANN THEATRES 

(Cinamerica Theatres LP) 

16530 Ventura Blvd., Suite 500 

Encino,CA 91436 

PHONE: 818-784-6266 

FAX: 818-784-6749 

URL: www.manntheatres.com 


Charles Goldwater, Pres. & CEO 

Ken Crowe, CFO, Exec. VP 

Cindy Cronkhite, VP, Operations 

Wally Helton, VP, Concessions 

Alan Davy, Sr. VP, Film 

Dan Criesmer, VP, Theatre 

Planning/Dvlpmnt 

Rich Given, Exec. Dir., Mktg. 

Ben Littlefield, Exec. VP, Real Estate 











THEATRE LOCATIONS: AK, AZ, 

CA,CO 

Mann Theatres (Colorado) 

5550 Wadsworth Bl. 

Arvada, CO 80007 

PHONE: 303-432-2010 

FAX: 303-432-2014 


Barbara DeHart, Division Manager 

Mann Theatres 

(Greater Los Angeles) 

16830 Devonshire St. 

Granada Hills, CA 91344 

PHONE: 818-360-5198 

FAX: 818-360-9429 


Bob Lewandowski, Division 

Manager 

Mann Theatres 

(Walnut Creek, Calif.) 

1450 California Blvd. 

Walnut Creek, CA 94596 

PHONE: 510-945-6100 

FAX: 510-945-6494 


Dan Sigman, Division Manager 

Mann Theatres 

(West Los Angeles) 

1050 Gayley Ave. 


PHONE: 310-208-7856 

FAX: 310-208-3483 


Clay Colbert, Division Manager 

18. PACIFIC THEATRES 

(Decurion Co.) 

120 N.Robertson Blvd. 


PHONE: 310-657-8420 

FAX: 310-657-6813 


Jerome Forman, President 

Christopher Forman, CEO 

John Hunter, CFO 

Chan Wood, Exec. VP, Head Film 

Buyer, Dir. of Adv. 







NEW (1997) SCREENS; -1 

PROJECTED SCREENS, 12/98; 400 


CORPORATE EMPLOYEES; 135 

THEATRE LOCATIONS: CA, HI 

Pacific Theatres (Hawaii) 

Consolidated Amusement 

290 Sand Island Rd. 

Honolulu, HI 96820 

PHONE: 808-847-1985 

FAX: 808-847-9270 


Phil Shimmin, President & COO 

19. MARCUS THEATRES 

250 E. Wisconsin Ave. 

Milwaukee, WI 53202 

PHONE; 414-272-5120 

FAX; 414-272-0189 


Steve Marcus, Chairman & CEO 

Bruce J. Olson, President 

Mike Kominsky, Exec. VP, Film 

Buyer 

Don Perkins, VP, Operations 

Mark Gramz, VP, Operations 

Mike Ogrodowski, VP, Film Booker 

Rick Neal, VP, Film Booker 

YEAR FOUNDED; 1935 






NEW (1997) SCREENS; 1 




THEATRE LOCATIONS: IL, OH, WI 

20. GKC THEATRES 

755 Apple Orchard St. 

Springfield, IL 62703 

PHONE: 217-528^981 

FAX: 217-528-6490 


George Kerasotes, Chairman & CEO 

Beth Kerasotes, President 

Jeff Cole, VP& CFO 

Ed Schuerman, Exec. VP, Operations 

Krystal LaReese, Dir., Concessions 

Brian Jeffries, Exec. Dir., Film/Mktg. 

Terry Wolfe, Equipment Buyer 

Jim Whitman, Advertising 

YEAR FOUNDED; 1985 

TOTAL SITES; 40 


SITES LAST YEAR; 41 

SCREENS LAST YEAR; 271 






THEATRE LOCATIONS: AZ, IL, 

IN, MI, WI 

GKC Theatres (Illinois) 

2103 N. Veterans Pkwy, Ste. 300 

Bloomington, IL 61704 

PHONE: 309-662-1158 

FAX: 309-663-4695 


Eileen Grace, District Manager 

GCK Theatres (Michigan) 

4511 Fashion Square 

Saginaw, MI 48604 

PHONE: 517-797-6028 

FAX: 517-797-2144 


Ben Martinez, District Manager 

Act III Theatres • Carmike Cinemas • Cinamerica Theatres • Cineplex Odeon • Cynos Anedos Cinemas • Dickinson Theatres • Eastern Federal • Edwards Cinemas 

As I went to sit in my seat 

my hands held a drink cold & sweet, 

but when I sat down 

my face showed a frown, 

cause my drink spilled all 

over my feet. 

Since then I have been to a place 

that provides me a neat little space, 

where I can sit back 

with my cup in a rack, 

and relax with a smile on my face:' 

Are your patrons smiling? 

Call, The Caddy Guys 

1-800-845-0591 

Caddy Products • 10501 Florida Avenue • Minneapolis, MN 55438 • 612-828-0030 • Fax 612-829-0166 

Mann Theatres • Marcus Theatres • Metropolitan Theatres • National Amusements Pacific Theatres • Regal Cinemas • United Artists Theatre Circuit 

34 BoxMFFice 

Response No. 421

I 

GCK Theatres (Northern) 

Peru Mall, Suite MT-1 

Peru, IL 61354 

PHONE: 815-224-3447 

FAX: 815-224-3621 


Ruth Kreiser, District Manager 

21. SUPER SAVER CINEMAS 

109 N. Oregon, Stc 1000 

El Paso, TX 79901 

PHONE: 915-532-1943 

FAX: 915-542-2945 


Lloyd Curley, Chainnan, Pres, CEO 

Lynn Hunt, COO 

Bill Busby, CFO, Treasurer 

Lois Hufnagel, Asst. VP, Operations 

Mark Cabral, Purchasing Manager 











THEATRE LOCATIONS: AZ, CA, 

CO, FL, GA, KS, NE, NY, OH, 

OK, TX, WI 

22. WEHRENBERG 

THEATRES 

12800 Manchester 

St. Louis, MO 63131 

PHONE: 314-822^1520 

FAX: 314-822-8032 


Ronald P. Krueger, President 

John Louis, Exec. VP 

Charles Nicks, VP & CFO 

Ronald Krueger II, Dir., Operations 

Larry Mattson, Concessions 

Doug Whitford, VP, Film 

Bill Menke, Equipment Buyer 

Kelly Hoskins, Dir., Mktg. 




SFFES LAST YEAR: 34 







THEATRE LOCATIONS: AZ, IL, MO 

23. DICKINSON THEATRES 

5913 Woodson Road 

Mission, KS 66202 

PHONE: 913-432-2334 

FAX: 913-432-9507 

WEBSITE URL: www.dtmovies.com 

E-MAIL: gdowns@dtmovies.com 


Georgia Dickinson, Chair. Emeritus 

Wood Dickinson, President & CEO 

Steve Taul, CFO, Treasurer 

Scott Dickinson, VP 

Patti Dickinson, VP 

Bill Burnett, Exec. VP, Operations 

Frank Torchia, VP, Head Film Buyer 

Don Carver, Dir., Constr/ Legal Affairs 

Ted Manichia, Dir., Concessions 

John Hartley, Dir., Purchasing/Maint. 

Gary Downs, Dir., Mktg. 

Greg Fay, Dir., Info. Sys. 











THEATRE LOCATIONS: KS, MO, OK 

24. MALCO THEATRES 

5851 Ridgeway Ctr. Pkwy. 

Memphis, TN 38120 

PHONE: 901-761-3480 

FAX: 901-681-2044 

URL: www.malco.com 


Stephen Lightman, President & CEO 

Richard Lightman, Chainnan 

Herbert Levy, Secretary, Treasurer 

James Tashie, VP, Operations 

Robert Levy, VP, Advertising 

Bill Blackburn, VP, Finance 

James Lloyd, VP 

Mike Thomson, VP 

Jeff Kaufman, VP, Booking 

Larry Etter, Concessions 







NEW (1997) SCREENS: 




THEATRE LOCATIONS: AR, KY, 

MO, MS, TN 

24. O'NEIL THEATRES ir 

(Trad-A-House Corp.) 

1926-C Corporate Square Dr. 

Slidell, LA 70458 

PHONE: 504-641-4720 

FAX: 504-641-5726 

E-MAIL: cjj@communiquej\et 


Tim O'Neil Jr., President 

Tim O'Neil III, VP 

Steven L. Moss, Ops, Equip. Buyer 

Lynette Tamburello, Concessions, Adv. 

C. Jean Johnson, Booking 











THEATRE LOCATIONS: AL, FL, 

GA, LA, MS, TN, TX 

26. HARKINS THEATRES ir 

8350 E. McDonald Dr. 

Scottsdale, AZ 85250 

PHONE: 602-955-2233 

FAX: 602-443-0950 


Daniel E. Harkins, President & CEO 

Wayne Kullander, Ops/Equip. Buyer 

Karen Harkins, Corp. Secretary 

Tim Spain, Concessions 

Mike Bowers, Concessions 

Lou Lencioni, Booking 

Kirk Griffin, Dir., Engineering 

Greta Newell, Controller 

(800) 726-2609 

• Inttmetionol 

Eqorpmen 

V/SA 

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 

Ânnual Contracts or Demand Service 

XENON BULBS 

SOUND SYSTEMS 

CONCESSION EQUIPMENT 

LOBBY FIXTURES 

FRONT ENDS 

LENSES 

USED EQUIPMENT 

I 

P.O. Box 10799 

New Orleans, Louisiana 70181 

GOOD SIGHT, GOOD SOUND 

THE KEY TO GREAT CONCESSIONS 


January, 1998 35

I 

I 

I 

I 

I 

Kelly Maloney, Advertising 

Jere Gabriel, Asst. to President 

Janel Schwartz, Human Resources 











THEATRE LOCATIONS: AZ 

27. GOODRICH QUALITY 

THEATRES ir 

4417 Broadmoor S.E. 

Kentwood, MI 49512 

PHONE: 616-698-7733 

FAX: 616-698-7220 


Robert E. Goodrich, President 

RossPettinga,CFO 

William T. McMannis, VP, GM 

Martin Betz, Theatre Operations 

Dale Doten, Concessions 

Wanda J. 

Hoist, Film Buyer 

Jim McHoskey, Film Booker 

Carole Ashley, Mktg Mgr 











THEATRE LOCATIONS: IL, IN, MI 

28. GEORGIA THEATRE CO. ir 

2999 Piedmont Rtl 

2nd Floor 

Atlanta, GA 30305 

PHONE: 404-264-4542 

FAX: 404-233-8184 


William J. Stembler, President & 

CEO 

Dennis P. Merton, CFO & Treasurer 

John Stembler Jr., VP 

Curt Harris, VP, Ops, Concessions 

& Equip. Buyer 

Kip Smiley, Jr., VP, Film Buyer 

Tern Leseueur, Asst. Film Buyer, 

Marketing 

Tricia Thompson, Adv. 











THEATRE LOCATIONS: FL, GA 

29. SILVER CINEMAS 

4004 Beltline Rd. 


PHONE: 972-503-9851 

FAX: 972-503-9013 

URL: wwTv.silvercinemasinc.com 


Tom Owens, President 

Steve Holmes, CEO 

Ron Reid, COO and Equipment 

Buyer 

Steve Kauzlaric, Treasurer 

Kathi Gillman, Concessions 

A.J. Roquevert, Booking 




SITES LAST YEAR: N/A 







THEATRES LOCATIONS: CA, FL, 

lA, LA, NM, NY, OK, TX, VT 

30. WALLACE THEATRES ir 

3375 Koapaka Street, Ste. C345 

Honolulu, HI 96819 

PHONE: 808-836-6055 

FAX: 808-836-6077 


Scott Wallace, President 

Brett Havlik, General Manager 

Denise Wong, Controller 

David Lyons, Dir., Advertising & 

Marketing 

Dick Gambogi, Booking 











THEATRE LOCATIONS: CA, HI, 

MO, NV; American Samoa; 

Guam; Marshall Islands; 

Federated States of Micronesia 

31. LANDMARK THEATRES 

2222 S. Barrington .'\\c, 

Los Angeles, CA 900b4 

PHONE: 310-473-6701 

FAX: 310-477-3066 

WEBSITE URL: www.movienet.com 


Stephen A. Gilula, President 

Gary P. Cann, Sr. VP, Finance 

Bert Manzari, Sr. VP, Film Buying 

Paul Richardson, Sr. VP, 

Operations, Acquisitions 

Janet Grumer, Sr. VP, 

Administration 

Cary Jones, Dir., Marketing 

Dave Strong, Dir., Concessions 











THEATRE LOCATIONS: CA, CO, 

LA, MA, MI, MN, OH, TX, WA, Wl 

32. EASTERN FEDERAL 

901 East Blvd., Charlotte, NC 28203 

PHONE: 704-377-3495 

FAX: 704-358-8427 


Ira S. Meiselman, President & CEO 

Paul E. Lloyd, CFO & Concessions 

Scott Baldwin, VP, Ops/ Equip. Buyer 

Curtis Fainn, Film Buyer 

Nancy Herron, Advertising 

George Royster, Corp. Secretary 

William Wilson, Real Estate 

PROJECT 

A CLEAN, SHARP IMAGE 

Sharp, Dust-Free Projection 

Clear Sound Reproduction 

Reduces Projector 

Maintenance 

Extends Print Life 

2 Year Warranty 

SV-4120 

In Norlh & South America 

SV-4220 

1 778 Main Street 

Sarasota, FL 34236 USA 

TEL. 1-941-951-2432 or 

1 -800-624-3204 (u.s. a ciudo 

FAX: 1.941.955-5992 

36 ikixonicE 

kinetronics 

In 


Europe, Asia, Africa & Australia 

P.O. Box 45 00 51 

D-53344 Alfter 

GERMANY 

TEL. 49-2222-62105 

FAX: 49.2222.65974 

THE BEST! 

Know who you deal with 

personally! One phone call 

gets the owner of America's 

best equipped shop and 

design lab. IDEAS to save 

time, money and difficulties. 

HADDEN r^ 

THEATRE 

10201 Bunsen Way 

Louisville, KY 40299 

(502) 499-0050 

(502) 499-0052 FAX: 

Louis Bornwasser, Owner 

SUPPLY COMPANY 

Design-Consultation-Sales 

Response No. 40











THEATRE LOCATIONS: FL, NC, SC 

33. ENTERTAINMENT 

CINEMAS 

7 Central St. 

North Easton, MA 02356 

PHONE: 781-341-2800 

FAX: 781-341-4170 


Bill Hanney, President & CEO 

Keith Ash, CFO 

Mike Harmon, VP, Operations; 

Equipment Buyer 

James McGrath, Operations 

Patrick Morgan, VP, Construction 

Marty Zides, Film Buyer 

Rosemary Tanzi, Mktg. 

Jo-Ann Overstreet, Concessions; 

Admin. Asst. 











THEATRE LOCATIONS: CT, MA, 

NH,RI 

?? 

34. METROPOLITAN 

THEATRES 

8727 W. Third St. 


PHONE: 310-858-2800 

FAX: 310-858-2860 


Bruce C. Corwin, President & CEO 

Candace Crawford, CEO/Treasurer 

Allen Gilbert, VP 

David Corwin, VP 

Deborah Clark, Operations, 

Concessions, Equip. Buyer 

Cheryl Pemble, Film Booker 

Mike Doban, Film Buyer 

Alan Stokes, Advertising 

Bill Hughes, Dir. Real Estate/ Constr. 











THEATRE LOCATIONS: CA, CO 

35. CINEMA 

ENTERTAINMENT ir 

P.O. Box 1126 

St. Cloud, MN 56302 

PHONE: 320-251-9131 

FAX: 320-251-1003 


Robert Ross, President 

David Ross, CEO 

George Becker, CEO/Treasurer 

Tony Tillemans, VP 

AVOID 

CONSTRUCTION 

PROBLEMS! 

"CALL A PROFESSIONAL 

^ 25 + years theatre construction 

experience 

• Design/Build 

-k Complete turnkey 

k Financing avaiiable 

-k We will meet your deadlines 

if Circuits, Independents, newcomers 

-k Licensed throughout the U.S. 

•k Stadium seating retrofits 

-k Pre-engineered steel buildings 

•k Free estimates/site visit 

NEW CONSTRUCTION, ADDITIONS, 

RENOVATIONS, CONVERSIONS 

n 

1 

Ed Villalta, Operations 

Stan McCulloch, Booker 











THEATRE LOCATIONS: L\, MN, 

ND,WI 

36. LOEKS STAR 

THEATRES if 

3020 Charlevoix Dr. S.E. 

Grand Rapids, MI 49546 

PHONE: 616-940-0866 

FAX: 616-940-0046 


Jim Loeks, Chairman 

Barrie Lawson Loeks, President 

Kenyon Shane, CEO 

Jay Laninga, Treasurer 

Bob Kleinhans, VP, Concessions 

Shauna King, Bcx)ker 

Jon Karell, Equipment Buyer 

Krystal Bylund, Dir., Advertising 











THEATRE LOCATIONS: MI 

IH 

37. EMPIRE THEATRES 

115 King St. 

Stellarton, Nova Scotia BOK 150 

PHONE: 902-755-7620 

FAX: 902-755-7640 


Stuart G. Eraser, President 

Kevin MacLeod, Dir., Theatre 

Operations 

Brian MacLeod, Concessions 

Greg MacNeil, Film Buyer 

Dean Leiand, Dir., Adv. 










CORPORATE EMPLOYEES: N/A 

THEATRE LCXTATIONS: New 

Brunswick, Newfoimdland, Nova 

Scotia, P.E.I. 

38. B & B THEATRES • 

114 W. Second St. 

P.O. Box 171 

SaUsbury, MO 65281 

PHONE: 816-388-5219 


Robert E. Bagby, Partner 

Elmer Bills, Partner 

Sterling Bagby, Partner 







: I I 

^«g^ LARGO COriSTRUCTION INC. 

^^^^ 

- 

/A A' 555 STREET ROAD, BEIiSALEM, PA 19020 

215-245-0300 • FAX 215-638-7933 

Response No, 162 

6i


38 BoxonicE 

The Buyers Guide 

I Ca// 1-800-972-6468 

^^ 

Willming Reams (3^ 

n 

udm mm\ ^ 

mion! 

generic trailer tp 

2.View ou\ ne\N 

Quality, 

Competitively 

Priced 

S Cmstom/ze your 

trailer or order 

generic prints 

Original music 

and sfx 

recorded in 

Dolby Stereo 

4. Watch your 

audience go wild! 

I 

Willming Reams Animation, Inc. 

325 East Ramsey Road San Antonio. TX 78216 

210-342-2141 or 1-800-WR-AN1M8 

The Industry's Leading Producer of 

Custom Policy & Promotional Trailers 

for Extiibition 


PROJ. SCREENS, 12/98; 122 



LOCATIONS: KS, MO, OK 

39. MANN THEATRES OF 

MINNESOTA ic 

704 Hennepin Ave. 

Suite 225 

Minneapolis, MN 55403 

PHONE: 612-332-3303 

FAX: 612-332-3305 


Steve Mann, President 

Benjie Mann, VP 

Ken Polta, (Dperations 

Jim Payne, Cêrations 

Neil O'Leary, Film ISooking 








PROJ. SCREENS, 12/98: 120 



THEATRE LOCATIONS: MN 

39. SOCAL CINEMAS if 

(Sanborn Theatres) 

13 Corporate Plaza 

Newport Beach, CA 92660 

PHONE: 714-640-2370 

FAX; 714-640-7816 


A. Bruce Sanborn, President 

Gary Richardson, COO 

Bonnie S. Richardson, Treasurer 

Pete Cole, Booking 

Rich Maxey, Equipment Buyer 

Lisa Karmo, Advertising 











THEATRE LOCATIONS: CA 

41. LANDMARK OF 

CANADA 

522-11 Avenue S.W., 4th floor 

Calgary, Alberta T2R OC8 

PHONE: 403-262-4255 

FAX: 403-266-1529 


Hector H. Ross, Chairman 

Brian F. Mcintosh, President 

Philip H. May, Secretary/ 

Treasurer 

Frank Kettner, Sr. VP 

Charles D. K. May, Sr. VP 

M. Barry Myers, Sr. VP 

Chuck Bradley, Operations, 

Concessions, Equip. Buyer 

Kevin Norman, Film Buying & 

Booking 

Donald Langkaas, Mgr., 

Advertising & Creative Svcs. 

Gordon Imlach, Mgr., Mktg 










CORPORATE EMPLOYEES: 

N/A 

THEATRE LOCATIONS: 

Alberta, British Columbia, 

Manitoba, Saskatchewan, 

Yukon 

41. SIGNATURE 

THEATRES, LLC ic 

1600 Broadway, Suite 300 

Oakland, CA 94612 

PHONE: 510-268-9498 

FAX: 510-268-9843 


Philip Harris III, President & 

CEO 

George Mann, CFO 

Gwendolyn Wiseman, 

Controller 

Joe Cuculich, Operations 

Christopher Aronson, Booking 

Michael Goakey, Construction, 

Purchasing 

Diane Carelli, Advertising 








PROJECTED SCREENS, 12/98: 

164 



LOCATIONS: CA, HI 

43. R/C THEATRES 

231 W. Cherry HiU Ct. 

P.O. Box 1056 

Reisterstown, MD 21136 

PHONE: 410-526-4774 

FAX: 410-526-6871 


Irwin R, Cohen, Pres. & CEO 

J. 

Wayne Anderson, COO 

David G. Phillips, Exec. VP 

Scott R. Cohen, Booking & Adv. 

Philip Ridenour,VP 


TOTAL SITES: N/A 







N/A 



THEATRE LOCATIONS: MD, 

NC, PA, VA 

44. DOUGLAS THEATRES 

13001' St. 

Lincoln, NE 68508 

PHONE: 402-474-4909 

FAX: 402-474-4914 


David Livingston, President 

Russell Brehm, CEO 

Deborah Brehm, VP 

Doug Kinney, Concessions 

Frank Rhodes, Booker 

Margaret Proffitt, Advertising 



TOTAL SCREENS; 83 



RANK LAST YEAR; 44 





THEATRE LOCATIONS: NE 

44. MUVICO 

THEATRES -k 

3101 N. Federal Hwy, 6th Floor 

Fort Lauderdale, FL 33306-1042 

PHONE: 954-564-6550 

FAX: 954-564-6518 

E-MAIL: muvico@muvico.safari 


Hamid Hashemi, President & 

CEO 

Jerry Gruenberg, Exec VP, Film 

Buyer 

Michael W. Melvin, VP, Corp. 

Development 

Deane L. Hashemi, VP, 

Operations 

Michael Vogelsang, Controller 

Randi Emerman, Dir., Mktg. 

Keith Nelson, Dir., Construction 











THEATRE LOCATIONS: FL 

46. CENTRAL STATES 

THEATRES 

Insurance Exchange BIdg. 

