Boxoffice-September.1997

REVEALED! THE 1998 BUYERS DIRECTORY! OVEF
1500 COMPANIES LISTED AND WE NAME NAMESi
THE STRAIGHT DOPE ON THE GLOBAL MOVIE BIZ! EPnMBER 1997, $6.95 1
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GO BEHIND
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TROUBLE!!! AN EXCLUSIVE PEEK!

I No. 3
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symtx>l is your assurance
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flip tfie switch). Unless, of course, it's
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Because every Christie
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the most stringent quality control
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on projectors or calibrations on optics, we know how
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SEPTEMBER, 1997 VOL. 133 NO. 9
ABOUT THIS ISSUE'S SPECIAL COVER...
To celebrate the release of Warner's tabloidesque "L.A. Confidential,"
BOXOFFICE has re-invented itself as a parody/homage of groundbreaking
'50s scandal sheet Confidential tVlagazine. See our Big
Picture feature (p. 146) and "L.A. Confidential" story (p. 18) for more.
THE 1998 BOXOFFICE BUYERS DIRECTORY
38 DISTRIBUTORS
An alphabetical listing of theatrical motion picture distributors.
56 MANUFACTURERS INDEX
Index of equipment and supplies, cross-referenced by merchandise
category. A 'table of contents' for our Manufacturers section (see
below). Includes individual page numbers for each company indexed.
62 MANUFACTURERS
Equipment and supply manufacturers, product reps and distributors.
78 DEALERS
Theatre equipment and supply dealers, listed by state.
84 ALLIED GOODS AND SERVICES
Suppliers of specialized goods and services. Arranged by product type
according to the following categories:
Merchandising

I
am
—
Last weekend I
LETTERS
went to my local theatre
to see "Con Air." As the movie started,
noticed that the picture went off the
sides of the screen. You guessed it. The
movie was in Scope and the screen was
wall-to-wall 1.85:1 Flat.
I asked the manager and he played dumb at
first, then told me it was a Scope picture on
a Flat screen. He said most people don't
notice and don't know any better, told me
not to tell anyone, and then gave me a free
pass.
This is a rip-off! The theatre in question is a
10-plex. Only two of the 10 screens can
show a Scope movie—the rest are cropped.
And they are preparing to build more of the
same design!
Who can be contacted in the industry to put
this problem right? I hope you care about this
as I do, and can do something about it.
Thanks,
Bob Meza
Valencia, Calif.
Thank YOU, Bob. We do care about this far
too common problem, which is why we've
run your letter at the top of this section. We
hope you don't mind that we've removed the
name of the circuit you mentioned to avoid
causing needless embarassment for it in
print. Our hunch is
that your letter will suffice
to remind them of your complaint. As to
who to contact in order to deal with this
problem: in our view, you already came to
the right place!
The projection article in the April '97
issue of BOXOFFICE was a benefit for
all projectionists. "Projection's Seven
Deadly Sins" by Sean Lohan is like a pocket
manual that all projectionists should have
hanging in the projection room. Mr. Lohan
listed so many of the important "don'ts"
most notably using shoe polish on prints to
distinguish splices! I myself was once told
that it was the best way to mark splices; I'm
glad to find written proof of my theory about
it ruining film!
possible, can you please publish info on
If
the National Film Service, headed by Mr.
Lohan? I trying to learn all I can about
being a projectionist, as I
would like to own
and operate my own theatre some day.
Thanks, and keep up the good work!
Philip Herman
Rockaway Beach, N.Y.
You'll find a listing for National Film Service
on page 93 in the ALLIED portion of this
issue's Buyers Directory.
was just doing some thinking. Print as
many of the following comments as you
Iwish;
—Re: "The Movie Palace Guard" (4/97): Not
a bad piece in the April '97 issue, but you
missed at least one F^ollywood palace: the
Pacific on Hollywood Boulevard between
Wilcox and Cahuenga. It's been closed in
recent years but will hopefu I
ly be re-opened
in mid-'98 by Tyrone Power's granddaughter...
—Probably the main reason for the closing
of many of the Hollywood single screens
was the opening of the GCC Galaxy multiplex
on Hollywood Boulevard in the early
'90s...
—Still waiting fortheconcessions revolution
to hit L.A. Yeah, we've got bottled water,
nachos, $2 bon-bons and ice cream bars,
smaller pre-packaged hot dogs and high
prices. But where are the branded goodies
you mentioned in "Appetite for Construction"
(4/97)?
—When is the IMAX and Iwerks theatre
revolution going to come?
—Hollywood creativity still seems to be directed
at the making of movies rather than
the showing of movies. Witness all the
shoebox screens with identical starting
times, ensuring long lines at the boxoffice to
accompany the high prices at the concession
stand...
—How about bringing back the double feature
with newsreels and cartoons instead of
a half-hour of previews? Also bring back the
drive-in (a great site in Hollywood would be
the deserted TAV building between Selma
and Sunset)...
—How about earlier starting times (7 to 9
a.m.) on Christmas? And why not have bargain
prices the whole day?
PS: All in all, yours is a good magazine,
except when you don't tell all sides of the
story. Don't your arms get tired from patting
yourselves on the back?
Gerald )anke
Hollywood, Calif.
Re: Our tired arms: They do, which is why
we'll let that comment stand.
Reeponso No. 9

Response No. 473
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BASED ON 9, FIVE-SCREEN THEATRES.
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BASED ON 60, FIVE-SCREEN THEATRES.
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BASED ON 1, ONE-SCREEN THEATRE.
Call us toU free today to find out hov\^ much you could
be making with Unique Screen Ad Productions:
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Guaranteed. We guarantee you'll make the money we promise by running
our screen ads. That's all. We sell and produce the ads. We pay for all the
equipment and install it. We guarantee how much we pay our theatre
owners before anyone signs on the dotted line. All you do is push a
button to run our localized, community-focused screen ads before each
movie and collect your checks. Indoor theatres only.
UNIQUE SCREEN AD PRODUCTIONS
P.O. Box 2165 • St. Cloud, MN 56302-2165 • 1-800-358-1818 • Fax:320-202-2916 • www.mediaproinc.com/usa.html

GREETINGS, LOYAL READER!
BUYERS DIRECTORY
QUESTIONNAIRE
Yes, another year has gone by. How do you know? Because you are about to read your copy of the 1 998 BOXOFFICE MAGAZINE
BUYERS DIRECTORY, the most complete reference information source of its l

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8 BOXOFFICK
1 be
HOLLYWOOD
UPDATES
Disney is "Barry" busy mal

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in
ntwtwfwv
HOLLYWOOD
REPORT
MIKE MYERS
"Me" Generation
HUGH GRANT
Always Well-'Groomed"
CHRISTINA RICCI
Attracted To "Opposite"
"JUST LIKE ME" An egomaniacal
womanizer fantasizes about
meeting a lady just like himself—and
his wish comes true.
Mike Myers ("Austin Powers: International
Man of Mystery")
will play a dual role as male and
female versions of the same person.
(New Line)
"ARKANSAS" Brad Pitt ("The
Devil's Own") will star in this
turn-of-the-century drama
about a cold-hearted sharecropper
who imports 25 orphans to
work his land. Billy Bob Thornton
("Sling Blade") is in talks to
direct. (DreamWorks)
"THE RELUCTANT GROOM"
Hugh Grant, who became famous
for playing a reluctant
groom in his breakout hit "Four
Weddings and a Funeral," will
play another hesitant hubby in
this romantic comedy. Grant
will play a man who is wary of
commitment, yet he marries a
woman who happens to feel the
same way. Later, they discover
their marriage was not legitimate,
and must decide whether
they should stay together or
break up. (Universal)
"OWD BOB" Colm Meaney
("Con Air") and James Cromwell
("Star Trek: First Contact")
will star in this drama about a
young American boy who goes
to live with his British grandfather
after his parents are killed.
Rodney Gibbons ("The Neighbor")
directs. (Distribution is to
be set)
"EYE OF THE BEHOLDER"
Ewan McGregor ("Trainspotting")
will play a private eye
tailing a woman who turns out
to be a serial killer in this black
comedy-thriller, to be directed
by "The Adventures of Priscilla,
Queen of the Desert's" Stephan
Elliott. (Distribution is to be set)
"HOLY MAN" Eddie
Murphy
("The Nutty Professor") will star
for director Stephen Herek
("101 Dalmatians") in this comedy
about a greedy program director
of a home shopping TV
show who tries to boost sales by
putting a guru on the air. (Buena
Vista)
"THE PATRIOT" Steven Seagal
continues to bring environmental
messages to moviegoers
while kicking bad guy ass, as
seen in "On Deadly Ground"
and the upcoming "Fire Down
Below." This time, he must save
millions from a biochemical terrorism
threat instigated by a fanatical
militia group. (Distribution
is to be set)
"THE THIN RED LINE" Director
Terrence Malick ("Badlands")
has assembled an all-star cast
including Woody Harrelson
("The People vs. Larry Flynt"),
Sean Penn ("She's So Lovely"),
John Travolta ("Face/Off"), Nick
Nolte ("Mother Night"), George
Clooney ("Batman & Robin"),
John Cusack ("Grosse Pointe
Blank"), Bill Pullman ("Lost
Highway") and Ben Chaplin
("The Truth About Cats and
Dogs") for this drama, which is
based on James Jones' autobiographical
novel about his experiences
in the battle of
Guadalcanal in 1942. Adrien
Brody ("The Last Time 1 Committed
Suicide") will portray
Corporal Fife, the character
based on Jones. (Fox)
"THE LEGEND OF THE PIANIST
ON THE OCEAN" Tim Roth
("Hoodlum") will star for director
Giuseppe Tornatore in this story
about a gifted pianist's career
aboard a cruise ship. Legendary
composer Ennio Morricone
("The Good, the Bad, and the
Ugly") will write the musical
score. (Distribution is to be set)
"THE ICE QUEEN" Sydney Pollack
("Sabrina") will direct this
drama, which will star Michelle
Pfeiffer ("Up Close and Personal")
as a drug enforcement
agent-slash-distaff James Bond.
(Columbia)
"A COOL DRY PLACE"
"Swingers'" Vince Vaughn has
signed to star in this drama,
about a lawyer whose wife
("Con Air's" Monica Potter)
leaves him and their young son.
He moves with his son to Kansas,
where he meets a new love
interest (Joey Lauren Adams of
"Chasing Amy"). Trouble arises
when the mother shows up one
day to reclaim the son. (Fox)
"SNAKE EYES" "Mission:
Impossible's" director Brian De
Palma and scripter David Koepp
will reteam in this film about a
corrupt city detective who becomes
a hero when he discovers
the man responsible for assassinating
the Secretary of Defense.
Nicolas Cage ("Face/Off") is attached
to star, and Tim Robbins
("Nothing to Lose") is in talks to
sign on. (Paramount)
"SCREAM AGAIN" Though her
character was killed off in the first
"Scream," Drew Barrymore will
be making a cameo in its sequel.
Neve Campbell, Courteney
Cox, David Arquette, Liev
Schreiber and Jamie Kennedy
will reprise their roles, and Jerry
O'Connell ("Jerry Maguire"),
Laurie Metcalf ("Dear God"),
Jada Pinkett ("Set It Off") and
Sarah Michelle Cellar (TV's
"Buffy the Vampire Slayer") will
also star. Director Wes Craven
and scripter Kevin Williamson
will also return. (Miramax)
"MY GIANT" Billy
Crystal
("Fathers' Day") will play an unscrupulous
agent who tries to
exploit a sweet but naive basketball
player (Washington Bullets
center Gheorghe Muresan) in
this comedy. Kathleen Quinlan
("Breakdown") will play the
agent's estranged wife. (Distribution
is to be set)
"SYLVIA" The off-Broadway
comedy hit about a dog who
causes jealousy in a marriage is
being brought to the bigscreen
with director Lawrence Kasdan
("French Kiss") at the helm. Steve
Martin and Diane Keaton, who
played husband and wife in the
"Father of the Bride" movies, will
again play spouses. The husband
sees the dog as an understanding
companion, while the wife views
the canine as competition. Her
stance is more understandable
given the fact that the role of the
dog was portrayed onstage by
Sarah Jessica Parker. The film incarnation
of the pulchritudinous
pooch has not yet been
cast. Martin will also script the
adaptation. (Paramount)
"THE OPPOSITE OF SEX" A girl
("That Darn Cat's" Christina
Ricci) runs away to see her gay
brother, but complications arise
when she gets involved with his
boyfriend. Lisa Kudrow ("Romy
and Michele's High School Reunion"),
Martin Donovan ("The
Portrait of a Lady"), Johnny
Galecki ("Suicide Kings") and
Lyie Lovett ("Ready to Wear")
also star. Don Roos, who wrote
"Boys on the Side," scripts and
makes his directorial debut.
(Distribution is to be set)
ET CETERA: Christopher Lloyd
will star as the titu lar extraterrestrial
in Buena Vista's "My Favorite
Martian." Jeff Daniels
will co-star as the reporter who
takes the martian into his home,
pretending the alien is his uncle
..."Lanai-Loa," a supernatural
ghost story that will be the first
release from Francis Ford
Coppola's and Wayne Wang's
production company. Chrome
Dragon, will shoot in China and
will star Angus MacFadyen
("Braveheart") as a cop who is
drawn intoa web of murder.. .Cas-
[jer Van Dien, Rod Steiger, Craig
Ferguson and Natasha Wagner
will star in "Revenant," a thriller
about hip vampires living In L.A.

!
m
Junior & Dot Together At Last
Two Concession Classics -Junior Mint^ and
Mason Dot^ - are appearing together at theatres
around the country. Dots' super assortment of five
of movie goer's for years. Make sure your concession
features the double selling power of these
two favorites - Junior and Dot together at last!
fruit flavors and Junior Mints' creamy
combination of cool mint and dark
milk chocolate have been the choice
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/*-

1 "J Hi\vf\tnnrv
Cover
MODERN MAJOR
General Cinema Celebrates 75 Years
By Looking to the Future by Pat Kramer
Covet photo by Richard O'Rourke

Spntpmhpr 10Q7
I"?
BoxoFFiCE asked some of the employees of General
When
Cinema Theatres (GCT) what has most contributed to the
company's success in 75 years of service, the answer we kept
receiving was "good customer service—General Cinema listens to its
customers." (See related story, page 16). Known as a family-oriented
exhibition circuit throughout its three-quarters of a century in business.
General Cinema's mission statement remains. "Service first, entertainment
always." Says Paul Del Rossi, president and CEO of GCT (the
seventh largest circuit in the country, according to Boxoffice's last
Giants of Exhibition poll). "We think of ourselves as an entertainment
company, not just an exhibition circuit. What we strive for in
our business strategy is servicing the customer. People can go
anywhere to a movie theatre. We want them to come to our theatre.
How do we distinguish it? By the quahty of our service."
A family-owned business now in its third generation.
General Cinema Theatres was founded
in the Greater Boston area in
1922 by the late
Philip Smith. Known as a businessman with a
keen farsightedness. Smith opened one ofthe first
successfiil "auto theatres" in the U.S. in 1935,
paving the way for the growth of the chain, then
known as Midwest Drive-ins.
By the "50s, Philip and his son. Richard, continued
GCT's tradition of trend-setting, seizing
upon what they saw as the next major trend in
consumer habits: the shopping mall. Built in
1 95 1 . GCT's single-screen Framingham Cinema
at Shoppers World in Framingham. Mass., is
believeid to have been the first suburban theatre
located in the same complex as a shopping center.
The convenience of dining and shopping around
the moviegoing experience proved so popular
that, by 1%6, GCT was the largest shopping
center theatre operator in the country, according
to Del Rossi.
With their exhibition chain thriving, the Smith
family began diversifying their business interests
in the late 50s, opening drive-in restaurants,
coffee shops and bowling alleys. In 1960, the
company went public, and changed its name to
General Drive-ins. Then, as further acquisitions
were made, the company became known as General
Cinema Corporation (GCC).
Through the '60s, '70s and '80s. GCC invested
in radio and TV stations and retail fumimre showrooms,
and helped finance several films. But the
business which brought the greatest returns was
American Beverage Corporation, which they
purchased in "68, leading to the formation of
GCC Beverages. By 1989, when they sold the
company, they had grown from five production
facilities in three states to 20 in 29 states, making
them the largest independent soft drink bolder in the nation and Pepsi's
largest franchisee.
GCC's other core businesses include the Neiman Marcus Group
(which includes Neiman Marcus. Bergdorf Goodman and Contempo
Casuals specialty retail stores) ;uid the publishing company Harcourt
Brace Jovanovich. With their acquisition of the publishing company in
'91 , the company name changed again from General Cinema Corporation
to Harcourt General. General Cinema Theatres was then spun off
from the main company, Harcourt General, and now operates as a
division of General Cinema Companies, Inc. (The familiar GCC logo
refers to General Cinemas Companies, though the theatre arm refers to
itself as GCT).
Still a family-run business, Richard Smith is chairman and CEO of
GCC, while his son, Rob, serves as president and COO of GCC. Over
at General Cinema Theatres, the "Johnny Come Lately" (as he refers to
himselO in the Smith family business is president and CEO Paul Del
"People can go
anywhere to a movie
theatre. We want them
to come to our theatre.
How do we distinguish
it? By the quality of
our service."
—Paul Del Rossi
Rossi. Del Rossi joined the company 17 years ago, after working in the
vennjre capital business with The Boston Company and at national
management consulting firm Arthur D. Little. By contributing expertise
from outside the exhibition industry, Del Rossi says he's been able to
bring different ideas to the business. But he notes that film has always
been a passion: Since the time he saw his first animated Disney fUm,
he's always had a love for the movies.
As the driving force behind the continued success and growth of the
Chestnut Hill, Mass.-based exhibition circuit (currendy with 1,250
screens in 1 86 locations in 24 states), Del Rossi has continued to uphold
General Cinema's "Service first, entertainment always" goal. Citing the
Smith family's historical precedent in presenting new innovations to the
market, Del Rossi says, "We've always been a leader in sight and sound
developments. We were the first theatre circuit to install THX sound
systems in 1985 . And there's always been a focus
on providing exemplary customer service."
With the current massive increase in movie
theatres in the U.S., Del Rossi beheves innovation
is key to remaining competitive in a market
whose screen count has tripled over the past two
decades. "The way you combat this is in [providing]
service and innovation: audiovisual innovation,
theatre design innovation, and where you
locate your theatres—in or near entertainment
retail."
GCT's five-yearplan for their rapidly-growing
circuit includes 350 to 400 new screens, all
equipped with digital sound and stadium seating.
GCT is also looking at international expansion in
Europe and Latin America.
The circuit's biggest new news is a recendyinked
partnership agreement with Robert
Redford's Sundance Group, under which they'll
be building a new chain called Sundance Cinemas.
Located in city and suburban areas as well
as in college towns, the cinemas will be art-house
theatres with six to 10 screens, the first of which
Del Rossi hopes to have up and running within a
year.
O:
ne of GCT's newest multiplexes, the
Northbrook Court 14, located in a suburb
of Chicago, 111., exemplifies how far exhibition
can go. The Northbrook Court 14 is
situated in an upscale shopping mall, offering an
expanded entertainment experience. Says Frank
Mack, general manager of the theatre,
"Northbrook has all the latest, state-of-the-art
items that f)eople want in a theatre." This includes
two self-serve concession stands selling branded
items like Starbucks coffees and Pizzeria Uno.
The theatres, with stadium seating for a total of
3,25 1 patrons, are located on two levels, with a cafe on the mid-level.
Two of the auditoriums are THX-certified, and all 14 theatres are
equipped to provide all three digital-sound capabilities. Ten mobile
digital systems are available; five Dolby Digital, three DTS, and two
SDDS. By having them on movable carts. Mack says they can provide
whatever sound system is needed for a particular feature.
Since its grand opening last November, the Northbrook Court 14 has
been very successful. Says Mack. "The town of Northbrook is, I think,
very pleased with the design of the theatre. It's very glitzy in its look
and the way it's laid out. It lends a lot of mystique to Northbrook. Many
people are in awe over the look of the theatre and concept."
The design, however, is but a small part of the overall appeal. In
keeping with the GCT philosophy of service and family-oriented
programming, Northbrook launched their highly-successful "Summer
Movie Camp" program in June. The eight-week series featured weekly
matinees at 10:00 a.m. and noon, with games, prizes, singalongs and

14 BoxoFurK
TRUE BLUE: The lobby of General Cinema's Framingham 14 in Framingham, Mass. (PHOTO: Richard O'Rourke)
special guests in conjunction with the feature showing. Ronald McDonald
and Chuck E. Cheese made appearances, and demonstrations were
given by a local fire department. For the low admission price of $2.50,
the kids got a full show as well as free popcorn and a drink.
'To service the community," says Mack, "we try to provide tie-ias
with vendors for discount coupoas at the concession stands as well as
tie-ins with the adjacent stores in the mall." Through this type of
exchange, fxjsitive relations are also
built with area businesses. He adds,
"We are really reaching out to what the
customers expect when they go to see
afilm. It's very important that everyone
get their money's worth. People come
to the movies as an escape and they
want two hours ofenjoyment—and everything
has to be perfect. It has to be
fine-tuned to make the event special,
with excellent customer service. The
presentation mast be flawless and employees
and management must be focused
on the fact that the moviegoing
experience must be second to none."
Calling his chosen line of work "enjoyable,"
Mack notes that, while the hours are sometimes long, he enjoys
working with the public and his staff" to create the enthusiasm that's needed
to make the theatre successful. That quality, says Del Rossi, is an essential
element in the people who work for General Cinema. "One of the things I
try to do is find the best pos.sible managem and give them an opportunity
to go as far as they can in the bu.sine.ss," he says. In that rcgard, Del Rossi
says, "We've always been known as a fertile training gn)und for entertainment
industry executives," pointing to a li.st of distinguished Cicncral
Cinema alumni, including Chuck Viane, senior vice presidcnl and general
sales manager of Buena VLsia Pictures Di.stributing; Jim Tharp, president of
DreamWorks distribution; Tom Sherak, chairman of 2()th Centuiy Hjx
Domestic Film Group and senior executive vice pnwident of Fox Filmed
Entertainment; and Bany Rcardon, president of Wamer Bros. Distributing.
Given the track record of sonw of General Cinema's former employees'
"The movies have always been
a place of enjoyment, fantasy,
escape. Our role in the industry
is to perpetuate that. I
want
our company to be recognized
as the 'best in class.'"
success in the entertainment business, Del Rossi says the Smith family
has created a company where the f)eople hired are top-flight "I think
[the caliber of GCT's personnel] is really the hallmark [of the company],
and it shows by where these people have ended up," he observes.
Of General Cinema's long-term success in exhibition, Del Rossi says.
"We are part of one of the mainstream cultural themes in the country:
the movies. The movies have always been a place ofenjoyment, fantasy,
escape. Our role in the indusU^ is to
perpetuate that. I want our company to
be recognized by theatregoers, our competitors,
and the .studios as the 'best in
class.' We want to be right up there at the
top when they think of companies that
exemplify the moviegoing experience."
In keeping with the Smith family 'squest
to be innovative, this December, GCT
opens their newest multiplex: a 16-screen
theatre (renovated Itxmti a former six-.screen
theiitre) located at Chicago's Yorktown
Mall. "Rvo of the
16 auditoriums will be
"premium" thejUres with deluxe accommodations
for 1 50 patrons. With very large,
over-stuffed chairs and extra leg nxim, the
theatres are being built with comfort in mind. Tickets will be av;iilablc
by advance reservation, and food and beverage service will be provided
by cafe Iwated between the two theatres. Seat-side food service will
also be available, with orders taken right at the scats. Del Rossi likeas
this experience to "flying finit class." Based upon the demand for this type
oftheatre. General Cinemas wi 11 be kx>king to dupl icate the premium theaane
concept, retrofitting some of their existing tlicatres.
With innovation always in the forefront of CiCT's plans. Del Rossi
notes thai their basic philosophy hasn't changed since the business was
founded in the '20s. "At the end of the day in this indusu^ it's pretty
simple: create the best possible moviegoing experience. Sometimes it's
the technology, sometimes it's what's on the screen, sometimes it's
customer service—making a person feel welcome. Those things really
haven't changed."

K
^>^
I
E
DISGUSTINGLY LARGE COLLECT!
.ANTA, GA - Week ending 6/2/97
HOUSE OF DEAD
Wiff.

1A
R/lV#kL*L*ir*L'
GENERAL INFORMATION
Northbrook Court 14 Staff Members Reveal
Secrets of GCT's Success by Pat Kramer
General Cinema's Northbrook Court 14 in Northbrook. ;/ (PHOTO; Richard Rourke)
Frank Mack, Northbrook Court 14
General Manager
What do you like about the exhibition
business?
I think it's exciting. Movies always seem to
be the talk of Monday morning conversations.
[It's great] just to be a part of that, the openings,
especially with big blockbusters. It's an everchanging
business. It's very intriguing and
there's always something new to plan for.
What is most fulfilling about your job?
The idea of supplying a means of entertainment
to the public—the satisfaction that you
see on their faces as they walk out of the theatre
[which demonstrates] that we're successful in
creating a good escape environment for our
patrons.
What is it about General Cinema that's
enabled the mmpany to be successful for
the past 75 years?
1 think it starts as the top: the upper management
has always been solid and supportive of
the industry. They've really been very innovative
with different concepts and through those
opportunities of change, they've stayed ahead
of the competition, always trying to obtain a
better means of providing the customers with
more than just the movie.
Steve Fischel, Senior Supervisor
What do you like about the exhibition
business?
It's a rewarding, exciting business. It's interesting
seeing different movies that come out,
seeing different people who come out and
enjoy our movies.
What is most fulfilling about your job?
Working with great management, seeing
what people like to see, seeing return customers
back for
other mov-
their
satisfaction.
seeing
ies,
What is
it about
General
Cinema
that's enabled
it to
be successful
for the
past 75
years?
Customer service has always been number
one. We take care of our customers—we
treat them as if they are a guest in our house,
not as a customer.
Brandy Werner, Cashier
What do you like about the exhibition
business?
I love it. I've been with this company for
five years, off and on. i love being able to
see people's reactions to the movies. I love
seeing people enjoy their entertainment.
What is most fulfilling about your job?
Seeing the faces of the little kids when they
come out. I have four nieces and 1 love taking
them to the movies, seeing their new experiences.
Adults
are funny too,
with their reactions
to special
effects.
What is it
about GCT
that's enabled
it to be
successful
for the past
75 years?
1 believe
they listen to
their cu.stomers.
If a customer
suggests something, they take it into
consideration and they go through all the channels,
trying to do what their customers would
like them to do.
John Vance, Chief Projectionist
What do you like about the exhibition
business?
I've been in this business for 32 years and
have seen many ups and downs. Today, we're
a very viable industry. There are so many new
and exciting technological advances coming
on board and it greatly enhances the moviegoing
experience for our customers.
What is most fulfilling about your job?
I love to see a full auditorium and I like to
see the audience totally involved in the film,
whether they're gasping or laughing. 1 take
pride that in some small way, I helped coninhute
to their enjoyment.
What Is it about (;CT that's enabled it to
be successful for tlie pa.st 75 years?
Customer satisfaction, clean ;uid well-maintained
theatres, quality presentations, and professionalism.
They're very concerned about
the patrons and the job that's done and the fact
that customers are getting a gixxl presentation
and are happy.
^H

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Response No. 467

"
1« BOXOFFICE
—
Sneak Preview
BLOOD
&THUNDER
Cult Mystery Author JAMES
ELLROY's Tough, Bloody
Vision At Last Makes it to
the Screen with Warner's
"L.A. CONFIDENTIAL"
by Ray Greene
"What I want in a story is psychological
gravity, plot density. I want deeply ambiguous,
darkly driven, deeply committed, passionate
men, riding the wave of history on a huge
canvas. And I hate the noble loner myth.
"I am a 49-year-old white man, basically
conservative in temperament. I am Protestant
to the core. And I would rather err on the side
of authority. I respect cops much more than I
dislike them. I understand the ambiguities inherent
in their lives. I understand the corruption
ofinstitutions. And I understand the
impose
passion of men who need to
authority on other people because their
inner lives are chaotic. I see my vision
as moral.
The
Argyle Hotel (aka The Sunset
Tower) is one of those rare spaces
in the changeable L.A. landscape
where history seems to stand still. It's an
art deco masterpiece—the kind of
building that defined L.A. architecture
before a post-WWII mania for prefabricated
functionalism joined forces with
L.A.'s pervasive contempt for its own
past in an autodestruct act that consigned
many of the most beautiful structures
the town would ever see to the wrecking
ball.
The Argyle survived all that— just barely,
and thanks only to a last-minute infusion of
foreign capital in
1986. To walk through the
hotel's doors is to rub shoulders with ghosts
the outsize kind, the jumbo variety.
John Wayne lived here for awhile, and tTyf>tic
billionaire Howard Hughes haunted the
Argyle's halls before retiring to weirdo obli\ -
ion in his penthouse on the Vegas Strip. Paulette
Godard, ZaSu Pitts, Joe Schenck, Billie
Burke, all left their signatures in the Aigyle's
guestbook, as did that most Hollywood of
Hollywood gangsters, the redoubtable Benjamin
"Bugsy" Siegel, en route to his premature
death by gunfire in a Beverly Hills mansion.
The interior is a perfect presentation of a
vanished time, right down to the elevator doors
and ashtrays. It feels like any door could open
onto a black and white, Tinseltown world of
/ hate the noble loner
myth. My guys are the
toadies of the fascist
system. To me, that's
crime fiction in the
twentieth century,
impossible violence or unthinkable romance.
Pressed for an adjective , a certai n kind of wri ter
might describe the effect as "Chandlere.sque."
But not James Ellroy, contemporary king of
a noiripu\p literary netherworld still most associated
with Raymond Chandler in the popular
mind. A cult crime novelist who has
managed the leap into the critical and popular
mainstream Chandler himself never pulled — off,
the bulk of Ellroy "s signature worLs "The
Black Dahlia,"
'The Big Nowhere," "L.A.
Confidential" and "White Jazz," popularly referred
to as Ellroy's "L.A. Quartet," as well as
six earlier novels—have often been likened to
Chandler, owing to their L.A. milieus and the
fact that they revolve around the investigation
of violent crime. It's an obvious if unjustified
analogy, and one Ellroy has never been comfortable
with; "Chandleresque" could easily be
this particular wordsmith's least favorite word.
"Ah, f-k," he says, leaning back against a
chair in the bookless room the Argyle
refers to as its "library." 'That c-ks~
ker." Ellroy sits bolt upright, his eyes
gone serious beneath his wire rim
glasses. "I'm not a fan. 1 reread Chandler
as an adult—I loved him as a kid—and
I was amazed how little Chandler knew
about people. I was amazed at how slipshod
his plots were, and how often his
fabled style just didn't work. 1 thought
the stories were schmaltzy, coniy and
filled with male self-pity. My guys are
the toadies of the fascist system. To me,
that's crime fiction in the 20th century.
"I understand Chandler's popularity,"
Ellroy adds. "I understand how easy it is
for contemporary writers to adapt his
stuff to their particular prejudices. Thus you' ve
got the black private eye who sees all, who's
noble, who exists outside the mainstream with
the X-ray eye vision into everything petty and
corrupt and meanspirited. Or the lesbian private
eye or the gay private eye or the Chinese
private eye or the lesbian, gay, handicapped,
Chinese, gay, black, Irish-Catholic private eye.
I don't buy it at all. I think it's acheap shot, and
cheap shit all the way."

