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# #<br />
THE BUSINESS MAGi<br />
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1 OF HE SUMML mnOM PICTURE IKDUSTRY<br />
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—<br />
FADEIH...<br />
This year, we've devoted the special contents of<br />
our February issue to cinema sound. In these<br />
pages, you'll find both basic reference information<br />
and updates on new developments in the field.<br />
You might say that here we're sounding off about<br />
sound, but we should mention that BOXOFFICE<br />
will be bringing you sound come ShoWest.<br />
As we did at the 1996 and 1997 conventions,<br />
BOXOFFICE will be giving away sound equipment<br />
prizes at the 1998 ShoWest. Last year,<br />
Magda Moore, manager of the M-89 Cinema in<br />
Otsego. Mich., operated by Watervliet. Mich.-<br />
based C.A. Moore Theaters, stopped by our booth<br />
and put her corporate business card in our exhibitors-only<br />
prize bowl. Her reward for that simple<br />
act came on the show's Thursday close, when our<br />
drawing revealed that she was the winner of a<br />
complete DTS digital sound system.<br />
"We had needed another DTS system," Moore<br />
says, "and then I won it at the show." Moore,<br />
whose circuit put the unit in its Ready Theatre in<br />
Niles, Mich., reports that audiences really respond<br />
to digital sound. "You can hear a pin drop,"<br />
she says of the technology's reproduction capabilities.<br />
"Customers always ask us whether a<br />
movie is playing in one of our digital houses.<br />
They know it^they want it."<br />
Also in 1997, Georgia Theatre president William<br />
J.<br />
Stembler took home a QSC MX 1500a<br />
amplifier, and Edwards Theatres district supervisor<br />
James Woodin won a Smart Citi-Tell digital<br />
message server. Those two executives joined the<br />
ranks of our previous BOXOFFICE ShoWest winners,<br />
which have also included SoCal Cinemas'<br />
Sean Warner (a QSC amp) and Landmark's Kevin<br />
O'Neill (a Smart Afterburner).<br />
We'll have more information about this year's<br />
prizes in our April edition, which is the issue<br />
you'll find awaiting you on day 1 of ShoWest,<br />
being held March 9-12 in Las Vegas. And exhibitors<br />
will find that getting in on our awards action<br />
will be just as easy in 1 998 as in prior years; simply<br />
stop by our ShoWest booth (again #406) and drop<br />
off your corporate business card. Please remember<br />
to write the name of the hotel at which you're<br />
staying on your card: as happened for Magda<br />
Moore and the other theatre folks mentioned<br />
above, you just migiit be receiving a call from us<br />
while you're in Vegas, saying there's a little more<br />
luggage to take home with you. Kim Williamson<br />
BOXOFFICE ONLINE<br />
WEBSITE ADDRESS: http://www.boxoffice.com<br />
E-MAIL ADDRESS: boxoffice@earthlink.net<br />
FEBRUARY, 1998 VOL. 134, NO. 2 CINEMA SOUND<br />
COVER QUOTE:<br />
DEPARTMENTS<br />
I'm very analytical in a very wet way....<br />
I'm very analytically moist—OUSJm HOFFMAN<br />
6 HOLLYWOOD REPORT<br />
Good golly, Shue's "Molly"— plus early word on 18 other productions<br />
8 MARCH TRAILERS<br />
Blowing in from Hollywood: films of the windy month<br />
44 EXHIBITION BRIEFINGS<br />
Silver's Landmark decision; Mr. Buyout Mann<br />
46 NATIONAL NEWS/HOLLYWOOD UPDATES<br />
API's centennial celebration; Universal's foolish "Kissing"<br />
47 NORTHERN EXPOSURE<br />
Red Sky at morning; Silver(City) screens; Cineplexing<br />
48 EUROVIEWS<br />
Brussels sprouts mega-merger; Italy booted, fine Finnish<br />
49 PACIFIC OVERTURES<br />
Roadshow travels with Warner; Hoyts' double vision<br />
50 FILM REVIEWS<br />
Critical analyses of 35 current and coming releases:<br />
"Affliction" 51<br />
"Afterglow" 53<br />
"Alien Resurrection" 56<br />
"Amistad" 56<br />
"The Apostle" 55<br />
"As Good As It Gets" 54<br />
'The Boxer" 52<br />
"Chinese Box" 52<br />
"Dangerous Beauty" 52<br />
"The Education of Little Tree" 53<br />
"Flubber" 57<br />
"For Richer or Poorer" 56<br />
"The Gingerbread Man" 52<br />
"Home Alone 3" 56<br />
"Jackie Brown" 53<br />
"John Grisham's The Rainmaker" 57<br />
"Kundun" 54<br />
"Lea" 51<br />
"Les Miserables" (1935)<br />
"Love and Death on Long Island"<br />
"Men With Guns"<br />
"Midnight in the Garden<br />
of Good and Evil"<br />
"Mortal Kombat Annihilation"<br />
"MouseHunt"<br />
"Mrs. Dalloway"<br />
'The Nutcracker"<br />
"Oscar and Lucinda"<br />
"Perfect Circle"<br />
"Scream 2"<br />
'Simoom: A Passion in the Desert"<br />
'Tomorrow Never Dies"<br />
"Unmade Beds"<br />
"Wag the Dog"<br />
"Will It Snow for Christmas?"<br />
"Zero Effect"<br />
58 STUDIO FILM RELEASE CHART<br />
Major releases through April and beyond<br />
60 INDEPENDENT FILM RELEASE CHART<br />
Specialized fare into September and beyond<br />
62 MOVIEGOER ACTIVITY CHART<br />
Ranking leaps by City Cinemas, Cineplex's Hyland<br />
63 HOME RELEASE CHART<br />
"L.A. Confidential," "The Peacemaker" get shelved in March<br />
64 CLASSIFIEDS<br />
Including our index to advertisers in this issue<br />
64 "REVERSE ANGLE"<br />
Stars in stripes<br />
53<br />
51<br />
51<br />
57<br />
57<br />
54<br />
52<br />
56<br />
53<br />
51<br />
56<br />
51<br />
55<br />
51<br />
52<br />
55<br />
50<br />
CIRCULATION INQUIRIES<br />
BOXOFFICE DATA CENTER<br />
725 S. Wells St., Fourth Floor<br />
Chicago. IL 60607<br />
(312) 922-9326; fax: (312) 922-7209<br />
i&<br />
Audit<br />
Bureau<br />
EDITORIAL AND ADVEmiSING<br />
6640 Sunset Blvd., Suite 100<br />
Hollywood, CA 90028-7159<br />
(213)465-1186<br />
Fax:(213)465-5049<br />
OFFICES<br />
CORPORATE HEADQUAm-ERS SUBSCRIPTION/CIRCULATIQN<br />
Mailing address: 725 8. Wells St., Fourth Floor<br />
P.O. Box 25485 Chicago, IL 60607<br />
Chicago, IL 60625 (312) 922-9326<br />
(773)338-7007 Fax:(312)922-7209<br />
4 BoxomcE
SPECIAL REPORT: CINEMA SOUND 1998<br />
In this issue, BOXOFFICE provides its annual snapshot of the companies and developments that mal
HOLLYWOOD<br />
REPORT<br />
ELISABETH SHUE<br />
Good Golly, Miss "Molly"<br />
BILL MURRAY<br />
Mounts "Rushmore"<br />
"MOLLY" Elisabeth Shue ("The<br />
Saint") will portray an autistic<br />
girl who undergoes a treatment<br />
that turns her into a genius in<br />
this John Duigan ("The Leading<br />
Man")-helmed film. (MGM)<br />
"PLANET ICE" On the heels of<br />
the success of its feature animation<br />
debut "Anastasia," Fox has<br />
begun casting the voices for its<br />
next foray in the genre, a futuristic<br />
sci-fi adventure in which<br />
the Earth has been destroyed by<br />
an alien race. Nineteen-yearold<br />
Cale (voiced by Matt<br />
Damon) finds a map leading to<br />
a treasure that may be able to<br />
save mankind. He teams up<br />
with a crew that includes characters<br />
voiced by Bill Pullman,<br />
Drew Barrymore, Nathan Lane<br />
and Hank Azaria on a quest for<br />
the mythic Planet Ice. (Fox)<br />
"SIGHT UNSEEN" Val<br />
Kilmer<br />
will play a man who's born blind<br />
and undergoes an experimental<br />
operation to restore his sight in<br />
this romantic drama. Mira<br />
Sorvino ("The Replacement Killers")<br />
will play his love interest,<br />
while Kelly McGillis ("North")<br />
portrays his sister. Irwin Winkler<br />
("The Net") helms. (MGM)<br />
"EXACTLY 3:30" Sandra Bullock<br />
will star in and produce this<br />
romantic comedy about a<br />
woman who is always late, to<br />
the escalating annoyance of her<br />
fiance. In order to ensure she<br />
makes it to the weddi ng on ti me,<br />
she starts seeing a psychiatrist,<br />
but winds up falling in love with<br />
him. (Buena Vista)<br />
"CHICKEN RUN" Aardman<br />
Studios, the animation company<br />
behind the "Wallace and<br />
Gromit" claymation shorts, will<br />
produce its first feature-length<br />
work, centering on Rocky and<br />
Ginger, two chickens trying to<br />
escape a farm. The script is<br />
based on an original story by<br />
Aardman heads Nick Park and<br />
Peter Lord. (DrearhWorks)<br />
"8 MILLIMETER" Nicolas Cage<br />
("Face/Off") is set to star as a<br />
private detective hired by a<br />
woman to find out who's behind<br />
a snuff film she discovered<br />
in her dead husband's safe. He's<br />
aided in his investigation by an<br />
underground film insider<br />
played by Mark Wahlberg<br />
("Boogie Nights"). "Seven's"<br />
Andrew Kev i n Wa I ker wrote the<br />
script, and "A Time To Kill's"<br />
Joel Schumacher helms. (Columbia)<br />
"RUSHMORE" This comedy will<br />
star Bill Murray ("The Man Who<br />
Knew Too Little") as a self-made<br />
millionairewho mentors an odd<br />
15-year-old boy who spends his<br />
time heading every school club<br />
while neglecting his classes and<br />
even romantic pursuits. When<br />
he does fall in love, it's with one<br />
of his teachers ("The Postman's"<br />
Olivia Williams). This poses<br />
more than the usual problems of<br />
such a crush, as Murray's character<br />
is also infatuated with the<br />
instructor.<br />
The comedy is<br />
scripted by the "Bottle Rocket"<br />
duo Wes Anderson and Owen<br />
Wilson, and will be directed by<br />
Anderson. (Buena Vista)<br />
"PUSHING TIN" John Cusack<br />
("Grosse Pointe Blank") will<br />
play a veteran air traffic controller<br />
challenged by a newcomer<br />
in this comedy. The two become<br />
obsessed in their battle to<br />
outdo each other. Mike Newell<br />
("Donnie Brasco") directs; Glen<br />
and Les Charles (TV's "Cheers")<br />
script. (Fox)<br />
"STIGMA" David Arquette<br />
("Scream 2"), Jared Leto<br />
("Switchback"), Reese Witherspoon<br />
("Freeway") and Christopher<br />
Walken ("Suicide Kings")<br />
will star in this thriller about a<br />
young man who's imprisoned<br />
for a murder he may or may not<br />
have committed. When he's released,<br />
he's manipulated into a<br />
murderous revenge scheme.<br />
(Distribution is to be set)<br />
utive ("Goodbye Lover's" Ellen<br />
DeGeneres) persuades him to<br />
agree to be filmed 24 hours a<br />
day, every day, for a cable<br />
show. Jenna Elfman ("Grosse<br />
Pointe Blank") will play Ed's<br />
girlfriend. The film reteams director<br />
Ron Howard with scripters<br />
Lowell Ganz and Babaloo<br />
Mandel, who previously<br />
worked together on "Parenthood,"<br />
"Gung Ho," "Splash"<br />
and "Night Shift." (Universal)<br />
"MICKEY BLUE-EYES" This romantic<br />
comedy, to be helmed<br />
by "Kids in the Hall: Brain<br />
Candy's" Kelly Makin, is about<br />
a Manhattan art dealer ("Nine<br />
Months'" Hugh Grant) whose<br />
fiancee reveals her father (James<br />
Caan) is in the mob. (Warner)<br />
"FORCE MAJEURE" Based on<br />
the 1990 French film of the<br />
same name, this drama will star<br />
Vince Vaughn ("The Lost<br />
World"), Joaquin Phoenix ("Inventing<br />
the Abbotts") and David<br />
Conrad (TV's "Relativity") as<br />
three friends travelling abroad,<br />
two of whom escape Malaysia<br />
after being arrested on drug<br />
charges. The friend who remains<br />
imprisoned is threatened with<br />
the death sentence unless the<br />
others return to share the blame.<br />
Anne Heche ("Volcano") will<br />
play the lawyer who must convince<br />
the two to save their<br />
friend. JadaPinkett ("Scream 2")<br />
also stars. Joseph Ruben ("Money<br />
Train") directs. (Polygram)<br />
"THE GREEN MILE" Tom<br />
Hanks is in talks to portray a<br />
mentally impaired man in jail<br />
for murdering two children in<br />
this drama that depicts the<br />
convict's relationship with the<br />
guards on Death Row. Frank<br />
Darabont directs and adapts<br />
Stephen King's novella, as he<br />
did with "The Shawshank Redemption,"<br />
which was based on<br />
King's story "Rita Hayworth and<br />
the Shawshank Redemption."<br />
(Distribution is to be set)<br />
VINCE VAUGHN<br />
In the "Majeure" League<br />
"S.L.C. PUNK" Matthew Lillard<br />
("Scream") will play a rebellious<br />
teen in this humorous look at a<br />
punk wave that took place in<br />
predominantly-Mormon Salt<br />
Lake City in 1985. (Distribution<br />
is to be set)<br />
"BLAST FROM THE PAST"<br />
"George of the Jungle's" Brendan<br />
Fraser has been cast as a man<br />
who has spent his whole life in<br />
a bomb shelter due to his fear of<br />
nuclear war. When he finally<br />
leaves the shelter, he finds society<br />
radically changed. Hugh<br />
Wilson ("The First Wives Club")<br />
directs. (New Line)<br />
"FOOL ON THE HILL" Based<br />
on the British TV show "Taking<br />
Over the Asylum," this comedy<br />
is about an aluminum siding<br />
salesman ("Liar Liar's" Jim Carrey)<br />
who dreams of being a<br />
radio personality. When he discovers<br />
a disused radio station in<br />
an insane asylum, he commandeers<br />
it and begins broadcasting<br />
from it. Will Davies ('Twins")<br />
scripts. (MGM)<br />
"ED TV" Matthew McConaughey<br />
("Contact") will play a video<br />
store employee named Ed<br />
whose life is changed for better<br />
and for worse when a TV exec-<br />
ET CETERA: Kathryn Bigelow<br />
("Strange Days") has signed on<br />
to helm New Line's "Custer<br />
Marching to Valhalla," which is<br />
looking for a new lead, as Brad<br />
Pitt has dropped out...MGM's<br />
"Marciano," a biopic of boxing<br />
champion Rocky Marciano,<br />
will star "Swingers'" )on<br />
Favreau as the famed fighter<br />
...Chevy Chase ("Vegas Vacation")<br />
will return as the titular<br />
undercover reporter and master<br />
of disguises in Universal's<br />
"Fletch 3," the third installment<br />
of the comic "Fletch" franchise.<br />
Kevin Smith ("Chasing Amy") is<br />
scripting and may also direct.<br />
6 BoxutncE
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MARCH<br />
TRAILERS<br />
Ifs still winter outside but,<br />
inside, it seems like summer<br />
Now, here's a tall<br />
order.<br />
Last year, the<br />
winds ofMarch were<br />
more breezy than<br />
blustery at the boxoffice,<br />
in that less<br />
than a handful of<br />
major releases were<br />
slated to land. And<br />
\<br />
the biz's ticket-sales<br />
windsock ultimately<br />
proved to be a little<br />
droopy, with "Jungle<br />
2 lungle" and "The "<br />
Devil's Own" underperforming<br />
hopes<br />
and only "Liar Liar"<br />
tearing through the<br />
^<br />
turnstiles.<br />
How things do<br />
change. Readying to blow in come March 1 998 are 47 new<br />
releases. Now, it's not only that that's 1 1 more movies (30<br />
percent) than last March's incoming tally; it's what those<br />
47 represent. Perhaps the highest of the high-profile titles<br />
are: "City of Angels," a Nicolas Cage/Meg Ryan romance;<br />
the Coen Bros.' "The Big Lebowski"; "U.S. Marshals," the<br />
sequel to "The Fugitive"; and the latest from Warren<br />
Beatty, tentatively called "Bulworth."<br />
And that's only the first weekend. After that arrive the<br />
likes of "The Man in the Iron Mask," starring "Titanic's"<br />
Leonardo DiCaprio, on 3/13; "Primary Colors," the 3/20<br />
John Travolta/Emma Thompson pairing, which is likely to<br />
light up not only the entertainment sections but also the<br />
political pages; and "My Giant" (photo above), a Billy<br />
Crystal comedy on 3/27 that looks to be for all ages. Mixed<br />
in among those are other entries starring such audience<br />
favorites as Matthew McConaughey, Gwyneth Paltrow,<br />
Kenneth Branagh, fada Pinkett and Patricia Arquette. Call<br />
it the Ron Popeil month: but, wait, there's more.<br />
It's become a commonplace for our Trailers introduction<br />
to notice that, despite various studios' cutback announcements<br />
to the contrary, there are a whole lot of films<br />
being produced and distributed. Of course, it's better, at<br />
least from an exhibition standpoint, to suffer an embarrassment<br />
of riches rather than the chagrin of privation. And a<br />
12-month calendar is what everyone in the industry wants.<br />
But, even with so many circuits on the road to Megaplex,<br />
'<br />
ility that some of these movies<br />
le frame, there will be a lot<br />
of product to find screens for.<br />
Here's to hoping that it's not just the stiff March winds<br />
lh.ll will be spinning theatres' front doors.<br />
MARCH 6<br />
City of Angels<br />
This romance tells the story of<br />
a guardian angel who falls in love<br />
with the woman he's watching<br />
over and who must choose<br />
whether to remain a member of<br />
the celestial host, with all its ethereal<br />
pleasures, or become human<br />
again and join his beloved on<br />
Earth. Nicolas Cage, Meg Ryan,<br />
Dennis Franz and Andre<br />
Braugher star. Brad Silberling<br />
("Casper") directs; Dana Stevens<br />
("Blink") scripts; Atlas Entertainment's<br />
Dawn Steel and Chuck<br />
Roven produce for Turner Pictures.<br />
(Warner Bros., 3/6)<br />
Exploitips: The friendly PG-13<br />
rating (for sexuality including language<br />
and some nudity) should<br />
help this draw mainstream audiences.<br />
Though the film could<br />
trend more to the distaffside than<br />
did the comedic "Michael, " also<br />
a Turner production. Cage and<br />
Ryan are both popular male<br />
draws, and the date's only genre<br />
competition looks to come from<br />
Fox's "Bulworth"; however, that<br />
Warren Beatty vehicle could<br />
draw older, leaving this the<br />
twenty- and thirtysomethings.<br />
Wild Things<br />
In this erotic thriller that tells<br />
"an irreverent tale of revenge, lust<br />
and murder" set in the Florida<br />
Everglades, four cunning characters<br />
engage in a battle of truth and<br />
illusion. Kevin Bacon, Matt Dillon,<br />
Neve Campbell ("Scream<br />
2"), Bill Murray, Theresa Russell,<br />
Denise Richards ("Starship<br />
Troopers") and Robert Wagner<br />
star. John McNaughton ("Normal<br />
Life") directs; Stephen Peters<br />
scripts; Rodney Liber and Steven<br />
Jones produce for Mandalay. (Columbia,<br />
3/6 wide)<br />
Exploitips: This 1,500-screen<br />
release probably has the month's<br />
most interesting cast, at least from<br />
a diversity standpoint. And it has<br />
its subgenre— erotic thriller — all<br />
to itself for the entire month.<br />
Though new to the eros theme,<br />
actresses Campbell and Richard<br />
just had big hits, and Russell is an<br />
experienced hand at heat. (One<br />
might avoid putting the Murray<br />
name on the marquee, lest it confuse<br />
potential ticketbuyers.) In essence,<br />
sex sells, so sell it.<br />
The Big Lebowski<br />
In this comedy/thriller from the<br />
Coen brothers ("Fargo"), a man<br />
named Jeff Lebowski, aka The<br />
Dude, is confronted by gangsters<br />
who demand that his wife repay a<br />
loan. Puzzled, the unmarried<br />
Dude learns there's a millionaire<br />
Jeff Lebowski in town, but what<br />
seems a case of mistaken identity<br />
worsens as double-crossing,<br />
thievery, revenge and bowling<br />
follow. Jeff Bridges stars with Julianne<br />
Moore ("Boogie Nights"),<br />
"Fargo's" Peter Stormare and<br />
"Barton Fink"-ers John Goodman,<br />
John Turturro, Steve Buscemi and<br />
Jon Polito. Joel Coen directs;<br />
Ethan Coen produces; both Coens<br />
script. (Cramercy, 3/6 wide)<br />
Exploitips: After the brilliant<br />
bomb "The hludsucker Proxy, " the<br />
Coens needed a hit; after "Fargo,"<br />
audiences are likely to say "yah" to<br />
their next. Maybe due to previous<br />
Christmas forays ("The Portrait ofa<br />
Lady, " "I'm Not Rappaport"), Cramercy<br />
held this from the holidays.<br />
Expect this R-rater (for pervasive<br />
strong language, drug content, sexuality<br />
and brief violence) to be the<br />
movie of choice for those looking<br />
to avoid both the archness of the<br />
arthouse and the pabulum of the<br />
megaplex. Ofcourse, step one is to<br />
trumpet the Coens' "Fargo" credit.<br />
U.S. IVIarshals<br />
Returning to his "Fugitive" role.<br />
Tommy Lee Jones stars as the relentless<br />
LI.S. marshal Samuel Gerard,<br />
who this time teams with a<br />
young government agent (Robert<br />
Downey Jr.) who challenges<br />
Gerard's tactical strengths even as<br />
he helps track a secret government<br />
operative (Wesley Snipes) who's<br />
been framed for two murders and<br />
on the run from police. Stuart Baird<br />
("Executive Decision") directs;<br />
John Pogue scripts; Arnold Kopelson<br />
and Anne Kopelson, who<br />
joined on "The Fugitive," again<br />
produce. (Warner Bros., 3/6 wide)<br />
Exploitips: One can almost see<br />
the architecture: The narrative,<br />
though altered and with a change<br />
in focal character, is comfortingly<br />
the same. Minus the star-for-all<br />
(Harrison Ford), the casting adds<br />
Downey for the youth market and<br />
Snipes for urban auds, and Jones'<br />
own pull is "Men In Black"-burnished.<br />
Baird's "Executive Decision"<br />
was an action hit. The 3/6<br />
frame is title-heavy, but there is<br />
no direct genre competition.<br />
Chairman of the Board<br />
Standup comedian Carrot Top<br />
stars as a goofy inventor/surfer<br />
who helps a man who turns out to<br />
be a wealthy entrepreneur. When<br />
the businessman dies, he wills<br />
Carrot Top's character his company.<br />
Corporate chaos ensues.<br />
Courtney Thorne-Smith, Jack<br />
Warden, Larry Miller and Raquel<br />
Welch co-star. (Trimark, 3/6 wide)<br />
Exploitips: This latest wide release<br />
(1,200 screens) from Trimark—<br />
which has been biding its<br />
time in wait for the perfect date
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(the film received its PC- 13 rating, for crude<br />
and sex-related humor and language, way<br />
back on 3/1 9/97)—goes after the M TV crowd<br />
the distributor targeted for "Meet Wally<br />
Sparks," which resulted in a multimilliondollar<br />
writeoff. But the young Carrot Top could<br />
connect where the septuagenarian Rodney<br />
Dangerfield didn't, as he's a campus favorite.<br />
To help, draw public (and media) attention by<br />
accoutering staff in Carrot Top wiggery.<br />
In God's Hands<br />
In this "dramatic jet-age road movie about<br />
three young men searching for waves, friendship<br />
and themselves all across the world,"<br />
three surfers (portrayed by real surfers Shane<br />
Dorian, Matt George and Matthew Stephen<br />
Liu) are joined in their adventures by a mysterious<br />
journalist (Shaun Thompson) and a<br />
Brazilian beauty (Maylin Pultar). Zaiman King<br />
directs, and he scripts with co-star Matt<br />
George, editor of Surfing Magazine; surfer<br />
Tom Stern produces. (Triumph, 3/6)<br />
Exploitips: King's hard-R fans from the likes<br />
of "Wild Orchid" can 't be counted on to join<br />
"Hands" here. But surfing documentaries have<br />
a devoted specialized audience that will provide<br />
a core demo for this fiction film. To reach<br />
the mainstream male moviegoer, emphasize<br />
the good times and adventure aspects.<br />
Three Ninjas: Showdown<br />
at Mega Mountain<br />
This fourth "3 Ninjas" entry (also known as<br />
"Three Ninjas: High Noon at Mega Mountain")<br />
is a variation on "The Legend of Galgameth," a<br />
Korean myth about a medieval monster who<br />
protects a boy from a Dark Knight. Matthew<br />
Botchis, Michael O'Laskey II and J.P. Roeske<br />
star. Sean McNamara directs; Simon Shin ("3<br />
Ninjas") produces. (TriStar, 3/6 ltd)<br />
Exploitips: Rated PC for nonstop martial arts<br />
action, some gunplay and mild language, this<br />
action/comedy is likely to draw only the preteen<br />
crowd. Fans ofthe first entry (1 992) having<br />
outgrown the series (there being few fans of the<br />
second and third), exhibitors could ease their<br />
uphill selling battle by staging karate performances<br />
by young people at their theatres.<br />
Bulworth<br />
In "Bulworth" (a tentative title; the working<br />
name was "Tribulations"), a wealthy U.S. senator<br />
(Warren Beatty) is tired of life and so sees<br />
no reason to avoid a hit that's been planned<br />
by a friend—until, that is, the senator meets a<br />
beautiful African-American woman (Halle<br />
Berry). Paul Sorvino, Oliver Piatt, jack Warden<br />
and Don Cheadle co-star. Warren Beatty<br />
also directs, scripts and produces. (Fox, 3/6)<br />
Exploitips: Fox depicts the story thus: "He<br />
must frantically seek out the only one who can<br />
call off the killer in a hair-raising comic<br />
chase." So expect something more akin to<br />
"Heaven Can Wait" than to "Reds." Which,<br />
from a boxoffice standpoint, is all to the better.<br />
Talk of Angels<br />
A sort of gender-bender variant on Ken<br />
Loach's "Land and Freedom," this period<br />
dranna tells of a young Irish woman who<br />
arrives In Spain on the eve of the country's<br />
civil war. Polly Walker ("For Roseanna"), Vincent<br />
Perez ("TheCrow:City of Angels"), Frances<br />
McDormand ("Fargo") and Franco Nero<br />
star. Nick Hamm directs; Ann Guedes and<br />
Frank McGuinness script; Patrick Cassavetti<br />
produces. (Miramax, 3/6 NY/LA)<br />
Exploitips: This has been multiply reslated<br />
since its planned Aug. '96 bow. Best bets are<br />
the date-night college crowd and the usual<br />
specialized suspects (the educated 40+<br />
demo), who are more likely to be familiar with<br />
the story's historical events. A PC rating (for<br />
some politically motivated violence) makes it<br />
a candidate for school outreach programs.<br />
Men With Guns<br />
In this Spanish-language drama, a naive<br />
Central American physician ("Cronos'"<br />
Frederico Luppi) learns the truth about his<br />
country's political situation. Dan Rivera Gonzalez,<br />
Damian Delgado, Damian Alcazar and<br />
Tania Cruz co-star as troubled locals, and<br />
Mandy Patinkin and Kathryn Grody as wellmeaning<br />
but oblivious American tourists. John<br />
Sayles directs and scripts; R. Paul Miller and<br />
Maggie Renzi produce. (Sony Classics, 3/6)<br />
Exploitips: Our Telluride reviewer (this<br />
issue) gives this 3 1/2 stars, saying it has "a<br />
potent sense" and boasts "affecting performances."<br />
Rated R (for language and some<br />
violent images) and filmed primarily in Spanish<br />
and dialects, "Men With Cuns" will lack<br />
the wider pulling power of Sayles' recent<br />
"Lone Star. " Arthousers are the likeliest target<br />
on this arthouse-heavy weekend, but Hispanic<br />
filmgoers could help take up the slack.<br />
Sonatine<br />
Takeshi "Beat" Kitano writes, directs and<br />
stars in this story of a hard-boiled gangster who,<br />
although tiring of the yakuza way of life, takes<br />
on one final battle. Aya Kokumai and Tetsu<br />
Watanabe co-star. Masayuki Mori, Hisao<br />
Nabeshima and Takio Yoshida produce. (Rolling<br />
Thunder/Miramax, 3/6 NY/LA)<br />
Exploitips: This was held from Apr. '97; the<br />
1 998 date might work better, in that "Jackie<br />
Brown" has reminded moviegoers of the<br />
Quentin Tarantino name (Rolling Thunder is<br />
his label). Emphasizing that connection could<br />
help add the hip flick crowd to the action/martial<br />
arts demo most likely to attend.<br />
Love and Death on Long Island<br />
This drama adapts the novel by Gilbert<br />
Adair and tells the story of a stuffy British<br />
writer (John Hurt) whose wife has died and<br />
who is surprised, one night at the movies, to<br />
find himself transfixed from there on by a male<br />
screen idol (Jason Priestly). Fiona Loewi costars.<br />
Richard Kwietniowski directs and<br />
scripts; Steve Clark-Hall and Christopher<br />
Zimmer produce. (CFP, 3/6 LA, 3/1 3 exp)<br />
Exploitips: Our Telluride reviewer (this<br />
issue) gives this three stars, saying the story<br />
provides for "an intriguing cultural clash " and<br />
that Priestly "amusingly spoofs his own teen<br />
idol image." Rated PC-13 (for brief strong<br />
language, thematic elements andsome sexual<br />
content), it's unlikely to draw arthousers via<br />
TV fave Priestly's name, so Hurt is the likely<br />
sell. Held from late February.<br />
Woo<br />
MARCH 13<br />
In this romantic comedy (rated R for sexual<br />
content and language), a beautiful heartbreaker<br />
("Set It Off's" Jada Pinkett) goes on a<br />
blind date with a straight-laced attorney<br />
("Booty Call's" Tommy Davidson). A wild<br />
romp through Manhattan ensues. Pam Grier<br />
("Jackie Brown"), Isaac Hayes, Duane Martin,<br />
Dave Chappelle and LL Cool J co-star. Daisy<br />
von Scherier Mayer (First Look's "Party Girl")<br />
directs; David Clark Johnson ("Drop Squad")<br />
scripts; Beth Hubbard and Michael Hubbard,<br />
who paired for "You So Crazy," produce for<br />
Gotham Entertainment; John Singleton<br />
("Rosewood") executive produces with Howard<br />
Hobson. (New Line, 3/13)<br />
Exploitips: "Woo" (originally set for Sept.<br />
'97 and then Jan. '98) isn't blessed with big<br />
names, but it has the urban demo to itself for<br />
the month's second half when the only real<br />
demo competition is "Nightwatch, " a ftighter<br />
that could draw black moviegoers.<br />
Dead Man on Campus<br />
In this MTV comedy (rated R for drug use,<br />
language and crude sexual humor), two freshmen<br />
a bit short on brains but long on resourcefulness<br />
use some arcana to win good<br />
grades. Tom Everett Scott ("That Thing You<br />
Do!") and Mark-Paul Gosselaar star. Alan<br />
Cohn (MTV's "The Real World" series) directs;<br />
Michael Traeger and Michael White<br />
script; Gale Anne Hurd produces for her Pacific<br />
Western Prods. (Paramount, 3/1 3 wide)<br />
Exploitips: Once tentatively slated for<br />
8/29/97, this is the second MTV/Paramount<br />
pairing. (The first was the $62 million-grossing<br />
"Beavis and Butt-head Do America. ") The<br />
rating intimates this is made in the shades for<br />
the college crowd and passing-for-older high<br />
schoolers. With most other openers trending<br />
older, expect "The Man in the Iron Mask" to<br />
present the most date competition.<br />
The Man In the Iron Mask<br />
In this adaptation of the classic Alexandre<br />
Dumas mystery/adventure novel, Leonardo<br />
DiCaprio ("Titanic") plays twins: One becomes<br />
the King of France; the other is raised<br />
by D'Artagnan ("The End of Violence's" Gabriel<br />
Bryne), leader of the Three Musketeers<br />
(John Malkovich, Jeremy Irons and Gerard<br />
Depardieu). Randall Wallace (Oscar-nominated<br />
for his "Braveheart" script) scripts and<br />
makes his directing debut. (UA, 3/1 3 wide)<br />
Exploitips: Book tie-ins and a highlighting<br />
ofthe writer/director's "Braveheart" credit are
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a<br />
called for, but the presence of "Titanic's"<br />
DiCaprio is the key sell. This could draw<br />
multiple demos, including younger auds—<br />
male and female— aided by its PC-13 rating<br />
(for sequences of violence and some sensuality/nudity)<br />
and older moviegoers pulled in by<br />
the tale's classic nature. Held from 2/20.<br />
Goodbye, Lover<br />
In this black comedy/thriller, family members<br />
scheme to Inherit a $4 million insurance<br />
policy. PatriciaArquetteC'Flirting With Disaster")<br />
stars as the wife of one brother and<br />
mistress to another. Ellen DeCeneres ("Mr.<br />
Wrong") co-stars as a detective suspecting<br />
murder. Dermot Mulroney ("My Best Friend's<br />
Wedding"), Don Johnson and Mary-Louise<br />
Parker co-star. Roland Joffe ("The Scarlet Letter")<br />
directs; Ron Peer scripts; Arnon<br />
Milchan'sdaughterAlexandra, who heads the<br />
more indie-oriented Regency Vision, produces<br />
with Patrick McDarrah, Joel Roodman<br />
and Chris Daniel. (Warner Bros., 3/13)<br />
Exploitips: The coming-out episode of<br />
DeCeneres' TV series "Ellen" probably raised<br />
her profile with moviegoers, or at least replaced<br />
memories of "Mr. Wrong. " joffe's last<br />
credit was the derided "Scarlet Letter, " but his<br />
older hits (e.g., "The Killing Fields") are of the<br />
wrong genre. So go with the gals— Arquette<br />
and DeCeneres— and target distaff clientele.<br />
The Butcher Boy<br />
In a small Irish town in the early 1960s, a<br />
young boy (Eamonn Owens) with an alcoholic<br />
father ("Michael Collins'" Stephen Rea)<br />
and a manic-depressive mother (Aisling<br />
O'Sullivan) but one good friend (Alan Boyle)<br />
has his life turn for the worse when he loses<br />
all three. Neil Jordan (also "Michael Collins")<br />
directs and produces, and he scripts with<br />
Patrick McCabe. (Warner Bros., 3/13 NY/<br />
LA/Tor, 3/27 ltd, 4/10 exp)<br />
Exploitips: In a four-star review (Sept. '97<br />
issue), our Calway fest critic quotably called<br />
Jordan's 1 0th film— held from a fall release —<br />
"an extraordinary piece of cinema.... INlot<br />
only are the performances stunning; so is<br />
Jordan's direction, of the caliber that says<br />
'Oscar. '" The R rating (for language and violence)<br />
makes this one for adult audiences, in<br />
"Michael Collins" ($ 1 1 million) numbers.<br />
The Big One<br />
Roger Moore (whose "Roger & Me" memorably<br />
zinge^d corporate America) took along<br />
a camera crew on his 1 996 book tour. In this<br />
resulting documentary, Moore's city stops<br />
provide fodder for more corporate satire. Garrison<br />
Keillor and Studs Terkel make appearances.<br />
Michael Moore directs and scripts;<br />
Kathleen Gylnn produces. (Miramax, 3/1 3)<br />
Exploitips: in a 3 l/2-star review (upcoming<br />
issue), our Toronto critic calls this a "satirical<br />
indictment of late 20th century<br />
capitalism," finding Moore's "patchworkquilt<br />
approach" energetic ifnot always coherent.<br />
(Note: The movie is video pumped to 35<br />
mm.) Expect "Roger" fans, if in fewer number.<br />
Hush<br />
In this thriller, new wife Helen ("Great<br />
Expectations'" Gwyneth Paltrow) moves with<br />
her husband ("That Thing You Do!'s"<br />
Johnathan Schaech) to an apparently perfect<br />
country estate called Kilronan. But discord<br />
and danger lurk there in the form of his possessive<br />
mother ("A Thousand Acres'" Jessica<br />
Lange). Jonathan Darby directs, and he scripts<br />
with Michael Cristofer; Douglas Wick produces<br />
for Red Wagon. (TriStar, 3/1 3 wide)<br />
Exploitips: Aka "Kilronan" and "Bloodline,"<br />
"Hush" plays the woman-in-jeopardy<br />
card that's palatable to both genders, so<br />
TriStar's planned 1 ,500-screen bow seems<br />
appropriate for a programmer. But, in the<br />
wake of "Scream" and "Scream 2," this domestic<br />
thriller could feel underpowered, so<br />
emphasize the chills and the perils to interest<br />
the likely twentysomething crowd.<br />
One Man's Hero<br />
Based on a true story, this drama tells the<br />
story of the St. Patrick's Brigade, an Irish-<br />
American artillery battalion that defected to<br />
fight for Mexico in the Mexican-American<br />
war of the 1 840s. Tom Berenger and Daniela<br />
Romo star. In a change of pace. Lance Hool<br />
("McHale's Navy") directs, and he produces<br />
with Bill MacDonald ("Sliver"); the late Milton<br />
S. Gelman wrote the script. (MGM, 3/1 3)<br />
Exploitips: A pickup to plump the Lion's<br />
slate, "One Man's Hero" has the makings of<br />
a marginal performer, just as Berenger's period<br />
piece "Last of the Dogmen" was for the<br />
defunct Savoy. To hype this on its crowded<br />
weekend, emphasize the war (if not the defection)<br />
aspect to arouse male sympathies.<br />
B. Monkey<br />
In this drama, a wild beauty of the London<br />
streets (Italian starlet Asia Argento, of "Queen<br />
Margot") becomes the object of passion of a<br />
middle-class schoolteacher ("I Shot Andy<br />
Warhol's" Jared Harris, son of Richard). "Michael<br />
Collins'" Jonathan Rhys-Meyers and<br />
Rupert Everett ("My Best Friend's Wedding")<br />
co-star. Michael Radford ("II Postino") directs<br />
the $10.5 million project; Andrew Davies<br />
adapts his novel with Michael Thomas; Stephen<br />
Woolley ("Michael Collins") and Colin<br />
Vaines produce. (Miramax, 3/1 3 NY/LA, 3/20<br />
exp top 20, 3/27 exp top 40)<br />
Exploitips: At least the moves from several<br />
1997 slots and a Feb. '98 date distances this<br />
from the Feb. '96 eruption when long-on-theproject<br />
filmmaker Michael Caton-Jones exited—<br />
and called Miramax's explanation "a<br />
farrago of lies. " In any case, the R-rated "B.<br />
Monkey" now faces a bevy of specialized<br />
competition, including two entries from<br />
Miramax itself and two studio films ('The<br />
Butcher Boy" and "The Man in the Iron<br />
Mask") that could draw away arthousers and<br />
young hip mainstreamers. The Radford name,<br />
thanks to "II Postino's"$75 million worldwide<br />
gross, lends this a marketable cachet, though<br />
the rating (for strong sexuality, language, violence<br />
and drug content) might dissuade the<br />
olderpatrons that made "II Postino" a success.<br />
Suicide Kings<br />
In this black comedy, four collegians nab a<br />
retired mobster (Christopher Walken) to help<br />
them. Denis Leary ("Wide Awake"), Jay Mohr<br />
("Picture Perfect"), Henry Thomas ("Legends<br />
of the Fall") and Sean Patrick Flanery ("Powder")<br />
also star. Peter O'Fallon directs; Wayne<br />
Rice and Cina Goldman script; Rice produces<br />
with Morrie Eisenman. (Live, 3/1 3)<br />
Exploitips: Our Toronto critic (Oct. '97<br />
issue) gave this three stars, citing Walken's<br />
energetic turn and narrative twists. Held from<br />
several dates; rated R for strong violence and<br />
language, and for some nudity and drug use.<br />
The Mighty<br />
In this comedy/drama, two outcasts—<br />
giant, slow-witted boy, and a sickly but superintelligent<br />
child—team to face life. Sharon<br />
Stone, Kieran Culkin, Gillian Anderson (TV's<br />
"The X-Files"), Harry Dean Stanton and Gena<br />
Rowlands star. Peter Chelsom (the success<br />
d'estime "Funny Bones") directs; Charles<br />
Leavitt ("Sunchaser") adapts Rodman<br />
Philbrick's novel "Freak the Mighty"; Simon<br />
Fields and Jane Startz produce. (Miramax,<br />
3/1 3 NY/LA, 3/20 exp top 40, 3/27 wide)<br />
Exploitips: One critic called "Funny<br />
Bones" "extraordinarily strange, "and this one<br />
might avoid the ordinary also, despite a comforting<br />
PC-13 rating (for elements of violence<br />
and peril). From the days of its disastrous<br />
launch of I993's "Into the West," Miramax<br />
has wanted to establish a family label; even<br />
more than with Miramax's "Wide Awake,"<br />
the question here seems to be whether the<br />
distributor wants to pull children to stories<br />
about children or adults to stories about children.<br />
Held from Dec/Jan. dates.<br />
MARCH 20<br />
Primary Colors<br />
Mike Nichols helms this adaptation of<br />
Newsweek columnist Joe Klein's satiric bestseller<br />
about a Southern presidential hopeful<br />
(John Travolta) and his pushy wife ("The Winter<br />
Guest's" Emma Thompson)—who bear<br />
similarities to current White Housers. Billy<br />
Bob Thornton ("Sling Blade"), Kathy Bates,<br />
Adrian Lester and Moira Tierney co-star.<br />
Elaine May scripts. (Universal, 3/20 wide)<br />
Exploitips: This could be the month's highest-profile<br />
release, due in equal measure to<br />
the real-life Washington connection and to<br />
the Hollywood teaming of Travolta and<br />
Thompson. Exhibitors can help by reminding<br />
moviegoers of the fun they had at Nichols'<br />
"The Birdcage, " which although also a winter<br />
release was a major hit at the boxoffice.<br />
The Object of My Affection<br />
In this romantic comedy/drama, a social<br />
worker ("Picture Perfect's" Jennifer Aniston)<br />
who rents a room to a gay teacher ("Clueless'"
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Paul Rudd) and who becomes pregnant by her<br />
boyfriend, decides to raise the baby with her<br />
gay roomie—who himself is courting a young<br />
actor. Tim Daly, Alan Alda and Nigel Hawthorne<br />
("The Madness of King George") costar.<br />
Nicholas Hytner ("The Crucible") directs;<br />
playwright Wendy Wasserstein scripts; Lawrence<br />
Mark produces. (Fox, 3/1 8)<br />
Exploitips: Fox also is releasing the maletrending<br />
"The Newton Boys" this weekend,<br />
but "The Object ofMy Affection" could draw<br />
the distaff demo in good numbers, given that<br />
no other fare directly targets that audience<br />
and that, unlikeotherfor-the-girlstossoffs, this<br />
effort has a critically acclaimed director (Hytner<br />
also did "The Madness of King George")<br />
at its helm. The trick will be to sell the same<br />
product to the mature moviegoer and to the<br />
small-tube set that loves Aniston for "Friends. "<br />
The Newton Boys<br />
In this true-life action/drama set in the<br />
1 920s, the bank-robbing Newton Boys set out<br />
to attain their crowning achievement; a record-breaking<br />
$3 million heist of a mail train.<br />
Matthew McConaughey ("Contact"), Ethan<br />
Hawke ("Great Expectations"), Skeet Ulrich<br />
("Scream") and Vincent D'Onofrio ("The<br />
Whole Wide World") star. In a change of<br />
pace, Richard Linklater ("Dazed and Confused,"<br />
"Before Sunrise") directs, and he<br />
scripts with Clark Lee Walker and with Claude<br />
Stanush, on whose book the script is based;<br />
Ann Walker-McBay produces. (Fox, 3/20)<br />
Exploitips: The big cast and the teenfriendly<br />
PC- 1 3 rating (for violence including<br />
bloody aftermath of a shooting, and for language)<br />
makes this the testosterone alternative<br />
for those too young to get into "Nightwatch"<br />
(see below). As always with mainstream<br />
males, emphasize the action and contention.<br />
Sour Grapes<br />
In this comedy, the lives of two cousins<br />
(Steven Weber and Craig Bierko) are changed,<br />
if not in dream-come-true fashion, after one<br />
hits the jackpot on an Atlantic City slot machine<br />
with a quarter borrowed from the other.<br />
Karen Sillas and Matt Keeslar co-star. Larry<br />
David directs and scripts; Laurie Lennard produces<br />
for Castle Rock. (Columbia, 3/20)<br />
Exploitips: Given the no-star nature of the<br />
cast, the big sell here will be Da vid, co-creator<br />
of TV's uber-popular "Seinfeld. " Although all<br />
of March is crowded, the 3/20 date seems<br />
safe, as it bears no other pure comedy. (Note:<br />
"Sour Grapes" ends the long Castle Rock/<br />
Columbia production/distribution pact.)<br />
Nightwatch<br />
Life<br />
In this suspense thriller, a law student ("A<br />
Less Ordinary's" Ewan McGregor) supporting<br />