505 Fifth Ave., Suite 414 

Des Moines, lA 50309 

PHONE: 515-243-5287 

FAX: 515-243-5892 


Myron N. Blank, President 

Arthur Stein, Jr., CEO 

Ray Jackson, CFO 

Roger Hansen, Theatre 

Operations 

Jim Nicholas, Concessions, 

Equip. Buyer 

George Catanzano, Booking 

Jim Emerson, Advertising 


TOTAL SrrES: 22 



SCREENS LAST YEAR; 78 




116 



THEATRE LOCATIONS: L\, 

NE 

47. CINEMASTAR 

LUXURY THEATERS 

431 College Blvd. 

Oceanside,CA 92057 

PHONE: 760-630-2011 

FAX; 760-630-8593 

WEBSITE URL; 

www.cinemastar.com 


John Ellison Jr., Pres. & CEO 

Alan Grossberg, Sr. VP, COO, 

Film Booker, Equip. Buyer 

Jerry Willits, VP, New Dvlpmnt 

Katherine McKeever, VP, 

Mktg/Adv 

Gary Oster, Operations, 

Concessions

A 











THEATRE LOCATIONS: CA 

48. JACK LOEKS THEATRES ^ 

1400 28th St. S.W. 

Grand Rapids, MI 49509 

PHONE: 616-532-6302 

FAX: 616-532-3660 

URL: www.jack-Ioeks.com 


John Locks, President, CEO & COO 

Nancy Hagan, CFO/Treasurer 

Roger Lubs, VP, Operations 

Ron Van Timmeren, VP, Booking, Adv. 

Steve Forsythe, GM 











THEATRE LOCATIONS: MI 

48. R.LFRIDLEY THEATRES 

1321 Walnut St., Des Moines, lA 50309 

PHONE: 515-282-9287 

FAX: 515-282-8310 


Robert L. Fridley, President & CFO 

Terry Dotson, VP, Operations 

Beth Morgan, Concessions 

Eleanor Jackson, Film Booker 

Brad Ramer, Equipment Buyer 

Carl Seabaugh, Advertising 

Howard Steil, Real Estate 

Eleanor Hatfield, Bookkeeper 



TOTAL SCREENS: T7 








THEATRE LOCATIONS: lA, NE 

HELP PUT A SMILE 

ON MY FACE 

LETS FIND CURES FOR 

NEUROMUSCULAR DISEASES. 

MUSCUUR DYSTROPHY ASSOCIATION 

(800)572-1717 

ssBBwar" 

Theatre Ticketing and Concessions 

Grain/Atlanta's Theatre Ticketing System combines PC Standard equipment with 

nineteen years of experience in Buying, Booking & Film Rental Software Systems to 

assure PERFORMANCE, PRICE & RELIABILIT'i. 

Over 80 Ticketing Systems are installed internationally in Circuits 

from 5 to over 400 Screens. 

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m Up to 4 Ticket Selling 

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Wo Mandatory Oogoffjg 

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I 

Daily Home Office 

Transmissions 

Customization Available 

' Six Months Free Telephone 

Support 

' Rapkl Prirtting of Professtonal 

Quality rickets 

(D 

50. CROWN THEATRES 

64 .North Main St. 

South Norwalk, CT 06854 

PHONE: 203-846-8800 

FAX: 203-846-9828 

URL: www.crown-theatres.com 


Daniel M. Crown, Pres. & CEO 

Matt Daly, COO 

David Clifford, CFO 

Chris Dugger, Theatre Operations 

Steve Gould, Advertising 

Tom Becher, Dir., Special Projects 




SITES LAST YEAR: N/ 







THEATRE LOCATIONS: CT, MD, NY

40 BoxoFncE 

POV: PERSPECTIVES 

BOXOFFICE's Forum for the Industry 

every new technology comes hid- 

challenges. This was never more 

Withden 

tme than with the mylar film stock 

now in use. Although it is wonderful in terms 

of lengthening the ability of films to withstand 

the rigors of playing over an extended period 

in a large number of venues, the crux of the 

problem lies in that very endurance. Mylar's 

non-breakable nature mns contrary to the failsafe 

units we all employ on our projectors. 

For our fail-safe units to work, the film must 

break, 

signaling a shutdown. Not anymore, 

campers—this stuff is bulletproof! And never 

more so than when it is wrapped around the 

brain of your payout platter. You can have half 

a reel or more choked around the center, with 

the tension enough to tear out the sprockets 

like the rungs on a cheap ladder. Finally, when 

a hole bums in the film, that bizarre, fiery 

freeze-frame on the screen tells one and all that 

it's time to go to the lobby for a refund. Because 

experience tells them that it's going to be a long 

time before the person in the booth will be able 

to undo that snarled mess. 

There are new in-line fail-safes that can be 

installed to sense when the film has too much 

tension due to wraps or other problems. If 

you're reluctant to invest in this equipment, r 11 

have to presume it is only because you haven't 

lost one or more shows on a Saturday night to 

such difficulties. 

Until such event changes mind.s, there is a 

fast (10 minutes or less) way I have found to 

fix a wrap. It's not a full fix; the big downside 

is that your patrons are not going to see however 

many minutes of film are wrapped around 

the head. Thus, I don't consider this Tabor 

Technique to be a permanent solution or a 

money saver, merely a stopgap measure for the 

worst situations. Mylar film isn't going away, 

but your patrons will if they feel that every 

week they're suffering from delays and missing 

whole portions of the night's movie. 

A FLASH! 

FIX FOR 

BRAINWRAP 

by Jay B. Tabor 

You can have half a 

reel or more choked 

around the center, 

with the tension 

enough to tear out 

the sprockets like 

the rungs on 

a cheap ladder. 

To solve a brainwrap, you'll need the following 

tools: 

• One empty reel and a split reel (Technicolor 

disassembling reels are great for this); 

9 A splicer and scissors; 

• A screwdriver, preferably with a round 

blade that will fit in the reel hole; and 

• A setup table that has a flat surface or has 

an adjoining flat surface. 

Tools 

in hand, you're now ready to perform 

the four steps of the trouble-te,sted 

Tabor Technique: 

STEP 1: Ignore any other wrap solutions. 

Do not attempt to wind backward; my solution 

works best with the film tight. Use your .scissors 

to cut the film just past the pulleys going 

out and at any clear spot from the back of the 

wrap. Lift the wrapped section out whole iind 

put it on the flat surface so it can spin freely. 

Take your half reel and place your film wrap 

on it; then thread the wrap on the spare reel and 

start to rewind. 

If you have a second person—concession 

staffer, panicky manager, whatever—he or she 

can be useful for stabilizing the film on the half 

reel as it spins so it doesn't go flying. What you 

are doing is making the wrapped portion heads 

up. (If you're using an adjacent surface, have 

some sort of trailer hub for the film to wind 

around; when it inevitably wraps toward the 

center, it'll have something to wrap around.) 

STEP 2: Return to your payout platter and 

rethread your movie to your take-up platter, 

and leave yourself extra film. (Be sure to splice 

out any film portion that's beyond repair.) 

STEP 3: Take the screwdriver, reel of film 

and .splicer and go to your take-up platter. 

Splice the head of your wrapped reel onto the 

tail of film on your take-up platter. Set your 

platter to go and then run the platter with your 

riser and load the film on. 

STEP 4: Splice the film coming from the 

projector to what is now the tail on your takeup 

platter, thread your projector, set your 

switches and away you go. 

What 

I 

have described is quick and 

relatively easy, especially if you 

practice it first. (A few old trailers 

work nicely. Just don't turn on the payout 

platter.) Again, I stress that the Tabor Technique 

is far from perfect; my method is not the 

cure but a bandage. Your pattxjns must sit 

before a blank screen for up to 10 minutes and 

then still miss part of the movie, and you will 

be sending a damaged film to the next theatre. 

We have the new fail-safes installed at my 

theatre, and I can testily to their worth already. 

Although I'm never happy with even the 

slightest intermptions in a showing, I'm glad 

I've been able to get the movie back onscreen 

in less than two minutes thanks to the failsafes; 

but their bottom-line worth lies in the 

money saved on lost shows. 

Perhaps too often exhibitors believe that, "if 

you have the movies, they will come." There 

are theatres that are suffering because more 

customer-friendly competition came along in 

their backyard. Trying to save money in the 

projection booth is like sending a guy with a 

caulk gun to repair the Titanic. That 1 2.000 feet 

of film, and the people you trust to mn it, are 

the true business end of the operation. In the 

end, pattDns don't rush in to see me or my staft' 

advantage of my low markups on 

or take 

popcorn and candy. The magic is on the silver 

screen, and the secret is keeping it there. Hi 

Jay B. Tabor manages, operates and helps 

program the Franklin Zeotrope, an independent 

three-screen subrun in Franklin, Mass. 

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* 1998 Barometer Star Poll * 

Who were the biggest and breakthrough stars of 1997? Voice your opinions for our 

1998 BarometerStar Poll, to be published in the March 1998 BOXOFFICE. The list 

below includes actors and actresses from films that debuted in 1997. Use the prepaid 

reply-card ballot (inserted between pages 34 and 35 of this issue) to cast your votes. 

BE SURE TO RETURN YOUR BALLOT NO LATER THAN JAN. 5, 1998. 

Male Star 

of the Year 

1. Jason Alexander ("Love! Valour! Compassion!") 

2. Tim Allen ("For Richer or Poorer," "Jungle 

2 Jungle") 

3. Woody Allen ("Deconstructing Harry") 

4. David Arquette ("Scream 2," "Dream With 

the Fishes") 

5. Dan Aykroyd ("Grosse Pointe Blank") 

6. Kevin Bacon ("Picture Perfect," 'Telling 

Lies in America") 

7. Alec Baldwin ("The Edge") 

8. Robert Blake ("Lost Highway") 

9. Matthew Broderick ("Addicted to Love") 

10. Pierce Brosnan ('Tomorrow Never 

Dies," "Dante's Peak") 

11. Gabriel Byrne ("The End of Violence," 

"Smilla's Sense of Snow") 

12. Nicolas Cage ("Face/Off," "Con Air") 

13. Jim Carrey ("Liar, Liar") 

14. Jackie Chan ("First Strike," "Operation 

Condor") 

15. Chevy Chase ("Vegas Vacation") 

16. Don Cheadle ("Boogie Nights," "Rosewood") 

17. George Clooney ('The Peacemaker," 

"Batman & Robin") 

18. Billy Connoly ( "Mrs. Brown ') 

19. Russell Crowe ("L.A. Confidential," 

"Rough Magic") 

20. Billy Crystal ("Decoastructing Harry," 

"Fathers' Day") 

21. John Cusack ("Midnight in the Garden 

of Good and Evil," "Grosse Pointe Blank," 

"Con Air") 

22. Willem Dafoe ("Speed 2: Cruise Control") 

23. Timothy Dalton ("Beautician & the Beast") 

24. Jcfl' Daniels (Trial and Enx)i^') 

25. Daniel Day-I^wis ("The Boxei^') 

26. Robert I)eNiro ( "Great Expectations," 

"Jackie Brown," "Cop Land") 

27. Johnny Depp ("Donnie Brasco") 

28. Iêonardo DiCaprio ('Titanic") 

29. Matt Dillon ( "In & Out") 

30. Vincent D'Onofrio ( "Men in Black") 

31. Michael Douglas ("The Game") 

32. Robert Downey Jr. ("One Night Stand," 

"Hugo P(X)1") 

33. David Duchovny ("'Playing God") 

34. Clint Eastwood ("Absolute Power") 

35. Dennis Farina ("That Old Feeling") 

36. Chris Farley ("Beverly Hills Ninja") 

37. Ralph Fiennes ("Oscar & Lucinda") 

38. Albert Finney ("Washington Square") 

39. Laurence Fishburne ( "Hoodlum," 

"Event Horizon") 

40. Peter Fonda ("Ulee's Gold") 

41. Harrison Ford ("Air Force One," "The 

Devil's Own") 

42. Brendan Fraser ("George of the Jungle") 

43. Morgan Freeman ('"Amistad," ""Kiss the 

Girls") 

44. Andy Garcia ("Hoodlum," "The Disappearance 

of Garcia Lorca," "Night Falls on 

Manhattan") 

45. Richard Gere ('The Jackal," "Red Coma-") 

46. Mel Gibson ("Conspiracy Theory") 

47. Danny Glover ("Switchback," "Gone 

Fishin'") 

48.John Glover ("Love! Valour! Compassion!") 

49. Jeff Goldblum (""The Lost World") 

50. Gene Hackman (""Absolute Power") 

51. Woody Harrelson(""Welcometo Sarajevo") 

52. Ethan Hawke (""Great Expectations," 

""Gattaca") 

53. Dustin Hoffman ("Mad City ") 

54. Ian Hobn ("The Sweet Hereafter," ""The 

Fifth Element") 

55. Anthony Hopkins ("The Edge") 

56. Ice Cube ("Anaconda," "Dangerous 

Ground") 

57. Samuel L. Jackson ("'Jackie Brown," 

"Eve's Bayou," "187," "Hard 8") 

58. Tcwnmy Lee Jones (""Men in Black," "Volcano") 

59. IVIichael Keaton ("Jackie Brown") 

60. Harvey Keitel ("Cop Land," "Faiiy Tale: 

A True Story," ""City of Industry") 

61. Val Kibner ("The Saint") 

62. Greg Kinnear ("As Good As It Gets," "A 

Smile Like Yours") 

63. Kevin Kline ("'In & Out," "The Ice 

Storm," "Fierce Creatures") 

64. Nathan Lane ("Mousehunt") 

65. Martin Lawrence ("Nothing to Lose") 

66. John Leguizamo ("Spawn") 

67. Jack I^mmon ("Out to Sea") 

68. Alex D. Linz ("Home Alone 3") 

69. Ray Liotta ("Cop Land," "Turbulence") 

70. William H. Macy ("Boogie Nights," "Air 

Force One") 

71. John Malkovich ("Con Air") 

72. Walter Matthau ( "Out to Sea ") 

73. Matthew McConaughey (""Amistad," 

"Contact") 

74. Ewan McGregor (""A Life Less Ordinary," 

""Brassed Off') 

75. Cobn Meaney ("'The Van") 

76. Eddie Murphy ( "Metro ") 

77. Bill Murray ("The Man Who Knew Too 

Little") 

78. Mike Myers ("Austin Powers") 

79. Jack Nicholson ("As Good As It Gets" 

"Blood & Wine") 

80. Leslie Nielsen ("Mr. Magoo") 

81. Jerry O'ConneU ("Scream 2") 

82. Gary Oldman ("Air Force One," "The 

Fifth Element") 

83. ShaquiUe O'Neal ( "Steel') 

84. AI Pacino ('"The Devil's Advocate," "Donnie 

Brasco") 

85. Jason Patric ("Speed 2: Cruise Control") 

86. Guy Pearce ("L.A. Confidential") 

87. Sean Penn ("U-Tum," "The Game," 

""She's So Lovely") 

88. Matthew Ferry ("Fools Rush In") 

89. Brad Pitt ("Seven Years in Tibet," 'The 

Devil's Own") 

90. Sidney Poitier ("The Jackal") 

91. Pete Posflethwaite ("Amistad," "'Brassed 

Off," 'The Lost World") 

92. Jonathan Pryce ("Tomorrow Never 

Dies") 

Bill Pullman ("Lost Highway," "The End of 

Violence") 

93. Dennis Quaid ("Switchback") 

94. Keanu Reeves ("The Devil's Advocate," 

"The Last Time 1 Committed Suicide") 

95. Jean Reno ("For Roseanna") 

%. Burt Reynolds ( "Bcxjgie Nights." "Bean") 

97. Ving Rhames ("Rosewood") 

98. Michael Richards ("Trial and Error") 

99. Linus Roache ("Wings of the Dove") 

100. Jason Robards ("A Thousand Acres") 

101. Tim Robbins ("Nothing to Lose") 

101 Tim Roth ( "Hixxllum. " "Gridlock'd") 

103. Kurt Ru.s.sell ( "Breakdown ") 

104. Arnold Schwaracnegger ("Batman & 

Robin") 

105. Tom Everett Scott ("An American Werewolf 

in Paris") 

106. Steven Seagal ("Fire Down Below") 

107. T

Fnr vniir rpniv hnllnt card, siee insert naês 34-3S. 

111. Wesley Snipes ("One Night Stand," 

"Murder at 1600") 

112. Kevin Sorbo ("Kull the Conquerw") 

113. Kevin Spacey ("Midnight in the Garden 

of Good and EvO." "L.A. Confidential") 

114. James Spader ("Critical Care," "Crash," 

"Keys to Tulsa") 

115. Sylvester Stallone ("Cop Land") 

116. Howard Stem ("Private Parts") 

117. Patrick Stewart ("Masterminds," "Conspiracy 

Theory") 

118. Larenz Tate ("The Postman," "lovejones") 

119. BiUy Bob Thornton ("U-Tum") 

120. John TVavolta ("Mad City," "She's So 

Lovely," "Face/Off") 

121. Jon Voigjit ("The Rainmaker," "Most 

Wanted," "Rosewood." "Anaconda") 

122. J.T. Walsh ("Breakdown") 

123. Keenen Ivory Wayans ("Most Wanted") 

124. Marion Wayans (The 6th Man") 

125. Robin Williams ("Hubber," "Good Will 

Hunting," "Fathers' Day") 

126. Bruce Willis ("The Jackal," "The Filth 

Element") 

127. Billy Zane ('Titanic," 'This World, Then 

the Fireworics") 

Female Star 

of the Year 

1. Joan Allen ("The Ice Storm," "Face/Off') 

2. Kirstie Alley ("For Richer or Poorer") 

3. Jennifer Aniston ("Picture Perfect") 

4. Patricia Arquette ("l^st Highway") 

5. Anne Bancroft ("Great Expectations," 

"G.I. Jane") 

6. Kim Basinger ("L.A. Confidential") 

7. Kathy Bates ('Titanic") 

8. Halle Berry ( "B.ARs ") 

9. Sandra Bullock ("Speed 2: Cruise Control") 

10. Saffron Burrows ("The Matchmaker," 

"Hotel de Love") 

11. Neve Campbell ("Scream 2") 

12. Helena Bonham Carter ("Wings of the 

Dove") 

13. Glenn Close ("Air Force One," 'Taradise 

Road") 

14. Courteney Cox ("Scream 2") 

15. Joan Cusack ("In & Ouf ') 

16. Qaire Danes ('The Rainmaker," "I Love 

You. I Love You Not") 

17. Judy Davis ("Deconstructing Harry," 

"Children of the Revolution") 

18. Julie Delpy ("An American Werewolf in 

Paris") 

19. Judi Dench ("Mrs. Brown," 'Tomorrow 

Never Dies") 

20. Natalie DeseUe ("B.A.Rs, " "Soul Food") 

21. Cameron Diaz ("A Life Less Ordinary," 

"My Best Friend's Wedding") 

22. Fran Drescher ("Beautician & the Beast") 

23. Minnie Driver ("Good Will Hunting," 

"Grosse Pointe Blank") 

24. Tara Fitzgerald ( "Brassed OfF') 

25. Alison Poland ("All Over Me") 

26. Bridget Fonda ("Jackie Brown," 

"Touch," ""Rough Magic") 

27. Jodie Foster (""Contact") 

28. Vivica A. Fox (""Soul Food," "'Booty CaO") 

29. Janeane Garcrf'alo ("The Matchmaker," 

"Romy and Michele's High School Reunion") 

30. Pam Grier ("Jackie Brown") 

31. Linda Hamilton ("Dante's Peak") 

32. Teri Hatcher ("Tomorrow Never Dies") 

33. Salma Hayek ("'Fools Rush In") 

34. Lauren Holly ("A Smile Like Yours," 

"Turbulence") 

35. Helen Hunt (""As Good As It Gets") 

36. Holly Hunter ('"A Life Less Ordinary," 

""Crash") 

37. Elizabeth Hurley ("Austin Powers," 

""Dangerous Ground") 

38. Angelina Jolie (""Playing God") 

39. Milla Jovovich ("The Fifth Element") 

40. Jessica Lange ("A Thousand Acres") 

41. Jennifer Jason Leigh (""Washington 

Square," ""A Thousand Acres") 

42. Nicole Kidman (""The Peacemakei") 

43. Nastassja Kinski (""One Night Stand," 

""Fathers' Day") 

44. Mia Kirshner ("Mad City," '"Anna 

Karenina") 

45. Lisa Kudrow (""Romy and Michele's High 

School Reunion") 

46. Phyllida Law ("The Winter Guest") 

47. Jennifer Lopez (""UTum," "Anaconda," 

"Selena," ""Blood & Wine") 

48. Andie MacDoweU ( "The End of Violence") 

49. Sophie Marceau ("Anna Karenina") 

50. Frances McDormand ("Paradise Road") 

51. Bette Midler ('That Old FeeUng") 

52. Penelope Ann Miller ("The Rehc") 

53. Demi Moore ( "G.I. Jane ") 

54. Julia Ormond (""Smilla's Sense of Snow") 

55. Gwyneth Paltrow ("Great Expectations") 

56. Michelle Pfeiffer ("A Thousand Acres") 

57. Parker Posey ("The House of Yes," "sub- 

Uibia", "The Daytrippers") 

58. Julia Roberts ("My Best Friend's Wedding," 

"Conspiracy Theory") 

59. Rene Russo ( "Buddy") 

60. Kathleen Quinlan (""Breakdown," "Event 

Horizon," "Zeus & Roxanne") 

61. Christina Ricd (""The Ice Storm," "That 

Dam Cat") 

62. Meg Ryan ("Addicted to Love") 

63. Winona Ryder (""Alien Resurrection") 

64. Elisabeth Shue (""Deconstmcting Harry," 

""The Saint") 

65. Alicia Silverstone (""Excess Baggage," 

"Batman & Robin") 

66. Mira Sorvino ("Mimic," "Romy and 

Michele's High School Reunion") 

67. Emma Thompson ("The Winter Guest") 

68. Uma Thurman ("Gattaca," ""Batman & 

Robin") 

69. Jennifer HDy ("Liar, Liai") 

70. Jeanne Tripplehom ("TilThereWas You ") 

71. Kathleen "mmer ( "A Simple Wish") 

72. Emily Watson ("The Boxer") 

73. Sigoumey Weaver ("Alien Resumection," 

"The Ice Storm") 

74. Vanessa L. Williams ("Soul Food") 

75. Mara Wilson (""A Simple Wish") 

76. Kate Winslet ("Titanic") 

77. Robin Wright ("'She's So Lovely") 

78. Michelle Yeoh ('Tomorrow Never Dies") 

Breakout 

Star— Male 

1. Ben Affleck ("Good Will Hunting," "Chasing 

Amy," "Going All the Way") 

2. Rowan Atkinson ("Bean") 

3. Jake Busey ("Starship Troopers," "Contact") 

4. Robert Cariyle ("The FuU Monty") 

5. Matt Damon (""The Rainmaker," ""Good 

Will Hunting") 

6. Stephen DiUane (""Welcome to Sarajevo") 

7. Lee Evans (""Mousehunt") 

8. RupertEverett(""My Best Friend's Wedding") 

9. Cameron Finley (""Leave It to Beavei^') 

10. Djimon Hounsou ("" Amistad," ""Dl-Gotten 

Gains") 

11. Sam Huntington (""Jungle 2 Jungle") 

12. Vincent Kartheiser (""Masterminds") 

13. Jude Law (""Midnight in the Garden of 

Good and Evil," "Gattaca," "I Love You, I 

Love You Not") 

14. Jared Leto ("Switchback," "Prefontaine") 

15. Fabrice Luchini ("Beaumarchais the 

Scoundrel") 

16. Steven Mackintosh ("Different fOTGirls") 

17. Nick Scotti ("Kiss Me, Guido") 

18. Douglas Spain ("Star Maps") 

19. Zdenek Sverak (""Kolya") 

20. Chris "Ricker ("Money Talks," "The Fifth 

Element") 

21. Casper Van Dien (""Starship Troopers") 

22. Mark Wahlberg ("Boogie Nights," 

'TraveUei^') 

23. Hariand Williams ("RocketMan") 

Breakout 

Star— 

Female 

1. Joey Lauren Adams ("Chasing Amy") 

2. Cate Blanchette (""Oscar & Lucinda") 

3. Katrin Cartlidge (""Career Girls") 

4. Anne Heche ('"Donnie Brasco," "'VDlcaiK)") 

5. Sarah Michelle Gellar (""Scream 2," "'I 

Know What You Did Last Summei") 

6. Heather Graham (""Boogie Nights") 

7. Jennifer Love Hewitt ("I Know What You 

Did Last Summer") 

8. Ashley Judd (""Kiss the Girls") 

9. Bai Ling ("Red Comer") 

10. Nia Long (""Soul Food," ""love jones") 

11. Julianne Moore (""Boogie Nights," "'Lost 

World," "The Myth of Fingerprints") 

12. Lynda Steadman ("Career Girls") 

13. Gloria Stuart ('Titanic") 

14. Charlize Theron ("The Devil's Advocate," 

'Trial and Error") 

15. Deborah Kara linger ("The Game," 

"Crash," ""Keys to Tulsa") 

16. Olivia Williams ("The Postman")

44 (R-ll ROXOFFICE 

— 

. 