Obviously. Ellroy is a man of strong
opinions. A writer who knows his own
mind, and hasn't a qualm about expressing
it. He has an extremely high opinion
of his output: he once referred to himself as
"the greatest crime novelist who ever lived,"
then said he regretted the self-description only
because it was too limited to the genre that
made him a star.
To the growing readership that follows his
work, the cocksure attitude is completely justified.
EUroy's intricate, complex policiers are
like nothing anyone else in contemporary fiction
is trying to do: as plot-driven as an airport
paperback, but as complicated as a cubist
painting, as dense and lyrical as a fugue.
"L.A. Confidential"—the first of his major
works to make it to the bigscreen and the
nominal subject under consideration on this
hot July afternoon—is a perfect case in point.
Set in '50s L.A. against a backdrop involving
multiple
murders, scandal sheet journalism,
highjacked heroin, extra-legal poUce intrigue,
and a Hollywood prostitution racket that
makes Heidi Fleiss look like a boulevard pavement
pounder, the screen version of "L.A.
Confidential" has more plotlines than mostTV
mini-series. There are not one but three "hero
cop" protagonists, and in true Etiioy fashion,
each is deeply, almost desperately flawed. Bud
White (played by Russell Crowe in the film)
is a part-time vigilante who likes to find and
punish wife abusers because ofa horrific secret
in his own past: as a child, he watched his father
beat his mother to death with a tire iron, then
spent four days handcuffed to a bed while the
body decomposed before his eyes. Ed Exley
(Guy Pearce) is both a brilliant investigator and
an ambitious martinet willing to rat out other
officers to advance his career. For supershck
detective Jack Vincennes (Kevin Spacey),
money-grubbing pubUcity stunts are his real
profession: adviser to the "Dragnet"-like TV
series "Badge of Honor," he keeps his name in
the papers by accepting payola from a Confidential
Magazine-like tabloid called Hush
Hush in exchange for providing photo-op
busts of celebrity dopers.
At two hours and 16 minutes, "L.A. Confidential"
is already long by Hollywood release
standards. Even at that length, halfEllroy 's plot
was left out. A child-murdering serial killer is
missing in action—one "Dr. Frankenstein,"
known for his attempt to assemble a perfect
playmate out of body parts butchered fixDm his
prepubescent victims. The bastard offspring of
the Walt Disney-esque animation king Raymond
Dieterling and the sordid creation of
Dieterling's movie-driven '50s theme park
Dream-a-Dreamland have also been excised.
EUroy-authored love interests for Vincennes
and Exley are absent—a singularly significant
omission, given that Elkoy describes the moral
ai^ument of his work in terms of the fact diat
"all my guys are capable of love and dying to
give it up for some woman... All my guys are
chumps for love."
"My dialogue is there in force," says Ellroy
of the screen adaptation, "but it's been reworked.
My characters have been pushed to
the background, moved to the forefront.
plotUnes
have been
cut, jiggled, reworked
extensively...
None of the guys
have the extensive
character arc that
they do in the book.
And they can't possibly.
Unless you were
to have made a movie
that's two or three
times as long, and
that would cover the
entire [event structure
of the novel]."
The bottom line is
that Ellroy's novels
are just too damn big
for the movies—or so
their author once
thought. "My agent
and I laughed like
hell when we sold the
movie option to [producer]
David Wolper.
'How's anybody ever
going to adapt this
thing for the movies?'"
Enter Curtis Hanson,
director of "The
Hand That Rocks the
Cradle"
and "The River Wild." A self-described
EUroy freak who has said of the author
that "his is the quintessential voice of L.A.,"
Hanson impressed Elkoy right fixjm the start
as somebody who just might be able to do the
impossible by successfully translating his
work to the screen.
"Curtis Hanson came to me only when he
was reasonably sure that the film would be
made," says Ellroy, whose works (most notably
"The Black DaMia") have been optioned
in the past only to languish for years in that
bottomless Hollywood maw known as "development
hell." "I liked the guy immediately... I
read two drafts of the script, [and] at the time
I thought, 'I wouldn't do it this way.' But at the
same time I knew ftiU well I'm not a filmmaker.
I don't want to be a filmmaker. I don't aspire
to be a filmmaker in any way, shape, manner
or form."
Visiting the set of "L.A. Confidential" and
seeing characters which he had lived with for
so long made flesh was a revelation to Elbxjy.
"I went to the set and I saw Paul Guilfoyle play
[real-Ufe gangster] Mickey Cohen. Here's a
man who looks rather as Mickey Cohen did in
the early
1950s, coming down the City Hall
steps—in period garb, surrounded by period
automobiles. It was a wonderfully dense little
piece of footage.
"Then Curtis had me out to the editing room
and showed me about seven minutes of the
film, and I had my first startiing minute with
it, which was seeing James Cromwell as [corrupt
poUce captain] Dudley Smith. Here's a
character who appears in more books than any
other one of my characters— 'Clandestine,'
'The Big Nowhere,' 'L.A. Confidential' and
'White Jazz.' Here's this [actor] who's im-
This picture of me 10-year-old James Ellroy was taken by a news
photographer just moments after he learned of his mother's death.
periously tall—about six-foot-six or seven,
cocky, intelligent, sandy-haired, great looking
in his way, with the same brogue that I gave
[the character] in four of my books. 'Whoa!
What's that?'"
Ellroy might have been expected to object
to the necessary changes that had been made
to make "L.A. Confidential" work onscreen.
He is, after all, a writer who prides himself on
the sheer construction of his work, and who
has said repeatedly that, in his fiction, "every
word means something." But Hanson's devotion
to the spirit ifnot the letter of Ellroy's story
paid off. "I love the movie," Ellroy says. "WTiat
you've got is an amazingly dense, mysterious,
complex ensemble piece... It's a work of art
that exists on its own level, [but at the same
time] it's recognizably me."
Asked if potential readers unfamiliar with
his more compUcated and far more violent
novels will find the movie version of "L.A.
Confidential" a fair introduction to his work,
Ellroy doesn't miss a beat.
"I've long contended
that hard-boiled crime fiction is the
story of bad white men doing bad things in the
name of authority," he says. "I think people get
that point... People that say, 'Boy, that was
really good, I want more' will be able to walk
out of the theatre and into the Barnes & Noble
there in the mall and buy not only the movie
tie-in edition of 'L.A. Confidential,' but Curtis
Hanson and Brian Helgeland's screenplay,
which is being published, and 'My Dark
Places' in trade paperback as well."
M!
-y Dark Places" is a subject unto itself.
Ellroy's most recent book-length
.work and also his bestselling volume
ever, it departs from the overall pattern of his

I
'
! that
//CONFIDENTIAL" CHAT
Bomandraisedin L>s Angeles. Curtis Hanson was
a natural to direct the screen version of James
Eltroy's novel "LA. Confidential. " In culdition to
being a native son, Hanson was also a longtime fan of
Ellroy's work And thougli he'd never directed a period
movie before, lie was on familiar ground with the story's
motifs ofdeception, betrayal, and violence.
Han.son. whose previous work includes "The Bedroom
Wmdow; " "Tlie Hand Tliat Rocks the Cradle, " "Bad
Influence" and "The River Wild," is a writer/director
who .specializes in exposing the dark iindercunvnts beneath
.seemingly calm surfaces. So great was his ajfmity
for the project tliat Hanson signed on as director, coscreenwriter,
co-producer, and music superxison The
director says the result is his most personal film to date.
BOXOFFICE: How did you approach the task of
adapting such a dease, complex novel to the screen?
CURTIS HANSON: 1 was fortunate to find a gifted
collaborator in [co-scripter] Brian Helgeland. Brian had
been pursuing "L.A. Confidential" independent of me.
and in fact he was going to pitch it to Warners. But then
he learned that I was already doing it. So he came to me
and we talked it over. And it was a huge advantage because not only is Brian a really talented
writer, but he also loved Ellroy's book. When we were working together we"d be each other's
watchdog. We would try to be as mje as we could to the characters and sacrifice what we needed
of the plot without sacrificing the moments of character And 1 tliink that's what impressed
Elli-oy—the script was still in his voice, which was important because that's what brought us
there in the first place.
BOXOFFICE: How important to you was the look of "L.A. Confidential"?
HANSON: It was important that it seem authentic, but I didn't want the period aspect of the
story to overwhelm the audience. When I started out, every time I met with a potential
collaborator, I gave a photo presentation of archival shots of L.A. from the 1 950s that essentially
represented my vision of the film. Once we were in preproduction, I would show the creative
team a film a week, such as Nick Ray's "In a Lonely Place" and Robert Aldrich's "Kiss Me
Deadly"—films that were contemporary to the time.
BOXOFFICE: With urban crime, police corruption and amoral characters, you're
dealing with a lot of film noir themes here, and yet clearly you decided not to go with a
noir-.style mise-en-scene.
HANSON: That's tnje. We were very deliberately not doing a film that was about a noir
mood. True noir, of course, expresses a certain attitude that is dark and full of fatalism, but also
an attitude that was organic to the time that it was made. To do that tcxlay would be phony. The
worid is different today, and I wasn't interested in doing an homage to something that doesn't
exist anymore. The point was to create a story that, like Ellroy's book, is set in the past but not
(rf the past. The "SOs was actually a very forward-looking period in Los Angeles, and I wanted
to show in the film.
BOXOFFICE: The film's masic Is also typical of the period. What guided your selection
process for the songs?
HANSON: I had picked many of the songs before we started shooting, because I wanted
them to help define characters and enhance themes. Also. I'm fascinatetl w ilh the difforoncc
between ap^arance and reality, and to me the songs were a goixi way of undcrscorinj; ihis
difference. For iasuuice. in the beginning when Danny DeVito is mirrating about the clitTcrciKc
between the image and the reality of Los Angeles. I have Johnny Mercer singing "Accciiluaic
the Positive" in the background.
BtJXOFno:: What led to the decision to cast two Australiaas Russell Crowe and Guy
Pearce, in the central roles as American cops?
HANSON: It was imix)rtant tlnU we have actors in these roles who the audience could lake
at face value, and Russell ;ind Guy were relatively unknown. They were also believable. When
you meet these characters you make certain assumptions about them, but as the story goes along
you start to question your assumptions and reevaluate them.
BOXOHKK: What is the essence of Los Angeles to you?
HANvSON: L.A. is a city that's almost famous for its appiircnt disregard of its own past, and
yet the past is everywhere, which we found when we were scouting ItKations. There are a lot
rf cities that it's easy to get a handle on: New York. Paris— you sec them and you're blown
away. L.A. isn't like that at all. You get here and you wonder. "Where is itr' I think L.A. is what
you make of it. And it's challenging in that way, because to understand this city you really have
to woik at iL—Lael Loewenstein
career in several obvious—not to mention intricate
and intriguing—ways.
It is nonfiction, first of all, and, singularly
for a writer who says his idea of good writing
always includes the biggest imaginable social
and historic canvas, it revolves around a single,
unsolved crime. It is also the book that is the
key to all the others, a searing, ahnost masochistically
detailed look at the event which, according
to EUroy. is "certainly the pivotal event
in my life. That's what shaped my intellectual
curiosity, and more than anything else, that's
why we're sitting here talking to each other
right now."
The crime in question is the bmtal murder
of Ellroy's mother. Jean, back in 1958, when
Ellroy was just 10 years old. That occurrence
explains not only Ellroy's deep fascination
with criminal behavior but the current of almost
inexplicably savage violence that runs
through his work; his obsession with the details
of police investigatory procedures: even his
fixation on '50s Los Angeles, the town where
his mother did much of her living, and just a
little bit east of which she ultimately did her
dying.
Ellroy had already dealt with his mother's
death in fictional form: his breakthrough
novel, 1 987 's "The Black Dahlia," imposed an
imaginary solution on one of L.A. "s most notorious
unsolved murders and was dedicated
to his mother's memory. "My mother was not
Elizabeth Short," Elbx»y says of parallels with
the Dahlia case's victim. "I used Elizabeth
Short and her death as a symbiotic stand-in for
my mother and hers. But they were different
women—markedly so. In some ways I thought
I had dealt with my mother when I wrote 'The
Black Dahlia' I was mistaken. 1 had to go out
and confront the literal woman."
To "confront the literal woman," Ellroy
brought his considerable research skills to bear
on the original investigation and mounted a
new investigation of his own, then orgimized
the resulting data into an account he calls "my
autobiography, really." The press the book
received was both ecstatic
and sensationalist—a
combination which sells a lot of copies.
The more interesting question, though, is the
personal one: namely, did writing "My Dark
Places" help Ellroy lay anything to rest?
"Well no, it didn't resolve anything," he
says. "There'll never be any closure, and as I
say in the book, closure's a preposterous concept.
I wouldn't want closure if I could have it.
I think my relationship with her will ever
mutate.
May end with the cessation of my
consciousness when I die, and may continue
onto some wild-ass plain after my death. No.
It was a great conftxintation. and now my
mother is with me. and that's all to the gixxl."
"My Dark Places" went even further than
the grim details of Jean Ellroy's death, chnmicling
Ellroy's own youthful slide into alcoholic
and chemical oblivion as well as his
perverse career as a petty criminal iind "panty
sniffer." Surprisingly. Ellroy lived out an early
life that is a lot closer to the pathologies of the
criminals who wend their way tlirough
his
fictions than it is to his police protagonists. "I
never hated cops," he says. "I never blamed

—
society for making me who I was. I never
blamed my parents. You can point to my
mother's murder, but frankly, my wig wasn't
on too tight before my mother's murder. I think
if you shake my mother's family tree back
in Europe and my father's, it'd be full of
drunks and drug addicts and panty sniffers
and general shitbirds. In some sense I think
it was a genetic sentence."
His work shows a detailed understanding
of the criminal mind, but with virtually
no sympathy for criminal motives. "You
take a guy like me," he says, "who quit
drinking, quit stealing, quit taking drugs,
quit breaking into houses and sniffing
women's undergarments. Once you've
turned your life around like that, you're a f
little bit impatient with people who
haven't done it. If I were a government
figure, and thank God I'm not, frankly, I
would rather err on the side ofjudgement
more than of permissiveness and forgiveness.
I think the world could use more of
that, and less of the latter."
his most recent novel, EUroy put both
InLos Angeles as a primary locale and
police investigations as a structuring device
behind him, and he claims he'll never look
back. Set in the early 1960s, 1995's "American
Tabloid" was an imaginary history ofa parallel
assassination plot against JFK a historical
figure Ellroy loathes.
If it was a departure, it was a characteristic
one: elaborate, multi-layered, bone-fascinated
with the secrets behind the secrets ofthe American
experience, a book that essentially proposed
that the organizing principle of
American history isn't capitalism or democracy
but criminality itself. Abetted by the muscle
of his pubUsher, Knopf, and his own
growing reputation, it outsold every one of his
previous fictions and became Time
Magazine's selection as Novel of the Year.
"American Tabloid" was part one of what
Ellroy calls his "Underworld U.S.A." trilogy,
which will focus on behind-the-scenes intrigue
in the national political arena during the '60s
and early '70s. As he moves closer to contemporary
times, the thought occurs that Ellroy
(who has yet to revisit a period after treating it
in one ofhis books) may be edging himself into
extinction. It's an idea he dispels with an
Elh-oyesque monologue on current American
politics that demonstrates how the man finds
material everywhere.
"Look at Bill Clinton," he says. "Whatever
you think of him—^and frankly, I was glad to
get the RepubUcans out and get Big Bill in. Tell
me he isn't dirty from his toes to the top of his
head. Tell me he isn't financed by dirty money.
Tell me he hasn't lined his pockets. Yeah. Tell
me he isn't a sleazy c-ks-ker who whips out
his d-k on women left and right. Yeah. Tell me
that you don't believe Paula Jones."
He leans back, the lenses of his glasses
magnifying the obsessive gleam in his eyes.
"America was never innocent." he says, in
words that might just add up to the artist's
worldview. "We popped ourcherr\' on the boat
over, and looked back with no regrets."
//
L.A." WOMAN
LA.
Confidential" marks Kim Basinger's return to
the bigscreen after an absence of nearly two-anda-lialf
years, during which she gave birth to a
daughter, Ireland, now 20 months old. The actress, wlio
says.
"I have the worst recordfor picking projects, " has
been getting some ofher best rexiewsfor herportrayal of
I! high-priced hooker who incarnates Veronica Lake in a
Hollywood brothel based on period movie stars.
A successful model before heading to Hollywood, the
(ieorgia native made her feature debut in 1984's "The
Xtitural. " Suhsecjuentfilms included "9 1/2 Weeks, " "No
Mercy, " "Batman. " "The Marrying Man " (on which she
met husband Alec Baldwin) ami "Final Analysis. " But
she made headlines lessfor her acting ability ilianfor her
allegedly "difficult" behavior on set A lawsuit over her
decisionnottoappearinihefilm"Boxing Helena 'forced
her into bankruptcyand brought more unwantedpublicity
(the judgement was substaniiullv reduced on appeal).
Basingersays that those troubled times are behind her
Dressed casually and appearing relaxed, she talked with
BOXOFFICE about her latest picture aiui what she calls
"a new time in my life.
BOXOFFICE: How did you get involved with "L.A. Confidential"?
KIM BASINGER: My initial meeting with [directorj Curtis Hanson was at the Formosa
Cafe [a famous Hollywood hangout that figures in the movie]. He pulled out pictures of that
era and presented a visual presentation. He just lured me into this world. I had never before been
approached by a director who told me I was going to do a part. Not asked me. told me. Curtis
decided I was Lynn Bracken, that I was the only person who could do this job. We're all litde
kids who have egos and insecurities. You want to be believed in. When a director stares into
your eyes and says. "You're her!" that presents you with a challenge you want to live up to.
BOXOFnCE: WTiat attracted you to the project?
BASINGER: After reading the script, I wasn't sure I wanted to play a call girl, the sweet
whore. But I loved Curtis and that he had so much belief in me. And 1 loved the dialogue, and
I loved the idea of going into Veronica Lake's life. By day. Lynn Bracken was Veronica Lake,
so I had to capture a Uttle bit of her spirit.
If this movie does only one thing, I hope it resurrects Veronica Lake. We lost a very great star
at a very young age— I think the business really threw her for a loop. She was so talented and
so misunderstood. She was known more for her "peekaboo" hair than her ability, but she was
an amazing actress. She had it down.
BOXOFnCE: The tabloid press figures prominently in the story. Certainly, you're no
stranger to that
BASINGER: It's ftinny but I never thought about that. I think the movie's theme is "facade."
It's about something you're not—what's real and what isn't.
BOXOFnCE: How have you dealt with being the brunt of a lot of negative publicity?
BASINGER: I always call it "old noise." Not even old news—it's not even newsworthy.
There was a time when I probably should have come out and really faced the press and answered
questions and [.stood up] for myself. At that time I was incapable of coming out and exposing
myself— I was much too shy. I chose to go underground and let it all pass. And when you do
that, you really set yourself up for anything that anybody writes about you to become something
you will have to live down forever.
BOXOFFICE: "LA. Confidential" premiered at Cannes. What was that like?
BASINGER: It was indescribable. It was my first time attending. It's like a parade. 24 hours
a day. 1 have never seen so many flashbulbs in my life. Walking up that red carpet at the Palais
I told [co-stars] Russell Crowe and Guy Pearce to hold on to me— I was tenified I might trip!
I don't know how diose women do it—
get out of the car and twiri around for the camera in
those high heels!
BOXOFFICE: Critics are already saying this is your best screen work in quite some time.
BASINGER: Everything was right on this one—the director, the script, my demeanor toward
the material, my co-stars. Everything just came together so beautifully And I'll give myself
some credit, too, in that I wasn't in any hurry. I just wanted to do a wonderfiil job. I wanted to
do what I'm capable of doing.
BOXOFFICE: Do you think you've changed since the birth of your daughter? And has
that affected your personal life?
BASINGER: Ireland's birth is the best thing I have ever done in my life, or ever will do.
Children change you. Basically, you no longer have any time to focus on your own crap. It's so
immediate, what's important and what isn't.—7c«n Oppenhemer
"

I
I
conda's"
I
\
likely
\
$10
I
OCTOBER
TRAILERS
With so many booking selections,
this must be the season of the which
Except for a few bright lights like "Men In Black"
arranged to avoid demographic competition
and "Speed 2: Cruise Control" debuted at lesser numthe
Halloween
season bears more treats than trie'
^T^WTtM^'lil'k^MXi^lJj^AJ
major studio releases and 23 n
dependent offerings in distributors' goodybags.
With that rise in releases comes congestion. All
Ocf. 3 weekend are
four wide openers:

NOTHING ELSE
IS A PEPSI.
Response No. 191

•SA
n.r.v^
"
"
Exploitips: Horror had gone from shock-
'em to schlock-'em before "Scream" ($105
mil. and counting) reinvigorated audience interest
in the genre and resuscitated Craven's
cachet. Thus five's wise move to give this a
"Presents" status, vvft/c/? the new distributor
hopes will support a wide release. The
hypability of the Englund/Hodder/Todd trio is
another factor that could give this a decent
competitive chance against Buena Vista's
same-date "American Werewolf" sequel.
Boogie Nights
Set in the porn world's '70s heyday, this
dark comedy follows a group of players hoping
to revamp the industry. Mark Wahlberg,
Julianne Moore, Burt Reynolds, Don Cheadle
and William H. Macy star. Paul Thomas Anderson
("Hard 8") directs and scripts; Larry
Gordon ("The Devil's Own") produces with
John Lyons, Lloyd Levin and JoAnne Sellar.
(New Line, 10/3 ltd, 10/10 wide)
Exploitips:
"Boogie Nights" (moved from
early, then late, summer) could draw extra
attention thanks to its sexy subject matter. But
exhibitors desiring wide Baby Boomer support
could hype the nostalgic '70s-era setting.
Fast, Cheap & Out of Control
Errol Morris, the director of "The Thin Blue
Line" and "A Brief History of Time," interweaves
four unique stories of quite different
characters—a robotics designer, a lion tamer,
a man who studies mole rats, and a topiary
gardener— in his latest documentary. Featuring
Dave Hoover, George Mendonca, Ray
Mendez and Rodney Brooks. Morris also produces.
(Sony Classics, 10/3 NY/LA)
Exploitips: In a three-star review, our Sundance
critic said this film is "less a classically
structured documentary than a strangely urgent
examination of what the human race is
becoming." This is art-house fare, though
Morris' social theorizing— that "humans are
on a path that could lead to us inventing
ourselves out of existence"— should interest
techies and non-techies alike.
OCTOBER 10
Seven Years in Tibet
Brad Pitt stars in this epic biopic that tells
the story of Austrian mountaineer Heinrich
Harrer, who was captured by the British in the
Himalayas during World War II but escaped
by foot into Tibet, where he was befriended
by the young Dalai Lama. David Thewlis
("The Island of Dr. Moreau") and B.D. Wong
("Father of the Bride") co-star. )ean-)acques
Annaud ("Wings of Courage") directs;. Becky
Johnston ("Bad Girls") scripts; lain Smith
("City of Joy") and John Williams produce for
Mandalay. (TriStar, 10/8 wide)
Exploitips: Pitt's luck is bedeviled: He
shepherded "The Devil's Own" only to see it
rewritten and perform poorly; his relationship
with fiancee Gwyneth Paltrow ends; nude
photos ofhim appear in Playgirl; and now the
SS background of the man he plays here
comes to light. In a subsequent meeting with
Jewish leader Simon Weisenthal, Harrer reportedly
implied he joined the infamous Nazi
corps as an athletic instructor in 1938 only
under pressure, but he didn't mention he
joined a Nazi teachers federation inpre-Hitler
1 933, when the group was still illegal. Annaud
can 't want to be regarded as a latter-day
Leni Riefenstahl, but his assertion he suspected
Harrer's past hardly helps matters.
Now, any Harrer claim of transformation
under the Dalai Lama's tutelage is unlikely to
pass public muster; call it "QBVII II." If the
problem snowballs larger toward release
date, look for distributor leadership.
Roclcet IVIan
When a member of the first manned mission
to Mars is injured during training, NASA
must call in the only possible replacement,
Fred Randall (Harland Williams), who for a
rocket scientist is no rocket scientist. Chaos
ensues as the team heads to Mars i n this fam ily
comedy. Jessica Lundy ("The Stupids"), William
Sadler ("Solo"), Shelley Duvall and Beau
Bridges co-star. Stuart Gillard ("Teenage Mutant
Ninja Turtles III") directs; Craig Mazin
and Greg Erb script; Roger Birnbaum produces
for Caravan. (Buena Vista, 1 0/1 wide)
Exploitips: if "C.l. lane" performs, exhibitors
might look more kindly on booking a film
made by Caravan (parent of such duds as
"Gone Fishin'," "Celtic Pride" and "The Rich
Man's Wife"). Even if that Demi Moore starrer
doesn't prevail, "Rocket Man" still has one
plus, in that it rules the studio family-film roost
until IO/24's "FairyTale." Although the Mars
Pathfinder mania is a bit dated, a comic link to
that popular event should help. Catchline:
"Remember the Mars Pathfinder mission,
when most everything went rights Now comes
'Rocket Man, ' where everything goes wrong.
Gang Related
Aka "Criminal Intent," this police drama
follows detectives ("Race the Sun's" James
Belushi and "Gridlock'd's" Tupac Shakur, in
his last role before his murder) who've framed
gang members to hide their own drug crimes
but now must set up an undercover DEA
agent. Leia Rochon ("The Chamber") and
Dennis Quaid also star. Jim Kouf (who wrote
"Operation Dumbo Drop" and the "Stakeout"
series) directs and scripts. (Orion, 10/10)
Exploitips: Expect urban and male-demo
support in some numbers. Shakur's previous,
the Ian. '97 "Cridlock'd," pulled just $5.5
million despite good reviews and the fact that
his death was then recent, and Belushi isn't
the draw he was in the late '80s. The drug
theme also has fallen into theatrical
disfavor, though it remains
a small-screen staple.
Napolean
This live-action film tracks
the adventures of a golden retriever
puppy (voiced by "The
Doctor's" Adam Wylie) that
slips into a hot-air balloon and
is carried to Australia's wilds.
Bronson Pinchot, Wendy
Makkena and David Ogden
Stiers also voice. Mario Andreacchio
directs, scripts (with
Mark Saltzman and producer
Michael Bourchier) and produces.
(Coldwyn, 10/10)
Exploitips: Any live-action
animal film must compete in
audience minds with the
lipsynched "Babe. " This film, two years on the
Coldwyn slate, is of the older variety. Still,
one can expect that a Coldwyn children 's film
would be different than a Disney children's
film; if so, critical response could help. But
"Napolean," newly moved from 8/8 in
MGM's new slating of its MGM/UA/Orion/
Coldwyn movies, now goes up against that
king of kids, Disney, and its "Rocket Man."
The House of Yes
When Marty ("Kicking and Screaming's"
Josh Hamilton) returns for his family's Thanksgiving
dinner, he brings his new fiancee (Tori
Spelling of TV's "Beverly Hills, 90210"). When
the electricity fails, the clan's dysfunctions take
turns for the worse. Parker Posey and Genevieve
Bujold co-star. Mark Waters directs and
adapts Wendy MacLeod's black-comedy play;
both of "Johns," Beau Flynn and Stefan Simchowitz
produce. (Miramax, 10/10 NY/LA)
Exploitips: in a 3 1/2-star review, our Sundance
critic said this "nefarious tale" of "family
secrets and closet skeletons" is both
"blisteringly funny" and "horrifyingly tragic.
Art-house exhibitors should highlight the
comedy to differentiate this from the more
dramatic "Cang Related" and "Deep Crimson."
Catchline: "Car wrecks... tabloid TV...
and now a family reunion. You want to look
away, butyoucan't. Enter'The House of Yes.'"
Deep Crimson
In this Mexiciin/French/Spanish co-production,
an aging mother (Regina Orozco) abandons
home and children to join with a
handsome philanderer (Daniel Gimenez
Cacho) on a crime spree. Marisa Paredes
co-stars. Arturo Ripstein ("The Queen of the
Night") directs; Paz Alicia Garciadiego
scripts; Miguel Necoechea and Paolo
Barbachano produce. (New Yorker, 1 0/8 NY)
Exploitips: Moved from 6/20, the Spanishlanguage
'Deep Crimson" won a four-star
review from our Toronto fest critic, who
called this "a lively and daring satirical horror/romance"
and says Ripstein, a former assistant
to filmmaker Luis Bunuel, "shows
some of Bunuel's talent for mixing a sacrilegious
sense of humor with prankish horror. "
Call this a "Scream" for the art-house set.

mStereo System for about $12,000?