his |.D. studies by working as a night<br />
watchman at a morgue finds that all the clues<br />
left by a town-terrorizing serial killer lead<br />
back to him. Nick Nolte, Patricia Arquetteand<br />
)osh Brolin co-star for director Ole Bornedal,<br />
here remaking his Danish-language original;<br />
Steven Soderbergh scripts; Michael Obel produces.<br />
(Miramax/Dimension, 3/20 wide)<br />
Exploitips: Remember "Shine" and "Sling<br />
Blade" fOnce upon a time, "Nightwatch" was<br />
slated to open against them. Rated R (for<br />
strong morbid violence, language, sexuality<br />
and some drug content), this Dimensioner<br />
hasn't changed its 1 ,000-screen plans. Butthe<br />
new opening competition is the star-heavy<br />
and male-pulling "The Newton Boys" and<br />
Miramax itself, which has a deluge of March<br />
releases to take care of<br />
Paulie: A Parrot's Tale<br />
A talking parrot named Paulie can do more<br />
than mimic voices; he can speak and understand.<br />
Told through the bird's eyes, "Paulie:<br />
A Parrot's Tale" (aka just "Paulie") tells of his<br />
adventures as he seeks to return to the little<br />
girl who raised and cared for him. Cena Rowlands,<br />
Jay Mohr ("Picture Perfect"), Cheech<br />
Marin ("Tin Cup"), Tony Shalhoub ("Big<br />
Night") and Bruce Davison ("The Crucible")<br />
star. John Roberts directs; Laurie Craig scripts;<br />
Mark Cordon, Gary Levinsohn and Allison<br />
Segan produce. (DreamWorks, 3/20)<br />
Exploitips: Like DreamWorks' "Mousehunt,<br />
" this features no marquee names, but as<br />
with that holiday release the distributor is<br />
likely to be willing to spend the P&A money<br />
to get "Paulie" noticed in a busy month. Regardless<br />
of creative quality, "Paulie" faces the<br />
same where's-the-audience problem as previous<br />
quality family films— e.g., "FairyTale: A<br />
True Story" and "A Little Princess, " for which<br />
neither Paramount or Warner found a solution;<br />
maybe SKG can find an answer.<br />
The Taste of Cherry<br />
In this Iranian drama, a man driving a car<br />
and considering suicide engages a succession<br />
of riders in adiscussion about the value of life.<br />
Homayon Ershadi and Abdolrahman Bagheri<br />
star. Abbas Kiarostami directs, scripts and<br />
produces. (Zeitgeist, 3/20 NY, 3/27 LA)<br />
Exploitips: Our Cannes critic gave this just<br />
2 1/2 stars (see our Aug. 1 997 issue), but "The<br />
Taste ofCherry" (aka "Ta 'm E Cuilass") shared<br />
the fest's prized Palme d'Or. Also citable:<br />
Kiarostami directed the Miramax release<br />
"Under the Olive Trees" and scripted the<br />
October Films release "The White Balloon.<br />
Mendel<br />
This Norwegian drama tells the bittersweet<br />
story of how Mendel, a nine-year-old Jewish<br />
boy displaced from Germany after World War<br />
II, adjusts to life in a remote Scandinavian<br />
village. The coming-of-age tale follows Mendel<br />
as he strives to understand who he is and<br />
what,' in the shadow of the Holocaust, his<br />
religious background means. Alexander<br />
Rosier directs. (First Run, 3/20 NY, 3/27 LA)<br />
Exploitips: Holocaust-themed films continue<br />
to pull, even a half-century after the<br />
event itself, and coming-of-age tales seem to<br />
have the ability to cross over cultural boundaries.<br />
Still, this is obviously specialized fare;<br />
outreach programs to local Jewish and Scandinavian<br />
groups could pay dividends.<br />
Wide Awalce<br />
With the death of his beloved grandfather<br />
("Big's" Robert Loggia), a 10-year-old boy<br />
(newcomer Joseph Cross) begins a search for<br />
God at home and school—to his parents' and<br />
teachers' consternation— in this spiritual<br />
comedy/drama. Denis Leary, Dana Delany<br />
and Rosie O'Donnell star. M. Night Shyamalan<br />
("Praying With Anger") directs and<br />
scripts; Cary Woods and Cathy Conrad produce.<br />
(Miramax, 3/20 NY/LA, 3/27 exp top<br />
20, 4/1 exp top 40 or wide)<br />
Exploitips: Our critic (9/97) gave this three<br />
stars for fine character turns and Shyamalan's<br />
"dexterity with the simpler emotions.<br />
iVIy Giant<br />
MARCH 27<br />
In this comedy, struggling sports agent<br />
Sammy ("Fathers' Day's" Billy Crystal, who<br />
also produces) heads to Romania in search of<br />
talent. There, he finds 7-foot, 7-inch Max<br />
(NBA Washington Bullets center Gheorghe<br />
Muresan), who's happy living in a monastery.<br />
Kathleen Quinlan co-stars. Michael Lehmann<br />
("The Truth About Cats & Dogs") directs;<br />
David Seltzer scripts. (Columbia, 3/27 wide)<br />
Exploitips: Columbia's 1,800-screen bow<br />
could help make this the choice of diverse<br />
demos, including the family aud at which<br />
"Meet the Deedles" (see below) is targeted.<br />
Despite the cool response to Crystal's latest<br />
efforts, he remains a popular performer for the<br />
date-night crowd, and "My Giant" arrives<br />
nearthe NBA playoffseason, which could put<br />
dads out there in the mind for a family outing.<br />
(Meet the Deedles<br />
In this comedy, two Hawaiian surf-bum<br />
fraternal twins ("Pleasantville's" Paul Walker<br />
and "J<br />
i ngle Al I the Way's" Steve Van Wormer)<br />
are sent to a militaristic boot camp in Yellowstone<br />
National Park by their millionaire father.<br />
Dennis Hopper plays the camp's<br />
tough-as-nails leader. Steve Boyum directs;<br />
Jim Herzfeld ("Tapeheads") scripts; former<br />
A&M Films head Dale Pollock produces with<br />
Aaron Meyerson. (Buena Vista, 3/27 wide)<br />
Exploitips: This is the first result of the pact<br />
between Disney and DIC Films, the new liveaction<br />
arm of the TV animation giant. Despite<br />
Its Disney imprimatur, "Meet the Deedles"<br />
could suffer versus "My Giant," which has a<br />
marquee name and that crucial adult-interest<br />
factor. (The theory is, the dad has to drive.) So<br />
highlight the leads' ages and the hijinkery to<br />
attract the preteen set that attend on their own.<br />
Without Limits<br />
In this real-life drama, Billy Crudup ("Sleepers")<br />
plays famed and ill-fated track star Steve<br />
Prefontaine. Donald Sutherland, Monica Potter<br />
and Judith Ivey co-star. Robert Towne<br />
("Personal Best") directs, and he scripts with<br />
Prefontaine's friend and Sports Illustrated<br />
writer Kenny Moore; Tom Cruise and Paula<br />
Wagner produce. See our Sneak Preview in<br />
this issue. (Warner Bros., 3/27; could go 3/20)<br />
Exploitips: Disney's Prefontaine film hits<br />
theatres first tlieatres first— and it did poorly.<br />
The Cruise- Wagner imprimatur is a solid one,<br />
however, and the PG-13 rating (for brief sexual<br />
material and brief strong language) will<br />
allow the crucial teen patronage.<br />
No More Mr. Nice Guy<br />
Hong Kong action maestro Jackie Chan<br />
plays a TV chef who helps a woman journalist<br />
being pursued by a crime syndicate. Sammo<br />
Hung directs; Edward Tang and Fibe Ma
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script; Chua Lam produces for longtime Chan<br />
backer Golden Harvest. (New Line, 3/27)<br />
Exploitips: Screened at ShowEast, this provides<br />
the usual Chan blend of comedy and<br />
action. But the $6 million acquisition (which<br />
gives Nevi' Line all but Asian rights) boasts just<br />
one jaw-dropping Chan-in-action sequence.<br />
Despite the efforts ofMiramax and New Line,<br />
Chan attracts a niche crowd stateside; expect<br />
the usual Chan boxoffice results, in the 'teens.<br />
Storefront Hitchcock<br />
The alternative tunery of British<br />
singer/songwriter Robyn Hitchcock is showcased<br />
in this documentary concert film by<br />
Jonathan Demme, who shot the film's footage<br />
in a New York storefront setting with a live<br />
audience. (Orion/MCM, 3/27 ltd)<br />
Exploitips: Though famed for the likes of<br />
"The Silence ofthe Lambs" and "Philadelphia, "<br />
Demme in<br />
1 984 made a highly regarded Talking<br />
Heads concert film, "Stop Making Sense. "<br />
That group was better known stateside than is<br />
Hitchcock, but his fans are devoted. Rated<br />
PC-13 (for one use of strong language).<br />
Grease<br />
In a 20th anniversary reissue, John Travolta,<br />
Olivia Newton-John and classmates Stockard<br />
Channing, Jeff Conaway and Didi Conn return<br />
to the slick-backed and hot-rodded academe<br />
of the '50s. Randal Kleiser directs; Bronte<br />
Woodard adapts the J<br />
im Jacobs/Warren Casey<br />
Broadway version; Robert Stigwood and<br />
Allan Carr produce. (Paramount, 3/27)<br />
Expioitips: The studio had considered releasing<br />
a "Pop-Up Video" version but went<br />
with a straight re-release. ("Pop-Up Videos,"<br />
in which explanatory "bubbles" of information<br />
pop up onscreen, have become a programming<br />
staple of MTV, owned by<br />
Paramount parent Viacom.) Auds swarmed to<br />
the "Star Wars" reissues, but Paramount'<br />
"The Godfather" and Live's "Dirty Dancing"<br />
indicate modest interest in such returns.<br />
No Looking Back<br />
As waitress Claudia ("A Smile Like Yours'"<br />
Lauren Holly) helps her mother (BIythe Danner)<br />
adjust to husband-less life and Claudia's<br />
relationship with her live-in boyfriend ("The<br />
Leading Man's" Jon Bon Jovi) is looking unpromising,<br />
her old flame ("She's the One's"<br />
Edward Burns, who also directs and scripts)<br />
returns to town. Ted Hope, Michael Nozik<br />
and Edward Burns produce for Good Machine.<br />
(Cramercy, 3/27 ltd, 4/10 exp)<br />
Exploitips: "The Brothers McMullen" and<br />
"She's the One" were quality outings by<br />
Burns, but the 3/27 frame is crowded for such<br />
specialized fare, given that "The Butcher<br />
Boy, " "B. Monkey, " "The Mighty" and "Wide<br />
Awake" all plan some expansion on that date.<br />
Two Giris and a Guy<br />
Two women realize their lovers are the same<br />
man; they plot revenge. Robert Downey Jr.,<br />
Heather Graham ("Boc^ie Nights") and Natasha<br />
Cregson Wagner ("Lost Highway") star. James<br />
Toback (who helmed another Downey-asseductioneer<br />
tale, "The Pick-Up Artist") directs<br />
and scripts; Edward R. Pressman and Chris Hanley<br />
produce. (Fox Searchlight, 3/27 ltd)<br />
Exploitips: Controversy^: The MPAA gave<br />
this a rating of NC- 1 7 (for a scene of explicit<br />
sexuality), but Fox Searchlight is appealing.<br />
Our Telluride critic (upcoming issue) ga ve this<br />
two stars, saying Downey's "energetic performance"<br />
is the only plus. Still, the sexy title and<br />
the possible ratings flap could generate<br />
boxoffice heat among twentysomethings.<br />
Tempting Fate<br />
This drama tells the story of a feminist<br />
writer ("12 Monkeys'" Madeleine Stowe) who<br />
with her husband (William Hurt) consults a<br />
priest ("Hamlet's" Kenneth Branagh) about<br />
marital troubles. Romantic complications<br />
ensue. BIythe Danner and Neil Patrick Harris<br />
co-star. Lesli Linka Clatter ("Now and Then")<br />
directs; Rick Ramage scripts; Ted Field, Scott<br />
Kroopf and Diane Nabatoff produce for Interscope.<br />
(Cramercy, March 27 ltd, 4/24 wide)<br />
Exploitips: More controversy^: Grievances<br />
could come from the Catholic groups that<br />
contested TV's "Nothing Sacred," given this<br />
film's priest-wife imbroglio. Once a fall and<br />
then January title, "Tempting Fate" now faces<br />
tougher arthouse competition in a month<br />
that's chockful of specialized fare. To maximize<br />
turnout, emphasize the Branagh name.<br />
A Price Above Rubies<br />
A young Hasidic woman ("Jerry Maguire's"<br />
Renee Zellweger) defies her husband (Glenn<br />
Fitzgerald) and community when she takes a<br />
job—and then falls in love with a Puerto Rican<br />
artist ("Jason's Lyric's" Allen Payne). Christopher<br />
Eccleston ("Jude") co-stars. Boaz Yakin<br />
("Fresh") directs; John Penotti produces.<br />
(Miramax, 3/27 NY/LA, 4/3 exp top 40)<br />
Exploitips: Even more controversy: Director<br />
Yakin, a former yeshiva student, had New<br />
York filming disrupted by local Hasidim.<br />
Yakin was quoted as saying, "That's nothing<br />
compared to how p<br />
— ed off they're going to<br />
be when they see this film. " The conservative<br />
Jewish sect, which also disapproves of the<br />
cinema in general, certainly won't appreciate<br />
the R rating (for sexuality and brief language)<br />
for the project, originally called "A Price<br />
Below Rubies. " Will ensuing controversy hinder<br />
or help at the so-busy 3/27 weekend<br />
boxoffice? Expect the latter, given the<br />
Weinsteins' expertise with publicity.<br />
Eden<br />
A 1960s housewife ("Phantoms'" Joanna<br />
Going) confined by marriage, the times and<br />
disease starts to have out-of-body experiences.<br />
Dylan Walsh ("Congo") and Sean Patrick<br />
Flanery ("The Grass Harp") co-star.<br />
Howard Goldberg directs and scripts; Harvey<br />
Kahn produces. (Legacy, 3/27 ltd)<br />
Exploitips: Most of the date's new arthouse<br />
offerings appeal equally if not primarily to<br />
females. Still, go with that strength here.<br />
James Eliroy: Demon Dog of<br />
American Crime Fiction<br />
JamesEllroy, author of "L.A. Confidential,"<br />
gives a tour of the dark underbelly of L.A. and<br />
the dark underbelly of his personality as he<br />
drives an old Cadillac convertible through the<br />
City of Angels in this documentary by<br />
Reinhard Judd. (First Run, 3/25 NY)<br />
Exploitips: Although this is a 1993 work, it<br />
could draw extra 1998 attention if the Curtis<br />
Hanson film goes on to Oscar honors this<br />
March. Probably not citably. City Voice<br />
called this a "fiend-crammed, Byzantine tour<br />
conducted by the relentless self-promoter,<br />
former drunk, pantie sniffer and author of a<br />
body of writing without parallel. "<br />
MARCH UNDATED<br />
IVIajor League 3<br />
In a reworking of this minor-league film<br />
franchise, Scott Bakula ("Lord of Illusions")<br />
stars as a burned-out pitcher named Gus<br />
who realizes it's time to hang up his glove.<br />
When the owner of the Minnesota Twins<br />
(series regular Corbin Bernsen) offers to<br />
make him the manager of the Twins' Triple-<br />
A team, Gus accepts—only to find a ragtag<br />
bunch of misfits awaiting. Dennis Haysbert<br />
and Takaaki Ishibashi sign up again as costars.<br />
John Warren (who scripted "Naked in<br />
New York") directs and scripts; James G.<br />
Robinson produces for his Morgan Creek.<br />
(Warner Bros., March undated)<br />
Exploitips: "Major League" did decent<br />
business, but part 2 tanked. Yet the March<br />
dating could work, in that news from the<br />
spring training camps could excite interest.<br />
This lacks Tom Berenger and Charlie Sheen,<br />
though, so expect a cap on final boxoffice.<br />
Caria's Song<br />
In this British romantic drama (in English<br />
and subtitled Spanish), a chance encounter<br />
leads George, a Glasgow bus driver ("The Full<br />
Monty's" Robert Carlyle), to fall in love with<br />
a Nicaraguan emigre (Oyanka Cabezas)<br />
named Carla. Caria conceals a painful secret;<br />
to unearth it, George accompanies her to her<br />
homeland, where a disaffected ex-CIA operative<br />
(Scott Glenn) acquaints him with American<br />
atrocities. Ken Loach ("Land and<br />
Freedom") directs; Paul Loverty scripts; Sally<br />
Hibbin produces. (Shadow, March undated)<br />
Exploitips: Our Cannes critic (Oct. '97<br />
issue) gives this three stars, saying "Loach has<br />
fashioned a moving, rhapsodic love story of<br />
two people from vastly different worlds. Part<br />
political thriller, part psychodrama, the film<br />
boasts a superb performance by Carlyle.<br />
I Tliink I Do<br />
A screwball comedy with a modern twist<br />
(the fussin' lovers are the same gender), "I<br />
Think I Do" tells the story of two ex-college<br />
roommates who remember each other as an<br />
unrequited love and who meet five years<br />
later at a wedding. Various expected and<br />
unexpected sparks among various partiers<br />
begin to fly. Alexis Arquette, Maddie Corman<br />
and Guillermo Diaz star. Brian Sloan directs<br />
and scripts; Lane Janger ("I Like It Like That")<br />
prcxJuces. (Strand, March undated)<br />
Exploitips: Filmmaker Sloan says he conceived<br />
of his seven main characters as "a<br />
sort of college version of the Island of Misfit<br />
Toys from "Rudolph the Red-Nosed Reindeer."<br />
Though this might not play in Peoria,<br />
"I Think I Do's" script was strong enough to<br />
get Strand's Marcus Hu and Jon Cerrans to<br />
guarantee distribution. Expect decent specialized<br />
marks.<br />
^B<br />
16 BOXOI'TICE
NOT ALL DIGITAL SOUND<br />
SYSTEMS ARE EQUAL<br />
"What separates SDDS from any other digital format is<br />
the spread of sound, especially music, giving a sense of<br />
scope and richness that no other format can match."<br />
BARRY SONNENFELD<br />
Director<br />
MEN IN BLACK<br />
Biggest Picture of 1<br />
997<br />
Hear the difference<br />
Sony Dynamic<br />
Digital Sounds<br />
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BOXOFFICE'S<br />
1998 BLUE RIBBON<br />
AWARDS<br />
Do you consider yourself an obvious candidate for the Academy Award judging<br />
panel? Are you an ever-flowing font of movie critiques? <strong>Boxoffice</strong> knows that<br />
no one is more passionate— or opinionated — about films than the people who<br />
show them. Here's your chance to let the voice of exhibition be heard! Following<br />
is a list of films released in 1997. Using the ballot provided, cast your vote<br />
for the Best, Worst and Most Popular films of the year. Space is also provided<br />
for your commentary on the releases of '97. BE SURE TO MAIL YOUR BALLOT<br />
NO LATER THAN FEB. 5. Results will be published in our April 1998 issue.<br />
1. ABSOLUTE POWER. Clint Eastwood,<br />
Gene Hackman (Columbia)<br />
2. ADDICTED TO LOVE. Meg Ryan,<br />
Matthew Broderick (Warner)<br />
3. AIR BUD. Kevin Zegers (Buena Vista)<br />
4. AIR FORCE ONE. Harrison Ford,<br />
Gary Oldman, Glenn Close (Columbia)<br />
5. ALIEN RESURRECTION. Sigourney<br />
Weaver, Winona Ryder (Fox)<br />
6. ALIVE AND KICKING. Jason Flemyng<br />
(First Look)<br />
7. ALL OVER ME. Alison Foland, Tara<br />
Subkoff (Fine Line)<br />
8. AN AMERICAN WEREWOLF IN<br />
PARIS. Julie Delpy, Tom Everett Scott<br />
(Buena Vista)<br />
9. AMISTAD. Morgan Freeman, Matthew<br />
McConaughey (DreamWorks)<br />
10. ANACONDA. Jennifer Lopez, Ice<br />
Cube, Jon Voight, Eric Stoltz (Columbia)<br />
11. ANASTASIA. Voices: Meg Ryan,<br />
John Cusack, Christopher Lloyd (Fox)<br />
12. APOSTLE. Robert Duvall (October)<br />
13. AS GOOD AS IT GETS. Jack Nicholson,<br />
Helen Hunt, Greg Kinnear (TriStar)<br />
14. THE ASSIGNMENT. Aidan Quinn,<br />
Donald Sutherland, Ben Kingsley (Triumph)<br />
15. AUSTIN POWERS: INTERNA-<br />
TIONAL MAN OF MYSTERY. Mike Myers,<br />
Elizabeth Hurley (New Line)<br />
16. B.A.P.s. Halle Berry, Natalie<br />
Deselle, Martin Landau (New Line)<br />
17. BATMAN AND ROBIN. George<br />
Clooney, Arnold Schwarzent?gger (Warner)<br />
18. BEAN. Rowan Atkinson (Gramercy)<br />
19. BEAUMARCHAIS THE SCOUN-<br />
DREL. Fabrice Luchini (New Yorker)<br />
20. BEAUTICIAN AND THE BEAST.<br />
Fran Drescher, Timothy Dalton (Paramount)<br />
21. BENT. Lolhaire Bluteau (MGM)<br />
22. BEVERLY HILLS NIN|A. Chris Farley<br />
(TrIStar)<br />
23. BLISS. Craig Sheffer (Triumph)<br />
24. BLOOD & WINE. Jack Nicholson,<br />
Stephen Dorff (Fox Searchlight)<br />
25. BOOGIE NIGHTS. Mark Wahlberg,<br />
Julianne Moore, Burt Reynolds (New Line)<br />
26. BOOTY CALL. Jamie Foxx, Tommy<br />
Davidson, Vivica A. Fox (Columbia)<br />
27. THE BOXER. Daniel Day-Lewis,<br />
Emily Watson (Universal)<br />
28. BRASSED OFF. Pete Postlethwaite,<br />
Tara Fitzgerald, Ewan McGregor (Miramax)<br />
29. BREAKDOWN. Kurt Russell, Kathleen<br />
Quinlan, J.T. Walsh (Paramount)<br />
30. BROKEN ENGLISH. Alexsandra<br />
Vujcic, Rade Serbedzija (Sony Classics)<br />
31. BUDDY. Rene Russo (Columbia)<br />
32. CAREER GIRLS. Katrin Cartlidge,<br />
Lynda Steadman (October)<br />
33. CATS DON'T DANCE. Voice: Scott<br />
Bakula (Warner)<br />
34. CHASING AMY. Ben Affleck, Joey<br />
Lauren Adams, Jason Lee (Miramax)<br />
35. A CHEF IN LOVE. Pierre Richard<br />
(Sony Classics)<br />
36. CHILDREN OF THE REVOLUTION.<br />
Judy Davis, Sam Neill (Miramax)<br />
37. CITY OF INDUSTRY. Harvey Keitel,<br />
Famke Janssen (Orion)<br />
38. COMMANDMENTS. Aidan Quinn,<br />
Courteney Cox (Gramercy)<br />
39. CON AIR. Nicolas Cage, John<br />
Malkovich, John Cusack (Buena Vista)<br />
40. CONSPIRACY THEORY. Mel Gibson,<br />
Julia Roberts, Patrick Stewart (Warner)<br />
41. CONTACT. Jodie Foster, Matthew<br />
McConaughey, James Woods (Warner)<br />
42. COPLAND. Sylvester Stallone, Ray<br />
Liotta, Harvey Keitel (Miramax)<br />
43. CRASH. James Spader, Hoi ly Hunter<br />
(Fine Line)<br />
44. CRITICAL CARE. James Spader, Kyra<br />
Sedgwick, Albert Brooks (Live)<br />
45. DANCEHALL QUEEN. (Island)<br />
46. DANGEROUS GROUND. Ice<br />
Cube, Elizabeth Hurley (New Line)<br />
47. DANTE'S PEAK. Pierce Brosnan,<br />
Linda Hamilton (Universal)<br />
48. THE DAYTRIPPERS. Liev Schreiber,<br />
Stanley Tucci, Parker Posey (CFP)<br />
49. DECONSTRUCTING HARRY.<br />
Woody Allen, Billy Crystal (Fine Line)<br />
50. THE DEVIL'S ADVOCATE. Keanu<br />
Reeves, Al Pacino (Warner)<br />
51. THE DEVIL'S OWN. Harrison Ford,<br />
Brad Pitt (Columbia)<br />
52. DIFFERENT FOR GIRLS. Steven<br />
Mackintosh, Rupert Graves (First Look)<br />
53. THE DISAPPEARANCE OF GARCIA<br />
LORCA. Esai Morales, Andy Garcia (Triumph)<br />
54. DONNIE BRASCO. Al Pacino,<br />
Johnny Depp, Anne Heche (TriStar)<br />
55. DOUBLE TEAM. Jean-Claude Van<br />
Damme, Dennis Rodman (Columbia)<br />
56. DREAM WITH THE FISHES. David<br />
Arquette, Brad Hunt (Sony Classics)<br />
57. THE EDGE. Anthony Hopkins, Alec<br />
Baldwin, ElleMacpherson (Fox)<br />
58. THE EDUCATION OF LITTLE TREE.<br />
James Cromwell (Paramount)<br />
59. 8 HEADS IN A DUFFLEBAG. joe<br />
Pesci, David Spade (Orion)<br />
60. THE END OF VIOLENCE. Bill Pullman,<br />
Andie MacDowell (MGM)<br />
61. EVENT HORIZON. Laurence<br />
Fishburne, Kathleen Quinlan (Paramount)<br />
62. EVE'S BAYOU. Samuel L. Jackson,<br />
Lynn Whitfield (Trimark)<br />
63. EXCESS BAGGAGE. Alicia<br />
Silverstone, Benicio Del Toro (Columbia)<br />
64. FACE/OFF. )ohn Travolta, Nicolas<br />
Cage, Joan Allen (Paramount)<br />
65. FAIRYTALE: A TRUE STORY. Florence<br />
Hoath, Elizabeth Earl (Paramount)
February, 1998 19<br />
66. FAST, CHEAP & OUT<br />
OF CONTROL. Dir: Errol Morris<br />
(Sony Classics)<br />
67. FATHERS' DAY. Robin<br />
Williams, Billy Crystal,<br />
Natassja Kinski (Warner)<br />
68. FEMALE PERVER-<br />
SIONS. Tilda Swinton, Karen<br />
Sillas (October)<br />
69. FIERCE CREATURES.<br />
John Cleese, Jamie Lee Curtis,<br />
Kevin Kline (Universal)<br />
70. THE FIFTH ELEMENT.<br />
Bruce Willis, Gary Oldman,<br />
Milla Jovovich (Columbia)<br />
71. FIRE DOWN BELOW.<br />
Steven Seagal (Warner)<br />
72. FIRST STRIKE. Jackie<br />
Chan (New Line)<br />
73. FLUBBER. Robin Williams<br />
(Buena Vista)<br />
74. FOOLS RUSH IN. Mat<br />
thew Perry, Salma Hayek (Columbia)<br />
75. FOR RICHER OR<br />
POORER. Tim Allen,<br />
Alley (Universal)<br />
Kirstie<br />
76. FOR ROSEANNA. Jean<br />
Reno, Mercedes Ruehl, Polly<br />
Walker (Fine Line)<br />
77. FREE WILLY 3. Jason<br />
James Richter. (Warner)<br />
78. THE FULL MONTY.<br />
Robert Carlyle (Fox Searchlight)<br />
79. THE GAME. Michael<br />
Douglas, Sean Penn (Polygram)<br />
80. GANG RELATED. James<br />
Belushi, Tupac Shakur.<br />
(MGM/Orion)<br />
81 . CATTACA. Ethan Hawke,<br />
Uma Thurman (Columbia)<br />
82. GEORGE OF THE JUN-<br />
GLE. Brendan Eraser, Leslie<br />
Mann (Buena Vista)<br />
83. G.I. JANE. Demi Moore<br />
(Buena Vista)<br />
84. GOING ALL THE WAY.<br />
Ben Affleck, Amy Locane.<br />
(Gramercy)<br />
85. GONE FISHIN'. Joe<br />
Pesci, Danny Glover. (Buena<br />
Vista)<br />
86. GOOD BURGER. Kel<br />
Mitchell, Kenan Thompson.<br />
(Paramount)<br />
87. GOOD WILL HUNT-<br />
ING. Matt Damon, Robin Williams,<br />
Ben Affleck (Miramax)<br />
88. GREAT EXPECTA-<br />
TIONS. Robert DeNiro,<br />
Gwyneth Paltrow (Fox)<br />
89. GRIDLOCK'D. Tim<br />
Roth, Tupak Shakur (Gramercy)<br />
90. GRIZZLY MOUNTAIN.<br />
Dan Haggerty (Legacy)<br />
91. GROSSE POINTE<br />
BLANK. John Cusack, Minnie<br />
Driver (Buena Vista)<br />
92. GUANTANAMERA.<br />
Carlos Cruz (CEP)<br />
93.HARD8.JohnC. Reilly,<br />
Samuel L. Jackson, Gvk'yneth<br />
Paltrow (Goldwyn)<br />
94. HEAD ABOVE WATER.<br />
Cameron Diaz (Fine Line)<br />
95. HERCULES. Voices:<br />
Tate Donovan, Danny DeVito,<br />
James Woods (Buena Vitsta)<br />
96. HOME ALONE 3. Alex<br />
D. Linz (Fox)<br />
97. HOODLUM. Laurence<br />
Eishburne, Tim Roth (UA)<br />
98. HOTEL DE LOVE. Aden<br />
Young, Saffron Burrows (Live)<br />
99. THE HOUSE OF YES.<br />
Parker Posey (Miramax)<br />
100. HOW TO BE A<br />
PLAYER. Bill Bellamy (Gramercy)<br />
101. HUGO POOL. Alyssa<br />
Milano, Robert Downey Jr.<br />
(Northern Arts)<br />
102. THE ICE STORM.<br />
Kevin Kline, Sigourney<br />
Weaver (Fox Searchlight)<br />
103. I KNOW WHAT YOU<br />
DID LAST SUMMER. Jennifer<br />
Love Hewitt (Columbia)<br />
104. I LOVE YOU, I LOVE<br />
YOU NOT. Claire Danes,<br />
Jeanne Moreau (CFP)<br />
105. IN &OUT. Kevin Kline,<br />
Joan Cusack (Paramount)<br />
106. IN THE COMPANY<br />
OF MEN. Aaron Eckhart, Matt<br />
Malloy (Sony Classics)<br />
107. INVENTING THE AB-<br />
BOTTS. Liv Tyler, Joaquin<br />
Phoenix, Joanna Going (Fox)<br />
108. THE JACKAL. Bruce<br />
Willis, Richard Gere (Universal)<br />
109. JACKIE BROWN. Pam<br />
Grier, Samuel L. Jackson,<br />
Bridget Fonda (Miramax)<br />
110. JULIAN PO. Christian<br />
Slater (Fine Line)<br />
111. JUNGLE 2 JUNGLE.<br />
Tim Allen, Sam Huntington<br />
(Buena Vista)<br />
112. KAMA SUTRA. Sarita<br />
Choudhury (Trimark)<br />
113. KICKED IN THE<br />
HEAD. Kevin Corrigan, Linda<br />
Fiorentino (October)<br />
114. KISSED. Molly Parker<br />
(Goldwyn)<br />
115. KISS ME, GUIDO.<br />
Nick Scotti (Paramount)<br />
116. KISS OR KILL. Frances<br />
O'Conner, Matt Day (October)<br />
117. KISS THE GIRLS. Morgan<br />
Freeman, Ashley Judd<br />
(Paramount)<br />
118. KOLYA. Zdenek<br />
Sverak (Miramax)<br />
119. KULL THE CON-<br />
QUEROR. Kevin Sorbo, Tia<br />
Carrere (Universal)<br />
120. KUNDUN. Tenzin<br />
Thuthob Tsarong. (Buena<br />
Vista)<br />
121. L.A. CONFIDENTIAL.<br />
Kevin Spacey, Kim Basinger,<br />
Russell Crowe, Guy Pearce<br />
(Warner)<br />
122. THE LAST TIME I<br />
SUICIDE.<br />
COMMITTED<br />
Keanu Reeves (Roxie)<br />
Continued on page 20<br />
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20 BoXflKKU'K<br />
Continued from page 19<br />
123. LEAVE IT TO BEAVER. Christopher<br />
Macdonald, Janine Turner (Universal)<br />
124. LEO TOLSTOY'S ANNA<br />
KARENINA. Sophie Marceau (Warner)<br />
125. LIAR LIAR. Jim Carrey (Universal)<br />
1 26. A LIFE LESS ORDINARY. Cameron<br />
Diaz, Ewan McGregor (Fox)<br />
127. LOST HIGHWAY. Bill Pullman,<br />
Patricia Arquette (October)<br />
128. THE LOST WORLD. Jeff Coldblum,<br />
Julianne Moore (Universal)<br />
129. LOVE JONES. Larenz Tate, Nia<br />
Long (New Line)<br />
130. LOVE SERENADE. Miranda Otto,<br />
Rebecca Frith, George Shevtsov (Miramax)<br />
131. LOVE! VALOUR! COMPASSION!<br />
Jason Alexander, John Glover (Fine Line)<br />
132. MAD CITY. Dustin Hoffman, John<br />
Travolta, Mia Kirshner (Warner)<br />
133. THE MAN WHO KNEW TOO LIT-<br />
TLE. Bill Murray, Joanne Whalley (Warner)<br />
134. MASTERMINDS. Patrick Stewart,<br />
Vincent Kartheiser (Triumph)<br />
135. THE MATCHMAKER. Janeane<br />
Garofalo, Denis Leary (Gramercy)<br />
136. MA VIE EN ROSE. Michele<br />
Laroque (Sony Classics)<br />
137. MCHALE'S NAVY. Tom Arnold,<br />
Tim Curry (Universal)<br />
138. MEET WALLY SPARKS. Rodney<br />
Dangerfield (Trimark)<br />
139. MEN IN BLACK. Tommy Lee<br />
Jones, Will Smith (Columbia)<br />
140. METRO. Eddie Murphy, Michael<br />
Rapaport (Buena Vista)<br />
141. MIDNIGHT IN THE GARDEN OF<br />
GOOD AND EVIL. John Cusack, Kevin<br />
Spacey, Jude Law (Warner)<br />
142. MIMIC. Mira Sorvino (Miramax)<br />
143. MONEY TALKS. Charlie Sheen,<br />
Chris Tucker (New Line)<br />
144. MOST WANTED. Keenen Ivory<br />
Wayans, Jon Voight (New Line)<br />
145. MOTHER AND WHORE. Jean-<br />
Pierre Leaud. (Artificial Eye)<br />
146. MOUSEHUNT. Nathan Lane, Lee<br />
Evans. (DreamWorks)<br />
147. MR. MAGOO. Leslie Nielsen,<br />
Kelly Lynch (Buena Vista)<br />
148. MRS. BROWN. Judi Dench, Billy<br />
Connolly (Miramax)<br />
149. MURDER AT 1600. Wesley<br />
Snipes, Diane Lane (Warner)<br />
150. MY BEST FRIEND'S WEDDING.<br />
Julia Roberts, Rupert Everett (TriStar)<br />
151. THE MYTH OF FINGERPRINTS.<br />
BIythe Danner (Sony Classics)<br />
152. NAPOLEAN. Jamie Craft<br />
(MGM/Goldwyn)<br />
1 53. NICK AND JANE. Dana Wheeler-<br />
Nicholson (CFP/Avalance)<br />
1 54. NIGHT FALLS ON MANHATTAN.<br />
Andy Garcia, Richard Dreyfuss (Paramount)<br />
155. NOTHING TO LOSE. Tim Robbins,<br />
Martin Lawrence (Buena Vista)<br />
156. NUEBA YOL 3. Luisito Marti (New<br />
Line)<br />
157. OFFICE KILLER. Carol Kane,<br />
Jeanne Tripplehorn (Strand)<br />
158. 187. Samuel L. Jackson (Warner)<br />
159. ONE NIGHT STAND. Wesley<br />
Snipes, Natassja Kinski (New Line)<br />
160. OPERATION CONDOR. Jackie<br />
Chan (Miramax)<br />
161. OSCAR & LUCINDA. Ralph<br />
Fiennes, Cate Blanchette (Fox Searchlight)<br />
1 62. OUT TO SEA. Jack Lemmon, Walter<br />
Matthau, Brent Spiner (Fox)<br />
1 63. PAPERBACK ROMANCE. Anthony<br />
LaPaglia, Cia Carides (Goldwyn)<br />
164. PARADISE ROAD. Glenn Close,<br />
Frances McDormand (Fox Searchlight)<br />
165. THE PEACEMAKER. George<br />
Clooney, Nicole Kidman (DreamWorks)<br />
1 66. THE PEST. John Leguizamo, Jeffrey<br />
Jones (TriStar)<br />
167. PICTURE PERFECT. Jennifer Aniston,<br />
Kevin Bacon, Jay Mohr (Fox)<br />
168. THE PILLOW BOOK. Vivian Wu,<br />
Ewan McGregor (CFP)<br />
169. PIPPI LONGSTOCKING. Voices:<br />
Melissa Altro, Catherine O'Hara (Legacy)<br />
170. PLAYING GOD. David<br />
Duchovny, Angelina Joiie (Buena Vista)<br />
171. PONETTE. Victorie Thivisol<br />
(Arrow)<br />
172. THE POSTMAN. Kevin Costner,<br />
Olivia Williams (Warner)<br />
173. PREFONTAINE.Jared Leto (Buena<br />
Vista)<br />
174. PRISONER OF THE MOUN-<br />
TAINS. Gleg Menshikov (Orion Classics)<br />
175. PRIVATE PARTS. Howard Stern,<br />
Mary McCormack (Paramount)<br />
1 76. THE QUIET ROOM. Chloe Ferguson<br />
(Fine Line)<br />
177. THE RAINMAKER. Matt Damon,<br />
Jon Voight, Claire Danes (Paramount)<br />
178. RED CORNER. Richard Gere, Bai<br />
Ling(MGM)<br />
179. THE RELIC. Penelope Ann Miller,<br />
Tom Sizemore (Paramount)<br />
180. RHYME AND REASON. Dir: Peter<br />
Spirer (Miramax)<br />
181. ROCKETMAN. Harland Williams<br />
(Buena Vista)<br />
182. ROMY AND MICHELE'S HIGH<br />
SCHOOL REUNION. Lisa Kudrow, Mira<br />
Sorvino (Buena Vista)<br />
183. ROSEWOOD. Jon Voight, Ving<br />
Rhames, Don Cheadle (Warner)<br />
184. ROUGH MAGIC. Bridget Fonda,<br />
Russell Crowe (Goldwyn)<br />
185. THE SAINT. Val Kilmer, Elizabeth<br />
Shue (Paramount)<br />
186. SCREAM 2. Neve Campbell,<br />
Courteney Cox (Miramax)<br />
187. THE SECOND JUNGLE BOOK.<br />
Jamie Williams, Bill Campbell (TriStar)<br />
188. SELENA. Jennifer Lopez (Warner)<br />
189. SEVEN YEARS IN TIBET. Brad Pitt,<br />
David Thewlis (TriStar)<br />
1 90. SHADOW CONSPIRACY. Charlie<br />
Sheen, Donald Sutherland (Buena Vista)<br />
191. SHALL WE DANCE? Koji Yasuyo<br />
(Miramax)<br />
192. SHE'S SO LOVELY. Sean Penn,<br />
Robin Wright Penn (Miramax)<br />
1 93. SHILOH. Michael Moriarty (Legacy)<br />
194. A SIMPLE WISH. Mara Wilson,<br />
Martin Short, Kathleen Turner (Universal)<br />
195. THE 6TH MAN. Marlon Wayans<br />
(Buena Vista)<br />
196. SLAVES TO THE UNDER-<br />
GROUND. Molly Gross (First Look)<br />
197. A SMILE LIKE YOURS. Greg<br />
KInnear, Lauren Holly (Paramount)<br />
198. SMILLA'S SENSE OF SNOW. Julia<br />
Ormond, Gabriel Byrne (Fox Searchlight)<br />
199. SOUL FOOD. Vanessa L. Williams,<br />
Vivica A. Fox, Nia Long (Fox)<br />
200. SPAWN. Michael Jai White, John<br />
Leguizamo (New Line)<br />
201 . SPEED 2: CRUISE CONTROL. Sandra<br />
Bullock, Jason Patric (Fox)<br />
202. SPRUNG. Rusty Cundieff (Trimark)<br />
203. STAR MAPS. Douglas Spain (Fox<br />
Searchlight)<br />
204. STARSHIP TROOPERS. Casper<br />
Van Dien, Dina Meyer, Jake Busey (TriStar)<br />
205. STEEL. Shaquille O'Neal (Warner)<br />
206.SUBURBIA. Giovanni Ribisi, Steve<br />
Zahn, Parker Posey (Sony Classics)<br />
207. SUNDAY. David Suchet (CFP)<br />
208. THE SWAN PRINCESS II. Voice:<br />
Michelle Nicastro (Legacy)<br />
209. THE SWEET HEREAFTER. Ian<br />
Holm (Fine Line)<br />
210. SWITCHBACK. Dennis Quaid,<br />
Danny Glover, Jared Leto (Paramount)<br />
211. TANGO LESSON. Sally Potter<br />
(Sony Classics)<br />
212. TELLING LIES IN AMERICA. Kevin<br />
Bacon, Brad Renfro (Banner)<br />
213. TEMPTRESS MOON. Leslie<br />
Cheung, Gong Li (Miramax)<br />
21 4. THAT DARN CAT. Christina Ricci,<br />
Doug E. Doug (Buena Vista)<br />
215. THAT OLD FEELING. Bette Midler,<br />
Dennis Farina (Universal)<br />
216. THIS WORLD, THEN THE FIRE-<br />
WORKS. Billy Zane (Orion Classics)<br />
217. A THOUSAND ACRES. Jessica<br />
Lange, Michelle Pfeiffer (Buena Vista)<br />
218. 'TIL THERE WAS YOU. Jeanne<br />
Tripplehorn (Paramount)<br />
219. TITANIC. Leonardo DiCaprio,<br />
Kate Winslet, Billy Zane (Paramount)<br />
220. TOMORROW NEVER DIES.<br />
Pierce Brosnan, Michelle Yeoh (UA)<br />
221 . TOUCH. Bridget Fonda (MGM)<br />
222. TRAVELLER. Bill Paxton, Julianna<br />
Margulies, Mark Wahlberg (October)<br />
223. TRIAL AND ERROR. Michael<br />
Richards, Jeff Daniels (New Line)<br />
224. TURBO: POWER RANGERS. Jason<br />
David Frank (Fox)<br />
225. TURBULENCE. Ray Liotta (MGM)<br />
226. ULEE'S COLD. Peter Fonda<br />
(Orion)<br />
227. U-TURN. Jennifer Lopez, Sean Penn,<br />
Nick Nolte, Billy Bob Thornton (TriStar)<br />
228. THE VAN. Colm Meaney (Fox<br />
Searchlight)<br />
229. VEGAS VACATION. Chevy Chase,<br />
Beverly D'Angelo (Warner)<br />
230. VOLCANO. Tommy Lee Jones (Fox)<br />
231. WARRIORS OF VIRTUE. Angus<br />
MacFadyen (MGM)<br />
232. WASHINGTON SQUARE. Jennifer<br />
Jason Leigh, Ben Chaplin (Buena Vista)<br />
233. WELCOME TO SARAJEVO. Stephen<br />
Dillane, Woody Harrelson (Miramax)<br />
234. WHEN THE CAT'S AWAY. Garance<br />
Clavel (Sony Classics)<br />
235. WILD AMERICA. Jonathan Taylor<br />
Thomas (Warner)<br />
236. THE WIND IN THE WILLOWS.<br />
Terry Jones (Columbia)<br />
237. WINGS OF THE DOVE. Helena<br />
Bonham Carter, Linus Roach (Miramax)<br />
238. WINTER GUEST. Emma Thompson,<br />
Phyllida Law (Fine Line)<br />
239. WISHMASTER. Tammy Lauren (Live)<br />
240. YEAR OF THE HORSE. Neil<br />
Young. Dir: Jim Jarmusch (October)<br />
241. ZEUS AND ROXANNE. Steve<br />
Guttenberg, Kathleen Quinlan (MGM) ^|
February, 1998 21<br />
Sneak Preview ^^^^<br />
BACK ON TRACK<br />
Screenwriting Legend Robert<br />
Towne Returns to the Director's<br />
Chairfor ^*Without Limits''<br />
by Wade Major<br />
TRACK MEETING: Billy Crudup plays legendary track star<br />
Steve Prefontaine for director Robert Towne in 'Without Limits.'<br />
With<br />
the scripts for such<br />
legendary and classic<br />
films as "Chinatown,"<br />
"The Last Detail," "Shampoo"<br />
and "Greystoke: The Legend of<br />
Tarzan" to his credit, Robert<br />
Towne has no shortage of accomplishments<br />
of which to be proud.<br />
On this day, however, it is a remarkable<br />
bit of directorial prowess<br />
that has him beaming. He fast<br />
forwards a videotaped dupe of his<br />
latest film, "Without Limits,"<br />
based on the life offamed distance<br />
runner Steve Prefontaine, to the<br />
climactic 5,000-meter race at the<br />
1972 Munich Olympics. As the<br />
race nears its final stages, Towne<br />
calls out the cuts, which alternate<br />
seamlessly between actual 35mm<br />
footage of the race and his own<br />
recreation of the event. 'That's<br />
Steve. That's Billy. And that's<br />
Steve. Now, that's Billy."<br />
Billy, in this case, is Billy<br />
Cmdup, a previously little known<br />
Broadway star hand-picked by<br />
Towne to incarnate one of the<br />
most admired and beloved athletes<br />
of all time. So flawless is<br />
Cmdup's mimicry of Prefontaine's<br />
unmistakable running style, and<br />
so meticulous is Towne's staging<br />
of the race, that most audiences<br />
will likely never recognize the<br />
juxtaposition.<br />
"Because Disney wouldn't let<br />
us use ABC's coverage, we were<br />
stuck for footage of the race," he<br />
explains. "But then we found, in<br />
the vault at Wamer Bros., outtakes<br />
from [the 1972 Olympics documentary]<br />
'Visions of Eight.'<br />
Among them we found two sections<br />
that were never done, and<br />
one of those was of that 5,000-<br />
meter race. So we were very<br />
lucky because we found perfect,<br />
unexposed 35mm film of<br />
that race that had never been<br />
put into any other film. The<br />
result is that you have full<br />
shots of Munich stadium and<br />
shots of Steve waist-high that<br />
cut to Billy and back, and you<br />
can't tell the difference."<br />
Towne's perfectionism as<br />
both a screenwriter and a director<br />
is legendary, despite his<br />
infiiequent efforts from behind the<br />
camera. "Without Limits," in fact,<br />
marks only his third outing as a<br />
director after 1982's "Personal<br />
Besf ' and 1988's 'Tequila Sunrise."<br />
By his own admission,<br />
"Without Limits" is closer to<br />
Towne's heart than either of his<br />
previous films, the culmination of<br />
a journey that began some 20<br />
years ago when Kenny Moore, a<br />
friend of the late Prefontaine and<br />
a champion runner in his own<br />
right,<br />
approached Towne about<br />
filming Steve's story. Preoccupied<br />
with another project, Towne<br />
let the idea lapse until he and<br />
Moore met again three years later<br />
on the set of Towne's track-andfield<br />
themed "Personal Best." As<br />
Towne's and Moore's friendship<br />
matured, the film that would<br />
emerge two decades later began to<br />
take shqje.<br />
Known as simply "Pre" to his<br />
friends and fans, Steve Prefontaine<br />
would have been an anomaly<br />
in any sport. His mercurial<br />
personality, spirited arrogance<br />
and dazzling style had made him<br />
a rising star even before he accepted<br />
the njtelage of legendary<br />
University of Oregon coach Bill<br />
Bowerman, played in the film by<br />
Donald Sutherland. Equally as<br />
passionate off the track. Pre also<br />
became one of the first and most<br />
vocal opponents of the now defunct<br />
Amateur Athletic Union<br />
(AAU), challenging what he considered<br />
its questionable methods<br />
and shady ethics at a time when<br />
the organization was thought respectable.<br />
But Prefontaine would<br />
never hve to see his prime or the<br />
AAU'sdemise. Just one year prior<br />
to the start of the 1976 Montreal<br />
Olympics, at which he was expected<br />
to take the gold medal that<br />
had eluded him in Munich, Steve<br />
Prefontaine was killed in an automobile<br />
accident.<br />
"If he had won the big race and<br />
if he'd gotten the girl and if he'd<br />
*'Ifhe had won the big<br />
race and if he 'd gotten<br />
the girl and if he'd<br />
survived, it wouldn 't be<br />
a story worth telling.<br />
He was a tragic hero...<br />
his reach always<br />
exceeded his grasp. "<br />
survived," reflects Towne, "it<br />
wouldn't be a story worth telling.<br />
He was a tragic hero, really, in the<br />
sense that his reach always exceeded<br />
his grasp. That's the thing<br />
people loved most about him. Unlike<br />
most distance runners, he<br />
wasn't introspective, he was not<br />
shy. He let it<br />
all hang out. He let<br />
them see the pain that he was in<br />
and the effort he was making. And<br />
he hit them with the incandescence<br />
of a rock star."<br />
Key to the success of "Without<br />
Limits," says Towne, was the<br />
close involvement of both Bowerman<br />
and Prefontaine's then<br />
girlfriend, Mary Marckx, both of<br />
whom cooperated closely with<br />
Towne and the film's producers to<br />
help lend the film the greatest possible<br />
sense of authenticity. Mary<br />
provided Towne with more than<br />
200 personal letters from Steve<br />
while Bowerman, who would<br />
later found the athletic-wear gjant<br />
Nike based on his homemade running<br />
shoe designs, went so far as<br />
to volunteer his home as a shooting<br />
location. "If Bill had not lived<br />
and been so conspicuously the<br />
giant that he is," says Towne,<br />
"Steve's legend would not have<br />
survived. Bill was ready to keep it<br />
alive. And that goes to the heart of<br />
this movie. It's nsally about the relationship<br />
between these two men."<br />
Nor does Towne shy from sharing<br />
the glory with Crudup, whom<br />
he graciously credits with literally<br />
bringing Steve's legend to life.<br />
"I'd heard that Billy had been on<br />
Broadway in a play called 'Arcadia,'<br />
and that he'd won Best Newcomer<br />
of the Year, although that<br />
meant nodiing to me because I<br />
hadn't seen him. So I went to the<br />
Regency to meet him on this<br />
crowded Sunday morning. And<br />
when 1 finally saw him, in this chair,<br />
leaning up against a wall, he just<br />
waved. There was something so<br />
sweetly arrogant about him watching<br />
me try to find him, that in that<br />
moment I said, 'You're cast'"<br />
Summing up the essence of<br />
the film's message, Towne defers<br />
to a Une fk)m the film in<br />
which Sutherland says that<br />
there is "more honor in outrunning<br />
a man than killing him."<br />
Says Towne, "I beUeve that's<br />
what the Olympics are about.<br />
I believe that sport, at its best,<br />
is the development of a ritual<br />
with very specific rules that<br />
allow men to take out their<br />
hostiUty, their anger, their aggression<br />
by celebrating their respective<br />
skills and not by doing physical<br />
harm to one another. I don't know<br />
a better thing to do."<br />
"Without Limits. "<br />
HH<br />
Starring<br />
Billy Crudup and Donald Sutherland<br />
Directed by Robert Towne.<br />
Written by Robert Towne and<br />
Kenny Moore. Produced by Tom<br />
Cruise and Paula Wagner. A<br />
Wamer release. Opens March 27.