•••*• OUTSTANDING 

*••• VERY GOOD 

• •* GOOD 

•• FAIR 

* POOR 

(no stars) BOMB 

REVIEWS 

January 1998 

DAY AND DATE: JAN. 16 

STAR KID iriKi^m 

Starring Joseph Mazzello, 

Joey Simmrin and Cprinne 

Bohrer. Directed and written by 

Manny Coto. Produced by Jennie 

tew Tugend. A Trimark release. 

SF. Rated 

PG. Running 

time: lOOmin. 

Twelve-year-old 

Spencer (Joseph 

Mazzello of 

"Radio Flyer" and 

"Jurassic Pork") 

finds a humanshaped 

Cybersuit 

(Cyl that has 

crashed on Earth to 

elude capture by 

the monstrous 

Broodwarriors who 

are attacking its 

planet of origin. 

Like the Japanese 

Gundams and 

Mechas, Cy is built 

to transport and 

fight: Cy can talk 

but can't move until 

someone steps inside 

him. Spencer 

does, beginning a 

relctionsnip with 

HEAVY CY: Trimark's "Slur Kiil. 

the intelligent 

weapon that helps Spencer face his 

fears, including school bully Turbo ("Little 

Giants'" Joey SimmrinL and the 

Broodwarrior that followed Cy to Earth. 

"Star Kid" is full of surprises, including 

high production values from cinematographer 

Ronn Schmidt and 

production designer C.J. Strawn; together, 

they avoid the usual barrenness 

of low-budget films. Writer/director 

Coto's script is thoughtful and funny, 

particularly the continuous interplay between 

literal-minded Cy and slang-talking 

Spencer: the phrase "too cool" 

raises Cy's temperature; 

forget it" 

erases Cy's memory. 

The terror of 

being sealed inside 

Cy is well realized, 

as are the 

iokes built around 

Spencer's attempts 

to move the powerful 

cybersuit 

gracefully. It's 

gratifying that the 

bully Turbo becomes 

Spencer's 

ally, though it's a 

pity that it happens 

only after 

Spencer fights 

and beats him. 

Although the females 

ore peripheral 

they ore nip 

and interesting; 

best is the inventive 

science teacher 

(Corinne Bohrer of 

'Vice Versa"), a 

smart adult who helps Spencer (a rare 

alliance in kids' films). 

"Star Kid" stands out as well-crafted 

fare, laudable in urging kids to face 

their fears because otherwise those 

fears don't go away. But it joins the 

pack when it portrays violence and aggression 

as the only way to deal with 

problems. Karen Achenbach 

REVIEWS 

Anastasia R-3 

Bent R-2 

Deconstructing Harry R-2 

Good Will Hunting R-2 

Grizzly Mountain R-5 

The Jackal R-4 

The Keeper R-7 

Lay of the Land R-6 

Mad City R-4 

The Man Who Knew Too Little ... R-3 

The Mouse R-4 

My America (...Or Honk If You 

Love Buddha) R-5 

Nueba Yol 3: Abajo La Nueva Ley R-5 

Office Killer R-3 

Other Voices. Other Rooms R-4 

Pippi Longstocking R-7 

Red Corner R-5 

Staccato Purr of the Exhaust .... R-6 

Starship Troopers R-4 

Switchback R-5 

Titanic R-2 

The Wind in the Willows R-5 

Yo Soy, Del Son A La Salsa R-7 

DAY AND DATE: 1/16 

star Kid R-1 

PREVIOUSLY REVIEWED 

Coming films already reviewed . . 

REVIEW DIGEST 

R-3 

Our monthly release overview ... R-7 

Hit our 

website each 

Friday for 

the latest 

in breaking 

reviews! 

http://www. 

boxoffice.com

" 

— 

January, 1998 (R-2) 45 

REVIEWS 

TITANIC 

••••• 

wisdom by 87-year-old Gloria Stuart. who appears to have no chance of partaking 

— Joseph McBride of the Ivy life due to the hard-scrabble ex- 

DECONSTRUCTING HARRY ^1/2 

Starring Leonardo DiCaprio, Kate Starring Woody Allen, Billy Crystal, 

Winslet, Billy Zone, Kathy Bates and Gloria 

Elisabeth Shue and Judy Davis. Directed 

Stuart. Directed and written by James and written by Woody Allen. Produced by 

Cameron. Produced by James Cameron Jean Doumanian. A Fine Line release. 

and Jon Landau. A Paramount release. Comedy. Rated Rfor strong language and 

Drama/Thriller. Rated PG-13for disasterrelated 

peril and violence, nudity, sensu- 

Perhaps as close to a dud as Woody Allen 

some sexuality. Running time: 93 min. 

ality and brief language. Running time: has ever come, "Deconstructing Harry" is 

194 min. 

an almost resolutely 

To describe 

un- 

"Titanic" as 

funny comedy 

the greatest 

about a angstridden 

New 

disaster movie 

ever made is 

York writer 

to sell it short. 

(Allen, de 

James Cameron's 

rigeur) who's 

recre- 

in trouble with 

ation of the 

his angrily embarrassed 

1912 sinking 

ex 

of the "unsinkable" 

(Judy Davis) 

liner is 

for publishing 

one of the 

a novel whose 

most magnificent 

story is a thinly 

pieces of 

disguised ac- 

serious popular 

entertain- 

troubled marcount 

of their 

SINKING FEELING: Leonardo DiCaprio and Kate Winslet 

nudefor their lives in "Titanic. 

ment ever to 

riage, and 

emanate from Hollywood. The gargantuan who's angry at a friend (Billy Crystal) for 

production cost—variously estimated between 

$200-285 million—has been spent Saint's" Elisabeth Shue) with a proposal of 

"stealing" away his girlfriend ("The 

on sumptuous, stunningly believable sets marriage. The antics that follow involve 

and visual effects, giving the viewer the child kidnapping, family brawling and a 

feeling of being a passenger on the ill-fated visit to hell. 

voyage. But the three-hours-plus "Titanic" Maybe it's that Allen's character is so 

ultimately succeeds so powerfully in retelling 

unexpectedly and alarmingly foul-mouthed 

this familiar story because, like a that lets the humor leak away; maybe it's 

David Lean film, it is an intimate epic that the laughlines are so slight it's as if 

with a moving and resonant love story at Allen were writing on autopilot. (The one 

its core. 

gem has to do with French politics, itself a 

Cameron's subtly shaded screenplay follows 

sign that Allen isn't digging into the main 

the fortunes of Philadelphia socialite material at hand.) Allen used to have con- 

Rose DeWitt Bukater (Kate Winslet), who, cerns; now he has only concerns about concerns. 

like the heroine of a Henry James novel, 

Although a comedy, "Deconstructing 

yearns to break free from the restraints of Harry" is meant to have some depth, but it 

money, class and gender. Resisting her imminent 

lacks even the insight and feeling of such 

marriage to Caledon Hockley (Billy early farces as "Sleeper" and "Love and 

Zane), domineering heir to a company that Death." And from whence came this angry 

supplied some of the deficient steel for the edge, in which Allen absolves his disreputable 

character in front of his audience? 

Titanic, Rose rebels through a shipboard 

romance with a third-class passenger, Wisconsin 

— Kim Williamson 

artist Jack Dawson (Leonardo 

DiCaprio). Jack's self-sacrificial saving of 

Rose "in every way a woman can be GOOD WILL HUNTING ••^ 

saved" is the prism through which we Starring Matt Damon, Robin Williams, 

witness every facet of this vast human 

tragedy. 

Ben Affleck and Minnie Driver. Directed by 

Gus Van Sant. Written by Matt Damon arid 

Cameron' s wide, vividly-peopled canvas 

takes in everything from the ship's 

Ben Affleck. Produced by Lawrence Bender. 

A Miramax release. Drama. Rated R for 

festive launch to its rigidly stratified strong language, including some sex-related 

social events, the awesome technical 

dialogue. Running time: 125 min. 

apocalypse of its breakup and sinking, 

and the appallingly unjust escape of 

An impressive scripting debut for actors 

Matt Damon ("John Grisham's The Rainmaker") 

wealthy passengers while poor ones are 

left to drown. The framing story of contemporary 

and Ben Affleck ("Chasing 

Amy"). "Good Will Hunting" — perhaps in 

fortune hunters pillaging part because it feels so little like a film by 

the wreckage includes eerie footage Gus Van Sant ("To Die For," "Drugstore 

of the actual Titanic at the bottom of Cowboy"), who directs—drew the secondstrongest 

audience response at ShowEast. 

the Atlantic. On board the salvage ship 

is the narrator, 101-year-old Rose, And deservedly so: This story of a collegeage 

played with haunting grace, humor and 

math savant. Will Hunting (Damon), 

istence he's been living since orphaned on 

Boston's South Side, usually plays at a level 

of fine human emotion and makes little 

allowance for sympathy shortcuts in its dramatics. 

Even the appearance of Robin Williams 

as a concerned psychologist doesn't 

deter Damon and Affleck from their course; 

though elsewhere—as in "Dead Poets Society"— 

given to misty-eyed emotionalism, 

Williams delivers an honest portrayal that 

adds greatly to the film's character interplay. 

Yet audiences drawn by the Van Sant 

credit are likely to be surprised at least, and 

disappointed at most; "Good Will Hunting" 

never veers from a mainstream course, 

again recalling "Dead Poets Society," in 

which Peter Weir—noted for the singularly 

voiced likes of "The Last Wave"—made a 

resolutely ordinary studio movie. In 

boxoffice terms, of course, "Good Will 

Hunting's" appeal to the mainstream is all 

to the good. Helping matters along are 

Affleck as Will's hard-hat friend and Minnie 

Driver as Will's Harvard-student 

girlfriend, both providing effective turns as 

characters who in their separate ways help 

push Will toward a resolution of his personal 

problems and the achievement of his 

potential. Kim Williamson 

BENT ^^1/2 

Starring Lothaire Bluteau, Clive Owen 

and Brian Webber. Directed by Sean Mathias. 

Written by Martin Sherman. Produced 

by Michael Solinger and Dixie 

Lindner. An MGM/Goldwyn release. 

Drama. Rated NC-1 7for a strong scene of 

graphic sexuality. Running time: 104 min. 

In adapting Martin Sherman' s 1 979 stage 

play about Nazi persecution of gays during 

World War II, theatre director-turnedfilmmaker 

Sean Mathias for the most part 

has avoided a stagy feeling in the reworking. 

What he and scripter Sherman have 

failed to provide, however, is an authentic 

feeling; "Bent" is a World War II movie 

made by people who weren't there and who 

don't seem to be able to imagine what it was 

like to be there. 

The interplay of the actors—between 

"Black Robe's" Lothaire Bluteau as the 

self-centered Horst and newcomer Brian 

Webber as the pleading-for-affection Rudy, 

and after Rudy's death between Bluteau and 

"The Rich Man's Wife's" Clive Owen as a 

fellow concentration camp internee who 

further challenges Horst's egocentrism—is 

remarkable. Cameo turns by Ian McKellen 

(who originated the Max role in London) as 

Horst's experienced gay uncle and especially 

Mick Jagger as a cross-dressing chanteuse 

add energy to the character mix. But 

the filmmakers appear determined to make 

their point (however groundbreaking in 

pre-'80s climes) at the expense of a realism 

that would more fairly allow audience sympathy 

for the characters to grow. Maintaining 

that realism would have also better 

served the filmmakers themselves; it 

would have precluded the sufferinghero 

ending, which however well played is 

still 

— Kim Williamson 

straight out of high-school theatrics.

46 (R-3) BoxomcE 

— 

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REVIEWS 

OFFICE KILLER ir 

Starring Carol Kane, Molly Ringwald 

and Jeanne Tripplehorn. Directed by Cindy 

Sherman. Written by Elise MacAdam and 

Tom Kalin. Produced by Christine Vachon 

and Pamela Koffler. A Strand release. Suspense. 

Unrated. Running time: 82 min. 

As funny as a hernia, "Office Killer" is 

just one dark joke stretched out to dreary, 

pointless feature length. Wildly overacting, 

Carol Kane plays a mousey office employee 

who gets back at her co-workers for persecuting 

her by knocking them off and placing 

their rotting corpses like guests in her living 

room. No terror or suspense occupies this 

tired, gloomy vacuum, not to mention wit or 

humor. Even as a revenge fantasy, director 

Cindy Sherman fails to cook up much empathy 

or involvement with her plodding pace 

and drab atmosphere. Dale Winogura 

ANASTASIA •••l/Z 

Voices of Meg Ryan, John Cusack, 

Kelsey Grammer, Christopher Lloyd and 

Angela Lansbury. Produced and directed 

by Don Bluth and Gary Goldman. Written 

by Eric Tuchman and Susan Gauthier & 

Bruce Graham. A Fox release. Animated. 

Rated G. Running time: 94 min. 

This enchanting fairy-tale, the fu^t release 

from Fox Animation Studios, is pure family 

entertainment. Set in 1916, it tells the possible 

story of Princess Anastasia (voiced by 

Meg Ryan), heir to the Russian Romanov 

dynasty, who, in this telling, survives a curse 

cast on her family by the evil sorcerer Rasputin 

(voiced by Christopher Lloyd). 

Rasputin's sidekick, Bartok, the albino 

bat (voiced by Hank Azaria), is endowed 

with unwitting comic genius and a great 

sense of timing that takes the edge off some 

scenes that might be scary to younger viewers. 

He also gets lots of laughs from children 

and adults alike. 

In Anastasia, Fox has found a modemday, 

spunky heroine. Precocious as a child, 

she grows up to become an independent, 

self-confident woman with a quick wit who 

delivers some great one-liners. There is also 

more chemistry between the two animated 

leads—Anastasia and Dimitri (voiced by 

John Cusack)—than apparent in many romantic 

clinches between actor and actress. 

—Lisa Osborne 

THE MAN WHO KNEW TOO LITTLE 

••• 

Starring Bill Murray, Joanne Whalley 

and Peter Gallagher. Directed by Jon 

Amiel. Written by Robert Farrarand Howard 

Franklin. Produced by Arnon 

Milchan, Michael Nathanson and Mark 

Tarlov. A Warner release. Comedy. Rated 

PGfor language, innuendo, comic violence 

and sensuality. Running time: 94 min. 

Based on the unpublished novel "Watch 

That Man" by Robert Farrar, who coadapts, 

this Bill Murray comedy is a genial 

production that places its bets on the continued 

funniness of the same basic joke, 

varied over and over. Des Moines videostore 

clerk Wallace Ritchie (Murray) goes 

to visit James (Peter Gallagher), his brother 

who's found riches in London. His arrival 

coincides with an important business dinner 

James is throwing; to have the bumpkinish 

Wallace out of the way for the night, James 

gets him in a popular piece of theatre in 

which a participant enacts some street skullduggery 

with a corps of actors. It's all to 

begin at a particular phonebooth, but the 

call with instructions that Wallace receives 

is, unknown to him, for a real-life hitman. 

Soon, all the while thinking the gunfire, car 

chases, knockout potions and ticking 

bombs are only stageplay, Wallace finds 

himself involved with Russian underworlders, 

scheming British spymasters 

and a gorgeous callgirl ("Trial by Jury's" 

Joanne Whalley). 

Despite the repetitive nature of its humor, 

this cloak-and-dagger farce delivers a modestly 

generous number of laughs, in part due 

to the goofy charm of Murray in the lead. 

Although cast in a generic eyeful role. Kilmer 

makes for a pleasurable romantic interest 

and plays off Murray's antics to good 

effect. Working in amiable mode, Amiel 

("Copycat") keeps matters resolutely 

light. Kim Williamson 

PREVIOUSIY REVIEWED: KCBMBBH/JAHUAHY/FBBBUARY FILMS 

The alphabetical list belovt^ notes the issue of BOXOFFICE in v/hich our 

review of an upcoming film appeared, gives its star rating, and 

provides nevi^ly updated distributor and release date information. 

"Ayn Rand: A Sense of Life" -k-k-k 1/2: Strand, Feb. undated; see March 1997. 

"The Blackout" 1/2: Trimark, Jan. undated; see July 1997. 

"Four Days in September" ifk-k: Miramax, 1/23; see June 1997. 

"Hurricane Streets" •••: UA, 119 ltd; see April 1997. 

"Ma Vie en Rose" ••••: Sony Classics, 12/25 NY/IA; see Aug. 1997. 

"Nit By Mouth" •••: Sony Classics, Feb. undated; see August 1997. 

".Still Breathing" -k 1/2: October. 1/23; see Oct. 1997. 

"Suicide Kings" -k-kir: Uve, Jan. undated; see Oct. 1997. 

"A Summer's Tale" -k-kif: Artificial Eye, Feb. undated; see Aug. 1996. 

".Swept From the Sea" •: TriStar, 1/23; see Nov. 1997. 

"Underground" •k-k-kirl/2: New Yorker, Dec. undated; see .Sept. 1995. 

"The Winter Guest" •••1/2: Fine Line, 12/19 NY/LA/TOR; see Dec. 1997.

— 

— 

— 

REVIEWS 

THE JACKAL • 

Starring Bruce Willis and Richard Gere. 

Directed by Michael Caton-Jones. Written 

by Kevin Jarre and Chuck Pfarrer. Produced 

by Sean Daniel, James Jacks and 

Kevin Jarre. A Universal release. Thriller. 

Rated Rfor strong violence and language. 

Running time: 122 min. 

Fred Zinneman's masterful 1973 adaptation 

of Frederick Forsyth' s bestselling novel 

"The Day of the Jackal" is unforgivably 

mutilated in "The Jackal," an alleged "remake" 

that dispenses with such trite irritants 

as logic, narrative cohesion, pacing and suspense. 

"The Jackal" refashions Forsyth's 

original premise as a post-Cold War tale 

wherein a Russian mafioso, seeking revenge 

for an FBI-led raid that killed his brother, 

hires a nameless assassin (Bruce Willis) to 

execute the First Lady. FBI Deputy Director 

Preston (Sidney Poitier) answers by enlisting 

the aid of a convicted IRA terrorist (Richard 

Gere), one of only a handful of individuals 

who has ever seen the so-called "Jackal." 

If only the film were as interesting as the 

backstory. For the better part of 90 minutes 

"The Jackal" goes literally nowhere, crosscutting 

endlessly between Willis and Gere 

in various "preparatory" modes, anticipating 

their eventual collision with as much tension 

as an afternoon nap. ForOinately, WilUs' tireless 

parade of silly costumes and fervent 

attempts at conveying menace come off as 

more camp than cool, making the film at 

least unintentionally comic when it might 

have been unbearably boring. Wade Major 

THE MOUSE ir 1/2 

Starring John Savage. Directed and 

written by Daniel Adams. Produced by 

Hank Blumenthal, Harris Tulchin and 

John Savage. A Strand release. Drama. 

Unrated. Running time: 98 minutes. 

A curious anti-Rocky drama, "The 

Mouse" lacks the spontaneity and punch to 

bring its intriguing conceit to life. This telling 

of the true story of Bruce "Mouse" 

Strauss (played much too broadly by John 

Savage), the boxer who's made a living out 

of being knocked down more than anyone 

else, does not have the narrative structure or 

character insight to realize the idea that losing 

can be another form of winning. The 

aimless writing and amateurish directing 

by Daniel Adams fail to develop his 

protagonist's journey towards maturity 

and responsibility, resulting in a sloppy, 

tentative biography that should have been 

much better. Dale Winogura 

MAD CITY 

••1/2 

Starring Dustin Hoffman and John Travolta. 

Directed by Costa-Gavras. Written 

by Tom Matthews. Produced by Arnold 

Kopelson and Anne Kopelson. A Warner 

release. Drama. Rated PG-13for depiction of 

a hostage situation, including violence and 

brieflanguage. Running time: 110 minutes. 

Dustin Hoffman plays a figure familiar 

from any recent film that involves the television 

media: a limelight-sucking journalist 

who exploits the news rather than communicates 

it. The resonance that Hoffman 

brings from his earlier portrayal of a reporter 

who brought down a president ("All the 

President's Men") in the quest for the full 

story, to that of Max Brackett, a journalist 

who brings down a hapless hostage-holder, 

Sam Baily (John Travolta), in a quest for a 

ratings coup, is "Mad City's" primary contribution 

to a subject ripe for puncturing. 

Costa-Gavras ("Z," "Missing"), die director 

known for sharp-edged political indictments, 

would seem the right man for the job. "Mad 

City," however, wavers between all-out satire 

and more middle-toned drama, each element 

undercutting the power of the other. Satire: 

The hostage children thrill to being tabloid 

TV stars. Drama: Childlike Sam connects 

with them by telling stories. Result: No real 

tension about the kids' fate. 

There are some sharp touches, particularly 

the opening sequence in which a news 

crew prepares their equipment the way an 

assassin prepares his. The movie's main 

elements, though, are more C-SPAN than 

CNN. Melissa Morrison 

STARSHIP TROOPERS •••1/2 

Starring Casper Van Dien and Dina 

Meyer. Directed by Paul Verhoeven. Written 

by Ed Neumeier. Produced by Jon 

Davison and Alan Marshall. A TriStar release. 