"
Parallel Sons
An unlikely bond grows between a rural
white teenager {Gabriel Mick) and an escaped
urban-black convict (Laurence Mason). Murphy
Guyer, Graham Alex Johnson, Heather
Gottlieb and )osh Hopkins co-slar. John G.
Young directs and scripts; James Spione and
Nancy Larson produce. (Greycat, 10/10 NY)
Another much-moved film
Exploitips:
(CInevlsta first planned a March '96 bow, then
Creycat acquired It and targeted June and
then November of last year), "Parallel Sons"
might be most effectively marketed to gay
audiences through alternative media.
OCTOBER 17
Playing God
A surgeon ("Kalifornia's" David Duchovny)
is disbarred for operating while high. Hired by
a criminal ("Beautiful Girls'" Timothy Hutton)
as his "gunshot doctor"—to treat associates
who can't visit a hospital—the doctor falls for
the crook's moll ("Foxfire's" Angelina Jolie)
and must decide whether to continue his new
life or go straight. Andy Wilson directs; Mark
Haskell Smith scripts; Marc Abraham ("Sugar
Hill") and Laura Bickford produce for Touchstone.
(Buena Vista, 1 0/1 7 wide)
Exploitips: Buena Vista flirted with releasing
this in mid-May, when it would have
battled the similar-demo Andy Garcia starrer
"Night Falls on Manhattan." The talented
Duchovny Is a small-screen icon thanks to
Fox TV's "The X-Files, " but just as his wattage
wouldn't have outshown Carcia's then It
won't dim Pacino and Reeves' now. Unless
Buena Vista moves it again. It seems ordained
that "Playing Cod" won't cast down "Devil's
Advocate"—especially with Duchovny's
many SF fans opting for "Dark Empire" or...
Gattaca
In a future in which genetic engineering is
a prosperous and competitive business, a
young man ("Before Sunrise's" Ethan Hawke)
who is predestined to die in his early 30s
strives to change his fate. Originally titled
"The Eighth Day," this science-fiction film
also stars Uma Thurman ("Batman & Robin")
and Alan Arkin ("Mother Night"). Andrew
Niccol (scripter on Paramount's coming "The
Truman Show") makes his directing debut; the
"Matilda" trio of Danny DeVito, Stacey Sher
and Michael Shamberg produce for their Jersey
Films. (Columbia, 1 0/1 7 wide)
Expioitips:
"Cattaca" had been penciled
for March, but the studio had the Ford-Pitt
"The Devil's Own." Now this goes against
Paclno-Reeves, another unhappy prospect.
Still, one might expect part of the twenty- and
thirtysomething crowd (Hawke and
Thurman's strong suits) to prefer two young
actors to one young and one old. And an SF
entry usually performs well for at least the first
weekend, when genre fans turn out In abundance.
But which they might do for...
Dark Empire
Originally "Dark City" and a Fox project,
this futuristic thriller stars Rufus Sewell ("Cold
Comfort Farm") as a man who discovers he's
wanted for murders he can't remember. He
soon learns that his memories and his life as
he knows it (and those of other people's) are
artificial creations. William Hurt, Kiefer Sutherland
and Jennifer Connelly also star. Alex
Proyas ("The Crow") directs, and he scripts
with Lem Dobbs ("Kafka") and David Goyer
("The Crow: City of Angels"); Andrew Mason
produces. (New Line, 1 0/1 7 wide)
Exploitips: The SF crowd is dependable
and (for a sub-demo) big, but not big enough
to support two wide releases on the same
weekend. Expect this or "Cattaca" to move
again ("Dark Empire" moved from September
to August to here). If not, although one can't
discount "Cattaca's" star advantage and
datenight-friendly male/female teaming, the
"Dark Empire" makers' various "Crow" credits
could lend this greater genre authenticity.
Dean
British TV comedy-series superstar Rowan
Atkinson brings his Bean character to the
bigscreen in this screwball comedy. Mr. Bean
is a ne'er-do-well employee of a London museum;
to get rid of him, his associates pass him
off as an art expert to accompany the masterpiece
"Whistler's Mother" to an L.A. gallery.
Peter MacNicol and Harris Yulin (both
"Ghostbusters II"), Pamela Reed ("Kindergarten
Cop") and Burt Reynolds co-star. Mel
Smith ("The Tall Guy") directs; Richard Curtis
and Rowan Atkinson (both also "The Tall
Guy") script with Robin Driscoll; "French
Kiss" duo Tim Bevan and Eric Fellner produce
for their Working Title label with Peter Bennett-Jones.
(Cramercy, 10/1 7 wide)
Exploitips: /.//ceayac/c/e Chan ofcomedy—
world-famous elsewhere, virtually unknown
stateside—Atkinson wins a 3 1/2-star review
(see this issue) that calls "Bean " "an incredibly
entertaining piece of comic mayhem." U.S.
fans of his PBS series are likely ticketbuyers;
to pull neophytes (an early poster with Bean
stealing an O from the Hollywood sign should
grab comic audiences), highlight the hijinks.
Stage a Bean or Whistler's Mother lookallke
contest— or go for media attention with a
charity Whistler's Mother dunking throw.
Some art-house support could be siphoned by
Fox Searchlight's expanding "The Ice Storm,
though it's a drama (see August-issue Trailers).
DEVIL'S Advocate
,
Keanu Reeves stars as young, ambitious attorney Keym Lomax, who pins a
powerful New York law firm headed by the mysterious and charismatic John Milton
lAl Pacino). As Lomax is seduced by success, power and money, he realizes that
his colleaques' abilities are somewhat more—or less—than human Charlize
Theron ("tfial and Error"), Judith Ivey ("There Goes the Neighborhood ),
Croig
T Nelson ("I'm Not Rappaport"), ftuben Sontiago-Hudson,JeHrey Jones and
Delroy Undo (also "A Life Less Ordinary") co-star Taylor Hackford (
Dolores
Claiborne") directs; Jonathan Lemkin ("Demolition Man )
and Tony Gilroy (
The
Cutting Edge") script; Arnon Milchan (''A Time to Kill ),
Anne Kopelson and Arnold
Kopelson pEraser'") produce for Kopelson Prods. (Warner, 10/17)
Exploitips: With John Milton as a character, who might "Devil's Advocate" toll
for? It could toll for thee, as exhibitors booking it expect the month s onl^^ pairmg
of superstars to outpace all comers. Part "The Firm part Dr. Faustus, the hm
reportedly doesn't emphasize the diabolic, so this v^ I likely remain m the
fi^rortinged mainstream In which Hackford's Dolores Claiborne found critical.
if not as much audience ($25 mil.), iuccess—of course without those superstate.
Lilies
In this tale of love, betrayal and revenge, a
Catholic bishop is locked in a prison and forced
to watch the inmates stage a recreation of the
four-decade-old events of a gay love triangle
involving both the bishop and a confessor.
Brent Can/er, Marcel Sabourin and Aubert Pallascio
star. John Greyson ("Zero Patience") directs;
Michael Marc Bouchard adapts his play;
Anna Stratton, Robin Cass and Arnie Gelbart
[)r()du

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Response No. 192

LATE MOVIE MOVES...
NIGHTWATCH
In this Dimension suspenser, a law student
("Trainspotting's" Ewan McGregor) part-timing
as a morgue night watchman is suspected
of serial killings. Nick Nolte and
Patricia Arquette also star. Director Ole
Bornedal remakes his Danish-language original
via a script by Steven Soderbergn;
Michael Obel produces. (Miramax, 9/12)
Exploitips: First set 10/25 and 1 1/22 of
'96 and then for this past February and then
summer, "Nightwatch" now has only the
Steven Seagal starrer "Fire Down Below" as
same-date demo competition.
Seven Notes in Black
This re-release of the late '70s Italian thriller
"Sette Note in Nero" (aka "The Psychic") stars
Jennifer O'Neill. (Miramax, 9/19 NY/LA)
Exploitips: This faces no genre or foreignlanguage
competition, though it does battle
art-housers "The Myth of Fingerprints,"
"Going Allthe Way,' "Wide Awake" and...
The Disappearance of Garcia lorca
A Spanish writer (Esai Morales) uncovers
the killer of poet/playwright Lorca (Andy
Garcia). (Sony Releasing, 9/19 NY/LA)
Exploitips: See our review in this issue.
The Long Way Home
This Mark Jonathan Harris documentary
focuses on the post-WWII plight of Jewish
refugees. Rabbi Marvin Hier and Richard
Irani produce. (Seventh Art, 9/19 NY/LA)
Exploitips: See our review in this issue.
MON HOMME
A French hooker recruits a pimp. Anouk
Grinberg stars. Bertrand Blier directs and
scripts. (Artificial Eye, Sept. undated)
i
Exploitips: See our three-star review {3/97).
Was a Jewish Sex worker
Filmmaker Phillip B. Roth recounts his efforts
to reconcile his family and his homosexuality.
(Greycat, 9/1 LA)
Exploitips: See our 4/97 2 1 /2-star review.
Mary Jane's Not a Virgin Anymore
A nerdy girl tries to be as hip as her older
coworkers. Sara Jacobson directs, scripts
and produces. (Movieworld, Sept. undated)
Exploitips: The title should attract gals out
on the town tog^ether, though the sex could
pull males usually resistant to female stories.
Withnail&I
987 British comedy
This re-release of the 1
concerns two self-absorbed, unemployed actors
who endure a disastrous vacation in the
country. Richard E. Grant, Paul McGann
and Richard Griffiths star. Bruce Robinson
directs. (Northern Arts, Sept. undated)
Exploitips: Emphasize the film's 10-year
anniversary to lend this event status.
Best Canadian Film Award at the Montreal fest
and four Genies (Canadian Oscars).
Eye of God
in an Okie oil town, a woman marries a
prison pen pal, only to learn he was in the
slammer for brutally beating a woman. Martha
Plimpton ("I'm Not Rappaport"), Kevin Anderson
("A Thousand Acres") and Hal Holbrook
star in a tale of love, murder and fundamentalism.
Tim Blake Nelson helms and adapts his
play; Wendy Ettinger and Michael Nelson produce.
(Castle Hill, 10/17 NY, 10/31 LA)
Exploitips: Moved from September, "Eye of
Cod" is the latest from an expanding Castle
Hill. Look for positive East Coast notices to
support later openings; midwestern smalltown
runs could also work with this.
OCTOBER 24
A Life Less Ordinary
From the "Trainspotting"/"Shallow Crave"
team comes this $1 2 million project about a
spoiled girl ("My Best Friend's Wedding's"
Cameron Diaz) who is kidnapped by a janitor
at her father's company. Dad sends two hit
men—actually angels—to rescue her and dispose
of the kidnapper. Ewan McGregor (also
"Trainspotting") co-stars with Holly Hunter
and Delroy Lindo. Danny Boyle directs; John
Hodge scripts; Andrew MacDonald produces
for their Figment Films. (Fox, 10/24)
Exploitips: This is the weekend's cool flick
to see, so twentysomething response should
be high. Expect critical interest also to be high,
meaning gleanable quotes to draw the older
crowd who might have missed the filmmakers'
previous bigscreen efforts. Fox
thought enough of this one's prospects going
in to also acquire almost all world rights.
I
Know What You Did Last Summer
This psychological thriller stars Jennifer
Love Hewitt ("Sister Act 11"), Sarah Michelle
Cellar (TV's "Buffy the Vampire Slayer"),
Ryan Phillippe ("nowhere") and Freddie
Prinze Jr. (also in "The House of Yes") as four
friends who made a desperate pact to conceal
a shocking secret but now discover that someone
else knows it. Anne Heche ("Volcano")
and Bridgette Wilson ("Mortal Kombat") costar.
Jim Cillespie directs; Kevin Williamson
("Scream") adapts a Lois Duncan novel; Neal
Moritz (also "Volcano"), Stokely Chaffin and
Eric Feig produce. (Columbia, 10/24 wide)
Exploitips: Simitar in demo to "A Life Less
Ordinary, " this has as its most salable element
the Williamson "Scream" credit, though actress
Cellar's new small-screen popularity
should also be a positive factor. A shorter title
(like "Dark Summer") would avoid images of
school essays instead of scares.
FairyTale: A True Story
Set 111
\')\7, this drama pits good friends Sir
Arthur Conan Doyle (Peter O'Toole, also in
"Phantoms") against magician Harry Houdini
(Harvey Keitel) in a debate over the authenticity
of photographs taken by two young girls
that could prove the existence of fairies. Florence
Heath, Elizabeth Earl, Paul McGann and
Phoebe Nicholls also star. Charles Sturrldge
"
("Where Angels Fear to Tread") directs; Ernie
Contreras scripts; Wendy Finerman ("Forrest
Gump") and Bruce Davey produce for Icon.
See photo on P. 22. (Paramount, 1 0/24 wide)
Exploitips: O'Toole and Keitel's are the star
names, but their parts are supporting; the real
story concerns the two gids. For the most part,
this is superb filmmaking— why, it's just as
good as A Little Princess"! And that's the fear:
That a fine family film, made in an era when
social groups are calling for fine family films,
could tank. "FairyTale" also has the non-Disney,
gid-lead and period-film negatives. So
emphasize the O'Toole and Keitel names to
give this a chance to build in the marketplace.
Phantoms
This Dimension supernatural thriller tells
the story of a female doctor who finds all but
four people in her small Colorado town killed
by an evil force. Joanna Going ("Little City"),
Liev Schreiber ("The Daytrippers"), Peter
O'Toole, Rose McGowan ("Scream") and Ben
Affleck ("Chasing Amy") star. Joe Chapelle
directs; Dean Koontz adapts his novel with
Joel Soisson, who produces with his "Infinity"
partner Mike Leahy and with Steve Lane and
Bob Pringle. (Miramax, 10/24 wide)
Exploitips: This month's eadier "Wishmaster"
and "An American Werewolf in Paris"
might sate mainstream chiller interest, and
1 0/24 's "I Know What You Did Last Summer"
might grab some of the "boo!" crowd that
regularly puts $10 million into opening-week
coffers for such fare. But "Phantoms" can tie
touted as "from frightmeister Dean Koontz
and the company that brought you 'Scream ',
and the timing is perfect for Halloween.
Chairman of the Board
The frenetic red-headed comedian Carrot
Top plays a goofy inventor/surfer who helps a
man who turns out to be a wealthy entrepreneur.
When the businessman dies two weeks
later and wills Carrot Top his company, corporate
chaos ensues. (Trimark, 10/24 wide)
Exploitips: Part "Heaven Can Wait" (1978),
part "Melvin (and Howard), " this latest wide
release from Trimark goes after the MTV
crowd the distributor targeted for "Meet Wally
Sparks, " which resulted in a multimillion-dollar
writeoff. Perhaps the young Carrot Top will
connect where the septuagenarian Rodney
Dangerfield didn't, as he's a campus favorite.
To help, draw public (and media) attention by
accoutering staff in Carrot Top wiggery.
Hurricane Streets
Ak.i I limit,mo, this drama follows lower
Manhattan boys who do small-time crime.
Brendan Sexton III ("Welcome to the Dollhouse")
stars as a 15-year-old living with his
grandmother while his mother is in prison; he
falls for a young Latina, who has an overprotective
father, and dreams of escaping his
world of despair. Isidra Vega, Jared Harris ("I
Shot Andy Warhol") and L.M. Kit Carson
("Running on Empty") co-star; Morgan J. Freeman
directs and scripts, and he produces with
Gait Niederhoffer and Gill Holland. See our
Sneak Preview in this issue. (UA, 1 0/24)
Exploitips: This garnered three Sundance
awards: best director, t>est cinematography,
and audience. Our reviewer gave it three

CONTACT YOUR^MERICAN LICORICE SUPPLIER OR CALL US AT 51 Or 481-5500/

stars, calling it "a boy's coming-of-age story
on the order of '400 Blows'" and crediting
Sexton with "a powerful authenticity that
shines through in a complex performance."
Freeman tells BOXOFFICE he wants to see this
at New York's Angelika, and indeed "Hurricane
Streets" will likely play best at such
art-house venues, though its "Romeo and Juliet"
element could draw mainstream youths.
Swept From the Sea
Aka "Amy Foster"
and "To Love and Be
Loved," this romantic drama is adapted from
a Joseph Conrad novella. Vincent Perez ("The
The Twilight of the Golds
In this drama, pregnant mother Suzanne
(Jennifer Beals), father Rob (John Tenney),
grandparents-to-be Walter (Carry Marshall)
and Phyllis (Faye Dunaway) and brother
David (Brendan Eraser) learn the son Suzanne
is carrying has a gene present in almost all gay
men. Though the liberal folks have adjusted
to David's homosexuality, the news throws all
into turmoil. Ross Marks ("Homage") directs;
apparent H.L. Mencken fan Jonathan Tolins
and Seth Bass adapt Tolins' play. (CFP, 1 0/24)
Exploitips: Although "The Twilight of the
Colds" isn't a studio release, the subject matter
could generate extra media attention, and
both heterosexual and homosexual audiences
could find this a specialized draw.
Time" grossed barely $8 million, and his four
films before that averaged just $26 million.
Key plus: This is the date's only studio opener.
OCTOBER UNDATED
Critical Care
In this satirical drama, director Sidney Lumet
("Night Falls on Manhattan") takes a darkly
Crow: City of Angels") stars as a Ukrainian
emigrant trapped in England who falls for a
young woman ("Chain Reaction's" Rachel
Weisz) and is helped by a local doctor ("Richard
Ill's" Ian McKellen). Kathy Bates ("Dolores
Claiborne") co-stars. Beeban Kidron ("To
Wong Foo, Thanks for Everything, Julie Newmar")
directs; Tim Willocks scripts; Polly Tapson,
Charles Steel and Beeban Kidron
produce for Phoenix. (TriStar, 10/24 ltd)
Exploitips: If lacking A-list stars, this has the
feel of a prestige production (TriStar is billing
it as an "epic drama"); its best demo is literate
females who like a romantic story and would
know the Conrad name. A bookstore tie-in
thus would help this one not be a "Foster"
freeze, and the platformed release could let
word-of-mouth build wider interest.
Deconstructing Harry
In this Woody Allen comedy set in New
York (now there's a change), Kirstie Alley,
Richard Benjamin, Billy Crystal, Judy Davis
("Husbands and Wives"), Mariel Hemingway
("Manhattan"), Amy Irving, Julie Kavner
("Shadows and Fog"), Julia Louis-Dreyfus,
Demi Moore, Elisabeth Shue, Stanley. Tucci
and Robin Williams star along with the Woodman,
who plays a writer experiencing eroticlife
turmoil (now there's a change). Allen
directs and scripts; Jean Doumanian produces.
(Fine Line, 10/24 NY/LA, 10/31 exp)
Although Miramax handled
Exploitips:
Allen's last three films, Fine Line acquired
North American rights to this at Cannes, with
part of the $10.5 million pact being that the
distributor would release Barbara Kopple's
documentary about Allen's jazz band's European
tour. In the '90s, Allen 's seven films have
averaged just $8.75 million domestically, but
Fine Line is likely to toil extra hard here.
Eve's Bayou
A 1 0-year-old tells the tale of her eccentric
family in Louisiana in this drama. Samuel L.
Jackson ("A Time to Kill") and Lynn Whitfield
("A Thin Line Between Love and Hate") star.
Actress Kasi Lemmons ("Fear of a Black Hat")
directs and scripts; Samuel L. Jackson produces
with Caldecot Chubb ("The Crow").
(Trimark, 10/24 NY/LA, 1 1/7 exp)
Exploitips: Although with "Meet Wally
Sparks" and "Chairman ofthe Board" it's now
a wide-release player, Trimark continues to
handle specialized fare, and this one sounds
promising. Expect the Jackson and Whitfield
names to attract black auds, and (rating allowing)
even urban families might give this a try.
OCTOBER 31
Incognito
An art forger decides to make one final copy
and then go straight. When his associates
frame him for stealing the "original" artwork,
he must flee for his life. Jason Patric ("Speed 2:
Cruise Control"), Irene Jacob ("Othello") and
Rod Steiger star. John Badham directs; Jeannie
Dominy (Warner's coming "Courtesan")
scripts; Morgan Creek's James G. Robinson
produces. (Warner Bros., 10/31 wide)
Exploitips: "Incognito" has better ticket potential
than last Halloween's Morgan Creek
effort, "Bad Moon. " Still, though it's a genre
Morgan Creek likes ("White Sands, " "Trial by
jury," "Diabolique"), it's one it hasn't
cracked. Despite recent casting missteps,
Patric and Jacob can deliver onscreen; the
question is, can Badham f His 1 1/95 "Nick of
comic look at the state of the health-care
industry. James Spader, Kyra Sedgwick, Helen
Mirren, Anne Bancroft and Albert Brooks star.
Steven Schwartz scripts, and he produces
with Lumet. (Live, Oct. wide undated)
Exploitips: New distributor Live has advanced
this from November, perhaps a good
move to avoid the holiday crush. The cast is
promising and should attract audience interest;
given Lumet's recent track record—
his four films in the '90s have
averaged only a $14 million gross—
highlight the Spader and Brooks names
and this release's audience-friendly comedic
underpinnings.
Year of the Horse
This rockumentary chronicles the life
and music of rocker Neil Young and his
band. Crazy Horse. Live performances,
behind-the-scenes footage and interviews
from 1 996's Europe and LJ.S. four
are featured. Jim Jarmusch ("Dead
Man") directs; L.A. Johnson produces.
(0( tobor Films, Oct. undated)
Exploitips: New Universal subsidiary
October acquired worldwide rights to this at
Cannes and plans to show the film at several
fests before it opens in theatres. That exploitable
strategy gives stateside reviewers time to
come on board, so look for positive notices.
To pull Young fans, hold a drawing for a set
of Young's recordings with Crazy Horse.
Tokyo Fist
In this sweaty and kinetic Japanese-language
actioner, a corporate executive
("Tetsuo: The Ironman" filmmaker Shinya

Response No. 103
C? 4„.»K lOOT 11
Tsukamoto, who also directs here) is unhappy
to meet up with an old school friend (Kohji
Tsukamoto), now a boxer. Their competitive
jealousies increase when the exec's fiancee
(Kahora Fujii) decides to move in with the
pugilist. (Manga, Oct. undated)
Exploitips: This played the '95 Toronto
(est, meaning no one picl

Sneak Preview
—
"
FOLLOW THE LEDER
TV Veteran Mimi Leder Helms Her
— and DreamWorks
'
Film Debut
by Wade Major
FIRSTBORN: Debut director Mimi Leder (right) with actor George Clooney
on the set of Dream Worl

|:
room
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KEEPING
THE IHEAIRE
INDUSTRY
AROUND
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THE WORLD
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For generations. Strong is
that theatre owner's around the
World have turned to for projection
equipment.
No matter where you want to go.
Strong International will help you get there.
f