22 BuxoFnce<br />
Cover<br />
"SPHERE" OF INFLUENCE<br />
Having a Ball With Dustin Hoffman<br />
in a meeting—but he'd like you to go in," Dustin Hoffman's<br />
He's<br />
assistant infomis BOXOFFICE with a slightiy puzzled tone in<br />
her voice. Sure, it's not the normal etiquette, but Hoffman soon<br />
makes it evident he's not one to stand on formalities. We're at Hoffman's<br />
Brentwood, Calif.-based Punch Productions offices, named for the<br />
famed oft-battered puppet. ("I always thought that I was like Punch,"<br />
explains Hoffman. "I've got a big nose, bad posture. Got whacked<br />
around when I was in school.")<br />
"Are you comfy-wumfy?" Hoffman queries as BOXOFFICE settles<br />
onto a couch. It's becoming more and more apparent that this isn't going<br />
to be your typical celebrity interview. Actor Adrien Brody, the person<br />
whose meeting is being interloped, is introduced.<br />
"Now he 's who you should be interviewing,"<br />
says Hoffman. As it turns out.<br />
that is exactiy what happens, as the young<br />
star of the upcoming Terrence Malickhelmed<br />
"The Thin Red Line" is invited to<br />
stay and take part in the proceedings.<br />
The intended topic at hand is the Hoffman<br />
starrer "Sphere," Warner's sci-fi<br />
thriller based on Michael Crichton's novel<br />
about a team of scientists investigating a<br />
spacecraft that's been submerged underwater<br />
for hundreds of years. Keeping on<br />
this subject, however, turns out to be nearly<br />
impossible. Hoffman's mile-a-minutc<br />
mind juggles multitudinous subjects, philosophies,<br />
book recommendations, and<br />
even hangover remedies with Tesla-caliber<br />
simultaneity, while BOXOFnCE and<br />
Brody race to keep up. ("I have to take<br />
notes!" Brody cries at one point.) We leam<br />
of Hoffman's past employment as a psychiatric<br />
hospital attendant (his job was to<br />
hold people down while they received<br />
shock treatment); we hear tell of his children and their exploits in acting,<br />
writing, music and painting; we're enlightened with scientific and<br />
esoteric musings; we're paternally admonished for not having read this<br />
book or seen that movie; and we're told a few unforgettably twisted<br />
jokes, all frequently punctuated with that quick, quirky Hoffman smile.<br />
An actor with one of the most renowned and diverse character<br />
repertoires in film history, Hoffman seems to be a culmination of his<br />
character studies, demonstrating a passion for analysis, an unquenchable<br />
thirst for knowledge and a mentor-like desire to share his knowledge<br />
with others. This unique interview scenario affords the opportunity to view<br />
the two-ti me Oscar winner in one ofhis most astounding roles—him.self<br />
The conversation begins before the tape recorder's even rolling.<br />
Hoffman is recoiling as he is offered a copy of BOXOFFICE's "Mad<br />
City" article. Before a single question can be asked, Hoffman's olTand<br />
running on the subject of the business side of filmmaking.<br />
HOFFMAN: It's alarming. It's not the first movie that didn't do well.<br />
But it's alarming because when I was his age | indicating Brody], it was<br />
a different business. Less of a business. Adricn's 24. So when I was 24,<br />
that was '61<br />
.<br />
I'm (i). In 1%I, there was no such thing as Number 1, 2, 3 at<br />
by Christine James<br />
the boxoffice. The public knows it now. [Before it was] never in the<br />
papers, what the grosses were. Only studio heads talked about those<br />
things. It was the inside. There's no inside anymore. ["Sphere" director<br />
Barry Levinson said], "When my mother in Boca Raton, Florida knows<br />
what something grossed, there's no inside." So if it's 1, 2, 3, and you<br />
don't make 1 , 2, 3, you don't make 4, you don't make 5. It's the first<br />
weekend. That didn't exist. That never existed before. If you don't open<br />
the first weekend, you're gone.<br />
BRODY: The problem for me is [choosing caieer-making roles or<br />
interesting roles].<br />
HOFTMAN: Here's the mb. Now you have a stronger puU than you<br />
had when I was your age. Now it's deciding<br />
between a career and a life of your work.<br />
BOXOFnCE: Yet you made some very<br />
interesting choices that would not necessarily<br />
have been career-makers, but<br />
that's what they turned out to be. For<br />
example, who would have thought a film<br />
like "Midnight Cowboy" would become<br />
such a success?<br />
HOFFMAN: People called me up, including<br />
['The Graduate" director] Mike<br />
Nichols, and .said "You're crazy. He's not<br />
an attractive guy, and it's a supporting role.<br />
You can't do it." You have to go after what<br />
brought you into it to begin with.<br />
BOXOFHCE: Is that what you're<br />
doing with your production company?<br />
HOFFMAN: One of the reasons I want<br />
10 produce now is, as 1 get older now and I<br />
see material, I say "Oop, too old to play that.<br />
Oop, can't do that." So, it hurts to realize<br />
that as you get older it becomes narrow. I<br />
could play older, I could play younger Now<br />
I can only play older! [laughs] I can't play<br />
younger. The parts narrow. Having a company that produces material<br />
you can no longer act in because you're too old is saying, "Don't tell<br />
me 1 can't do this movie!" [laughs] That's the philosophy, [laughs]<br />
BOXOFFICE: Though you of all people should know the powers<br />
of prosthetic makeup. I remember a quote of yours about how you<br />
wanted your tombstone to read...<br />
HOFFMAN: "1 knew this was going to happen."<br />
BRODY: That's good! Lighten the mood every time someone<br />
comes to visit.<br />
HOFFMAN: He knows. His re.spon.se is an actor's response. Because<br />
that's what we're put here for. To give you a kick.<br />
BRODY: Still invoke a reaction, even when you die. You want the<br />
right reaction. "Let's not visit Mom, let's visit Dustin!"<br />
BOXOFFICE: In "Sphere," you play a psychologist. Was it your<br />
predilection for examining people's minds and motivations that<br />
drew you to the project?<br />
HOFFMAN: No, not initially. Barry Levinson is the one director<br />
that I've done the most movies with. I've done four movies with him<br />
("Rain Man," "Sleepers," "Wag the Dog" and "Sphere"]. If he's directing,<br />
I<br />
automatically say "Is there a part for me?" Arthur Miller once
'<br />
Fphmarv 1 00«<br />
'>'«<br />
talked about how cruel critics can be<br />
sometimes. He said, "They forget<br />
what it'scalled. It's called aplay. If it's<br />
a play, why are we making something<br />
so serious about it?" We get on stage<br />
and we play. It shouldn't be work, it<br />
should be play. Not just is it going to<br />
be a hit, career, this, that. So when you<br />
work with a director, I can say, "Yeah,<br />
I like to play with Barry."<br />
BOXOFTICE: Describe what<br />
your character is about in<br />
"Sphere."<br />
HOFFMAN: There are<br />
three<br />
roles, myself and Samuel Jackson and<br />
Sharon Stone. And Liev Schreiber's<br />
in it,<br />
and Peter Coyote. And we shot<br />
it up north. I got my scuba license.<br />
BOXOFnCE: Was the scuba certification<br />
for "Sphere"?<br />
HOFFMAN: Yes, they wouldn't<br />
insure you otherwise.<br />
BOXOFFICE: What sort of activities<br />
were you doing underwater?<br />
HOFFMAN: Going down, 20, 30<br />
feet, for the underwater shooting<br />
when we're entering this capsule.. .but<br />
I don't like to say. 1 don't understand this age<br />
we live in now. I know that when that movie<br />
opened, 'Twister," the morning it opened,<br />
there was the director on one of those shows<br />
saying "Now this is real, but that cai' that's<br />
going up isn't...," and I thought, "My god! The<br />
magician's giving away his tricks!"<br />
BRODY: I used to be a magician.<br />
HOFFMAN: Ah! So was Woody Allen!<br />
BRODY: He was, really?<br />
HOFFMAN: Yes !<br />
All right, where are we?<br />
Come on, we have to do this now. [to Brody]:<br />
You're tangenting all over the place!<br />
BOXOFFICE: [to Brody]: It's aU you!<br />
BRODY: Yeah, it is all me.<br />
BOXOFTICE: So I guess you don't want<br />
to tell me about any of the s{>ecial effects<br />
used to create the creatures in "Sphere."<br />
HOFFMAN: I don't even know, because I<br />
know they're doing it now. They're CGIing it.<br />
But I don't know how they're doing it.<br />
BOXOFTICE: The book had some intriguing<br />
descriptions ofsome unique sea creatures<br />
that were mutations created by the<br />
mind.<br />
HOFFMAN: Nice idea, isn't it? What<br />
you manifest becomes real. That's what psychosis<br />
is. I think that's what interested Barry.<br />
That the monsters and fear are the things that<br />
we create.<br />
BOXOFTICE: You were saying that you<br />
basically were interested in this material<br />
because Barry Levinson was involved.<br />
HOFFMAN: That was the first thought for<br />
me to do it. Then I read the book, and I had<br />
never read a Michael Crichton book. And I was<br />
surprised that it had an interesting spine. And<br />
I guess I believe in what it's postulating.<br />
Human beings have something no other—as<br />
far as we know, we don't know about dolphins—we<br />
have something no other organism<br />
SCUBA DUPER: Hoffman and co-star Stiaron Stone plumb the depttis in "Sptiere.<br />
has: the ability to imagine. That's where everything<br />
starts from. And what we've done with<br />
that gift is imagine things that hurt us.<br />
[The book also brings to mind the fact that]<br />
our country has spent more money, trillions, in<br />
terms of outer space, and what it costs to make<br />
a toilet in a spacecraft, we have spent less than<br />
what it costs to make a toilet on undersea<br />
exploration, which is the majority of our<br />
planet. We don't know dick about what goes<br />
"What it<br />
costs to make<br />
a toilet in a spacecraft,<br />
we have spent less than<br />
[that] on undersea<br />
exploration, which is<br />
the majority of our<br />
planet."<br />
on down there. We're not investigating it. So<br />
that's kind of fascinating. We haven't explored.<br />
This is our planet! We're out there, and<br />
we don't seem to be interested [in our own<br />
planet].<br />
BOXOFTICE: The cast of "Sphere" is<br />
interestingly eclectic:<br />
you, Sharon Stone,<br />
Samuel L. Jackson, Queen Latifah...Can<br />
you describe that whole dynamic?<br />
HOFFMAN: It's just like any other movie.<br />
We're actors and we come to woik and we<br />
work. It was a wonderful acting experience. A<br />
terrible experience for other reasons. I had<br />
hayfever, and you don't want to go to Napa<br />
Valley in the springtime. I didn't know it was<br />
the hayfever hell capital of the world. I had to<br />
have steroids fmaDy.<br />
BOXOFTICE: I hope you didn't have<br />
hayfever when you had to do the scuba part<br />
HOFFMAN: Well, it was a concern. Anyway,<br />
everybody got the flu because we were<br />
working in water. It was a sick film—I hope<br />
that doesn't get distorted. Everybody was sick,<br />
[laughs] The acting was the best thing because<br />
it was acting. It wasn't Uke doing an action<br />
film. It was drama sex underwater We're actors,<br />
all in a room. It was almost like doing a play.<br />
BOXOFTICE: Have you seen any footage?<br />
HOFFMAN: No. I looped it, and you see<br />
a Uttle, but no.<br />
BOXOFTICE: Do you have any impressions<br />
about the film?<br />
HOFFMAN: I've never been able to tell [if<br />
a movie will be successful or not]. We had a<br />
producer [who had seen footage from "Rain<br />
Man" during production] who said it was a<br />
disaster. We were so depressed, we didn't want<br />
to finish the movie. "It was terrible and we<br />
made a big mistake; Cruise's character is too<br />
unsympathetic." So you never really know.<br />
"Midnight Cowboy," I was sitting in a screening,<br />
rows of people walked out. In blocks! Jon<br />
VoighL Bob Balaban has oral sex with him in<br />
the bathroom—whoosh!<br />
BOXOFFICE: Do you feel any excitement<br />
about being in a big sci-fi epic Crichton<br />
movie?<br />
HOFFMAN: I don't have any excitement<br />
I've never had any excitement about that part<br />
of it. The only memory I have is "The Graduate."<br />
My first wife and I [went to the screening],<br />
and I'd never seen it, and I sat in the<br />
dark, and my teeth were chattering. Once it<br />
started, my face, I remember, a close-up of<br />
me was the first shot of the film. I'd never
seen my face on film! And my teeth started<br />
chattering, and I didn't stop chattering till the<br />
movie was over. The excitement! And my<br />
heart was pounding! There was this incredible<br />
excitement about it, it's going to open soon,<br />
what's going to happen to me. I remember that<br />
feeling. I'm nervous. You're always nervous.<br />
But it's the excitement when you're working.<br />
BRODY: Finding a moment.<br />
HOFFMAN: "I know ! You know how this<br />
scene should play? I know what you should<br />
do!"<br />
BOXOFFICE: Isn't it exciting to you to<br />
anticipate seeing those moments working?<br />
HOFFMAN: You know what's exciting?<br />
Is after it's over. If it's successful. Then you<br />
can sneak in two days later in the back of the<br />
house, and you know that thing's going to<br />
get a laugh, and you wait till it hits.<br />
BRODY: I think there's too much dread<br />
probably [prior to a movie's opening].<br />
HOFFMAN: The dread gets in the way. A<br />
lot of D.E.—Dread Excitement. [Affects<br />
streetwise hip voice:] Gotta lot of 'D goin'.<br />
BOXOPnCE: What sort of research did<br />
you do for your character in "Sphere"?<br />
HOFFMAN: That's not.. .you're not.. .you<br />
see, that's a bad word. You're not researching.<br />
You're painting. You're sketching. Actors<br />
have that commonality. We love to pick up<br />
every httle thing you do. We don't know why,<br />
but we just can sit there and just pick up every<br />
litde thing you do all day long, [laughs]<br />
A wonderful tool for being an actor today<br />
[that wasn't available] when I was his age<br />
[indicating Brody] is that you have tapes now.<br />
You can do research and it's so much quicker.<br />
1 got tapes on crisis, that was the first tape I was<br />
interested in. Because this character, before he<br />
[is summoned to investigate the submerged<br />
spacecraft], he's a crisis—I forget what they're<br />
called now, but when there's a crisis, diey send<br />
a psychologist there to deal with the trauma of<br />
the survivors. So I did some reading, 1 got<br />
"Arthur Miller once said,<br />
They forget what it's<br />
called. It's called a play.<br />
If<br />
it's a play, why are we<br />
making something so<br />
serious about it?'"<br />
literature on that, and 1 got some great energies<br />
fi-om people who had that job. Then your<br />
imagination kicks in, because then you say,<br />
"Ooh, that's interesting. So that's what he does<br />
well. And if he does that well, he probably likes<br />
it." And there's a comfort to that, I've always<br />
thought. It's<br />
like being in the ER unit of a<br />
hospital. You're in a crisis, and you're not in<br />
trouble. If you deal with stuff like that, where<br />
people die, there's kind of an unconscious<br />
feeling that "as long as 1 help people, then it<br />
won't happen to me." So I made that decision<br />
for the character And then I thought maybe<br />
when he himself was in the position that the<br />
other people were in, how was he then?<br />
BOXOraCE: Being so analytical yourself,<br />
it's interesting...<br />
HOFFMAN: Idon'tthinkl'mthat analytical.<br />
BOXOFnCE: Not analytical in a dry<br />
sense. You have a very colorful, enthusiastic,<br />
insightful way of perceiving things.<br />
HOFFMAN: I'm very analytical in a very<br />
wet way.<br />
BOXOFFICE: What does that mean?<br />
HOFFMAN: 1 just like the sound of it. You<br />
said not in a dry way.<br />
BOXOFHCE: Oh! [laughs]<br />
HOFFMAN: I like that. I'm very...<br />
BRODY: Moist.<br />
HOFFMAN: Moist! I like that word a lot.<br />
I'm very analytically moist. Moisdy analytical.<br />
[Laughs heartily]. Moistly, I'm mostly<br />
moistly analytical! Miles Davis said a great<br />
line. He said "Don't play what's there, play<br />
what's not there." And you know, in life, some<br />
of us are interested in what's not there, or what's<br />
not on the surface. What's most interesting to<br />
us is what isn't said, what's disguised. [Trying<br />
to figure that out,] I've never been bored. I've<br />
been depressed, but I've never been bored.HH<br />
"Sphere. " Starring Dustin Hoffinan, Sharon<br />
Stone and SamuelL Jacksoit Directed by Barry<br />
Levinson. Written by Stephen Hauser and Paul<br />
Attanasio. Produced by Barry Levinson, Michael<br />
Crichton and Andrew Wald. A Warner<br />
release. Sci-fi/thriller. Opens Feb. 13.<br />
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urn, Director of Advertising<br />
HX<br />
The Audience Is Listening<br />
at Act III Tigard Theatre, Portland, Oregon<br />
Response No. 9
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Response No. 274
26 BOXOFFICE<br />
Exhibition Profile<br />
WOOD 'S WORLD<br />
Dickinson Tlieatres Breaks New Ground<br />
Witli its Construction and Ideas<br />
by Lisa Osborne<br />
within its existing three-state area—Kansas,<br />
Missouri and Oklahoma.<br />
"We're looking at staying strong in our<br />
regional area," says Wood. "We're not looking<br />
at either selling the company or joining forces<br />
with a national chain. That's not part of the<br />
program at this point in time."<br />
WATCH THIS SPACE: Movie clips keep customers entertained as tliey wait in line at Great Mall 16.<br />
active proponent of the exhibition A 20-plex version of "Project A" is also under<br />
Anindustry with a penchant for pushing construction in Bixby, a suburb of Tulsa, Okla.<br />
the envelope to its Hmits, Wood Dickinson,<br />
president and CEO of Dickinson Thea-<br />
dian 3,400 seats, the Bixby 20 will be the<br />
Covering 69, 1 00 square feet and holding more<br />
tres, is putting the finishing touches on several<br />
projects intended to raise the standards of the<br />
company's largest theatre.<br />
These prototype auditoriums are designed<br />
moviegoing experience. Although his new to accommodate a new type of seat and will<br />
baby, codenamed "Project A," is still under<br />
wraps. Wood gave BOXOFFICE some clues:<br />
"It's going to be a radical redesign of a theatre<br />
auditorium. We're going with a different concept,<br />
especially on a large auditorium, as far as<br />
creating optimal sight lines and optimal sound<br />
experiences no matter where you are in the<br />
room. We're trying to tune these rooms to the<br />
seat—not just to the row of seats.<br />
"We ' re creating a new type of screen sy.stem<br />
that I don't think has been used before, and the<br />
sound system that we're working with is definitely<br />
the most advanced sound system that's<br />
ever been put into a theatre," he adds.<br />
The prototype, called the NorthRock 14, is<br />
being built in Wichita, Kan., and should be<br />
finished in June or July.<br />
Sharing the same site as Dickinson's<br />
NorthRock 6, the 47,65()-square-foot facility<br />
will b
.<br />
February. 1998 27<br />
I<br />
FORWARD PLANNING: Moviegoers can book<br />
tickets by phone 24 hours a day at Great Mall 1 6.<br />
choose that place? There are other better<br />
places. We wonder about that.<br />
"They have their strategy, we have ours. But<br />
we're trying not to put ourselves in those kinds<br />
of situations. We' re trying to put ourselves [in<br />
locations] where we can be successful and<br />
stay out of other people's ways and reduce<br />
the situations where we have bad competition<br />
going. It makes better business sense."<br />
(Richard Walsh, AMC's senior vice president<br />
of operations for the west division, responds,<br />
"We don't try to build on top of<br />
anybody; we don't beUeve in that strategy. We<br />
believe the market out there is strong enough<br />
to support both theatres. We're basically replacing<br />
our facility at Oak Park that was in the<br />
mall there that closed; we still have six screens<br />
there. We tried for zoning in the Oak Park zone<br />
and were denied by the city of Overland Park.<br />
We then went to the 119th and 1-35 site in<br />
Olathe as our southwest Johnson county site.")<br />
Wood<br />
is<br />
a gentleman with a keen eye<br />
for the 'big picture' who knows customer<br />
service is just as important as<br />
luxurious complexes. He introduced Stephen<br />
R. Covey's program, "Seven Habits of Highly<br />
Effective People," to his circuit about three<br />
years ago. It's a personal development program<br />
that teaches employees how to be more<br />
effective. "It's what we call an inside-out approach<br />
to leadership,"<br />
he explains. "We are<br />
trying to teach people to lead themselves first<br />
so that they can then turn around and lead those<br />
around them. 'Seven Habits' is one program that<br />
we're teaching, and we're developing some more<br />
programs for our younger employees so that<br />
they can learn and be better prepared, even<br />
after they've stopped working for Dickinson<br />
Theatres, so they'll be better employees as they<br />
grow up and go on to real full-time jobs. "<br />
of Wood's primary concerns for the<br />
Oneindustry is that movies aren't out long<br />
enough anymore; they're put out on so<br />
many screens that the runs are shorter. "I don't<br />
think that's beneficial to anybody," he says.<br />
"I've been singing that song for years, but I<br />
just point to 'Star Wars' and say that it has<br />
become an icon in society because it was<br />
around for so long."<br />
He contrasts "Star Wars" protracted lifespan<br />
with that of more recent movies like "Lost<br />
World" and "Independence Day," maintaining<br />
that most people outside the industry couldn't<br />
name two or three movies from last summer.<br />
He adds that if customers can't get in to see<br />
a movie for a week because the theatre's<br />
crowded, it creates excitement. But if there's a<br />
seat for everyone in the first weekend, the<br />
movie can be almost dead in two weeks.<br />
Longer movie runs would also enhance<br />
pull-through for third-party items Uke movie<br />
merchandise. As Wood puts it, "'Independence<br />
Day' came out in the summer; it came<br />
and went and my kids didn't even want any of<br />
the toys. They didn't care anymore; that was<br />
old.<br />
"I wish that we could get together with the<br />
film company guys and say, 'Look, let's make<br />
this work better for everybody.'"<br />
Wood is becoming an accompUshed industry<br />
spokesperson. His recent appearance on<br />
"The Oprah Winfrey Show" was a definite<br />
plus for exhibitors. His eloquent defense of the<br />
cost of theatre tickets and concession items<br />
clearly won audience support. And they actually<br />
cheered when he mentioned that his circuit<br />
doesn't run commercials.<br />
He explains, "We tried it and got such a<br />
violent reaction from our customers we said it<br />
isn't money worth making."<br />
Ultimately, though, the moviehouse is a<br />
powerfiil venue, says Wood; the images and<br />
pubUcity seen there have a lasting impression<br />
on the pubUc. "Soft drink manufacturers look<br />
at us as prestige accounts because the impressions<br />
we make by the type of soft drinks<br />
we carry. The products that we have in our<br />
theatres sell a lot more soft drinks in the grocery<br />
stores than we ever do in movie theatres.<br />
It's seeing it there in that large venue so many<br />
times."<br />
^H<br />
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Response No. 488
28 <strong>Boxoffice</strong><br />
INDEPENDENTEXHIBITION SHOWCASE<br />
9,000 NIGHTS<br />
Kentucky's Towne Cinema Turns 25<br />
by Kim Williamson<br />
If<br />
West Liberty were ever bombed, the<br />
Towne Cinema.. .could well be utilized as a<br />
fine, luxurious fallout shelter."<br />
That was the close of the article that<br />
BOXOFFICE published in our Mideast Edition<br />
back on January 29, 1973, about the<br />
Thanksgiving 1972 opening of the eastern<br />
Kennicky town's new indoor—^and underground—theatre.<br />
It was a different time, with<br />
West Liberty, Ky.,<br />
Of Locally Owned<br />
KfcuHl.<br />
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SPECIAL REPORT: Cinema Sound 1998<br />
w:<br />
AND THE WRITING ON THE WALL<br />
New Developments in Cinema Sound<br />
one thinks of cinema's two most<br />
When<br />
important elements, one thinks of<br />
sight and sound. It's always put that<br />
way—sound coming second, just as it did in<br />
the medium's history. And sight certainly remains<br />
one of the industry's most vigorous<br />
fields, with such developments as 3-D IMAX<br />
presentations, curved screens and electronic<br />
transmission among the buzz topics. But the<br />
sound field is equally energetic, the most<br />
prominent example being the continuing<br />
worldwide growth of the three digital formats.<br />
But there's action elsewhere, as the following<br />
roundup of four recent developments indicates.<br />
It's meant only as a sampling of what's<br />
happening, and readers of BOXOFFICE can<br />
expect more stories on more advances and<br />
evolutions in future issues.<br />
BOWING THE RIBBON<br />
Perhaps it makes sense that a speaker company<br />
is based in Hoom, the Netherlands.<br />
Formed in 1977 and known for its studio,<br />
discotheque, playhouse and concert hall installations.<br />
Stage Accompany four years ago entered<br />
the overseas cinema market. Its products<br />
can be heard at the UFA Savoy in Dusseldorf,<br />
Germany; the Multicines Fuenlabrada in Madrid,<br />
Spain; and, most prominently, at Pathe's<br />
renovated and expanded Taschinksi complex<br />
in downtown Amsterdam. Now, the Dutch<br />
concern is joumeying stateside.<br />
Headed by president Marcel Vantuyn and<br />
based in Bay Ridge. New York, Stage Accompany<br />
USA landed its first American contract<br />
after a demon.stration for executives from four<br />
circuits held last summer at General Cinema's<br />
by Kim Williamson<br />
Boston-area Framingham 14. Eager to expand<br />
SA's presence, Vantuyn this January is planning<br />
to install a full system in a new Connecticut<br />
theatre, hung parallel with an<br />
eight-channel system, for several weeks for<br />
another demonstration for theatre circuits.<br />
Of course, given the general high quality of<br />
many lines, one might think a speaker is a<br />
speaker is a speaker. But Stage Accompany's<br />
S 26 and S 27 units have a look-ma difference:<br />
no horns. In place of the traditional compression<br />
driver, SA uses what it calls a ribbon<br />
compact driver—a mid/high-frequency transducer<br />
that, according to company literature, is<br />
"the world's first and only driver permitting<br />
truly-pure sound reproduction."<br />
"When people think of a ribbon, they think<br />
of a straight strand. But this zigzags up and<br />
down, so the word 'ribbon' is the closest name<br />
for it;" Vantuyn says of the technology.<br />
"In a compression driver, sound is generated<br />
and then projected—a voice coil generates<br />
forces that are transmitted to a dome-shaped<br />
diaphragm," Vantuyn says. "Because it's two<br />
pieces, at certain frequencies the diaphragm<br />
can't keep up with the coil, and you get distortion."<br />
SA's 8535 ribbon driver "creates the<br />
sound and transmits it directly to the ambience."<br />
Not only is there negligible distortion<br />
but also significant savings in cabinet weight<br />
and depth (which is only nine inches).<br />
"This is not the ribbon that came out in the<br />
'50s," Vantuyn says of an earlier generation of<br />
loudspeakers that, though they also produced<br />
dramatically clear sound, couldn't handle<br />
movie sound loads. "Our ribbon driver peaks<br />
at 1 42 dB and handles up to 1 ,000 watts, so it's<br />
more durable even than compression drivers."<br />
RIDING THE WAVE<br />
In October, projection technician and sometime<br />
boogie boarder Jonathan Bodge of Sandy<br />
Hook, Conn, wrote us to extol the work of<br />
Elwood Norris. Norris' company, San Diegobased<br />
American Technology Corp., has a patent<br />
on hypersonic sound equipment, which<br />
Bodge—who's "always looking for the perfect<br />
wave"—expects will "change the way we listen<br />
to reproduced sound."<br />
The technology involves an ultrasonic emitter,<br />
whose transducer sends two 200,000 Hzrange<br />
emissions of slightly different frequencies<br />
at a reflective surface—for example,<br />
a movie screen. After mixing of the two frequencies,<br />
the frequency produced by the difference<br />
of the two inaudible signals is in<br />
humans' audible range. I.e., it becomes sound<br />
(or, as Bodge puts it, "the perfect wave").<br />
Even greaterdetail in sound placement, special<br />
effects and music will be possible using<br />
hypersonic sound. Bodge reports. "An actor's<br />
voice will be able to emit directly from his<br />
mouth and follow as he walks across the<br />
screen." Norris' work, though still in relative<br />
infancy, won the 1997 Discover award for<br />
technical innovation in sound.<br />
FEELING AURAS<br />
You might say that it all began with Ronald<br />
Reagan.<br />
Touting it as "the worid's first tactile bass<br />
enhancement system designed for today's<br />
movie theatre sound systems," AuraSound<br />
Cinema at last year's ShoWest unveiled Aura<br />
Virtual Sound. AuraSound's defense contrac-<br />
30 BOXUFFICE
tor parent, EI Segundo, Calif.-based Aura Systems<br />
Inc., worked on acoiator technology for<br />
the Star Wars Defense Initiative championed<br />
by President Reagan in the 1980s.<br />
The AVS system uses spinoff technology:<br />
compact 25-watt electromagnetic transducers<br />
that can be hooked up like speakers and that<br />
are designed to reproduce low-frequency<br />
sounds (below 1 00 Hz). The transducers attach<br />
to theatre seats ; AVS takes the film effects track<br />
using any sound system and causes seats to<br />
resonate, which the audience perceives as traditional<br />
bass. This effect is accomplished without<br />
exhibitors risking speaker damage irom<br />
large sound pressure levels and with lessened<br />
worry about sound leakage to adjacent halls.<br />
Although AuraSound has been targeting the<br />
Southern California exhibition market due to<br />
the region's abundance of theatres and its<br />
movie studio presence, the AVS product remains<br />
better known in the special-use market.<br />
In Las Vegas, the Luxor Hotel's "Theater of<br />
Time" attraction and the Riviera Hotel's<br />
"Splash n" revue have installed AVS.<br />
THE SOUND OF SILENCE<br />
What if exhibitors could suddenly have access<br />
to 34 million new patrons?<br />
That's the number of deaf, hard-of-hearing,<br />
blind and visually impaired individuals in the<br />
United States, according to Judith Navoy, project<br />
manager for the Boston-based WGBH Educational<br />
Foundation's Motion Picture Access<br />
Project. WGBH has launched the Rear Window<br />
Captioning System, through which dialogue<br />
captions can be seen by the deaf and hard-ofhearing,<br />
and DVS Theatrical, which delivers<br />
descriptive narration via infrared or FM listening<br />
systems to the blind and visually impaired.<br />
These demos, which are also underserved<br />
by other traditional entertainment media,<br />
could theoretically mean a 12 percent growth<br />
at domestic turnstiles. Here's the potential<br />
math: In 1996, 1 .34 billion movie admissions<br />
were recorded, meaning each American on<br />
average is attending a theatre roughly five<br />
times a year; at the 1996 average ticket price<br />
of $4.41 (about $22 annually), 34 million patrons<br />
could account for as much as $750 million<br />
in boxoffice receipts, which if attained<br />
would have pushed the 1996 total domestic<br />
boxoffice of $5.9 billion to above $6.6 billion.<br />
Such numbers might be optimistic, and<br />
Navoy admits that, though there's a "very large<br />
potential audience out there," it's "hard to<br />
guarantee a tremendous demand from consumers."<br />
But she says audience reaction to<br />
recent demonstrations of the technologies at a<br />
permanent installation at General Cinemas'<br />
Sherman Oaks, Calif, multiplex during<br />
Universal's run of "The Jackal" was "terrific."<br />
"It was pretty amazing," concurs Andrea<br />
Nee, DTS vice president and general manager<br />
of theatrical operations. DTS adapted its digital<br />
technology to include the captioning and<br />
description tracks on a separate CD-ROM that<br />
plays alongside the other discs in DTS' player.<br />
The player sends reversed captions to a<br />
Trans-Lux LED display mounted in the<br />
theatre's rear. Deaf and hearing-impaired customers<br />
are able to use a portable reflective<br />
panel, which they base in their cupholders;<br />
they then adjust the clear reflector to bring the<br />
captions into their particular line of sight.<br />
(Navoy stresses that users are able to do this<br />
without interfering with the movie experience<br />
of the general public around them.) The DTS<br />
player also sends the DVS Theatrical narration<br />
to the theatre's emitter system, which transmits<br />
the description track to headsets worn by blind<br />
and visually impaired moviegoers.<br />
The current cost of installing both the Rear<br />
Window captioning and the DVS narration<br />
systems, Navoy says, is about $15,000; she<br />
hop)es that price will fall toward $10,000 as<br />
more theatres use the technologies. (Each system<br />
can be installed separately. The DVS narration<br />
technology is the less expensive, at<br />
$1,000 to $1,500, but it's probable for such a<br />
visual medium as the cinema that the greater<br />
upside is with the Rear Wmdow system.)<br />
Navoy adds, "The positive public relations<br />
aspect is a benefit of this. With there being so<br />
many theatres out there these days, customer<br />
service is an advantage to any exhibitor. Beyond<br />
the numbers and the dollars, this will give<br />
them an edge in how they're perceived."<br />
There's also an additional advantage to the<br />
motion picture art form itself. "DTS made a<br />
large commitment to being able to deliver<br />
exactly what the artist created to the moviegoing<br />
public," Nee says. "And this expands that<br />
audience for those artists."<br />
For more developments in somid,<br />
see our Nezv Sound Products Buying<br />
Guide on pp. 42-43 in this issue.<br />
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Response No. 472<br />
February, 1998 31
Major Sound Suppliers<br />
A BOXOFFICE Directory<br />
The following companies are manufacturers and distributors of specialized sound<br />
equipment and supplies. Listings have been organized by product category<br />
based on descriptions provided for Inclusion In our 1997 BUYERS DIRECTORY.<br />
Companies appearing In more than one category are Indexed according to their<br />
first survey appearance. Companies wishing to appear In future editions of this<br />
directory, or llstees who would like to appear under additional product<br />
categories, are encouraged to contact BOXOFFICE via fax at: 213-465-5049.<br />
Compiled by Christine James<br />
ACOUSTICAL WALL<br />
COVERINGS<br />
ALPRO ACOUSTICS<br />
600 St. George Ave., Suite A<br />
New Orleans, LA 701 21<br />
888-733-3836, 504-733-3836<br />
FAX: 504-733-3851<br />
Maura D. Hawkins, President<br />
Helen H. Shurtz, Dir. of Mktg.<br />
Acoustical wall and ceiling panels<br />
AVL SYSTEMS<br />
5540 S.W. 6th PI., Ocala, FL 34474<br />
352-854-1170,800-ACU-STIC<br />
FAX: 352-854-1278<br />
J. Philip Hale, President<br />
Karen Hale, VP<br />
Acoustical panels: diffusers<br />
BREJTFUS ENTERPRISES, INC.<br />
410 S, .Madison Drive, Suite 1<br />
Tempe, AZ 85281<br />
602-731-9899; FAX: 602-731-9469<br />
Ron Brejtfus, President<br />
Michael Regan, VP<br />
E-MAIL: mregan@primenet.com<br />
Artistic acoustically efficient wall panels<br />
CFS/RENTEC<br />
(CINEMA FILM SYSTEMS)<br />
791 N.Benson Ave.<br />
Upland, CA 91786<br />
909-931-9318; FAX: 909-949-8815<br />
Ron Offerman. Chairman<br />
Dick Niccum, President<br />
BiU Noyes, VP<br />
Richard Crane, Sales<br />
E-MAIL: cfsren©aol.com<br />
LTRL: www.cfsren.com<br />
Manufacturer of all motion picture<br />
equipment: consoles, platters,<br />
projectors, sound systems, etc.<br />
CmE-UNE/DECOUSnCS<br />
P.O. Box 615, Getzville, NY 14066<br />
416^75-3983, 800-387-3809<br />
FAX: 416-675-5546<br />
John Balog,VP, Sales<br />
Acoustical wall panels/ceiling systems<br />
ECONO PLEAT<br />
2664 S. La Cienega Blvd.<br />
Los Angeles, CA 90034<br />
310-559-RUGS; FAX: 310-559-6357<br />
Larry Sperling, President<br />
Acoustical wall drapery system<br />
HI-TECH MOTION PICTURE<br />
SYSTEMS<br />
P.O. Box 4186<br />
St. Augustine, FL 32084<br />
904-829-5702; FAX: 904-829-5707<br />
Larry PoUa, CEO/President<br />
E-MAIL: larry@870.com<br />
URL: wvvTV.870.com<br />
Custom and mass produced<br />
automations and light dimmers<br />
INTERNATIONAL CINEMA<br />
EQUIPMENT CO., INC.<br />
100 N.E. 39th St., Miami, FL 33137<br />
305-573-7339; FAX: 305-573-8101<br />
Steven H. Krams, CEO<br />
Dara Reusch, Exec. VP<br />
E-MAIL: iceco@aol.com<br />
URL: www.iceco.com<br />
n/lotion picture equipment<br />
NURSE & CO.<br />
Old Milbury Rd., Oxford, MA 01540<br />
508-832-4295; FAX: 508-832-4295<br />
Ray Nurse<br />
Burlap wall covering drapes<br />
PNC WEST, INC.<br />
835 W. Fairway Dr., Suite 2<br />
Chandler, AZ 85224<br />
602-917-1999; FAX: 602-917-1899<br />
Cheryl Van Meter<br />
Cris Ferguson<br />
Turnkey auditorium wall<br />
treatments/lighting/designaccents<br />
SOUNDFOLDINTL.<br />
P.O. Box 292125<br />
Dayton, OH 45429-2125<br />
937-293-2671,800-782-8018<br />
FAX: 937-293-9542<br />
Arthur C.Sickels, CEO<br />
Tony Sickels, President<br />
Acoustical wallcovering, speal
dl© m(Q){t ksm(B &o) *' WARNING - HIGH VOLTAG E<br />
DIMension 3K<br />
i!»^^M5r.<br />
The DIM ension 3k series tri-level dimmers give<br />
you more power at a much lower cost!<br />
New Heavy duty 3000 Watt industrial dimmers with premium features for modern<br />
cinema auditorium , for perhaps what you pay for 2000 Watt products. Wide range of<br />
light settings for high-medium-low house lights. 1 20-240 VAC selectable operation.<br />
Please call us for pricing, color literature, and the name of<br />
your closest SMART dealer for immediate delivery.