SF/Action. Rated Rfor graphic sci-fi 

violence and gore, andfor some language 

and nudity. Running time: 128 min. 

Finally, a futuristic sci-fi film that doesn't 

depict tomorrow's world as a post-apocalyptic 

wasteland populated by underground 

tribal renegades with painted faces who 

must eat rats to survive! In this satiric actioner 

(adapted from Robert A. Heinlein's 

novel), a group of young and remarkably 

attractive school chums (Casper Van Dien, 

Dina Meyer and Denise Richards) decide to 

do their patriotic duty, join the federal service 

and fight a race of giant alien bugs that 

are trying to destroy the Earth. 

Director Paul Verhoeven' s filmic dalliances 

with sex ("Showgirls," "Basic Instinct") 

and sardonic sci-fi action ("Total 

Recall," "RoboCop") are genres merged 

here to entertaining, engaging, exciting results. 

"Starship Troopers" wittily conjoins 

the adrenaline-pumped Us vs. Them camaraderie 

and heroicism of "Independence 

Day" with the black humor of "Mars Attacks!" 

and the lustful entanglements of 

"Melrose Place," with game, energetic, winsome 

performances from most all the players, 

and effects that live up to the 

hype. Christine James 

OTHER VOICES, OTHER ROOMS •• 

Starring David Speck, Lothaire Bluteau 

and Anna Thomson. Directed by David 

Rocksavage. Written by Sara Flanigan 

and David Rocksavage. Produced by Peter 

Wentworth and David Rocksavage. An Artistic 

license release. Drama. Unrated. 

Running time: 94 min. 

In a sadly dull and uninspired filming of 

Truman Capote's semi-autobiographical 

1948 book, writer/director David Rocksavage 

doesn't dramatize the material so much 

as pictorialize it. 

In 1938, a 13-year-old boy (David Speck) 

is sent to visit his bedridden father at a 

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January, 1998 (R-4) 47

48 (R-5) BoxoFFicE 

—— 

— 

— 

— 

— 

REVIEWS 

rotting Southern mansion. Instead of getting 

to know his estranged parent, he develops 

a relationship with the plantation's 

dotty mistress ("Angela' s" Anna Thomson) 

and her effeminate, possibly gay cousin 

(Lothaire Bluteau). Except for some bizarre 

playacting and philosophical statements, 

not much of consequence occurs here. 

A distant, even vacant quality to Speck's 

portrayal fails to express the character's 

growing awareness and perceptions. A similar 

flaw infects Bluteau' s one-note performance, 

and worst of all, Thomson's shrill, 

exaggerated mannerisms turn her role into 

a vapid Blanche DuBois caricature. 

An artful use of color and composition 

aptly captures a faded glamour and moral 

decay, but Rocksavage's pretentious direction 

mutes the lyrical ache and existential 

fear within. Not even the use of a Capotelike 

narrator (a good impression by Ben 

Kingdom) lends the film much poetic wonder 

or sensibility. The story's central concept, 

that of a young man confronting a 

mirror image of what he would become, has 

simply not been achieved. Dale Winogura 

SWITCHBACK • 1/2 

Starring Dennis Quaid, Danny Glover 

and Jared Leto. Directed and written by 

Jeb Stuart. Produced by Gale Anne Hurd. 

A Paramount release. Thriller. Rated R. 

Running Time 119 min. 

Originally written when Jeb Stuart, the 

high-profile writer of such action hits as 

"Die Hard" and "The Fugitive," was a student 

in the early '80s, "Switchback" is purportedly 

near and dear to his heart, although 

one would never know it from the resulting 

film. An illogical, confusing, and contrived 

serial killer tale, "Switchback" splices 

genres and juggles its cardboard characters 

with uncanny ineptitude. 

"Switchback" follows a loose cannon 

FBI agent named Frank LaCrosse (Dennis 

Quaid) as he trails the serial killer responsible 

for kidnapping his son. Tracking the 

man's bloody trail from Texas into the 

Rockies, LaCrosse finds a friend in rural 

sheriff Buck Olmstead (R. Lee Ermey), an 

old-style Western lawman whose preference 

for principle over politics risks losing 

him a forthcoming election to his pearltoothed 

rival (William Fichtner). 

Intercut with all of this is a mini-road 

picture starring Danny Glover as an ex-rail 

worker and Jared Leto as the hitchhiking 

ex-physician he picks up and befriends. 

Eventually, it becomes clear that either 

Glover or Leto is the killer and that some 

kind of trap is being laid for Quaid, although 

the precise details of this plot are never 

really clear. So tedious and lacking in suspense 

is the intercutting of these two threads 

that most audiences will tune out well before 

the film limps to its climactic set piece. 

Stuart tries hard to keep things interesting, 

lacing his cliches with unusual twists 

and turns. But without the motivations and 

characterization to drive them, the twists 

become little more than mechanical contrivances 

that underscore an otherwise thoroughly 

uninspired concept. Wade Major 

RED CORNER •V^ 

Starring Richard Gere and Bai Ling. 

Directed by Jon Avnet. Written by Robert 

King. Produced by Wolfgang Petersen and 

Gail Katz. An MGM release. Thriller. 

Rated Rfor some violence and a scene of 

sexuality. Running time: 118 min. 

Richard Gere is the name-brand star of 

"Red Comer," but co-star Bai Ling has the 

best part. Her character, a Chinese lawyer 

who defends Gere's American lawyer 

against charges of rape and murder in the 

People's Republic, gets to transform, unlike 

Gere's. She starts out a moralizing 

apparatchik and becomes a seeker of truth. 

She also gets to be a counterpart to Gere, 

not an appendage. Gere's Jack Moore, on 

the other hand, is ever stalwart as the American 

whose business negotiations to sell 

"Baywatch"-type satellite TV programs to 

the Chinese go sour when he's found with 

a murdered woman in his hotel room. 

With the exception of Bai's strong role, 

"Red Corner" is a standard Asian-set 

thriller. There's the inevitable Confuciuslike 

quote that starts and ends the movie. 

There's the expected naked, beautiful and, 

ultimately, dead woman (Jessey Meng). 

There's the depiction of a uniformly evil 

foreign system. Not that the American government 

comes off looking much better, 

letting Jack languish in prison so pending 

trade deals aren't endangered. The lone 

man vs. the world idea is stretched to the 

point of ridiculousness in an extended scene 

m which Jack—handcuffed and bleeding 

from a bullet wound—outruns the entire 

Beijing police department across the city's 

rooftops. And all this so the Chinese can see 

"Baywatch." Melissa Morrison 

NUEBA YOL 3: ABAJO LA NUEVA 

LEY •** 

Starring Luisito Marti and Raul Carbonell. 

Directed, written and produced by 

Angel Muniz. A New Latin release. Comedy. 

Unrated. Spanish language; English 

subtitles. Running time: 102 min. 

For fans of 1 

996' s surprise hit "Nueba Yol" 

(which grossed $1.4 million domestically 

playing in hmited markets), don't be alarmed 

thinking you missed part two. Contemptful of 

sequels, director Angel Muniz has opted to 

title the second installment of his story about 

a Dominican immigrant as Part Three. 

Once again Luisito Marti is playing 

Balbuena, a warm, honest hard-worker 

looking for a better life. Picking up where 

the first film left off, Balbuena has recovered 

from a gunshot wound and is struggling 

to support himself. An added obstacle 

this time is a new government immigration 

law that will cut off social security and 

Medicare to thousand of immigrants. (The 

film's subtitle translates to "Under the New 

Law," and "Nueba Yol" is a slang term for 

New York.) Although very funny, the film 

does suffer from some heavy-handed observations 

about immigration. But Marti's 

Balbuena offers a genuine likability which 

wins him a rooting interest in all the mis- 

Jose Martinez 

haps he gets into. 

THE WIND IN THE WILLOWS • 1/2 

Starring Terry Jones, Eric Idle and 

Nicol Williamson. Directed and written by 

Terry Jones. Produced by John Goldstone 

and Jake Eberts. A Columbia release. 

Comedy. Rated PG. Running time: 86 min. 

A cute idea is decimated by a mishandled 

combination of lowbrow farce and sophisticated 

humor in a strained, leaden lump of 

tasteless whimsy. The promising notion of 

turning Kenneth Grahame's classic 1908 

children's fable into a Monty Pythonesque 

comedy collapses due to the cutesy tone and 

labored development of Terry Jones' 

screenplay. The slight but endearing tale of 

the irrepressible Mr. Toad's (played by 

Jones at his obnoxious worst) dangerous 

love of fast cars and his relationship with 

the other local animals has been inflated 

with statements on greedy capitalism that 

the script's flimsy structure can't support. 

The actors miss the simple wonder and 

beauty of Grahame's creations. Only Nicol 

Williamson's Badger comes close to 

achieving the essential delicacy and warmth 

of his character. Dale Winogura 

GRIZZLY MOUNTAIN • 

Starring Dan Haggerty and Martin 

Kove. Directed by Jeremy Haft. Written by 

Jeremy Haft and Peter White. Produced by 

Anthony Dalesandro and Peter White. A 

Legacy release. Adventure. Rated G. Running 

time: 96 min. 

When a couple of kids enter an old Oregon 

cave, they're suddenly transported 

back to 1870 where they meet a kind old 

mountain man (Dan Haggerty in a tired 

reprise of his "Grizzly Adams" TV role) 

who takes them under his wing. Together, 

they try to stop a con man and his cronies 

from taking over a small growing town. 

Complete with self-righteous preachments 

on ecology and Native American 

land rights, plus clumsy "Home Alone"- 

type gags for good measure, there are no 

redeeming values here outside of cardboard 

moralistic ones. Even the outdoor photography 

feels static, without any style or atmosphere. 

This pitiful parade of soggy 

cliches, slapdash moviemaking and atrocious 

acting is strictly for the undiscriminating. 

Dale Winogura 

MY AMERICA (...OR HONK IF 

YOU LOVE BUDDHA) ••• 

Featuring Victor Wong. Narrated, directed 

and written by Renee Tajima-Pena. 

Produced by Renee Tajima-Pena and 

Quynh Thai. An SAI release. Documentary. 

Unrated. Running time: 87 min. 

A road movie memoir, this documentary 

on being Asian in America is an interesting 

conglomeration of found and fool's gold. 

Bom in an America that when she was little 

allowed her family to "drive for days" without 

seeing another Asian face, narrator/filmmaker 

Renee Tajima-Pena (PBS' 

"Who Killed Vincent Chin?") concentrates 

on finding her people's place, and through 

that her own place, in the multicultural 

melting pot of the USA of the '90s. Aside

— 

REVIEWS 

from targeting for an interview the actor 

Victor Wong, who she mistaicenly beheves 

played the lead in "'Chan Is Missing," 

Tajima-Pena takes an apparently rambling 

route through the States, hitting San Francisco, 

New York's Chinatown, New Orleans, 

Duluth, Seattle and Los Angeles in 

cinematic succession. 

Tajima-Penas seem blessed by serendipity, 

as virtually each new location provides 

her with a chance interviewee with a unique 

story to tell. Their tales, however, hint at a 

depth of theme—life itself—that cuts far 

deeper than do the concerns of "My America..." 

itself, making the film seem comparatively 

insubstantial. Fortunately, Tajima- 

Pena' s always sunny telling makes reparation. 

Kim Williamson 

STACCATO PURR OF THE 

EXHAUST ••• 

— 

Starring Ron Garcia, Michelle Beauchamp, 

Dennis Brooks and Kristina 

Haddad. Directed, written andproduced by 

L.M. Meza. A Skunkboy Ink release. 

Drama. Unrated. Running time: 92 min. 

Screened at the Newport Beach fest. 

Despite the high-RPM title, "Staccato 

Purr of the Exhaust" is an effectively lowthrottle 

tale about Leonard, a live-at-home 

young East L.A. man whose parents give 

him encouragement by selling his bed. His 

girlfriend ("you sit here like a slug and try to 

touch me") is fond of beating him up; and, 

after showing creative flair at the photography 

joint at which he works, he's demoted 

to janitor. Yet nothing causes Leonard to rev 

his engine until his dad decides to sell 

Leonard's prized possession: his beige 1972 

Chevelle hardtop. Resolving to find his 

dreams in Texas, he tells off everyone in his 

life: all ties cut. he's striding toward his car 

when it motors off, stolen in front of him. 

Taking to life on the streets (and his parents' 

front porch), aimlessness returns, punctuated 

only by his efforts to resolve his personal 

conflicts, identify the thief and find his 

beloved auto. 

Although purposelessness in a lead always 

plays long onscreen, the film's 92- 

minute running time bears only a few 

stretches in need of petrol. A subplot involving 

a Guardian Angel-like group called the 

City Protectors, led by a civic guru of unexplained 

mystical powers, provides diversion 

but doesn't really hit on all cylinders. Kim 

Williamson 

THE LAY OF THE LAND ^1/2 

Starring Sally Kellerman andEd Begley Jr. 

Directed by Larry Arrick. Written by Mel 

Shapiro. Produced by Jonathan D. Krane 

and Sally Kellerman. A Northern Arts release. 

Comedy/drama. Rated R for language 

and nudity. Running time: 92 min. 

In a word, lousy, this supposed comedy 

brings nothing new to its tired midlife-crisis 

plot, except for some histrionics from Sally 

Kellerman as spumed wife MJ and Ed 

Begley Jr. as her husband Harvey. Beguiled 

by a bimboesque student (Sancira Taylor), 

Harvey endangers his marriage and his career 

to frolic between the sheets. The resulting 

distress leads MJ to the couch of a 

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Review Digest

— 

1 January, 1998 51 

NATIONAL 

NEWS 

DTS RAISES $MILLIONS 

Digital Theater Systems (DTS) has closed a 

private equity placement totaling $1 2 million 

and obtained a $7.5 million senior credit 

facility. 

The placement—which was oversubscribed 

from an initial goal of $10 million 

was managed by Hambrecht & Quist and 

funded by new investors Eos Partners, Weston 

Presidio Capital, Scripps Ventures and Phoenix 

Partners. Hambrecht & Quist also participated 

as an investor. 

The creditfacility is through Imperial Entertainment 

Group, a division of Imperial Bank 

in Beverly Hills, Calif. In addition tocorporate 

lending, the Croup is a big financier of independent 

films, helping to fund more than 40 

films in production with budgets ranging from 

$3 million to $30 million. It financed about 

75 films in 1997. 

DTS will use the new funding for R&D, 

infrastructure improvements and expansion 

of its marketing presence in the multi-channel 

music, home theatre and consumer electronics 

markets. 

MGM TAKING STOCK OPTIONS 

MGM has begun trading its shares on the 

New York Stock Exchange under the trading 

symbol "MGM." The company offered nine 

million shares of its common stock at $20 per 

share. MGM now has about 65.7 million 

shares outstanding. In addition, the company 

is selling 3,978,780 shares directly to Kirk 

Kerkorian's company, Tracinda Corp., for $75 

million. Most of the proceeds from this sale 

and the stock offering will be used to reduce 

company debt. 

SIGN COMPANIES SIGN DEAL 

Super Vision International, Inc., an Orlando, 

Fla. -based manufacturer of fiber-optic 

sign and lighting systems, has inked an exclusive 

five-year agreement with The Jim Pattison 

Sign Group, Western Region. This deal gives 

The )im Pattison Sign Group sole rights to 

market and sell Super Vision products to the 

sign industry in the western Canadian provinces. 

The Group has agreed to minimum 

purchases of $6.25 million during the fiveyear 

term. 

ENLIGHTENED ALLIANCE 

Tivoli Industries, Inc., Santa Ana, Calif., 

and Targetti Sankey SpA of Florence, Italy, 

have created a new U.S. I ighting fixtures company, 

called Targetti USA LLC. 

Headquartered in Santa Ana, the jointly 

owned company will manufacture, market 

and distribute original-design lighting solutions 

nationwide. Terrence C. Walsh, chairman 

and CEO of Tivoli Industries, holds the 

same titles at Targetti USA. 

CHARITIES JOIN FORCES 

Charities in the distribution and exhibition 

community have banded together to form the 

Council of Charities. Their first collaborative 

effort is a national calendar of events, listing 

sponsorship costs, available from the Will 

Rogers Memorial Fund, (888) 994-FUND. 

DUO LIGHT UP U.S. MARKET 

Osram Sylvania Products, Inc., and Osram 

Gmbh of Munich, Germany have formed a 

new business unit to handle sales, marketing, 

R&D and manufacturing of Osram Photo Optics 

products in the U.S. The Osram Photo 

HOLLYWOOD UPDATES 

Like modern-day Three Musketeers, 

David Aukin, Colin Leventhal and Trea 

Moving are a force to be reckoned with. 

With financial backing from Miramax 

Films, they have formed a new British film 

company that will develop, produce, coproduce, 

finance and acquire movies. Although 

seed money comes from the 

U.S.—$3 million for development costs, 

plus $50 million in revolving funds to cover 

production—the U.K. company will manage 

its own finances. In fact, it will run all 

Miramax's U.K. businesses, except its sales 

arm, Miramax International. Aukin was 

head of film at Channel 4, while Leventhal 

was managing director of Channel Four 

International and chairman of Film Four 

Distributors. Hoving served as executive 

vice president of acquisitions for Miramax. 

They will be joint chief executives and 

equity partners in the new company and 

will have profit participation. Aukin will 

handle production and development, 

Leventhal will manage business, operational 

and financial matters, while Hoving 

will focus on acquisitions. Leventhal will 

also work with Bob Weinstein, co-chairman 

of Miramax Films, to develop new 

businesses in the U.K. 

James Bond is a man of action, in this 

case, legal action. Metro-Goldwyn-Mayer 

Inc. and Danjaq, LLC have filed a lawsuit 

in U.S. District Court against Sony Corp., 

Sony Pictures EntertainmentCo., Columbia 

Pictures Industries Inc., John Calley and 

Kevin McClory "to protect their rights and 

joint copyright ownership in the James 

Bond film character and the underlying 

literary work authored by Ian Fleming." 

As stated by MGM, "The suit charges 

copyright infringement, trademark dilution, 

inducing breach of contract, aiding and 

abetting breach of fiduciary duty, unfair 

competition, and misappropriation of trade 

secrets." The company seeks declaratory 

relief and damages. 

Co-founded by Cubby Broccoli, Danjaq 

has produced 1 8 James Bond movies since 

1962, including the latest release, "Tomorrow 

Never Dies." 

"Bean," the visual comedy starring 

Rowan Atkinson and directed by Mel Smith 

("The Tall Guy"), is silently smashing records 

worldwide. It is the first movie to earn 

more than $ 1 00 million at the international 

Optic Business Unit, located in Danver, 

Mass., is headed by vice president and general 

manager Paul Caramagna. 

DIRECTOR JOINS FINANCE GROUP 

Lewis P. Horwitz has joined the board of 

directors of Imperial Financial Group, Inc., a 

subsidiary of Imperial Bancorp. Horwitz is 

the founder, president and CEO of The Lewis 

Horwitz Organization (LHO), an entertainment 

lending firm since 1 980. 

Acquired by Imperial Bank in 1989, LHO 

was spun off in February, 1997, and is now 

an asset of the Imperial Finance Group. 

boxoffice before opening in the U.S. In the 

U.K., it registered the biggest opening ever 

for a British film and has grossed $26.2 

million. It was the biggest opener of the year 

in Norway, Denmark and Finland and is the 

highest-grossing film ever in Serbia. "Bean" 

had the sixth-largest opening ever in Germany— 

1.1 million admissions in its first 

three days—behind "Independence Day," 

"Jurassic Park," "The Lost World," "Men In 

Black" and "GoldenEye." The German 

boxoffice stands at $32.6 million, with 4.2 

million admissions. The movie's world premiere 

in Australia produced the country's 

seventh-biggest opening weekend and netted 

35 percent of the top 10 films' business. 

ON THE MOVE: Ricardo Mestres has 

entered an exclusive three-year production 

deal with The Walt Disney Studios. Mestres 

will produce films for Walt Disney, Touchstone 

and Hollywood Pictures. His company, 

Ricardo Mestres Productions, will be 

based at the Disney lot in Burbank, where 

he will be joined by production executives 

Andrew Dunn and Daniel Davids. Mestres, 

formerly president of Holl>'wood Pictures, 

was most recently a partner in Great Oaks 

Entertainment. His producing credits include 

"Jack," "101 Dalmatians" and "Flubber." 

He is also executive producer of 

"Home .Alone 3. "...Holly Jenlcinson is the 

new director of development for Universal 

Pictures. She will be responsible for acquiring 

and developing movies. Current projects 

include "Microserfs", the film 

adaptation of Douglas Copeland's book 

about a group of programmers at Microsoft, 

the action/comedy "Confucius Brown" and 

a thriller called "Suspect Zero. "...John 

Ferraro has been promoted from vice president, 

acquisitions to senior vice president, 

worldwide acquisitions and co-productions, 

for Paramount Pictures' Motion PictureCroup. 

His recent acquisitions include 

"Breakdown," "Kiss Me, Guido" and "The 

Education of Little Tree. "...Paramount 

Pictures' Motion Picture Croup has also 

named Jeffrey Freedman director of business 

affairs. He will negotiate with producers, 

directors, writers and actors working on 

Paramount movies and will play a part in 

rights acquisitions. ..Veronica S. Davis has 

left Disney Online to become director of 

production for web developer Media Revolution, 

a company whose clients include 

DreamWorks SKG, Disney, Fox, Sony and 

Paramount. Launched in 1 996, Media Revolution 

is part of Media Ventures Entertainment 

Group.

52 BoxomcE 

— 1 

1 1 Kartoz ia n sa id that ShowTi mes wi 1 

EXHIBITION 

BRIEFINGS 

SHOW TIMES MOVE ONLINE 

ShowTimes, latest fruit of the NATO and 

Hollywood Online Internet alliance, made its 

debut at the launch of "Starship Troopers." This 

new online service enables 

moviegoers to find 

films at local venues by 

typing their zip code or 

community on the Hollywood 

Online home 

page (www.hollywood. 

com). They can search 

by movie, theatre or| 

town. A map provides 

directions to the theatre. 

TROUPERS: NATO's Bill Kjrtuîan (third from left) with 

Hollywood Online's Michael Rollens, Lyndon Colin and 

Stuart Halperin, plus a "Starship" partier; (above) Kartozian 

with star Casper Van Dien. (Photos: Katbryn Indiek) 

In a conversation with BOXOFFICE, NATO 

Pres ident B i 

help to swell the moviegoing population. He 

credits "the phenomenal growth of the Internet" 

and its "disproportionate use by younger people 

who are avid nnoviegoers." 

In addition to a movie's show times, Hollywood 

Online offers information about its stars, 

a synopsisand reviews. Trailers, video clips and 

audio interviews are included. 