—
Sneak Preview
LIKE A "HURRICANE"
Indie Filmmaker Morgan J. Freeman
Experiences a Rising Studio Barometer
by Alex Albanese
FOUR FRIENDS: (from left) Morgan J. Freeman with "Hurricane Streets'"
Brendan Sexton III, producer Gill Holland and exec producer L IVI. Kit Carson.
Relaxing amid the battered
couches and caffeine vibe
of an Avenue A hangout on
the summer's first hot day in New
York, Morgan J. Freeman has
reached a heady point in his life.
Freeman (no relation to the actor)
is a young independent filmmaker
whose fu^t feature, "Hurricane,"
won three prizes at Sundance, including
a best director nod, and
was acquired soon after by MGM
for its United Artists banner. Retitled
"Hurricane Streets," the
drama is set to bow mid-October.
Growing up in Long Beach,
Calif., Freeman and friends
"messed around" with video cameras
for a ninth-grade assignment
on Homer's "The Odyssey." The
result, Freeman says, was "a
cheesy video with everybody in
togas basically just reading lines,
but we thought we were making a
movie." That led to "episodes" of
"Miami Vice" with neighborhood
car chases and Pillsbury flour
stunt-doubling as cocaine. "But it
never dawned on us that people
did this professionally. I never
thought about being a filmmaker."
During Freeman's days al the
University of Califomia, Santa
Baibara, the then-biology major
stumbled across a film studies
c(xirse. It proved an epiphany. "I
realized there were more possibilities
than ju,st doctor/lawyer/engineer,"
he says. Freeman graduated
in 1 992 with a film degree. A year
in Paris to study film criticism
followed,
during which he also
did low-budget film work and directed
two shorts. Returning to
America, he entered New York
University's graduate program.
"At UCSB, Gregg Araki had
made two $5,000 features a few
years before, which inspired some
other people to make films with
$15,000 budgets while I was
there. Later, when I came to New
York, people talked about how
difficult it was to make a
movie, that you needed a million
dollars and this and
that—$1.3 miUion seemed to
be the number. Well, because
of my experiences at UCSB,
I knew it didn't have to be that
expensive if you have people
that really want to do it. That
ultra-low budget knowledge
was incredibly important.
Otherwise, I would have believed
them, and 'Hurricane'
never would have happened."
Two crucial elements in the
film's making hearken back to his
year abroad. The work Freeman
did for Paris' Why Not Productions
led to a New York film internship,
and that in turn led to
pre-production and second assistant
director work on a low-budget
feature called "Middle Child."
Befriending several actors on the
shoot, Freeman cast them in a
short. He then began work on a
second short script, tailored for
Brendan Sexton III, the actor he'd
enjoyed working with most.
While that script was growing
into the feature-length draft of
"Hurricane," "Middle Child's"
tide was changed to "Welcome to
the Dollhouse."
When it won the
top prize at the '96
Sundance fest and
was acquired by
Sony Classics,
Sexton became a
commodity. Then
the fates smiled
again:
After finishing
his script.
Freeman ran into a
friend from Paris
who invited him
to a script reading. There, Freeman
met producer Gill Holland,
who had already seen "Welcome
to the Dollhouse" in Toronto.
"I passed my script off to him,
and he liked it. He knew some
people who had financing who
also loved Brendan's work in
'Dollhouse.' 'Hurricane' was
never sent out to anybody to be
made. I gave the script to only one
person, and he got it financed. It
was truly something that came
fixDm my head, straight onto the
page, that actually rolled into getting
financing and was made without
ever being altered to get it
made. Cast control, script control,
crew control were all ours."
Money, always tight during the
30-day shoot, ebbed and flowed.
"Lo/s of independent
films made this year
aren V going to come
out. You always think
it's going to happen
for you, but what
but
if it doesn't? ijj
Freeman's 40-person crew
stayed loyal. "It was never, 'Pay
me or I'm gone,'" he says, "even
if the checks weren't on time. The
crew always worked and acted as
if they were paying their bills and
had money in their ptxkets from
this, and there's no way anybody
could have. I know, because I did
it on 'Dollhouse.' I knew how
tough it was. It's nice now," he
adds, "to see ["Hurricane Streets"]
pay off for many of them. People
are getting jobs. The awards
helped everybody."
Those Sundance honors included
best cinematography and a
shared audience award. Freeman
describes the fest
as "the worst and
then the best experience
of my
life. I was terrified.
The first
screening
was
like drug withdrawal—all
I did
was shake, sweat
and freak out. But
there was a really
good reaction
from the audience."
No distributor deal was
struck until after the closing
awards night, however, and during
the fest's run he realized "lots
of independent films made this
year aren't going to come out. You
always think it's going to happen
for you, but what if it doesn't?"
Those worries evaporated with
the awards. MGM had expressed
interest during the fest, even
though studio executives down in
L.A. had been shown, due to
screening-room error, the first 10
minutes of the 1977 Dino De
Laurentiis "Hurricane." Yet an
agreement was soon reached
and with it went Freeman's muchvalued
control. "It's suddenly
different—now it's a business
deal. The film's final cut, marketing,
image, even my image to
a certain extent, are all in their
hands now. I just need to step
back a bit, trust, and hope people
respond well."
Freeman is fully aware that
moviegoer reaction to "Hurricane
Su-eets" will factor into
how much control he has on
his next project. But, right
now, he's most eager to "walk
down to tJic Angelika past a
'Hurricane' poster, buy a
ticket, and see the film with a
paying audience." Soon,
Freeman will be doing just thai.
"Hurricane Streets. " Starring
Brendan Sexton III. Directed and
written hy Morgan J. Freeman.
Produced hy Gait Niederhoffer,
Gill Holland attd Morgan J. Freeman.
A United Artists release.
Drama. Opens Oct. 10.

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—
INDEPENDENTEXHIBITION SHOWCASE
A TASTE OF SUCCESS
At the Franks' Drexell Theatre, Audiences
Come for the Movies, but They Stay for the Food
by Susan Lambert
in the historic auditorium—had determined
not to serve popcorn in his theatre. "By day
two," explains Jeff, "we had popcorn. And
we've been popping with the same vintage
popcorn machine ever since." TTie Franks had
learned a valuable—and exploitable—lesson:
For most folks, a cinema without the right
concessions is like a day without sunshine. In
fact, the Franks have created many collaborations
between cinema and food—combining
America's two greatest social loves into one
creative package.
In 1990, the Franks decided to turn the
Drexell into a three-screen cinema. Jeff admits
they were initially reluctant to triple the
Drexell. "We had a gorgeous 7(X)-plus seat art
ART OECO DREXELL: Sei^en minutes from downtown Columbus, the Drexell Theatre and adjoining
Radio Cafe offer an upscale version of small-town entertainment. Note the original neon marquee.
When
the phone rings at the Drexell
Theatre in Columbus, Ohio, it's often
a customer who needs to know not
only what time the movie starts, but also what
soup is on and what the sandwich specials are
for the day. Ever since Jeff and Kathy Frank
opened the Drexell Radio Cafe as an extension
to their Drexell Theatre, customers have made
a night out at the Drexell a staple of their
entertainment diet.
Jeff started in exhibition in the '70s running
the film program at the Columbus Maseum of
Art and developed it into such a successful
program the museum director once complained
that he couldn't get in due to sell-out
crowds. Jeff then moved to the historic downtown
Ohio TheaUB as vice president of public
relations and publicity, as which he was responsible
for pn)grainming the classic movies and
training tour guides of the historic 3,000-scat
palace.
Kathy and Jeff had met at the museum. She
was in charge of the education department.
When their neighborhood theatre—the 1937
Drexell—became available in 1979, the obvious
thing for the Franks was to try running a
theau« on their own. "We noticed it was a
really unique art deco theatre that was very
sUieamlined and well-preserved," .says Jeff.
"However," adds Kathy, "it was covered up in
plastic flowers." The Franks did a quick cleaning
and simple restoration ("We got rid of the
plastic flowers") to get it as close as possible
to the 1937 look. The grand re-opening of the
737-seat Drexell had everything from borrowed
Ohio Theatre ushers in tuxedos to real
flowers and a bona fide movie star: The Franks
had arranged for Ginger Rogers to appear in
person. Despite the overwhelming openingday
success, the Franks received numerous
complaints, for Jeff—coming ftx)m the classic
Ohio Theatre which didn't allow coiKessions
deco historic movie theatre. The question is,
'Are you going to change it and min it?'" Jeff
adds, "But you know it was either triple it or
we weren't going to be there because die movie
business had changed. We needed to play films
longer We needed to take more risks and have
the ability to play many smaller films. It's hard to
play indef)endent art films in a 737-seat house."
Working with an architect, the Franks figured
out how to get their extra screens and still
maintain the historic ainbiance of the Drexell.
"You walk into our 300-seat theatre and it's the
same proscenium, all the same decorations."
The secret to maintaining the integrity of the
main auditorium? "We just shortened it."
When the space next door to the theaoie became
available, Jeff and Katliy faced another
important decision. "The obvious thought was,
'Let's put another theatre in,'" says Jeff. "But
then we kept thinking. We really needed something
to make the Drexell—in the long run
unique from multi-screen theatres. What can
we do?"
Kathy realized ftom talking with their customers
that they really lacked a place to go for
coffee
after the movie. "There weren't any
places that were open that late," says Kathy.
"especially on our side of town." Kathy and
Jeff, hearing the needs of their customers,
opted to put in a high-quality cafe so their
clients could combine eating out with going to
the movies. Kathy explains, 'X)ur space was
small, so it was a bit ofa trick to figure out what
we can offer with a very, very small kitchen.
We came up with a kind of txjmbination of

—
ftesh salads, appetizers and then this panini
grill [specialized sandwiches grilled on a distinctive
Italian bread].
The Franks opened the cafe, which houses
antique radios along with 1930s and "408 artifacts
and pictures, in 1 995 to great success. Not
only did they win a local food award, but the
Radio Cafe has created an opportunity to expand
their special features. Kathy explains,
"We started up a talk cinema series." Every
third Thursday, a local professor leads discussions
after a movie. "It starts in the auditorium,"
says Jeff, "and then adjourns to the cafe,
where everyone can sit around and have—hope-
Hilly—dessert and coffee and talk about the movies."
A singles group now uses the DrexeU Radio
Cafe and Theatre for a meeting place. "We don't
encourage pieople after the movie to just leave,"
adds Jeff. 'They can hang out here."
started with 'Big Night' and a fabulous Italian
gourmet meal. We've done Tampopo." Next
week we're doing 'Like Water for Chocolate'
the movie and then an incredible Mexican meal:
quail with rose petal sauce—and live musicians."
Jeff says the best thing about running the
DrexeU is the personal aspect of bringing a
movie to a welcoming audience. When his
schedule allows, he still introduces the Friday
and Saturday night films. Jeff compares the
Drexell experience to "going to a fine restaurant
where the owner or maitre d' are there for
you. And you can count on that." For Kathy,
the addition of the Radio Cafe has only increased
the theatre's apjjeal: "The Cafe just
played up the very important social aspect of
going to a movie theatre with your friends."
She adds, "Certainly movies are some of the
most compelling social stories about who we
are and how we react and what the issues are,
and they really need to be talked about. It's
pietty exciting, in the talk cinema series, for
example, to see people talk about them. You just
see all this stuff pwuring out and that's what it's
about—that kind of interaction and sharing."
Jeff adds, "It really would be a shame to lose
the DiExells and the Dobies [see Feb. 19% issue]
and the specialty theatres in this country to these
megaplexes. I thinkthere'sacertain audience out
there where the space they're sitting in—the
kind of theatre it is and the people who run the
theatre and the ambiance—matters as much as
the movie they're watching. There's just some
magic quality where the space matters." The
space, and the food, maybe.
^U
Drexell Theatre
Owners: Jeff & Kathy Frank
2256 1/2 E. Main Street
Columbus, OH 43209
(614) 231-1050
E^arliest Movie Memory
Jeff: Sitting through the triple-feature
Saturday afternoon monster
movies. That was the highlight of
my childhood.
Kathy: 'The Third Man. " (I
Favorite Cafe Item:
Kathy: Double skinny cappuccino,
Jeff: New York cream cheesecake.
Favorite BoxOFFiCE Feature:
Kathy: Independent Showcase. a|
BoxOFnCE is like the Bible.
Jeff:
We use it for the reviews and for
keeping up.
Advice to Other Independents:
Continue to offer what you
do best: an experience that's more
unique—more personal, more
thoughtful—than mass entertainment.
II
RECIPE FOR ENTERTAINMENT: Kathy and
Jeff encourage customers to feast on fine films.
The Franks say the competitive Columbus
metropolitan maiket (with about 1 .4 million people)
is continuously expanding. "There's not just
one or two chains, but five or six chains, with
more coming in. It's a challenge for us," Kathy
says. But the Franks have always been up to
the challenge. "Even when they opened this
big 24-plex with stadium seating, it really has
not affected either movie theatre," says Kathy,
"because the experience that you have here is
just so different from that. Our attendance has
been really steady."
The Radio Cafe inspired a "Brunch with the
Bard" program when they screened "Hamlet."
Jeff explains, "We had a four-hour movie, so
you can get only two shows a day." They
wanted to try three shows on the weekend, but
wondered how to get people into a theatre at
10 am. "Kathy said, 'Let's do a brunch at the
cafe fi-om nine to 10,'" Jeff says. It was a huge
success and they plan on doing more. The
Franks' own another cinema across town—the
equally historical 1926 Drexell Grandview
Theatre which plays host to their
"CinemaFeasts" campaign: the Franks show a
particularly appetizing movie and then, in cooperation
with a caterer or nearby restaurant,
the audience enjoys a matching gourmet meal.
"We showed 'Babette's Feast' and then had a
complete seven course French meal. We
CLEANJNG
SYSTEMS

Distributors
Of Theatrical Motion Pictures (Includes Major Studios)
This chapter offers comprehensive rosters for all major and independent film
distributors in North America. As in our other BUYERS DIRECTORY sections,
executive names, titles and phone numbers have been listed to assist you
in locating the contact you need. This chapter has been arranged
alphabetically by distributor for your convenience.
A
ARROW RELEASING, INC.
135 W. 50th Street, Suite 1925
New York, NY 10020
212-258-2200
FAX: 212-245-1252
President, Dennis Friedland
Natl. Sales Mgr., Steve Pagan
E-MAIL: arrow@arrowfilms.com
URL: http://www.arrowfilms.com
General/Art/Foreign
ARTIFICIAL EYE FILM
COMPANY, INC
80 5thAve.,Ste.ll01
New York, NY 1001
212-255-1922, FAX: 212-255-9334
Head of Dist.: Tracey Errico
U.K. OFFICE:
1 3 Soho Square
London, England W1V5FB
Co-Managing Dir.: Andi Engel
Co-Managing Dir.: Pamela Engel
Art/Foreign/Specialized Films
ARTISTIC LICENSE INC.
1416 45th Street, P.O. Box 19407
Sacramento, CA 95819
916-456-6046
FAX: 916456-1534
Chairman, Tom Naygrow
E-MAIL: notso@earthlink.net
Art/Foreign/Specialized Films
ASA COMMUNICATIONS INC.
24 Ml. View Circle
Amherst, MA 01002
413-256-8595
FAX: 413-256-8595
President, David Mazor
Theatrical film distributor
AUDIO CINE FILMS INC.
8462 Shfrbrix)ki- St East
Montreal, Quebt-c, H1L1B2
514-493-8887, 800-289-8887
FAX:514-49.V9058
President, Bcnoil Lachance
Vice President, Salvatore Gallo
Treasurer: Michel Tetrault
Non-theatrical: BV, MGM/UA, Uni.
B
BERKSHIRE LITCHFIELD
P.O. Box 590
Great Barrington, MA 01230
413-528-3164
President, Albert M. Schwartz
Art/Foreign/Specialized Films
BRIGHT STAR FILMS, INC.
100 Yonge Street, Suite 1205
Toronto, Ontario, M5C 2WI
416-362-5890
FAX: 416-362-1218
Executive Director, Orval Fruitman
General/Art/Foreign/Specialized
c
CAPITOL ENTERTAINMENT
6205 Adelaide Drive
Bethesda,MD20817
301-564-9700
FAX: 301-564-0797
President, Ted Goldberg
VP, Mrktng/Sales, Ronnie Goldberg
E-MAIL: ted@capitolent.com
URL: www.capitolent.com
Art/Foreign/Specialized Films
CASTLE HILL PROD. INC.
Nl;VV VOKK:
1414 Ave. of the Americas, 15th H.
New York, NY 10019-2514
212-888-0080; FAX: 212-644-0956
LOS ANGELES:
1 16 N. Robertson, Suite 905
Los Angeles, CA 90048
310-652-5254; FAX: 310^2-5595
CEO: Julian Schlossberg
Pres. Mrktng/Dist.: Mel Maron (LA)
Comptroller: Yuk Yu
VP Acquisitions: Milly Sherman
VP TV Sales: Barbara Karmel
Dir. Adv. & Pub.: Taylor ReirJiart
Dir. Theatrical Dist.: Ivory Harris
Gen./Art/Foreign/Specialized Films
CHARLES CHAPLIN
ENTERPRISES
318 Hillhurst Blvd.
Toronto, Ontario, M6B 1N2
416-781-0131,416-781-5600
FAX: 416-366-6503
CEO-President, Charles S. Chaplin
General/Adult/Art/Foreign/Specialized
CIFEXCORP.
1 Peconic Hills Court
Southampton, NY 11968
516-283-9454, 516-283-4795
FAX: 516-283-4210
Pres., Gerald J.
Rappoport
General/Art/Foreign/Specialized
CINEMA GUILD, THE
1697 Broadway, #506
New York, NY 10019
212-246-5522
FAX: 212-246-5525
Co-Chairman, Philip Hobel
Co-Chairman, Mary-Ann Hobel
Distribution General Manager, Gary
Crowdus
E-MAIL: thecinemaG@aol.com
http: / /www.cineniaguiki.0Dm/cinanaguiki
General/Art/Foreign/Specialized
CINEMA VILLAGE FEATURES
,S').t
llu..Ki\\.i\, Sto. >»0K
Now York, NY 10012
212-431-5119, FAX: 212-219-1877
E-MAIL: cinvil@earthlink.net
Managing Dir: Ed Arentz
Art/Foreign/Specialized
CINEPIX FILM PROPERTIES
CX)Kl'OKAli;
36(X) Btiulcvard Thimc-ns
St. Laurent, Quebec H4R 1V6
President: Andre Link
CEO: John Dunnii\g
TORONTO OFFICE
2 Bloor St. West, Ste.1901
Toronto, Ontario M4W 3E2
416-944-0104, FAX: 416-944-2843
Exec. VP: Jeff Sackman
NEW YORK
561 Broadway, Ste. 12B
New York, NY 10012
212-966-4670, FAX: 212-966-2544
VP U.S. Dist: Adam Rogers
Exec. Dir. Prod'n.: Lauren McLaughlin
Sr. VP: Mike Paseomek
Art/Foreign/Specialized Films
CINETEL FILMS, INC.
8255 Sunset Blvd.
Los Angeles, CA 90046
213-654-4000
FAX: 213-650-6400
President/CEO, Paul Hertzberg
Executive VP, Lisa Hansen
Chief Financial Officer: Nick Gorenc
Consultant: Milt Goldstein
VP Business Affairs: Benjamin Reder
General Release Films
CINEVISTAINC.
2044 Prairie Avenue
Miami Beach, FL 33139-1515
305-532-3400
FAX: 305-532-0047
President, Rene Fuentes-Chao
VP, John R. Tilley
Susan Alvarez, Video Sales Dir.
E-MAIL: cinevista@msn.com
Art/Foreign/Specialized Films
CIRCLE ASSOCIATES
LTD./LAGOON VIDEO
P.O.B. 57,^0
Santa Monica, CA 90409
310-823-4024
FAX: 310-574-1950
President, Mike Kaplan
Art/Foreign/Specialized
CLARK FILM COMPANY
141)=' UniviTMlv HKcl \
Jacksonville, FL 32211
904-744-4500
FAX: 904-745-0078
President, Harry Clark
Vice President, Bolton Clark
Troy Clark, Cen. Sales Mgr.
General/Art/Foreign/Specialized

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COBRA MEDIA INC.
650 N. Bronson Ave.
Hollywood, CA 90004
213-466-3388
President, Herman Cohen
General/Art/Foreign Films
COLUMBIA -5ff50Wr
PICTURES ENTERTAINMENT
CONCORDE/NEW HORIZONS
PICTURES CORP.
5855 D Live Oak Parkway
Norcross, GA 30093
770-849-9910 FAX: 770-849-9773
President, David Rand
Natl. Print Controller, Lewis Owens
General/Adult/All/Foreign/Specialized
COPRODUCERS CORP.
2670\.l;,;4thsi.
Pompano Beach, FL 33064
954-781-2627; FAX: 954-781-2627
President, John F. Rickert
General Release Films
COSCIENT/ASTRAL
DISTRIBUTION, INC.
33 Yonge St., Suite 1020
Toronto, Ontario, M5E 1S9
416-956-2000 FAX: 416-956-2020
President, Irving N. Ivers
Jennifer Hofley, Branch Manager
Mgr., Theat. Distrib.: Jim Murphy
COSCIENT/ASTRAL (Branch)
465McGill
Montreal, Quebec, H2Y4A6
514-844-3542
FAX: 514-985-4461
District Manager, Jacqueline Morin
General/Art/Forelgn/Speciallzed
CRITERION PICTURES
5000 Bridge Street, Suite 200
Delta, BC V4K 2K4
800-663-0991, 604-940-9540
FAX: 604-940-9541
Western Branch Mgr: Carol Burgoyi^
General/Art/Foreign/Specialized
CREST FILM DISTRIBUTORS
ne.N.Kdbortsiin liKd.fiSdS
Los Angeles, CA 90048
310-652-8844; FAX: 310-652-5595
President, Jerry Persell
General/Art/Foreign/Speciallzed
CROWN INTERNATIONAL., INC.
8701 Wilshire Blvd.
Beverly Hills, CA 90211
310-657-6700
FAX: 310-657-4489
President/CEO: Mark Tenser
Sr. VP Bus./Legal: Scott Schwimer
VP Intl. Sales: Herb Fletcher
VP Finance/Admin.: Jim Boyd
Controller: Willie De Leon
Dir. Pub. & Adv.: Lisa Agay
Producer: Marilyn J. Tenser
DOVE INTERNATIONAL
8955 Beverly Blvd
Los Angeles, CA 90048
310-786-1600, 310-786-1647
FAX: 310-246-6544
President, Dmitri T. Skouras
www.doveaudio.com/dove
ArVGeneral/Foreign/Speciallzed
DREAMWORKS SKG
liHILniMT^al Plaza
Building 477
Universal City, CA 91608
818-733-7000; FAX: 818-733-6322
Principals: David Geffen, Jeffrey
Katzenberg, Steven Spielberg
Features: Laurie McDonald, Walter
Parkes
Animation: Ron Rocha
Interactive: Glenn Entis
Consumer Products: Brad Globe
Publicity & Marketing: Terry Press
Distribution: Jim Tharp, Don Harris
Distrib. Ops.: Mark Christinsen
F
FILM FINDERS
718 Westboume Drive
West Hollywood, CA 90069
310-657-6397
FAX: 310-657-6608
President, Sydney Levine
Exec. VP, Peter Belsito
E-MAIL; 76015.1377@compuserve.com
FILM GALLERY PICTURES
2440 E, Tudor Road, Suite 120
Anchorage, AK 99507
907-562-0089; FAX: 907-561-3299
Pres./Gen. Mgr., Rand Thomsley
filmgallery@compuserve.com
Art/Foreign/Specialized Films
FILMS OF INDIA
P.O. Box 48303
Los Angeles, CA 90048
213-383-9217
President, R.M. Bagai
An/Foreign/Specialized
FILM WORLD ENT. INC.
5009Topang.iCvJi. liUd.
Woodland Hills,' CA 91364
818-347-8601; FAX: 818-347-8642
President, Robert F. Burkhardt
VP, Patricia A. Burkhardt
General (Release Films
FILMS INCORPORATED
5.547 N, KavenswtK)d Ave.
Chicago, IL 60640
800-323-4222, 31 2-878-2600
FAX: 773-878-8648
Dir. Theatrical Sales, Mike Caisson
Art/Foreign/Specialized
Los Angeles, CA 90048
310-854-5811; FAX 310-854-1824
President: Ruth Vitale
Exec. VP Acquisitions: Jonathan
Weisgal
Exec. VP Mktg.: Liz Marine
Sr. VP Distrib.: Steve Friedlander
Sr. VP Prod. & Acquis: Rachel
Horovitz
VP Prod. & Acquis.: Amy Labowitz
VP Publ. & Promos: Marhn
Koltai-Levine
VP Advertising: Brian Caldwell
General/Art/Foreign/Specialized
FIRST LOOK PICTURES
8800 Sunset
Los Angeles, CA 90069
310-855-1199 FAX: 310-855-0152
Sr. VP of Dist & Mktg., M.J. Peckos
VP of Distribution, Suzanne LeRoy
VP of Mktg. & Publ., Erica Potter
E-MAIL: mjpeckos@flp.com
URL: http://www.flp.com
Art/Forelgn/Specialized
G
GLOBAL PICTURES INC.
4774 Melrose Ave.
Hollywood, CA 90029
213-665-5257; FAX: 213-665-6473
President, Harry Novak
Vice President, Carmen Novak
General Release Films
GREYCAT FILMS
3829 Delaware Lane
Las Vegas, NV 89109
702-737-0670; FAX: 702-734-3628
Co-President, David Whitten
Co-President, Suzanne Bowers Whitten
E-MAIL: greycat@aol.com
Art/Foreign/Specialized
GRAMERCY PICTURES
9333 Wilshire Blvd.
Beverly Hills, CA 90210
310-385-4400; FAX: 310-385-4408
President: Russell Schwartz
Exec. VP Publicity: Claudia Gray
Exec. VP Mktng: Steve Flynn
Sr. VP Distribution: Paul Rosenfeld
VP National Sales: Linda Ditrinco
VP Field Pub. & Promo.: Adriene
Bowles
VP Publ., West Coast: Steven
Raphael
VP Publ., East Coast: Cynthia
Parsons-McDaniel
Parent Company: Polygram Filmed
Ent
H
President, Harry Novak
VP, Carmen Novak
General Release Films
I
I.N.I. ENTERTAINMENT
11845 Olympic Blvd., Suite 1145
Los Angeles, CA 90064
310-479-6755
FAX: 310-479-3475
Chairman/CEO, Irv Holender
Exec. VP. Sales/Distrib., Sy Samuels
General Release Films
IFEX INTERNATIONAL
1 Peconic Hills Court
Southampton, NY 11968
212-582^318, 516-283-9454
FAX: 516-283-4210
President, Gerald J. Rappoport
FAX: 212-956-2257
Art/Foreign/Specialized
IFM FILM ASSOCIATES INC.
1541 N. Gardner St.
Los Angeles, CA 90046
213-874-4249
FAX: 213-874-2654
President, Antony I. Girmane
Executive VP, Arin Lyons
AUSTRALIA:
9 Heywood St., Caulfield North
Victoria 3161, Australia
61395717671 FAX: 61395713391
Generale/Art/Foreign/Specialized
Films
IMAGE ORGANIZATION INC.
9001) Sunset Blvd., Suite 915
Los Angeles, CA 90069
310-278-8751 FAX: 310-278-3967
Chairman/CEO: Pierre David
Co-Chairman: Rene Malo
President: Lawrence Goebel
VP Int'l. Distrib.: Erik Saltzgaber
VP Tech. Ops.: l,ee Matis
Sr. VP Creative Aff.: Clark Peterson
Sr. VP Production: Noel A. Zanitsch
CFO: Carol Diesel-Allison
VP Contract Admin.: Adele Yoshtoka
Dir. Accounting: Misty White
VP Acquisitions; Cheri Turner
Dir. Worldwide Srvcs: Joan Lee Smith
Exec Ass't to Chrmn: Wendy Yaibitxigh
VP Creative Affairs: Ken Sanders
IMAGINATION STUDIOS
11684 Ventura Blvd., Suite 144
Shidio City, CA 91604
310-633-1230
FAX: 310-220-2311
CEO & Producer, Dana Blanchard
Animated cartoon stjorts
D
FINE LINE FEATURES
888 7lh Ave, 19th Floor
New York, NY 10106
212-649-4800; FAX 212-956-1942
WEST COAST
116N. Robertson Blvd.
HARRY NOVAK & ASSOC.
4774 MelrtJso Ave.
Hollywood, CA 90029
213-665-5257
FAX: 213-665-6473
INDEPENDENT ARTISTS
P.O Box .3020
Cherry Hill, NJ 08034
609-423-6990
FAX: 609-224-0224
President, John Burzichelli
General/Arl/Foreign/SpecializedFilms