I<br />
I<br />
I<br />
I<br />
I<br />
I<br />
I<br />
34 BoxomcE<br />
HI-TECH (see ACOUSTICAL WALL<br />
COVERINGS)<br />
INTL. CINEMA EQUIPMENT (see<br />
ACOUSTICAL WALL COVERINGS)<br />
JBL PROFESSIONAL<br />
8500 Balboa Blvd.<br />
Northridge,CA 91329<br />
818-894-8850<br />
FAX: 818-830-1220<br />
URL: www.jblpro.com<br />
Loudspeaker syslems for any cinema<br />
application, including amplifiers<br />
and crossovers<br />
KELMAR SYSTEMS<br />
284 Broadway<br />
Huntington Station, NY 11746<br />
516-692-6131,516-421-1230<br />
FAX: 516-421-1274<br />
Andrew Marglin, President<br />
Margaret Pearsall, Exec. VP<br />
Laurie Franz, Accountant<br />
Thomas Mohr, VP/Engineering<br />
Projection and sound equipment<br />
KINTEK<br />
224 Calvary St., Waltham, MA 02254<br />
617-894-6111; FAX: 617-647-4235<br />
Heidi Uliss, Sales Administrator<br />
E-MAIL: kinlekste@aoI.com<br />
Sound systems and equipment<br />
j<br />
I<br />
j<br />
ODYSSEY PRODUCTS, INC.<br />
5845 Oakbrook Pkwy., Suite G<br />
Norcross, GA 30093<br />
770-448-4873; 770-825-0243<br />
FAX: 770-453-9626<br />
Eve Miller, Mktg. & Admin.<br />
Theatre electronics: Infrared<br />
assistive equipment, fiber optic<br />
products, digital interface kits,<br />
sound accessories, alarms, etc.<br />
ORC LIGHTING PRODUCTS<br />
1300 Optical Dr.; Azusa, CA 91702<br />
626-815-3100; 800-755-LAMP<br />
FAX: 626-815-3074<br />
George Bachar, VP, Cust. Dvlpmnt.<br />
Jim Harp, VP, Sales & Marketing<br />
E-MAIL: orclight@aol.com<br />
Manufacturers of a complete line of<br />
xenon projection lamps<br />
PEAVEY ELECTRONICS<br />
I<br />
I 711 A St., Meridian, MS 39301<br />
601-483-5365; FAX: 601-486-1278<br />
Ernie Lansford, Dir. Worldwide Sales<br />
Amplification S loudspeaker systems<br />
QSC AUDIO PRODUCTS<br />
1675 MacArthur Blvd.<br />
Costa Mesa, CA 92626<br />
714-754-6175, 714-754-7100<br />
FAX: 714-754-6174<br />
Barry Ferrell, Cinema Market Mgr.<br />
Pete Kalman, Dir., Sales<br />
E-MAIL: info@qscaudio.com<br />
URL: www.qscaudio.com<br />
Professional power amplifiers and<br />
crossovers for cinema applications<br />
RAVEN LABORATORIES, INC.<br />
87 Central Ave.<br />
Glen Rock, NJ 07452<br />
201-444-7766, FAX: 201-444-7793<br />
Warren Jenkins, President<br />
Automation, lighting and sound<br />
systems: cue detectors<br />
RGM INDUSTRIES<br />
.3.342 l.ill.,.ii 01,, Titusville, FL 32780<br />
407-269-4720; FAX: 407-269-4729<br />
Ronald Coigel, President<br />
Mary Schrage, VP<br />
Beth Naylor, Purchasing<br />
Stereo sound systems, automation<br />
systems and lighting<br />
SMART THEATRE SYSTEMS<br />
5945 Peachtree Comers East<br />
Norcross, GA 30071-1337<br />
800-45-SMART, 770-449-6698<br />
FAX: 770-449-6728<br />
E-MAIL: smart@america.net<br />
URL: www.smartdev.com<br />
Norm Schneider, CEO<br />
Vincent Luciani, President<br />
Cinema sound products and systems<br />
STAGE ACCOMPANY (SA USA INC.)<br />
7004 Louise Terrace<br />
Bay Ridge, NY 11209<br />
800-955-7474; FAX: 718-680-1226<br />
Marcel Vantuyn, President<br />
URL: www.stageaccompany.com<br />
SA sound systems feature the Ribbon<br />
Compact Driver for unequaled sound<br />
quality and speech intelligibility<br />
STRONG INTERNATIONAL, INC.<br />
4350 McKinlcy St., Omaha, NE 68112<br />
402-453-4444; FAX: 402-453-7238<br />
John Wilmers, Pres./CEO<br />
Brad French, CFO<br />
Ray Boegner, Sr. VP<br />
Pat Moore, West Coast & Pacific Rim<br />
Bob Simminger, East Coast Sales Mgr.<br />
URL:wvimr.strongcinema.com<br />
Projection & sound equipment<br />
TECCON ENTERPRISES<br />
686 Cliffside Dr., P.O. Box 38<br />
San Dimas,CA 91773<br />
909-599-0817, FAX: 909-592-2408<br />
Jacobus L. Dimmers, President<br />
li/lagnetic heads, calibration/alignment<br />
test films, screening room electronics<br />
USL, INC.<br />
18730 Oxnard, Suite 208<br />
Tarzana,CA 91356<br />
818-609-7405; FAX: 818-609-7408<br />
James A. Cashin, President<br />
Felicia Cashin, VP<br />
Theatre sound systems and<br />
stereo film sountracks<br />
DC EXCITERS<br />
CFS/RENTEC (see ACOUSTICAL<br />
WALLCOVERINGS)<br />
COMPONENT ENGINEERING, INC.<br />
4237 24th Ave. W., Seattle, WA 98199<br />
206-284-9171; FAX: 206-286-4462<br />
Bill Purdy, President<br />
LED sound readers, sound system<br />
accessories, automation systems<br />
and cue detectors<br />
HI-TECH (see ACOUSTICAL WALL<br />
COVERINGS)<br />
INTL. CINEMA EQUIPMENT (see<br />
ACOUSTICAL WALL COVERINGS)<br />
KELMAR (see AMPLIFIERS)<br />
KINTEK (see AMPLIFIERS)<br />
KNEISLEY ELECTRIC COMPANY<br />
P.O.Box 4692<br />
Toledo, OH 43610<br />
419-241-1219<br />
FAX: 419-241-9920<br />
Harry L. Ewell, President<br />
Robert Freeman, VP, Rsrch/Dvlpmnt<br />
Joe Monks, Purchasing & Controller<br />
Lamphouses, power supplies, consoles<br />
L.P. ASSOCIATES, INC.<br />
6650 Li'xingtoii Ave.<br />
Hollywood, CA 9(X)38<br />
213-462-4714; FAX: 213-462-7584<br />
Leonard Pincus, President<br />
Projection equipment & supplies<br />
MARBLE CO.<br />
421 Hart Lane, P.O. Box 160030<br />
Nashville, TN 37216<br />
800-759-5905, 615-227-7772<br />
FAX: 615-228-1301<br />
J.<br />
William Blevins, President<br />
Ronald W. Purtee, GM<br />
Claudia Carillon, Customer Service<br />
Booth supplies, automations,<br />
dimmers, lenses, sound processors<br />
ORC (see AMPLIFIERS)<br />
RAVEN (see AMPLIFIERS)<br />
DESIGN<br />
CFS/RENTEC (see ACOUSTICAL<br />
WALLCOVERINGS)<br />
FRAZIER (see AMPLIFIERS)<br />
HIGH PERFORMANCE (see AMPS)<br />
HI-TECH (see ACOUSTICAL WALL<br />
COVERINGS)<br />
KELMAR (see AMPLIFIERS)<br />
LUCASFILM LTD. (THX Division)<br />
P.O. Box 10327, San Rafael, CA 94912<br />
415-492-3900, 213-468-0485<br />
FAX: 415-492-3951<br />
Monica Dashwood, GM/<br />
THX Division<br />
Jerry Zernicke, Operations Mgr./<br />
THX Theatres<br />
Custom-designed sound system;<br />
crossover and systems rack<br />
ODYSSEY (see AMPLIFIERS)<br />
RAVEN (see AMPLIFIERS)<br />
STAGE ACCOMPANY (see AMPS)<br />
TEXAS THEATRE SUPPLY see<br />
ACOUSTICAL WALL COVERINGS)<br />
DIGITAL STEREO<br />
CINEMA GROUP (see AMPLIFIERS)<br />
COMPONENT (see DC EXCITERS)<br />
DIGITAL THEATER SYSTEMS<br />
31336 Via Colinas, Suite 101<br />
Westlake Village, CA 91362<br />
818-706-3525; FAX: 818-706-1868<br />
Terry Beard, Chairman<br />
Dan Slusser, CEO<br />
Bill Neighbors, President & COO<br />
James Ketcham, VP<br />
Andrea Nee, VP, Operations<br />
Jon Kirchner, VP, Intl. Bus. Dvlpmnt.<br />
URL: www.dtstech.com<br />
D TS 6-track digital theatre sound system<br />
DOLBY LABORATORIES<br />
NORTHERN CALIFORNIA:<br />
lOOPotreroAve.<br />
San Francisco, CA 94103<br />
415-558-0200<br />
FAX: 415-863-1373<br />
Bill Jasper, President<br />
loan Allen, VP<br />
David Watts, VP/Mktg.<br />
Bob Warren, Cinema Products<br />
E-MAIL: info@dolby.com<br />
URL: www.dolby.com<br />
SOUTHERN CALIFORNIA:<br />
3375 Barham Blvd.<br />
Los Angeles, CA 90068<br />
213-845-1880; FAX: 213-845-1890<br />
David W. Gray, VP/L.A. Film Div.<br />
NEW YORK:<br />
1350 Avenue of the Americas<br />
New York, NY 10019<br />
212-767-1700<br />
FAX: 212-767-1705<br />
Michael D. Cosimo,<br />
VP/N.Y. Film Div.<br />
DOLBY LABS U.K.<br />
Wootton Bassett<br />
Wiltshire, SN4 8QJ ENGLAND<br />
(17)93842100<br />
FAX: (17)93842101<br />
HIGH PERFORMANCE (see AMPS)<br />
INTL. CINEMA EQUIPMENT (see<br />
ACOUSTICAL WALL COVERINGS)<br />
KARASYNC DIGITAL AUDIO<br />
17 Washington St.<br />
Norwalk, CT 06854<br />
203-899-0671<br />
FAX: 203-348-1430<br />
John Karamon, President<br />
Jenene Karamon<br />
All-electronic system for multichannel<br />
digital audio for film and video<br />
KINTEK (see AMPLIFIERS)<br />
ODYSSEY (see AMPLIFIERS)<br />
RAVEN (see AMPLIFIERS)<br />
SONY CINEMA PRODUCTS<br />
10202 W. Washington Blvd.<br />
Culver City, CA 90232<br />
310-244-5777<br />
FAX: 310-244-2024<br />
James N. Fiedler, President<br />
Dan Taylor, VP, Business<br />
Development, North America<br />
Bill Mead, VP/Bus. Dvlpmnt., Intl.<br />
Gemma Richardson, VP,<br />
Worldwide Marketing<br />
Digital and analog theatrical sound<br />
systems: SDDS digital playback<br />
system: Sony DCP-WOO processor<br />
STAGE ACCOMPANY (see AMPS)<br />
DRIVE-INAUDIO<br />
AUDIO VISUAL SYSTEMS<br />
320 St. Louis Ave.<br />
P.O. Box 2107<br />
Woonsocket, RI 02895-2351<br />
401-767-2080<br />
FAX: 401-767-2081<br />
Rita Y. Adams, President<br />
fM Stereo radio sound systems for<br />
drive-ins<br />
LPB, INC.<br />
20944 Sherman Way<br />
Canoga Park, CA 91303<br />
818-340-4590<br />
Richard W. Burden, Principal<br />
Radio sound systems<br />
MARBLE (see DC EXCITERS)<br />
PROJECTED SOUND<br />
46^' Avtm Aw.<br />
Plainfield,lN4(jlb«<br />
317-839-4111<br />
FAX: 317-839-2476<br />
Tom Hilligoss, President<br />
Drive-in speakers, junction boxes<br />
REED SPEAKERS MANUFACTURING<br />
180 Swason Ave., P.O. Box 3631<br />
Lake Havasu City, AZ 86405<br />
520-153-0055, 805-934-1582<br />
FAX: 805-934-4992<br />
Shawn A. Gran, President<br />
Speakers, junction boxes S repairs
^mmm^^<br />
If your theater management system<br />
gives you peace, serenity, and happiness,<br />
it must be from Mars.<br />
If<br />
your theater management system uses the most reliable<br />
technology on Earth, it must be from MARS! If your service<br />
calls get answered by a human being, your system must be<br />
from MARS. If<br />
you are able to close out your theater quickly<br />
each night, your system is<br />
MARS is<br />
definitely from MARS.<br />
a system designed to run on off-the-shelf<br />
hardware while giving you the flexibility to handle all<br />
aspects<br />
of managing your theaters. From the box office to the<br />
concession stand, it<br />
allows managers to quickly perform<br />
functions so they can spend less time managing their<br />
system and more time managing their theater.<br />
To learn more about MARS,<br />
call John Ventura at 212-450-8140.<br />
MARS<br />
THEATER MANAGEMENT SYSTEMS<br />
A division of MovieFone? Inc.<br />
Response No. 78
36 <strong>Boxoffice</strong><br />
)<br />
)<br />
SPECO/SYSTEMS & PRODUCTS<br />
ENGINEERING CO.<br />
709 N. 6lh St., Kansas City, KS 66101<br />
913-321-3978, 913-321-3979<br />
FAX: 913-321-7439<br />
George W. Higginbotham, President<br />
Platter systems & film handling equip:<br />
cue sensors, interlock roller assy's,<br />
film cleaner automations, dimmers.<br />
EQUALIZERS<br />
AB INTL. (see AMPLIFIERS)<br />
ASHLY AUDIO (see AMPLIFIERS)<br />
CFS/RENTEC (see ACOUSTICAL...<br />
CINEMA GROUP (See AMPUFIERS)<br />
EVI (see AMPLIFIERS)<br />
FRAZIER (see AMPLIFIERS)<br />
HI-TECH (see ACOUSTICAL...)<br />
JBL (see SPEAKERS)<br />
RAVEN (see AMPLIFIERS)<br />
STAGE ACCOMPANY (see AMPS)<br />
HIGH-TECH (see ACOUSTICAL...<br />
INTL. CINEMA EQUIPMENT (see<br />
ACOUSTICAL WALL COVERINGS)<br />
KINTEK (see AMPLIFIERS)<br />
RGM (see AMPLIFIERS)<br />
HEARING<br />
ENHANCEMENT<br />
SYSTEMS<br />
AUDIO VISUAL SYS. (see<br />
DRIVE-IN AUDIO)<br />
CINEMA GROUP (see AMPLIFIERS)<br />
HITEC GROUP INTL.<br />
8160 Madison, Burr Ridge, IL 60521<br />
630-654-9200, 800-288-8303<br />
FAX: 630-654-9219<br />
Richard Uzuanis, VP<br />
Assistive listening devices for<br />
individuals and public facilities<br />
HI-TECH (see ACOUSTICAL...)<br />
INTL. CINEMA EQUIPMENT (see<br />
ACOUSTICAL WALL COVERINGS)<br />
LPS (see DRIVE-IN AUDIO)<br />
MARBLE (see DC EXCITERS)<br />
ODYSSEY (see AMPLIFIERS)<br />
PHONIC EAR<br />
AMERICA:<br />
3880 Cypress Dr.<br />
Petaluma, CA 94954<br />
707-769-1 1 10, 800-227-0735<br />
FAX: 707-769-9624<br />
CANADA:<br />
7475 Kimbel St., Unit 10<br />
Mississauga, Ontario L5S 1E7<br />
905-677-3231; FAX: 905-677-7760<br />
FM/infrared hearing assistance systems<br />
RAVEN (see AMPLIFIERS)<br />
SCHULT INDUSTRIES, INC.<br />
318 Cedar, Pleasant Hill, MO 64080<br />
800-783-8988, 800-9-SCHULT<br />
FAX: 816-540-4790<br />
Robert E. Schult, President<br />
Bill Lustig, Sr. VP,<br />
Sales & Marketing<br />
URL: www.schult.com<br />
Theatre displays, signage, boxoffice<br />
systems, internet web design, etc.<br />
SMART (see AMPLIFIERS)<br />
NOISE REDUCERS<br />
CFS/RENTEC (see ACOUSTICAL ...)<br />
CINEMA GROUP (see AMPLIFIERS)<br />
DOLBY (see DIGITAL STEREO)<br />
HI-TECH (see ACOUSTICAL...)<br />
INTL. CINEMA EQUIPMENT (see<br />
ACOUSTICAL WALL COVERINGS)<br />
KINTEK (see AMPLIFIERS)<br />
RGM IND. (see AMPLIFIERS)<br />
PROCESSORS<br />
ASHLY (see AMPLIFIERS)<br />
CFS/RENTEC (see ACOUSTICAL...)<br />
CHACE PRODUCTIONS<br />
201 S. Victory Blvd.<br />
Burbank,CA91502<br />
818-842-8346; FAX: 818-842-8353<br />
Robert Heiber, President<br />
E-MAIL: audio@chace.com<br />
Sound processors, sound<br />
enhancement stereo synthesizer<br />
USL, INC. (see AMPLIFIERS)<br />
EXCITER LAMPS<br />
CFS/RENTEC (see ACOUSTICAL...)<br />
COMPONENT (see DC EXCITERS)<br />
KOSS CORP.<br />
4129 N. Port Washington<br />
Milwaukee, WI 53212<br />
414-964-5000; 800-USA-KOSS<br />
FAX: 414-964-8615<br />
Robin Berry, Public Relations Mgr.<br />
URL: www.koss.com<br />
Stereophones, computer speakers,<br />
microphones & headphones<br />
USL, INC. (see AMPLIFIERS)<br />
WILLIAMS SOUND<br />
10399 W. 70th St.<br />
Eden Prairie, MN 55344<br />
612-943-2252, 800-328-6190<br />
FAX: 612-943-2174<br />
FM/infrared hearing assistance systems<br />
CINEMA GROUP (see<br />
AMPLIFIERS)<br />
DOLBY (see DIGITAL STEREO)<br />
DTS (see DIGITAL STEREO)<br />
EVI (see AMPLIFIERS)<br />
THEATRE<br />
EXHIBITION<br />
EQUIPMENT<br />
NCS Corporation<br />
WORLDWIDE CINEMA SUPPLY DEALER<br />
CONCESSiOi<br />
&<br />
LOBBY<br />
PRODUCTS<br />
Corporation<br />
iiii«imiiii'n<br />
XENON<br />
BULBS<br />
BOOTH<br />
SUPPLIES<br />
&<br />
LENSES<br />
FILM<br />
PROJECTORS<br />
A<br />
SOUND<br />
SYSTEMS<br />
^ jt-<br />
;f ONE STOP SHOPPING SOURCE<br />
;f FACTORY DIRECT PRICING<br />
>- TOLL FREE ORDERING<br />
MAJOR CREDIT CARDS ACCEPTED<br />
%^<br />
jt PROFESSIONAL SUPPORT TEAM<br />
^ WORLDWIDE PRODUCT DISTRIBUTION<br />
>- OUR GUARANTEE - 100% SATISFACTION<br />
call 1-800-776-6271<br />
LOBBY<br />
&<br />
BOX OFFICI<br />
FIXTURES<br />
NEW<br />
&<br />
USED<br />
EQUIPMEN1<br />
SCREENS<br />
&<br />
FRAMES<br />
Response No. 6
I<br />
I<br />
I<br />
I<br />
I<br />
INTL. CINEMA EQUIPMENT (see<br />
ACOUSTICAL WALL COVERINGS)<br />
KELMAR (see AMPLIFIERS)<br />
KINTEK (see AMPLIFIERS)<br />
MARBLE (see DC EXCITERS)<br />
ROM (see AMPLIFIERS)<br />
SMART (see AMPLIFIERS)<br />
SONY (see DIGITAL STEREO)<br />
USL, INC. (see AMPLIFIERS)<br />
SOUNDHEADS/<br />
SUPPLIES<br />
CFS/RENTEC (see ACOUSTICAL<br />
WALL COVERINGS)<br />
COMPONENT (see DC EXCITERS)<br />
EVI (see AMPLIFIERS)<br />
INTL. CINEMA EQUIPMENT (see<br />
ACOUSTICAL WALL COVERINGS)<br />
TECCON (see AMPLIFIERS)<br />
SPEAKERS<br />
APOGEE SOUND (see<br />
AMPLIFIERS)<br />
BGW SYSTEMS (see AMPUFIERS)<br />
CFS/RENTEC (see ACOUSTICAL...)<br />
CINEMA GROUP (see AMPLIFIERS)<br />
EAW<br />
One Main St., WhitinsviUe, MA 01588<br />
508-234-6158, FAX: 508-234-8251<br />
Sandy McDonald, Rep.<br />
Cinema speakers<br />
EVI (see AMPLIFIERS)<br />
FRAZIER (see AMPLIFIERS)<br />
HADDEN THEATRE SUPPLY<br />
10201 Bunsen Way<br />
Louisville, KY 40299<br />
502-499-0050, FAX: 502-499-0052<br />
Louis Bomwasser, Owner<br />
Projection and sound equipment<br />
HIGH PERFORMANCE (see AMPS)<br />
HIGH-TECH (see ACOUSTICAL...)<br />
JBL (see AMPLIFIERS)<br />
KINTEK (see AMPLIFIERS)<br />
KLIPSCH PROFESSIONAL<br />
P.O. Box 1320, Hope, AR 71802-1320<br />
501-777-0693, 800-467-6796<br />
FAX: 501-777-0593<br />
Don Shamsie, President<br />
Digital-ready loudspeal(ers<br />
OMNIMOUNT SYSTEMS<br />
1501 W. 17th St., Tempe, AZ 85281<br />
602-829-8000, FAX: 602-756-9000<br />
Garret E. Weyand, CEO<br />
Monica Pershall, Sales & Cust. Svc.<br />
Mounting devices<br />
RGM (see AMPLIFIERS)<br />
SMART (see AMPLIFIERS)<br />
STAGE ACCOMPANY (see AMPS)<br />
STRONG (see AMPLIFIERS)<br />
TOTAL AUDIO<br />
3006 Strong Ave.<br />
Kansas City, KS 66106<br />
913-362-3762<br />
FAX: 913-362-5642<br />
Richard Stevenson, Owner<br />
Stage and surround speakers<br />
STEREO SYSTEMS<br />
CFS/RENTEC (see ACOUSTICAL<br />
WALLCOVERINGS)<br />
CINEMA GROUP (see AMPLIFIERS)<br />
DOLBY (see DIGITAL STEREO)<br />
EVI (see AMPLIFIERS)<br />
FRAZIER (see AMPLIFIERS)<br />
HIGH PERFORMANCE (see AMPS)<br />
HI-TECH (see ACOUSTICAL WALL<br />
COVERINGS)<br />
INTL. CINEMA EQUIPMENT (see<br />
ACOUSTICAL WAU COVERINGS)<br />
JBL (see AMPLIFIERS)<br />
KELMAR (see AMPLIFIERS)<br />
KINTEK (see AMPLIFIERS)<br />
LUCASFILM/THX (see DESIGN)<br />
RAVEN (see AMPLIFIERS)<br />
RGM IND. (see AMPLIFIERS)<br />
SMART (see AMPLIFIERS)<br />
STAGE ACCOMPANY (see<br />
AMPLIFIERS)<br />
SUMINISTROSKELONIKSA<br />
CalleBadajozl59Bis<br />
08018 Barcelona, SPAIN<br />
(34)33004361<br />
FAX: (34)33000315<br />
Lorer\zo Garcia, Rep.<br />
Cinema sound systems<br />
USL, INC. (see AMPLIFIERS)<br />
SYNTHESIZERS<br />
CHACE (see PROCESSORS)<br />
CFS/RENTEC (see ACOUSTICAL<br />
WALLCOVERINGS)<br />
CINEMA GROUP (see AMPLIFIERS)<br />
HI-TECH (see ACOUSTICAL WALL<br />
COVERINGS)<br />
INTL. CINEMA EQUIPMENT (see<br />
ACOUSTICAL WALL COVERINGS)<br />
SMART (see AMPLIFIERS)<br />
USL, INC. (see AMPLIFIERS)<br />
I<br />
PROJECT<br />
A CLEAN, SHARP IMAGE<br />
Sharp, Dust-Free Projection<br />
Clear Sound Reproduction<br />
Reduces Projector<br />
Maintenance<br />
Extends Print Life<br />
2 Year Warranty<br />
® c® ce<br />
SV-4120 SV-4220<br />
In<br />
North & South America<br />
1778 Main Street<br />
Sarasota, FL 34236 USA<br />
TEL. 1-941-951-2432 or<br />
1-800-624-3204 (U.S. & Canada)<br />
FAX: 1.941.955-5992<br />
kinetronics<br />
m, CORPORATION lUSA'<br />
In<br />
Response No. 238<br />
Europe, Asia, Africa & Australia<br />
P.O. Box 45 00 51<br />
D-53344 Alfter<br />
GERMANY<br />
TEL. 49-2222-62105<br />
FAX: 49.2222.65974<br />
THE BEST!<br />
We are proud that the very<br />
highest quality Dolby and<br />
Digital sound systems come<br />
from us. So many in fact, that<br />
there is probably one in<br />
operation near you. You<br />
deserve the same service!<br />
HADDEN r^<br />
THEATRE<br />
10201 Bunsen Way<br />
Louisville, KY 40299<br />
(502) 499-0050<br />
(502) 499-0052 FAX:<br />
Louis Bomwasser, Owner<br />
SUPPLY COMPANY<br />
Design-Consultation-Sales<br />
Response No. 40<br />
February, 1998 37
SPECIAL REPORT: Cinema Sound 1998<br />
hy John F. Allen<br />
Motion picture sound is critically important<br />
in setting the emotional atmosphere ofa film.<br />
Sound alone is often the determiningfactor in<br />
knowing if a scene is a comedy or tragedy.<br />
Obviously, the better the theatre's sowxd presentation,<br />
the better thefilm works. Ifsound is,<br />
as some insist, more than half the show, how<br />
can exhibitors best exploit itspotential? In this<br />
issue, BOXOFFICE contributing writer John<br />
F. Allen concludes hisfour-part series ofarticles<br />
exploring the current state ofmovie theatre<br />
sound andproviding valuable guidance.<br />
Part<br />
one of this special four-part series,<br />
published in the April 1997 issue, was<br />
devoted to the common industry practice<br />
of using loudspeakers too small for their tasks<br />
and to the negative impact that this has on the<br />
presentation of digital soundtracks. Part two<br />
(July 1997) covered the deficiencies vs. the<br />
requirements of surround speakers and subwoofers,<br />
as well as the true amplifier power<br />
needs of digital motion picture sound systems.<br />
Part three (Nov. 1997) departed from equipment<br />
issues to describe how sound systems are<br />
routinely and often radically mistuned due to<br />
the inaccuracy of the measurement techniques<br />
relied upon by today's technicians.<br />
The obvious point of this series has been to<br />
explore the often deficient "state of the art"<br />
exhibited in the majority of theatre sound systems<br />
as well as to suggest what can and should<br />
be done to bring these installations up to par.<br />
Without proper and competent attention to<br />
the aforementioned matters, no sound system<br />
can fxjssibly be coasidered capable of meeting<br />
the extraordinary demands of both digital and<br />
analog motion pictures, let alone motivating<br />
patrons to return more often. Yet even such<br />
attention would not be enough. Among other<br />
things, there are still far too many weaknesses<br />
in the way that sound levels are set as well as in<br />
the quality of the maintenance performed after<br />
the initial in.stallation. I'll discuss the latterfirst.<br />
MAINTENANCE<br />
The sound system maintenance provided by<br />
this industry's (rather overworked and often<br />
under-appreciated) technicians needs to be<br />
dramatically improved. This is not at all due to<br />
either the quality of these technicians or their<br />
IF THEY KNEW WHAT<br />
YOU WERE MISSING<br />
Part Four: Conclusion<br />
WHY TODAY'S MOTION PICTURE SOUND<br />
SYSTEMS FAIL TO MAKE THE GRADE AND<br />
WHY THEY CAN'T SOUND BETTER<br />
commitment to theirjobs. Rather, the improvement<br />
required is in the areas of training and,<br />
especially, the quality of the equipment provided<br />
to the technicians. An accurate, stable<br />
and easy-to-read real-time analyzer is the primary<br />
sound instrument technicians must use.<br />
Over the years, I have been constantly<br />
amazed at some of the absolute junk I have<br />
seen technicians struggle with over the years<br />
when attempting to align sound systems. Try<br />
as they do, technicians cannot be certain of the<br />
accuracy of the results they obtain when their<br />
real-time analyzers have been purchased on<br />
the basis of price instead of performance.<br />
The sound-pressure-level<br />
(SPL) meters typically employed<br />
are often nothing more than the unreliably<br />
calibrated $40 units available<br />
at most shopping centers. Can<br />
anyone really take such equipment<br />
seriously at professional levels?<br />
To be certain of my own work,<br />
I use an Ivie IE-30 real-time analyzer<br />
with Ivie's handmade<br />
model 1134 random incidence<br />
microphone. I also carry a Bruel<br />
and Kjaer microphone caUbrator<br />
that I use every day to ensure the<br />
accuracy of sound-pressure-level<br />
measurements. Barring a recording<br />
level problem, all of my sound<br />
systems operate with their faders<br />
at their normal positions and the sound levels<br />
in the auditoriums are correct.<br />
No technician, it seems to me, should be<br />
expected to deliver quality work unless he or she<br />
carries equipment equal or superior to this. Indeed,<br />
I insist that technicians servicing my sound<br />
.systems be equipped with IE-30s I've calibrated.<br />
If they wish to carry their own microphone calibrators,<br />
I personally check these units as weU<br />
before they are placed into service. As a result,<br />
we have achieved very consistent and accurate<br />
levels throughout our installations around the<br />
world. When necessary, I have provided this<br />
equipment to my clients at a substantial disanint,<br />
becau,se I consider it imperative they have it<br />
When checking out sound systems not calibrated<br />
with reliable equipment, I typically<br />
find that the slit-loss correction is often set too<br />
high, resulting in excessively bright sound. I<br />
also find that the sound levels can be anywhere<br />
from 2 to 10 dB high. Even worse, these level<br />
discrepancies are not consistent. Not all channels<br />
in a sound system are off by the same<br />
amount. Imagine what audiences must endure<br />
when surround levels are 6 dB too high, subwoofers<br />
are 10 dB too loud and the speakers<br />
are either being or have been destroyed.<br />
Movie theatre technicians typically have<br />
learned their trade by apprenticeship. It seems<br />
to take about two years before one is "comfortable"<br />
in the field. In addition, some manufacturers<br />
have offered valuable training seminars<br />
to instruct technicians in the proper ways to
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lam<br />
read<br />
levels) to theatres for the most routine matters,<br />
such as an exciter lamp replacement or something<br />
being unplugged, or even the improper<br />
lacing of a projector. Often, technicians are not<br />
allowed to perform propermaintenance. When<br />
equipment of poor quality keeps breaking<br />
down and ought to be replaced, technicians are<br />
told to keep it going somehow, even though<br />
they know it wiU continue to fail. All this gives<br />
technicians too little time to do their jobs.<br />
Presentation quality suffers.<br />
Unfortunately, I have also encountered<br />
some examples where technicians did not follow<br />
manufacturer instructions and left a mess.<br />
Recendy, I visited a theatre with one of my<br />
installations and discovered that half the subwoofers<br />
were turned off. The subwoofer level<br />
(playing through the other half of the<br />
subwoofers<br />
that were working) was 10 dB too<br />
high. Surround levels are almost always set<br />
incorrectly in this theatre. Wires have been cut.<br />
Short-circuits have been introduced and left in<br />
place. I could goon, but I won't. That particular<br />
theatre simply gets terrible service and always<br />
has. Frankly, it being in Los Angeles, of all<br />
places, I expect better.<br />
SETTING SOUND LEVELS<br />
One of the most frustrating problems with<br />
modem cinema sound systems is measuring,<br />
setting and maintaining proper levels. I cannot<br />
say how many theatres actually play films at their<br />
correct levels. I can say, however, that far too<br />
many are too loud, and even more (I suspect) are<br />
too soft. We do know that, in a large number of<br />
theatres,<br />
films are much too loud if they are<br />
played at the "standard" fader settings. Once this<br />
happens, it becomes anyone's guess where the<br />
fader should be—and often the guess is wrong.<br />
As we know, the volume controls, or faders,<br />
on cinema sound processors are supposed to<br />
be set at "7," or "0.0" for SDDS. When sound<br />
system levels are calibrated at these fader positions,<br />
the fihns are supposed to play at the<br />
correct level when the faders are left at these<br />
positions. Yet, when one looks around at the<br />
fader settings in operating theatres, we very<br />
often see Dolby faders at around "4 1/2" to "5<br />
1/2" and SDDS faders at "-5" to "-10." The<br />
sound levels might be normal, or near so, but<br />
the faders are set anywhere fkim 4 to 10 dB<br />
below the positions where the sound systems<br />
were calibrated. What's going on?<br />
Acnially. this is a complicated problem<br />
brought about, among other things, by a combination<br />
of poor measurement techniques, improper<br />
sound system setup procedures, room<br />
acoustics and even loud trailers. Let's look at<br />
a typical Dolby-based installation first. Quite<br />
often, we find that we are forced to run the fader<br />
at "5" or "5 1/4," rather than '7," for Dolbyencoded<br />
features, and at "4 1/4" or "4 1/2" for<br />
DTS-encoded features. Those represent<br />
sound-level calibration errors of about 6 dB for<br />
the Dolby films and about 8 dB for DTS. Those<br />
are very large errors, and very common ones.<br />
It means that, when the technician's SPL meter<br />
reads 85 dB with pink noise, a fihn will actually<br />
play at 90 to 91 dB. DTS films would run<br />
at 92 to 93 dB. These are excruciating levels.<br />
tew years ago, I<br />
SOUND IS THE KEY<br />
a quote in one of the audio periodicals I receive that said in<br />
part, "If bad audio w/as lethal, sound systems would be the leading cause of death. "This<br />
was not aimed specifically at movie theatres but at the audio world in general. Frankly,<br />
there is much truth being said. Beyond live unamplified concerts, where does one go<br />
to enjoy high-quality, natural, undistorted sound? Certainly not to very many movie<br />
theatres. Certainly not Broadway shows. From the three-inch speakers of our own<br />
television receivers to virtually every public address system that assaults us on a daily<br />
basis, we are constantly subjected to one form or another of distorted and unpleasant<br />
sound. Yet those attending the live, often sold-out concerts are willing to pay as much<br />
as 1 times the cost of a movie ticket for the enjoyment (and relief) of listening to clear,<br />
undistorted (beautiful) music.<br />
not entirely certain how many in this industry are genuinely aware of how much<br />
of a motion picture's soundtrack is held back from the audience's ears due to overlooked<br />
and misunderstood deficiencies in cinema sound systems. Upon hearing what I'll call<br />
a "real sound system" for the first time, one industry veteran described it as the difference<br />
between driving a $1 50,000 sports car and a 20-year old station wagon with four fiat<br />
tires. My four-part series, which concludes with the accompanying article, has been a<br />
comprehensive attempt to enlighten BOXOFFICE readers about the depth of the situation<br />
as well as the magnitude of the potential, before improvements in home delivery systems<br />
completely surpass the moviegoing experience.<br />
FUTURE ALTERNATIVES<br />
By 2001, the world of home entertainment will be dramatically transformed with the<br />
introduction of digital television including six channels of digital sound. New distribution<br />
systems wil I be estabi ished. With even the most modest of home theatre loudspeakers,<br />
such receivers will easily eclipse the presentation quality of all but the best motion<br />
piaure theatres. Indeed, the sound format alone is virtually the same that theatres are<br />
trying to implement now. The window of opportunity to |X)sition ourselves in front of<br />
these alternative developments is shrinking daily. In toth sound and picture, the cinema<br />
remain the unequaled leader in presentation quality. To do this, the motion picture<br />
theatre experience needs to be virtually reinvented. Fortunately, the tools to do so are<br />
today.<br />
Digital sound recordings, combined with some ofthe truly spectacular motion picture<br />
being mixed today, are providing this industry with the opportunity to<br />
a new, less expensive and widely available source for wonderi^ul experiences<br />
in sound. This potential must be realized.<br />
THE BOTTOM LINE<br />
The bottom line of my four-part series is indeed the bottom line: Great sound is<br />
marketable. Unfortunately, this industry seems to be unable to truly deliver and exploit<br />
the marketing potential of really great sound. As in the rest ofthe audio world, the latest<br />
fad can be substituted for genuine knowledge and technical know-how. Some I have<br />
spoken with just can't bring themselves to believe that sound quality' can be so effective<br />
a draw to their theatres. They express genuine surprise, even skepticism, when I tell<br />
them of the audience response and attendance increases of 25 to 300 percent experienced<br />
in some of the theatres I and others have done over the years. But ask yourself<br />
this: When have consumers not responded positively to quality and value?<br />
With ail the current alternatives competing for entertainment dollars, let alone those in<br />
the near future, too many theatres continue to be operated with inadequate sound systems.<br />
After 60 years, the principal characteristic of cinema sound systems remains the 1930's<br />
"honky" quality that makes the actors sound as though they are speaking in a trash can.<br />
Films can be played in the wrong formats or at the wrong levels. Defertive equipment is<br />
sometimes allowed to go unrepaired. And there are still far too many mono theatres. Such<br />
situations can and slx>uld be corrected. Where mediocrity exists it breeds more mediocrity,<br />
and we simply cannot afford to allow it. Excellence isn't just good for the soul, ifs good for<br />
business. In its pursuit, we not only improve ourselves but profits as well. Both are good.<br />
If people didn't love beautiful sound, they wouldn't spend hundreds—sometimes<br />
thousands—of dollars on stereo systems in their cars, let alone their homes. There<br />
wouldn't be a hi-fi or home theatre industry. There wouldn't be a recording industry.<br />
Motion picture soundtrack albums would not exist. In my opinion, entertainers who fail<br />
to take advantage of the public's attraction to high-quality sound are underestimating<br />
their customers and limiting the potential of their business. Simply installing digital<br />
processors and putting the word "digital" on the marquee doesn't accompi ish more than<br />
underwhelming audiences when the theatre's sound system doesn't deliver.<br />
Strong statements? Maybe. But the gap between the sound quality I hear in so many<br />
theatres and what I know can be achieved is surely testimony to something. JFA<br />
—<br />
February, 1998 39
40 ROXOKFK-E<br />
STONE-AGE EQUALIZATION<br />
Such errors can be accounted for. The first 1 to<br />
2 dB usually indicates a miscalibrated SPL meter.<br />
In randomly checking meters used by technicians<br />
over the years, I typically find their calibrations<br />
1 .5 to 2 dB low. So, when one reads 85, it is really<br />
87. Further error is caused by improper sound<br />
system equalization. As I pointed out this past<br />
November in part three ofthis series, the common<br />
practice ofplacing measurement microphones in<br />
the rear two-thirds of a theatre results in major<br />
measurement errors and, subsequently, equalization<br />
errors. Though an analyzer indicates aproper<br />
equalization has been achieved, the frequency<br />
response of the system is actually misadjusted,<br />
and usually severely misadjusted. Those<br />
misadjustments can cause sound-pressure-level<br />
measurement errors of 2 to 4 dB in most cases.<br />
Here's why: Suppose we have a perfectly flat<br />
loudspeaker playing pink noise at 85 dB SPL<br />
in a 400-seat auditorium. If we were to turn off<br />
the woofer, the SPL meter reading would drop<br />
about 3 dB. Although the measured pink noise<br />
level is now lower, the level of speech played<br />
through the speaker would change very little.<br />
In other words, the output levels of the middle<br />
and high frequencies would not change; we<br />
turned off only the woofer. If we then increase<br />
the output level of our woofer-less speaker so<br />
that our SPLmeterwouldagain read 85, we will<br />
also increase the speech level by 3 dB. So it's<br />
easy to see how reducing the bandwidth of a<br />
loudspeaker will fool an SPL meter and a technician<br />
if we are not careful.<br />
It turns out that mis-equalized loudspeakers<br />
can cause the same effect. Again as mentioned<br />
in part three, equalization errors of as much as<br />
8 to 11 dB in various 1/3-octave bands are<br />
common results of the current but outdated<br />
microphone placement practices. Large peaks<br />
that don't exist are "equalized out," resulting<br />
in actual holes in the frequency response. (See<br />
figure, p. 38.) This, in turn, causes SPL meters<br />
to display readings about 2 to 4 dB too low.<br />
Let's consider a theatre in which the measurementerrorcaused<br />
by such mis-equalization<br />
happens to be 3 dB. When added to the 2 dB<br />
error of the SPL meter itself, we have a total<br />
error of 5 dB. We will read 85 dB on our meter<br />
with pink noise, but the films will play at a level<br />
equivalent to 90 dB. In such a theatre, when we<br />
calibrate the sound system with the fader at '7,"<br />
films will run at "5 1/4," becau.se each point on<br />
the Dolby fader scale is equal to about 3 dB.<br />
This indeed is the situation in many theatres.<br />
In addition to equalization and SPL meter<br />
errors, many, including myself, have encountered<br />
difficulties with the levels of both DTS<br />
and SDDS soundtracks. As an example, I have<br />
consistently found that DTS films play 2 dB<br />
too loud when the DTS player is calibrated<br />
with the fader at "7." There are two possible<br />
conclusions: Either the soundtracks (including<br />
dialogue) recorded on the release discs are all<br />
2 dB high, or the pink noise levels on the DTS<br />
set-up discs are 2 dB low. I have spoken with<br />
DTS about this, and it seems that the procedures<br />
they followed when recording their reference<br />
pink noise levels were correct. But, for<br />
me at least, there is a 2 dB discrepancy somewhere<br />
(and it could indeed not be anything to<br />
do with DTS' procedures). DTS disputes this,<br />
pointing out that it is merely duplicating the<br />
master recording for each film. However true<br />
that is, and I certainly accept DTS' abiUty to<br />
do this, I simply cannot listen to films played<br />
at the normal DTS levels, nor can I find a<br />
theatre that is not forced to turn down the faders<br />
for these presentations.<br />
Because I wish to avoid the level setting<br />
fi-ee-for-all<br />
that occurs when faders must be<br />
turned down, I have elected to do what is<br />
needed to ensure that all the levels of all sound<br />
formats are equal in all my theatres. The best<br />
way I have found to compensate for DTS is to<br />
increase the fader setting by 3/4 of a point (.7<br />
on CP-5(X)s) when calibrating a DTS player.<br />
The caUbration levels for each channel stay the<br />
same as those recommended by DTS; only the<br />
fader's setting for DTS calibration is changed.<br />
After returning the fader to its normal position,<br />
both Dolby and DTS features will then play at<br />
the same levels without changing the fader.<br />
(No one, including producers or DTS executives,<br />
has ever hstened to those levels and told<br />
me that they were too soft.) Failing to do this<br />
will add 2 dB to our previously accumulated<br />
errors of 5 dB (for Dolby presentations), becoming<br />
7 dB for DTS. In our example theatre<br />
above, in which Dolby-encoded films play at<br />
fader settings of 5 1/4, DTS films would need<br />
to run at around "4 1/2" to "4 3/4." Again, we<br />
regularly encounter this situation in theatres.<br />
SDDS faders use a different<br />
scale and are<br />
supposed to run at "0.0." They provide an adjustment<br />
range of ±10 dB. Technicians have complained<br />
that, when SDDS processors are<br />
calibrated at "0.0," some films are so loud, even<br />
at a fader setting of- 1 0, that they cannot tum them<br />
down enough. That can also be accounted for.<br />
When setting levels for SDDS processors, we are<br />
vulnerable to the same accumulated errors of<br />
around 5 dB, attributed to SPL meter and equalization<br />
errors. Occasionally, features can be released<br />
with soundtracks that are recorded at<br />
excessive levels. Played at reduced fader settings,<br />
these films usually, though not always, sound<br />
normal with normal dynamic range.<br />
None of the digital soundtrack formats has<br />
been immune to this problem. When an SDDS<br />
feature is released with the soundtrack recorded<br />
3 to 4 dB too loud, it can cause special difficulties<br />
in theatres. As examples, this past year's<br />
"Volcano" and "Con Air" both suffered from<br />
the problem. Also unfortunate is that virtually<br />
all<br />
SDDS trailers are recorded 5 to 6 dB too<br />
loud. Ordinarily, this would be a simple matter<br />
ofturning down the SDDS fader to "-4" to "-6"<br />
but, when it is already mnning at "-5" for<br />
normal films due to calibration errors, one may<br />
need to be able to set the fader below "- 1<br />
0," and<br />
that exceeds the range of the SDDS fader.<br />
ROOM ACOUSTICS<br />
As if all these potential accumulated errors<br />
were not enough, it is also possible for room<br />
acoustics to cause an SPL meter to mislead us.<br />
An example of that can occur in older or larger<br />
theatres with longer reverberation times. In<br />
such theatres, a pink noise reading of 85 dB<br />
might actually coirespond to a program level<br />
equivalent of 83 dB. In this case, films would<br />
play too low. The opposite effect can occur in<br />
a smaller theatre with poor bass response or in<br />
a theatre equipped with speakers with small<br />
low-frequency radiating areas. An SPL<br />
meter/pink noise reading of 85 dB might correspond<br />
to a program level of 86 or 87 dB,<br />
causing films to play too loud.<br />
DISTORTION MAKES IT WORSE<br />
The never-ending menace of distortion also<br />
comes into play when experiencing digital<br />
sound levels. Distortion makes sound seem<br />
louder. In part one of this series, I wrote about<br />
the inadequacies of typical two-way theatre<br />
speaker systems. One major problem with<br />
these systems is the high-ft^quency drivers of<br />
such configurations often can't and don't have<br />
the output required of the highest Irequencies<br />
of motion picture sound. That is especially true<br />
in rooms the size of movie tiieatres.<br />
When pushed too hard, the drivers cause<br />
distortion and the familiar harsh sound so<br />
many have complained about for so long. Add<br />
to this the excessive treble brightness that often<br />
results from the improper equalization caused<br />
by the inaccurate measurement techniques<br />
employed today, and/or tiie distortion caused<br />
by inadequate amplifiers, and we have a mess.<br />
Whether caused by tiie speakers or otherwise,<br />
distortion can make the sound in a theatre<br />
seem too loud even when it isn't. This is very<br />
important. Imagine the effect it has in theatres<br />
in which the sound is indeed too loud. Is there<br />
any wonder why there are so many complaints<br />
about loud movies?<br />
LOUD TRAILERS<br />
It's hard to write about the issue of sound<br />
levels without further mentioning the problem<br />
of loud trailers — "plague" might be a better<br />
description. For whatever reason, trailers are<br />
believed, at least by those responsible for them,<br />
to sell better when they are very loud, uncomfortably<br />
loud or simply too damn loud. Anyone<br />
who has mixed sound for live audiences, as 1<br />
have (once for a concert so large that it was<br />
hsted in the "Guinness Book of Records"), or<br />
anyone with an ounce of sense, knows that the<br />
best way to get the attention of an audience is<br />
to make the sound just a little too soft. Loud<br />
trailers have caused more customercomplaints<br />
than is possible to count. Yet they persist. The<br />
tragedy is that, when managers and projectionists<br />
are forced to lower faders due to loud<br />
trailers, the features that follow tend to get<br />
played at the lower settings, completely mining<br />
the presentation.<br />
HI<br />
© 1998 John E Allen. All Rights Reserved.<br />
John F. Allen Li thefowider andpresident of<br />
High Petformance Stereo in Newton, Mass.<br />
He is also the inventor of the HPS-4000 cinema<br />
sound system and, in 1984, wai the first<br />
to bring digital sound to the cinema. Questions<br />
or comments on Mr. Allen's .series may be<br />
mailed, faxed or e-mailed to BOXOFFICE.