RESERVED SEATING: 

PILOT PROGRAM TAKES FLIGHT 

MovieFone, Inc. and Cineplex Odeon have 

put the finishing touches to a pilot program 

offering moviegoers in Manhattan reserved 

seating at two of the chain's local theatres 

Chelsea West and the Ziegfeld. Prospective 

moviegoers can reserve their seats via 

MovieFone (777-FILM) or at the boxoffice. 

There is no charge for the service. MovieFone 

callers can choose the front, middle or rear of 

the theatre; the right, left or center section; 

and either an aisle or row seat. Because time 

is shorter at the boxoffice, ticketbuyers there 

can choose only from the front, middle or 

back of the theatre. All reservations Include 

an exact seat assignment. Seats that are ordered 

together are group>ed together. 

"Every single seat is available to everyone, 

whether you call in advance or go to the 

boxoffice. It's all on a first-come, first-served 

basis," says MovieFone CEO Andrew R. 

larecki. The move could allay consumer fears 

that reserved seating would create a first- and 

second-class moviegoing experience. 

Hicks, 

UATCSOLD TO NEW YORK INVESTOR 

Muse, Tate & Furst, Inc. is buying 

United Artists Theatre Circuit, 

Inc. (UATC), the third-largest theatre 

circuit in North America, for $850 million. 

"That assumes about $300 million for the 

common equity and refinancing of about 

$550 million of debt," says Kurt Hall, UATC's 

chief operating and financial officer. 

He confirmed that a "definitive agreement" 

had been signed and added, "There are certain 

closing conditions that we believe will be met 

sometime either [in late 1 997] or in January. 

"This acquisition is going to provide an 

awful lot of financial flexibility for us," Hall 

told BOXOFFICE. "It's going to provide us the 

opportunity to spend a lot more money renovating 

and expanding existing key locations 

and building new theatres." 

When asked if the acquisition had influenced 

the company's sale of its international 

"The second circuit that will be doing reserved 

seating, after Cineplex Odeon, will be 

United Artists, and they are going to start in 

the Second Avenue on 64th 

Manhattan at 

Street Iformerly called The Gemini]," Jarecki 

adds. After Manhattan, MovieFone will probably 

take the program to Los Angeles. The 

company intends to introduce reserved seating 

to all its 30 markets in order of size while 

continually testing consumer reaction and revising 

the concept so that it's appropriate for 

consumers in each market, Jarecki says. 

MovieFone also will take seat reservations 

via its online service, MovieLink {www. 

movielink.com). Visitors will view the theatre 

seating plan and click on their preference. 

JACKAL SENDS INVITES BY E-MAIL 

Seventy-five thousand moviegoers received 

a personal invitation to see "The 

Jackal" courtesy of MovieFone's new e-mail 

service MovieMail. More than 1 00,000 moviegoers 

subscribed to MovieMail in its first 

month, according to MovieLink general manager 

Matthew Blumberg. Subscribers sign up 

for MovieMail on MovieLink, MovieFone's 

online service, giving e-mail address, favorite 

types of movie and zip code. They receive 

targeted e-mail about movies in their genres. 

MovieMail subscribers received two e- 

mails about "The Jackal." The first was sent at 

the start of the launch week, saying "The 

Jackaj" was coming that weekend to theatres 

near them and providing a movie synopsis 

and poster plus the ability to click and link to 

"The Jackal's" website. The second e-mail 

said "The Jackal" was opening "today" and 

listed the three nearest theatres and showtimes. 

Clicking on a time connected the subscriber 

live to MovieLink to purchase a ticket. 

Will MovieMail bury subscribers under e- 

mail? Replies Blumberg, "Most people identify 

themselves as liking two genres or 2.5 

genres of movies. We run MovieMail campaigns 

for specific movies, so it's unlikely that 

we will be running, say, six campaigns for six 

different action movies at the same time." 

CLEARVIEW AHEAD 

Clearview Cinema Group, Inc. has bought 

the Roslyn Trio theatre in Roslyn, N.Y. The 

company says it will upgrade the projection 

and sound system equipment immediately. It 

theatres (see Pacific Overtures, page 55), Hall 

said, "No, not at all. In fact, most of our 

international operations had already been 

sold. Our decision was based on refocusing 

our efforts in the United States and so it was 

really a reallocation of both management 

time and capital away from international and 

back into the United States." The company 

plans to remain focused on the U.S. 

During 1997, UATC sold or closed 33 

theatres (116 screens) that were considered 

underperformers or non-strategic. This generated 

$1 7 million. At the same time, it opened 

1 new theatres (1 02 screens) and had three 

more (30 screens) due for completion by the 

end of 1997, In addition, UATC sold its theatre 

investments in Hong Kong, Mexico and 

Argentina for $42.5 million and agreed to sell 

a portion of its investments in Singapore and 

Thailand for $8.1 million. 

also plans to enhance the theatre's exterior, 

lobby facilities and auditorium seating. 

The company has signed a letter of intent to 

acquire two other theatres operated by Southland 

Theaters of Hempstead, N.Y. They are the 

Squire Theatre, a seven-plex in Great Neck, 

N.Y., and the Franklin Square Theatre, a sixplex 

in the town of Franklin Square. 

Clearview has also agreed in principle to 

buy the Parsippany 12 and Succassunna 10 

in Morris County, N.J. Both complexes are 

operated by Nelson Ferman Theaters, Inc. 

Via a separate transaction, the company 

intends to assume a lease calling for development 

of a 12-screen theatre in Mansfield 

Township, Warren County. When completed 

in spring 1 998, it will be the county's largest. 

IMAX SIGNS GIANT SCREEN PACT 

Imax Corp. will provide Cinemark USA with 

12 IMAX 3-D theatres—three each in 1998 

and 1 999 and six in 2000—for multiplexes in 

the U.S., Mexico and South America. Cinemark 

will lease at least eight systems; up to 

four in North America could be joint ventures. 

U.S. locations include Dallas, Tex.; Tulsa, 

Okla.; and Rochester, N.Y. International sites 

could include Buenos Aires, Argentina; Sao 

Paulo, Brazil; and Mexico City, Mexico. 

MORE JEWELS FOR CROWN 

Crown Theatres is enlarging its kingdom, 

opening the six-screen Crown Royale in its 

hometown of Norwalk, Conn. Niceties include 

THX-certified auditoriums with sixtrack 

digital and high-backed rocker seating. 

The company is also adding six screens to 

its Crown Marquis 10 in Trumbull, Conn. 

Construction of the 1 4-screen Crown Grand 

in Brooklyn, N.Y. and Crown's Miami Lakes 

1 8-plex in Florida begins in March. 

MUVICO'S DREAM THEATRE 

Dean Morrissey's story, "Ship of Dreams," 

provided inspiration for Muvico's new Pointe 

21 Theatres in Orlando, Fla. Images from the 

book, such as the ship that sails through the 

little boy's dreams, appear in the theatre, in 

this case suspended from the auditorium ceiling. 

The clouds, star and moon signature plus 

3-D rooftops are all present. Pointe 21 will 

contain 20 auditoriums plus a 550-seat IMAX

— 

— 

think 

3D theatre. When it opens at the end of 

January, the complex will accommodate 

3,500 moviegoers. 

BEEKMAN THEATRE REOPENS 

Past and present co-mingle at the newly 

refurbished Beekman Theatre in New York 

Cineplex Odeon has restored some of the 

original theatre fixtures which date back to 

1952, such as the balcony's wood paneling 

and the stainless steel door in the foyer. The 

theatre also has new high-back seats, cupholders, 

carpeting and digital sound. A terrazzo 

mosaic has been inlaid in the lobby floor. The 

550-seat auditorium is wheelchair accessible 

and has listening devices for 

the hearing impaired. 

GCC SET TO EXPAND 

General Cinema Theatres 

(GCC) has opened a 6- 1 

plex at The Calleria at South 

Bay in Redondo Beach, 

Calif. Spanning 68,000 

square feet, the theatre 

holds 3,100 moviegoers, 

two-thirds in stadium-style 

seats and the rest in rockingchair 

seats. All 1 6 auditoriums can play DTS-, 

SDDS- and Dolby SRD-formatted films; the 

two largest theatres are THX-certified. All 

screens are wall to wall. 

GCC has four more theaters slated to open 

in the next few months. Locations include 

Essex Green, N.J.; Franklin Mills, Pa.; Dutch 

Square, S.C; and Yorktown, III. 

ON THE MOVE 

Matthew Brandt and Thomas Brandt 

have been elected senior vice presidents of 

Trans-Lux Corp. They were formerly senior 

vice presidents of Trans-Lux's Theatre Division. 

..Gary Wagner has been appointed 

managing director and Brandon Malo has 

been named general manager of Muvico 

Pointe 21 Theaters... Raytheon Electronics 

has named Mary Jo Kuehne director of international 

sales for its cinema division. 

..Patrick Artiaga has left Lucasfilm to 

become director of distributor relations at 

Dolby Laboratories. ..Clearview Cinema 

Group, Inc. has appointed Herbert L. 

"Larry" Klein to the newly created position of 

general counsel. ..Proctor Companies has 

added four members to its staff 

Mark 

Hanne, concession sales director; Bryan Gilbert, 

customer service sales; and Duane 

Cisneros and Wendy Mesaros, designers. 

SHOWMINDER CALENDAR 

Remember to save the following dates: 

ShoWest, March 9-12, Bally's, Las Vegas, 

Nev. Call 31 0-657-7724. ..ShowCanada, May 

10-14, Empress Hotel, Victoria, B.C. Call 

41 6-969-7057. ..Cinema Expo, June 15-19, 

1998, Amsterdam. Call 212-246-6460... 

Australian Movie Convention, Aug. 18-22, 

Gold Coast. Call 011-617-33-56-5671... 

NAC Expo, Aug. 25-28, Radisson Twin, Orlando, 

Fla. Call 312-236-3858...ShowEast, Oct 

1 9-22, Trump Taj Mahal, Atlantic City. Call 21 2- 

246-6460.. .CineAsia, Dec. 8-10, Intl. Conference 

Center, Hong Kong. Call 212-246-6460. 

Q&A: 

DOMED TO 

SUCCEED 

Hollywood's famous Cinerama Dome is getting a new lease on life as the 

anchor for Pacific Theatres' planned 5.75-acre, tri-level retail/entertainment 

center. Designed by Censler Architects, the Cinerama Dome Entertainment 

Center will contain 15 new auditoriums in addition to its curvaceous 

centerpiece, and will accommodate 5,400 moviegoers. Nestled between Sunset 

Boulevard, Vine Street, and Ivar and DeLongpre Avenues, the center will offer not 

only 100,000 square feet of movie theatre space but also 63,000 square feet of 

retail/restaurant sitage, a 55,000-square-foot health club, 26,500 square feet of 

office space, and parking for 2,000 vehicles. 

Building will begin in spring 

1998 with ribbon cutting anticipated 

late in 1999. Neil Haltrecht, vice president 

of Pacific Realty Corp. (a division 

of Pacific Theatres), shares his Hollywood 

vision with Boxoffice. 

BoxOFFiCEiWhat will this project do 

for Hollywood? 

HALTRECHT: It will help to bring back 

a lot of people who live within five miles 

of Hollywood and tfie area who really 

have few options right now—people from Hollywood, the Hollywood Hills, 

Feliz, Silverlake, Hancock Park. All these people have nowhere to go tor an entertainment 

evening, so they go up to City Walk or they go to Burbank. This center will 

give them an option that is in their community, closer to home. They will be able to 

get over there in five or 10 minutes and see movies at an exciting theatre in an 

exciting venue. People would like to go to Hollywood but there are not a lot of reasons 

to go right now. This will give them a reason to go back. 

BoxoFFiCE: Will the Cinerama Dome become your flagship theatre? 

HALTRECHT: Yes, I historically it has been but, unfortunately, the singlescreen 

theatres are just closing. It's not economically viable to run a single-screen 

theatre anymore. Rather than closing it up, we think that it's a great moviegoing 

location. And by expanding it we can save it, and build it to be our flagship for the 

next 30 years. 

BoxoFFiCE: Have you decided what equipment you will use? 

HALTRECHT: In the Dome, we are exploring a variety of things right now and we 

have not finalized any decisions. As for the rest of the complex, it will be all stadium 

seating with digital sound and armrests that raise up. We are going to have some 

small auditoriums, but we a re a I so going to have several large ones; we'll have a lot 

of 300-seaters and |a few] 500-seaters. 

BOXOFFICE: Has this project been in the works for long? 

HALTRECHT: It has been in plans for more than a year now. We just want to take 

our time and think it through properly and identify the right design for it. 

BOXOFFICE: How will this move help booking practices for the Dome? 

HALTRECHT: We will have more auditoriums and we'll be able to take more product 

and hopefully open some big pictures in the Cinerama Dome. Then, we will move the 

picture over when a new big picture comes. But, even if a picture is not premiering, we 

like to open the "Lost Worlds" and the great pictures at a huge auditorium like that. It 

really differentiates us from the other theatres. It's a unique asset. 

BOXOFFICE: Are you concerned about competition from Mann's Chinese Theatre, 

which will have 14 new screens opening in a similar timeframe? 

HALTRECHT: Not at all, primarily because of the demographics in the area. If we 

were out in a suburban area with 50,000 to 1 00,000 people, I'd be very concerned, but 

within five miles there are a million people. If you look at most other 1 5- or 20-plexes 

within five miles, generally they have 250,000 or maybe 350,000 people, and we've 

got triple that. So we feel very comfortable that there is plenty of business to go around 

and that both projects will anchor different parts of Hollywood. 

BOXOFFICE: Can you describe the plans to project images onto the Dome? 

HALTRECHT: The idea is to project entertaining images, things that are fun, on the 

Dome. There are different technologies that are available to do that and we will have 

to explore them and see what works well. One thing looks good on a computer but 

[might not] when you go out there at night and actually project. We will have to see 

what works well. Lisa Osborne 

Los 

WM 

January, 1998 

S3

s 

INTERNATIONAL NEWS BRIEFS 

NORTHERN EXPOSURE 

Canadian News Notes by Shiomo Schwartzberg 

LEAD STORY: 

ALLIANCE NET INCOME UP 400 PERCENT 

Alliance Communications Corp. has announced a 400 percent boost in 

its net income for its first quarter, earning C$4.8 million (US$3.2 million) 

on revenues of C$66.6 million (US$44 million). That is up considerably 

from last year's numbers for the same period of C$955,000 (US$639,000) 

on revenues of $63.5 million (US$42 million). 

Part of the gain came from Alliance's sale of its shares in the Vancouver 

animation house Mainframe Entertainment Inc. Films such as "The Sweet 

Hereafter" and "In the Company of Men" helped film revenues jump 27.8 

percent. Video sales also increased, to C$41.8 million (US$28 million), 

mainly on the basis of such hits as "Scream," "Emma" and "Secrets & 

Lies," which Alliance also distributed theatrically. 

EGOYAN IS ISSUED HIS ORDRES 

In addition to receiving the honor of having his film, "The Sweet 

Hereafter," open the Toronto International Film Festival, and following 

his win of three awards at Cannes, Toronto filmmaker Atom 

Egoyan has also been awarded the prestigious French Ordre Des 

Arts et Lettres. Egoyan was presented the award by the French 

ambassador to Canada during a ceremony preceding the Gala 

showing of the French film "Artemisia" at the festival. 

PARAGON RECEIVES $45M LINE OF CREDIT 

Paragon Entertainment Corp. has announced that it has received 

a combined C$45 million (US$30 million) line of credit from the 

Banque Nationale du Paris to produce feature films. Twenty million 

(C$13.4 million) will be released first with another $25 million 

(US$16.8 million) to flow "if parameters [of the deal] are met," says 

Richard Borchiver, CEO of the company. That will mean Paragon's 

putting together projects that are "the kinds of deals they want." 

'Twenty million is solid," Borchiver adds. "It really means that 

we're taking a business that started last year, with market success, 

and creating a pool of credit [that will] expand exponentially, which 

is what we're going to do." 

Toronto-based Paragon recently acquired England's Handmade 

Films library, including such acclaimed films as "Mona Lisa" and 

"A Private Function," and its film "Intimate Relations" moved 

stateside this fall. 

CROTTY HEADS CINEPLEX'S INTERNATIONAL DIVISION 

Cincplex Odeon Corporation has hired Joseph R. Croliy as senior 

vice president, international, for the company. Crotty, formerly 

executive vice president, international development for United 

Artists Theatre Circuit, will lead Cineplex's planning and international 

expansion. "Joe Crotty brings a wealth of international 

expertise to Cineplex Odeon and he will play an integral role in 

establishing our solid presence in the global arena," said Allen 

Karp, Cineplex's president and CEO, in a prepared statement. 

MALOFILM PRESIDENT RESIGNS 

Yves Dion has Icll his post as president of Montreal-based 

Malofilm Distribution. The company has seen several key executives 

leave, including founder Rene Malo and senior vice president 

and chief financial officer Stephen Taka.sesy, since the company 

was purchased by Discreet Logic head Richard Szalwinski. Two 

new Malofilm members, Toronto VP and managing director Andy 

Myers and senior VP of marketing, acquisitions and distribution 

Pierre Brousseau, will split Dion's duties. 

54 BOXOFFICE 

REID NAMED CHAIR OF POLYGRAM 

John Reid was named chair of Polygram Group 

Canada Inc. as the company moves into film distnbution 

in Canada. Government regulations mean 

Polygram can only distribute films it actually 

makes in Canada. The company has agreed to 

invest $20 million (US$ 1 3.4 million) of its revenues, 

over five years, in indigenous film production. 

FAMOUS BREAKS GROUND ON PLEXES 

Famous Players Inc. has broken ground on its 

theatre in the one million-square-foot, C$200 million 

(US$134 million) Empress Walk entertainment 

complex currently in development. Along 

with Famous' multiplex, the North York complex 

will also house condominiums, a supermarket and 

stores. Famous Players also broke ground on the 

C$72 million (US$48 million) downtown Festival Hall entertainment 

complex, which will contain 13 screens and the city's first 

3-D IMAX cinema. Resident concerns have pushed the opening of 

Festival Hall back to May 1999. 

NEW ALLIANCES IN DISTRIBUTION 

Alliance has released a few films, most notably "Denise Calls Up," 

directly in the U.S. And now the company, through Alliance Independent 

Films, is planning to do the same worldwide with four proposed 

Canadian features. The forthcoming films—^Jererny Podeswa's 'The 

Five Senses," John L'Ecuyer's "The Ultimate Good Luck," Jack 

Blum's "Babyface" and John Kalangis's "Jack & Jill"—will all be 

shopped to international distributors. The plan should generate a 

higher profile for Alliance Independent Films, which has just 

appointed Ted East as vice president of production and acquisitions 

forCanadian films. He joins senior vicepresident Charlotte Mickie. 

Alliance has produced numerous Canadian films but usually 

with better-known filmmakers, such as Atom Egoyan and Patricia 

Rozema ("When Night is Falling"). Only L'Ecuyer ("Curtis' 

Charm") and Podeswa ("Eclipse") are at all known in Canada. Said 

Mickie about the four-picture plan, "We really want to develop 

relationships with filmmakers the way we did with Atom and 

Patricia Rozema." 

TORONTO'S LAST DRIVE-INS CLOSE 

Labor Day marked the closing of the last 

two drive-ins in the 

Toronto area. Famous Players' 400 Drive-In and 7 & 27 Drive-In 

both closed after their last shows on Sept. 1 as a result of the decline 

of this once popular entertainment in Canada's largest urban market. 

In what could be viewed as a symbohc reflection of the trend 

in exhibition, the 400 drive-in will be replaced by a I6-screen, 

4,800-seat multiplex. 

Torontonians still wanting to experience the drive-in phenomenon 

will have to travel to other parts of Ontario, like Hamilton or 

Oakville, to do so. Famous, which also closed the Brittania, a 

drive-in in Canada's capital city of Ottawa, now only has one 

drive-in left—Ottawa's Airport Drive-In. 

DO YOU HAVE AN EXHIBITION-RELATED NEWS 

ITEM ABOUT THE CANADIAN MARKET? 

CONTACT SHLOMO SCHWARTZBERG IN CARE OF 

OUR CANADIAN NEWS BUREAU AT: 416-638-6402, 

OR FAX: 416-324-8668

I 

i 

{ our 

laniini-i' 1 0OS ^S 


Q&A. 

PACIFIC OVERTURES 

NOTES FROM THE PACIFIC RIM by Lisa Osborne 

AMC BUILDS JAPAN'S 

LARGESTMULTIPLEX 

AMC's international arm has signed an advance lease agreement 

with Daiei Leasing Company to build a 16-screen theatre to 

anchor the existing Daiei-Nakama shopping center in the 

Nakama suburb of Fukuoka Prefecture in Japan. Daiei Leasing 

Company is a subsidiary ofThe Daiei, Inc., the shopping center's 

developer. When it opens in fall 1998, The AMC Nakama 16 will 

be the largest theatre in Japan. It will have 2,600 stadium-style 

love seats and cover about 57,000 squarefeet. All the auditoriums 

willbe SDDS equipped and have wall-to-wall curved screens. The 

AMC Nakama 16 will be AMC's second theatre in Japan; the 

circuit's Canal City 13 opened in Fukuoka in April, 1996. Mark 

McDonald, AMC's senior vice president for Asia, discusses the 

Japanese market with BOXOFFICE. 

Boxoffice: Why are you targeting the Japanese market? 

opportunity in 

MARK Mcdonald": AMC believes there is 

Japan for several reasons, [including] the low ratio of screens to 

population and the high educational level of the Japanese public. 

In Japan there is almost 100 percent literacy. From an assessment 

of the demographic profile of the consumers, we think it's a 

wonderful market on that account also. 

Boxoffice: How did you choose Nakama City as the location 

for your 16-screen theatre? 

McDONALD: We had been introduced to that location a couple 

of years ago. After the success of Canal City, the shopping center 

owner and operator decided that the theatre made a lot of sense at 

Nakama. 

Boxoffice: Why does the area merit Japan's largest theatre? 

McDONALD: It's Japan's largest theatre until we build our next 

theatre. It's just another evolutionary step in what we hope is the 

market development over time. AMC would love to begin to build 

20- to 30-screen theatres in Japan. [AMC generally has] 20-screen 

theatres in the suburban markets and 30-screen theatres in the center 

city. We would have liked to have buiU a slightly larger theatre but 

that wasn't possible; there were space restrictions. You are going 

to see a progression where each successive store has the potential 

to be larger than the previous store. 

Boxoffice: How would you describe the success of your 

Canal City 13 theatre? 

McDONALD: The theatre has done well. In Fukuoka, based on 

review of the attendance statistics, moviegoing and the market 

have increased substantially and our theatre has been received very 

well by the public. 

Boxoffice: What are the primary differences between an 

AMC theatre in Japan and the U.S.? 