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1
INDEPENDENT-INTERNATIONAL
400 I'ernne Road
Old Bridge, NJ 08857
908-727-8500
FAX: 908-727-8881
Pres., Samuel M. Sherman
Chairman, Daniel Q. Kermis
Exec. VP, Dr. Jeffrey Hogue
VP, Linda S. Sherman
Dir. of Mktg., Stephanie H. Sherman
General Release/Art/Foreign
J
JACOBS ENTERTAINMENT
48 East 43rd St. 7th Floor
New York, NY 10017
212-986-7488 FAX: 212-986-2524
President, Jeffrey Jacobs
VP, Regina Gelin
Art/Foreign/Specialized
JAGUAR PICTURES CORP.
P.O. Box 1075
Hollywood, CA 90078-1075
310-281-5516
President, Robert F. Slatzer
General Release Films
K
KINO INTERNATIONAL CORP.
333 West 39th St., Suite 503
New York, NY 10018
212-629-6880 FAX: 212-714-0871
President, Donald Krim
General Manager, Gary Palmucci
E-MAIL: kinoint®infohouse
URL: http: // www.kino.com
Art/Foreign/Specialized Films
KIT PARKER FILMS
p. O. Box 16022
Monterey, CA 93942
408-393-0303, 800-538-5838
FAX: 408-393-0304
President, Kit Parker
Vice President, Karen Kelly
Eastern Sales, Sharon McKeown
Midwestern Sales, Scott Keiuiedy
Western Sales, Clara Wintermute
E-MAIL: kpfilms@mbay.net
General/Ari/Foreign/Specialized
L
LEGACY RELEASING, INC.
18(X) N. Highland Ave., Ste. 31
HollywiK)d,CA 90028
21 3-461 -3936 FAX: 21 3-461 -5287
President, Mark Borde
CFO,J, David Williams
Gen. Sales Mgr., Paul Ripps
Dir. of Mktg., Ellen Reid
Dir. of Acquisitions, Michael
Baumgarten
E-MAIL: legacyfilms
URL: legacyfilms.com
General/Art/Foreign/Specialized
LEISURE TIME FEATURES
40 Worth Street, Ste 709
New York, NY 10013
212-267-4501, FAX: 212-267^501
President: Bruce Pavlow
Art/Foreign/Specialized
LIVE THEATRICAL
DISTRIBUTION
(Division of Live Entertainment)
Live is undergoing changes due to
the buyout chronicled in our 8197
issue. Watch National News for
developments.
15400 Sherman Way, Ste. 500
Van Nuys,CA 91410
818-908-0303
FAX: 818-778-3190
Sr. VP Dom. Theatrical Distrib:
Steve Rothenberg
WESTERN BRANCH
15400 Sherman Way, Ste. 290
Van Nuys,CA 91406
818-908-0303
FAX: 818-778-3182
Div. Manager: David Spitz
Dist. Manager: Larry McCourt
SOUTHERN BRANCH
6060 North Central Expwy., Ste. 662
Dallas, TX 75206
214-692-0800
FAX 214-692-1110
Division Manager: Terry Graham
District Manager: Travis Blair
EASTERN/CENTRAL BRANCH
250 W. 34th St/One Penn Plaza, Ste 1425
New York, NY 10119
212-760-1995, FAX: 212-760-2609
Eastern Div. Mgr.: John Gruenberg
Central Div. Mgr.: FrarJc Patterson
General/Specialized
M
MANGA ENTERTAINMENT
727 North I ludson Street, Ste. 100
Chicago, IL 60610
312-751-0020, FAX: 312-751-2483
E-MAIL: manga@manga.com
CEO: Marvin Gleicher
General Manager: Mike Egan
National Dir. of Sales: Greg Forston
WEST COAST
2320 Marinship Way, Ste. 150
Sausalito, CA 94965
415-275-5405, Fax: 415-275-5465
Acq. & PubL West Coast: Rama Wiener
ANIMATED SHORTS DIVISION
964 5th Ave., Ste. 330
San Diego, CA 92101
619-531-1695, FAX: 619-531-1697
Director, Anim. Shorts Div.: Jan Cox
General/Art/Foreign/Specialized
MARLIN MOTION PICTURES
211 W.illine Ave. Suite 202
Mississauga Ont., L4Z1I'3
905-890-1 500, 800-865-761
FAX; 905-890-6550
John L. Taylor, President
educational Films
MARVIN FILMS, INC.
2 Heitz Place
Hicksville, NY 11801
516-931-3456 FAX: 516-931-3496
President, Marvin Friedlander
General/Art/Foreign/SpecializedFilms
MOP WORLDWIDE
1925 Cunturv Park E., Suite 1700
Los Angeles, CA 90067
310-226-8300
FAX: 310-226-8350
President, Mark Damon
Sr. VP Dom. Distrib., David Sobieraj
Mark Horowitz, Sr. VP, Int'l Distrib.
General/Adult/Art/Foreign/Specialized
M.D. WAX/COURIER FILMS
1560 Broadway, Suite 907
New York, NY 10036
212-302-5360 FAX: 212-302-5364
President, Mort Wax
E-MAIL: 72124.250@compuserve,
Art/Foreign/Specialized
MEDALLION ENT. CORP.
22309 Lanark St.
West Hills, CA 91304
818-992-6109
FAX: 818-883-7173
President, Mitchell A. Blum
E-MAIL: medallione@aol.com
General/Art/Foreign/Specialized
METRO-GOLDWYN-MAYER INC.
2500 Broadway Street
Santa Monica,'CA 90404-3061
310-449-3000; FAX: 310-149-8750
Chairman/CEO: Frank G. Mancuso
Vice Chairman: A. Robert Pisano
Sr. Exec VP: William A. Jones
Sr. Exec. VP & CFG: Michael
Corrigan
Sr. Exec. VP & Gen. Counsel: David
G. Johnson
Exec. VP Distr. & Info Ser.: Deborah
Snyder
Exec. VP Fin. & Corp. Dev.: Charles
Cohen
Sr. VP Fin. Ops.: Daniel J.
Rosett
MGM PICTURES
President: Michael Marcus
Exec. VP: Greg Foster
Exec. VP: David Ladd
VP Development: Elizabeth Carroll
Dir. Creative Affrs.: Kim Ciliberto
UNITED ARTISTS PICTURES
President: Lindsay Doran
Exec. VP Prod.: Rebecca Pollack-Parker
Sr. VP Prod.: Jeff Kleeman
VP Prod. & Development; James
Middleton
Director, Development: Mary
Anderson
PRODUCTION
Exi-c. VP IVodiiition: Robert Relyea
MGM ANIMATION
Sr. VI':J,iy I'ukuto
MGMAJA HOME ENTERTAINMENT
AND CONSUMER PRODUCTS
Pros, ami ( iH) Kiiliani B.Cohen
MGM INTERACTIVE
I- XIV Vl'/C^en Mgr.: Ronald Frankel
MGM/UA MUSIC
Ex«. VP Mik.'SatuIoval
MGM/UA DISTRIBUTION CO.
Pres. Worldwide Iheatrical
Distribution: Larry Gleason
Exec. VP Distrib.: Andy Gruenberg
Sr. VP & Gen. Sales Mgr.: Erik Lomis
Sr. VP Sales Admin.: Jay Sands
VP Non-Theatrical Sales: Jan Sirridge
MARKETING AND PUBLICITY
Pres. Worldwide Mktg: Gerry Rich
Sr. VP Creative Ad.: Randi Braun
Sr. VP Creative Ad.: Tom Kennedy
Sr. VP World Pub.: .Amanda Marashinsky
Sr. VP Media: Jeff Killingsworth
Exec. VP Worldwide Promos &
Corp. Sponsorships: Karen Sortito
VP Mktg Admin.: Charlene Perron
Exec. Dir. Exhib. Rel.: Nancy Seidman
VP Exhib Rel., East Coast: Ira Miller
INTERNATIONAL MARKETING
Exec. VP Int'l Dist. & Mktg: Guy
Laurence
VP Int'l Mktg: Randy Greenberg
BUSINESS AFFAIRS:
Sr. Exec. VP: Frank Davis
Exec. VP: Darcie Denkert
DIVISION OFFICES
DALLAS;
Three Forest Plaza
12221 Merit Drive, #1610
Dallas, TX 75251
214-387-1500; FAX: 214-419-6271
VP Southern Div. Mgr.: Mike Bislo
LOS ANGELES:
11111 Santa Monica Blvd., Third Fir.
Los Angeles, CA 90025
213-444-1600; FAX: 213-312-3372
VP Western Div. Mgr.; Joe Griffin
NEW YORK:
1350 Avenue of the Americas
New York, NY 10019
212-708-0300; FAX: 212-245-1418
VP Eastern Div. Mgr.: Bill Lewis
VP Central Div. Mgr.: Tom Mihok
CANADA:
720 King Street West, Suite 61
Toronto, Ontario M5V 2T3
416-703-9579; FAX: 416-504-3821
VP Canada Gen. Mgr.: Don Popow
MILESTONE FILM & VIDEO
275 West 96th Street Suite 28C
New York, NY 10025
212-865-7449
FAX: 212-222-8952
President, Amy Heller
Vice President, Dennis Doros
Fumiko Takagi, Intl. Sales
E-MAIL: milefilms@aol.com
Art/Foreign/Specialized Films
MIRAMAX FILMS
(A Division of the Walt Disney Company)
NEW YORK:
375 Greenwich
New York, NY 10013
212-941-3800 FAX: 212-941-3836
LOS ANGELES:
7966 Beverly Blvd.
Los Angeles, CA 90048
213-951-4200, FAX: 213-95M218
Co-Chairmen:
Robert & Harvey Weinstein
Sr. Exec. VP: Gary Granat
CFO: Irwin Reiter
President DistribuHon: Neil Blatt
President Marketing; Mark Gill
President Miramax Intl.; Rick Sands
Sr. Exec. VP Prods.: Paul Webster
Exec. VP Bus. /Legal: Neil Sacker
Exec. VP Mktg. & Publicity;
Marcy Granata
Exec. VP Production: Meryl Poster
Sr. VP Acquisitions; Agnes Mentre,
Amy Israel, Jason Blum
Sr. VP Acq. /West Coast Prod.: Jeff
Kurz
GeneraMdult/Art/Foreign/Speclallzed

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MIRACLE FILMS
5009 Topanga Cyn. Blvd.
Woodland HiUs, CA 91364
818-347-8601
FAX: 818-347-8642
President, Robert F. Burkhardt
Vice President, Patricia A. Burkhardt
Adult/ArfForeign/Specialized
MOTION PICTURE CORP. OF
AMERICA
1401 Ocean Avenue 3rd Floor
Santa Monica, CA 90401
310-319-9500
FAX: 310-319-9501
Co-President, Brad Krevoy
Co-President, Steve Stabler
Exec. VP, Distrib. /Sales, Dean Shapiro
VP Sales, Sandra Baragiola
VP, Distribution, Joanna Rees-Jones
Specialized Films
MOVIEWORLD
ENTERTAINMENT
2491 San Ramon Valley Blvd., Ste. 1-310
San Ramon, CA 94583
510-837-8348, FAX: 510-837-9477
URL: http: / /www.moviefun.com
President: Howard L. Taormino
General/All/Specialized
N
NEW LINE CINEMA CORP.
/Also see Fine Line Features)
NEW YORK:
888 7th Ave., 20th Floor
New York, NY 10106
212-649-4900; FAX: 212-649-4966
LOS ANGELES:
116 N. Robertson Blvd.
Los Angeles, CA 90048
310-854-5811; FAX: 310-854-1824
Chairman & CEO: Robert Shaye
President & COO: Michael Lyrme
CFO: Stephen Abramson
Exec. VP Bus. Affairs: Ben Zinkin
Exec. VP Bus. Dev.: James Rosenthal
Sr. VP Bus. Aff.: Judd Funk, Gary
Stutman
VP of Bus. Affairs: Suzanne
Rosencrans, Avi Eschenasy, Lori
Silfen, Amy Gittleman
NEW UNE PRODUCTIONS, INC.
Chairman: Sara Kisher
President & COO: Michael De Luca
Exec. VP: Richard Saperstein
Exec. VP Prod. Admin.: Carla Fry
Pres. of Music & VP Production:
Toby Emmerich
Sr. VP Phys. Prod.; Cindy Homickel
Sr. VP Post-Prod.: Joseph Fineman
VP Production: )ay Stem
VP Production: Amy Henckels
VP Post Production: Richard Keeley
Sr. VP Production: Lynn Harris
Sr. VP Prod'n: Claire Rudnick-Polstein
Sr. VP East Coast Prod'n: Mark Tusk
VP East Coast Prod'n: Amy Hcnkels
Exec. Dir. Creal. Affrs: Janis Chaskin
VP Production: Mary Parent
Dir. of Development: Brian Witten
VP Feat'r Casting: Valerie McCaffrey
Story Editor: Donna Langley
NEW LINE MARKETING AND
DISTRIBUTION
PrcAident & COO: Mitchell I ri>ldman
NEW LINE DISTRIBUTION, INC.
Pres. Dom. Theat. Distr.: Al Shapiro
Sr. VP Sales Admin.: David Keith
VP West. Div. Mgr.: Lawrence Levy
Sr. VP East. Div. Mgr.: Jonathan Beal
VP Cent. Div. Mgr. : Scott Huneryager
Sr. VP S. East Div. Mgr.: Donald Osley
Sr. VP South'n Div. Mgr.: John Trickett
VP Print Control: Gisela Corcoran
Dir of Print Control: Thomas Mertz
Southern Dist. Mgr.: Adam Dishell
Ass't West. Div. Mgr.: Michael Simon
Ass't S. East Div. Mgr.: Maureen
Dougherty
NEW LINE THEATRICAL
MARKETING, INC.
President: Cheryl Boone Isaacs
Exec. VP Media/Co-op Advertising:
Diane Charbanic
Sr. VP Co-op Ad.: Susan Russell
Sr. VP Fin. Admin.: Robert Kobus
Sr. VP Publicity: Mary K. Donovan
VP Field & Interac. Pub.: Elissa Greer
VP National Promotions: Mary Goss
VP Pub., West Coast: Mic Kramer
VP Photography: Helene Steel
VP Creative Serv.: Louise Hollowell
VP Corporate Publicity: Steve Elzer
Dir. Music Mrktng: Mitch Potter
Dir Spec. Events: Anne Marie Sdbelli
Exec. Dir. Pub. /Prom.: Dana Laufer
NEW LINE ACQUISITIONS &
CO-PRODUCTIONS
Exec. VP: Mark Ordesky
NEW LINE INTERNATIONAL
RELEASING, INC.
President; Rolf Mittweg
Exec. VP & European Supervisor:
Camela Galano
Sr. VP Sales & Adm.: Nestor Nieves
Sr. VP Fin. and Adm.: Robert Mott
VP Marketing: Teri Grochowski
VP Finance: David Burkhardt
VP Distribution: Ralpho Borgos
VP Intl. Home Video: Robert Remiey
DIVISION OFFICES:
ATLANTA:
4501 Circle 75 Parkway
Atlanta, GA 30339
404-952-0056; FAX: 404-952-9152
Sr. VP So. East. Div. Mgr.: Don Osley
DALLAS:
6060 N. Central Expressway
Dallas, TX 75206
214-696-0755; FAX: 214-360-9465
John Trickett: Sr. VP So. Div. Mgr.
Scott Huneryager: VP Cent. Div. Mgr.
LOS ANGELES:
116 N. Robertson Blvd., 5th Floor
Los Angeles, CA 90048
310-652-1600; FAX: 310-659-1453
Larry Levy: VP Western Div.
NEW YORK
888 7th Ave, 16th Floor
New York, NY 10106
212-469-4900; FAX:212-956-1944
Jon Beal: Sr. VP East. Div. Mgr.
NOBLE PROD. INC./DIST. &
PROD.
1615 South Crest Dr.
Los Angeles, CA 90035-331
310-552-2934
FAX: 310-552-3508
President, Ika Panajotovic
General Release Films
OCTOBER FILMS
(Parent Company: Universal)
65BleeckerSt.
New York, NY 10012
212-539-4000; FAX: 212-539-4099
Co-Managing Exec: Bingham Ray
Co-Managing Exec.: Scott Greenstein
Co-Managing Exec.: John Schmidt
VP Theat. Distrib.: Michael Silberman
VP Publicity: Sara Eaton
General/Art/Foreign/Specialized
ORION PICTURES CORP.
(A subsidiary of MOM)
Note: At press time, Goldtvyn was
undergoing changes in executive
roster in the aftermath of its
acquisition by MGM. Watch
National News for developments.
1888 Century Park East
Los Angeles, CA 90067
310-282-0550; FAX: 310-201-0798
President and CEO: Leonard White
Sr. Exec VP, Gen. Csl/Sec: John Hester
Exec. VP & C.F.O.: Cynthia Friedman
Sr. Exec. VP Prod.; Co-Pres. MPCA:
Bradley R. Krevoy
Sr. Exec. VP Prod.; Co-Pres. MPCA:
Steven Stabler
Exec. VP Orion Intl.: Kathryn Cass
Exec. VP Home Ent: Herbert Dorfman
Sr. VP Distribution.: John Peckos
Chairman Goldwyn Ent: Samuel
Goldwyn, Jr.
President and COO Goldwyn Ent.
Group: Meyer Gottleib
DISTRIBUTION BRANCHES:
WESTERN:
1888 Century Park East
Los Angeles, CA 90067
310-282-2829; FAX: 310-282-2841
Western Division Mgr.: Bob Wood
304 Park Ave. South
EASTERN:
New York, NY 10010
212-505-0051
FAX: 212-505-1590
VP Eastern Division Mgr.: Sheila
DeLoach
SOUTHERN:
7557 Rambler Road
Dallas, TX 75231
214-363-7600
FAX: 214-691-7829
VP Southern Division Mgr.: Emmet
Nicaud
ORION CLASSICS
1888 Cenhiry Park East
Los Angeles, CA 90067
310-282-0550; FAX: 310-201-0798
John Hegeman, VP Classics and Sales
P
PARAMOUNT PICTURES
(Subsidiary of Viacom Inc.)
Viacom Inc.
1515 Broadway
New York, NY 10036
212-258-6000
Paramount Pictures
5555 Melrose Ave.
Los Angeles, CA 90038
21.3-956-5000
VIACOM INC.
Ch.iirm.in: Sumner M. Redstone
Viacom Entertairunent Group
Chairman: Jonathan Dolgen
Exec. VP: Thomas McGrath
VP: Richard Cooperstein
PARAMOUNT PICTURES GROUP
Exec. VP Paramount Pictures:
William Bernstein
Exec. VP Chief Fin. and Admin.
Officer: Patrick Purcell
Sr. VP Planning: Mark Badagliacca
Sr. VP & Treasurer: Alan J. Bailey
Sr. VP Human Res.: William Hawkins
Sr. VP Ind. Rel: Stephen Koppekin
Sr. VP Gen. Csl: Rebecca L. Prentice
Sr. VP Fin.: Stephen P. Taylor
Sr. VP IS: Ed Trainor
VP Info. Processing: Stan Balcomb
VP Contract Ace: Carmen Desiderio
VP Admin.: Rosemary Di Pietra
VP & Assoc. Gen. Csl.: David Friedman
VP Legal/Human Res.: Louis Gutierrez
VP TV Conh-oller: Kenneth Hinshaw
VP Residuals: Kathleen Hoops
VP Fin. Planning: Stephanie Love
VP Finance: Michael Masters
VP Int. (London): Michael O'SuUivian
VP Employee Relations Legal
Services: Rina Roselli
VP Motion Picture Controller:
Carolyn Scott
VP Controller (Canada): Anne Shaw
MOTION PICTURE GROUP
Chairman, Motion Picture Group:
Sherry Lansing
Vice Chairman, Motion Picture
Group: Robert G. Friedman
President MPG / Production: John
Goldwyn
Exec. VP Int'l Motion Pictures:
Joanna Johnson
PRODUCTION DIVISION
Exa. \ P Icat. I'lixi. Mgt.: Fred Gallo
Exec VP Post Prod.; Paul Haggar
Exec. VP Prod.: Michelle Manning
Exec. VP Prod.: Karen Rosenfelt
Sr. VP Feat. Prod. Mgt.: Mark Bakshi
Sr. VP Music: Harlan Goodman
Sr. VP Production: Donald Granger
Sr. VP Casting: Deborah Aquila
Sr. VP Production: Thomas Levine
VP Lit. Affairs (NY): Patricia Burke
VP ProducHon Finance: Michael Hill
VP Creative Affairs: Brad Kessell
VP Music Prod.: Linda Springer
VP Music Clearance: Eldridge Walker
VP Pt>st Production: John Wiseman
BUSINESS AFFAIRS
Sr. VP Bus. Aff. : Rcxrhel Biachman
Sr. VP Bus. Aff: Richard Fowkes
Sr. VP Legal Affairs: Karen Magid
Sr. VP Music Bus. Aff.: Kevin Koloff
Sr. VP Music Legal Aff.: Linda Wohl
VP Sales - Nat. Accounts: Susan
Hatfield
VP Marketing (Canada): Greg Ferris
VP MoHon Pic. Legal: Lynn Flaisher
VP Legal: Alan B. Heppel
VP Credit & Title Adm.: Claudia
Martin
VP Intellectual Prop.: Scott Martin
VP Business Affairs: Stephen Plum
DOMESTIC DISTRIBUTION
Pros. Distribution: Wayne Lewellen
Exec. VP Gen. Sales Mgr.: Gino
Campagnola
Exec. VP Sales Ops.: Steve Rapaport
Sr. VP Ass't. Gen. Csl.: Paul Springer
Sr. VP Paramount Canada: Chris
Sullivan
VP South Div.: Royce Brimage
VP Eastern Division: Mike Share
VP Sales Admin.: John Hersker
VP Western Division: Clark Woods
MARKETING DIVISION
I'ri-, \\i.ilJ\sidrMkln>;: Arthur
Cohen

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I
PARAMOUNT -CONT'D
Exec. VP Naf1 Adv./Promotion:
Thomas Campanella
Exec. VP Creative Advert.: Jim
Gibbons
Exec. VP Marketing/Creative
Affairs: Nancy Goliger
Exec. VP Worldwide Publicity;
Blaise J.
Noto
Exec. VP Creative Advertising;
Lucia Ludovico
Sr. VP Creative Advertising: Bryan
Allen, Maren Moebius, William
Rus
Sr. VP Mrkt Res.: Karen Randolph
Sr. VP Int'l Marketing: Leslie Pound
Sr. VP/Media Dir.; Susan Wrenn
VP Mrkting Admin.: Leslie Anderson
VP Promotions: Lisa Di Marzio
VP Special Projects: Allison Jackson
VP East Coast Publicity: Louise
Kaufman
TELEVISION GROUP
Ch.iirman: Kerry McCluggage
DISTRIBUTION
EASTERN DIVISION
1633 Broadway
New York, NY 10019
212-654-70000
Division VP: Mike Share
Boston/New Haven Mgr.:
Victoria Bums
Washington /Cleveland Mgr.:
Claudia Ungar
Philadelphia/PittsburghMgr.:
JimOrr
Detroit/Cincinnati/Indiaiwpolis
Mgr.: Bruce Placke
NY District Mgr.:
Pam Pritzker-Maurer
Buffalo/ Albany Mgr.; Steve Toback
SOUTHERN DIVISION
12222 Merit Dr., Suite 840
Dallas, TX 75251
214-387-4400; FAX: 214-701-8359
Division VP: Royce Brimage
Dallas/Okla. City/New Orleans/
Memphis Mgr.: Don Wallace
Jacksonville/ Atlanta Mgr.:
Bob Mueller
Charlotte/Des Moines Mgr.:
Buddy Williams
Kansas City /St. Louis Mgr.:
Jeremy Devine
PUERTO RICO
Puerto Rico Mgr.: Nestor Rivera
954 Ponce DeLeon Avenue
Miramar Plaza Bldg., Suite 201
San Juan, PR 00907
809-721-2360; FAX: 809-721-1460
WESTERN DIVISION
15260 Venhira Blvd., Suite 1140
Sherman Oaks, CA 91403
818-789-2900; FAX; 818-789-1643
Division VP: Clark Woods
Los Angeles Mgr.: Robert Box
Chicago/San Francisco Mgr.:
Robert Weiss
Denver/Salt Lake
City /Minneapolis Mgr.:
Jackie Rouleau
Seattle / Portland / Milwaukee Mgr.:
John Slama
CANADA
TORONTO (ST. JOHN)/
WINNIPEG/CALGARY
Sr. VP & General Mgr. (Canada):
Chri.s Sullivan
Toronto Mgr.: Robert Cowan
St. John/ Winnipeg Mgr.: Jean White
146 Bloor Street West
Toronto, Ontario M5S 1 M4
416-969-7129; FAX: 416-922-0287
Calgary/Vancouver Mgr.: Phil May
MONTREAL
Montreal Mgr.; Liac Bertrand
1255 University St., Ste.112
Montreal, (Juebec H3B 3W4
514-866-2010; FAX: 514-866-2411
PHAEDRA CINEMA
11022 Santa Monica Blvd., Ste. 350
Los Angeles, CA 90025
310-478-3308; FAX; 310-478-0206
President: Gregory Hatanaka
VP Mktng/Distrib.: Paul McCarty
Art/Foreign/Specialized
POLYGRAM FILMED
ENTERTAINMENT
9333 Wilshire Blvd.
Beverly Hills, CA 90210
310-385-4000, FAX: 310-385-4001
PRODUCERS DISTRIBUTION CO.
5400 Lindley Ave., #120
Encino, CA 91316
818-609-1074
Owner, Ray Axelrod
General Release Films
R
RM FILMS INTERNATIONAL
P.O. Box 3748
Hollywood, CA 90078
213-466-7791; FAX; 213-461^152
President, Russ Meyer
Assist to Russ Meyer, Janice Cowart
URL; http;/ / www.rmfilms.com
E-MAIL 103234,1546@compuserve.com
Art/Forelgn/Speclallzed Films
ROB-RICH FILMS INC.
4463 Winner's Circle Suite 1426
Sarasota, FL 34238
941-925-1672
President, Sidney Ginsberg
General/Adult/Art/Foreign/Specialized
ROKE ENT. GROUP
522 11th Ave. S.W.
C:algary, Alberta, T2ROC8
403-264-4660; FAX: 403-264-6571
Pres., Frank Kettner
VP, Hector Ross
Canadian Sales Mgr., Syd Sniderman
General Release Films
s
THE SAMUEL GOLDWYN CO.
(A Division of MGMI
Note: At press time, Golilwyn ivas
undergoing changes in its executive
roster in the aftermath of its
acquisition by MGM. Watch our
National News for developments.
10203 Santa Monica Blvd.
Los Angeles, CA 90067-6403
310-552-2255
FAX: 310-284-8493
Chaimian/CEO; Samuel Goldwyn, Jr.
President/COO; Meyer Gottlieb
Sr. VP Bus. Affairs; Norman Flicker
Sr. VP/CFO: Hans Turner
Dir. Publicity: Sue Blackmore
VP Advertising: Neil Dick
VP Theat'l Distribution: Rob Schulze
Pres. Intl. Sales & Ops: Steven Bickel
VP TV Prod'n & Dev.: Dan Smith
VP Nat'l Sales Mgr.: Casey Lanken
SEVENTH ART RELEASING
7551 Sunset Blvd., Suite 104
Los Angeles, CA 90046
213-845-1455; FAX: 213-845^717
Pres. & CEO, Jonathan A. Cordish
Sr. VP, Acq. & Sales, Ehud Epstein
VP Acq., East Coast, Stephen Krai
VP Theat. Distrib., Maria Bjorkdahl
Acquisitions & Theatrical
Distribution, Oren Bitan
E-MAIL: seventhart@earthlink.com
Art/Foreign/Specialized Films
SHADOW DISTRIBUTION
P.O. Box 1246
Waterville, ME 04903
207-872-5111; FAX: 207-872-5502
President, Ken Eisen
E-MAIL: shadowd@mint.net
www .mint.net / movies / shadow
An/Foreign/Specialized
SHARP FEATURES
31 Thorpe Rd. Suite 200
Needham, MA 02194
617-449-7490; FAX; 617^149-5412
President, Neil T. Evans
E-MAIL; fastrack@web-credit.com
Art/Foreign/Specialized
SONY PICTURES
ENTERTAINMENT
(Incluies COLUMBIA & mSTAR)
10202 West Washington Blvd.
Culver City, CA 90232
310-244-4000, FAX: 310-244-2626
President and C(X): John Galley
Co-President: Jeff Sagansky
Exec. VP; Yuki Nozoe
Sr. Exec. VP & Chief Corp. Ops;
Robert Wynne
Sr. VP & CFO: Ted Howells, Jr.
Sr. VP & Gen. Counsel: Ronald
Jacobi
Sr. VP Corp. Dev. & Strategic
Plaiuiing: Yair Landau
Sr. VP Corp. Comm. & External
Affairs: Bruce Redditt
Sr. VP: Lucy Wander-Pema
VP and Treasurer: Joe Kraft
VP; Robert M. Moses
VP & Asst. Sec.; Beth Berke
Asst. Sec.; Robert Eichom
Asst. Sec.: Jared Jussim
Asst. Sec.; John McBridc
COLUMBIA TRISTAR
MOTION PICTURE GROUP
10202 West Washington Blvd.
Culver City, CA 90232
310-244-4000
Vice Chairman: Lucy Fisher
CoVice Chairman: Gareth Wigan
President: Kenneth l^mberger
i:\ei VP: Paul Smith
MARKETING
Pres., Worldwkle Mktg.: Robert Levin
Exec. VP Worldwide Publicity;
Edward Russell
Sr. VP Research; Christine Birch
Sr. VP Mi-dia Adv.: John Butkovitch
Sr. VP Marketing: Joseph Foley
Sr. VP Publicity: Dennis P. Higgins
Sr. VP Finance: Pat Walters
Sr. VP Strategic Mktg.; Mark
Workman
VP Media; Debbie Bolsky
VP Worldwide Mrktng; Mimi Burn
VP Publicity: Andre Caraco
VP Creative Adv.; Neil Dick
VP Publicity; Jamie Geller Hawtof
VP Creative Adv.; Josh Goldstine
VP Photographic Serv.; Barbara Lakin
VP Publicity; Susan Levin
VP Pub., East Coast: Ginny De Liagre
VP Creative Adv.: Dana Precious
VP Creative Adv.: Pam Rodi
VP Canadian Media & Coop Adv.:
Danna Slack
VP Nat'l Field Ops: Melanie Steele
VP Creative Adv.: Ricky Strauss
VP Worldwide Media Relahons;
Susan van der Werff
OTHER DEPARTMENTS
Pres. Prod'n Admin.: Gary Martm
Exec. VP, Music: Burt Berman
Exec. VP, Post Prod'n; James Honore
Sr. VP, Prod'n Admin.; Bill Ewing
Sr. VP, Prod'n Admin.: Ray
Zimmerman
VP Music Lie; Moruca Ciafardini
VP Prod'n Admin.: Pete Corral
VP Music Leg. Aff.: Michael Frisby
VP Music Admin.; Pam Lillig
VP Prod'n Admin.; Kathy
McDermott
VP Post Prod'n: Russ Paris
VP Music Admin.: Raul Perez
COLUMBIA PICTURES
(A Sony Pictures Eat. Company)
10202 West Washington Blvd.
Culver City, CA 90232
310-244-4000, FAX 310-244-2626
President: Amy Pascal
PRODUCTION
Exec. \ r Production: Teddy Zee
Sr. VP Prod'n: Doug Belgrad
Sr. VP Prod'n: Michael Costigan
Sr. VP Prod'n: Matt Tolmach
VP Prod'n: Lori Goldklang-Furie
OTHER DEPARTMENTS
Exec. VP, Bus. -Alt. & Clps: Bryan Lee
Sr. VP Bus. Affairs; Alan Krieger
Sr. VP Legal Affairs: Roger Toll
VP Legal Affairs: Deb Bruenell
VP Bus. Aff. Contract Admin;
Thomas Stack
VP Bus. Affairs: Mark Wyman
TRISTAR PICTURES
(A Sony Pictures int. Company)
10202 West Washington Blvd.
Culver City, CA 90232
310-244-1000, FAX: 310-244-2626
PRODUCTION
Pres., Prixluction: Christopher Lee
Exec. VP Prod'n: Amy Baer
Exec. VP Prod'n: Lauren Lloyd
VP Production: Rob Levine
OTHER DEPARTMENTS
Exec, Vri.eK.il.Ml.iirs: 1,1/
A.schenbrenner
Exec. VP Bus. Affairs: Robert Geary
Sr. VP Bus. Affairs: Jon Gibson
Sr. VP Bus. Affairs: Gary Hirsch
Sr. VP Bus. Affairs: John Levy
Sr. VP Post Prod'n: Sol Lomita
VP Legal Affairs; Luis Allen
VP Legal Admin.: Cassandra
Barbour
VI' Bus Aff Admin.; Mark Horowitz
SONY PICTURES CLASSICS
(A Sony Pictures Ent. Company)
550 .Madusoii A\ e,, Stli I locr
New York, NY 10022
212-833-8833; FAX: 212-833-8844
Co-President: Michael Barker
Co-President: Tom Bernard