February, 1998 41<br />
POV: PERSPECTIVES<br />
BOXOFFICE's Forum for the Industry<br />
As<br />
an avid moviegoer as well as a<br />
filmmaker, I've watched with admiration<br />
and delight as exhibition standards<br />
have risen in recent times. There's no doubt:<br />
Films look and sound better. And, although<br />
image quality seems to have improved over the<br />
years (a lot of that can be attributed to advances<br />
in lenses and film stocks), strides in sound have<br />
been profound. Analog has quickly given way<br />
to digital, and many theatres have, thankfiilly,<br />
embraced these new formats.<br />
The result for filmmakeis? Unlike the directors,<br />
producers and re-recording mixers of decades<br />
past—those who acknowledged theirfilms<br />
would rarely sound as good "out there" as on the<br />
dubbing stage—filmmakers today can mix their<br />
films knowing that thousands of theatres may be<br />
able to faithfully reproduce the sound mix they<br />
sweated over for weeks and months.<br />
But I should emphasize a word here: may.<br />
"May be able to reproduce the sound mix...."<br />
It's an important quaUfication.<br />
Flashback: This past October, my feature<br />
film—Paramount's "Kiss the Girls"—was released.<br />
With its release came one of the simple<br />
pleasures of any filmmaker: the chance to go<br />
into a theatre on opening weekend and watch<br />
your movie with a real audience.<br />
A quick digression: "Kiss the Girls" has a<br />
dynamic, rich, detailed soundtrack, as ambitious<br />
a sound mix as I've heard on a thriller,<br />
thanks to stunning work by soimd designer<br />
David Bartlett and re-recording mixers Rick<br />
Ash and Rick Alexander. In fact, the mood and<br />
portent of the film owe as much to its music<br />
and sound effects as to its images. Okay, that<br />
said, back to my opening weekend:<br />
I'm at a premium L.A. theatre. Huge screen.<br />
Digital sound. First come the trailers and, yes,<br />
they rock the house. Then, as the title sequence<br />
of "Kiss the Girls" begins, I notice a problem.<br />
The sound is playing too low. Much lower than<br />
mixed. My guess is about 25 percent lower.<br />
hy Gary Fleder<br />
PUMP UP<br />
THE<br />
VOLUME<br />
'*So let me understand,"<br />
I say. "You 're setting the<br />
overall volume in this<br />
theatre based on seven or<br />
eight minutes ' worth of<br />
trailers, and then letting<br />
the two-hourfeature<br />
play perhaps 25 percent<br />
lower than intended?'<br />
Hi<br />
In a flash, I'm in the lobby requesting a<br />
word with the theatre manager. I ask about<br />
the sound level, menfioning that, yes, I<br />
worked on the sound mix and know it's<br />
playing a lot lower than we'd intended. The<br />
manager considers my entreaty.<br />
"The trailers are just too loud," he says. "So<br />
we've turned down the overall volume."<br />
"So let me understand," I say. "You're setting<br />
the overall volume in this theatre based on<br />
seven or eight minutes' worth of trailers, and<br />
then letting the two-hour feaftire play perhaps<br />
25 percent lower than intended?"<br />
A shrug. "Yes, well.... No one complains."<br />
I was more than happy to obUge him by<br />
being the first to do so and, generously, he<br />
asked the projectionist to turn the volume knob<br />
to its correct setting. (Typically, '7" it's on the<br />
CP-200 box.) I went back and watched the<br />
fihn. It sounded great, just like we mixed it,<br />
and all around me patronsjumped at the scary<br />
parts. For the audience, terror evoked by "Kiss<br />
the Girls" ended with the final credit crawl.<br />
For me, it was just beginning.<br />
Driven by curiosity and a modicum of masochism,<br />
I visit six other theatres that weekend<br />
playing "Kiss the Girls." At five of them, it's<br />
the same scenario: The trailers play loud, my<br />
film plays low. I query about the correct volume,<br />
the managers provide the same response:<br />
"The trailers are too loud, so we've turned<br />
down the overall volume. No one complains."<br />
Oh, man. Cut to:<br />
Monday morning. I call Wayne Lewellen,<br />
head of Paramount distribution, and ask for<br />
insight and counsel. Wayne says that,<br />
obviously,<br />
studio reps can't fly to 2,000 theatres to<br />
quality-control the projection of every print.<br />
But he suggests that he can distribute an open<br />
letter from me, the director, to theatre owners<br />
and managers across North America.<br />
I'm thrilled. 1 write my appeal. 1 keep it<br />
short, simple, polite. A solution for the trailer<br />
problem is easy, 1 say: Play the trailers at one<br />
volume level and then, well, just turn the volume<br />
to normal (85 dB standard) for the feature.<br />
My letter goes out. I'm hopeful. The letters<br />
will be read. The solution is so easy. A<br />
filmmaker's written plea is all it took! My film,<br />
all films, will be seen and heard as intended.<br />
I've made a difference. Bliss.<br />
Two weeks later: I'm visiting Vancouver,<br />
B.C., for a long weekend. One night, a fiiend<br />
and I decide to check out a comedy playing at<br />
a nearby multiplex. The movie lets out, and I<br />
notice that "Kiss the Girls" is playing on an<br />
adjacent screen. We sneak in, and the film is at<br />
its midpoint, a big action set-piece.<br />
The sequence begins!—but the guns sound<br />
like cap pistols. The bold dialogue is barely a<br />
whisper. The car crashes sound like toasters<br />
hitting a kitchen floor. Glass breaking makes<br />
for pixie-dust tinkles. Gee. ..it's not quite the<br />
way it sounded when we mixed it.<br />
I<br />
ask to sj)eak to the manager. He appears,<br />
solicitous. I ask why the sound is barely audible.<br />
"Well," he answers. "No one complains."<br />
Please. I am appealing to you, dear reader of<br />
BOXOFFICE, those ofyou who own and manage<br />
movie theatres. I know we share the same<br />
goal: to thrill, entertain, and engage moviegoers.<br />
Ask any filmmaker what he or she wants<br />
once their fihn leaves their hands, and the<br />
answer will probably be along the Unes of, "I<br />
just want people to see my film." What that<br />
means implicitly is, "I just want people to see<br />
and hear my film the way we intended."<br />
I beUeve this to be a worthwhile and attainable<br />
goal, one whose achievement will once<br />
again raise the bar in exhibition quality. And,<br />
ultimately, the next time a patron doesn't complain<br />
about something—focus, framing,<br />
sound—it might be, simply, because diey<br />
don't know what they're missing.<br />
Hi<br />
Gary Fleder directed the 1995 Miramax<br />
release "Things to Do in Denver When You 're<br />
Dead" and Paramount's recent "Kiss the<br />
Girls. " The Norfolk, Va., native, who won the<br />
prestigious John Huston Directing Scholarship<br />
while a master 's student at the University<br />
of Southern California film school, recently<br />
acquired the rights to adapt the Jerzy Kosinski<br />
novel "Pintail"for New Line.
source side of the wall to the receiving side.<br />
An STC 72 rating exceeds THX certification<br />
requirements. Call (800) 987-3306 for details.<br />
Response Number 301<br />
PRODUCTS<br />
BUYING<br />
HiTTiJ<br />
Compiled by<br />
Klipsch, Inc. has resumed manufacturing<br />
and marketing loudspeakers under the<br />
Klipsch Professional brand name. The name<br />
was licensed to WWR, Inc., of Hope, Ark. in<br />
September 1992 but the agreement has now<br />
expired. Maico Theatres has agreed to make<br />
one of its Memphis houses a state-of-the-art<br />
demonstration site for Klipsch Professional<br />
theatre sound. The new professional products<br />
will be manufactured in the current Klipsch,<br />
Inc. facility in Hope, Ark.<br />
Response Number 302<br />
If you're tired of audio glitches marring<br />
your screenings, AudioControi Industrial<br />
might have the answers you need. Its lasys<br />
Electro-Acoustic Analyzer uses fuzzy logic to<br />
diagnose audio problems and provide solutions.<br />
The machine is self-contained and does<br />
not require the use of a computer. It can be<br />
used for system design, or to optimize performance<br />
of an existing arrangement. Audio-<br />
Control Industrial says that testing takes only<br />
a few minutes. Contact (206) 775-8461 for<br />
more information.<br />
Response Number 303<br />
Speaker manufacturer Bose has unveiled its<br />
website (www.bose.com), which will allow<br />
theatre owners to access i nformation 24 hours<br />
a day. The site holds more than 300 pages of<br />
-<br />
.JBaSJB<br />
The Editors of<br />
BOXOFFICE<br />
Troy Sound Wall Systems'<br />
new acoustic wall<br />
is setting higher standards<br />
for controlling<br />
sound transmissions.<br />
The company reports<br />
that its new system<br />
achieved the highest<br />
transmission loss values<br />
ever recorded under laboratory<br />
conditions at the<br />
Riverbank Acoustical<br />
Laboratories, Geneva,<br />
III. The Troy wall earned<br />
a Sound Transmission<br />
Class (STC) rating of 72,<br />
Indicating that if can isolate<br />
sound transmission<br />
by providing a potential<br />
drop of 72 dB from the<br />
Sheet Rock<br />
Insulation<br />
Material<br />
Metal Stud<br />
Wood Fiber
February, 1998 43<br />
Frazier has added a new product to its CAT<br />
loudspeaker line. The CAT 59 is a compact,<br />
high output, controlled directivity mid-high<br />
array component. It's available in black.<br />
vv'hite or carpet finish, and includes a 1 0-inch<br />
woofer with a one-inch ferroflu id cooled high<br />
frequency compression driver. A variety of<br />
connectors are available for either portable or<br />
fixed use, and there's also an outdoor version.<br />
To learn more, call (800) 422-7757.<br />
Response Number 307<br />
Peavey's CinemAcoustics line includes a<br />
variety of processors and speakers. Among the<br />
options are the CA-M400 monitor, CA-CP600<br />
digital cinema processor and monitor, CA-<br />
A540 and CA-A800 power amplifiers, and a<br />
multitude of speaker options, including subwoofers,<br />
surround speakers and horn screen<br />
speakers. To learn more about this product<br />
line, call (601) 483-5365.<br />
Response Number 308<br />
The Chace Optical Sound Processor can<br />
perform high-quality sound transfers from<br />
negatives, even from fragile nitrate stock.<br />
Copies are sound-corrected to remove unwanted<br />
noise from dirt, scratches and uneven<br />
film development. Now clean new prints can<br />
be made from old films (and TV shows) without<br />
damaging the originals. Chace also offers<br />
complete audio transfer services from a wide<br />
variety of formats, plus audio synchronizing,<br />
voiceovers, effects and music tracks. For more<br />
information, call (818) 842-8346.<br />
Response Number 309<br />
Cinema Film Systems, Inc. carries a full line<br />
of THX-approved Krix loudspeakers. Highlights<br />
include the HX-4010, a very low frequency<br />
loudspeaker with a single 18-inch<br />
subwoofer. The HX-5810 is a full-range<br />
screen loudspeaker, the low-frequency part of<br />
which was developed by "reverse engineering"<br />
THX Cinema loudspeaker requirements.<br />
The HX-1850 surround is a high-powered,<br />
efficient model that incorporates a 1 5-degree<br />
angle on the front baffle to allow correct<br />
sound dispersion when the unit is mounted<br />
flat with the wall. Call (909) 931 -931 8.<br />
Response Number 310<br />
Hi<br />
FOR INCLUSION IN THE NEXT BOXOFFICE NEW PRODUCTS GUIDE, PLEASE SEND<br />
A SHORT DESCRIPTION OF YOUR PRODUCT OR SERVICE AND A BLACK-AND-WHITE,<br />
PUBLICATION-QUALITY PHOTOGRAPH TO: LISA OSBORNE, NEW PRODUCTS DESK,<br />
BOXOFFICE MAGAZINE, 6640 SUNSET BLVD., SUITE 100, HOLLYWOOD CA 90028. FAX: 213-465-5049.<br />
1^ II<br />
THEATRE & VIDEO PRODUCTS<br />
CINEMA SOUND SYSTEMS<br />
DIGITAL AND ANALOG<br />
8-6-4-2 CHANNEL FORMATS<br />
ALL MAJOR SOUND PROCESSORS<br />
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220 VOLT SYSTEMS<br />
FOR EXPORT AVAILABLE<br />
LITERATURE ON REQUEST<br />
305-754-9 136 92 1 N.E. 79th ST.<br />
305-759-0863 FAX MIAMI, FL 33138<br />
E-MAIL: tvpmiami@webtv.net<br />
RICHARD FOWLER JOHN GAMBLE<br />
Response No. 117
44 Boxomce<br />
—<br />
EXHIBITION<br />
BRIEFINGS<br />
SILVER CINEMAS ACQUIRES<br />
LANDMARK THEATRE GROUP<br />
Dallas, Texas-based Silver Cinemas International<br />
has agreed to purchase the Landmark<br />
Theatre Group, headquartered in Los Angeles,<br />
from Metromedia International Croup for<br />
about $65 million.<br />
Silver Cinemas was founded in June 1996<br />
by former Cinemark USA executives Steve<br />
Holmes and Tom Owens and by Brentwood<br />
Associates, a private equity investment firm<br />
located in Los Angeles. Landmark is the largest<br />
exhibitor of specialty films—art films, foreign<br />
pictures and independent releases— in<br />
the LI.S. with 140 screens at 49 theatres nationwide.<br />
This is Silver's eighth acquisition and marks<br />
its entry into the independent film exhibition<br />
business. Several of Landmark's senior executives<br />
are expected to join Silver's management<br />
team when the sale is complete.<br />
PAGERS GIVE PARENTS<br />
PEACE OF MIND AT GCC MOVIES<br />
General Cinema's new South Bay 1 6 theatre<br />
in Redondo Beach, Calif., has set up a<br />
babysitter paging system to help parents relax<br />
when they're at the movies alone. Parents can<br />
request a pager when they arrive at the<br />
boxoffice and then call their babysitter with<br />
the number. If a call comes through, they will<br />
be paged at their seats. It's a vibrating pager,<br />
so other viewers won't be disturbed.<br />
Another unusual feature at this 16-plex is<br />
the 96-foot-long, three-tiered concession<br />
stand. Food is prepared at the back of the<br />
stand and then displayed on a "pass-through"<br />
counter where items are easily accessible to<br />
servers thus expediting food delivery to the<br />
customer. "I can attest, even yesterday, when<br />
we had a free showing, that we did not have<br />
any lines, absolutely zero. People moved right<br />
through," Tony Garrisi, director of operations<br />
at General Cinema Theatres, told BOXOFFICE.<br />
The theatre also offers an automated ticketing<br />
system. Moviegoers can purchase tickets<br />
up to two weeks before a show by i nserting<br />
their credit card into an ATM at the theatre<br />
and following directions on the touch screen.<br />
UNION PICKETS REGAL CINEMAS<br />
The International Alliance of Theatrical<br />
Stage Employes, Moving Picture Technicians,<br />
Artists and Allied Crafts of the United States<br />
and Canada (lATSE) has accused Regal Cinemas<br />
of "union busting" and launched a nationwide<br />
boycott of the circuit. Reverend<br />
Jesse Jackson has pledged his support and that<br />
of the Rainbow/PUSH Coalition, vowing "not<br />
to let Regal rest, until they treat the workers<br />
right."<br />
lATSE charges Regal with "systematically<br />
terminating" members working as projectionists<br />
In Fort Wayne, Ind., Akron, Ohio, and Richmond,<br />
Va., and making members in Youngs-<br />
Q&A BUYOUTMANN<br />
BUYS CINAMERICA<br />
Jeffrey<br />
G. Lewine and Warburg, Pincus Ventures LP., partners in WestStar Holdings Inc.,<br />
have bought Cinamerica LP from Viacom Inc. and Time Warner. For $165 million,<br />
WestStar acquired 62 Mann and Festival theatres (374 screens) primarily in Colorado<br />
and California. L ewine knows theatres from top to bottom . He started working for New York's<br />
Cinema 5 when he was 14 years old as an usher, ticket taker and janitor. Eleven years later,<br />
,_^_<br />
^^ \^^|<br />
in 1980, he had risen to become the company's COO. In<br />
1 987, Lewine and his partners, the Edgar Bronfman family,<br />
bought all 53 Cinemette theatres for $23 million and<br />
re-named the chain Cinema World. Lewine became circuit<br />
president and CEO, and built or expanded 1 1 theatres and<br />
spent $12 million on renovations. In 1994, he sold Cinema<br />
World to Columbus, Ca.'s Carmike Cinemas for $38.1<br />
million. Lewine tells BOXOFFICE his plans for Cinamerica.<br />
BOXOFFICE: What role will you play at Cinamerica?<br />
JEFFREY LEWINE: I'll be the president and CEO.<br />
BOXOFFICE: Will the circuit change names?<br />
LEWINE: No. It will do business as Mann Theatres and as<br />
FAMILY MANN: Lewine is very Festival Theatres in northern California.<br />
protective of both his babies. BOXOFFICE: What changes do you foresee at Cinamerica?<br />
LEWINE: I see a more aggressive building campaign and a<br />
more aggressive acquisition campaign, both designed to shore up our market share in the<br />
markets [we've entered] by buying these theatres.<br />
BOXOFFICE: Are you planning to purchase any other theatre circuits?<br />
LEWINE: We hope so—as soon as something is screaming to be done.<br />
BOXOFFICE: What is the company objective of WestStar Holdings?<br />
LEWINE: It was formed primarily for the acquisition of virtually ail of the movie assets of<br />
Cinamerica LP and will be a vehicle for more acquisitions in the future.<br />
BOXOFFICE: Do you see a lot of consolidation in the industry's future?<br />
LEWINE: This is definitely an industry with a changing landscape that will ultimately go<br />
through a consolidation; I see three, four or five very, very big circuits.<br />
BOXOFFICE: Would you like to name any?<br />
LEWINE: I'm not that smart. For our part, we see a consolidation play coming on the West Coast.<br />
BOXOFFICE: What do you think is the driving force behind the consolidation?<br />
LEWINE: Increased liquidity from different sources of funding. A more businesslike approach<br />
being taken to the business. Wall Street and other financing sources discovering us as not only<br />
a cyclical business but a business to be in 12 months a year. And the availability of top<br />
management teams that are out there now.<br />
BOXOFFICE: What do you plan to do with Cinamerica?<br />
LEWINE: We will definitely be investing money into it. And I definitely intend to make money<br />
with the assets that I'm buying. I'm not buying the company just to rebuild it all. But we intend<br />
to spend a considerable amount of money fixing up and modernizing our theatres. We intend<br />
to defend each and every situation that we have.<br />
BOXOFFICE: Will this move affect the addition of the 1 4 screens to Mann's Chinese Theatre?<br />
LEWINE: It's tooearly to tell. Something will happen at the Chinese Theatre. Whether it's 10<br />
screens or 14 screens is up in the air, but we intend to play our part in the redevelopment of<br />
Hollywood. Lisa Osborne<br />
town, Ohio choose between a "deplorable severance<br />
package" and a "drastic wage reduction."<br />
Although an agreement was reached between<br />
Regal and the local union in Cleveland,<br />
it had a "horrendous cost," according to lATSE.<br />
"In order to preserve a few jobs, the local was<br />
forced to accept an exorbitant pay cut, along<br />
with a drastic reduction of work hours."<br />
Regal said that comments made by the union<br />
were "factually inaccurate," adding that, "The<br />
agency charged with establishing federal labor<br />
policy has reviewed the allegations raised by<br />
lATSE and found them to be lacking any merit"<br />
This conflict has arisen because advances in<br />
projector technology now allow one manager<br />
to run 1 6 screens at the same time.<br />
ON THE MOVE<br />
William B. Doeren has been appointed<br />
president and CEO of General Cinema Theatres,<br />
Inc. He replaces Paul R. Del Rossi who<br />
becomes the company's first chairman.<br />
Doeren, who previously served as executive<br />
vice president and COO, will manage the<br />
circuit's domestic operations, while Del Rossi<br />
directs its international expansion efforts and<br />
certain strategic partnerships. ..CinemaStar<br />
Luxury Theatres Inc. has appointed Norman<br />
Dowling to the newly created post of vice<br />
president and chief financial officer. Dowling<br />
comes to CinemaStar from Advanced Marketing<br />
Services Inc. of San Diego where he was<br />
director of finance. ..Clearview Cinema<br />
Group Inc. has elected Philip M. Getter as a<br />
director. Getter is managing director of corporate<br />
finance at Prime Charter Ltd., a New<br />
York investment banking firm. ..Barry Ferrell,<br />
QSC Audio's cinema market manager, has<br />
been elected to the International Theatre<br />
Equipment Association board of directors...John<br />
Stanney has been appointed president<br />
of Super Vision International. He<br />
retains his position as chief financial officer.
R P.<br />
— In Memory Of —<br />
'TETE^^ GLORIOD<br />
Augusts, 1916 - December 4, 1997<br />
A Great Friend, A Knowledgeable Colleague,<br />
And A Man Admired And Loved<br />
By So Many In Our Industry.<br />
Robert N. Mack, President<br />
Filmack Studios<br />
Contributions to the Pete Gloriod Memorial Fund<br />
may be sent to his beloved Church, St. Bernard of<br />
Clairvaux, 4001 E. 101st Street, Tulsa, OK 74137
1 be<br />
46 <strong>Boxoffice</strong><br />
—<br />
NATIONAL<br />
NEWS<br />
TRENT LOTT ADDRESSES THE<br />
INDUSTRY IN HOLLYWOOD<br />
Senate majority leader Trent Lott and republican<br />
national committee chairman )im<br />
Nicholson havevisited Hollywood forthe first<br />
time to discuss issues with members of the<br />
entertainment community. Lott made a guest<br />
appearance at the Wednesday Morning Club,<br />
an organization formed by writer Lionel<br />
Chetwynd and David Horowitz to bridge the<br />
gap between Hollywood and Washington.<br />
Topics covered included content neutral regulations,<br />
station ownership caps, free speech,<br />
campaign financing and current foreign policy.<br />
When asked, "How do we get your attention?"<br />
Lott responded, "At events like this. But<br />
even more importantly, have a representative<br />
group from your industry come to Washington<br />
and sit down in a quiet room and let's talk<br />
about it. Let's have a dialogue. I have a lot of<br />
meetings every day as majority leader and I've<br />
learned to 'cut to the chase' as the say i ng goes.<br />
I sit down and say, 'I know your problem. I<br />
don't want to hear it. Tell me the solution.'"<br />
ACNIELSEN ACQUIRES<br />
ENTERTAINMENT DATA INC.<br />
Stamford, Conn. -based ACNielsen Corp.<br />
has bought Entertainment Data Inc. (EDI), the<br />
boxoffice information source located in Beverly<br />
Hills, Calif. EDI provides overnight information<br />
on boxoffice receipts to studios and<br />
exhibitors in the LI.S. It also has operations in<br />
the U.K., Germany, Spain and France. Marcy<br />
Poller, founder of EDI, will serve as president<br />
of the new company, which will be known as<br />
ACNielsenEDI.<br />
API CELEBRATES CENTENNIAL;<br />
PICKS TOP 100 MOVIES<br />
The American Film Institute (AFI) has recruited<br />
more than 1,500 members of the<br />
American film community to help pick the<br />
best 100 American movies of all time.<br />
AFI compiled a short-list of 400 movies and<br />
then mailed ballots to industry leaders nationwide,<br />
asking them to vote for their favorite<br />
100 feature films. Movies were judged on<br />
such factors as critical recognition, awards<br />
they've won, popularity over time, historical<br />
significance and cultural impact.<br />
Winners will be announced during a threehour<br />
prime-time special entitled "AFI's 100<br />
Years... 100 Movies," to air on CBS in June.<br />
This segment wi 1 followed by 1 one-hour<br />
specials broadcast on consecutive weeks on<br />
Turner Network Television (TNT).<br />
This campaign should serve to introduce<br />
classic movies to a new generation. Actor<br />
Chris O'Donnell said at AFI's press conference<br />
for the event, "I grew up watching 'Star<br />
Wars' and the films that were made in the<br />
'70s. My only exposure to older films is when<br />
my mom calls me and says, 'There's this film<br />
you've got to see.' For someone like myself<br />
it's a great opportunity. I'm going to have to<br />
get the final list and make sure I check off as<br />
many of the top 1 00 films as I can."<br />
AFI is planning an outreach program for<br />
movie exhibitors. "We hope very much to<br />
have a touring screening program of 35mm<br />
prints of some of these movies," AFI director<br />
and CEO Jean Picker Firstenberg told<br />
BOXOFFICE.<br />
"We hope to get together a film festival<br />
around the country. This is a national celebration<br />
and we want the whole country, and in<br />
fact the world, to really feel part of it."<br />
HOLLYWOOD UPDATES<br />
French actress Jeanne Moreau has become<br />
the first woman to receive the European<br />
Film Academy's Lifetime Achievement<br />
Award. Earlier honorees include Ingmar<br />
Bergman and Federico Fellini. During her<br />
career, which spans four decades, Moreau<br />
has worked with many famous directors including<br />
Louis Malle ("Frantic," "The Lovers,"<br />
"Viva Maria"), Francois Truffaut ("Jules et<br />
Jim," "The Bride Wore Black"), and Michelangelo<br />
Antonioni ("The Night"). She was<br />
most recently seen in CFP's "I Love You, I<br />
Love You Not," in which she starred with<br />
Claire Danes. Miles Forman has received<br />
the Academy's first European Achievement<br />
in World Cinema award for "The People<br />
vs. Larry Flynt," which starred Woody<br />
Harrelson and Courtney Love.<br />
Universal Pictures has signed a multiyear<br />
production deal with two-time Academy<br />
Award winner Tom Hanks. Under the<br />
agreement. Universal gets a first look at all<br />
motion picture projects developed by<br />
Hanks and his partner, Gary Goetzman.<br />
Hanks made his feature directorial debut in<br />
1 996 with "That Thing You Do!," which he<br />
and Goetzman also produced and in which<br />
he starred. Coetzman's producing credits<br />
include the Academy Award-winning "The<br />
Silence of the Lambs," "Philadelphia," "Devil<br />
in a Blue Dress" and the upcoming "Beloved."<br />
Universal has also acquired distribution<br />
rights in the U.S. and Canada to the romantic<br />
comedy "Kissing a Fool," starring David<br />
Schwimmer ("The Pallbearer"), Bonnie<br />
Hunt ("Jerry Maguire"), Jason Lee ("Chasing<br />
Amy") and Mill Avital("Stargate"). Directed<br />
by Doug Ellin, "Kissing a Fool" was produced<br />
by Tag Mendillo, Andrew Form and<br />
Rick Lashbrook from a screenplay by Ellin<br />
and James Frey.<br />
"Flubber" hit the No. 1 spot over the<br />
Thanksgiving holiday weekend. Its five-day<br />
opening tigurt:—$35,892,0.31—also propeled<br />
it into the record books as the<br />
industry's fourth-biggest opener ever on<br />
Thanksgiving weekend behind "101<br />
Dalmations" ($45.1 million, 1996), "Back<br />
to the Future II" ($43 million, 1989) and<br />
"Toy Story" ($39.1 million, 1995).<br />
"The Little Mermaid" has now grossed<br />
more than $100 million. The Walt Disney<br />
animated classic earned $23,947,879 dur-<br />
CRITICS LOVE L.A.CONFIDENTIAL<br />
"L.A. Confidential" is a strong Oscar contender,<br />
having earned top honors from all the<br />
critics. The Boston Society of Film Critics, the<br />
L.A. Film Critics Association, the New York<br />
Film Critics Circle and the National Board of<br />
Review all voted it Best Picture of 1997 and<br />
its director Curtis Hanson as Best Director.<br />
The film's scripters, Hanson and Brian<br />
Helgel, won the Best Screenplay Award<br />
from Boston, L.A. and New York. Dante<br />
Spinotti won the L.A. Critics award for Best<br />
Cinematography, while Kevin Spacey won<br />
critical acclaim from Boston as Best Supporting<br />
Actor.<br />
ing its 17-day return engagement. The<br />
movie's gross-to-date stands at $1 08,330,742.<br />
United Artists Pictures has acquired<br />
worldwide distribution rights to the film<br />
"Never Say Never Again" from Taliafilm<br />
Inc. Metro-Goldwyn-Mayer Inc., United<br />
Artists Pictures' parent company, and Danjaq<br />
LLC now control all rights to the James<br />
Bond film character.<br />
John K. Home has formed a new produc-<br />
company<br />
tion<br />
Home Entertainment<br />
Inc.—to acquire, develop and produce<br />
"feature-length motion pictures, whimsical<br />
television programs, and sports and entertainment-related<br />
books, tapes and discs."<br />
John Home and his partner Rory Holioway<br />
are best known for negotiating Mike<br />
Tyson's second Heavyweight Champion of<br />
the World deal. Located in Beverly Hills,<br />
Home Entertainment is capitalized up to<br />
$250 million.<br />
ON THE MOVE: Bob Wynne has been<br />
promoted to co-president of Sony Pictures<br />
Entertainment(SPE), while remaining chief<br />
of corporate operations. Wynne will run<br />
SPE's day-to-day operations, assist president<br />
and COO John Calley in his overall<br />
leadership and management of the company,<br />
and continue to oversee financial,<br />
legal, risk management, human resources<br />
and studio operations. ..Nadia Bronson has<br />
been appointed president of international<br />
marketing at Universal Pictures. She was<br />
previously executive vice president of international<br />
marketing. Bronson is involved in<br />
the acquisition and co-production of foreign<br />
films, as well as the marketing, promotion<br />
and distribution of American movies<br />
abroad. ..Consolidated Film Industries<br />
(CFI), the motion picture processing and<br />
post-production facility, has appointed Bob<br />
Beitcher as president. Beitcher has held<br />
posts as vice president of business affairs at<br />
Lucasfilm, Ltd., managing director of Jim<br />
Henson Productions, and executive vice<br />
president of Paramount Picture's Motion<br />
Picture Group. He replaces Jerry Virnig at<br />
CFI who assumes the role of company<br />
chairman. ..United Artists Pictures has proiTioted<br />
Jeff Kleeman to executive vice president—<br />
production. He is responsible for<br />
developing and packaging films and overseeing<br />
production from acquisition through<br />
principal photography. Current projects include<br />
"Cold Mountain," to be written and<br />
directed by Anthony Minghella and "Supernova,"<br />
a sci-fi thriller set in outer space.
