Boxoffice-April.1998

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— see him pretending to be an aristocrat, pretending to be a don. And then I see him in the Zorro get-up. So 1 see this man in many different disguises, but I sense an attraction to each one. With my father, at one point Tony Hopkins and I have a very intimate scene in a stable, and it's a wonderful scene in that he knows that I'm his daughter. I'm aware that something is going on, and it could even be borderlining on a sexual thing. There's some attraction there with him, and I think it was a wonderful thing that Martin Campbell has put into this story which was the ideal of the Zorro and the mask and hiding behind the mask. In fact, the three main characters, and even the fourth, who is [former governor] Montero, the baddie, who I think is my father; We all are hiding, and trying to find something beyond the mask. Antonio has got a revenge, of his brother being killed by this Captain Love, this animal kind of guy. And Tony Hopkins has been betrayed bigtime—^his daughter has been stolen. And he has a passion for the truth and wanting people to know the truth. And me, I'm caught up in the middle and I fall in love with this man, but I don't know who he is and I want to find out what's behind that mask. And then I have to find out my real roots. So [Campbell] made an analogy, which is very symbolic, of people hiding behind masks, of secrets behind masks. Which is really a subplot—it wasn't on the page, but we created that in our working process. And I think it's really interesting. I grew up in a small community outside Swansea, a small city in the south of Wales in the U.K. I went to the same school from the age of 5 until I left, with the same teachers, in a big house. It was a very, very small town. I was passionate about the theatre. I was lucky to be bom in the same hometown as Dylan Thomas, so there was a Dylan Thomas CATHERINE ZETA-JONES: WOMAN IN EXPRESS I am actually the blood of Zorro. [Elena is] the daughter of Anthony Hopkins' character, and I do not know that. So I am taken to Spain and brought up in aristocracy and believe that I am from my [false] father's blood. But in fact I'm fiery; I have an earthiness to me, amongst all the regal attitude that I've been taught. There's a fieriness to my character, and she's a very rooted woman: She fights, she swordfights, she rides horses like a man, in the man's way of riding. So in that way there's lots more to the characterization than, you know, just sitting atop a horse and looking pretty. Which is great—because she's not the damsel in distress. She's a woman who will go out there and do as much as any man to get what she wants. So that was nice for me, because I wasn'tjust waiting for either one of the Zorros to come and fetch me and save me. Antonio's character and I are very attracted to each other, becau.se we're very similar in character. We have a very sexy swordfight in one of our encounters. And with Tony Hopkins' character I feel that there's some connection to this older man, but I am unaware until way later in the movie that he is actually my father. [The young Zorro j metamorphoses throughout the whole movie. Every time ! encounter Antonio, he's a different character. I first meet him as a bandit. The second time I meet him as the don, the bandit being the don—he has the kind of flippant buoyancy and decadence that the old Zorro had in the time. I theau^ group that I always belonged to. And I was in amateur dramatics, and I started studying dance when I was four years old. You obviously take half of yourself into [any role], but the great thing to me [about "The Mask of Zorro"] was that I was doing a Spanish accent. So it's a completely different sound, and the body language is completely different, for me. I have quite a very strong Welsh accent, so when I saw Martin's first cut it was really interesting that the Spanish accent [interrupting herself]—I mean, I'm from a very basic background, from a workingclass family. I'm not part of the British aristocracy in any way. We're very close, a big Irish-CatholicAVclsh family. People used to ask. Why did you start studying d;ince al the age of four— it sounds like your parents pushed you into this. But the actual fact is, in the local Catholic church around the comer from my house, there was a lady who still teaches dancing there, actually, and who's now a lifelong friend of mine. And I was so hyperactive as a child that that was the easiest way for me to exert myself in .some way, so that I would al least sleep at night. I have a quiet side to me, but I also have a frenetic energy that's unbelievable. H 46 BOXOFFICE
We sell your concession supply needs from A to Z MACHOS ^ POPCOM^ COMCESSION EQUIPA/IENT ^ CONCESSION CLASSICS JANITOrMii NowliAiiy 4 '^k^ V OFEC^ MamjfactilferS and Processors of HigfTmuality Consession ipplies GREAT wEsiEi^im^mms cammt 30290 US Hwy. 72 Hollywood, AL 35752 •Toll Free 800-239-2143 • Fax 205-574-2116 W ^Web: www.gw^lfoducts.com E-rpail: info@gwproductsxom Response No. 155
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Page 5 and 6: April, 1998 5 APRIL FEATURES 24 SUM
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Page 9 and 10: Response No. 23 ,„5»« •Bl »B
Page 11 and 12: I resent — simply SNACK ATTACK De
Page 13 and 14: If You're Looking For One Good Reas
Page 15 and 16: April, 1998 15 Catholic groups that
Page 17 and 18: Great innovation in 5 >itsawarcte;
Page 19 and 20: I THANKYOU To The Many Studios And
Page 21 and 22: The Greatest^^'^ . ^^ .ttedtoThea»
Page 23 and 24: Yowc projected income. Thousands of
Page 25 and 26: COLUMBIA/ TRISTAR gets ajump on the
Page 27 and 28: NOT ALL DIGITAL SOUND SYSTEMS ARE E
Page 29 and 30: . . Tuolce the Features At Half the
Page 31 and 32: THE POWER BEHIND THE SILVER SCREEN
Page 34 and 35: imi UNIVERSAL takes a one-per appro
Page 36 and 37: " THE OTHER INDEPENDENTS Miramax di
Page 38 and 39: WIRED WORLD: Siteseeing _........_
Page 40 and 41: Sneak Preview -^-^— i " CONFIDENC
Page 42 and 43: Cover UNMASKING "ZORRO" Zorro: It's
Page 44 and 45: 44 BOXUFFICK I ANTHONY HOPKINS: THE
Page 48 and 49: MARTIN CAMPBELL: THE TWO ZORROS In
Page 50 and 51: Exhibition Profile KERASOTES' KINGD
Page 52 and 53: 52 BOXOFFICK . — Dean describes t