98 Park Avenue • P.O. Box 159 • Babylon, NY, USA 11702-0159
Phone: 1-516-422-9000 • Fax 1-516-422-9005
JARCO
INDUSTRIES INC.
/

SONY PICTURES CONT'D
Co-President: Marcie Bloom
VP Large Format Sales: Marc Katz
VP Operations: Grace Murphy
SONY PICTURES RELEASING
(A Sony Pictures Ent. Company)
10202 VV. Washington Blvd.
Culver City, CA 90232
310-244-4000
President: Jeff Blake
Exec. VP/Gen. Sales Mgr.: Pat Notaro
Exec. VP Ops & Admin.: Mark
Zucker
Sr. VP/Asst. Gen. Sales.: David Garel
VP Eastern Div. Mgr: Jim Amos
VP Sales Admin.: Craig Bartlet
VP Western/Canadian Div. Mgr.:
Rory Bruer
VP Branch Admin.: Al Cameron
VP Exhibitor Relations: Ted Hatfield
VP Financial Admin.: Eileen Lomis
VP Midwest Div. Mgr.: Jack Simmons
Gen. Mgr., Canada: Michael Skewes
VP Distrib. Svcs.: Conrad K. Steely
VP South'n/Midwest Div. Mgr.:
Terry Tharpe
VP South'n CHv. Mgr.: Sherman
Wood
VP Non-Theat'l Sales/Trailer
Placement: Martin Zeidman
COLUMBIA TRISTAR FILM
DISTRIBUTORS INTERNATIONAL
President; I^iincan Clark
Exec. VP: S. Anthony Marme
Sr. VP Sales & Dist: Ralph Alexander
Sr. VP Worldwide Mktg.: Nigel
Clark
Sr. VP Latin America: Giovatmi
Gen till
Sr. VP Europe, Middle East, Africa:
Lester McKellar
VP European Mktg.: Jon Anderson
VP Mktg. Worldwide: Mimi Burri
VP Sales & Dist.; Jimmy Katz
VP Creative Adv.: Sal Ladestro
VP Int'l Print Svs.: Beverly Starr
VP/Asst. Controller: Reid Sullivan
VP Publicity & Promos; Susan van
derWerff
VP Mktg. Latin American: Vittorio
Tamburini
VP S.E. Asia, Australia, NZ: Peter
Wilkinson
STEKO FILMS INC.
10 Duluth Hast
Montreal, Quebec, CA H2W 1G6
514-849-1696
FAX: 514-849-1698
President, Ivan Koltai
Administrator, Martha Koltai
Adult Films
STRAND RELEASING
1460 4th Street, Stc. 302
Santa Monica, CA 90401
310-395-5002; FAX 310-395-2502
www.strandrel.com
Co-Presidents: Marcus Hu, Jon
Gerrans, Mike Thomas
Director of Distribution: Jeff Soarez
Director of Acquisitions: Monica
Bider
Creative Wrector: Ophelia Chong
Art/Foreign/Specialized
T
TAURUS ENTERTAINMENT
Sunset/Gower Studios
420 N. Beachwood Dr., Bldg. #50
Hollywood, CA 90028
213-993-7355; FAX: 213-993-7316
Chairman: Stanley Dudelson
Co-Pres. /COO Mktg/Sales; Robert
Dudelson
Co-Pres. /CEO Prod.; Jim Dudelson
Art/Specialized
TED ROTER/FILM PROD.
12211 Malone St.
Los Angeles, CA 90066
310-473-3559
FAX; 310-391-3636
President, Ted Roter
Adult Films
TOHO CO. LTD.
2029 Century Park E., Suite 1150
Los Angeles', CA 90067
310-277-1081
FAX; 310-277-6351
General Manager, Masaharu Ina
General Release Films
TRANSVUE
5131 Colbath Avenue
Sherman Oaks, CA 91423
818-990-5600
President, Herb Schlosberg
Vice President, Joyce Schlosberg
General Release Films
TRIMARK PICTURES
2644 30th Street
Santa Monica, CA 90405-3009
310-314-2000
FAX: 310-399-3828
Chairman; Mark Amin
Executive VP: Tim Swain
Sr. VP Prod'n:
Jonathan Komack-Martin
Exec. VP/lntl. Sales: Sergio Aguero
Sr. VP/CFO: James Keegan
VP Domestic Dist. & Mktg
Specialized: Ray Price
VP Pub.: David Elzer
VP Marketing: Adam Fogelson
VP Corporate: David Van Houten
Dir. of Int'l Mktg.: Sue Blackmore
TRGMA ENTERTAINMENT
733 Ninth Ave.
New York, NY 10019
212-757-4555; FAX; 212-399-9885
President; Lloyd Kaufman
VP: Michael Herz
CFO; Rob Schiller
Bus. Affairs/Sales & Dist.; Josh
Piezas
Acquisitions; Patrick Cassidy
Marketing: Jennifer Kennedy
Special Projects; Patrick Cassidy
L.A. BRANCH OFFICE;
Raleigh Studios
650 N. Bronson, Ste. 103
Los Angeles, CA 90004
213-960-4012; FAX; 213-960-4013
Dir. of L.A. Ops; David Schultz
TROMA UK:
Avon House
360 Oxford Street
London WIN 9HA, UK
Icl: (01) 71-491-2262
FAX: (01) 71-491-2282
Managing Director; Mo Claridgc
General/Art/Forelgn/Speclallzed
TURBULENT ARTS
673 Oak St., Suite 1
San Francisco, CA 94117
415-552-1952
FAX: 415-552-3620
Pres., Marc Smolowitz
E-MAIL: turbarts@sirius.com
URL:
www.slowbum.com/turbarts.html
Art/Foreign/Specialized
TWENTIETH CENTURY FOX
FILM CORP.
10201 W. Pico Blvd.
Los Angeles, CA 90035
P.O. Box 900
Beverly Hills, CA 90213
310-277-2211; FAX: 310-203-1558
NEWS CORPORATION
Presidont/COO: Peter Chernin
FOX FILMED ENT.
Chairman/CEO: Bill Mechanic
Chairman, 20th Domestic Film
Group/Sr. Exec. VP: Tom Sherak
Exec. VP Bus. and Legal Affairs;
Greg Gelfan
Sr. VP, CFO; Simon Bax
TWENTIETH CENTURY FOX
Pres. 2()th Centur\- I-ox, Film Prod'n:
Tom Rothman
President Domestic Distr.: Bruce
Snyder
Pres. Intl. Theatricals: Jim Gianopulos
Pres. Domestic Marketing: Robert
Harper
Exec. VP Gen. Sales Mgr.:
Richard Myerson
Exec. VP Intl. Sales & Dist.:
Julian Levin
Exec. VP Marketing, Media & Res.;
Nancy Utley
Exec. VP Legal Affairs, Deputy
General. Counsel; Lyman
Gronemeyer
Exec. VP Fox Music; Robert Kraft
Exec. VP Bus. Affairs: Steven Bersch
Exec. VP Lgl Affairs: Robert Cohen
Exec. VP Production: Elizabeth
Gabler, Jorge Saralegui
Exec. VP Physical Prod'n.: Joe
Hartwick
Exec. VP Post Prod'n.: Theodore
Gagliano
Exec. VP Intl. Mktg; Scott Neeson
Sr. VP Production: Hutch Parker,
Sanford Panitch
Sr. VP Fox Studio Ops; Gary Ehrlich
Sr. VP Mrktng & Creative Adv.:
Anthony Sella, Roland Mesa
Sr. VP European/Near East &
Africa: Jorge Canizares
Sr. VP Legal Affairs/ Asst. Gen.
Counsel: Michael Doodan
Sr. VP Lgl & Bus. Aff.: Jamie Samson
Sr. VP Bus. Affairs: Daniel Ferleger,
Mark Resnick, Joseph De Marco
Sr. VP Fox Music Group; Matt
Walker
Sr. VP Pub. and Promo.: Jeffrey Godsick
Sr. VP Personnel: Leslee Perlstein
Sr. VP Acquisitions; Tony Safford
Sr. VP Prod'n: Fred Baron
Sr. VP Finance; Peter Cyffka
VP Feature Prod'n: Kimberly Cooper
VP Nat'l Publicity: Debbie Miller,
Carol Sewell
VP Corporate Comm. & Sp'l Events:
Florence Grace
VP Promotional Programming:
Tom Crane
VP Field Ops and Promotions:
Wendy Lightboum
VP Creative Adv.; Andrew Williams
VP Mrkt Research: Pam Levine-Katz
VP Media & Co-op Advertising;
Steve Siskind
VP Creative Advertising Intl.
Distribution: Jim Darbinian
VP Intl. Media: Mitch Yankowitz
VP Promotions, Intl. Mrkt'g: Ron
Rubin
VP Controller: Matt Dubil
VP Bus. Aff.: Victoria Rossellini
VP Legal Affairs; William Petrasich,
Joan Hansen, James Taylor
VP Finance Domestic: Michelle
Hogan
VP Finance: Mark Rosenbaum
VP Aqu'ns & Prod'n: Robert Aaronson
VP Eastern Div. Mgr.:
Henri Frankfurter
VP Midwestern Div. Mgr.;
Robert Kaplowitz
VP Western Div. Mgr.:
Bernard Livingston
VP New York/Atlantic Div. Mgr.:
Ron Polon
Exec. Dir. Nat'l Publicity: Scott
Levine
Dir. Nat'l Publicity: Susan Ciccone,
Paulette Dauber
Dir. Branch Receivables: Tom Jung
Dir. Field Pub. /Promos: Meredith
Nevrns
Dir. of Media: Laurel Bernard
Dir. Print Control: Rick Griffith
Adv. Dir.: Christopher Pawlak
FOX 2000
President: Laura Ziskin
Exec. VP; Kevin McCormick
Exec. VP: Alex Gartner
Sr. VP: Carla Hacken
Dir. of Development: Ashley
Burleson
Dir. of Development: Chris Vogler
FOX FAMILY FILMS
President: Chris Meledandri
Senior VP ProducHon; Jon Jashni
VP Production: Melissa Cobb, Kevin
Bannerman
Dir. of Development: Tracey Trench
FOX SEARCHLIGHT
President: 1 In^is.u' Law
Senior VP Prod'n: Claudia Lewis
Senior VP Mrkmg: David Dinerstein
Sr. VP Bus. Affairs: Joseph De Marco
Sr. VP Distribution: Bob Cheren
Sr. VP Acquisitions: Tony Safford
VP Acquisitions: Bob Aaronson
VP Legal Affairs: Charles Moore
VP Prod'n & Dev.: Joe Pichirallo
VP Pub. Rel.; Valerie Van Galder
Exec. Dir. Finance Admin.; Jill Gwen
Dir. of Prod'n: Jim Wilson
Dir. Pos Prod'n; Alexandra Helfrich
Dir. Mrktg.: Marc Weinstock
Dir. Field Ops: April Loncar
Dir. Great. Mrktg.: Gordon Donlou
FOX ANIMATION STUDIOS
Pnxi'r/Dir.; Car>' Goldman, l>>n Bluth
Sr. VP& C.en. Mngr.: Kiki Morris
FOX INTERACTIVE
President; Jon Richmond
Exec Dir. Product Development;
Paul Provenzano
Dir. Bus. & Creative Develoment:
Scott Marcus
FOX STUDIOS AUSTRALIA
Prt'siJi'iit: Kim Williams
TELEVISION
President Fox Ent't Group: Peter
Roth
Chair and CFO FOX TV: Chasi> Carey
INT'L FOX TV AND PAY TV
President: Mark Kaner
Exec. VP; Marion Edwards
Exec. VP Pay TV/Pay Per View:
Ken Bettstellcr

.. 1^ D
W^i

20TH CENT. FOX -CONT'D
HOME ENTERTAINMENT
rroMdc'ilt Intl.; It'ttrev B. "icipp
BRANCH OFFICES
EASTERN DIVISION
40 West 57th St., 8th Floor
New York, NY 10019-4037
212-556-2490; FAX: 212-245-3548
VP East. Div. Mgr.: Henri Frankfurter
Boston/New Haven Br. Mgr.:
Arnold Lewis
Cincinnati/Cleveland Br. Mgr.:
Ralph Famham
Wash., D.C. Br. Mgr.: Lawrence Filler
ATLANTIC DIVISION
40 West 57th St., 8th Floor
New York, NY 10019-4037
212-261-2500; FAX: 212-245-3548
VP Atlantic Div. Mgr.: Ron Polon
New York Br. Mgr.: Frank Rodriguez
Buffalo/ Albany Br. Mgr.: Lou Korte
Phila./Pittsbrgh Br. Mgr.: Ed Handler
SOUTHERN DIVISION
12001 N. Central Expressway, Suite
650,LB117
Dallas, TX 75243
214-392-0101; FAX: 214-392-1007
VP South. Div. Mgr.: Bert Livingston
E>allas Br. Mgr.: Redmond Gautier
Okla. City Br. Mgr.: Chester Layfield
New Orleans /Memphis Br. Mgr.:
Woodrow Townsend
Atlanta Br. Mgr.: Jerry Smith
Jacksonville Br. Mgr.: Marsha Weaver
WESTERN DIVISION
14242 Ventura Blvd., 3rd Fir.
Sherman Oaks, CA 91423
818-382-7282; FAX: 818-382-7289
VP Western Div. Mgr.: James Naify
Los Angeles Br. Mgr.:
Robert McCormick
Los Angeles Br. Sales Mgr.:
Corey Ballaban
San Francisco/Denver Br. Mgr.:
Gary Erickson
Salt Lake City Sales Mgr.:
Pam Loo Mayer
Seattle/Portland Br. Mgr.:
Blayne Becker
MID-WESTERN DIVISION
12001 N. Central Expressway,
Suite 650, LB117
Dallas, TX 75243
214-392-0101; FAX: 214-392-1007
VP Midwest Div. Mgr.:
Robert Kaplowitz
Chicago/Minneapolis Br. Mgr.:
Doris Payne
Detroit/Indianapolis Br. Mgr.:
Cai Schmidt
Kansas City /St. Louis Br. Mgr.:
Dave Hansen
Des Moines/Omaha/Milwaukee Br.
Mgr.: Laura Kennedy
20TH CENTURY FOX CANADA:
TORONTO
920 Yonge St., Suite 218
Toronto, Ontario M4W 3C7
416-921-0001; FAX: 416-921-9062
VP Gen. Mgr.: Buddy Golden
Branch Mgr.: Dave Forget
Sales Mgr.: Barry Newstead
MONTREAL
445 St. Francis Xavier
Montreal, Quebec H2Y 2T1
514-282-8080
Branch Mgr,: Suzanne Villeneuve
u
UNIVERSAL PICTURES
100 Universal City Plaza
Universal City, CA 91608
818-777-1000
445 Park Ave.
New York, NY 10022
212-759-7500
UNIVERSAL STUDIOS INC.
Chairman and CEO:
Frank). Biondi Jr.
President and COO: Ron Meyer
Exec. VP Corporate Operations:
Howard Weitzman
Exec. VP and CFO: Bruce Hack
Sr. VP Corp. Communications and
Public Affairs: Deborah Rosen
UNIVERSAL PICTURES
Chairman: Case\' Siher
COO: Chris McGurk
Exec. VP: Jon Gumpert
Exec. VP, Legal & Bus. Affairs:
Jeffrey Korcheck
Sr. VP Int'l Ops.: James A. Burk
Sr. VP Planning & Ops.: Bahman
Naraghi
Sr. VP Bus. Affairs: Robert W. Rubin
Sr. VP Legal Affairs: Mary Ledding
VP Bus. Affairs: Jeff Goore
VP Controller: Carlos Penera
VP Prod. Fin.: Bret Johnson
VP Contractual Acctg.: Joseph
Randazzo
UNIVERSAL PICTURES
PRODUCTION
President: Marc Piatt
Co-President: Stacey Snider
Exec. VP, Production: Kate Barker
Exec. VP Production: Kevin Misher
Sr. VP Production: Leonard
Komberg
Sr. VP Music: Harry Garfield
Sr. VP Fhys. & Post Prod'n: Don Zepfel
Sr. VP Production: Diane Cairns
Sr. VP Development: Allison Brecker
VP Feat. Budget & Est.: Bill Greenberg
VP Prod'n, East Coast: Peter Amoff
VP Music Bus. Affairs: Phil Cohen
VP Physical Prod'n: Andrew Given
UNIVERSAL PICTURES
MARKETING
President: Buffy Shutt
Exec. VP: Kathy Jones
Exec. VP Intl. Mrktng:
Nadia Alves-Bronson
Sr. VP Marketing: Eddie Egan
a-. VP Media & Res.: Mark Kristol
Sr. VP Creative Advert.: William Loper
Sr. VP Media & Co-op AdverHsing:
Anthony Evergates-Price
Sr. VP Dist. & Mktg.: Alan Sutton
VP Special Projects: Hollace Davids
VP Market Research: Chuck Gaylord
VP Creative Advert.: Pam Postrel
VP Planning, Fin'ce & Admin.:
Charlotte Reith
VP Creative Advertising:
Ann Frame-Russo
VP Creative Advert. Ops: Dan Wolfe
VP National Publicity: Stu Zakim
VP Int'l Pub.: Thomas Castaneda
VP Mktg S«»rvic(>s: Pam Blum
UNIVERSAL PICTURES
DISTRIBUTION
Presidi'iil: \ikki Rocco
Exec. VI' & t«n Sales Mgr.: Nick
Carpou
Exec. VP & Gen Sales Mgr.: Mark
Gaines
Sr. VP Dist. k Mktg.: Alan Sutton
VP General Mgr.-Universal Films
Canada: Eugene Amodeo
VP It Division Mgr: Jack Finn
VP & Div. Mgr.: Albert Quaedvlieg
VP& Division Mgr.: Dave Richoux
VP Nat'l Fj(hibitor Rd'as; Steve Ellman
VP Print Control: Harold Goldberg
Mgr. Nat'l Exhibitor Rel'ns: Lisa
Holland
Dir. Administration: Mary Costello
Dir. Branch Operations: Mark Link
Dir. Sales Admin.: Gary Chong
BRANCHES
NEW YORK
445 Park Ave.
New York, NY 10022
212-605-2828
Gary Rocco, N.Y. /Pitts. Branch Mgr.
Steve Turner, Wash. Branch Mgr.
Charles Sampayo, Phila Branch Mgr.
BOSTON
95 Winchester St.
Boston, MA 02116
617-426-8760
Joan Corrado, Boston /New Haven
Branch Mgr.
JoeCrimi, Albany/Buff./Cincinnati
Branch Mgr.
DALLAS
7502 Greenville Ave., Ste. 200
Dallas, TX 75231
214-360-0022
Bruce Thompson, Dallas/Oklahoma
City Branch Mgr.
Doug Coons, Jacksonville Branch
Mgr.
James Dixon, Atlanta/Charlotte
Branch Mgr.
Dana Poindexter, Kansas
City/Memphis/New Orleans
Branch Mgr.
Jack Botaro, Chicago/Milwaukee
Branch Mgr.
Gordon Ward, Cleveland/Detroit
Branch Mgr.
Jim Agliata, Des
Moines/Omaha/Indianapolis/St.
Louis/Minneapolis Brandt Mgr.
LOS ANGELES
100 Universal City Plaza
Building 509 - Suite 1900
Universal City, CA 91608
818-777-0002
Lynne Francis, L.A. Branch Mgr.
Robert Taylor, San Francisco,
Denver Branch Mgr.
Marji McCormick, Portland/Salt
Lake City /Seattle Branch Mgr.
PUERTO RICO
Universal Pictures
P.O. Box 11308
San Juan, PR 00910-2408
787-725-1353
Wilfred Momeau, Branch Mgr.
V
VALIANT INTERNATIONAL
PICTURES
4774 ML'h\)M.' Ave.
Hollywood, CA 90029
213-665-5257
FAX: 213-665-6473
President, Harry Novak
Vice President, Carmen Novak
General/Adult/Art/Foreign/Specialized
Films
w
THE WALT DISNEY
COMPANY
500 S, Buena Vista St.
Burbank, CA 91521
818-560-1000
Chairman of the Board, CEO:
Michael D. Eisner
Vice Chairman of the Board:
Roy E. Disney
Chairman Walt Disney Studios: Joe
Roth
Sr. Exec. VP & Chief of Corporate
Operations: Sanford M. Litvack
Sr. Exec. VP & Chief Financial
Officer: Richard D. Nanula
Exec. VP Corp. Aff'rs: John F. Cooke
Exec. VP & CFO Walt Disney
Studios: Rob Moore
Exec. VP & Chief Strategic Officer:
Lawrence P. Murphy
Sr. VP Planning & Control:
John J. Garand
Corp. Secretary: Marsha L. Reed
WALT DISNEY MOTION
PICTURES GROUP
500 S. Buena Vista St.
Burbank, CA 91521
818-560-1000
Chairman: Richard Cook
President Touchstone Pictures:
Donald De Line
President Walt Disney Pictures:
David Vogel
Pres. Buena Vista Pictures Mrktng:
John Cywinski
Pres. Buena Vista Intl.: Mark Zoradi
Pres. Music: Kathy Nelson
Pres. Hollywood Records:
Robert Pfeifer
Exec. VP: Bemardine Brandis
Exec. VP Acquisitions, Development
& New Business: Susan Lyne
Sr. VP Music Bus./Legal Affairs:
Scott Holtzman
Sr. VP & CFO: Robert Murphy
Sr. VP Prod'n Mng.: Bruce Hendricks
Sr. VP Character Voices & Dubbing:
Jeffrey Miller
Sr. VP Walt Disney Theatrical
Productions: Robert McTyre
TOUCHSTONE PICTURES/
WALT DISNEY PICTURES
50(1 S. Buena Vista St.
Burbank, CA 91521
818-560-1000
President Touchstone Pictures:
Donald De Line
Exec. VP Touchstone Pic: Mike
Stenson
Sr. VP Touchstone Pics.: Alex
Schwartz
Sr. VP Touchstone Pics.: Todd
Gamer
Sr. VP Touchstone Pics.: Jordi Ros
Dir. Dev. Touchstone Pics.: Mark
Vahradian
Dir. Dev. Touchstone Pics.: Christy
Callahan
Dir. Dev. Touchstone Pics.: Jason
Reed
President WDP: David Vogel
Sr. VP WDP: Michael Roberts
Sr. VP WDP: Bemie Goldmann
VP WDP: Gregg Hoffman
Creative Exec. WDP: Jeff Bynum,
Matt Bierman, Julie Beckett, Paige
Goldberg
Sr. VP Motion Pic. Prod'n: Bruce
Hendricks
Sr. VP Motion Pic. & TV Prod'n:
Dave McCann
VP Prodn Fin.: Paul Steinke
VP Participation & Residuals:
William Clark
VP Music Prod'n: Andy Hill
VP Labor Relations: Robert W.
Johnson