INTERNATIONAL NEWS BRIEFS<br />
NORTHERN EXPOSURE<br />
Canadian News Notes by Shlomo Schwartzberg<br />
LEAD STORY:<br />
FORMER ALLIANCE EXECS FORM RED SKY ENTERTAINMENT<br />
The newest Canadian film distribution company, Red Sky Entertainment,<br />
is doing things a little differently from the established companies. For one,<br />
it's based in Vancouver, instead of Montreal or Toronto, where the bulk of<br />
Canada's film distributors reside. It's also going to specialize in Western<br />
Canadian and British Columbia filmmakers and television producers. But<br />
that doesn't mean the rest of Canada will be neglected, says Anna Maria<br />
Muccilli, vice president of publicity and promotion. "The focus [will be on<br />
Western Canada] but we're also going to be involved with films from other<br />
parts of Canada, if we find something we like."<br />
Muccilli is one of four longtime Alliance Releasing senior executives who<br />
left the Toronto-based company to move to Vancouver to set up the twomonth-old<br />
Red Sky Entertainment. The others are Tony Cianciotta, Red<br />
Sky's president; Dave Forget, vice president of sales; and Mary-Pat Gleeson,<br />
vice president of marketing. "It's very exciting," says Muccilli about the new<br />
venture.<br />
Red Sky has already inked a deal to distribute films from Equinox Entertainment<br />
(the name Quebec-based company France Film goes by as a<br />
distributor in English-speaking Canada). Eight to 12 Equinox films are<br />
expected to be released in the next two to three years. Titles already<br />
announced are "La comtesse de Baton Rouge" by Quebec filmmaker Andre<br />
Forcier and Paul Chart's "American Perfekt."<br />
SILVER SCREENS<br />
Famous Players recently unveiled its newest multiplex, the 10-<br />
screen Famous Players SilverCity, located in Mississauga, Ontario.<br />
(Mississauga, along with East York, North York, Scarborough and<br />
Etobicoke, are now part of the new Megacity of Toronto, per a new<br />
government determination consolidating the former boroughs with<br />
the metropolis). SilverCity boasts 2,988 seats, cost C$4.5 million<br />
(US$3 million) and will create 1 50 full- and part-time jobs. It' s one<br />
of the latest multiplex builds from Famous Players, whose sixmonth-old<br />
Coliseum is currently the top grossing theatre in Canada.<br />
By the end of 1997, five other SilverCity complexes were<br />
opened in Canada, in the provinces of Ontario and British<br />
Columbia.<br />
Other recent builds such as a six-screen in Fhnnce George, B.C.,<br />
brought Famous to 555 screens in 108 locations by the end of 1997,<br />
part of the 77-year-old company's largest expansion in its history.<br />
"We're really gratified with the response of the public," says<br />
Dennis Kucherawy, director of corporate public relations for Famous<br />
Players. "The [opening of the] SilverCity Mississauga was<br />
an enormous success."<br />
Kucherawy points out that the expected cannibalization of audiences<br />
by the two Famous Mississauga complexes, the SilverCity<br />
and the Coliseum, never occurred. "Alien Resurrection" at the<br />
Coliseum was the highest-grossing film in the greater Toronto area<br />
its first weekend, but the same film was the fourth-highest grosser<br />
for the same region at the SilverCity multiplex. "People are responding<br />
to the types of theatres that we're building and audiences<br />
are growing," Kucherawy observes. Late-night screenings are another<br />
new wrinkle that were not expected to take off in the suburbs<br />
but are drawing the customers in, he adds.<br />
Among the major Famous Players houses set to open in 1 998 are<br />
The Empress Walk in North York, Ontario ( 1 screens, 3,000 seats)<br />
opening this spring, and two multiplexes slated for the fall: the<br />
spaceship-shaped Colossus in Vaughn, Ontario (18 screens, 4,800<br />
seats) and the York-Eglinton Centre in midtown Toronto (nine<br />
screens, 2,800 seats).<br />
CINEPLEXING<br />
Canada's leading chain, Cineplex Odeon, is<br />
not idle, either. It's added six screens to its<br />
downtown Toronto Varsity two-plex, opened<br />
the Ajax 10 Cinemas in Ajax, Ontario, the 11-<br />
screen 401 & Momingside Cinemas in Scarborough,<br />
Ontario, and has recently announced a<br />
new state-of-the-art 10-plex in Barrie, Ontario.<br />
"Cineplex" s expansion plans are on par with<br />
those of Famous Players," says Howard Lichtman,<br />
Cineplex' s executive VP of marketing,<br />
pointing out that by the end of 1997, Cineplex<br />
reached a total of 1728 screens in 321 locations<br />
in North America. Lichtman attributes the building<br />
boom to a "rejuvenation of the theatres." But<br />
is there enough of an audience for so many new<br />
cinemas? "Hopefully with the theatres that<br />
we're building, the audience will go up," he says.<br />
THE ART OF THE DEAL<br />
Toronto's repertory and art-house scene is also<br />
expanding, with Leonard Schein, owner of<br />
Vancouver's Fifth Avenue Cinemas, sub-leasing<br />
two Famous Players houses in Toronto—the four<br />
screen downtown Cumberland and the two-screen<br />
west end Runnymede— in which he'll be showcasing<br />
art-house and foreign language product.<br />
In effect, Schein has ensured that art-house films will run yearround<br />
instead of being squeezed out during the Christmas and<br />
summer rushes. The Vancouver-based Schein, who also operates<br />
two single houses. The Park and The Varsity, in addition to the<br />
Fifth Avenue five-plex in that city, is enthusiastic about penetrating<br />
the Toronto market. "Toronto has always been a good market for<br />
art-house and festival type films," he notes. As with Fifth Avenue,<br />
patrons will be able to save C$2 (US$1.34) off the cost of a first<br />
run ticket if they take out a C$12 (US$8.04) annual membership,<br />
which also entitles the bearer to discounts on concession items.<br />
Smdents will be given C$1 (US$0.67) off ticket prices. Cappuccino<br />
machines will be installed in both theatres.<br />
Schein won't be using the Festival Cinemas company name, as<br />
he does in Vancouver, as that would create confusion with the<br />
already existing Festival Cinemas repertory chain in Toronto,<br />
which is headed by Tom Litvinskas. To be known as Lumiere<br />
Cinemas, Shein ' s theatres did not have their debut slates confirmed<br />
at press time, though the restored National Film Board Canadian<br />
classic "Mon Oncle Antoine" and the Australian thriller "Kiss or<br />
Kill" will be reportedly be among the op)eners.<br />
Meanwhile, Litvinskas' Festival Cinemas, which currently operates<br />
five rep houses in Toronto and the Capitol theatre, is adding<br />
two more theatres. The Royal and The Music Hall. With another<br />
rep house, the refurbished Roxy, also scheduled to open in Toronto,<br />
the city is undergoing a major jump in second run options.<br />
Litvinskas doesn't think it's a risk to go with more single screen<br />
houses. "We offer big comfortable seats, low admission and we<br />
only show good movies," he says.<br />
DO YOU HAVE AN EXHIBITION-RELATED NEWS<br />
ITEM ABOUT THE CANADIAN MARKET?<br />
CONTACT SHLOMO SCHWARTZBERG IN CARE OF<br />
OUR CANADIAN NEWS BUREAU AT: 416-638-6402,<br />
» OR FAX: 416-324-8668<br />
February, 1998 47
48 BoxomcE<br />
INTERNATIONAL NEWS BRIEFS<br />
EUROVIEWS<br />
European News Notes by Kim Williamson<br />
LEAD STORY: MEGA MERGER<br />
BRUSSELS—Following a November ruling by Belgium's Competition Commission<br />
that the move was not anti-competitive, the Kinepolis companies—high-profile<br />
Belgian megaplex operators the Bert Group ana the Claeys Group, wnich<br />
together account for half the country's annual boxoffice—on Dec. 5 formally<br />
merged into one as Kinepolis Group Holding. The Bert and Claeys families, which<br />
are related not only monetarily but by marriage, plan to take the formalized<br />
Kinepolis operation public in the near future to help fund expansion plans, and its<br />
new corporate profile should prove more investor-friendly. Primarily through joint<br />
ventures, the 1 33-screen Kinepolis is involved in theatre builds in nearby France,<br />
Holland and Luxembourg and in such further climes as Spain, Hungary and India.<br />
DUTCH TREAT<br />
AMSTERDAM—With Minerva Theaters owner Jo van Willigen<br />
retiring. Polygram Filmed Entertainment Germany managing<br />
director Haig Balian and financial consultant Jan Willem Verhoef<br />
have acquired the 38-screen circuit, which is Holland's third largest<br />
and is known for its low-key strategy of upgrading aging sites and<br />
for building smaller plexes in medium-sized cities Uke Amhem.<br />
capita annually, that could change. The<br />
81 -screen Finnkino circuit has announced<br />
it plans to build a 10-plex in<br />
college town Tampere by spring 1999<br />
and to open a 14-plex in downtown<br />
Helsinki later this year, and Sandrews<br />
Metronome also is targeting the capital,<br />
with a lO-screener planned for 1998.<br />
CRACKING A SMILE<br />
OSLO—Timo Lahtinen, an eightyear<br />
veteran of Nordisk Film, where he<br />
was chief buyer for the Danish colossus,<br />
plans to bow Smile Entertainment in March. To be involved in<br />
distribution and consulting, the pan-Scandinavian operation will<br />
concentrate on importing international fare. Smile enters a marketplace<br />
that's a little moody: Formerly affiliated with SF Norge,<br />
Columbia TriStar Intl. this month launches its new venture with<br />
Danish giant the Egmont Group (which acquired Nordisk in 1 992),<br />
with ex-SF Norge director Bjom Hoenvoll at the head.<br />
AUSTRIA HUNGRY NO MORE<br />
VIENNA—Austrian filmmakers could find financing easier to<br />
come by this year, with the Austrian Film Institute forecasting a<br />
$10 million rise in funding, representing a 20 percent increase. The<br />
Vienna Film Financing Fund, the country s other government<br />
source for production financing, will provide another $4 million for<br />
filmmakers siting their projects in the capital during 1998.<br />
GIVING THE DIZ THE ROOT<br />
ROME—The fall cinema season was sluggish in Italy, which<br />
saw only "The Fifth Element" (US$2.5 million opening weekend,<br />
$7.7 million after three weeks) and local hit "Fireworks" (a phenomenal<br />
$9.2 million opening, $26.6 million after five weeks)<br />
strike gold. Moderate interest in such Hollywood fare as "Face/Off<br />
and "The Lost World" led to a 21 percent, or $12.5 million, boxoffice<br />
drop nationwide for the season's first two months.<br />
Money was also slow elsewhere: The Halloween deadhne passed<br />
without most private investors fmaUzing their participation in the<br />
newly formed Cinecitta Servizi, which will manage the partially<br />
privatized studio faciUty in Rome. Only Vittorio Ceccni Gori' s Cecchi<br />
Gori Group, Aurelio De Laurentiis' Filmauro and state film group Ente<br />
Cinema came in; among the holdouts were Silvio Berlusconi's<br />
Mediaset and England's Rank. Ente CEO/Cinecitta president Luigi<br />
Abete said he would seek replacement investors to provide the remainder<br />
of the $ 1 5 million in capitalization slated to be in place by June 30.<br />
Meanwhile, even as Berlu.sconi's Medusa Films (the production,<br />
distribution and exhibition unit of his Fininvest) said it planned to<br />
go public on the Milan exchange, Berlu.sconi and Medusa president<br />
Carlo Bema,sconi were found guilty of fraud in connection with the<br />
1 989 acquisition of Medusa predecessor Medusa Cinematographica.<br />
Both men's 16-month prison terms, however, were canceled.<br />
A FINE FINNISH<br />
HELSINKI—Finland's exhibition industry saw a 9.6 increase<br />
in admissions during 1997's first three quarters, according to the<br />
local Cinema Owners Association. At 350,000 tickets. Polygram's<br />
"Bean" by itself could be said to account for the rise to 4. 1 million<br />
heads, versus 3.8 million during the same period in 1 996. Although<br />
Finland is an industry laggard, averaging just 1.1 admissions per<br />
WHEREVER YUGO<br />
BELGRADE—^The operator of Moscow's high-profile Kodak<br />
Kinomir theatre. Golden Ring Entertainment, and Delta Holding, a<br />
real estate and banking concern operating in Belgrade, are planning<br />
Yugoslavia's first multiplex. Slated for midsummer 1998, the four- to<br />
six-screener (925 to 1 ,000 .seats) would convert an existing building at<br />
a cost of $2 million to $2.5 million. The 50/50 joint venture calls for<br />
GRE to operate the theatre and Delta to handle site concerns.<br />
TWIN BILL<br />
PRAGUE—London-based Toucan Entertainment has bought 49<br />
percent of the Galaxie multiplex, which was developed by<br />
CzechySlovak concern Kino 2005 and which has become a dominant<br />
boxoffice player in Prague, averaging 30 percent of the city's ticket<br />
receipts. An American company run by Robert Hemphill and Linda<br />
Powers, who've built energy projects in Eastern Europe, Toucan<br />
plans to spend $80 miUion on up to a dozen multiplex projects. Also<br />
in Prague: AB Barrandov has lost another leader. Like his predecessor,<br />
Vaclav Marhoul, whose induced exit won unpopular response<br />
last spring, general manager Pavel Prerovsky has left. Barrandov<br />
Studio chief Radomir Docekal is expected to run both operations.<br />
EUROBRIEFS...<br />
U.K. OK: Northwest London's revitalized<br />
Elstree Studios is<br />
adding two 15,000-square-foot soundstages to the three-stage facility,<br />
with the $6.5 million-$8.5 million expansion underway and<br />
set for October completion.. .CAPS ON: The film/TV think tank<br />
formed by European Union culture czar Marcelino Oreja will meet<br />
five times before submitting its policy recommendations in September<br />
to the European Commission.. ."BEOWULF'S" BACK:<br />
Literature students perhaps too familiar with the Old English classic<br />
take heed: A Threshold production, to be distributed by Capitol<br />
Films and Kushner-Locke, just filmed in Romania and at a Transylvanian<br />
castle. The futuristic version stars Christopher Lambert;<br />
Larry Kassanoff produces...A STAR IS BORN: The award statue<br />
of the European Film Academy has been redesigned as a woman<br />
in a dress decorated with the stars of Europe. Formerly called the<br />
Felix and depicting a man holding a bird, the remake was unveiled<br />
at the Berlin-based group's 10th annual ceremony in December.
1<br />
INTERNATIONAL NEWS BRIEFS<br />
PACIFIC OVERTURES<br />
NOTES FROM THE PACIFIC RIM by Lisa Osborne<br />
EXHIBITION, HEAL THYSELF<br />
SYDNEY—Early reports on an Australian Competition and Consumer<br />
Commission paper, slated to be released in early 1 998, indicate<br />
that the group is considering the establishment of a self-governing<br />
committee that would implement a code of conduct. Code elements<br />
would include requiring distributors to supply all exhibitors with all<br />
new films, unless the release is hmited or print economics would<br />
suffer; guaranteeing new sites opening in competitive situations to<br />
have access to releases for their first year of operation; and forming<br />
a group to reconcile disputes. Whether such a code would be enough<br />
to silence indie operators' complaints remains to be seen; Village<br />
Roadshow, Greater Union and Hoyts control three-fourths of<br />
Australia's exhibition business, and distributors Roadshow Film and<br />
United International Pictures supply 60 percent of all films.<br />
WARNER: ON THE ROAD TO OZ<br />
SYDNEY—Roadshow's distribution market share could be set to<br />
increase, thanks to a major co-financing deal Village Roadshow<br />
Pictures signed with Warner Bros., whose films Roadshow has<br />
handled for a quarter-century. Terms call for a five-year production<br />
and distribution partnership involving a minimum of 20 films (four<br />
to six annually); Warner will have world rights, and Roadshow will<br />
control Down Under territories. Bruce Berman, former head of<br />
theatrical production for Warner, has been named chairman and CEO<br />
of Roadshow Pictures. Product supply will come from the studio's<br />
development slate, including Berman's Plan B producing shingle at<br />
Warner, and from such Village Roadshow efforts as its joint venture<br />
with Dustin Hoffman's Punch Prods. Much will be expected of the<br />
deal, as it essentially replaces Warner's long-successful but now<br />
severed connection with Amon Milchan's New Regency.<br />
PACIFIC BRIEFS<br />
The Australian Film Commission and Channel 4 have signed a<br />
first-look pact, under which the U.K. concern will have all rights,<br />
including theatrical, for five films budgeted at AUS$1 million<br />
(US$725,000). Projects include the Neil Mansfield-scripted comedy<br />
"Fresh Air" and the Matt Carroll-produced "Passion," a biopic about<br />
Australian composer/pianist Percy Grainger.. .At the recent Screen<br />
Producers of Australia Association gathering, federal communications<br />
and arts minister Richard Alston told documentary producers<br />
that not only would the government shelve plans to sell Film Australia,<br />
which for a half-century has been making nonfiction films,<br />
but that it would continue its AUS$6.4 million ($4.7 million) annual<br />
funding and add a Melbourne branch... Australia's Beyond Films has<br />
gone beyond its borders to America to film "SLC Punk!" The<br />
production of Jan De Bont's Blue Tulip Prods, and Michael Peyser's<br />
Straight Edge shingle stars German sensation Til Schweiger and<br />
stateside teenybop fave Devon Sawa; Beyond head Gary Hamilton<br />
hopes to make more films in the U.S. ...Locally honored Hong Kong<br />
filmmaker Peter Chan ("He's a Man, She's a Woman," "Comrades:<br />
Almost a Love Story") is joining his many compatriots making the<br />
move to Hollywood. Chan will helm Universal's "Susie and<br />
Hercules," a romantic comedy being produced by Jerry Zucker...<br />
Despite the region's financial downturn and after a disastrous 1996,<br />
Japanese movie theatre attendance in 1997 broke 150 million, the<br />
decade's highest tally. Multiplex openings that grew screenage to-<br />
WL<br />
ward 2,000 and release successes from both sides of the Pacific (e.g.,<br />
"Mononoke Hime," "The Lost World: Jurassic Park") were key<br />
factors. ..The Walt Disney Co. has licensed Oriental Land Co.,<br />
which owns and runs the highly successful Tokyo Disneyland, to<br />
build the $2.6 billion Tokyo DisneySea, an ocean theme park.<br />
Q&A.<br />
Hoyts<br />
HOYTS: DOUBLE<br />
VISION IN SYDNEY<br />
Cinemas Ltd. plans to build two new movie<br />
theatres in Sydney, Australia, in the next 18 months.<br />
One theatre is destined for the Fox Studios site and the<br />
other for the Broadway area. Linda Sweeney, Hoyts' public affairs<br />
manager in Sydney, discusses the projects with BOXOFFICE.<br />
BOXOFFICE: Why did you choose the Fox Studios site?<br />
LINDA SWEENEY: It's unique. It will be the only site in Australia<br />
where people can come along within the confines ofa movie studio<br />
and experience the atmosphere of where they actually make the<br />
movies and also go to a cinema to watch a movie.<br />
BOXOFFICE: When will the theatre open?<br />
SWEENEY: Mid '99.<br />
BOXOFFICE: How much will it cost?<br />
SWEENEY: About AUSSl 5 million [US$1 1 millionl.<br />
BOXOFFICE: And it's a 16-screen theatre...<br />
SWEENEY: That's right. Twelve will be dedicated to mainstream<br />
movie product and four will be a separate art-house complex.<br />
BOXOFFICE: What equipment will you be using?<br />
SWEENEY: It will be stadium seating. All the screens will be<br />
"super screens" that cover wall to wall and floor to ceiling. It will<br />
be all digital surround sound via Panastereo, and we'll be using<br />
the fully imported triple-platter Christie projectors.<br />
BOXOFFICE: Could you describe the complex?<br />
SWEENEY: There will be about 4,000 seats throughout the<br />
entire complex, and the cinema sizes will range from 200 to 500<br />
seats. There will also be two 40-seat 'theatrettes' for private<br />
screenings. It's a very prestigious site, very well located for the<br />
public in terms of transportation. There isn't a train link but<br />
there's lots of parking, lots of bus transportation. It's a very<br />
beautiful site, surrounded by lots of green grass and old established<br />
trees. It will be very lavish, very elegant, very dramatic,<br />
embracing all the classic Hollywood that Fox brines to the site.<br />
BOXOFFICE: What is Hoyts' Broadway theatre like?<br />
SWEENEY: This is also a unique site, inasmuch as it takes in<br />
not only an inner-city suburb but also the 1 metropolitan] central<br />
business district. There will be 1 2 screens, and five of those will<br />
be dedicated at this stage to art-house fare because of the<br />
theatre's location. The inner-city suburb that it's located very<br />
close to is a very arty community. It will be a very prestigious site<br />
with the latest technology, latest cinema presentation—full stadium<br />
seating, our exclusive wide-body, high-back seats, total<br />
digital surround sound and "super screens." It will have about<br />
3,200 seats and will open at the end of 1 998.<br />
BOXOFFICE: What is the average ticket price in Australia?<br />
SWEENEY: They range between AUS$7 [USSS] and AUS$1<br />
[US$8], depending on the time of day. The premium Saturday<br />
evening ticket is AUS$11. We also have a half-price day. So<br />
there's a whole range of pricing.<br />
DO YOU HAVE AN EXHIBITION<br />
NEWS ITEM CONCERNING<br />
THE ASIA-PACIFIC MARKET?<br />
E-MAIL LISA OSBORNE AT<br />
boxoffice@earthlink.net<br />
February, 1998 49
50 (R-8) BoxoFFiCE<br />
—<br />
. R-1<br />
45<br />
1<br />
••••• OUTSTANDING<br />
•••* VERY GOOD<br />
••• GOOD<br />
*• FAIR<br />
• POOR<br />
(no stars) BOMB<br />
REVIEWS<br />
February 1998<br />
DAY AND DATE: FEB. 6 (wide)<br />
ZERO EFFECT ••••<br />
Starring Bill Pullman, Ben<br />
Stiller Ryan O'Neal and Kim<br />
Dickens. Written and directed by<br />
Jake Kasdan. Produced by Lisa<br />
Henson and Janet Yang. A Columbia<br />
release. Rated Rfor language.<br />
Running time: 151 min.<br />
This sharp, original, unflaggingly hilarious<br />
debut from 22-year-old<br />
ZP:R0,MYHER0: lim Stilkr and liiil I'ullman in<br />
writer/directorjake Kasdan (son of Lawrence)<br />
is an incredible comic showcase<br />
for both Bill Pullman, as the highly eccentric<br />
and dysfunctional but brifliant defective<br />
Daryl Zero, and Ben Stiller, who<br />
plays Steve Arlo, Zero's beleaguered<br />
assistant. Because Zero is a paranoid<br />
recluse. Arlo must front all business dealings.<br />
Usually Zero, with his savant-like<br />
photographic memory and elaborate<br />
computer research system, can<br />
solve most cases without setting foot<br />
outside his vault of an apartment. So<br />
Arlo is understandably surprised<br />
when Zero agrees to fly to Oregon<br />
to investigate the case of a timber<br />
tycoon (Ryan O'Neal) who's being<br />
blackmailed.<br />
With deductive abilities and an encyclopedic<br />
knowledge<br />
of Sherlock<br />
Holmes caliber.<br />
Zero is quickly<br />
able to uncover<br />
an abundance of<br />
information and<br />
-Zero Effect.<br />
clues— in fact,<br />
more than his notso-ciean-handed<br />
clientwished. Pullman<br />
is wonderfully<br />
subtle in<br />
exposing each<br />
new twist and turn<br />
with relish and<br />
aplomb. There's a<br />
method to his<br />
madness, and<br />
watching it unfold<br />
is a delight. And<br />
Stiller, the archetype<br />
of exasperation,<br />
is fantastic as the intelligent, sarcastic,<br />
perennially put-upon righthand<br />
man who's simultaneously<br />
frustrated with and in awe of his mysterious<br />
mentor.<br />
The wryly intelligent, creative script<br />
serves the story, the characters and<br />
the actors well, never disappointing in<br />
ingenuity or opportunities tor uncanny<br />
comic timing. Christine James<br />
REVIEWS<br />
Afterglow R-1<br />
Alien Resurrection R-1<br />
Amistad R-1<br />
The Apostle R-1 3<br />
As Good As It Gets R-12<br />
The Boxer R-10<br />
Chinese Box R-10<br />
Dangerous Beauty R-10<br />
The Education of Little Tree R-1<br />
Flubber R-1<br />
For Richer or Poorer R-1<br />
The Gingerbread Man R-10<br />
Home Alone 3 R-14<br />
Jackie Brown R-1 1<br />
John Grisham's The Rainmaker . 5<br />
Kundun R-12<br />
Midnight in the Garden<br />
of Good and Evil R-15<br />
Mortal Kombat Annihilation R-15<br />
MouseHunt R-12<br />
Mrs. Dalloway R-10<br />
Oscar and Lucinda R-1<br />
Scream 2 R-14<br />
Tomorrow Never Dies R-1 3<br />
Wag the Dog R-10<br />
Will it Snow for Christmas? R-1 3<br />
FEST REVIEWS: TELLURIDE<br />
Affliction R-9<br />
Lea R-9<br />
Love and Death on Long Island . . R-9<br />
Men With Guns R-9<br />
Perfect Circle R-9<br />
Simoom: A Passion in the Desert . R-9<br />
Unmade Beds R-9<br />
DAY AND DATE: 2/6<br />
Zero Effect R-8<br />
SPECIAL FORMATS<br />
The Nutcracker R-14<br />
FLASHBACK; 1 935<br />
Les Miserables R-1 1<br />
PREVIOUSLY REVIEWED<br />
Coming films already reviewed ... R-12<br />
REVIEW DIGEST<br />
Our monthly release overview ... R-15<br />
Hit our website each<br />
^riday for the latest in<br />
tirstursfOJii<br />
p!//www.<br />
boxoffice.com
— —<br />
—<br />
—<br />
February. 1998 (11-9) 51<br />
TELLURIDE REVIEWS<br />
AFFLICTION<br />
•••1/2<br />
Starring Nick Nolle, Sissy Spacek,<br />
James Coburn and Willem Dafoe. Directed<br />
and written by Paul Schrader. Produced<br />
by Linda Reisman. Drama. A Largo<br />
release. Rated R for violence and language.<br />
Running Time: 114 min.<br />
"Affliction" is writer/director Paul<br />
Schrader' s engrossing adaptation of the<br />
novel by Russell Banks ("The Sweet Hereafter").<br />
Wade Whitehouse (Nick Nolte) is<br />
the sole policeman in a small economicallydepressed<br />
town in New Hampshire. He is<br />
reduced to being a school crossing guard<br />
and doing odd jobs for a rich businessman.<br />
The emptiness of Wade's life is reflected in<br />
the film's desolate and snowy landscapes.<br />
When a man is killed while hunting.<br />
Wade believes the man was murdered. Like<br />
Sylvester Stallone's character in "Cop-<br />
Land," Wade hopes that solving the murder<br />
will redeem his wasted life.<br />
Nolte, in peak form in one of the best<br />
performances of his career, is supported by a<br />
top cast. Schrader' s screenplay creates a complex<br />
web of relationships, and his direction<br />
maintains an acute tension as Wade struggles<br />
to prevent his resentment at life from<br />
exploding into the family cycle of violence.<br />
"Affliction" is a gripping story that puts a new<br />
spin on familiar Schrader themes of mascuhnity,<br />
fate and retribution. Ed Scheid<br />
MEN WITH GUNS ^^^1/2<br />
Starring Frederico Luppi. Directed and<br />
written by John Sayles. Produced by R. Paul<br />
Miller and Maggie RenzL A Sony Classics<br />
release. Drama. Spanish-language/dialects;<br />
subtitled. Rated R for language and some<br />
violent images. Running time: 128 min.<br />
Like "Lone Star" and "City of Hope,"<br />
writer/director John Sayles' latest film uses a<br />
variety of characters to explore different sides<br />
of a conflict. "Men with Guns" takes place in<br />
the violent disorder of Central Amenca Dr.<br />
Fuentes (Frederico Luppi, "Cronos") is nearing<br />
retirement from a comfortable practice in<br />
the city. He considers his greatest "legacy" to<br />
be the students he trained to be doctors in the<br />
remote and poor areas of his country. He is<br />
naive about the reality of the poUtical situation<br />
in his country and unaware of the danger into<br />
which he has sent his students. He has not<br />
heard from them so he decides to visit them.<br />
Instead of his soidents, he finds poverty, brutality<br />
and death. People are being murdered<br />
by "men with guns," both the military and<br />
guerrillas. Fuentes is joined on his journey by<br />
an abandoned boy (Dan Rivera Gonzalez), an<br />
army deserter (Damian Delgado), a priest<br />
(Damian Alcazar) trying to run away from his<br />
past, and a woman (Tania Cruz) who has not<br />
spoken since she was raped three years before.<br />
Luppi and the supporting cast give very<br />
affecting performances. After some repetitious<br />
sequences at the beginning of the<br />
doctor's trip, the film builds to some extremely<br />
moving scenes showing the destruction<br />
of the native people from all sides.<br />
In the characters the doctor meets along the<br />
way, Sayles' screenplay effectively shows the<br />
range of people affected by the violent turmoil<br />
in Latin America. Ed Scheid<br />
LOVE AND DEATH ON LONG<br />
ISLAND •^^<br />
Starring John Hurt and Jason Priestly.<br />
Directed and written by Richard Kwietniowski.<br />
Produced by Steve Clark-Hall<br />
and Christopher Zimmer. A CFP release.<br />
Comedy. Rated PG-13for briefstrong language,<br />
thematic elements and some sexual<br />
content. Running time: 91 min.<br />
Giles Death (John Hurt) is a stuffy British<br />
writer who thinks he's going to the latest<br />
screen adaptation of E. M. Forster, but enters<br />
the wrong theater, which is showing the<br />
American teenage comedy "Hot Pants College<br />
II." Horrified, he gets up to leave, but<br />
is transfixed when he sees the face of one<br />
of the actors, Ronnie (Jason Priestly). He<br />
stays for the rest of the movie and becomes<br />
infatuated with the young actor. He begins<br />
keeping a scrapbook from teen magazines<br />
on Ronnie, and rents any and all videos<br />
featuring the actor, the clips from which are<br />
enjoyably overdone. When Giles seeks<br />
Ronnie out in Long Island, his quest has<br />
unexpected consequences for both men.<br />
It's a tribute to Hurt's immense acting<br />
talent that he can make Giles both sympathetic<br />
and ridiculous. Priestly is also enjoyable<br />
as he amusingly spoofs his own teen<br />
idol image. — Ed Scheid<br />
LEA **••<br />
Starring Lenka Vlasakova, Christian<br />
Redl and Hanna Schygulla. Directed and<br />
written by Ivan Fila. Produced by Ivan<br />
Fila and Herbert Rimbach. Drama.<br />
Slovak and German-language; subtitled.<br />
No distributor set. Running time: 100 min.<br />
A remarkable first feature from writer/director<br />
Ivan Fila, "Lea" is about a young<br />
woman (Lenka Vlasakova) in rural<br />
Slovakia who stopped speaking when she<br />
was a young girl, when her mother was<br />
killed by her abusive father. A further demonstration<br />
of her trauma is the daily letters<br />
and poems she writes to her dead mother.<br />
Lea is purchased for an arranged marriage<br />
by Herbert (Christian Redl), a much older<br />
man, because she resembles his dead wife.<br />
Her new husband has some disturbing simi<br />
larities to her father, causing Lea to become<br />
even more withdrawn. But after a woman<br />
(Hanna Schygulla) translates some of Lea's<br />
writings for Herbert, their relationship begins<br />
to change. The two leads give performances<br />
showing a wide range of emotions.<br />
Vlasakova is exceptional, especially when<br />
Lea struggles to force words through her<br />
long-silent mouth. Ed Scheid<br />
PERFECT CIRCLE iriri^ir<br />
Starring Mustafa Nadarevic. Directed<br />
by Ademir Kenovic. Written by Ademir<br />
Kenovic, Abdulah Sidran and Pjer Zalica.<br />
Produced by Sylvain Bursztejn, Dana<br />
Rotberg and Peter van Vogelpoel. Drama.<br />
Serbo-Croatian-language; subtitled. No<br />
distributor set. Running time: 109 min.<br />
"Perfect Circle" was shot in Sarajevo<br />
during the Bosnian war, giving the film an<br />
extremely powerful realism in its depiction<br />
of the details of life in the ravaged city.<br />
Hamza (Mustafa Nadarevic) remains in<br />
Sarajevo after his wife and daughter have<br />
left. He finds two orphaned boys and takes<br />
care of them, calling them "my new family."<br />
Naderic and the two young actors create<br />
touching characterizations through their<br />
natural performances. Director Kenovic has<br />
shot several highly suspenseful scenes as<br />
the characters dodge sniper bullets and risk<br />
death from outside bombardments. "Perfect<br />
Circle" is a memorable film about the struggle<br />
to survive amid constant danger. Ed Scheid<br />
SIMOOM: A PASSION IN THE<br />
DESERT iKi^ir<br />
Starring Ben Daniels. Directed by Lavinia<br />
Currier. Written by Lavinia Currier<br />
and Martin Edmunds. Produced by Lavinia<br />
Currier. A Fine Line release. Drama.<br />
Not yet rated. Running Time: 92 min.<br />
Set in Egypt in 1798, this screenplay<br />
(co-written by director/producer Lavinia<br />
Currier) is based on a novella by Honore de<br />
Balzac and tells the story of a unique relationship.<br />
Augustin Robert (Ben Daniels,<br />
"Beautiful Thing"), a captain in Napoleon's<br />
Egyptian campaign, is separated from his<br />
regiment by a sandstorm, and finds himself<br />
alone in the desert. In the darkness of a cave,<br />
Augustin sees a pair of eyes and is horrified<br />
to reaUze they belong to a leopard—who later<br />
leads him to water and shares her kill. Soon,<br />
Augustin and the leopard become close<br />
companions. Daniels brings a strong physicality<br />
to his part as Augustin, as he begins<br />
to adapt his posture and movements to that<br />
of the leopard, which he has named Simoom<br />
("breath of the desert"). Daniels also<br />
conveys the soldier's growing emotional<br />
attachment to the leopard. The simple plot<br />
sustains interest as the unusual relationship<br />
takes some surprising turns. Ed Scheid<br />
UNMADE BEDS iririrV2<br />
Starring Brenda Monte, Michael De<br />
Stefano and Aimee Copp. Directed and<br />
written by Nicholas Barker. Produced by<br />
Steve Wax. Comedy. No distributor set.<br />
Not yet rated. Running time: 97 min.<br />
Writer/director Nicholas Barker prepared<br />
for his bigscreen directorial debut by<br />
viewing videotaped interviews of several<br />
New York City singles. Barker chose four<br />
leads from the tapes and based his script on<br />
their comments and unfolding events in<br />
their lives, blurring documentary and fiction<br />
into an entertaining hybrid. Brenda<br />
(Brenda Monte) is looking for a rich man to<br />
her mounting debts. Michael (Michael<br />
Eay<br />
•e Stefano), short and 40, desperately<br />
wants to get married. Aimee (Aimee Copp) is<br />
28, overweight and has just been "dumf)ed by<br />
a submissive." At 54, Mikey (Michael<br />
Russo) has lost his touch with women. The<br />
four "characters" talk to friends and directly<br />
to the camera about their experiences being<br />
single. Their candid comments are often<br />
quite funny. Michael and Aimee are unex-<br />
Cectedly poignant as the two people ever<br />
opeful of eventually finding a mate.<br />
Brenda is hilarious—her cynical wit reveals<br />
her to be the ultimate survivor. Ed Scheid
——<br />
—<br />
—<br />
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MRS. DALLOWAY ^•^<br />
Starring Vanessa Redgrave. Directed by<br />
Marleen Gorris. Written by Eileen Atkins.<br />
Produced by Lisa Katselas Pare and Stephen<br />
Bayly. A First Look release. Drama.<br />
Rated PG-13 for emotional elements and<br />
brief nudity. Running time: 97 min.<br />
After the strident sentimentality and<br />
warmed-over feminism of her Oscar-winning<br />
film "Antonia's Line," director<br />
Marleen Gorris turns to the richer and more<br />
sublime work of Virginia Woolf in this<br />
inconsistent yet ultimately satisfying adaptation<br />
of her 1925 novel, Mrs. Dalloway."<br />
The story is set in 1923, with Clarissa<br />
Dalloway (Vanessa Redgrave, in a luminous<br />
performance) throwing a party in her<br />
elegant London home. She's married to<br />
Richard Dalloway (John Standing), a rather<br />
stodgy member of Parliament who gave her<br />
the stability she craved. But she was once<br />
in love with Peter Walsh, a man whose<br />
passion was so strong for her that it frightened<br />
her away. By usmg flashbacks, Gorris<br />
illustrates how, and why, the younger Clarissa<br />
("The Devil's Own's" Natascha<br />
McElhone) made those decisions.<br />
The incessant flashbacks give the film an<br />
erratic tone, but in the final party sequence<br />
the movie truly comes together. Kevin<br />
Courrier<br />
CHINESE BOX ••<br />
Gong Li and<br />
Starring Jeremy Irons,<br />
Maggie Cheung. Directed by Wayne<br />
Wang. Written by Jean-Claude Carriere<br />
and Larry Gross. Produced by Lydia Dean<br />
Pitcher and Jean-Louis Piel. A Trimark<br />
release. Drama. Running time: 110 min.<br />
The first major film to be based on the<br />
British handover of Hong Kong to the Chinese<br />
squanders its political capital and offers<br />
up a tepid love story in its place. At the<br />
center of a triangle of sorts are John (Jeremy<br />
Irons), a jaded British photojoumalist who<br />
has been in love with society butterfly Vivian<br />
("Temptress Moon's" Gong Li) for<br />
years. She's never reciprocated, but he<br />
keeps hoping she will. Meanwhile, as the<br />
deadline for the changeover looms large, he<br />
becomes obsessed with a scarred street vendor<br />
("Irma Vep's" Maggie Cheung) and<br />
decides to film her sordidnfe story. Oh, yes,<br />
he's also been informed that he's dying and<br />