Page 54 and 55: — Q&A: THEATRE DESIGN'S NEW DIMEN
Page 56 and 57: INDEPENDENT EXHIBITION SHOWCASE SHO
Page 58: 'show'ing, 'show'casing, 'show'ing
Page 61 and 62: isitusat Booth #711 t's closing tim
Page 63 and 64: i .i April, 1998 63 Who says there'
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Page 67 and 68: ; Roof com butter and falls at 1:10
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Page 75 and 76: 70th ANNUAL ACADEMY AWARDS BALLOT W
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Page 79 and 80: cz; CID LJ 1^ T" CZ> C~) \A/^ rsj H
Page 81 and 82: t^ THE BUSINESS MAGAZINE OF THE GLO
Page 83 and 84: 1 6 EDITOR-IN-CHIEF Kim Williamson
Page 85 and 86: Cost-effective Technology for a Com
Page 87 and 88: When it We're a tough act to follow
Page 89 and 90: I- FibreOptics imterimatioimal \/r
Page 91 and 92: ' banks, very Day Millions of Peopl
Page 93 and 94: LUCK (It's good business management
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\mazing things happen when you live
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1 '^ Day ShoWest Two: Wednesday, Ma
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"Dolby" and the double ^D" symbol a
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No Wastei Less Mess • No Clean Up
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Tonight, It's A Movie And A Play. N
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LkLLLLLkLLLLLLLLLLLL L k L L L \ TH
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1 7 PAVILION 1 BOOTH LIST JARCO IND
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WE'VE GOT IT ALL! Total Cinema Deve
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* OATCfJT Dcumur. " MSU JIGHTL %^nn
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PAVILION 1 BOOTH LIST 1 2 WILLMING
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i PAVILION 2 BOOTH LIST HAAGEN-DAZS
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. PAVILION 2 BOOTH LIST SPACE AGE B
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— paired except the Utah, Oklahom
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I I I I Extends I 2 the original so
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Abang, Merry Petrossian, Betty Polb
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screens and their low light. By ear
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. BUYERS DIRECTORY QUESTIONNAIRE AS
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From Out of the Spiritus Mundi Come
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StMS& A^ ^^R\CS A SOUND OUAHU ugw^w
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98 Park Avenue • P.O. Box 159 •
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Aoril. 1998 139 The Long Day's Jour
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RfiRnnnsfi No 29 FOR YEARS, OUR PRO
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T I C K t '^ • MOVIE 1 MARS Box O
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— its member benefits/internet co
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Response No. THEATRE EXHIBITION EQU
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Sony Pictures Entertainment Congrat
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Sony Pictures Entertainment Congrat
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sony pictures entertainment congrat
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Industry Awards Robert W. Selig Shd
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PARAMOUNT PICTURES CONGRATULATES TH
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UNIVERSAL PICTURES We Proudly Congr
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! Belinda Judson Ida Schreiber Awar
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National Amusements Barry Reardon B
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C I N E P L E X D E e Salutes Barry
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Congratuktions K Harhins Theatres
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APRIL FAXBACK SURVEY Win a Set of B
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— ShoWest 1 998 New Products Guid
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EXHIBITION BRIEFINGS LOEWS CINEPLEX
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\fkH Rnvnmr'i' 7 6 NATIONAL NEWS EL
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1 N
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177 Rr> vni-fir-r INTERNATIONAL NEW
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174 BOXOFFICK INTERNATIONAL NEWS BR
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176 (R-22) BuxoFFiCE — Do, Marrie
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— — SUNDANCE REVIEWS range Cass
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— — 1 SUNDANCE REVIEWS what's w
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— — — SUNDANCE REVIEWS Wonder
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— — — s SUNDANCE REVIEWS LOU
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— s — SUNDANCE REVIEWS But some
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190 (R-36) BoxoFncE 1 s «; TEXAS T
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a ^^-4^^- CASSARINO, INC. CINEMA SE
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— — " — — TORONTO REVIEWS M
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— — — TORONTO REVIEWS nist bu
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210 (R-56) Boxoffice FESTIVAL REVIE
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— — a REVIEWS Samuel L. ]ackson
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— — s — REVIEWS Elton John ge
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216 (R-62) BoxoniCE — — — REV
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, 2/13, 7 BOXOFFICE January Februar
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220 BoxonacE 73 7 BOXOFFICE Indepen
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T 1 Boxoffice Magazine presents Nov
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224 BoxoFncE 1 7 AICP 65 American L
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226 BoxomcE The lEia (Picture — H
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