, i?ft> Response No 1 76 ^.
Highest rated soundwalls in t
Lifetime warranty for demising wall acoustical performance.
The "New Standard" for theater owners.
I
(«
TROY SOUND yVALL SYSTEMS
'^l A division of II. R. Don Cerrftos Inc.
For more information call 800-987-3306 or 213-838-3676, Fax 213-838-368
3420 South Malt Avenue, Commerce, California 90040
"Premium " wall rated STC 67. "Ultra " wall rated STC 68
'
Troy Sound Wall Systems are tested and certified by Riverbank Acoustical Laboratories, Geneva, IllinS

WALT DISNEY CONT'D
VP New Tech. & Dev.: Bob Lambert
VP Casting: Marcia Ross
BUSINESS & LEGAL AFFAIRS
Sr. VP Music: Scott Holtzman
VP Music: Sylvia Krask
Attorney/Music: Liz McNicoU
Sr. VP Bus. & Legal Affairs: Phillip
Muhl
VP Bus. Affairs: Doug Carter, Chris
Floyd, Steve Gerse, Howard
Safenowitz
Dir. Bus. Affairs: Jeff Diach
Sr. VP Legal Affairs: Steve Bardwil
VP Legal Affairs: Rick Schlesinger
Legal Affairs Attorney: Arme
Bowman, Carolyn Clark, Sherri
Feldman, Beth Machlovitch,
Carol McDermott, Lee Pamell,
Joe Quigley, Kal Walthers, Paige
Wright, Jonathan Zweig
WALT DISNEY
FEATURE ANIMATION
2100 Riverside Dr.
Burbank, CA 91506
818-560-8000
President: Peter Schneider
Exec. VP: Thomas Schumacher
Sr. VP: Tim Engel
VP Communications: Jon Niermann
WALT DISNEY TELEVISION
AND TOUCHSTONE
TELEVISION
500 S. Buena Vista Street
Burbank, California 91521
(818) 560-5000
Chairman Buer« Vista Television:
Walter Liss
President Walt Disney Television &
Television Anim.: Dean Valentine
President Walt Disney Television:
David Newman
President Buena Vista Television:
Mort Marcus
THE DISNEY CHANNEL
3800 West .Alameda Avenue
Burbank, California 91505
(818) 569-7500
President: Anne Sweeney
DISNEY CONSUMER
PRODUCTS
500 S. Buena Vista Street
Burbank, California 91521
(818) 560-1000
President: Barton K. Boyd
President Europe, Middle East &
Africa: Pierre Sissmann
President Asia Pacific: John J.
Feenie
President US/Canada: Anne Osberg
President - The Disney Store
Worldwide: Tom Heymarm
Sr. VP Walt Disney Records:
Elizabeth Kalodener
WALT DISNEY PUBLISHING
114 Fifth Avenue
New York, NY 10011
(212) 633-4400
Sr. VP: Tom Conforti (Interim)
BUENA VISTA HOME VIDEO,
INC.
350 S. Buena Vista Street
Burbank, California 91521
(818) 560-1000
Pres. Dom. Home Video: Ann Daly
Pres. Buena Vista Home Ent.:
Michael O. Johnson
WALT DISNEY IMAGINEERING
1401 Flower Street
P.O. Box 25020
Glendale, California 91221-5020
(818) 544-6500
Vice Chairman & Principal CreaHve
Exec.: Marty Sklar
Exec. VP Creative Tech.: Bran Ferren
President: Ken Wong
DISNEY INTERACTIVE
500 S. Buena Vista Street
Burbank, CA 91521
(818) 543-4300
President: Steve McBeth
Pres. Disney Online: Jake Winebaum
Sr. VP & Mgr. Disney Software:
Steve Fields
Sr. VP Disney Online/Disney.com:
Winnie Wechsler
BUENA VISTA PICTURES
MARKETING
500 South Buena Vista Street
Burbank, California 91521
(818) 560-1000
President: John Cywinski
Sr. VP Creative Film Srvs.: Oren Aviv
Sr. VP Publicity: Terry Curtin
Sr. VP Mktg.: Geoffrey Ammer
Sr. VP Promos /Field Ops: Brett Dicker
Sr. VP Creative Print Srvs.: Fred Tio
VP Media Ops: Nina Anderson
Sr. VP Media: Kristy Frudenfeld
VP Publicity: Denise Greenawalt
VP Fin. & Admin.: Dean Hallett
VP Publicity: Lisa Halliday
VP Print Advertising: Alan Lobel
Sr. VP Research: Dana Lombardo
VP East Coast Pub.: Charlie Nelson
VP Nat'l Promos: Cherise McVicar
VP Markting & Synergy:
Michael Mendenhall
VP Field Mktg: Georgia O'Conner
VP Creative Film Services:
Constance Wells
BUENA VISTA
INTERNATIONAL
500 South Buena Vista Street
Burbank, California 91 521
(818)560-1000
Pres. Buena Vista Int'l: Mark Zoradi
Sr. VP Bus. Affairs & Acquisitions:
Jere Hausfater
Sr. VP & Gen. Mgr.: Lawrence Kaplan
Sr. VP Latin America & The
Carribbean: Diego Lemer
Sr. VP Character Voice & Dubbing:
Jeffrey Miller
Sr. VP Publicity: Teri Ritzer
Sr. VP Distrib. & Gen. Mgr. Europe:
Stuart Salter
Sr. VP Marketing: Fred Tio
VP & Gen. Mgr. Germany:
Woflgang Braun
VP & Gen. Mgr. Sweden: Eric Broberg
VP & Gen. Mgr. U.K.: Daniel Battsek
VP & Gen. Mgr. France:
Jean-Francois Camilleri
VP & Gen. Mgr. South Korea: S.I. Kim
VP & Gen. Mgr. Austria:
Ferdinand Morawetz
VP & Gen. Mgr. Italy: Sandro Pierotti
VP & Gen. Mgr. Spain: Javier Vassalo
VP & Gen. Mgr. Benelux:
Paul Zonderland
VP Sales & Mrktng Asia: Jeff Forman
VP Distribution: Anthony Marcoly
VP Fin. & Sales Admin.: Ann Mather
General Manager Switzerland:
Roger Crotti
General Manager Japan: Dick Sano
General Mgr. Taiwan: Rudy Tseng
VP Marketing: Ignacio Damaude
Let Proctor Build You a Profit Center.
When it comes to concession stands. Proctor's got you
covered. From design and manufacture to equipment
and replacement parts, we've got the products
and expertise you need to maximize your bottom
line. We build in excellent workmanship,
professional installation and quick shipping,
no matter where in the world you are. With
25 years expertise, we can give you a stand
that rewards you with many happy returns.
"^^
C^ -^ ^ 10497 Centennial Road,
\^rrt)» n
Littleton, CO 80127
2 pNCM'^O^' • Phone:(303)973-8989
• c^lv^0l»^**"
O Fax:(303)973-8884
c s^
E-Mail: pdi@proctorco.coin
JPPROCTOR COMPANIES
Response No. 461

7
JkiJBs.lJLH.1.
't^
1^1
» \uu»~c m
I i
illli'i'":
-^
Switchless Platter System
Model # LP1003 & Model # LP1005
Electronic Fail Safe Cue Sensor
Model #'s: 30025-1 Single Cue • 30025-2 Dual Cue • 30025-3 Triple Cue
Film Cleaner Projector Mounting Bracket
Model #4001
^^
Film Cleaner
'4^
Model #40012 (35MM) & Mocte^#40011 (35/70MM)
-
Professional Dimmefr
Model # LD1010 with Remote {1|fctured)
Model # L01000 without Rerngftt
^
Response No 44
Systems & Products Enginering Company
709 N 6th Street • Kansas City. KS 66101
1-800-633-5913 • FAX: (913) 321-7439

I
!
BRANCHES:
I
WALT DISNEY CONT'D
BUENA VISTA PICTURES
DISTRIBUTION
350 S

1
Innovation Is Our NIsslon
t
V
•^ .V f.
Onema Rim Systems/Rentec is the motion-picture industry's most
innovative, technologically advanced systems manufacturer. We
offer state of the art lamphouse consoles, projectors, film handling
systems, automations, screens, sound systems and a variety of
other film industry products, both off the shelf and custom.
See Us At SHOWEAST Trade Booth # 907, 909 & 91
CinEl^k FILKK SYSTEIKS
Corpofflle Offices a Facrofti Hidiuesf / inlernalionfll Sales
779 North Benson Avenue • Upland, tt 91 786, USA 3840 South Helena • Aurora, CO 8001 3, USA
Phone: (909) 931 -931 8 • fax: (909) 949-881 5 Phone: (303) 699-7477 • Fax: (303) 680-6071
Website: www.cfsren.com E-rtiail: cfsren@Dol.com

Manufacturers Index
Listed alphabetically by category, this index indicates the page on which full company
information for manufacturers and suppliers of exhibition-related products can be found.
ADVERTISING/
DISPLAYS
CHANGEABLE
LETTERS
Arrow (p62)
Berloc Sign Co. (p63)
Bux-Mont (p63)
Fast-Ad (p66)
Gemini (p66)
Jarco (p68)
Lavi (p69)
Schult (p73)
Wagner Zip (p76)
DISPLAYS/FRAMES/
CASES/EASELS
Bass (p63)
Berloc (p63)
Bux-Mont (p63)
Jarco (p68)
MDI (p70)
Schult (p73)
MARQUEE BACK-
GROUND PANELS
Arrow (p62)
Bass (p63)
Berloc {p63)
Bux-Mont (p63)
Gemini (p66)
Jarco (p68)
TriMotion (p76)
Wagner Zip (p76)
PROGRAMMABLE
SIGNS/MESSAGE
CENTERS
AAMI^DS (p62)
AASCn"DS (p62)
Arrow (p62)
Bux-Mont (p63)
Ecotech (p64)
Gamma (p66)
Schult (p73)
Signature (p73)
Trans-Lux (p76)
TriMotion (p76)
SIGNS/DISPLAYS
AAMI/TDS (p62)
AASC/TDS (p62)
Arrow {p62)
Bass (p63)
Berloc (p63)
Ecotech (p64)
Gamma (p66)
Jarco (p68)
Koryn Rolstad (p69)
Lavi (p69)
Lazarus (p69)
MDI (p70)
Mica (p70)
Premier Dalavis. (p72)
Schult (p73)
Signature (p73)
Speclzd. Grphcs (p74)
Trans-Lux (p76)
Visual Mktg. (p76)
Wagner Zip (p76)
BOXOFFICE
EQUIPMENT/
SUPPLIES
ADMISS. CHECKERS
Roelants (p72)
Ticketpro {p74)
ADMISSION SIGNS
AAMIATDS (p63)
AASCA"DS (p63)
Berloc (p63)
Jarco (p68)
Lavi (p69)
Roelants (p72)
Schult (73)
CASH REGISTERS/
PAYMENT SYSTEMS
AAMIfrDS(p62)
AASCn"DS (p62)
AASin"DS {p62)
Cinema Comp. (p63)
Globe (p66)
Indiana (p68)
Sensible (p73)
Theatre Support (p74)
Ticketpro (p74)
Westar/ICE {p76)
PHONE SYSTEMS
AAMlfTDS (p62)
AASC/TDS (p62)
AASI/TDS (p62)
Jarco (p68)
Metro Tel (p70)
Pacer CATS (p72)
Smart (p73)
TALK-THROUGH
EQUIPMENT
Globe (p66)
Haven (p66)
Jarco (p68)
Metro Tel (p70)
Schult (p73)
Talk-A-Phone(p74)
TICKETS
AAMI/TDS (p62)
Cats (p63)
Cinema Comp. (p63)
Dillingham (p64)
Orukkerijstrobbe (p64)
Globe (p66)
National Ticket (p70)
Roelants (p72)
Theatre Support (p74)
Ticketpro (p74)
Weldon, Wms. (p76)
Westar/ICE (p76)
TICKETI8SUINQ
AAMI/TDS(p62)
AASC/TDS(p62)
AASI/TDS (p62)
Automaticket (p62)
Cats (63)
Grain Atlanta (p64)
Dillingham (p64)
Elec. Creations (p66)
Globe (p66)
Pacer CATS (p72)
PrysmTech (p72)
RDS Data (p72)
Ready (p72)
Roelants (p72)
Sensible (p73)
Sys. Op. Solution (p74)
Theatre Support (p74)
Ticketpro (p74)
Westar/ICE (p76)
COMPUTERS
HARDWARE
AAMI/rDS(p62)
AASI/TDS (p62)
BGW (p63)
Cinema Comp. (p63)
Pacer CATS (p72)
PrysmTech (p72)
Ready (p72)
Sensible (p73)
TDS (p74)
Theatre Support (p74)
Ticketpro (p74)
Westar/ICE (p76)
SOFTWARE
AASC/TDS (p62)
AASI/TDS (p62)
Cats (p63)
Cinema Comp. (p63)
Marble (p69)
McAllister (p70)
Pacer/CATS (p72)
Sensible (p73)
TDS (p74)
Theatre Support (p74)
Ticketpro (p74)
Westar/ICE (p76)
CONCESSION
EQUIPMENT
BEVERAGE
DISPENSERS
Clark Food (p64)
Gold Medal (p66)
James River (p68)
Karma (p69)
Multiplex (p70)
MVE (p70)
Robnsn/Kirsh. (p72)
Silver King (p73)
Slush Puppie (p73)
BUTTER WARMERS/
DISPENSERS
C. Cretors (p63)
Clark Food (p64)
Gold Medal (p66)
Jarco (p6e)
Lugo (p69)
Server (p73)
Stein (p74)
CANDY FLOSS/
CARAMEL CORN
EQUIPMENT
C. Cretors (p63)
Clark Food (p64)
Gold Medal (p66)
Jarco (p68)
Lugo (p69)
CARTS
A Basic Service (p62)
Jarco (p68)
Stein {p74)
Supreme (p74)
COFFEE
Acorto (p62)
American Intl. (p62)
Coffee-Inn's (p64)
Jarco (p68)
Kraft (69)
CONCESSION
EQUIP7SUPPLIES
AAMI/TDS(p62)
A Basic Service (p62)
American Intl. (p62)
C. Cretors (p63)
Clark Food (p64)
Cres-Cor (p64)
Gold Medal (p66)
Great Western (p86)
James River (p68)
Jarco (p68)
Kloss/Poppers (p69)
Liberto (p69)
Lugo {p69)
Octagon (p70)
Ready (p72)
Ricos (p72)
Roundup (p73)
Server (p73)
Stein (p74)
Western (p76)
CONDIMENT
DISPENSERS
Clark Food (p64)
Gold Medal (p66)
Jarco (p68)
Server (p73)
Silver King (p73)
Stein (p74)
CONTAINERS/
PAPER BAG/
BOX/CUP
Clark Food (p64)
Dan (p64)
Gold Medal (p66)
James River (p68)
J.G. Clark (p68)
Lugo (p69)
Octagon (p70)
Packerware (p72)
CUP DISPENSERS
Gold Medal (p66)
James River (p68)
Roundup (p73)
Stein (p74)
CUPHOLDERS/TRAYS
Caddy (p63)
Cy Young (p64)
Jarco (p68)
DISPLAY/COUhfTERS
STANDS
AB Musik (p62)
American Intl. (p62)
Gold Medal (p66)
Hire-Nelson (p68)
Jarco (p68)
Proctor (p72)
Roundup (p73)
Stein (p74)
FOOD HOLDERS/
WARMERS
Clark Food (p64)
FUNacho (p66)
Gold Medal (p66)
Jarco (p68)
Lugo (p69)
Roundup (p73)
Server (p73)
Toastmaster (p74)
GRILLS/STEAMERS
A Basic Service (p62)
Clark Food (p64)
Gold Medal (p66)
Jarco (p68)
Lugo (p69)
Roundup (p73)
Toastmaster (p74)
ICE CREAM DISPLAY
CASES/FREEZERS
American Intl. (p62)
Jarco (p68)
New Eng. Frozen (p70)
Silver King (p73)
ICE MAKERS
A Basic Service (p62)
Clark Food (p64)
Jarco (p68)
Proctor (p72)
MENU BOARDS/
DISPLAYS
AASC/TDS (p62)
Berloc (p63)
Fast-Ad (p66)
Gold Medal (p66)
Jarco (p68)
Lazarus (p69)
Liberto (p69)
Ricos (p72)
Schult (p73)
Visual Mktg. (p76)
POPCORN
WARMERS
C. Cretors (p63)
Clark Food (p64)
Gold Medal (p66)
Jarco (p68)
Lugo (p69)
Octagon (p70)
Proctor (p72)
Server (p73)
Stein (p74)
Westar/ICE (p76)
POPPERS
C. Cretors (p63)
Clark Food (p64)
Gold Medal (p66)
Gottschalk (p66)
Jarco (p68)
Lugo (p69)
Morrison (p70)
Octagon (p70)
Roundup (p73)
Server (p73)
Stein (p74)
REFRIGERATION
Jarco (p68)
Silver King (p73)
Stein (p74)
Unimar(p76)
STRAW/NAPKIN
DISPENSERS
Gold Medal (p66)
Jarco (p68)
Stein (p74)
VENDING
AAMI/TDS (p62)
AASI/TDS (p62)
Server (p73)
CONCESSIONS
—FOOD
CANDY
American Intl. (p62)
Amer. Licorice (p62)
Clark Food (p64)
Coast to Coast (p64)
Euro-American (p66)
Goetze's (p66)
Great Western (p66)
Haribo (p66)
Herman Goelitz (p68)
Hershey (p68)
Just Born (p68)
M&M/Mars (p69)
Nabisco (p70)
Nestle (p70)
Promo in Motion (p72)
Sarnow (73)
Sunmark (p74)
Tootsie Roll (p74)
Trolli (p76)
CANDY FLOSS
Clark Food (p64)
Gold Medal (p66)
Great Western (p66)
CARAMEL CORN
American Intl. (p62)
C. Cretors (p63)
Clark Food (p64)
Gold Medal (p66)
Great Western (p66)
Iroquois (p68)
COOKIES
Coast to Coast (p64)
Euro-American (p66)
Nabisco (p70)
HOT DOGS/MEATS
Eisenberg (p64)
Hot N' Spicey (p68)
Kraft (p69)
Shofar(p73)

ighten Up!
Projection System Analyzer
^ ^ ^ Pflfpnf Ppnriinn
Patent Pending
WSUlnc.
Simple
Time Saving
Portable
Any Size Screen
Analyzes Entire Screen -
45 Zones Simultaneously
Superior Luminance
Computer Driven
All Projection Systems
IrUSLjnc
Quality Cinema Pi d ducts
Ultra'St^reo Labs. Inc. • 181 Bonetti Dnv.;
San Luis Obispo. CA 93401
Telephone (805) 54301 61 -FAX (805) 5-130163
E-Mail feliciausi@aol.com
In association with
L J Technologies, Inc. • 19017 W. 51st St
Memam, KS 66203
Telephone (913) 789-8 1 1 1 'FAX (9 1 3) 783aD88
E-Mail litech@swbell.net

'
ICE CREAWYOGURT
American Intl. (p62)
Nestle Ice Cream {p70)
New Eng. Frozen (p70)
NACHOS
American Intl. (p62)
Clark Food (p64)
FUNacho (p66)
Gold Medal (p66)
Great Western (p66)
Lipton Monarch (p69)
Lugo (p69)
Octagon (p70)
Ricos (p72)
POPCORN OILS/
SEASONINGS/
TOPRNGS
American Intl. (p62)
Cargill (p63)
Clark Food (p64)
Coast to Coast (p64)
Colfax (p64)
Gold Medal (p66)
Great Western (p66)
Lipton Monarch (p69)
Lou-Ana (p69)
Lugo (p69)
Morrison (p70)
Octagon (p70)
Odell's (p70)
Ricos (p72)
Weaver (p76)
POPCORN
PROCESSORS
American Intl. (p62)
Great Western (p66)
K&W Popcorn (p68)
Lugo (p69)
Morrison (p76)
Vogel (p76)
Weaver (p76)
PRE-POPPED
Gold Medal (p66)
Iroquois (p68)
Lugo (p69)
Morrison (p70)
Ricos (p72)
RAW POPCORN
American Intl. (p62)
Clark Food (p64)
Coast to Coast (p64)
Gold Medal (p66)
K&W Popcorn (p68)
Lugo (p69)
Octagon (p70)
Ricos (p72)
Vogel (p76)
Weaver (p76)
SNACK FOODS
American Intl. (p62)
Anheuser(p62)
Chef Amer. (p63)
Frito-Lay (p66)
Liberto (p69)
Matlaw's (p69)
Nabisco (p70)
Ricos (p72)
Rio Syrup (p72)
SNOW CONE/ SLUSH
A Basic Service {p62)
Clark Food (p64)
Gold Medal (p66)
Great Western (p66)
ICEE USA (p68)
Jarco (p68)
Lugo (p69)
Rio Syrup (p72)
Slush Puppie (p73)
SOFT DRINK SYRUP
American Intl. (p62)
Clark Food (pe4)
Coca-Cola (p64)
Or. Pepper (p64)
Gold Medal (p66)
Great Western (p66)
Lipton Monarch (p69)
Pepsi-Cola (p72)
Ricos (p72)
Rio Syrup (p72)
DRIVE-IN
EQUIPMENT
CAR COUNTERS
SPECO (p74)
IN-CAR SPEAKERS
Projected Sound (p72)
Reed (p72)
SPECO (p74)
INSECT SPRAY
Pic Corp. (p72)
JUNCTION BOXES
Projected Sound {p72)
Reed (p72)
SPECO (p74)
RADIO SOUND SYS.
Audio Visual (p62)
LPB (p69)
Marble (p69)
SCREEN PAINT
Technikote (p74)
SCREENSn^OWERS
Arrow (p62)
Selby (p73)
MAINTENANCE/
SANITATION
BLOW/SWEEP/
VACUUM
Cinema Cleaning (p63)
Manutech (p69)
Upkeeper (p76)
CLEANERS/CHEMS
Cinema Cleaning (p63)
Colgate Palmol. (p64)
Great Western {p66)
Motsenbocker(p70)
Spurrier (p74)
ENERGY SYSTEMS
AAMIATDS (p62)
AASin-DS (p62)
Novar (p70)
TRASH CONTAINERS
Clark Food (p64)
Clean City (p64)
Duraform (p64)
Glassform (p66)
Lawrence (p69)
United Receptacle (p76)
Upbeat (p76)
PROJECTION
APERTURE PLATES
Batlantyne (p63)
Christie (p63)
CFS/Rentec (p63)
Clnemeccank» (p63)
Hl-Tech(p68)
Kalmar (p69)
Westar/ICE (p76)
AUTOMATION
CONTROLLERS
Avask (p62)
Ballantyne(p63)
Christie (p63)
CFS/Rentec (p63)
Cinemeccanica (p63)
Component (p64)
Edio (p64)
Hi-Tech (p68)
Kelmar(p69)
LP. Assoc. (p69)
Marble (p69)
ORG (p70)
Raven (p72)
RGM (p72)
SPECO (p74)
Strong (p74)
CARBONS
Marble (p69)
CHANGEOVER
DEVICES/CUE
MARKERS
CFS/Rentec (p63)
Cinemeccanica (p63)
Component (p64)
Hi-Tech (p68)
Kneisley {p69)
Marble (p69)
Raven (p72)
SPECO (p74)
Westar/ICE (p76)
Wolk (p76)
CONSOLES
Ballantyne (p63)
Christie (p63)
CFS/Rentec (p63)
Cinemeccanica (p63)
Kneisley (p69)
L.P. Assoc. (p69)
ORC (p70)
Strong (p74)
Westar/ICE (p76)
Ushio (p76)
FILM CLEANERS/
LUBRICANTS/
PRESERVATIVES
CFS/Rentec (p63)
Goldberg (p66)
Hi-Tech (p68)
Kelmar(p69)
Kinetronics (p69)
Marble (p69)
M-Service (p70)
ORC (p70)
SPECO (p74)
Westar/ICE (p76)
FILM TRANSPORT
SYSTEMS
Ballantyne (p63)
CFS/Rentec (p63)
Christie (p63)
Cinemeccanica (p63)
Goldberg {p66)
ORC (p70)
S. Bose (p73)
SPECO (p74)
Westar/ICE (p76)
Ushio (p76)
LAMPHOUSES
CFS/Rentec (p63)
Christie (p63)
Cinemeccanica (p63)
Hi-Tech (p68)
Kneisley (p69)
LP. Assoc. (pi69)
Navilar (p70)
ORC (p70)
Strong (p74)
Ushio (p76)
Veronese (p76)
LENSES
CFS/Rentec (p63)
Olmenaion 3 (p64)
Hi-Tech (p68)
Isco-Optic (p68)
Jos Schneider (p68)
Kneisley (p69)
Marble (p69)
Navitar (p70)
ORC (p70)
Schneider (p73)
Super-V (p74)
Westar/ICE (p76)
MAKEUP TABLES
CFS/Rentec (p63)
Christie (p63)
Cinemeccanica (p63)
Goldberg {p66)
Hi-Tech (p68)
Kelmar(p69)
ORC (p70)
Potts (p72)
SPECO (p74)
Veronese (p76)
Westar/ICE (p76)
PLATTERS
Ballantyne (p63)
CFS/Rentec (p63)
Christie (p63)
Cinemeccanica (p63)
Hi-Tech (p68)
ORC (p70)
Potts (p72)
SPECO (p74)
Ushio (p76)
Westar/ICE (p76)
PORTABLE
PROJECTORS
CFS/Rentec (p63)
Veronese (p76)
Westar/ICE {p76)
POWER SUPPLIES
CFS/Rentec (p63)
Christie (p63)
Cinema Xenon (p63)
Cinemeccanica (p63)
Kelmar{p69)
Kneisley {p69)
L.P. Assoc. (p69)
ORC (p70)
Ushio (p76)
Veronese (p76)
PROJECTOR PARTS
CFS/Rentec (p63)
Christie (p63)
Cinemeccanica (p63)
Hadden (p66)
Hi-Tech (p68)
Intl. Cinema (p68)
Veronese (p76)
Westar/ICE (p76)
Wolk {p76)
PROJECTORS:
16MM PROJECTORS
Cinemeccanica (p63)
Kneisley (p69)
Veronese (p76)
Westar/ICE (p76)
35MM PROJECTORS
Ballantyne (p63)
CFS/Rentec (p63)
Christie (p63)
Cinemeccanica (p63)
Hadden (p66)
Hi-Tech (p68)
IWERKS(p68)
Navilar (p70)
Raytheon (p72)
Strong (p74)
Ushio (p76)
Veronese (p76)
35/70MM
CFS/Rentec (p63)
Cinemeccanica (p63)
Hl-Tech (pes)
IWERKS (p68)
Westar/ICE (p76)
70MM PROJECTORS
CFS/Rentec (p63)
Christie (p63)
Hi-Tech (p68)
IWERKS (p68)
Westar/ICE (p76)
Ushio (p76)
REELS
CFS/Rentec (p63)
Christie (p63)
Cinemeccanica (p63)
Goldberg (p66)
Hi-Tech (p68)
Westar/ICE {p76)
Wolk (p76)
REEL ARMS/
SUPPORTS
CFS/Rentec (p63)
Christie (p63)
Cinemeccanica (p63)
Hi-Tech (p68)
Kelmar (p69)
ORC (p70)
SPECO (p74)
Veronese (p76)
Westar/ICE (p76)
REFLECTORS
CFS/Rentec (p63)
Christie (p63)
Cinema Xenon (p63)
Cinemeccanica (p63)
Goldberg (p66)
Hi-Tech (p68)
L.P. Assoc. (p69)
Marble (p69)
ORC (p70)
Westar/ICE (p76)
REWINDS
CFS/Rentec (p63)
Goldberg (p66)
Hi-Tech (p68)
Kelmar (p69)
Westar/ICE (p76)
SPLICERS/CEMENT
/PERF. REPAIR
CFS/Rentec (p63)
Equipment Etc. (p66)
Goldberg (p66)
Hi-Tech (p68)
Marble (p69)
XENON BULBS
CFS/Rentec (p63)
Christie (p63)
Cinema Xenon (p63)
Goldberg {p66)
Hi-Tech (p68)
Kneisley (p69)
L.P. Assoc. (pi69)
Marble (p69)
Navitar (p70)
ORC (p70)
OSRAM (p70)
Ushio (p76)
Wolk (p76)
Yumex (p76)
SOUND
EQUIPMENT
AMPS/PREAMPS
AB Intl. (p62)
Apogee (p62)
Ashly Audio (p62)
BGW {p63)
CFS/Rentec (p63)
Cinema Group (p63)
Cinemeccanica (p63)
EVI (p66)
Frazier (p66)
Hafler (p66)
High Performance (p68)
Hi-Tech (p68)
JBL(p68)
Kelmar (p69)
Kintek (p69)
Odyssey (p70)
ORC (p70)
Peavey (p72)
QSC (p72)
Raven (p72)
RGM (p72)
Smart (p73)
Stage Accompany (p74)
Strong (p74)
Teccon (p74)
Ultra-Stereo (p76)
Westar/ICE (p76)
DC EXCITERS
CFS/Rentec (p63)
Component (p64)
Hi-Tech (p68)
Kelmar {p69)
Kintek (p69)
Kneisley {p69)
L.P. Assoc. (p69)
Marble (p69)
ORC (p70)
Raven (p72)
Westar/ICE (p76)
DESIGN
CFS/Rentec (p63)
Frazier (p66)
High Performance (p68)
Hi-Tech (p68)
Kelmar (p69)
Lucasfilm/THX (p69)
Odyssey (p70)
Raven (p72)
Stage Accompany (p74)
Texas Theatre (p74)
DIGITAL STEREO
Cinema Group (p63)
Component (p64)
Dolby (p64)
DTS {p64)
High Performance (p68)
Karasync (p68)
Kintek (p69)
Odyssey (p70)
Raven (p72)
Sony {p74)
Stage Accompany (p74)
Westar/ICE {p76)
EQUALIZERS
AB Intl. (p62)
Ashly Audio (p62)
CFS/Rentec (p63)
Cinema Group (p63)
EVI (p66)
Frazier (p66)
Hi-Tech (p68)
JBL (p68)
Raven (p72)
Stage Accompany (p74)
Ultra-Stereo (p76)
EXCITER LAMPS
CFS/Rentec (p63)
Component (p64)
Hi-Tech (p68)
Kintek (p69)
RGM (p72)
Westar/ICE (p76)
HEARING ENHANCE.
Audio Visual {p62)
Cinema Group (p63)
Hitec (p68)
Hi-Tech (p68)
Koss (p69)
LPB (p69)
Marble (p69)
Odyssey (p70)
Phonic Ear (p72)