will probably live only till the political<br />
changeover in Hong Kong.<br />
That symbolic nod towards a disappearing<br />
British way of life is pretty obvious, but<br />
then this latest from Wayne Wang ("Smoke")<br />
is hardly a subtle film in any way.<br />
Irons gives a wan imitation of the similar<br />
and more successful part he played in<br />
"Stealing Beauty." The beautiful Gong Li<br />
is handicapped by having to perform in<br />
English; her customary fire and passion are<br />
missing here. Cheung, too, is wasted in the<br />
film. Only in the performance of Ruben<br />
Blades, who's a hoot as a cynical photographer<br />
given to strumming sad, misogynistic<br />
ballads about love on his guitar,<br />
does one get a glimpse of the lively movie<br />
"Chinese Box" could have been. Shlomo<br />
Schwartzberg<br />
SI (R-IO) BOXOFFICE<br />
REVIEWS<br />
DANGEROUS BEAUTY •^^<br />
Starring Catherine McCormack. Directed<br />
by Marshall Herskovitz. Written by<br />
Jeanine Dominy. Produced by Ed Zwick,<br />
Marhsall Herskovitz, Sarah Caplan,<br />
Arnon Milchan and Michael Nathanson.<br />
A Warner release. Drama. RatedRfor some<br />
scenes of strong sexuality, and for nudity<br />
and language. Running time: 112 min.<br />
As adapted by Jeanine Dominy from a<br />
Margaret Rosenthal novel, "Dangerous<br />
Beauty," even if set five centuries ago in a<br />
foreign land never leaves behind a 20thcentury<br />
sensibility about the unrighteous<br />
suppression of women. Because of that, the<br />
New Regency production should appeal<br />
mainly to the distaff demo.<br />
In the clarion-call lead as a Venice beauty<br />
who, made expert in the ways of bedroom<br />
sensuality, satisfies the needs of the men of<br />
the ruling class and thus becomes part of the<br />
aristocracy, McCormack is effectively sympathetic<br />
and strong, making her courtesan<br />
intelligent, almost scholarly; emotional, yet<br />
dispassionate when demanded; and fervent<br />
in her beliefs. Meanwhile, director Marshall<br />
Herskovitz does an admirable job with<br />
his other players and makes the period setting<br />
authentic without being offputting for contemporary<br />
moviegoers. Kim Williamson<br />
THE GINGERBREAD MAN irir<br />
Starring Kenneth liranagh, Embeth<br />
Davidtz and Robert Duvall. Directed by<br />
Robert Altman. Written by John Grisham.<br />
Produced by Jeremy Tanenbaum. A Polygram<br />
release. Thriller. Rated R for some<br />
sexuality, violence and language. Running<br />
time: 120 min.<br />
A successful Southern lawyer (Kenneth<br />
Branagh) takes on as a pro-bono client a<br />
white-trashy young woman (Embeth<br />
Davidtz) whose crazed-with-religion father<br />
(Robert Duvall, perfectly underplaying a<br />
character that even Boo would have offed)<br />
is tormenting her, she says. From the moment<br />
lawyer and lass meet, the audience<br />
feels it's a setup, and whatever intrigue and<br />
terror the story might have built is permanently<br />
undercut. One just waits for the<br />
strands to get tied. Or, in this case, untied;<br />
John Grisham's story (which he adapted<br />
from his own novel) has enough holes to<br />
sink a liner. Director Robert Altman—aside<br />
from his odd choice of project—does fine<br />
work, both with his camera and with his<br />
troupe. It's all for naught, though, as<br />
Grisham has the last word with an inane<br />
conclusion. Kim Williamson<br />
WAG THE DOG ••1/2<br />
Starring Dustin Hoffman and Robert De<br />
Niro. Directed by Barry I^vinson. Written<br />
by Hilary Henkin and David Mamet. Produced<br />
by Jane Rosenthal, Robert De Niro<br />
and Barry I^vinson. A New Line release.<br />
Satire. Rated Rfor language.<br />
It's official. Director Barry Levinson can<br />
now lay claim to being the very la.st person<br />
in America who still hasn't gotten over the<br />
Persian Gulf War. He's mad. Oh boy is he<br />
mad. And he's going to tell us all about it,<br />
in a zany political satire that ultimately ends<br />
up as one of this underrated director's more<br />
minor works.<br />
The set-up is promising: A Clintonesque<br />
president is accused of sexual misconduct<br />
with an underaged Campfire Girl. It's the<br />
eve of an election he'll win if the news<br />
doesn't get out, so who you gonna call?<br />
Robert De Niro, as it turns out, as a scalawag<br />
political operator expert in diverting<br />
the public's attention with fabricated crises<br />
of one sort or another. The looming scandal<br />
is a big one—so big De Niro needs outside<br />
help from an eccentric but gifted Hollywood<br />
producer (Dustin Hoffman) and a<br />
presidential aide (Anne Heche) whose ethics<br />
are as situational as his own. Their conclusion:<br />
time to manufacture a U.S. war in the<br />
Balkans, using state-of-the-art computer<br />
imaging to sway public opinion. What are<br />
meant to be hilarious complications ensue.<br />
Only they aren't hilarious enough. Both<br />
tonally and at the level of performance,<br />
"Wag the Dog" is a farce that is determinedly<br />
unwilling to be farcical; only Hoffman<br />
has the smarts and/or chutzpah to<br />
torque up his performance to a level of<br />
giddy buriesque suitable to what should<br />
have been his surroundings. Ray Greene<br />
THE BOXER •••<br />
Starring Daniel Day-Lewis, Emily Watson,<br />
Brian Cox, Ken Stott and Gerard<br />
McSorley. Directed by Jim Sheridan.<br />
Written by Jim Sheridan and Terry<br />
George. Produced by Arthur Lappin. A<br />
Universal release. Drama. Not yet rated.<br />
Running time: 112 min.<br />
As up-to-the-minute as today's newspaper<br />
headlines, "The Boxer" is a thoughtful<br />
though emotionally rather dry film about<br />
the current attempts to bring peace to Northem<br />
Ireland. Director Jim Sheridan and writing<br />
partner Terry George, who previously<br />
teamed on "In the Name of the Father,<br />
work again with Daniel Day-Lewis,<br />
fiercely believable as Danny Flynn. an ex-<br />
IRA member whose pacifism makes him a<br />
marked man to die-hard extremists among<br />
his former cohorts.<br />
As a fitting<br />
(if rather baldly presented)<br />
metaphor for the peace process, Sheridan<br />
and George have given pugilist Danny his<br />
own nonsectarian boxing club, with which<br />
he hopes to uplift Belfast youngsters while<br />
bringing Catholics and Protestants together.<br />
The club soon becomes a literal<br />
flashpoint for trouble, incurring the wrath<br />
of an IRA firebrand (Gerald McSorely ) who<br />
can't let go of the idea that only violence<br />
will bring the British to their knees.<br />
The conflict between opposing IRA<br />
points of view is vividly dramatized, without<br />
reducing either to simplistic rhetoric or<br />
caricature. "The Boxer' examines the<br />
moral dilemmas standing in the way of<br />
peace for those who have spent most of their<br />
lives fighting for independence and .socioeconomic<br />
equality. The interdependence of<br />
personal and political issues is deftly<br />
drawn, but the film is so carefully cool and<br />
measured that it lacks the fiery passion of<br />
its own characters. Joseph McBride<br />
,<br />
j
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REVIEWS<br />
OSCAR AND LUCINDA • 1/2<br />
Starring Ralph Fiennes and Cate<br />
Blanchett. Directed by Gillian Armstrong.<br />
Written by Laura Jones. Produced by<br />
Robin Dalton and Timothy White. A Fox<br />
Searchlight release. Period drama. Rated<br />
R for a scene of sexuality and for brief<br />
violence. Running time: 132 min.<br />
Oscar (Ralph Fiennes) and Lucinda<br />
(Cate Blanchett) are an odd pair brought<br />
together by their compulsive love of<br />
gambling and inability to fit into society.<br />
The couple meet on board the Leviathan<br />
as she sails from England to Australia<br />
an unlikely event considering Oscar's<br />
almost paralysing fear of the ocean. Unfortunately,<br />
this is only one aspect of the<br />
plot which seems implausible. The<br />
pair's ultimate mission to transport a<br />
glass church (in pieces) across the Australian<br />
outback in the 1 800s seems more<br />
ridiculous than romantic.<br />
The lead characters, although well<br />
acted, are not sympathetic. It's hard to<br />
resist wishing that a bolt of lightning would<br />
smite Oscar during the many prayer scenes<br />
in which he catalogs his sins. Lisa Osborne<br />
AFTERGLOW ^^<br />
Starring Nick Nolle and Julie Christie.<br />
Directed and written by Alan Rudolph.<br />
Produced by Robert Altman. A Sony Classics<br />
release. Drama. Rated Rfor sexuality<br />
andsome language. Running time: 113 min.<br />
Alan Rudolph is an acquired taste, but for<br />
certain specialized audiences it's a flavor<br />
that the likes of "Choose Me," "Trouble in<br />
Mind" and "The Modems" have made almost<br />
narcotic. Even fans of the one-time<br />
Robert Altman acolyte, however, might instead<br />
be anesthetized by his latest. "Afterglow,"<br />
though bearing fine performances<br />
by Nick Nolle and Julie Christie as a husband<br />
and wife whose marriage was long ago<br />
rent asunder by the angry departure of their<br />
daughter, just doesn't bum bright the way<br />
Rudolph works usually do. The fault appears<br />
to lie in the writing; in other films<br />
(juixotic and even cutting, Rudolph' s scripting<br />
here is too underpowered to effectively<br />
deal with the large emotions he wants to put<br />
on display. The only illumination this film<br />
brings audiences is the house lights coming<br />
up after. Kim Williamson<br />
THE EDUCATION OF LITTLE TREE<br />
•••1/2<br />
Starring James Cromwell, Tantoo Cardinal<br />
and Graham Greene. Directed and<br />
written by Richard Friedenberg. Produced<br />
by Jake Eberts. A Paramount release.<br />
Drama. Rated PG for language and thematic<br />
elements including old-fashioned<br />
discipline. Running time 117 mins.<br />
This gentle movie, sensitively acted and<br />
only occasionally heavy-handed in execution,<br />
explores the struggle of a part Cherokee<br />
orphan trying to hold on to the best of<br />
his ancestry in the face of injustice, prejudice<br />
and, at times, outright cruelty. Joseph<br />
Ashton's simple quiet charm as young Lit-<br />
FLASHBACK: April 13, 1935<br />
What BOXOFFICE said about...<br />
LES MISERABLES<br />
[On Feb. 27, Columbia brings "Les Miserables"<br />
to the screen with Liam Neeson,<br />
Uma Thurman, Geoffrey Rush and Claire<br />
Danes starring for director Billie August.<br />
Here's what BOXOFFICE said about the<br />
firstfilmic adaptation ofthe classic Victor<br />
Hugo novel.]<br />
A literary classic becomes a cinematic<br />
gem. Superb cast, excellent camera work<br />
and brilliant direction make ''Les Miserables''<br />
grand entertainment from fade-in<br />
to fade-out. The screen version follows<br />
the Victor Hugo book closely with the<br />
outstanding characters convincingly<br />
etched upon the film. Fredric March does<br />
grand work in the role of VaJjean, sent to<br />
the galleys for stealing a loaf of bread. Charles Laughton as Javert, the police<br />
inspector, saturated with justice and the law, gives one of his finest portrayals. It<br />
should draw heavily from Hugo readers and will more than satisfy those unacquainted<br />
with the works of this writer. Directed by Richard Boleslavsky. Sir<br />
Cedric Hardwicke, Rochelle Hudson, Frances Drake. John Real and Florence<br />
Eldridge co-star.<br />
SELLING ANGLES:<br />
Appeal to the vast army of Hugo readers. Tie up with book shops and literary<br />
societies. You can aim it at those who might be unfamiliar with the classic by<br />
stressing its dramatic punch and power. Mass and class will go for this in a big<br />
way. Give it a smash campaign and you'll smash a few records. Fredric March<br />
and Charles Laughton are great names for your marquee. Tell your patrons they<br />
never gave a better performance. You will be telling them the truth and they In<br />
turn will tell the neighbors.<br />
CATCHLINES:<br />
Victor Hugo's Immortal Classic Reaches the Screen With All Its Dramatic<br />
Power. Don't Miss "Les Miserables."<br />
tie Tree allows for easy empathy with his<br />
joy in his free life with his grandparents and<br />
his heartache when the authorities remove<br />
him to a state institution. Both James Cromwell<br />
as his Tennessee mountain man<br />
grandpa and Tantoo Cardinal as his Cherokee<br />
grandma create finely etched portraits filled<br />
with dignity and devoid of false sentiment,<br />
and Graham Greene has a quirky loneness<br />
as a native philosopher. Bridget Byrne<br />
JACKIE BROWN iriririr<br />
Starring Pam Grier and Samuel L.<br />
Jackson. Directed and written by Quentin<br />
Tarantino. Produced by Lawrence Bender.<br />
A Miramax release. Comedy/thriller.<br />
Rated R for strong language, some violence,<br />
drug use and sexuality. Running<br />
time: 150 minutes.<br />
"Jackie Brown" is a kick, well-executed<br />
(so to speak) and well-acted. The plot is<br />
taken straight out of a '70s TV crime show,<br />
in whose aesthetic—naugahyde, boxy sedans,<br />
seedy cocktail lounges, all set in generic<br />
Southem California—the movie is<br />
steeped. Stewardess Jackie Brown (Pam<br />
Grier) is at the center of a swirl of cops and<br />
criminals scheming to lay hands on half-amillion<br />
dollars belonging to gun dealer Ordell<br />
(Samuel L. Jackson, whose screen<br />
magnetism could suck the fillings out of the<br />
audience's teeth). What raises the story above<br />
cheesy TV standards, though, is the matrix<br />
of players, whose motivations and characters<br />
are developed by dialogue (skillfully<br />
adapted by Tarantino from Elmore Leonard's<br />
book "Rum Punch") and crafted filmmaking.<br />
Quentin Tarantino continues to build on<br />
the reputation he established with "Pulp<br />
Fiction" as a filmmaker who can go bigtime<br />
without sacrificing his pungent style.<br />
"Jackie Brown" isn't the movie-length<br />
adrenaline rush "Pulp Fiction" was, but it<br />
deepens and broadens Tarantino' s storytelling.<br />
In addition to the now-expected indelible<br />
characters (Bridget Fonda as a<br />
perpetually stoned surfer girl, Robert De<br />
Niro as a shambling convict with a slow<br />
fuse, Michael Keaton as a twitchy, boyish<br />
ATE agent), "Jackie Brown" has heart.<br />
— Melissa Morrison<br />
February, 1998 (R-11) 53
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REVIEWS<br />
Spare parts for 35 & 55/70 mm Westar, Century,<br />
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KUNDUN iriririr<br />
Starring Tenzin Thuthob Tsarong. Directed<br />
by Martin Scorsese. Written by Melissa<br />
Mathison. Produced by Barbara DeFina. A<br />
Buena Vista release. Drama. Rated PG-13<br />
for violent images. Running time: 134 min.<br />
A Martin Scorsese picture about nonviolence<br />
sounds like a contradiction in terms,<br />
but the director triumphantly pulls off the<br />
daunting creative challenge of telling the<br />
story of a living hero whose mission is "to<br />
love all living things." Made with the cooperation<br />
of the 14th Dalai Lama, the Tibetan<br />
leader now in exile in India, "Kundun" is<br />
both a stunning visual feast and a moving<br />
meditation on the difficulty of sustaining<br />
the Buddhist principle of nonviolence in a<br />
brutal world.<br />
Spanning 1937 through 1950, when the<br />
Dalai Lama was forced from Tibet by the<br />
conquering Communist Chinese, "Kundun"<br />
looks like no other Scorsese film. But like<br />
his trademark movies about Italian-American<br />
gangsters, this is also a story about a<br />
closed, male-run ethnic group fighting for<br />
survival against violent adversaries.<br />
Chronicling the Dalai Lama's discovery,<br />
training and adolescence, the film uses<br />
three well-chosen boys in the role before<br />
focusing on the young adult Tenzin<br />
Thuthob Tsarong. Tsarong movingly conveys<br />
the complex tests of character the<br />
evolving leader faces in the crisis with<br />
China. Joseph McBride<br />
AS GOOD AS IT GETS ^^^1/2<br />
Starring Jack Nicholson, Helen Hunt<br />
and Greg Kinnear. Directed by James L.<br />
Brooks. Written by James L. Brooks and<br />
MarkAndrus. Producedby James L Brooks,<br />
Kristi Zea and Bridget Johnson. A TriStar<br />
Drama/comedy. Rated PG-13 for<br />
release.<br />
strong language, thematic elements, nudity<br />
and a beating. Running time: 132 min.<br />
This dramatic comedy from James L.<br />
Brooks delivers the goods audiences since<br />
his "Terms of Endearment" and "Broadcast<br />
News" have come to expect: laughs and<br />
tears, fine writing, rich acting, social commentary,<br />
and a smile on the face as one exits<br />
the theatre. As the marquee draw. Jack<br />
Nicholson as a missing-some-marbles romance<br />
novelist who rarely allows human<br />
contact is nigh-on perfect m a role nigh-on<br />
perfect for him: weird enough to allow him<br />
to be Jack, but human enough for audiences<br />
to take him into their hearts. As a struggling<br />
single mother, Helen Hunt counterbalances<br />
Nicholson by keeping things simple and it<br />
works. Greg Kinnear, he of the Olympian<br />
looks but goofy nature, draws from some<br />
third source in his affecting creation of a<br />
lonely gay artist who a sad fate draws into<br />
the writer's and waitress' lives.<br />
Given the choice between being too humorous<br />
or too tragic. Brooks obviously<br />
would always take the former; as in the rest<br />
of his works. "As Good As It Gets" never<br />
goes too deep. But for mainstream audiences<br />
who want to believe that ultimately<br />
there's a charm to life, "As Good As It Gets"<br />
could hardly play much better. Kim Williamson<br />
MOUSEHUNT •••1/2<br />
Starring Nathan Lane and Lee Evans.<br />
Directed by Gore Verbinski. Written by<br />
Adam Rifkin. Produced by Alan Riche,<br />
Tony Ludwig and Bruce Cohen. A<br />
DreamWorks release. Comedy. Rated PG.<br />
Running time: 98 min.<br />
This is a great movie for children and for<br />
adults who appreciate pure slapstick. When<br />
Ernie (Nathan Lane) and Lars (Lee Evans)<br />
inherit not only their father's string factory<br />
but the rundown mansion he won in a bet,<br />
the fun begins. They discover their house<br />
was designed by a famous architect and,<br />
although dilapidated, is worth millions.<br />
There is only one downside: the house is<br />
already occupied by a mouse. And this is no<br />
ordinary mouse. As in all good movies<br />
where man pits wits with a rodent, the furry<br />
creature wipes the floor with them.<br />
"MouseHunt" offers slick special effects<br />
and strong, larger-than-life performances<br />
by Lane and Evans as the two unlikely<br />
brothers. While the plot is generally predictable,<br />
the ending is rather clever and<br />
totally unexpected. Lisa Osborne<br />
PREVIOUSLY REVIEWED: JANUARY/FEBRUARY/MARCH FILMS<br />
The alphabetkal list bek>%v notes the issue of BOXOFFICE in which our<br />
review of an upcoming film appeared, gives its star rating, and<br />
provides newly updated distributor and release date information,<br />
"Ayn Rand: A Sense of Life" -k-k-kXIl: Strand, 1/.W; see March 1997.<br />
"The Blackout" 1/2: Trimark, 1/30; see July 1997.<br />
"The Butcher Boy" -k-k-k-k: Warner, 3/13; see Sept. 1997.<br />
"Deceiver" k-k-k\ll: MGM, 1/30; see Nov. 1997.<br />
"Four Days in September" ***: Miramax, 1/16; see June 1997.<br />
"Hurricane Streets" -kkir: UA, 2/13; see April 1997.<br />
"The Leading Man " •••: Ugacy, 1/16; see April 1997.<br />
"Nil By Mouth" •••: Sony Classics, 2/6; see August 1997.<br />
"Star kid" -k-k-k 1/2: Trimark, 1/16; see .fan. 1998.<br />
"Suicide Kings" -k-k-k: Live, 3/13; see Oct. 1997.<br />
"Swept From the Sea" •: TriStar, 1/23; see Nov. 1997.<br />
''Talk ofAngels" -kk-k: Miramax, 3/6; see Sept. 1997.<br />
"Wide Awake" -k-k-k: Miramax, 3/20; see Sept. 1997.<br />
54 (R-12) BoxoFFicE
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REVIEWS<br />
TOMORROW NEVER DIES<br />
—<br />
••1/2<br />
Starring Pierce Brosnan, Jonathan<br />
Pryce, Michelle Yeoh, Teri Hatcher and<br />
Judi Dench. Directed by Roger<br />
Spottiswoode. Written by Bruce Feirstein.<br />
Produced by Barbara Broccoli and Michael<br />
G. Wilson. A UA release. Action/Adventure.<br />
Rated PG-13 for intense<br />
sequences ofaction violence, sexuality and<br />
innuendo. Running time: 119 min.<br />
It's a good thing the James Bond films<br />
switch lead actors so often or else it would<br />
be very difficult to tell the movies apart.<br />
Die-hard Bond fans likely won"t be disappointed<br />
by this outing, which possesses all<br />
the requisite elements they've come to know<br />
and love: inventive chase scenes in exotic,<br />
globe-trotting locales; lethal beauties; invincible<br />
henchmen; nifty gadgets; high-tech automobiles;<br />
and the obligatory pyrotechnic<br />
finale in the madman's secret lair, complete<br />
with a nuclear missile countdown.<br />
What is disappointing about "Tomorrow<br />
Never Dies" is the degree to which director<br />
Roger Spottiswoode and screenwriter Bruce<br />
Feirstein fail to make even the vaguest attempt<br />
at transcending the formula, much less<br />
make adequate use of their two very capable<br />
female "leads." Wade Major<br />
THE APOSTLE *•<br />
Starring Robert Duvall, Farrah Fawcett<br />
and Miranda Richardson. Directed and<br />
written by Robert Duvall. Produced by Robert<br />
Carliner. An October release. Drama.<br />
Rated PG-13 for thematic elements and a<br />
related scene of violence. Running time:<br />
150 min. Screened at Toronto.<br />
Actor Robert Duvall, who also directs and<br />
scripts, stars as "Sonny" Dewey, a fire-andbrimstone<br />
Texas preacher who, in a jealous<br />
rage, puts his wife's boyfriend in a coma. He<br />
flees to a black Louisiana town, where he<br />
takes on the charismatic mantle of "The<br />
Apostle" and the goal of building himself a<br />
new church. Unfortunately, Duvall's onenote<br />
character is devoid of the self-examination<br />
that would humanize him. Shlomo<br />
Schwartzberg<br />
WILL IT SNOW FOR CHRISTMAS ?<br />
•••<br />
Starring Dominique Reymond and Daniel<br />
Duval. Directed and written by Sandrine<br />
Veysset. Produced by Humbert Balsan. A<br />
Zeitgeist release. Drama. French-language;<br />
subtitled. Running Time: 88 min.<br />
An unmarried woman (Dominique<br />
Reymond) lives with her seven children m a<br />
stone farmhouse in southern France. The<br />
rustic house is without plumbing or heat, but<br />
the mother's warm love keeps everyone<br />
happy until the arrival of the children's father<br />
(Daniel Duval), who has a wife elsewhere.<br />
He drives them hard to load the latest<br />
crop from the farm, and tension builds as the<br />
father explodes with anger and scorn.<br />
Reymond and Duval show both the palpable<br />
physical attraction between the mother<br />
and father as well as the volatility of their<br />
tempestuous relationship. The mother is<br />
desperate to protect her children from their<br />
father' s violence, building to a very poignant<br />
conclusion. Ed Scheid<br />
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February, 1998 (R-13) 55
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56 (R-14) BoxoFnCE<br />
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REVIEWS<br />
FOR RICHER OR POORER •<br />
Starring: Tim Allen, Kirs tie Alley,<br />
Wayne Knight. Directed by Bryan Spicer.<br />
Written by Jana Howington, Steve LuKanic.<br />
Produced by Sid, Bill and Jon<br />
Sheinberg. A Universal release. Comedy.<br />
Rated PG-13for Richer or Poorer. PG-13<br />
for some sexual innuendo and one use of<br />
strong language. Running time: 114 min.<br />
Super-builder Tim Allen and his wife<br />
Kirstie Alley flee the IRS to Pennsylvania<br />
in this humorless Amish-bashing fest in<br />
which every convention and conviction of<br />
these people are impaled by the childish<br />
antics of the leads. Screenwriters Jana<br />
Howington and Steve LuKanic found room<br />
in their script for every tired cliche in the<br />
book about farming, bam raising, baking,<br />
and shopping at Sears. Jon A. Walz<br />
HOME ALONE 3 y^^^1/2<br />
Starring Alex D. Linz, Olek Krupa,<br />
David Thornton, Rya Kihlstedt and Lenny<br />
Von Dohlen. Directed by Raja Gosnell.<br />
Written by John Hughes. Produced by<br />
John Hughes and Hilton Green. A Fox<br />
release. Comedy. Rated PG for slapstick<br />
violence, language and mild sensuality.<br />
Running time: 103 min.<br />
Instead of simply relying on the slapstick<br />
humor from the first that became silly in the<br />
sequel, audiences are made to believe that<br />
the new villains—highly-trained spies<br />
seeking a stolen military computer chip<br />
are a real threat. But all of their training<br />
didn't prepare them for a school kid home<br />
sick ("One Fine Day's" Alex D. Linz) and<br />
his armory of plaster-filled balloons, a haircutting<br />
lawn mower and flying flower pots.<br />
Combining some old antics with a lot of<br />
new pranks, director Raja Gosnell revives a<br />
dying franchise. This refreshingly funny<br />
film produces more laughs than its predecessors.—<br />
Dwayne E. Leslie<br />
SCREAM 2<br />
^•^<br />
Starring Neve Campbell and Courteney<br />
Cox. Directed by Wes Craven. Written by<br />
Kevin Williamson. Produced by Cathy<br />
Konrad and Marianne Maddalena. A<br />
Miramax release.<br />
Comedy/horror. Rated<br />
R for language and strong bloody violence.<br />
Running time: 120 min.<br />
A beautiful young girl is receiving disturbing<br />
calls from a psycho killer. "Hang up<br />
the phone and Star 69 his ass," Jada Pinkett<br />
advises the ill-fated character in "Stab," the<br />
movie-within-a-movie in the comically<br />
self-aware "Scream 2." But no one abides<br />
by logic in the horror flix, and our foolish<br />
heroine is, well, stabbed. Several times.<br />
Barely seconds later we see the flash of a<br />
knife again—only this time, it's a patron at<br />
the moviehouse who's on the receiving end.<br />
The copycat crime immediately brings the<br />
survivors of the original massacre together<br />
in hopes of putting a stop to the murders.<br />
A few new characters replace those<br />
butchered in the last film to recreate the<br />
same tensions, the same pacing, the same<br />
questioning of loyalties, the same chases.<br />
But the self-parody and some great one-liners<br />
make the familiarity fun as the audience<br />
is let in on the gag. For all the deja vu, there<br />
are some welcomely unexpected plot twists;<br />
you'll never guess whodunnit until it's revealed<br />
in the final frames. Christine James<br />
AMISTAD ifirifVZ<br />
Starring Morgan Freeman, Anthony<br />
Hopkins, Nigel Hawthorne, Djimon<br />
Hounsou, Matthew McConaughey, David<br />
Paymer, Pete Postlethwaite and Stellan<br />
Skarsgard. Directed by Steven Spielberg.<br />
Written by David Franzoni. Produced by<br />
Steven Spielberg, Debbie Allen, Colin Wilson.<br />
A DreamWorks release. Period<br />
Drama. Rated Rfor some scenes ofstrong<br />
brutal violence and some related nudity.<br />
Running time: 152 min.<br />
Commercially and critically bookending<br />
1997 as he did 1993, Steven Spielberg follows<br />
up his summer blockbuster "The Lost<br />
World" with the Oscar-tuned "Amistad," an<br />
epic telling of a remarkable 1 839 shipboard<br />
slave revolt whose subsequent legal and<br />
social ramifications helped shape and forever<br />
change the mechanics of the young<br />
American political system.<br />
The story begins at sea as a would-be<br />
slave named Cinque (Djimon Hounsou)<br />
frees himself from the hold of the Spanish<br />
slave ship La Amistad and leads his fellow<br />
prisoners in a bloody revolt. But they're<br />
soon intercepted by an American naval vessel<br />
and imprisoned on charges of murder<br />
and piracy. Fortunately for the Africans, the<br />
case is not nearly so simple as it seems.<br />
While the ensuing trip through the tenebrous<br />
early American judicial system is often<br />
exceptionally engaging, it is the friendship<br />
between young attorney Roger Baldwin<br />
(Matthew McConaughey) and Cinque that<br />
anchors the film's dramatic course.<br />
Despite its occasional imperfections,<br />
"Amistad" must be regarded as a monumentally<br />
impressive achievement and further<br />
proof of Spielberg's ongoing<br />
maturation as an artist. It is likewise noteworthy<br />
that from amid the star-laden cast,<br />
unknown West African native Hounsou<br />
emerges the standout. Wade Major<br />
ALIEN RESURRECTION •^^ 1/2<br />
Starring Sigoumey Weaver and Winona<br />
Ryder. Directed by Jean-Pierre Jeunet.<br />
Written by Joss Whedon. Produced by<br />
Gordon Carroll, David Giler, Walter Hill<br />
and Bill Badalato. A Fox release. Action/thriller.<br />
Rated Rfor strong sci-fi violence<br />
and gore, some grotesque images<br />
and language. Running time: 108 min.<br />
Brought back to life through cloning, our<br />
bold Giger guerilla Ellen Ripley (Sigoumey<br />
Weaver) is just as tough as we remember.<br />
But now, with alien DNA co-mingled in her<br />
blood, she is eerily apathetic, or at least<br />
ambivalent, upon discovering that the creatures<br />
she risked her life to exterminate over<br />
the course of three harrowing movies have<br />
been bred by the same class of megalomaniac<br />
idiots who endangered her and the rest<br />
of the human race in the first place.<br />
With new instincts and possibly new allegiances,<br />
the reinvented Ripley is intriguing<br />
to watch as her true nature unfolds.<br />
Weaver renders the resurrected Ripley with<br />
relish, obviously enjoying the opportunity<br />
to play her trademark character m a whole<br />
new way. Her rivetingly creepy performance,<br />
along with some truly memorable<br />
monsters, frees this fourth film in the<br />
"Alien" franchise from the redundancy one<br />
might expect, instead engineering an entertaining,<br />
if excessively gory and goo-splattered,<br />
thriller. Christine James<br />
SPECIAL FORMATS: 3-D IMAX *<br />
THE NUTCRACKER ••<br />
Starring Miriam Margolyes,<br />
Heathcote Williams, Lotte Johnson and<br />
Benjamin Hall. Directed and written by<br />
Christine Edzard. Produced by Olivier<br />
Stockman and Ijjnie Orleans. An Imax<br />
release. Drama. Not rated. Running<br />
time: 37 min.<br />
"The Nutcracker" has remained one<br />
Christmas tradition in which dance is<br />
king—except in the new IMAX movie.<br />
'The Nutcracker," which shows almost a<br />
contempt for dance, putting off the dance<br />
numbers until the last scene and using<br />
them merely as holiday trimming.<br />
Eliminating the dancing and retaining<br />
the visual elements of the (frankly)<br />
strange original ballet leaves nothing but<br />
the strangeness. The story is of a young<br />
girl who receives a nutcracker doll for<br />
Christmas from an eccentric uncle. The<br />
nutcracker leads a battalion of toy soldiers<br />
in a victorious fight against a group of<br />
mice and then leads the girl off to a fantasy<br />
land filled with more exotic characters.<br />
The staging in this production is'<br />
blocky, and that blocking is weird. The<br />
battle between the soldiers and mice is<br />
crowded and confused. A couple waltzes<br />
through. The action is close-up and adds<br />
to a general sense of '"Wliat the...?"<br />
Mechanical toys and circus acts at the<br />
delicious spun-sugar palace aic whimsical,<br />
but one wants to ci\, "'Brine on the<br />
dancing girls!" The cxpcciaiicin lor " Ihe<br />
Nutcracker" ballet elements is loo siiong<br />
to break without good reason.<br />
Without this element, the audience<br />
looks to character interplay, but the acting<br />
is often false.<br />
This ceremony is all spectacle. The<br />
stars arc inanimate objccts^the handsome<br />
costumes and properties that move<br />
across the camera.<br />
"The Nulcrackei" is onl\ a inuseuni<br />
come to life, perhaps due to having the<br />
direction and writing done by someone<br />
who also handles costume and production<br />
design. Ann Kwinn
—<br />
—<br />
s<br />
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REVIEWS<br />
FLUBBER iridic<br />
Starring Robin Williams.<br />
Directed by Les Mayfield.<br />
Written by John Hughes and<br />
BUI Walsh. Produced by John<br />
Hughes and Ricardo Mestres.<br />
A Buena Vista release. Comedy.<br />
Rated PG for slapstick<br />
action and mild language.<br />
Running time: 94 min.<br />
"Flubber" is a charming remake<br />
of Walt Disney's 1961<br />
classic "The Absent-Minded<br />
Professor." Although Flubber'<br />
humor may be a little too slapstick<br />
for some adults to appreciate,<br />
children will love it. The<br />
interactions between the professor<br />
(Robin Williams) and<br />
his anthropomorphized invention<br />
are well timed and convincing,<br />
and the animation is<br />
impressive. Lisa Osborne<br />
JOHN GRISHAM'S THE<br />
RAINMAKER ••^1/2<br />
Starring Matt Damon. Directed<br />
and written by Francis<br />
Ford Coppola. Produced by<br />
Michael Douglas, Steven<br />
Reuther and Fred Fuchs. A<br />
Paramount release. Drama.<br />
Rated PG- 13for a strong beating<br />
and elements of domestic<br />
abuse. Running time: 137 min.<br />
"Rainmaker" is the latest<br />
legal thriller based on John<br />
Grisham's books. Unlike its<br />
predecessors, this one drops<br />
the solemn self-regard—indeed,<br />
at times it's broadly<br />
comic—and adds a mosaic of<br />
distinctive character parts.<br />
"Rainmaker" balances two<br />
separate stories, both elements<br />
in the life of Rudy (Matt<br />
Damon), a green Memphis lawyer.<br />
The primary one and the<br />
most involving is his prosecution<br />
of a rich insurance company<br />
that rejected the claims of<br />
a poor family whose son is<br />
dying of leukemia. Mary Kay<br />
Place plays the dying boy's<br />
mother and is a no-nonsense,<br />
but at times heartbreaking, presence.<br />
The insurance company is<br />
defended by Jon Voight's Leo<br />
Dmmmond; Voight's overfed-<br />
Pekinese features help make<br />
him a uniquely venal addition<br />
to the nasty-lawyer character<br />
archive.<br />
The second part of the story<br />
is less successful: Rudy's<br />
befriending of Kelly (Claire<br />
Danes), a battered young wife.<br />
But wisely this plot part is<br />
minimized in favor of the one<br />
that is more garish, more pitiful,<br />
and much more fun to<br />
watch. Melissa Morrison<br />
MIDNIGHT IN THE<br />
GARDEN OF GOOD AND<br />
EVIL ••*<br />
Starring Kevin Spacey and<br />
John Cusack. Directed by<br />
Clint Eastwood. Written by<br />
John Lee Hancock. Produced<br />
by Arnold Stiefel. A<br />
Warner release. Drama.<br />
Rated R for language and<br />
briefviolence. Running time:<br />
155 mins.<br />
John Kelso (John Cusack)'s<br />
description of Savannah sums<br />
up the movie: it's "'Gone<br />
With The Wind' on mescaline."<br />
Based on John Berendt's<br />
best-selling novel, "Midnight"<br />
chronicles Kelso's trip<br />
to Savannah to cover Jim Williams<br />
(Kevin Spacey)'s<br />
Christmas party for Town and<br />
Country magazine. The<br />
tempo of the movie changes<br />
dramatically when Williams<br />
shoots and kills his lover Billy<br />
Hanson ("Gattaca's" Jude<br />
Law) later that night.<br />
There are some great character<br />
studies in this movie,<br />
but, although relatively long,<br />
the film seems to mn out oftime<br />
and has an abrupt and rather<br />
twee ending. Lisa Osborne<br />
MORTAL KOMBAT<br />
ANNIHILATION<br />
^^<br />
Starring Robin Shou . Directed<br />
by John R. Leonetti.<br />
Written by Brent V. Friedman<br />
& Bryce ZabeL Produced<br />
by Lawrence Kasanoff. A<br />
New Line release. Action.<br />
Rated PG-13 for nonstop<br />
martial arts violence. Running<br />
time: 98 min.<br />
TTiis special-effect drenched<br />
sequel jam-packs 50 percent<br />
more martial arts fights than<br />
the original "Mortal<br />
Kombat," as well as several<br />
morphing scenes, which<br />
should delight the pre-teenage<br />
boy contingent the film is obviously<br />
banking on.<br />
There are some new characters<br />
(Cyrax, Smoke, and Jax)<br />
that are enjoyable to watch,<br />
while others could have been<br />
left out (Nightwolf, Baraka,<br />
and especially the wasted<br />
Sheeva).<br />
As far as the plot, the repetitive<br />
bombardment of similar<br />
scenarios makes the film seem<br />
very long and painfully drawn<br />
out. In all probability, the<br />
continuing struggle to keep<br />
the portal between Earth and<br />
the Outworld closed will end<br />
here. Dwayne E. Leslie<br />
<<br />
a.<br />
Genre key: (Ac) Action; (Ad) Adventure; (An) Animated; (C) Comedy;<br />
(D) Drama; (Doc) Documentary; (F) Fantasy; (Hor) Horror;<br />
(M) Musical; (My) Mystery; (R) Romance; (Sat) Satire;<br />
(SF) Science Fiction; (Sus) Suspense; (Th) Thriller; (W) Western.<br />
S<br />
J O<br />
t 2 w > C £<br />
W ^ r«^ <br />
H<br />
H<br />
a<br />
o -3S<br />
11
BOXOFFICE<br />
FEBRUARY<br />
November December January (Current)
STUDIO FEATURE CHART — FEBRUARY 1998<br />
March<br />
Forthcoming<br />
Meet the Deedles. 3/27. Com. Dennis<br />
Hopper. Paul Walker IV, Steve Von Wornier.<br />
Dir: Steve Boyum.