McDONALD: The differences are all minor. You would recognize 

that it was an AMC theatre whether you walked into it in Japan 

or the U.S. In Japan, it's a three-level theatre, and in the U.S. it 

typically would be a one-level theatre. Although Canal City is three 

levels, Nakama will be one level. The concession stand has different 

items. Actually, there is probably one other difference in Japan: The 

ticket prices are substantially higher. In Fukuoka. our top ticket 

price is 1 ,800 yen. At today's 1 25 yen to a dollar, that makes it $14 

to $15. There are substantially fewer theatres in Japan and I think 

over time, as more capacity is built up, ticket prices will find a new 

level, a level that will support a larger consumer base and generate 

higher revenues for the total industry. 

UATC'S INTEREST IN ASIA DECREASES 

United Artists Theatre Circuit, Inc. (UATC) has agreed to sell to 

Pacific Media Pic (PM) a majority of their joint exhibition assets 

in Southeast Asia. The deal could bring UATC $8.1 million. 

As a result of these transactions, PM will acquire a 90 percent 

interest in the jointly owned Singapore Corporation and a 29 

percent interest in the Thailand Corporation. UATC will retain a 

10 percent interest in each territory. 

PM will assume management responsibihties for both countries and 

will retain the UATC Asian management team. The companies will 

continue to operate under the Unital Artists name for up to 20 years. 

PM is looking to develop multi-screen theatres in other parts of 

Southeast Asia, China and India. If suitable opportunities arise, the 

new businesses will be run by jointly owned companies under the 

United Artists name. 

AUSSIE BUYS AMERICAN 

Val Morgan Cinema Advertising, the Australian-based screen 

advertising contractor, has increased its shareholding in U.S. screen 

contractor Screen Seen, Inc. of Rochester, N.Y. to 75 percent and 

has renamed it Val Morgan Cinema Advertising, America. No 

name change is planned for the onscreen entertainment program, 

"Screen Seen at the Movies." 

Cheryl Magiros, Val Morgan's former Australian national operations 

manager, is now president of Val Morgan America. Adam 

Barone and John Schroth are vice presidents. 

MEGAMOVES DOWN UNDER: GU, FOX 

Although there was a one-month delay in its opening, reset for 

November 13, a 30-plex on the outskirts of Adelaide, South 

Australia's capital, has made Greater Union the parent of the 

Australasia region's largest movie theatre. The megaplex, which 

seats 5,676, is part of the joint venture that joins Greater Union with 

Warner Bros, and Village Roadshow. 

Meanwhile, Fox Studios Australia announced that an AUS $150 

million (US $105 million) 16-plex would open later in 1998, 

according to chief executive Kim Williams. The multiplex at the 

studio site in Sydney, which would be the city's largest, will play 

mainstream films on 12 of its screens (to be run by the Hoyts chain) 

and devote the remainder (managed by Nova Cinemas) to specialized 

fare. Adjacent retail and restaurant development is expected 

to help make the theatre a destination site. 

TOO-WILD POSTING IN TOKYO 

The East Japan Railway Co. refused to 

allow 2,500 posters 

advertising the Shochiku release "Fruit in a Bad Mood" 

("Fukigenna Kajitsu") to be placed on a heavily traveled Tokyo 

route it operates because the poster included an objectionable 

tagline: "Why is it so much fun to have sex with men other than my 

husband?" The poster's copy was penned by Mariko Hayashi, the 

female writer of the book from which the film is adapted. About 

3,700 posters were displayed in subways and rail lines not operated 

by East Japan Railway. 

DO YOU HAVE AN EXHIBITION-RELATED NEWS 

ITEM ABOUT THE ASIA-PACIFIC MARKET? 

E-MAIL LISA OSBORNE AT 

boxoffice@earthlink.net

56 Boxoffice 


EUROVIEWS 

European News Notes by Melissa Morrison 

LEAD STORY: OUT OF AFRICA 

LONDON—Another of the world's major exhibitors has announced a foray into the 

room-to-grow European market. South Africa's Ster-Kinekor, which dominates threequarters 

of its country's cinema operation scene, will branch onto another continent 

with plans for 30 European multiplexes over three years. The $1 50 million investment 

involves both the developing Eastern Europe as well as the near-to-saturation British 

Isles. It begins with Greece, where the company has begun building a 10-screen 

cinema in Athens and an eight-screen theatre in Thessaloniki, both scheduled for 

completion in October 1998. So are a 13-screener and an eight-screener in Poland, 

with 10 other possible sites in the country being considered. Next door in the Czech 

Republic, a 1 2-screen cinema in the city of Brno is scheduled to be finished in 1 999, and 

four other sites in the country are being eyed. The company is also working on a 1 3-screen 

showplace in Budapest, Hungary. In Western Europe, Ster-Kinekor has confirmed 16- 

screen theatres in both London and Dublin, which should be finished in July 1 999. There 

are plans for four other British sites. 

Meanwhile, a pair of established exhibition giants continue to develop apace. 

Warner Bros. International and Village Roadshow International are building five 

multiplexes in Italy in conjunction with the Italian company Focus. The first were to have 

opened in October in Vicenza and Verona, with another to debut in Bari by year's end. 

In addition to these, a 21 -screen megaplex is slated for Cinecitta studio in Rome and 

an 1 1-screener for Milan. Most of the theatres are planned for suburban shopping 

malls. Italy traditionally has a sparse number of multiplexes, the result of a tangle of 

laws governing new construction, but the government has worked to simplify them 

in recent years, making the country more amenable to developers. 

WAR AND PEACE 

SARAJEVO—Bosnia's first postwar film debuted in Europe to 

positive reviews and a sense that visual art can help heal viewers 

as well as disturb them. "Perfect Circle" tells the story of a poet 

surviving in Sarajevo, the site of some of the Balkan conflict' s worst 

shelling, and elicited both tears and laughter from a hometown 

audience during its autumn premiere. "I'd like to think the film can 

serve as a kind of catharsis," director Ademir Kenovic told a 

reporter. The movie joins a growing Balkan war oeuvre, which 

includes Michael Winterbottom's recent "Welcome to Sarajevo," 

Spain's "Comanche Territory," Macedonia-set "Before the Rain" 

and Emir Kusturica's Cannes-winning "Underground." Kenovic 

wrote the screenplay during the war, which tentatively ended two 

years ago with the Dayton Peace Accords. A French production 

company provided the film's $3 million budget. "Perfect Circle" 

opened the third annual Sarajevo Film Festival, whil:h ran in early 

September, and thereafter opened in France to generally good 

reviews. The festival was also notable for some economic rebuilding 

in Bosnia's war-shredded economy: Attendee Buena Vista 

International announced it was looking for a local partner to 

re-establish distribution within the country. It is hoped that Buena 

Vista's move will pave the way for the return of major distributors 

such as Warner Bros, and United International Pictures. 

NO-LITA 

ROME—Adrian Lyne's remake of "Lolita," shunned so far in 

the United States, was finally unveiled in Europe, premierin^ at the 

San Sebastian Film Festival in late September and then receiving a 

theatrical release in Rome a few days later. The $62 million film, 

based on Vladimir Nabokov's controversial masterpiece about 

erudite pedophile Humbert Humbert and starring Jeremy Irons, had 

not received an American theatrical relea.se at the time of its 

European debut—not the usual order of business for films made by 

big-budgel Holly w(X)d directors. Whetherbecauseof its touchy (so 

to speak) subject matter, as Lyne and Irons claim, or the questionable 

quality of the film, as some film executives claim, "Lolita" has 

not been greeted enthusiastically by the 

Western market, even though Lyne's 

boxoffice record ("Fatal Attraction," "Indecent 

Proposal") is strong. The movie 

was paid for by France's Pathe, but even 

Pathe's distributor arm, AMLF, has said 

it was delaying its French release till 

January. In Britain, a press campaign decrying 

the film has put its release there in 

jeopardy. The critics at San Sebastian, 

where it was screened out of competition, 

weren't thrilled. Lyne, however, has 

been widely quoted as blaming 

America's "moralistic atmosphere" for 

the movie's failure to pick up a distributor 

in the United States. 

OPPOSITES ATTRACT 

MADRID—The trend in Spain seems 

to be one of companies from opposite 

ends of the film industry spectrum hooking 

up. Art-house distributor Wanda 

Films now has access to 130 screens 

thanks to its deal with Yelmo Films, one 

of Spain's biggest cinema chains. The 

two cornpanies have formed Wanda Distribucion, which will allow 

Wanda Films to distribute a dozen films annually, up from 10. Also, 

Telefonica, the Spanish phone company, has made deals with 

private production companies, resulting, for example, in plans for 

Spain's most expensive movie ever: Andres Vicente Gomez's "The 

Trap of Fu Manchu," budgeted at $15 million. And, last but not 

least, Spain has signed a co-production treaty with Germany, 

promising future collaborations between sun-soaked Iberian auteurs 

and Middle Europe's more wintry geniuses. 

WB TO USE DOLBY FOR ALL INTERNATIONAL RELEASES 

LONDON—Warner Bros, will be utilizing Dolby Digital for all 

its international film releases, according to Tim Partriage, Dolby 

Laboratories' director of film distribution. "Warner Bros, has always 

been a valued customer and a strong supporter of our film 

formats, and we are looking forward to working with them on many 

future titles," Partridge says. Comments Steve Southgate, vice 

president of European technical operations for Wamer Bros., "The 

audiences now demand digital sound all the time, and therefore we 

are delivering prints with digital sound to as many cinemas as 

possible. We have been very nappy with the support from Dolby 

and with the sound quality of their digital system, and we intend to 

continue to use Dolby Digital on all future original and dubbed 

versions of Wamer Bros, frlms." 

PEIXOTO NAMED PRESIDENT OF UCI 

LOS ANGELES—United Cinemas International, the joint venture 

between Paramount Pictures and Universal Studios, has appointed 

Joseph Peixoto as president and chief executive officer of 

Its international exhibition operations. Peixoto leaves his position 

president of Famous Players (a wholly owned subsidiary of 

as 

Paramount) to take this post. He is now based in UCI's offices in 

Los Angeles, from where he will oversee UCI's expanded international 

development program. UCI now operates 421 screens in 10 

countries worldwide, including the U.K., Ireland, Germany. Austria, 

Spain and Japan, and has recently targeted Poland and Brazil.

January, 1998 57 

SCREEN NEWS 

LONDON—Recently rebom 

ABC Cinemas has sold off 

nine of its cinemas, throwing 

its expansion plans into question, 

while Virgin Cinemas has 

announced major refurbishment 

and expansion plans. In 

1996, Barry Jenkins, ABC's 

managing director, revived the 

circuit, which had been defunct 

for more than a decade, by orchestrating 

the purchase of 90 

cinemas from the Virgin chain. 

The reconstituted ABC then 

announced that it 

would add extra 

screens and make 

other renovations to 

the sites, as well as 

commit approximately 

$105 million 

to construct a minimum 

of 17 multiplexes. 

The nine 

theatres now sold off 

have a minimum 

number of screens, 

but Jenkins did not 

comment on 

why 

ABC decided to unload 

them. Some of 

the properties sold 

will be converted into wine 

bars, while a few will retain 

their cinematic use and be run 

by independent operators. 

Jenkins spent $109 million to 

buy the theatres comprising the 

ABC chain from Virgin, which 

itself acquired the cinemas, 

part of the MGM/Odeon circuit, 

in 1995. 

Virgin, meanwhile, has announced 

a move into other European 

countries and Japan, 

and its plans for 20 new multiplexes 

over the next three years 

in Britain are on course. The 

Virgin conglomerate, which 

includes an airline, a music 

label and the Virgin Megastore 

retail franchise, in 1997 almost 

tripled its investment in theatres 

to $57.8 million, compared 

to $19.6 million in 1996. The 

decision to speed up investment 

was initiated by the 

company's unexpectedly 

strong performance in 1996, 

when Virgin recorded a profit 

of $21.5 million, up 90 percent 

over 1 

995 ' s $ 11 . 1 million. It is 

scouting for sites abroad and 

recently acquired 25 f)ercent of 

the Film Consortium. 

And Australia's Hoyts Cinema 

will build its first European 

theatre, a 12-screener in 

Britain, the first of several 

planned cinemas throughout 

the Continent. They include 

more in the U.K. as well as sites 

in Belgium and France in partnership 

with Belgium's 

Bert/Kinepolis group. The 

flagship British cinema is 

scheduled to open March 1999. 

Q. n 

Cine-UK, 

A 

• 

STEPHEN WIENER: 

AN AMERICAN IN 

C^-i^^ • EUROPE 'S CINE-UK 

the London-based circuit that took up the rear in BOXOFFICE's list of the 

Top 20 Giants of European Exhibition (July 1997 issue), is leapfrogging its way up 

the list in Europe's most competitive market. The company opened its first 12-plex 

in July 1996 and one year later was operating 36 screens. By year-end 1998, Cine-UK 

expects to have at least 10 cinemas with a total of 1 16 screens and possibly more. That's 

vying for moviegoers with such levia- 

not bad for a company that is 

thans as Warner Bros. International TheatresAîllage Roadshow, 

United Cinemas International and National Amusements' Showcase. 

CEO Stephen M. Wiener is an American who brings his years of 

experience with Plitt Theatres, Cineplex Odeon and Warner Bros. 

Theatres (UK) to his overseas venture. He talks here about how 

Cine-UK became a David among Coliaths. 

BOXOFFICE: How would you outline Cine-UK's strategy? 

STEPHEN M. WIENER: When Cine-UK was formed, the premise behind 

the company was the fact that all multiplex cinema operators in the 

country were focusing their expansion ert'orts on the major catchment 

areas. This made sense because the more people in an area, the higher 

the potential return. In order to try to avoid competition, we selected 

markets that had previously been neglected but potentially would still 

offer us a good return on our investments. In order to maximize our 

returns, we decided that our faci I ities wou Id never be standalone because, 

in our opinion, the more facilities at a location, the greater the traffic flow 

and therefore the greater the potential revenue from the cinema. Our sites, which usually 

include restaurants and possibly bowling alleys, bingo hails, health clubs or family entertainment 

centers, offer a full range of entertainment. 

BOXOFFICE: You have an ambitious expansion plan: to reach 116 screens in 10 theatres 

In 1998. Why? 

WIENER: When we formed the company, we knew it was critical tor us to achieve a certam 

size as quickly as possible. In order to run a cinema circuit, there is a minimum level of 

corporate overhead^ and we therefore need X number of cinemas to support the overhead. It 

was also quite obvious at the time that the U.K. market was rapidly approaching maturity and 

we needed to move quickly in order to ensure we obtained 

our share of the remaining good locations. 

BOXOFFICE: As an American in Europe, what can American 

exhibitors learn from European ones? 

WIENER: The most important thing for Americans in 

Europe to remember is to listen. Americans have a tendency 

to come to Europe and to say, "This is how we do it 

and therefore this is the right way." I have found in my six 

years living and working in Europe that many American 

The most 

important thing 

for Americans 

in Europe to 

remember is 

concepts can be and have been improved upon by simply 

listening to new ideas. One example is the "Pick 'n' Mix' 

shop. Ten years ago in the U.S., I was approached with this 

idea and immediately said it could never work. It was the 

European cinemas that proved it could work, and today to listen. 

"Pick 'n' Mix" shops are in cinemas around the world. 

Stadium seating is another example of how European cinema 

operators nave taken presentation and comfort to a new level. 

BOXOFFICE: What are the biggest issues facing exhibitors in Britain right now? 

WIENER: The megaplex, market saturation, potential government interference, rising film 

rental, rising construction costs, potential minimum-wage legislation, higher taxes, inflation, 

and the list goes on. 

BOXOFFICE: How is the British exhibition scene different from the American one? From 

that of Continental Europe? 

WIENER: The British market is much more mature than Continental Europe, and it is harder 

to find locations without competition. One main difference between British and American 

exhibition is cost. The level of investment in British cinemas is greater than in America because 

things cost more in Britain. In the past, this was offset by what we termed pocket monopolies. 

When you built in an area, you were relatively assured there would be no competition. This 

has now changed, and therefore the level of risk is increasing rapidly. 

BOXOFFICE: The U.K. may be the first European country to reach screen saturation. How 

is Cine-UK prepared to meet that? 

WIENER: Once the U.K. reaches screen saturation, there will always be room for a tew new 

multiplexes each year. The first multiplex in the U.K. opened 12 years ago, and by the time 

we reach saturation it will be between 1 5 and 1 7 years old. This puts the early multiplexes in 

the category of either renovate or be replaced. 

^B

BOXOFFICE 

October November December 

JANUARY 

(Current) 

Buena Vista 

(818)567-5000 

(212)593-8900

STUDIO FEATURE CHART — JANUARY 1 998 

February March Forthcoming

60 BOXOFFICE 

2 

3 

3 

BOXOFFICE Independent Feature Chart JANUARY 1998 

DECEMBER 

Artificial Eye 

212-255-1922 

The Mother and the 

Whore 

(France, 1973), Dra, 215 min. 

Jean-Pierre Leaud, Bernadette 

Lafont, Francoise Le Brun. Dir: 

Jean Eustache. 1 2/1 

Dreamworks SKG 

818-733-7000 

Amistad (formerly Mutiny), Dra. 

Matthew McConaughey, Anthony 

Hopkins, Morgan Freeman, 

Stellan Skarsgard. Dir: Steven 

Spielberg. 12/1 OLA, 12/12 NY 

Mousehunt, Com, PC. Nathan 

Lane, Lee Evans. Dir: Gore Verbinski. 

12/19 

Fine Line 

212-649-4800 

Deconstructing Harry, Com, R, 

93 min. Woody Allen, Kirstie Alley, 

Judy Davis, Richard Benjamin, Billy 

Crystal, Robin Williams. Dir: 

Woody Alien. 12/12 NY/LAAôr, 

12/25 exp, 1/2 350 ains 

The Winter Guest, Dra, R, 90 

min. Emma Thompson, Phyllida 

Law. Dir: Alan Rickman. 12/25 

NY/LA/Tor, 1/1 6 key cities 

First Run 

212-243-0600 

O Amor Natural, Doc, 76 min. 

Dir: Heddy Honigmann. 12/31 

ltd 

Zeitgeist 

212-274-1989 

Will It Snow for Christmas?. 

Dominique Raymond, Daniel 

Duval. Dir: Sandrine Veysset. 

1 2/1 7 NY 

JANUARY 

Avalanche 

212-265-9119 

Killing Time. Craig Fairbrass, 

Kendra Torgan, Peter Harding, 

Neil Armstrong, Ian McLaughlin. 

Dir:BharatNalluri. 1/14 

Capitol 

301-564-9700 

Autumn Sun (Argentina), Rom/ 

Dra, 103 min. Norma Aleandro, 

Federico Luppi. Dir: Eduardo 

Mignogna. 

Castle Hill 

212-888-0080 

A Further Gesture, Dra, 96 min. 

Stephen Rea. 1/30 ltd 

Frozen (China), Dra, 90 min. Dir: 

Wu Ming. 

Kino 

212-629-6880 

Fallen Angels, Thr, R, 96 min. 

Leon Lai, Karen Mong, Michele 

Reis. Dir: Wong Kar-Wai. 

Live 

818-778-3174 

The Real, Dra, R. LL Cool j. Snoop 

Doggy Dog, Bokeem Woodbine. 

Dir: Darin Scott. 1/3 

October 

212-539-4000 

Still Breathing, Rom, PG-13, 109 

min. Brendan Fraser, Joanna 

Going. Dir: James F. Robinson. 

1/23 NY/LA, wide in mid-Feb. 

The Apostle, Dra. Robert Duvall, 

Miranda Richardson, Farrah 

Fawcett, Billy Bob Thornton. Dir: 

Robert Duvall. 1/30 

Phaedra 

310-478-3308 

Gonin (Japan), Act, 104 min. 

Takeshi Kitano. Dir:Takashi Ishii. 

FEBRUARY 

CFP 

212-995-9662 

Love and Death on Long Island, 

Dra. John Hurt, Jason Priestley. 

Dir: Richard Kwietniowski. 2/27 

First Look 

310-855-1199 

Mrs. Dalloway, Dra, PC-1 3, 97 

min. Vanessa Redgrave, Rupert 

Craves, Michael Kitchen. Dir: 

Marleen Gorris. 2/20 

First Run 

Paul Monette: The Brink of 

Summer's End, Doc, 90 min. Dir: 

Monte Bramer. 2/6 ltd 

Fox Searchlight 

Polish Wedding, Dra, PG-13. 

Claire Danes, Gabriel Byrne, 

LenaOlin. Dir: Theresa Connelly. 

2/20 

International Film Circuit 

Mother and Son tCermany/Russia), 

Dra, 73 min. Dir: Alexander 

Sokurov. 2/4 

Island Digital Media 

312-751-0020 

General Chaos: Uncensored Animation, 

Ani, 90 min. Various dirs. 

Tokyo Fist, SF/Hor, 87 min. 

Shinya Tsukamoto, Kahori Fujii, 

Kohji Tsukamoto. Dir: Shinya 

Tsukamoto. 


310-369-4402 

Oscar and Lucinda, Dra, R, 131 

min. Ralph Fiennes, Cate 

Blanchett. Dir:Gillian Armstrong. 

12/31 NYAA 

Leisure Time 

212-267-4501 

Twisted, Dra, 100 min. William 

Hickey. Dir: Seth Michael 

Donsky. 1 2/5 NY, 1 2/1 2 LA 

New Yorker 

212-247-6110 

128 min. 

Undereround, Dra, R, 

Miki Manojiovic, Lazar Ristouski. 

Dir: Emir Kusturica. 

Seventh Art 

213-845-1455 

Things I Never Told You, Dra, 95 

min. Andrew McCarthy, Lili Taylor. 

Dir: Isabel Coixet. 

Sony Classics 

212-833-8851 

Ma Vie en Rose, Com, R, 89 min. 

MIchele Laroque, jean-Philippe 

Ecoffey. Dir;Alain Berliner. 12/25 

NY/LA 

Strand 

310-395-5002 

Office Killer, Hor. Carol Kane, 

Molly Ringwald. Dir: Cindy Sherman. 

1 2/3 NY, 1 2/5 LA, 1 2/1 2 SF 

WOOLF WOMAN: Vanessa Redgrave in 

Cinema Village 

212-431-5119 

Cartoon Noir, Ani, 85 min. 1/30 

First Run 

Arguing the World, Doc, 107 

min. Dir: Joseph Dorman. 1/7 ltd 


Hard Men (U.K.), Dra. Vincent 

Regan, Ross Boatman, Lee Ross. 

Dir: J.K. Amalou. 

Two Girls and a Guy, Com, NC- 

17. Robert Downey jr., Natasha 

Wagner, Heather Graham. Dir: 

James Toback. 1/30 

International Film Circuit 

212-691-0770 

Every Little Thing (France), Doc, 

105 min. Dir: Nicolas Philibert. 

1/3 

"Virginia Woolfs Mrs. Dalloway. 

Sony Classics 

Afterglow, Rom/Dra, R. Nick 

Nolte, Julie Christie, Lara Flynn 

Boyle. Dir: Alan Rudolph. 

Strand 

La Sentinelle (France), Thr, 144 

min. Emmanuel Salinger. Dir: 

Arnaud Desplechin. 

Toute Vitesse (aka Full Speed). 