3<br />
3<br />
3<br />
BOXOFFICE independent Feature Chart FEBRUARY 1998<br />
JANUARY<br />
Avalanche<br />
212-265-9119<br />
Killing Time. Craig Fairbrass. Dir:<br />
Bharat Nalluri. 1/14<br />
Capitol<br />
301-564-9700<br />
Autumn Sun (Argentina), Rom/<br />
Dra, 103 min. Norma Aleandro,<br />
Federico Luppi. Dir: Eduardo<br />
Mignogna.<br />
Castle Hill<br />
212-888-0080<br />
A Further Gesture, Dra, 96 min.<br />
Stephen Rea. 1/30 NY<br />
Cinema Village<br />
212-431-5119<br />
Cartoon Noir, Ani, 85 min. 1/30<br />
First Run<br />
212-243-0600<br />
Arguing the World, Doc, 107<br />
min. Dir: Joseph Dorman. 1/7 ltd<br />
Fox Searchlight<br />
310-369-4402<br />
Two Girls and a Guy, Com, NC-<br />
1 7. Robert Downey jr.. Heather<br />
Graham. Dir: James Toback. 1/30<br />
Hard Men (U.K.), Dra. Vincent<br />
Regan, Ross Boatman, Lee Ross.<br />
Dir: J.hC. Amalou.<br />
Intl. Film Circuit<br />
212-691-0770<br />
Every Little Thing (France), Doc,<br />
105 min. Dir: Nicolas Philibert. 1/3<br />
Frozen (China), Dra, 90 min. Dir:<br />
Wu Ming.<br />
Island Digital Media<br />
312-751-0020<br />
General Chaos: Uncensored Animation,<br />
Ani, 90 min. Dirs: Various.<br />
1/30 NY<br />
Kino<br />
212-629-6880<br />
Fallen Angels (Hong Kong), Thr,<br />
R, 96 min. Leon Lai, Karen Mong,<br />
Michele Reis. Dir: Wong Kar-<br />
Wai. NY<br />
Live<br />
818-778-3174<br />
Caught Up (formerly The Real),<br />
Dra, R. LL Cool J, Snoop Doggy<br />
Dog, Bokeem Woodbine. Dir:<br />
Darin Scott. 1/30<br />
Northern Arts<br />
413-268-9301<br />
The Leading Man, Dra, R. Jon Bon<br />
Jovi, Lambert Wilson, Thandie<br />
Newton. Dir: John Duigan. 1/16<br />
October<br />
212-539-4000<br />
The Apostle, Dra. Robert Duvall,<br />
Miranda Richardson, Farrah<br />
Fawcett, Billy Bob Thornton. Dir:<br />
Robert Duvall. Jan. exp<br />
Phaedra<br />
310-478-3308<br />
Gonin Oapan), Act, 104 min.<br />
Takeshi Kitano, Naoto Takanaka.<br />
Dir:Takashi Ishii. 1/16<br />
Polygram<br />
310-385-4000<br />
The Gingerbread Man, Thr, R,<br />
120 min. Kenneth Branagh,<br />
Embeth Davidtz. Dir: Robert Altman.<br />
1/23 NY/LA<br />
Sony Classics<br />
212-833-8851<br />
Afterglow, Rom/Dra, R. Nick<br />
Nolte, Julie Christie, Lara Flynn<br />
Boyle. Dir: Alan Rudolph. Exp<br />
Strand<br />
310-395-5002<br />
Toute Vitesse, Dra. Elodie<br />
Bouchez. Dir: Gael Morel. 1/16<br />
La Sentinelle (France), Thr, 144<br />
min. Emmanuel Salinger. Dir:<br />
Arnaud Desplechin.<br />
Trlmark<br />
310-314-3040<br />
Star Kid (formerly The Warrior of<br />
Waverly Street), SF, PC, 101 min.<br />
Joseph Mazzello. 1/16<br />
First Look<br />
310-855-1199<br />
Mrs. Dalloway, Dra, PG-13, 97<br />
min. Vanessa Redgrave, Rupert<br />
Graves. Dir: Marleen Corris. 2/20<br />
First Run<br />
Paul Monette: The Brink of<br />
Summer's End, Doc, 90 min. Dir:<br />
Monte Bramer. 2/6 ltd<br />
Fox Searchlight<br />
Polish Wedding, Dra, PG-13.<br />
Claire Danes, Gabriel Byrne,<br />
LenaOlin. Dir: Theresa Connelly.<br />
2/20<br />
Cousin Bette, Dra, R. Jessica<br />
Lange, Elisabeth Shue, Bob Hoskins.<br />
Dir: Des McAnuff. Ltd<br />
Intl. Film Circuit<br />
Mother and Son (Germany/Russia),<br />
Dra, 73 min. Dir: Alexander<br />
Sokurov. 2/4<br />
Island Digital Media<br />
Tokyo Fist, Act/Hor, 87 min.<br />
Dir/Star: Shinya Tsukamoto.<br />
Kino<br />
Rashomon (1951 reissue), Dra.<br />
Toshiro Mifune, Machiko Kyo.<br />
Dir: Akira Kurosawa.<br />
THREESOME: Fox Searchlight 's "Two Girls and a Guy, " slatedfor 1/30.<br />
The Blackout, Dra. Matthew<br />
Modine, Dennis Hopper. Dir:<br />
Abel Ferrara.<br />
FEBRUARY<br />
CFP<br />
212-995-9662<br />
Love and Death on Long Island,<br />
Dra, 93 min. John Hurt, Jason Priestley.<br />
Dir: Richard Kwietniowski. 2/27<br />
Filmopolis<br />
310-914-1776<br />
Son of Gascogne (France), Com,<br />
106 min. Jean-Claude Dreyfus,<br />
Gregoire Colin. Dir: Pascal Aubier.<br />
Polygram<br />
The Borrowers, Fan, PG, 87 min.<br />
John Goodman. Dir: Peter<br />
Hewitt. 2/1<br />
Seventh Art<br />
213-845-1455<br />
The Long Way Home, Doc, 1 20<br />
min. Narr: Morgan Freeman. Dir:<br />
Mark Jonathan Harris. 2/13 exp<br />
Miami/SF/Fl Laud., reopen LA<br />
Sony Classics<br />
Nil by Mouth, Dra, R. Kathy Burke.<br />
Dir: Gary Oldman. 2/6 NY/LA<br />
Strand<br />
Ayn Rand: A Sense of Life, Doc.<br />
Dir: Michael Paxton. 2/1 3 NY/LA<br />
Trlmark<br />
The Mummy. Alison Elliot. Dir:<br />
Michael Almereyda. 2/1<br />
Blood Oranges. Charles Dance,<br />
Sheryl Lee. Dir: Philip Haas. 2/27<br />
MARCH<br />
Dreamworks<br />
818-733-7000<br />
Paulie: A Parrot's Tale. Jay Mohr,<br />
Gena Rowlands. Dir:John Roberts.<br />
First Run<br />
Mendell (Norway), Dra, 98 min.<br />
Dir: Alexander Rosier. 3/20 ltd<br />
Fox Searchlight<br />
slums of Beverly Hills. Alan Arkin,<br />
Marisa Tomei. Dir: Tamara Jenkins.<br />
Gramercy<br />
310-385-4400<br />
The Big Lebowski, Dra/Com, 1 1<br />
min. Jerf Bridges, John Goodman,<br />
Steve Buscemi. Dir: Joel Coen. 3/6<br />
Ed Burns Untitled Project (formerly<br />
Long Time, Nothing New),<br />
Dra/Rom. Lauren Holly, Jon Bon<br />
Jovi. Dir: Edward Burns. 3/27<br />
Live<br />
Suicide Kings (formerly Boys<br />
Night Out), Dra/Thr, R, 107 min.<br />
Christopher Walken. 3/1<br />
Polygram<br />
Tempting Fate (formerly Shakespeare's<br />
Sister), Dra. Kenneth<br />
Branagh, Madeleine Stowe, William<br />
Hurt. Dir: Lesli Linka Glatter.<br />
Shadow<br />
207-872-5111<br />
Carla's Song (U.K.), Rom/Dra,<br />
127 min. Robert Carlyle, Scott<br />
Glenn. Dir: Ken Loach.<br />
Sony Classics<br />
Men With Guns, Dra, R. Federico<br />
Luppi, Mandy Patinkin, Kathryn<br />
Grody. Dir: John Sayles. 3/6<br />
Strand<br />
I Think I Do, Com, 90 min. Alexis<br />
Arquette. Dir: Brian Sloan.<br />
Trlmark<br />
Chairman of the Board. Carrot<br />
Top, Courtney Thorne-Smith,<br />
Larry Miller, Raquel Welch, Jack<br />
Warden. Dir: Alex Zamm. 3/6<br />
Ugly. Dir: Paolo Rotondo. 3/27<br />
Zeitgeist<br />
212-274-1989<br />
The Taste of Cherry (Iran), Dra,<br />
95 min. Dir: Abbas Kiarostami.<br />
3/20 NY, 3/27 LA<br />
APRIL<br />
CFP<br />
Cadjo Dilo, Dra, 97 min. Romain<br />
Duris, Rona Hartner, Isidor<br />
Sherban. Dir: Tony Gatlif. 4/3<br />
60 BOXOFFICE
7<br />
7<br />
BOXOFFICE Independent Feature Chart FEBRUARY 1998<br />
Junk Mail, Com, 83 min. Robert<br />
Skjaerstad. Dir: Pal Sletaune.<br />
Fine Line<br />
212-649-4800<br />
Wild Man Blues, Doc. Woody<br />
Allen. Dir: Barbara Kopple.<br />
First Run<br />
Insomnia (Norway), Thr, 97 min.<br />
Stellan Skarsgard. Dir: Erik<br />
Skjoldbjaerg.<br />
Fox Searchlight<br />
shooting Fish. Dan Futterman,<br />
Kate Beckinsale. Dir: Stefan<br />
Schwartz. Mid-Apr<br />
Gramercy<br />
Go Now. Robert Carlyle, Juliet<br />
Aubrey. Dir: Michael Winterbottom.<br />
4/10<br />
Land Girls, Dra, 115 min. Gwyneth<br />
Paltrow, Rachel Weisz. Dir:<br />
David Leiand. 4/24<br />
Live<br />
The Substitute 2: School's Out, R<br />
Treat Williams, B.D. Wong. Dir:<br />
Steven Pearl. Apr (could go May<br />
October<br />
still Breathing, Rom, PG-13, 109<br />
min. Brendan Fraser, Joanna<br />
Going, Ann Magnuson. Dir:<br />
James F. Robinson. 4/10<br />
24/7, Dra, 96 min. Bob Hoskins.<br />
Dir: Shane Meadows.<br />
Polygram<br />
Barney's Great Adventures, Fam.<br />
Trevor Morgan, Diana Rice, Kyle<br />
Pratt, George FHearn, Shirley<br />
Douglas. Dir: Steve Comer. 4/3<br />
Seventh Art<br />
Things I Never Told You, Dra, 95<br />
min. Andrew McCarthy, Lili Taylor.<br />
Dir: Isabel Coixet.<br />
Sony Classics<br />
The Spanish Prisoner. Campbell<br />
Scott. 4/3<br />
A Friend of the Deceased<br />
(Ukraine), Dra/Thr, R. Alexandre<br />
Lazarev, Evgeny Pashin. Dir:<br />
Vyacheslav Krishtofovich. 4/1<br />
Strand<br />
First Love, Last Rites, Dra, 92<br />
min. Giovanni Ribisi, Natasha<br />
Gregson. Dir: Jesse Peretz.<br />
Lawn Dogs, Dra. Sam Rockwell,<br />
Kathleen Quinlan, Christopher<br />
McDonald, Bruce Gill, Eric<br />
Mabius, David Barry Gray. Dir:<br />
John Duigan.<br />
Voyage to the Beginning of the<br />
World, Dra, 91 min. Marcello<br />
Mastroianni, Jean Yves Gautier.<br />
Dir: Manoel De Olivera.<br />
Trimark<br />
Heaven's Burning. Russell<br />
Crowe, Youki Kudoh. 4/3<br />
Cube. Nicole de Boer, Nicky<br />
Guadagni, David Herlett, Maurice<br />
Dean Wint. Dir: Vincenzo<br />
Natali. 4/24<br />
Carnival of Souls. Bobbie Phillips,<br />
Larry Miller, Shawnee Smith.<br />
Dir: Adam Grossman.<br />
MAY<br />
Gramercy<br />
clay Pigeons. Vince Vaughn, Joaquin<br />
Phoenix, Janeane Garofalo.<br />
Dir: David Dobkin. 5/9<br />
Live<br />
The Second Arrival, SF. Patrick<br />
Muldoon, Jane Sibbett. Dir: Kevin<br />
Tenny. May (could go Apr)<br />
Strand<br />
Genealogies of a Crime, Dra, 125<br />
min. Catherine Deneuve, Michel<br />
Piccoli. Dir: Raoul Ruiz.<br />
Strand<br />
East Palace, West Palace, Dra, 90<br />
min. Si Han. Dir: Zhang Yuan.<br />
AUGUST<br />
Fine Line<br />
Passion in the Desert, Dra. Ben<br />
Daniels. Dir: Lavinia Currier.<br />
SEPTEMBER<br />
October<br />
Condo Painting, Doc. George<br />
Ciiiifle. Dir: John McNaughton.<br />
LIP SERVICE: First Look's fonhcoming Tlie Other Side ofSunday.<br />
JUNE<br />
Dreamworks<br />
Saving Private Ryan, Dra. Tom<br />
Hanks, Ed Burns, Matt Damon.<br />
Dir: Steven Spielberg. 6/5<br />
Fine Line<br />
Pecker. Edward Furlong. Dir:<br />
John Waters.<br />
October<br />
Orgazmo, Com, 95 min. Trey Parker,<br />
Dian Bacher. Dir: Trey Parker.<br />
Sony Classics<br />
Henry Fool. 6/1<br />
Tom<br />
Governess. Minnie Driver,<br />
Wilkinson. 6/26<br />
Marie Baie. Dir: Manuel Pradal.<br />
JULY<br />
Dreamworks SKG<br />
Small Soldiers. Kirsten Dunst,<br />
Gregory Smith. Dir: Joe Dante.<br />
Mid-July<br />
Fine Line<br />
Theory of Flight. Kenneth<br />
Branagn, Helena Bonham-Carter.<br />
FORTHCOMING<br />
Dreamworks<br />
Untitled Neil Jordan (formerly<br />
Bue Vision, in Dreams), Dra/Thr.<br />
Annette Bening, Robert Downey<br />
Jr., Aidan Quinn, Stephen Rea.<br />
Dir: Neil Jordan. Sept/Oct<br />
The Prince of Egypt, Ani. Voices:<br />
Val Kilmer, Steve Martin, Ralph<br />
Fiennes, Sandra Bullock, Michelle<br />
F^eiffer. Dirs: Brenda Chapman,<br />
Steve Hickner, Simon Wells. Nov<br />
Forces of Nature. Ben Affleck.<br />
Dir: Bronwen Hughes. 12/18/98<br />
Antz, Ani. Voices: Woody Allen,<br />
Danny Glover, Sylvester Stallone,<br />
Sharon Stone, Gene Hackman, Jennifer<br />
Lopez. Dirs: Eric Darnell, Larry<br />
Guterman, Tim Johnson. 1 999<br />
Keeper.<br />
Neanderthal.<br />
Shrek, Ani. Voices: Chris Farley,<br />
Janeane Garofalo, Eddie Murphy,<br />
John Lithgow, Linda Hunt.<br />
Dirs: Kelly Asbury, Andrew Adamson.<br />
2000<br />
Fine Line<br />
Esmerelda (Mexico) (formerly Esmerelda<br />
Comes by Night), Com.<br />
Maria Rojo. Dir: Jamie Humberto<br />
Hermosillo.<br />
Girl Talk, Dra/Com, R. Troy<br />
Beyer, Randi Ingerman, Page<br />
Brewster. Dir: Troy Beyer.<br />
The Legend of the Pianist on the<br />
Ocean, Dra. Tim Roth. Dir:<br />
Giuseppe Tornatore.<br />
When I Close My Eyes (Japan)<br />
(formerly Love Letter, Letters of<br />
Love), Rom/Com, PC, 116 min.<br />
Miho Nakayama. Dir: Shunji Iwai.<br />
First Look<br />
The Other Side of Sunday (Norway),<br />
Dra, 104 min. Maria Theisen.<br />
Dir: Berit Nesheim.<br />
This Is the Sea, Dra. Richard Harris,<br />
Gabriel Byrne, John Lynch.<br />
First Run<br />
Didn't Do It for Love, Doc, 80<br />
min. Dir: Monika Treut.<br />
Fox Searchlight<br />
ship of Fools, Dra/Com. Tony<br />
Shalhoub, Stanley Tucci, Isabella<br />
Rossellini. Dir: Stanley Tucci.<br />
Gramercy<br />
Body Count, Act, R. Ving Rhames,<br />
Forest Whitaker, David Caruso.<br />
Dir: Robert Patton Spruill.<br />
Elizabeth I, Dra. Geoffrey Rush,<br />
Cate Blanchett. Dir: Shekhar Kapur.<br />
I Want You, Rom/Dra. Rachel<br />
Weisz, Alessandro Nivola. Dir:<br />
Michael Winterbottom.<br />
Photographing Fairies.<br />
Plunkett and Macleane, Act/Adv.<br />
Robert Carlyle, Liv Tyler, Jonny<br />
Lee Miller. Dir: Jake Scott.<br />
The Hi-Lo Country. Woody<br />
Harrelson. Dir: Stephen Frears.<br />
Greycat<br />
702-737-0670<br />
A Gun for Jennifer, Thr.<br />
Gurney<br />
212-838-2929<br />
Follow the Bitch, Com, R.<br />
IVID Wax/Courier Films<br />
212-302-5360<br />
Woyzceck (1994), Dra. Lajos<br />
Kouacs. Dir:Janos Szasz.<br />
October<br />
The Naked Man, Com. Michael<br />
Rapaport. Dir: J. Todd Anderson.<br />
Three Seasons, Dra. Harvey Keitel.<br />
Dir: Tony Bui.<br />
Untitled Toad Solondz, Dra. Ben<br />
Gazzara. Dir: Todd Solondz.<br />
Polygram<br />
What Dreams May Come. Robin<br />
Williams, Annabella Sciorra, Cuba<br />
Gooding Jr. Dir: Vincent Ward.<br />
Seventh Art<br />
Honey and Ashes, Dra, 85 min.<br />
Dir: Nadia Fares. Late Spring<br />
Shooting Gallery<br />
212-243-3042<br />
illtown, Dra, R. Michael Rapaport,<br />
Lili Tyalor.<br />
Trimark<br />
Bombshell. Henry Thomas, Frank<br />
Whaley. Dir: Paul Wayne.<br />
February, 1998 61
7<br />
. Act<br />
1<br />
<strong>Boxoffice</strong> Magazine<br />
presents<br />
NovieFone's Moviegoer Activity Report<br />
Rn the Monlli of Novembei 1997<br />
MovieFone* (777-FILAf) and its sister service, MovieLink'^ Online, are now the single largest source ofmovie showtime information in the country,<br />
providing information to over 12 million moviegoers each month. Jliefollowing information represents the most requested theatres and exhibitors on MovieFone,<br />
Top 10 Exhibitors & Theatres<br />
Rank<br />
1<br />
2<br />
3<br />
4<br />
5<br />
6<br />
7<br />
8<br />
9<br />
10<br />
Most Requested Exhibitors<br />
llhlbHor<br />
United Artists<br />
Cineplex Odeon<br />
Sony<br />
AMC<br />
General Cinemas<br />
Century<br />
Cinemarl<<br />
Act III<br />
National Amusements<br />
CinAmerica<br />
IMaJJIeqiiests<br />
778,355<br />
691,530<br />
674,217<br />
641,602<br />
341 ,570<br />
227,925<br />
170,946<br />
162,051<br />
157,765<br />
155,549<br />
Last Month's<br />
Rank<br />
1<br />
3<br />
2<br />
4<br />
5<br />
6<br />
7<br />
12<br />
9<br />
8<br />
Most Requested Theatres<br />
^^^^,^<br />
Rank Narkei Theatre Total Requesb Rank<br />
1 NY Sony Lincoln Square 71,613 1<br />
2 LA AMC Century 14 42,978 2<br />
3 NY Sony 19th St. East 38,328 14<br />
4 NY SonyOrpheum 38,167 4<br />
5 NY CO Chelsea Cinemas 36,337 6<br />
6 PH UA Riverview Plaza 31 ,353 7<br />
7 NY Sony Village 7 30,525 8<br />
8 NY CityCin Village East 28.381 1<br />
9 BO Sony Copley Place 28,036 17<br />
10 SF AMCKabukiS 27,483 15<br />
Total<br />
Requests<br />
New York<br />
1,393,231<br />
Los Angeles<br />
683,355<br />
Dallas<br />
494,976<br />
San Francisco<br />
377,754<br />
Miami<br />
316,250<br />
Philadelphia<br />
308.296<br />
Phoenix<br />
269,422<br />
Boston<br />
261 ,890<br />
Chicago<br />
220,325<br />
t.<br />
Toronto<br />
192,069<br />
floiision<br />
157,838<br />
Seattle<br />
141,751<br />
Rank<br />
Theatre (# screens)<br />
Most Requested Theatres Per Screen<br />
Total<br />
Requests<br />
1 COZiegfeld(l) 12,632<br />
2 COBeekman(l) 10,962<br />
3 Sony 1 9th St. East (6) 38,328<br />
1 Pacific Cinerama Dome (1) 5,829<br />
2 CinAm National (1) 5,448<br />
3 Laemmie Royal (1) 4,789<br />
1 UA Town East (6) 11,913<br />
2 AMC Forum (6) 9,031<br />
3 Granada Movie Grill (1) 1,424<br />
1 UA Coronet (1) 10,772<br />
2 UA Metro (1) 4,346<br />
3 AMC Kabuki (8) 27,483<br />
1 Cobb Kendall (9) 16,307<br />
2 Valentino Super Discount (3) 5,306<br />
3 UA Movies at the Falls ( 1 2) 1 8, 1 57<br />
1 UASameric(4) 17,792<br />
2 Cinemagic(3) 11,124<br />
3 UA Cheltenham (8) 22,943<br />
1 Hark Cine Capri (1) 5,849<br />
2 Century Glendale D-l (9) 16,918<br />
3 UA Christown Mall (6) 9,249<br />
1 Sony Cheri (4) 27.476<br />
2 Sony Janus (1) 5,186<br />
3 NA Circle (7) 23,288<br />
1 CO Broadway (1) 1,923<br />
2 CO Lincoln Village (3) 5,087<br />
3 Sony Webster Place (8) 1 3,01<br />
1 Famous Uptown (3) 6,644<br />
2 CO Enn Mills (5) 9.798<br />
3 CO Market Square (5) 9,700<br />
"Y" CO River Oaks Plaza (12) 11 ,870<br />
2 GCC West Oaks Central (6) 4,434<br />
GOG Baybrook Mall (4) 2,927<br />
1 Act III Mountlake (9) 18,360<br />
2 Act III Crossroads (8) 15,758<br />
3 CONorthgate(l) 1,287<br />
Top 3 Actively* Requested Theatres:<br />
'Ciltor spociUcally mquo'ilcrf thoatm<br />
Kayto<br />
CMtilton<br />
MC<br />
Actllt<br />
UICThM»M.lnc<br />
MMIIiMaw<br />
Camlit onmM, Inc.<br />
CflnlunrTnMttw<br />
QrUm«tc^hM»M.LP<br />
i( gnBwirtiTh»tNi<br />
CHyOmim<br />
.OnarMi<br />
OdMitCwpi<br />
Last Month'!<br />
Rank<br />
12<br />
NA<br />
16<br />
8<br />
4<br />
6<br />
8<br />
3<br />
19<br />
14<br />
3<br />
9<br />
3<br />
12<br />
4<br />
1<br />
3<br />
2<br />
1<br />
2<br />
8<br />
1<br />
8<br />
2<br />
1<br />
11<br />
3<br />
1<br />
5<br />
6<br />
1<br />
11<br />
5<br />
2<br />
1<br />
7<br />
Total<br />
Requests<br />
San Diego<br />
124,153<br />
Kansas City<br />
103,924<br />
Denver<br />
99,368<br />
Atlanta<br />
93,168<br />
Nashville<br />
80.670<br />
Minneapolis<br />
80,233<br />
Cleveland<br />
68.616<br />
Las Vegas<br />
67,874<br />
San Antonltf^"<br />
65.922<br />
Sacramento<br />
45.792<br />
Washington. DC<br />
42.499<br />
Detroit<br />
40.757<br />
CO Worldwide<br />
New York, NY<br />
t."<br />
Rank<br />
Theatre (# screens)<br />
TMal<br />
Requests<br />
Last Month's<br />
Rank<br />
1 CinAm Valley Circle (1) 1,362 8<br />
2 CinAm Cinema 21 (1) 1.115 4<br />
3 Silver Rancho Bernardo (6) 4.750 23<br />
1 Dksn Antioch Twin (2) 1,821 8<br />
2 Dksn Westglen (12) 10,843 2<br />
3 Dksn Glenwood (4) 3,051 5<br />
1 UA Continental (6) 4,568 1<br />
2 AMC Colorado Plaza (6) 4,248 3<br />
3 AMC Tiffany Plaza (6) 2,666 5<br />
''"^"<br />
1 AMC Galleria (8) 4,002 6<br />
2 Carmike Exchange (3) 1.246 7<br />
3 AMC Phipps Plaza (14) 5.298 2<br />
1 Carmike Hickory (8) 7,894 5<br />
2 Carmike Lion's Head (5) 3.914 2<br />
3 Carmike 6 Harding Mall (6) 4,514 1<br />
1 MannMN Suburban World (1) 574 2<br />
2 Landmk Uptown (1) 572 1<br />
3 MannMN Apache (6) 3,410 13<br />
1 Clearview Cedar Lee (4) 3.l5*F~*~8?'<br />
2 GCC Ridge Pk. Sq. (8) 6.075 3<br />
3 Regal Severance (8) 5,233 1<br />
1 UA Showcase (8) 7,250 1<br />
2 Century Cinedome (12) 9.281 2<br />
3 Gold Coast Twin (2) 1.310 6<br />
Act III Galaxy (14) 10,233 3<br />
2 Act III Rolling Oaks (6) 3,959 5<br />
3 Act III Bandera (6) 3,726 2<br />
1 Century Century 21 (2) 1.663 1<br />
2 Century Sacramento D-l (6) 4.325 2<br />
3 UA Greenback (6) 3.468 8<br />
1 CO Uptown (1) 1,406 2<br />
2 CO Cinema (1) 507 1<br />
3 CO Embassy (1) 452 4<br />
1 Star Taylor (10) 3,993 3<br />
2 Star Lincoln Park (8) 2,307 1<br />
3 AMC Southland (4) 978 5<br />
Sony Lincoln Sq.<br />
New York, NY<br />
Harft Harluns ThMlrvt<br />
Larvlmk Landmark TTwalr* Corp.<br />
Mann MN Mann MlnnMpoH*<br />
M«t Melrqpo'itan ThMtrM Corp.<br />
MJR MJR Thaatr* Stfvtcs<br />
Muwco Muvico Thoatrw<br />
HA<br />
Nfitlonal Amusemsnts<br />
Piioiic<br />
(\tKja\<br />
Silver<br />
Sony<br />
Star<br />
SupSav<br />
UA<br />
III Mountlake 9<br />
Seattle, WA<br />
PaeHicTimlim<br />
R«gidCirwnts<br />
Simr unemai<br />
Sony TfwaIrM<br />
Loekt-Star ThMtr»s<br />
Supof Savar Cinemas<br />
Untod Anttts Theaira Circuit
HOME RELEASE CHART<br />
My'jf^'i
.<br />
Fax<br />
.<br />
ADVERTISER INDEX<br />
Automaticket/Hurley Screen Corp. . 55<br />
CFS/Rentec 25<br />
Christie Inc C-2<br />
Cinema Supply Co. Inc 55<br />
DTS (Digital Theater Systems) ... 11<br />
Dolby Laboratories Inc 9<br />
EAW C-4<br />
EIMS Inc 31<br />
Hadden Theatre Supply Co 37<br />
International Cinema Equipment Co. 54<br />
JBL Professional 7<br />
Kinetronics Corp. USA 37<br />
Lucasfilm Ltd 24<br />
Maroevich, O'Shea & Coghlan .... 55<br />
Mars Theatre Management Systems 35<br />
NCS Corp 36<br />
Peavey Electronics Corp 13<br />
Proctor Companies 19<br />
QSC Audio Products Inc C-3<br />
Ready Theatre Systems 55<br />
Sensible Cinema Software 65<br />
Smart Products Inc 27<br />
Smart Theatre Systems 3, 33<br />
Sony Cinema Products Corp 17<br />
System Operating Solutions 54<br />
TVP Theatre & Video Products ... 43<br />
Troy Sound Wall Systems 29<br />
USLInc 15<br />
CLASSIFIED ADVERTISING<br />
RATES: $1 .00 per word, minimum $25, $15 extra<br />
for box number assignment. Send copy with checl<<br />
to BoxoFFiCE, P.O. Box 25485, Chicago, IL 60625,<br />
at least 60 days prior to publication.<br />
BOX NUMBER ADS: Reply to ads with box numbers<br />
by writing to <strong>Boxoffice</strong>, P.O. Box 25485,<br />
Chicago, IL 60625; put ad box number on letter<br />
and in lower-left comer of your envelope.<br />
maxn.>d<br />
HELP WANTED<br />
ARIZONA—Harkins Theatres has immediate openings<br />
for managers and assistant managers for our<br />
state-of-the-art luxury cinema complexes located in<br />
the Phoenix area and Sedona. Previous theatre management<br />
experience is preferred. Growing company<br />
with career opportunities. We offer superior benefits<br />
and salary. Send resume and salary history: Attn:<br />
Janel, Harkins Theatres, 8350 E. McDonald Dr., Suite<br />
2, Scottsdale, AZ 85250.<br />
CINEVISION CORPORATION is<br />
accepting applications<br />
for experienced technicians with knowledge of<br />
projection and sound equipment. Send resume and<br />
salary requirements to Carl Watkins at 3300 N.E.<br />
Expressway, BIdg. 2A, Atlanta, GA 30341<br />
LET THE GOVERNMENT FINANCE your new or<br />
existing small business. Grants/loans to $500,000.<br />
Free recorded message: (707) 448-0270. (RN7)<br />
MANAGER AND MANAGEMENT TRAINEE positions<br />
are available. We are people-oriented and believe<br />
that excellent customer service and<br />
state-of-the-art technology are the keys to success in<br />
the movie theatre/swap meet industry. We offer a wide<br />
variety of benefits, competitive salaries and opportunities<br />
for professional growth. Join our team as we<br />
expand in California, Nevada, Arizona, New Mexico,<br />
Utah, Texas, Colorado and beyond. If you are looking<br />
for growth and opportunity and have the enthusiasm<br />
and the ability to manage/motivate people, let us hear<br />
from you! Theatre/Swap or other management experience<br />
required and some college helpful. Send your<br />
resume and salary requirements to Century Theatres<br />
and Swaps, Attn: Human Resources—Job Code<br />
MGR0897, 1 50 Golden Gate Ave., San Francisco, CA<br />
941 02. No faxes or phone calls please.<br />
MUVICO THEATRES, INC. is<br />
looking for energetic<br />
individuals to join their management team in the<br />
Southeast region. Qualified candidates will have management<br />
experience in theatre, retail or food service<br />
industries. We offer a challenging career in a fast<br />
growing theatre circuit. Competitive salary, bonus and<br />
benefits. Relocation expenses will be paid. Replies<br />
held in the strictest confidence, please send resumes<br />
and salary history to: MUVICO THEATRES, INC.,<br />
9101 International Drive, Suite 2100, Orlando, FL<br />
32819, Attn: Carrie Dent.<br />
SEDONA, ARIZONA—Harkins Theatres is seeking a<br />
general managerfor our state-of-the-art luxury cinema<br />
complex in the picturesque resort community of<br />
Sedona, Arizona. Previous theatre management experience<br />
is preferred. We offer superior benefits and<br />
Eki^<br />
a salary range of $35-40K. Send resume and salary<br />
history: Attn: Janel, Harkins Theatres, 8350 E. Mc-<br />
Donald Dr., Suite 2, Scottsdale, AZ 85250.<br />
THEATRE MANAGEMENT OPPORTUNITY:<br />
Wallace Theatres, a nationally recognized regional<br />
theatre circuit, is seeking outstanding theatre management<br />
professionals to join our rapidly-growing organization<br />
as General Managers. If you are a team player,<br />
enjoy working with the public and are seeking a career<br />
and a future in the motion picture exhibition industry,<br />
send your resume to: Personnel Director, Wallace<br />
Theatre Corp., 3375 Koapaka St., Suite 345, Honolulu,<br />
HI 96819.<br />
EQUIPMENT FOR SALE<br />
16MM BELL AND HOWELL sound projectors. Fully<br />
automatic, latest models. $50.00 + UPS zone 08 to<br />
your zone, 45 lbs. All excellent and complete! Lloyd<br />
Muhr, 6927 Amherst Street, San Diego, CA 92115.<br />
(619)463-1149.<br />
1994 STEIN CONCESSION STAND cabinet including:<br />
three large candy cases, one ADA regulation<br />
height candy case, four drink stations, three popcorn<br />
warmers, one popper base, six cash drawer stations,<br />
one hot dog station, one nacho station, one hand sink<br />
station. One—two station box-office counter. Formica<br />
colors: teal sides & beige top. Stainless steel three<br />
compartment sink, ceiling-mounted, stainless steel<br />
grease hood, Evenrude water filtration system. EX-<br />
CELLENT condition and easily adaptable to fit any<br />
lobby design. Photos and blueprints available. Fax<br />
inquiries to Identity Updates: (612) 770-6323.<br />
ACOUSTIC SOUND PANELS & CUSTOM WALL<br />
DRAPERIES available in flameproofed colors and<br />
fabrics, artistic or plain. CINEMA CONSULTANTS &<br />
SERVICES INTERNATIONAL INC., P.O. Box 9672,<br />
Pittsburgh, PA 15226. Phone (412) 343-3900; Fax<br />
(412)343-2992.<br />
BURLAP WALL COVERING DRAPES: $2.05 per<br />
yard, flame retardant. Quantity discounts. Nurse &<br />
Co., Millbuty Rd., Oxford, MA 01540 (508) 832-4295.<br />
COMPLETE CONTENTS of two-screen theatre, over<br />
1 ,200 seats, Christie lamphouses, ticketing, projectors,<br />
amps, (some antique equipment), drapes, two air<br />
conditioners and water tower, everything must go.<br />
Call (888) 749-7500.<br />
COMPLETETHEATRE EQUIPMENT: (New, Used or<br />
Rebuilt) Century SA, R#, RCA 9030, 1040, 1050 Platters:<br />
2 and 5 Tier, Xenon Systems 1000-4000 Watt,<br />
Sound Systems mono and stereo, automations, ticket<br />
machines, curtain motors, electric rewinds, lenses,<br />
large screen video projectors. Plenty of used chairs.<br />
PROFESSIONAL SERVICE AND INSTALLATION<br />
AVAILABLE DOLBY CERTIFIED. Call Bill Younger,<br />
Cinema Equipment, Inc., 1375 N.W. 97th Ave.. Suite<br />
14, Miami, FL 33172. Phone (305) 594-0570. Fax<br />
(305) 592-6970. 1-800-848-8886.<br />
CUPHOLDER ARMREST. "State of the art. " Call Cy<br />
Young Industries Inc. 800-729-2610.<br />
EVERYTHING YOU NEED to start. Equipment in<br />
good working order to equip a minimum of two theatres.<br />
Includes approximately 500 seats and projection<br />
equipment from bankmpt theatre in S.E. Arizona.<br />
Many extras. For a complete list of the equipment, call<br />
(520)428-1341 or Em ail: jenny@aepnet.com.<br />
MICRO-FM^" STEREO RADIO Sound Systems for<br />
Drive-ln Theatres. Meets FCC part 15. Static free.<br />
Available soon: low cost Micro-FM-jr. For the hearing<br />
impaired. Call or write: AUDIO VISUAL SYSTEMS &<br />
ENG., 320 St. Louis Ave., Woonsocket, Rl 02895.<br />
Phone (401) 767-2080; Fax (401 ) 767-2081<br />
NEW, ligEXPENSIVE TICKETING AND CONCESSIONS<br />
SOFTWARE/HARDWARE llll Call (800)891-1031.<br />
PATRON TRAY. Fits into cupholder armrest. Call Cy<br />
Young Industries Inc. at 800- 729-2610.<br />
PROJECTION EQUIPMENT—Complete twin booth.<br />
Simplex XL houses, platters, automation, splk»r, etc.<br />
Call (301 ) 949-4761 .<br />
(301 ) 949-4763.<br />
TABLETTRAYS. Fits into all cupholder armrests. Used<br />
in multi-purpose theatres, bingo, etc. Call Cy Young<br />
Industries Inc. at 800-729-2610.<br />
TELEPHONE ANSWERING EQUIPMENT. All major<br />
brands of reliable, heavy-duty tape announcers and<br />
64 BOXOi'TICE
.<br />
I<br />
,<br />
Pinkston<br />
I<br />
TX<br />
j<br />
j<br />
! plain.<br />
!<br />
TERNATIONAL,<br />
:<br />
15226.(412)<br />
i<br />
;<br />
USED<br />
, from<br />
j<br />
program.<br />
1<br />
686-6060,<br />
800-955-SEAT,<br />
digital announcers are available at discounted prices.<br />
Please call Jim at Answering Machine Specialty, (800)<br />
222-7773.<br />
THEATRE EQUIPMENT FOR SALE or 5 screen theatre<br />
for lease to qualified tenant. 5 projection boottis,<br />
seats in excellent condition. Located in Riverview,<br />
Michigan. Call Ervin Steiner at (305) 292-1 622.<br />
USED 35MM E-7 PROJECTORS, RCA sound heads,<br />
Xenon lamps, rectifiers, amplifiers, HD bases, rewinds,<br />
manual and automatic, concession equipment<br />
as well as boxoffice. Call R. Negrette at (818) 362-<br />
1777. Prices reasonable and negotiable. Or write<br />
13926 Graber Ave., Sylmar, CA 91342.<br />
USED EQUIPMENT FOR SALE: Projectors, prewired<br />
stereo racks, platters, lamps, etc. Ask about our financing<br />
program. Premier Seating Co. Inc., 800-955-SEAT,<br />
fax (410) 686-6060, e-mail: pseating@aol.com.<br />
USED PROJECTION EQUIPMENT: Replacement<br />
equipment, single or multi booths available. Please<br />
call if you are purchasing or selling. CINEMA CON-<br />
SULTANTS & SERVICES INTERNATIONAL INC.,<br />
P.O. Box 9672, Pittsburgh, PA 1 5226. (412) 343-3900,<br />
fax (41 2) 343-2992.<br />
WILL TRADE: YOUR THEATRE SEATS FOR OUR<br />
USED THEATRE EQUIPMENT. Great condition at<br />
great prices. Platters, projectors, lamphouses, complete<br />
prewired stereo racks and much, much more.<br />
Premier Seating Co. Inc., 800-955-SEAT, fax (410)<br />
686-6060, e-mail: pseating@aol.com.<br />
EQUIPMENT WANTED<br />
PURCHASE OR TRADE: For your used theatre<br />
equipment, concession equipment, theatre seats. Ask<br />
about our storage facilities and our financing program.<br />
Premier Seating Co. Inc., 800-955-SEAT, fax (410)<br />
686-6060, e-mail: pseating@aol.com.<br />
VINTAGE TUBE TYPE AMPS, woofers, drivers,<br />
horns, parts, from Western Electric, Westrex, Altec,<br />
Jensen, JBL, EV, Tannoy, Mcintosh, Marantz. Phone<br />
David at (818) 441-3942. P.O. Box 80371, San Marino,<br />
CA 91 11 8-8371.<br />
WANTED!!! Used theatre equipment. Will buy ortrade<br />
and will pick up anywhere in the United States. Let US<br />
make YOU a deal. Cinevision Corporation, 3300 N.E.<br />
Expressway, BIdg. 2A, Atlanta, GA 30341. (770) 455-<br />
8988.<br />
WANTED DEAD OR ALIVE: We will purchase Century<br />
projectors or soundheads, new or old, complete<br />
or incomplete, for cash. Also interested in XL and<br />
SH-1000. Call (502) 499-0050. Fax (502) 499-0052,<br />
Hadden Theatre Supply Co., attn. Louis.<br />
WE WILL PURCHASE your used theatre equipment.<br />
Consignments, outright purchases, trades, what have<br />
you? There is only one INTERNATIONAL CINEMA<br />
EQUIPMENT COMPANY at one location in the USA.<br />
(305) 573-7339, Fax (305) 573-81 01 . www.iceco.com.<br />
SOFTWARE<br />
TICKETING SOFTWARE for IBM-PC. Complete software<br />
package designed for independents and small<br />
circuits. Point-Of-Sale ticketing for 1-12 movies with<br />
daily and weekly reporting system. Now in use at over<br />
60 theatre locations in the U.S. Use your own IBM<br />
compatible. We have inexpensive thennal printers,<br />
automated cash drawers and pole displays. Software<br />
from $399. Printers from $499. Call (615) 790-7797 for<br />
free demo or download now on our website at<br />
sensiblecinema.com.<br />
THEATRES FOR SALE/LEASE<br />
CALIFORNIA'S KERN RIVER VALLEY and Lake<br />
Isabella. Only theatre for entire area. Outstanding<br />
climate, recreation, schools. Clean, neat, efficient,<br />
with terrific picture and sound. Turnkey. Call Dennis at<br />
(760) 376-691 (theatre), or (760) 376-3605 (home).<br />
LIVE IN GODS COUNTRY. Established movie theatre<br />
business in Ely, Minnesota—heart of canoe country.<br />
Business benefitting from expanding tourism<br />
industry. $175,000. Call Kangas Realty, (218) 365-<br />
3236.<br />
OWNERS MUST SELL family-njn theatre and properties,<br />
located in a progressive fanning community.<br />
The building is 1 00 feet wide, located on Main Street.<br />
400 seat theatre in one side of the building, other side<br />
is a ready-to-be-finished shell. Asking $395K. Please<br />
call (941) 658-1 100.<br />
WORLD FAMOUS: Theatre for sale in<br />
the Valley of<br />
the Dinosaurs and the home of the worid-famous<br />
Royal Tyrrell museum, tourist location. 378 seats,<br />
newly renovated 1996, Dolby sound system, volume<br />
over $250,000. List $275,000. Drawing area 30,000.<br />
Lome Shapiro, Canalta Real Estate, Dmmheller, Alberta,<br />
Canada. (403) 823-2111.<br />
THEATRES WANTED<br />
LOOKING FOR SMALLER TOWN THEATRES—<br />
pref. in Northwestern states. All calls welcome. Call<br />
(509) 493-4779 days, (509) 493-31 1 3 evenings.<br />
DRIVE-IN CONSTRUCTION<br />
DRIVE-IN SCREEN TOWERS Since<br />
1945 Selby<br />
Products, Inc., P.O. Box 267, Richfield, Ohio 44286<br />
(330) 659-6631 , 800-647-6224.<br />
SCREEN TOWERS INTERNATIONAL New, used,<br />
transplanted, complete tower service. Box 399, Rogers,<br />
TX 76569. Phone: 800-642-3591<br />
THEATRE SEATING<br />
500^ PUSH BACK THEATRE SEATS with cuphoWers<br />
for sale. Great condition. Rust color. 4<br />
Cinemeccanica proj., 3 with tun-ets. (888) 341-1853,<br />
(760) 921-2245. Jim/Marilyn.<br />
ALLSTATE SEATING is a company that is specializing<br />
in refurbishing, complete painting, molded foam,<br />
tailor-made seat covers, installations, removals.<br />
Please call for pricing and spare parts for all types of<br />
theatre seating. Boston, MA. Phone (617) 268-2221,<br />
FAX (617) 268-7011.<br />
AUDITORIUM SEATING SPECIALIST. New installations,<br />
rebuilds, repairs and reasonable rates. Bob,<br />
(970) 224-1147. Perfection Seating Inc., 295 Lone<br />
Pine Creek Drive, Red Feather Lakes. CO 80545.<br />
"BOOSTER B. SAURUS170Child booster seats. Call<br />
Cy Young Industries Inc. at 800-729-2610.<br />
CHILD BOOSTER SEATS: Molded plastic,<br />
large<br />
quantity in stock, multiple colors available, will not<br />
deteriorate like booster bags. Premier Seating Co.<br />
Inc., 800-955-SEAT, fax (410) 686-6060, e-mail:<br />
pseating@aol.com.<br />
FINALLY, AN ALTERNATIVE TO ON-SITE UPHOL-<br />
STERY: Call us about our new upholstered backs and<br />
cushions by mail program. More cost-efficient than<br />
on-site upholsterers, fast turn-around, quality controlled<br />
in our 40,000 sq. ft. state-of-the-art factory.<br />
Premier Seating Co., 800-955-SEAT, fax (410) 686-<br />
6060, e-mail: pseating@aol.com.<br />
FOR SALE: 300 cushion theatre seats plus extra<br />
parts. All for $2,900. Rialto, Box 524, Terry, MT 59349.<br />
Phone (406) 635-5384.<br />
ON-SITE UPHOLSTERY and replacement covers.<br />
Parts available for many chairs. Our "Bakers Dozen"<br />
gives you 13 covers for the cost of 12. Nationwide<br />
service. Free samples. Call Complete Industries for<br />
pricing. (800) 252-6837.<br />
SEAT AND BACK COVERS: Most fabrics in stock.<br />
Molded cushions. Cy Young Industries, 800-729-2610.<br />
SEAT FOAMS: All makes/all models, fast turnaround.<br />
Premier Sealing Co. Inc., 800-955-SEAT, fax<br />
(410) 686-6060, e-mail: pseating@aol.com.<br />
SEATS CLEANED on site, $1.56-$2.36 per seat<br />
(coast to coast). Call (800) 879-2311, 24 hours, for<br />
brochure. The Carpet Cleaner, P.O. Box 154, Osceola,<br />
MO 64776.<br />
SEATS FOR SALE. American Stellars, great condition.<br />
Call (31 6) 794-2858 or (31 6) 650-2255.<br />
SEATS FOR SALE, excellent condition, Stellars and<br />
Massey. Call (301 ) 949-4761 . Fax (301 ) 949-4763.<br />
THEATRE SEAT AND BACK COVERS: Large instock<br />
fabric inventory, fast turn-around, competitive<br />
pricing at any quantity. Premier Seating Co. Inc.,<br />
800-955-SEAT, fax (410) 686-6060, e-mail: pseating@aol.com.<br />
Sensible Cinema<br />
Soft\A/are ®<br />
'r^ot.^ TICKETING SOFTWARE<br />
New Version 3.10<br />
Fast Thermal Printing<br />
Hourly, Daily & Weekly Reports<br />
Pole Display & Cash Drawer Support "$499<br />
-%««/ MARQUEE MANAGER<br />
AU. SEATS %\M<br />
CHEjKlASE<br />
LATESmw FM C SAT<br />
Creates Letter "Pick List-<br />
Recycles Old Letters<br />
Checks Letter Inventoiy<br />
Saves Time e 1 c;<br />
and errors! y 1<br />
WWW sensiblecinema.com 61 5-790-7797<br />
Response No. 135<br />
THEATRE SEAT RECONDFTIONING: Total or partial<br />
theatre seat restoration in our 40,000 sq. ft. state-of-theart<br />
factory, featuring sandblasting, powder-coating, and<br />
in-house upholstering. Restore your seats or purchase<br />
our inventory. Ask about our in-house financing<br />
Premier Seating Co. , fax (41 0)<br />
e-mail: pseating@aol.com.<br />
THEATRE SEATS WANTED: Will buy/trade for surplus<br />
and unwanted theatre seats, all makes and models.<br />
Premier Seating Co. Inc., 800-955-SEAT, fax<br />
(410) 686-6060, e-mail: pseafing@aol.com.<br />
AUDITORIUM CHAIRS: Choose from a large<br />
selection of different makes and models and colors,<br />
American Stellars and Irwin Citations competitively<br />
priced, shipped and installed. ACOUSTIC SOUND<br />
PANELS AND CUSTOM WALL DRAPERIES available<br />
in flameproofed colors and fabrics, artistic or<br />
CINEMA CONSULTANTS & SERVICES IN-<br />
Inc. P.O. Box 9672, Pittsburgh, PA<br />
343-3900, Fax (412) 343-2992.<br />
SERVICES<br />
ALTEC, JBL, E.V. SPEAKER RECONING: Factory<br />
authorized service, fast tumaround. We stock diaphragms<br />
for popular theatre drivers. Cardinal Sound<br />
& Motion Picture Systems. Dealer inquiries welcome.<br />
(301)595-8811.<br />
:<br />
FRONT END INSTALLATION with frames, motors<br />
and masking tracks. Call Cy Young Industries, 800-<br />
729-2610.<br />
MY 50TH YEAR with M.P.M.O., Local 249, Dallas,<br />
TXl! Call me, "Pinky" Pinkston, to rebuild yourCentury,<br />
Simplex projector and soundhead. Also, intennittents.<br />
Sales and Service, Rt 1, Box 72H, Sadler,<br />
76264. Or call (903) 523-4912.<br />
INDEPENDENT THEATRE BOOKING. Over 30<br />
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well-connected. Write: Chartes Boeckman, 22030A<br />
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(818)347-0963.<br />
SOUND/DRAPING FABRICS IN STOCK. All new<br />
selection of fabrics. Installation on brackets available,<br />
or sewn in pleated drapes. Call Cy Young Industries<br />
800-729-2610.<br />
SOUNDFOLDS & CURTAINS cleaned and fireproofed<br />
on site $.20-$. 40 per hung sq. ft. (coast to coast). Call<br />
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Cleaner, P.O. Box 1 54, Osceola, MO 64776.<br />
THEATRE PROJECTION and sound installation, service<br />
and upgrades. Most manufacturers. Reasonable<br />
rates. Call Tom at Wyse Guys Theatre Service, (888)<br />
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ULTRAFLAT. REFLECTORS: Why buy new when<br />
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February, 1998 65
tie lEis IPicture<br />
don't necessarily believe<br />
Wein omens, but it struck us as<br />
more than just an interesting<br />
coincidence that, at roughly the same<br />
time as our own recent management<br />
transition took place, a substantial<br />
piece of our own editorial history<br />
landed right in our laps.<br />
In the wake of the passing this past<br />
Shlyen, who was<br />
summer of Jesse<br />
BOXOFTICE magazine's managing<br />
editor from the<br />
'30s to the late<br />
'70s, we received a series of packages<br />
in our Hollywood office from Jesse's<br />
son, Steve. Steve had been in discussion<br />
with our recently departed editorin-chief<br />
Ray Greene since 1995 about<br />
his father's "papers"—random documents<br />
spanning the various periods of<br />
Jesse's involvement with BOXOF-<br />
FICE dating all the way back to the<br />
1920s. For the last 10 years of Jesse's<br />
hfe, Steve had been selflessly caring<br />
for Jesse, who was in declining health<br />
after a series of minor strokes. After<br />
Jesse's death, Steve moved ftom the<br />
home they had shared and took a personal<br />
inventory of Jesse's possessions,<br />
some of which he felt would be<br />
better served as part of the magazine's<br />
permanent archives.<br />
Jesse's BOXOFFICE effects arrived,<br />
unannounced, in nondescript<br />
boxes sent by regular mail. In our<br />
Hollywood offices, opening those<br />
containers felt like Christmas in October<br />
Because much of the Hollywood<br />
office's collection of its historic materials<br />
had been donated to the American<br />
Fihn Institute a number of years<br />
ago, our staff has had only occasional<br />
opf)ortunities to see anything other<br />
than reproductions of BOXOFFICE's<br />
early output. The first volume we<br />
opened was therefore a revelation: a<br />
bound set of perfectly preserved back issues dating all the way back<br />
to 1924, when the magazine was called The Reel Journal and the<br />
movies had yet to learn how to talk.<br />
The second volume was, if anything, even more precious. Its lead<br />
item: A mint condition issue dated May 4, 1933—our first national<br />
edition. The picture on the cover was familiar to us; we had<br />
reproduced it on the back of our 75th anniversary issue in 1995 by<br />
having a photostatic negative sent out to Hollywood courtesy of the<br />
BOXOFFICE archives at our Chicago home office. But holding that<br />
very i.s,sue in our hands and seeing in "the fu^t person" the beginning<br />
of the long and ongoing journalistic journey that has been passed to<br />
as was something else again: A truly moving experience is the<br />
sentimental but accurate and therefore only way it can be described.<br />
So many other objects of interest were packed into that handfiil<br />
of cartons. There were letters to our founder, Ben Shlyen, from<br />
famous movie and exhibition personalities, signed in their own<br />
hands. There were Barometer annuals spanning the '30s, the '40s,<br />
the '50s, the '6()s and the '70s. The whole history of exhibition and<br />
moviegoing has passed through these pages—a fact we're proud of,<br />
and of which we're intellectually, if not always emotionally, aware.<br />
UNCLE BEN: This never-before-published photo of our founder, Ben Shlyen,<br />
is Just part of the rich collection of BOXOFFICE materials recently bequeathed to us<br />
by longtime managing editor Jesse Shlyen via the kindness of his son Steve.<br />
In those boxes, so kindly sent to us by the son ofone ofour founders,<br />
that history lay sleeping, ready to Uve again.<br />
Ws<br />
re live in a world that is forever in transition. Permanence,<br />
to paraphrase Larry Gelbart, at times seems like something<br />
that holds up just twice in a row. Excitingly, our own fiiture<br />
is now a work in progress: For the first time in half a decade,<br />
BOXOFFICE finds itself in a period of reinvention, with new<br />
editorial blood on the masthead and old hands graduating to new<br />
responsibilities they are more than ready to assume. How<br />
strange, then, that— precisely as that transformation begins to take<br />
place—a vital connection with the journalistic traditions in which<br />
this publication is grounded arrived at our door.<br />
Call it karma, fate, dumb luck or what you will. We call it a rich<br />
reminder that, whatever we achieve here, we are standing on the<br />
shoulders of giants. And, as we move through the changes that the<br />
next thousand tomorrows may bring, the history in those boxes as<br />
well as the history you and we are making right now le;ids us to offer<br />
you this pledge: Now and for keeps, we'll do our very best to<br />
continue to live up to the view.<br />
—<br />
Elliot Forbes<br />
66 BoxomcE
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