Elodie Bouchez. 

Trlmark 

310-314-3040 

Star Kid (formerly The \Narrior of 

Wa\/erly Street), SF, PG, 101 min. 

Joseph Mazzello. Dir: Manny 

Goto. 1/16 

The Blackout, Dra. Matthew 

Modine, Dennis Hopper, Claudia 

Schlffer, Beatrice Dalle. Dir: Abel 

Ferrara. 

Live 

Suicide Kings (formerly Boys 

Night Out), Dra/Thr, R, 107 min. 

Christopher Walken, Henry 

Thomas. Dir: Peter O'Fallow. 2/27 

Tarzan & Jane, Rom/Adv. Casper 

Van Dien. Dir: Carl Schenkel. 

2/27 tent. 

Polygram 

310-385-4000 

The Borrowers, Com, PG, 87 

min. John Goodman. Dir: Peter 

Hewitt. 2/1 

The Gingerbread Man, Thr, R, 

120 min. Kenneth Branagh, EmbethDavidtz. 

Dir: Robert Altman. 

Seventh Art 

The Long Way Home, Doc, 1 20 

min. Dir: Mark Jonathan Harris. 

2/1 3 exp Miami/SF, reopen LA 

Sony Classics 

Nil by Mouth, Dra, R. Kathy 

Burke. Dir: Gary Oldman. 

Strand 

Ayn Rand: A Sense of Life, Doc. 

Dir: Michael Paxton. 

Nights of Cabiria r/fa/y, 1957 reissue), 

Dra. Dir: Federico Fellini. 

Trlmark 

The Mummy. Alison Elliot. Dir: 

Michael Almereyda. 2/1 

Blood Oranges. Charles Dance, 

Sheryl Lee. Dir: Philip Haas. 2/27

January, 1998 61 

BOXOFFICE Independent Feature Chart JANUARY 1998 

MARCH 

CFP 

Junk Mail, Com. Robert Skjaerstad. 

Dir: Pal Sletaune. 


Paulie: A Parrot's Tale. Tony 

Shalhoub, Cena Rowlands. Dir: 

John Roberts. 3/20 

First Run 

Mendel! (Norway), Dra, 98 min. 

Dir: Alexander Rosier. 3/20 ltd 


Cousin Bette, Dra, R. Jessica 

Lange, Elisabeth Shue, Bob Hoskins. 

Dir: Des McAnuff. 3/20 

Slums of Beverly Hills. Alan Arkin, 

Marisa Tomei. Dir: Tamara Jenkins. 

Gramercy 

310-385-4400 

The Big Lebowski, Dra/Com. Jeff 

Bridges, John Goodman, Steve 

Buscemi. Dir: Joel Coen. 3/6 

Long Time, Nothing New, 

Dra/Rom. Lauren Holly, BIythe 

Danner, Jon Bon Jovi, Edward 

Burns. Dir: Edward Burns. 3/23 

Sony Classics 

A Friend of the Deceased 

(Ukraine), Dra/Thr, R. Alexandre 

Laza. Dir: Vyacheslav Krishtofovich. 

Men With Guns, Dra, R. Federico 

Luppi. Dir: John Sayles. 

Zeitgeist 

The Taste of Cherry (Iran). Dir: 

Abbas Kiarostami. 3/20 

APRIL 

CFP 

Gadjo Dilo, 97 min. Remain 

Duris, Rona Hartner, Isidor 

Sherban. Dir: Tony Gatlif. 4/3 

First Run 

Insomnia (Norway), Thr, 97 min. 

Stellan Skarsgard. Dir: Erik 

Skjoldbjaerg. 


shooting Fish. Dan Futterman, 

Stuart Townsend, Kate Beckinsale. 

Dir: Stefan Schwartz. Mid-Apr 

Live 

The Substitute 2, R. Treat Williams, 

B.D. Wong. Dir: Steven 

Pearl. 4/3 

Polygram 

Barney's Great Adventures, Fam. 

Trevor Morgan, Diana Rice, Kyle 

Pratt, George Hearn, Shirley 

Douglas. Dir: Steve Gomer. 4/3 

Strand 

Lawn Dogs, Dra. Sam Rockwell, 

Kathleen Quinlan, Christopher 

McDonald, Bruce Gill, Eric 

Mabius. Dir: John Duigan. 

Trimarl( 

Heaven's Burning. Russel 

Crowe, Youki Kudoh. 4/3 

MAY 

Fine Line 

Passion in the Desert (aka Simoom), 

Dra. Ben Daniels, Michel 

Piccoli. Dir: Lavinia Currier. 

Gramercy 

What Rats Won't Do (U.K.), 

Rom/Com. Natascha McElhone, 

James Frain. Dir: Alaistair Reid. 

Dove 

310-786-1600 

Hitchhiker's Guide to the Galaxy, 

Com/SF. Douglas Adams. 

Dreamworl(s SKG 

Untitled Neil Jordan Project (formerly 

Bue Vision, In Dreams), 

Dra/Thr. Annette Bening, Robert 

Downey Jr., Aidan Quinn, 

Stephen Rea. Dir: Neil Jordan. 

Fall 1998 

The Prince of Egypt, Ani. Voices: 

Val Kilmer, Steve Martin, Ralph 

Fiennes, Martin Short, Sandra 

Bullock. Dirs: Brenda Chapman, 

Steve Hickner, Simon Wells. Nov 

SAYLES WOMAN: Tama Cruz in John Sayles' "Men With Guns." 

Live 

The Second Arrival, SF. Patrick 

Muldoon, Jane Sibbett. Dir: Kevin 

Tenny. 5/8 

JUNE 


Saving Private Ryan, Dra. Tom 

Hanks, Ed Burns, Tom Sizemore, 

Matt Damon. Dir: Steven 

Spielberg. 6/10 

JULY 


Small Soldiers. Dir: Joe Dante. 

Mid-July 

Gramercy 

clay Pigeons. Janeane Garofalo, 

Vince Vaughn. Dir: David Dobkin. 

FORTHCOMING 

Artistic License 

212-265-9119 

Color of a Brisk and Leaping Day, 

Dra. Dir: Christopher Munch. 

Antz, Ani. Voices: Woody Allen, 

Danny Glover, Sylvester Stallone. 

Dirs: Eric Darnell, Larry Guterman, 

Tim Johnson. 1999 

Shrek, Ani. Voices: Chris Farley, 

Janeane Garofalo, Eddie Murphy. 

Dirs: Kelly Asbury, Andrew Adamson. 

1999 

Keeper. 

Neanderthal. 

Fine Line 

Wild Man Blues. Dir: Barbara 

Kopple. Spring 

Theory of Flight. Kenneth 

Branagn, Helena Bonham Carter. 

Early summer 

Pecker. Edward Furlong. Dir: 

John Waters. Aug 

Esmeralda Comes by Night (Mexico), 

Com. Maria Rojo. Dir: Jamie 

Humberto Hermosillo. 

Girl Talk, Dra/Com, R. Troy 

Beyer, Randi Ingerman, Page 

Brewster. Dir: Troy Beyer. 

The Legend of the Pianist on the 

Ocean, Dra. Tim Roth, Dir: Giuseppe 

Tornatore. 

Red Violin. Samuel L. Jackson. 

Dir; Francois Girard. 

When I Close My Eyes (japan) 

(formerly Love Letter, Letters of 

Love), Rom/Com, PG, 1 1 6 min. 

Miho Nakayama, Etsushi 

Toyokawa. Dir: Shunji Iwai. 

First Look 

The Other Side of Sunday (Norway), 

Dra, 104 min. Bjorn Sundquist. 

Dir: Berit Nesheim. 

This Is the Sea, Dra. Richard Harris, 

Gabriel Byrne, John Lynch. 

First Run 

Didn't Do It for Love, Doc, 80 

min. Dir: Monika Treut. Spring 


Ship of Fools, Dra/Com. Tony 

Shalhoub, Stanley Tucci, Isabella 

Rossellini. Dir: Stanley Tucci. 

Gramercy 

Body Count, Act, R. Ving Rhames, 

Forest Whitaker, David Caruso. 

Dir: Robert Patton Spruill. 

Elizabeth I, Dra. Geoffrey Rush, 

Cate Blanchett. Dir: Shekhar Kapur. 

The Hi-Lo Country. Woody 

Harrelson. Dir: Stephen Frears. 

I Want You, Rom/Dra. Rachel 

Weisz, Alessandro Nivola. Dir: 

Michael Winterbottom. 

Land Girls, Dra. Gwyneth Paltrow, 

Rachel Weisz. Dir: David Leiand. 

Photographing Fairies. 

Plunkett and Macleane, Act/Adv. 

Robert Carlyle, Liv Tyler, Jonny 

Lee Miller. Dir: Jake Scott. 

Greycat 

702-737-0670 

A Gun for Jennifer, Thr. 

Gurney 

212-838-2929 

Follow the Bitch, Com, R. 

Legacy 

213-467-3700 

The Leading Man, Dra. Jon Bon 

Jovi, Lambert Wilson, Thandie 

Newton. Dir: John Duigan. 

Live 

Joyride, R. Benecia Del Toro. 

The Breakup. Bridget Fonda. 

October 

Orgazmo, Com, 95 min. Star/Dir: 

Trey Parker. Summer 

Condo Painting, Doc. George 

Conde, William S. Burroughs, 

Allen Ginsberg. Dir: John Mc- 

Naughton. Fall 

The Naked Man, Com. Michael 

Rapaport. Dir: J. Todd Anderson. 

Three Seasons, Dra. Harvey Keitel. 

Dir: Tony Bui. 

24/7, Dra, 96 min. Bob Hoskins. 

Dir: Shane Meadows. 

Untitled Todd Solondz, Dra. Ben 

Gazzara. Dir: Todd Solondz. 

Polygram 

what Dreams May Come. Robin 

Williams, Annabella Sciorra, 

CubaGoodingJr. Dir: Vincent Ward. 

Shooting Gallery 

212-243-3042 

illtown, Dra, R. Michael Rapaport, 

Lili Taylor. 

Trimark 

Bombshell. Henry Thomas, Frank 

Whaley. Dir: Paul Wayne.

Boxoffice Magazine 

presents 

NovieFbne's Noviegoer Activity Report 

For the Monlh of October 1997 

MovieFone" (777-FILM^) and its sister service, MovieLink® Online, are now the single largest source ofmovie showtime information in the country, 

providing information to over 12 million moviegoers each month. Thefollowing information representi the most requested theatres and exhibitors on MovieFone. 

Top 10 Exhibitors & Theatres 

Rank 

1 

2 

3 

4 

5 

6 

7 

8 

9 

10 

Most Requested Exhibitors 

Exhibttor 

United Artists 

Sony 

Cineplex Odeon 

AMC 

General Cinemas 

Century 

Cinemark 

Mann 

National Amusements 

Regal 

Total Requests 

690,535 

596,248 

593,107 

569,162 

302,364 

209,750 

162,339 

129,378 

126,615 

121.427 

Last Month's 

Rank 

1 

3 

4 

2 

5 

7 

6 

8 

9 

10 

Most Requested Theatres 

, . „ _^, 

Last Month's 

Rank Market Theatre Total Requests Rank 

'l NY Sony Lincoln Square 67,684 1 

2 LA AMC Century 14 38,815 2 

3 BO SonyCtieri 35,160 4 

4 NY SonyOrptieum 32,361 5 

5 PH UA Cheltentiam 31,572 9 

6 NY CO Chelsea Cinemas 30.983 16 

7 PH UA Riverview Plaza 30,809 8 

8 NY Sony Village 7 30,234 13 

9 NY City Cin Cinema 1 ,2,3 28.769 194 

10 PH UASameric 28,284 35 

TMal 

Requests 

TNew York 

1,135,685 

Los Angeles 

618,732 

roallas 

485,507 

San Francisco 

336,518 

Philadelphia 

300,063 

Miami 

278,676 

Boston 

224,006 

Phoenix 

204,871 

199,195 

Toronto 

156,789 

lotnBir 

140,319 

Seattle 

118,968 

Rank 

Theatre (^ screens) 

Host Requested Theatres Per Screen 

Total 

Requests 

1 City Cin Cinema 1.2,3(3) 28,769 

2 Sony Astor Plaza (1) 8,779 

3 Sony 34th St. Showplace (3) 1 5,960 

1 Mann Vill., Bruin & Rgt. (3) 16,456 

2 CO Century Plaza (4) 17,729 

3 Pacific Crest (1) 4,132 

1 UA South (8) 13,949 

2 AMC Highland Pk.(4) 6,651 

3 AMC Forum (6) .,,«.^,^v 9.456 

1 Century Cinema 21 (1) 5,611 

2 UA Galaxy (4) 18,339 

3 UA Metro (1) 3.791 

1 UA Sameric (4) 28,284 

2 UA Cheltenham (8) 31 ,572 

timp 

Cinemagic(3) 10,448 

1 Regal California Club (6) 9,742 

2 Cobb Miami Lakes (10) 15,993 

3 Cobb Kendall (9) 13.079 

1 SonyCh9ri(4) 35,160 

2 NA Circle Cinema (7) 21,795 

Sony Nickelodeon (5) 1 1 ,926 

1 Hark Cine Capri (1) 2,553 

2 Century Glendale D-l (9) 11,793 

3 HarkCenterpoint (11) 12,242 

P*' CO Broadway (1) 1,939 

2 Sony Pipers Alley (4) 6,971 

3 Sony Webster Place (8) 13,142 

1 Famous Uptown (3) 6,829 

2 Famous Eglinton (1) 1,843 

3 CO Hyland 1 & 2 (2) 3.000 

T^ CO River Oaks Plaza (12) 12,273 

2 CO Spectrum (9) 5,825 

. Cinemark Eastway (4) 2.526 

1 Act III Crossroads (8) 13,061 

2 Act III Mountlake (9) 13,806 

3 Landmk Neptune (1) 1,472 

Top 3 Actively* Requested Theatres: 

'Callof hpociliCiillY rf;qt/< ,tfil Ihr.iUi' 

Kaylo 

ExMbttor* 

AMC 

Ad M 

AMC ThMtTM. Inc 

Aa IN ThMtrM 

Cwmikt cirMmM. Ino. 

Ctnufy ThMfeM 

SUmiftciThMtrw, LP 

( CbirMAliMMibw 

CiyCintmM 

CO 

CThMrM 

Hark HifUntThatirM 

Last Month'! 

Rank 

31 

1 

21 

5 

3 

14 

5 

2 

3 

4 

16 

10 

2 

3 

4 

3 

6 

1 

5 

3 

1 

2 

7 

1 

4 

3 

4 

2 

36 

5 

17 

4 

2 

9 

Total 

Requests 

San Diego 

98,270 

Kansas City 

85,242 

Atlanta 

81,850 

Denver 

75,219 

Minneapolis 

69,426 

Nashville 

62,392 

Washington, DC 

53,064 

Las Vegas 

51,458 

Cleveland 

48,793 

San Antonio 

42,753 

40,102 

Detroit 

35,981 

CO Worldwide 

New York, NY 

tiifliiii.* 

Rank 

Theatre (4 screens) 

1 Mann Cinema 21 (1) 

2 Pacific Cinerama (6) 

3 UA Honon Plaza (14) 

1 AMC Crown Center (6) 

2 Dksn Westglen (12) 

3 AMC Oak Park Plaza (6) 

1 Kings Memorial (4) 

2 AMC Phipps Plaza (14) 

3 Kings Cobb Center (6) 

1 UA Continental (6) 

2 Mann Cherry Creek (8) 

3 AMC Colorado Plaza (6) 

Total 

Requests 

647 

3,775 

8,158 

5.460 

9.588 

3,823 

1,638 

5,485 

2,317 

3,576 

4.739 

2.890 

1 Landmk Uptown (1) 

1,048 

2 Mann MN Suburban World (1) 610 

,„„î3Kj.:^.j!3CC Har-Mar-Eleven (11) 5,117 

1 Carmike 6 Harding Mall (6) 3.905 

2 Carmike Lion's Head (5) 3.131 

3 Carmike Fountain Sq. (14) 8.024 

1 CO Cinema (1) 1,951 

2 CO Uptown (1) 1,417 

3 CO West End 1-4 (4) 2,807 

1 UA Showcase (8) 5.147 

2 Century Cinedome (12) 7,159 

3 UA Rainbow Promenade (10) 5,582 

1 Regal Severance (8) 5,409 

2 General Southgate (3) 1,703 

3 GCC Ridge Pk, Sq, (8) 4,093 

1 Act III Mission D-l (4) 1,834 

2 Act III Bandera (6) 2,528 

3 Act III Galaxy (14) 5.822 

"Century Century 21 (2) 1 ,784 

' 

2 Century Sacramento D-l (6) 2,750 

3 Century Complex (12) 5,427 

1 Star Lincoln Park (8) 2,3 "(; 

2 AMC Eastland (2) 550 

3 Star Taylor (10) 2,520 

Sony Lincoln Sq. 

New York, NY 

Hdywod HolyjWpBTlWBW> 

Kngs 

_ Landmk _ UnSnwkTftMti* Corp 

Marm MN Mann MirmeApolis 

Mat McUqpoMan Thutres Corp 

MJR MJR ThMtiQ S«rvx« 

MuvKo Muvico TheatTM 

Last Month's 

Rank 

3. Met Courtyard 10 

San Diego, CA 

NA National AmuMOWits 

Paalic Pacrfc Thaaw a 

Rogal RaoalClnamaa 

Sony SonyThaattM 

Star Loak»-Stv TbMbes 

SupSav Suptr Savar Onamai 

UA Unllw] Arttets Thaatra Circufl 

4 

21 

8 

2 

3 

11 

11 

4 

1 

4 

8 

1 

8 

11 

10 

3 

11 

10 

1 

2 

3 

4 

1 

2 

4 

1

HOME RELEASE CHART 

Hi^tS^'^ JANUARY 1998 

HOME VIDEO 

RELEASE 

DATE

t\A 

^fWtWVM-^ 

1 14 

— 

Fax 

ADVERTISER INDEX 

Automaticket/Hurley Screen Corp. . 49 

Caddy Products 34 

Cinema Equipment Inc 27 

Cinema Supply Co. Inc 49 

Cinema Technologies 46 

Crain/Atlanta Inc 39 

DTS (Digital Theater Systems) ... 7 

Dolby Laboratories Inc 9 

EIMS Inc C-4 

Electronic Creations Inc 46 

Equipment, Etc 47 

Flavor Wear 37 

Funacho 21 

Glassform 14 

Hadden Theatre Supply Co 36 

International Cinema Equipment Co. 47 

Kinetronics Corp. USA 36 

Largo Construction Inc 37 

Lavi Industries 13 

Maroevich, O'Shea & Coghlan 39 

NCS Corp 32 

National Cinema Service Corp. ... 35 

OSRAM SYLVANIA 19 

Peavey Electronics Corp 11 

PepsiCo. Inc 3 

Permlight Technology 41 

Pot O'Gold Productions Inc 49 

Proctor Companies 25 

QSC Audio Products C-3 

Sensible Cinema Software 65 

Smart Products Inc 23 

Smart Theatre Systems C-2, 29 

Sony Cinema Products Corp 33 

System Operating Solutions 46 

Tivoli Industries Inc 15 

United Artists Theatre Circuit, Inc. . 65 

Willming Reams Animation Inc. . . 38 

CLASSIFIED ADVERTISING 

RATES: $1.00 per word, minimum $25, $15 extra 

for box number assignment. Send copy with check 

to BoxoFFiCE, P.O. Box 25485, Chicago, IL 60625, 

at least 60 days prior to publication. 

BOX NUMBER ADS: Reply to ads with box numbers 

by writing to Boxoffice, P.O. Box 25485, 

Chicago, IL 60625; put ad box number on letter 

and in lower-left corner of your envelope. 

. 

now is the time to let us hear from you! Theatre/Swap or 

other management experience required and some college 

helpful. Send your resume and salary requirements to 

Century Theatres and Swaps, Attn: Human Resources 

Job Code MGR0897, 150 Golden Gate Ave., San Francisco, 

CA 94102. No faxes or phone calls please. 

MUVICO THEATRES, INC. is looking for energetic individuals 

to join their management team in the Southeast 

region. Qualified candidates will have management experience 

in theatre, retail or food service industries. We offer 

a challenging career in a fast growing theatre circuit. 

Competitive salary, bonus and benefits. Relocation expenses 

will be paid. Replies held in the strictest confidence, 

please send resumes and salary history to: 

MUVICO THEATRES, INC., 9101 International Drive, 

Suite 2100, Oriando. FL 32819, Attn: Carrie Dent. 

SEDONA, ARIZONA—Harkins Theatres is seeking a 

general manager for our state-of-the-art luxury cinema 

complex in the picturesque resort community of Sedona, 

Arizona. Previous theatre management experience is preferred. 

We offer superior benefits and a salary range of 

$35-40K. Send resume and salary history: Attn: Janel, 

Harkins Theatres. 8350 E. l\^cDonald Dr., Suite 2, 

Scottsdale, AZ 85250. 

THEATRE MANAGEMENT OPPORTUNITY: Wallace 

Theatres, a nationally recognized regional theatre circuit, 

is seeking outstanding theatre management professionals 

to join our rapidly-growing organization as General 

Managers. If you are a team player, enjoy working with 

the public and are seeking a career and a future in the 

motion picture exhibition industry, send your resume to: 

Personnel Director, Wallace Theatre Corp., 3375 

Koapaka St., Suite 345, Honolulu, HI 96819. 

EQUIPMENT FOR SALE 

16MM BELL AND HOWELL sound projectors. Fully automatic, 

latest models. $50.00 + UPS zone 08 to your 

zone, 45 lbs. All excellent and complete! Lloyd Muhr, 6927 

Amherst Street, San Diego, CA 921 1 5. (619) 463-1 1 49. 

1994 STEIN CONCESSION STAND cabinet including: 

three large candy cases, one ADA regulation height candy 

case, four drink stations, three popcorn warmers, one 

popper base, six cash drawer stations, one hot dog station, 

one nacho station, one hand sink station. One—two 

station box-office counter. Formica colors: teal sides & 

beige top. Stainless steel three compartment sink, ceilingmounted, 

stainless steel grease hood, Evenrude water 

filtration system. EXCELLENT condition and easily adaptable 

to fit any lobby design. Photos and blueprints available. 

Fax inquiries to Identity Updates: (612) 770-6323. 

ACOUSTIC SOUND PANELS & CUSTOM WALL DRA- 

PERIES available in flameproofed colors and fabrics, 

artistic or plain. CINEMA CONSULTANTS & SERVICES 

INTERNATIONAL INC., P.O. Box 9672, Pittsburgh, PA 

15226. Phone (412) 343-3900: Fax (412) 343-2992. 

BURLAP WALL COVERING DRAPES: $2.05 per yard, 

flame retardant. Quantity discounts. Nurse & Co., Millbury 

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

COMPLETE CONTENTS of two-screen theatre, over 

1,200 seats, Christie lamphouses, ticketing, projectors, 

amps, (some antique equipment), drapes, two air conditioners 

and water tower, everything must go. Call (888) 

749-7500. 

COMPLETE THEATRE EQUIPMENT: (New, Used or 

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

2 and 5 Tier, Xenon Systems 1000-4000 Watt, Sound 

Systems mono and stereo, automations, ticket machines, 

curtain motors, electric rewinds, lenses, large screen 

video projectors. Plenty of used chairs. PROFESSIONAL 

SERVICE AND INSTALLATION AVAILABLE DOLBY 

CERTIFIED. Call Bill Younger, Cinema Equipment, Inc., 

1375 N.W. 97th Ave., Suite 14, Miami, FL 33172. Phone 

(305) 594-0570. Fax (305) 592-6970. 1 -800-848-8886. 

CUPHOLDER ARMREST. "State of the art." Call Cy 

Young Industries Inc. 800-729-2610. 

EVERYTHING YOU NEED to start. Equipment in good 

working order to equip a minimum of two theatres. Includes 

approximately 500 seats and projection equipment 

from bankrupt theatre in S.E. Arizona, fvlany extras. For a 

complete list of the equipment, call (520) 428-1341 or 

Email: jenny@aepnet.com. 

MICRO-FM STEREO RADIO Sound Systems for Drive- 

In Theatres. Meets FCC part 15. Static free. Available 

soon: low cost Micro-FM-jr. For the hearing impaired. Call 

or write: AUDIO VISUAL SYSTEMS & ENG.. 320 St. Louis 

Ave., Woonsocket, Rl 02895. Phone (401) 767-2080; Fax 

(401)767-2081. 

NEW, INEXPENSIVE TICKETING AND CONCESSIONS 

SOFTWARE/HARDWARE !!!! Call (800) 891-1031. 

PATRON TRAY. Fits into cupholder armrest. Call Cy 

Young Industries Inc. at 800-729-2610. 

PROJECTION EQUIPMENT—Complete twin booth. Simplex 

XL houses, platters, automation, splteer, etc. Call (301) 

949-4761 . 

(301 ) 949-4763. 

TABLET TRAYS. Fits into all cupholder armrests. Used in 

multi-purpose theatres, bingo, etc. Call Cy Young Industrieslnc. 

at 800-729-2610. 

TELEPHONE ANSWERING EQUIPMENT. All major 

brands of reliable, heavy-duty tape announcers and digital 

announcers are available at discounted prices. Please call 

Jim at Answering Machine Specially, (800) 222-7773. 

THEATRE EQUIPMENT FOR SALE or 5 screen theatre 

for lease to qualified tenant. 5 projection booths, seats in 

excellent condition. Located in Riverview, Michigan. Call 

Ervin Sleinerat (305) 292-1622. 

USED 35MM E-7 PROJECTORS, RCA sound heads. 

Xenon lamps, rectifiers, amplifiers, HD bases, rewinds, 

manual and automatic, concession equipment as well as 

boxoffice. Call R. Negrette at (818) 362-1777. Prices 

reasonable and negotiable. Or write 13926 Graber Ave., 

Sylmar.CA 91342. 

USED EQUIPMENT FOR SALE: Projectors, prewired 

stereo racks, platters, lamps, etc. Ask aliout our financing 

program. Premier Seating Co. Inc., 800-955-SEAT, fax 

(410) 686-6060, e-mail: pseating@aol.com. 

Vtitx^tMi 

rrr/l, I,,,»I777'>. 

Hkli^ 

Hoxu'ôi ^'^^ 

HELP WANTED 

ARIZONA—Harkins Theatres has immediate openings 

tor managers and assistant managers for our state-of-thean 

luxury cinema complexes located in the Phoenix area 

and Sedona. Previous theatre management experience 

is preferred. Growing company with career opportunities. 

We offer superk>r benefits and salary. Send resume and 

salary history: Attn. Janel, Markins Theatres, 8350 E. 

McDonald Dr., Suite 2, Scottsdale, AZ 85250. 

CINEVtSION CORPORATION is 

accepting applications 

for experieficed technicians with knowledge of projection 

and sound equipniant. Send resume and salary requirements 

to Can Watkins at 3300 N.E. Expressway. BIdg. 

2A, Atlanta, GA 30341. 

LET THE GOVERNMENT RNANCE your new or existing 

smal business. Qrantsloans to $500,000. Free recorded 

«: (707) 448-0270. (RN7) 

MANAGER AND MANAGEMENT TRAINEE positions 

are avaieUu. We are people-oriented and believe that 

excellent customer servk^ and state-of-the-att technology 

are the keys to success in the movie theatre/swap 

meet irxJustry. We offer a wkle variety of twnetits. competitive 

salaries and opporiunities for professk>nal growth. 

Join our team as we exparxl in California, Nevada, Arizona, 

New Mexk», Utah, Texas, Cotorado and beyond. If 

you are kx>klng for growth and opportunity and have the 

enthusiasm and the ability to manage/motivate people. 

^ -^!^^^m?ifir'iml:^

San 

. . 

Fax 

3 

USED PROJECTION EQUIPMENT: Replacement equipment, 

single or multi booths available. Please call if you 

are purchasing or selling. CINEMA CONSULTANTS & 

SERVICES INTERNATIONAL INC., P.O. Box 9672, Pittsburgh, 

PA 15226. (412) 343-3900, fax (412) 343-2992. 

WILL TRADE: YOUR THEATRE SEATS FOR OUR 

USED THEATRE EQUIPMENT. Great condition at great 

prices. Platters, projectors, lamphouses, complete prewired 

stereo racks and much, much more. Premier Seating 

Co. Inc., 800-955-SEAT, fax (410) 686-6060, e-mail: 

pseating@aol.com. 

EQUIPMENT WANTED 

PURCHASE OR TRADE; For your used theatre equipment, 

concession equipment, theatre seats. Ask about 

our storage facilities and our financing program. Premier 

Seating Co. Inc., 800-955-SEAT, fax (410) 686-6060. 

e-mail: pseating@aol.com. 

VINTAGE TUBE TYPE AMPS, woofers, drivers, homs, 

parts, from Western Electric, Westrex, Altec, Jensen, JBL, 

EV, Tannoy, l^clntosh, Ivlarantz. Phone David at (818) 

441-3942. P.O. Box 80371 , lârino, CA 91 1 1 8-8371 

WANTED!!! Used theatre equipment. Will buy or trade 

and will pick up anywhere in the United States. Let US 

make YOU a deal. Cinevision Corporation, 3300 N.E. 

Expressway, BIdg. 2A, Atlanta, GA 30341 . (770) 455-8988. 

WANTED DEAD OR ALIVE: We will purchase Century 

projectors or soundheads, new or old. complete or incomplete, 

for cash. Also interested in XL and SH-1000. Call 

(502) 499-0050. Fax (502) 499-0052, Hadden Theatre 

Supply Co., attn. Louis. 

WE WILL PURCHASE your used theatre equipment. 

Consignments, outright purchases, trades, what have 

you? There is only one INTERNATIONAL CINEMA 

EQUIPMENT COMPANY at one location in the USA. 

(305) 573-7339, Fax (305) 573-8101. VKWw.iceco.com. 

SOFTWARE 

TICKETING SOFTWAREfor IBM-PC. Complete software 

package designed for independents and small circuits. 

Point-Of-Sale ticketing for 1-12 movies with daily and 

weekly reporting system. Now in use at over 60 theatre 

locations in the U.S. Use your own IBM compatible. We 

have inexpensive thermal printers, automated cash drawers 

and pole displays. Software from $399. Printers from 

$499. Call (615) 790-7797 for free demo or download now 

on our website at sensiblecinema.com. 

THEATRES FOR SALE/LEASE 

CALIFORNIA'S KERN RIVER VALLEY and Lake 

Isabella. Only theatre for entire area. Outstanding climate, 

recreation, schools. Clean, neat, efficient, with terrific 

picture and sound. Tumkey. Call Dennis at (760) 376- 

6910 (theatre), or (760) 376-3605 (home). 

LIVE IN GOD'S COUNTRY. Established movie theatre 

business in Ely, Minnesota—heart of canoe country. Business 

benefitting from expanding tourism industry. 

$175,000. Call Kangas Realty. (218) 365-3236. 

OWNERS MUST SELL family-run theatre and properties, 

located in a progressive farming community. The building 

is 1 00 feet wide, located on Main Street. 400 seat theatre 

in one side of the building, other side is a ready-to-be-finished 

shell. Asking $395K. Please call (941) 658-1100. 

WORLD FAMOUS: Theatre for sale in the Valley of the 

Dinosaurs and the home of the world-famous Royal Tyrrell 

museum, tourist location. 378 seats, newly renovated 

1996, Dolby sound system, volume over $250,000. List 

$275,000. Drawing area 30,000. Lome Shapiro, Canalta 

Real Estate, Drumheller, Alberta, Canada. (403) 823-21 1 1 

THEATRES WANTED 

LOOKING FOR SMALLER TOWN THEATRES-pref. in 

Northwestern states. All calls welcome. Call (509) 493- 

4779 days, (509) 493-311 3 evenings. 

DRIVE-IN CONSTRUCTION 

DRIVE-IN SCREEN TOWERS Since 1945 Selby Products, 

Inc.. P.O. Box 267, Richfield, Ohio 44286 (330) 

659-6631, 800-647-6224. 

SCREEN TOWERS INTERNATIONAL New, used, transplanted, 

complete tower sen/ice. Box 399, Rogers, TX 

76569. Phone: 800-642-3591. 

THEATRE SEATING 

500+ PUSH BACK THEATRE SEATS with cupholders for 

sale. Great condition. Rust cotor. 4 Cinemeccanca proj.. 3 

with turrets. (888) 341-1853. (760) 921-2245. Jim/Marilyn. 

ALLSTATE SEATING is a company that is specializing 

in refurtDishing, complete painting, molded foam, tailormade 

seat covers, installations, removals. Please call for 

pricing and spare parts for all types of theatre seating. 

Boston, MA. Phone (61 7) 268-2221. FAX (61 7) 268-7011. 

AUDITORIUM SEATING SPECIALIST. New installations, 

rebuilds, repairs and reasonable rates. Bob. (970) 

224-1147. Perfection Seating Inc., 295 Lone Pine Creek 

Drive, Red Feather Lakes. CO 80545. 

"BOOSTER B. SAURUS170 Child booster seats. Call Cy 

Young Industries Inc. at 800-729-2610. 

CHILD BOOSTER SEATS: Molded plastic, large quantity 

in stock, multiple colors available, will not deteriorate like 

booster bags. Premier Seating Co. Inc.. 800-955-SEAT, 

fax (410) 686-6060, e-mail; pseating@aol.com. 

FINALLY, AN ALTERNATIVE TO ON-SITE UPHOL- 

STERY: Call us about our new upholstered backs and 

cushions by mail program. More cost-efficient than on-site 

upholsterers, fast turn-around, quality controlled in our 

40,000 sq. ft. state-of-the-art factory. Premier Seating Co.. 

800-955-SEAT. fax (410) 686-6060. e-mail; pseating@aol.com. 

FOR SALE: 300 cushion theatre seats plus extra parts. 

All for $2,900. Rialto, Box 524, Terry, MT 59349. Phone 

(406) 635-5384. 

ON-SITE UPHOLSTERY and replacement covers. Parts 

available for many chairs. Our "Bakers Dozen" gives you 1 

covers for the cost of 1 2. Nationwide service. Free samples. 

Call Complete Industries for pricing. (800) 252-6837. 

SEAT AND BACK COVERS; Most fabrics in stock. 

Molded cushions. Cy Young Industries Inc.. 800-729-2610. 

SEAT FOAMS: All makes/all models, fast tum-around. 

Premier Seating Co. Inc.. 800-955-SEAT. fax (410) 686- 

6060. e-mail: pseating@aol.com. 

SEATS CLEANED on site. 

$1.56-32.36 per seat (coast 

to coast). Call (800) 879-231 1 . 24 hours, for brochure. The 

Carpet Cleaner. P.O. Box 154, Osceola, MO 64776. 

SEATS FOR SALE. American Stellars. great condition. 

Call (316) 794-2858 or (316) 650-2255. 

SEATS FOR SALE, excellent condition. Stellars and 

Massey. Call (301 ) 949-4761 . (301 ) 949-4763. 

THEATRE SEAT AND BACK COVERS: Large in-stock 

fabric inventory, fast turn-around, competitive pricing at 

any quantity. Premier Seating Co. Inc.. 800-955-SEAT, 

fax (410) 686-6060. e-mail: psealing@aol.com. 

THEATRE SEAT RECONDITIONING: Total or partial 

theatre seat restoration in our 40.000 sq. ft. state-of-theart 

factory, featuring sandblasting, powder-coating, and 

in-house upholstering. Restore your seats or purchase 

from our inventory. Ask about our in-house financing 

program. Premier Seating Co.. 800-955-SEAT, fax (410) 

686-6060, e-mail: pseating@aol.com. 

THEATRE 

WANTED: Will 

SEATS 

buy/trade 

for surplus and unwanted 

theatre seats, all makes 

and models. Premier Seating 

Co. Inc., 800-955- 

SEAT, fax (410) 686-6060. 

e-mail; pseating@aol.com. 

USED AUDITORIUM 

CHAIRS: Choose from 

a 

large selection of different 

makes and models and colors. 

American Stellars and 

Irwin Citations competitively 

priced, shipped and 

installed. ACOUSTIC 

SOUND PANELS AND 

CUSTOM WALL DRAPERlES 

available in flameproofed 

colors and fabrics, 

artistic or plain. CINEMA 

CONSULTANTS & SER- 

VICES INTERNATIONAL. 

Inc. P.O. Box 9672. Pittsburgh. 

PA 15226.(412) 343- 

3900, Fax (412) 343-2992. 

SERVICES 

ALTEC, JBL, E.V. 

SPEAKER RECONING: 

Factory authorized service, 

fast turnaround. We stock 

diaphragms for popular 

theatre drivers. Cardinal 

Sound & Motion Picture 

Systems. Dealer inquiries 

welcome. (301) 595-8811. 

FRONT END INSTALLA- 

TION with frames, motors 

and masking tracks. Call 

Cy Young Industries. 800- 

729-2610. 

MY 50TH YEAR with 

M.P.M.O.. Local 249. Dallas. 

TX!! Call me. "Pinky" 

Pinkston, to rebuild your 

Century, Simplex projector 

and soundhead. Also, inter- 

Sensible Cinema 

Softv\/are ® 

'^âr/ TICKETING SOFTWARE 

•New Version 3.10 

• Fast Thcnnal Printing 

• Hourly, Daily & Weekly Reports 

• 

Pole Display & Cash Drawer Support 

Têw/ MARQUEE MANAGER 

AU SEATS 1130 

CHEyKiHASE 

lATESmWFRlCSAT 

Creates Letter "Pick List" 

Recycles Old Letters 

Clxiks Letter Inventoiy 

Saves Time e c 

and errors! y 1 O 

www.sensib ecinema.com 61 5-790-7797 


mittenls. Pinkston Sales and Service, Rt 1, Box 72H, 

Sadler. TX 76264. Or call (903) 523-4912. 

INDEPENDENT THEATRE BOOKING. Over 30 years 

experience. L.A. based, now accepting a few new accounts. 

Personal service, reasonable rates, well-connected. 

Write; Charies Boeckman. 22030A Ventura Blvd.. 

Suite 140. Woodland Hills, CA 91364. (818) 347-0963. 

SOUND/DRAPING FABRICS IN STOCK. All new selection 

of fabrics. Installation on brackets available, or sewn 

in pleated drapes. Call Cy Young Industries 800-729-261 0. 

SOUNDFOLDS & CURTAINS cleaned and fireproofed on 

site $.20-$.40 per hung sq. ft. (coast to coast). Call (800) 

879-2311, 24 hours, for brochure and information. The 

Carpet Cleaner. P.O. Box 154. Osceola, MO 64776. 

THEATRE PROJECTION and sound installation, service 

and upgrades. Most manufacturers. Reasonable rates. 

Call Tom at Wyse Guys Theatre Service, (888) 249-6684. 

ULTRAFLAT. REFLECTORS: Why buy new when you 

can have it restored? "Hopeless" cases restored to brightness. 

Call your dealer or ULTRAFLAT. 20306 Sherman 

Way. Winnetka. CA 91306. (818) 884-0184. 

http://www.ultraflat.com 

"WHILE THE THEATRE SLEEPS" On-site reupholstery. 

Top fabrics, molded seat cushions and "State of the Ail" 

Cy Young cupholders. Call Cy Young Industries Inc.. 

800-729-2610. 

Chief Projection & 

Sound Technician 

United Artists Theatre Circuit, Inc. is seelîng a Technician for Iwth 

the West and Central Regions. Responsibilities: provide technical 

supervision of district Projection & Sound Technicians; supervise 

installation and maintenance of p&s systems; design and supervise 

maintenance of accurate records; maintain, check and service p&s 

in the theatres; provide technical supervision and training as 

required; order equipment, coordinate manpower and tracic completion 

of projects; oversee, approve/correct all part orders generated; 

procurement of parts and supplies for theatres through corporate 

procedures; coordinate manpower with proper tools, test equipment 

and technical information; assist Field Technicians and Managers 

with technical needs; and coordinate with the Construction 

Department on their p&s needs for new jobs as well as renovations. 

You will also provide backup for projects, emergencies, vacations, 

time off, etc; design, order and install p&s related equipment in new 

theatres working with General Contractor, their Sub-Contractors, 

the Architect and Operations; maximize use of currently owned 

equipment and establish fair pricing for equipment scheduled for 

resale; design and maintain accurate records such as theatre 

inventories, service reports, THX sound system reports, new construction 

files and assisted listening devices. 

Candidate will have an AA degree or technical school training in the 

areas of mechanical or electronics disciplines, 5 years' service in 

projections and sound system design installation and maintenance, 

knowledge of overall operating p&s systems, ability to present information 

to top management. Must also be highly motivated with the 

ability to accomplish goals/projects. Frequent travel by car and air 

required. 

Please mail or fax resume with salary history to: 

United Artists Theatre Circuit, Inc., . 

Attn: P&S, 9110 E. Nichols Ave., 

^^_.^_âM& 

IMTHJ/lHlBrSiP" 

Suite 200, Englewood, CO 80112, 

fax: (303) 792-8221 . No phone calls Theatres 

please. 

EOE 

January, 1998 65

I>A 

K(>Vfii.'i w I 

iriie lEisf Picture 

— 

Religious 

epics are nothing new to the movies, though tiie gcnir 

lias been rehitively domiiint in recent times, hi the silent eni. 

when tlie vast majority of Ameiicans were regukirchurchgoersand 

mov iegoing tastes were farniore unilbnTi than they are today, 

many of the first bigsereen spectacles were gnxinded in religious 

imagery. The latent |X)\\ cr of the movies to transport audiences to 

faraway times and places was only beginning to be discovered, 

along with a tendency to ignite debate over public morals. The 

appeal of tliat Old Tinie Religion was therefore twofold: The ina,ss 

audience could be assunicxi to have ;ui acute interest in religious 

subjects, and the Bible seemed a safe bet to producers tired of pi tched 

battles with censorship boards. 

The silent cycle of religious epics was epitomized by a relative 

handful of titles: the original "Ben-Hur." which set a tale of sex, 

violence, white slavery and gladiatorial combat against the passion 

of Christ; Cecil B. DeMille's "The King of Kings," a blockbuster 

retelling of the life, death and resurrection of Jesus that packed in 

revival audiences well into the sound era; and DeMille's silent 

version of "The Ten Commandments," which used a llashback/fla-shforward 

structure borrowed from D.W. Griffith's '"Intolerance" 

to combine the story of Moses with a jazz age "Rake's 

Progress" seething with illicit sex and corruption. 

Judeo-Christian imagery was so pervasive during the period that 

some of the contexts it i^Jpeared in were positively surreal. Producer 

Thomas Ince's "Civilization"—a wildly popular pacifist 

spectacular credited with helping Woodrow Wilson retain tlie 

White House in 1916—culminated with a sequence combining 

politics and the New Testament with Dickens' "A Christmas 

Carol": a ghostly Christ, escorting a ghostly Kaiser Wilhelm over 

Europe's battlefields, revealing the full horror of what expansionism 

and realpoUtik hath wrought. 

Although rehgious values ccmtinued to permeate American movies 

throughout the '30s and '40s. biblical tfiemes took a breather 

during the early sound era. Of course, there were exceptions, most 

of which were made by DeMille: His 1932 "birth of Christianity" 

saga "The Sign of the Cn)ss" set a new standard for lowdown 

sensuality in the service of hi^ moral purpose, including graphic 

iinages of Claudette Colbert bathing nude in ass's milk. Christians 

being speiired by Roman arrows, and a captive maiden—vircathed 

only in a few strategically placed garlands—îiwaiting violent death 

in the Colosseura 

DeMille's decision to use Christianity as anti-censorship insurance 

was validated by a letter from a powerful censorship activist 

of the era with the unlikely name of Colonel Jason Joy. "Ordin;irily 

we would have been concerned with those f)ortioas...in winch ihc 

Roman Dancer executes the Kootch' movement," Joy warte. "But 

since the director.. .used dancing to show the conflict between 

paganism and Oiristianily. we arc agreed that there is justification 

for its use under ihe Ccxle." 

In 

the '5{X, DeMille launched the second great pericxl of the 

religious epic when he decided to retum to "Tlie Ten Commandments" 

for his final fealure and struck an unanticipated vein of 

boxofllce gold. The year w as 1 952. and 1 lollywtX)d was in the midst 

of crisis thanks to the advent of television, which put contemponuy 

releases into direct competition with the earlier and often better 

movies being beamed into American living nxims every night. 

Spectacle became the rallying try: epic images, ravishing color, 

thundering .soundtracks—anything diat could emphasize the scale 

of seeing a movie in a inoviehouse over tlie cut-price black-andwhite 

of'50s broadcast TV. And DeMille, a filmmaker never known 

kit doing things small, gave Ihe people wliat 

they wanted with 

'TC2": giKlIy fireballs, wnthing pagso devil-worshippers, and a 

blast of Old Testament wrath on llio biuiks of the Red Sea that set 

new stiindards for special eft'ects. 

Judeo-Christian imagery 

was so pervasive during 

tlie period tliat some 

of the contexts it appeared 

in were positively surreal. 

In the aftermath of "^fhe Ten Commandments'" success, a spate 

of religious epics that lasted well into the '60s was bom. "The 

Robe"—which made a star of Richard Burton and was the first 

CinemaScope release—told fictionally of the religious conversicm 

of a Roman soldier who had participated in Christ's cmcifixion. The 

silent smash "Ben-Hur' got a fresh coat of paint and won a staggering 

1 1 Oscars—-a record that still endures. "Quo Vadis?"—with 

Peter Ustinov as a giddy, psychotic Emperor Nero—revived the old 

"Sign of the Cross'' formula by pitting orgiastic Roman decitdence 

against Christian piety lor fun and profit. 

Some of Hollyw

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Response No. 472

Boxoffice-January.1998

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