Another
Outstanding
Performance.
.^
HiriKiiii
Every night Server Popcorn and Butter Dispensers receive
rave reviews in top theatre chains across the country. Unmatched
reliability—backed by an exclusive two-year-warranty—combined with
superior performance has earned Server leading behind-the-counterroles
since 1 948. To see just how well Server can perform for you, call
5 800-558-8722.
Server Products
^
©1996 Server Products. In
Response No. 172

Raven (p72)
Schult (p73)
Smart {p73)
Ultra-Stereo (p76)
Westar/ICE (p76)
Williams {p76)
NOISE REDUCERS
CFS/Rentec(p63)
Cinema Group (p63)
Dolby (p64)
Hi-Tech (p68)
Kintek (p69)
RGM (p72)
Westar/ICE (p76)
PROCESSORS
Ashly (p62)
CFS/Rentec (p63)
Chace (p63)
Cinema Group (p63)
Dolby (p64)
DTS (p64)
EVI (p66)
Kelmar(p69)
Kintek (p69)
Marble (p69)
RGM (p72)
Smart (p73)
Sony (p74)
Ultra-Stereo (p76)
Westar/ICE (p76)
SOUNDHEADS/
SUPPLIES
CFS (p63)
Component {p64)
EVI (p66)
Teccon (p74)
Westar/ICE (p76)
SPEAKERS
Apogee (p62)
BGW (p63)
CFS/Rentec (p63)
Cinema Group (p63)
EAW (p64)
EVI (p66)
Frazier (p66)
Hadden (p66)
Higti Performance (p68)
Hi-Tech (p68)
JBL (p68)
Kintek (p69)
Klipsch (p69)
OmniMount(p70)
RGM (p72)
Smart (p73)
Stage Accompany (p74)
Strong (p74)
Total Audio (p76)
STEREO SYSTEMS
CFS/Rentec (p63)
Cinema Group (p63)
Dolby (p64)
EVI (p66)
Frazier (p66)
High Performance (p68)
Hi-Tech (p68)
JBL (p68)
Kelmar(p69)
Kintek (p69)
Lucasfilm/THX {p69)
Raven (p72)
RGM (p72)
Smart (p73)
Stage Accompany (p74)
Suministros (p74)
Ultra-Stereo (p76)
Westar/ICE (p76)
SYNTHESIZERS
CFS/Rentec (p63)
Cinema Group {p63)
Hi-Tech (p68)
Smart (p73)
Ultra-Stereo (p76)
Westar/ICE (p76)
STAGE
EQUIPMENT
CURTAINS/CON-
TROLS/TRACKS
Automatic Dev. (p62)
CFS/Rentec (p63)
DeClercq's (p64)
Tru-Roll (p76)
MASKING
CFS/Rentec (p63)
Hi-Tech (p68)
Hurley (p68)
Nick Ivlulone (p70)
Pro-Tapes (p72)
Tru-Roll (p76)
Ushio (p76)
SCREEN CLOTH
CFS/Rentec (p63)
Technikote (p74)
SCREEN FRAMES
Cinema Film (p63)
Hi-Tech (p68)
Hurley {p68)
Nick Mulone (p70)
Stewart Filmscr. (p74)
Technikote (p74)
Tru-Roll (p76)
Ushio (p76)
SCREEN PAINT
Technikote (p74)
Texas Theatre (p74)
SCREENS
CFS/Rentec (p63)
Hi-Tech {p68)
Hurley {p68)
Stewart Filmscr. (p74)
Technikote (p74)
Tru-Roll (p76)
Ushio (p76)
THEATRE
FURNISHINGS
ACOUST. COVER.
Alpro (p62)
AVL (p63)
Brejtfus (p63)
CFS/Rentec (p63)
Cine-Line {p63)
Econo Pleat {p64)
Hi-Tech (p68)
Intl. Cinema {p68)
Nurse (p70)
PNC West {p72)
Soundfold {p74)
Texas Theatre (p74)
AISLE LIGHTS
Action (p62)
Aura (p62)
Celestial (p63)
CFS/Rentec (p63)
David Tyson {p64)
Gradus (p66)
Hi-Tech (p68)
Jarco (p68)
Lazarus (p69)
Lighting & Elec. (p69)
Mica (p70)
Permlight (p72)
Schult (p73)
Tempo (p74)
Tivoli (p74)
Vista (p76)
BOOSTER SEATS
Cy Young {p64)
Jarco (p68)
Koala {p69)
CABINETS
Hire-Nelson {p68)
Modular {p70)
S. Bose (p73)
CARPETING
Hi-Tech (p68)
Omega {p70)
CONTROL ROPES/
POSTS/RAILS
Berloc {p63)
Crown (p64)
Jarco (p68)
Lavi (p69)
Lawrence (p69)
Schult (p73)
DIMMERS
CFS/Rentec (p63)
Edio (p64)
Hi-Tech (p68)
L.P. Assoc. (p69)
Lehigh {p69)
Marble {p89)
SPECO (p74)
Tivoli (p74)
DIRECTIONAL
SIGNAGE
AASC/TDS (p82)
AASI/TDS (p62)
Berloc {p63)
Lavi (p69)
Lawrence (p69)
Lazarus {p69)
Schult (p73)
DRAPES/CURTAMS
CFS/Rentec (p63)
DeClercq's (p64)
Nurse (p70)
PNC West (p72)
Southern Scenic (p74)
Tru-Roll (p76)
Ushio (p76)
LIGHTING
Action (p62)
Aura (p62)
Celestial (p63)
CFS/Rentec (p63)
David Tyson (p64)
Gradus (p66)
Hi-Tech (p68)
Lazarus (p69)
Lighting & Elec. (p69)
PNC West (p72)
Raven (p72)
RGM (p74)
Tivoli (p74)
SEATING
Assigned (p62)
Caddy (p63)
CFS/Rentec (p63)
Cineconfort (p63)
Contour (p64)
Ezcaray (p66)
Hi-Tech (p68)
Hussey (p68)
Irwin (p68)
Seating Concepts {p73)
SEAT UPHOLSTERY
Assigned (p62)
Capitol (p63)
Cy Young (p64)
Jarco (p68)
Manko (p69)
Southern Scenic (p74)
UNIFORMS
Flavor Wear (p66)
Cold Medal...meeting all your^^
II theatre equipment needs «
Improving the way the world
makes popcorn and other fun foods
The Pop-0-Gold 32 oz. delivers perfectly popped corn every time and
is just one of the top quality theatre poppers available from Gold Medal.
Sleek stainless steel designs and illuminated neon headers attract
customers' attention and provide decades of dependable service!
High volume concession stands need a high capacity floor model
warmer! Provides fast heat-up and even "holding" temperatures
from top to bottom!
Gold Medal's lineup of Cornados are the best available in the
industry featuring the steel kettle and deluxe corn freshening
system. Available in a variety of kettle sizes including 48 oz.
Popcorn sells better with butter - add any one of our automatic
butter dispensers to your equipment package.
Call, write or fax today for our theatre popper brochure!
CALL 513-769-7676 or TOLL FREE 1-800-543-0862
FAX 513-769-8500 or FAX TOLL FREE 1-800-542-1496
QGOLD MEDAL PRODUCTS CO.
35 World Headquarters BIdg., 10700 Medallion Dr, Cincinnati, OH 45241-4807
513-769-7676 • e-mail: goldme19@eos.net • www.gmpopcorn.com
Response No. 114

A new Technology 6-Channet
Stereo Processor for under
$2000?*

Manufacturers
Of Equipment and Supplies
The following companies are manufacturers of specialized tlieatre equipment and
supplies, manufacturers' representatives and distributors. In order to make it
easy for readers to find a particular company, this listing is alphabetical.
A table listing these companies by product type appears under the heading
"Manufacturers Index," beginning on Page 56.
A
AAMI/TDS
(THEATRON MFG. LICENSEE)
P.O. B(i\ 4142
Seal Beach, CA 90740
562-434-1627, 562-434-9947
FAX: 562-434-9948
R. B. Hoffman, Chairman
Computerboxoffice/intra-internet
systems, computerized LEDS,
drive-in theatre systems, ticl^et
printers. snaMar equipment
AASC/TDS
(THEATRON SERVICE
LICENSEE)
1167 Lawrence Drive
Newbury Park, CA 91320
805-375-8408, 805-499-8513
FAX: 805-499-8206
Larry Benson, General Manager
Computer/intra-internetservice
support & repair, 24-hour hotline,
concession pad S ticket printer
refurbishment
AASI/TDS
(THEATRON SYSTEMS
LICENSEE)
P.O. Box 70575
Reno, NV 89570-0575
562-434-1627
FAX: 818-705-6878
Leonid Ratgauz, VP, Systems
Development
Systems & software for boxoffice,
payroll, reservations
telecommunications, ticketing &
snackbar management inventory
A BASIC SERVICE
501 West Highway 70
Cherokee VIg., Suite 60
Ruidoso, NM 88345-8150
505-257-6600
FAX: 505-257-6600
). Roy Propsner, Intl. Sales & Mktg.
Kevin Bickel, Designer
E-MAIL: abasicserviceOu&a.net
URL' www.abaskservioexom
Amusement park equipment; full line
of games: concession equipment
AB INTERNATIONAL ELECTRONICS
1830-6 Vernon Street, P.O. Box 11 05
Roseville,CA 95678
916-783-7800, FAX: 916-784-1050
Robert Bird, President
Irwin Laskey, Vice President
E-MAIL: ABINTL@aol.com
Professional and commercial audio
povfer amplifiers
AB MUSIK
Klostergade 68
DK 8000 AArhus C, DENMARK
(45)86198733
FAX: (45)86198442
E-MAIL: ab_musik®post5.teIe.dk
Design & turnkey installation of
cinemas
ACORTO, INC.
1287 120th Avenue NE
Bellevue, WA 98005
425-453-2800
FAX: 425-453-2167
Kyle Anderson, Founder
URL: www.acorto.com
Super-automatic espresso machines:
two whole-bean hoppers, on-board
milk refrigerator, 24-hr service
ACTION LIGHTING, INC.
310 Ice Pond Rd., P.O. Box 6428
Bozeman.MT 59715
406-586-5105, FAX: 406-585-3078
Dan Korthas
Sequential lighting systems, fiber
optic lighting & replacement lamps
ALPRO ACOUSTICS
6(X) St. t,c

I
Tempe,
September, 1997 63
t
AVL SYSTEMS, INC.
5540 S.W. 6th Place
Ocala, FL 34474
352-854-1 1 70, SOO-ACU-STIC
FAX: 352-854-1278
J. Philip Hale, President
Karen Hale, VP
Ken LaVigne, Sales Mgr.
Mike Baker, Sales
Acoustical wall S ceiling panels;
diffusers
B
BALLANTYNE OF OMAHA/
STRONG INTERNATIONAL
4350 McKinlev St.
Omaha, NE 68112
402-453-4444
FAX: 402-453-7238
John Wilmers, President & CEO
Ray F. Boegner, Sr. VP
URL: www.strongcinema.com
Projection & sound equipment for
commercial theatres and special
venue applications: xenon slide
projectors S spotlights
BASS INDUSTRIES, INC.
380 N.E. b7th Street
Miami, FL 33138
305-751-2716, 800-346-8575
FAX: 305-756-6165
Robert M. Baron, President
Eric Finnegan, Vice President
Irma Baron: Vice President
E-MAIL: bassl@icanect.net
URL: www.bassind.com
Display cases, poster frames,
marquees, boxoffice signs
BERLOC MFG/SIGN COMPANY
7405 Greenbush A\e.
N. HoUywood, CA 91605
818-503-9823, 800-290-SIGN
FAX: 818-503-0934
Joan Adams, Owner
Ten McClain, Secretary
Control ropes/posts/railings, menu
boards, display & directional
signs
BGW SYSTEMS INC.
13130 Yukon Ave.
- Hawthorne, CA 90250
310-973-8090
800-468-AMPS
FAX: 310-676-6713
Brian Gary Wachner, President
Barbara Wachner, Vice President
Joe DeMeo, Sales
E-MAIL: sales@bgw.com
URL: www.bgw.com
Audio power amps, racl

7
CURK FOOD SERVICE, INC.
432 Front Ave., St. Paul, MN 55117
612-489-2133, FAX; 612-489-8317
Marilyn Larsen, Dir. of Concessions
Concession supplies
CLEAN CITY SQUARES, INC.
324 S. Newstead/P.O. Box 15239
Saint Louis, MO 63110
314-652-8622, 800-231-1327
FAX: 314-652-3788
Vicki Guidice, Merchandise Mgr.
Benches, planters, litter receptacles
COAST TO COAST POPCORN
AND CANDY
25 Denton Ave, P.O. Box 1140
New Hyde Park, NY 1 1 040
516-358-5114, 800-343-2676
FAX; 516-352-4307
Robert Bruck, President
Steven Bruck, VP & CPA
Pat Poll, Office Mgr.
Distributor Of movie-related candy,
popcorn & supplies: concession
sizes only
COCA-COLA USA FOUNTAIN
P.O. Drawer 1734
Atlanta, GA 30301
404-676-2121
FAX; 404-676-3605
Lisa Juris, Group Mgr., Creative
Solutions
Post-mix fountain syrups: Coca-Cola,
Tab, Sprite, etc.
COFFEE-INN'S
2362 West Shangri-La Rd., Bldg. 200
Phoenix, AZ 85029^724
800-528-0552
FAX: 602-997-6203
Stuart P. Kaner
Marc Israel
Manufacturer of iced-tea and coffee
brewing equipment: dollar bill
changers
COLFAX INC.
38 Colfax Street
Pawtucket, Rl 02860
800-556-6777, 401 -724-3800
FAX: 401-724-4313
Lawrence Dressier, VP, Mktg. & Sales
Manufacturer ofpopcorn popping &
topping oils: canola, corn, coconut,
sunflower & peanut
COLGATE PALMOLIVE
191 E. Hanover Ave.
Morristown, NJ 07%2-1928
201 -631 -9000, 201 -631 -901
FAX: 201-292-6021
Barbara Kiefel, Natl. Acct. Mgr.
Cleaning supplies & systems
COMPONENT ENGINEERING, INC.
4237 24th Ave. West
Seattle, WA 98199
206-284-9171
FAX: 206-286-4462
Bill Purdy, President
LED sound readers, sound system
accessories, automation systems
and cue detectors
CONTOUR SEATS, INC.
P O Box 509
Allentown, PA 18105
610-395-5144, 800-247-4509
FAX: 610-398-7099
Greg L. Butz, Pres.
Raymond L. Fcderici, VP
Lee A. Buiz, Treasurer
Eric R. Butz, Assist. Secty.
Shari McKcever, Secly.
John R. Forsht IM, Gen. Mgr.
Fixed, blow-molded plastic spectator
seating
CRAIN ATLANTA, INC.
2786 Decatur Rd. #250
Decatur, GA 30033
404-299-3400
FAX: 404-299-1226
Wrenda Grain, President
Theatre ticketing & concessions
systems
CRES-COR
12825 Taft Avenue
Cleveland, OH 44108-1683
216-851-6800
800-321-7174
FAX: 216-851-9734
George E. Baggott, Chairman
Clifford D. Baggott, Pres.
Mobile foodservice equipment
CROWN INDUSTRIES
151 B North Park Street
East Orange, NJ 07017
201-672-2277
FAX: 201-672-7536
Gene Loebner, President
Carmen Ware, VP
Control ropes, posts, railings
CY YOUNG INDUSTRIES, INC.
1346 Jasper
North Kansas City, MO 64116
816-474-1776, 800-729-2610
FAX: 816-474-1900
J.R. (Rick) Young, President and
CEO
Carrie E. Young, VP, COO
Cy Young cupholder armrests: seat
reupholstery; children 's booster
seats, etc.
D
DART CONTAINER CORP.
500 Hogsback Road
Mason, MI 48854
517-676-3800
FAX; 517-676-3883
Bob Williams, Administrative Sales
Manager
Disposable food service products,
cups and containers
DAVID TYSON LIGHTING, INC.
4549-24 St. Augustine Rd.
Jacksonville, FL 32207
800-385-3148
FAX; 800-385-3149
David Tyson, President
Long-life lighting products for theatres
DECATRONN.V.
Kampiot'nschapslaan 1
Brussels
BELGIUM 1020
(32)24742750
FAX: (32)24742756
Jix)st Bert
Megaplex designs
DECLERCQ'S THEATRICAL
SPECIALTIES, INC.
2907 East 7th St.
Oakland, CA 94607
51 0-534-6587, 800-200-6873
FAX: 510-534-1472
Joe DeClercq, President
Paul DeClercq, VP
E-MAIL; info@declercq8.com
URL: www.declercqs.com/
Theatre draperies, rigging hardware,
wall treatment systems
DIGITAL THEATER SYSTEMS, INC.
313.%ViaColinas#101
Westlake Village, CA 91362
818-706-3525
FAX: 818-706-1868
Terry Beard, Chairman
Dan Slusser, CEO
Bill Neighbors, President/COO
James Ketcham, VP, Engineering
Andrea Nee, VP, Operations
Jon Kirchner, VP Int'l Business
Development
URL: www.dtstech.com
075 6-tracl( digital playback for movie
theatres: 6-track digital cinema
processor w/automation: analog S
digital equipment
DILLINGHAM TICKET CO.
781 Ceres Ave.
Los Angeles, CA 90021
213-683-4415
FAX; 213-623-2758
Mike O'Keefe, Account Executive
Ticket printing of all kinds including
thermal gift certificates, coupon
books, roll tickets & passes
DIMENSIONS
5240 Medina Rd.
Woodland Hills, CA 91364-1913
818-592-0999
FAX: 818-592-0987
Daniel Symmes, President
3D glasses, camera & projection
equipment
DOLBY LADORATORIES, INC.
lOOPotreroAve.
San Francisco, CA 94103
415-558-0200
FAX: 415-863-1373
Bill Jasper, President
loan Allen, VP
David Watts, VP Mktg.
Bob Warren, Cinema Products
E-MAIL; info@dolby.com
URL: www.dolby.com
Equipment for Dolby Digital, Dolby
SR, and Dolby Stereo cinema sound
DOLBY LABORATORIES, INC.
(BRANCH OFFICE)
Wootton Bassett
Wiltshire SN4 8QJ
ENGLAND
1793-842100
FAX: 1793-842101
E-MAIL: info@dolby.com
URL; www.dolby.com
Cinema sound equipment
DOLBY LABORATORIES, INC.
(BRANCH OFFICE)
3375 Barham Blvd.
Los Angeles, CA 90068
213-845-1880
FAX; 213-845-1890
David W. Gray, VP, LA. Film Div.
DOLBY LABORATORIES, INC.
(BRANCH OFFICE)
1351) A\ emie ol the Americas
New York, NY 10019
212-767-1700
FAX: 212-767-1705
Michael D. Cosimo, VP, N.Y. Film
Division
DR. PEPPER/CADBURY CORP.
I'.O Box 655086
Dallas, TX 75265
214-360-7000
FAX: 214-360-7789
Johnnie Brown, Dir. of Trade
Relations
Dr Pepper, 7-Up. Sunkist, Tahitian
Treat S Canada Dry.
DRUKKERIJSTROBBE
Kasteelstriiat 1
B-8870 Izegem
Belgium
3251-333211
FAX: 3251-313342
Laurens Strobbe, Sr., Director
Tickets for Matrix and thermal printers
DURAFORM, DIV. OF CENTURY
PLASTICS, INC.
1435 Santa Fe Ave.
Compton, CA 90221
310-761-1640
800-823-1121
FAX: 310-761-1646
Joe Bonadona, Vice President &
General Manager
E-MAIL: duraform@earthlink. net
Trash receptacles & benches:
manufacturers ofDuraform
products: custom molding
E
EASTMAN KODAK CO.
6700 Santa Monica Blvd.
Hollywood, CA 90038
213-464-6131
800-621 -FILM
FAX: 213-468-1568
Gayle Barnes
URL: www.kodak.com/go/motion
Manufacturer of Eastman color print
film for release prints: conduct
training seminars for projection &
film handling
EAW
One Main Street
Whitinsville, MA 01588
508-234-6158
FAX; 508-234-8251
Sandy McDonald, Rep.
Cinema speakers
ECONO PLEAT/EAST WEST
CARPET MILLS
2664 S. La Cienega Blvd.
Los Angeles, CA 90034
310-559-RUGS
FAX: 310-559-6357
Larry Sperling, President
Patented acoustical wall drapery
system
ECOTECH, INC.
381 Blair Rd.
Avenel, NJ 07001
908-636-1500
FAX: 908-636-1813
Joel Petrocy, VP, Sales
Theatre signs, design & manufacture:
computer controlled marquee:
pre-fab stainless steel diners
EDLO INDUSTRIES
43,5 Mornssee A\ enue
Haledon, NJ 07508
201-445-5519
FAX: 201-444-7793
Ed Hausleben, President
Automation, dimmers, sound
EISENBERG SAUSAGE CO.
3531 North Elston Ave.
Chicago, IL 60618
773-588-2882
FAX: 773-588^)810
Ed Weinshenker, Sales Mgr.
Gourmet beef franks

REYNOLDS & REYNOLDS INC.
INSURANCE AGENTS & BROKERS
THEATRE INSURANCE SPECIALISTS
LARGEST UNDERWRITER
OF MOVIE THEATRE INSURANCE
IN THE UNITED STATES
tdpIc
Property and Casualty
Employee Benefits
Health, Life, Pension, Disability
ALL PROGRAMS ENDORSED BY NATO
Excellent Service • Very Compatible Costs
Fast and Fair Claims Handling
Coverage Designed Especially for Theatre Owners
Over 180 Circuits and Independents Insured Nationally
Stan Reynolds, President
Ron Fry, Executive Vice President
Ed Williamson, Vice President The Plaza - Suite 200
Steve Gooding, Director of Employee Benefits
300 Walnut Street
Sandra Bell, Theatre Department Manager Des Moines, lA 50309
Judy Gearhart, Account Manager 800-767-1724
Michelle Rahe, Account Manager
515-243-6664 FAX

ELECTRONIC CREATIONS, INC.
1153 Inspiration Lane
Escondido,CA 92025
760-480-1002
FAX: 760-480-6830
Bruce Hall, Presidei\t
Trisha Yeager, Mktg. Mgr.
E-MAIL: brucehaU®
Kcketingsystems.com
URL: www.ticketingsystems.com
Manufactures & distributes electronic
ttieatre managment systems
including ticketing, concessions
ELECTRONIC THEATRE
CONTROLS, INC.
6640 Sunset Blvd., Suite 200
HoUywood, CA 90028
213-461-0216,608-831-4116
FAX: 213-461-7830
David Lincecum, Regional Manager
E-MAIL: dlincecum@etcconnect.com
URL: www.etcconnect.com
Ligtiting and dimming equipment for
TV, film and stage lighting
applications
EQUIPMENT, ETC.
P.O. Box 1194
SneUville,GA 30078
770-979-FILM
FAX: 770-979-0919
Meenaxi M. Dave, VP
35mm film splicer & mini marquee
for theatre
EURO-AMERICAN BRANDS INC.
15 Prospect Street
Paramus, NJ 07652
201-368-2624
FAX: 201-368-2512
Dite W. Van Clief, President
Importer of Bahlsen gummi bears and
assorted gummi products: Bahlsen
cookies.
EVI AUDIO
602 Cecil Street
Buchanan, MI 49107
616-695-6831,800-234-6831
FAX: 616-695-1304
Monte Wise, National Sales Manager
URL: ww^w.eviaudio.com
Electro-Voice and Altec Lansing
loudspeakers and electronics
EZCARAY INTERNATIONAL
Ctra. Santo Domingo
26280 La Rioja, SPAIN
34-41-354054
FAX: 34-41-354523
Marta Gomez Lusa
Jesus Gomez Monge, Export Mgr.
E-MAIL: ezcaray®
ezcarayintemadonal.com
URL: wv^w.ezcarayintemacional.com
Cinema seating
F
FAST-AD LEHERS
220 S. Center St.
Santa Ana, CA 92703
80^451-1907, 714-835-9353
FAX: 714-835-4805
Guy Barnes, President
LenGoss, VP
Kathie Barnes, Secty./Treas.
Terry Harvey/Sales
Changeable marquee & menu board
letters, extension pole letter
changers S letter storage cabinets
FLAVOR WEAR
28425 S. Cole Grade Road
Valley Center, CA 92082
800-647-8372, FAX: 760-749-6164
Martin Anthony, President
Uniform accesory apparel: vests, ties,
aprons for ushers, concessions etc.
FRAZIER DIVISION,
SOUND-CRAFT SYSTEMS
1584 Petit Jean Mountain Rd.
Morrilton, AR 72110-9532
501-727-5543, 800-422-7757
FAX: 501-727-5402
J.E. Mitchell, VP/Gen. Manager
Full range controlled directivity
loudspeaker devices
FRITO-UYINC.
7701 Legacy Dr., Piano, TX 75024
972-334-7000, FAX: 972-334-5280
Paul E. Davis, National Sales VP
Snack foods and chips
FUNACHO
2165 Central Parkway
Cincinnati, OH 45214
800-386-2246, 513-241-9300
FAX: 513-352-5122
Michael Grause, President
URL: www.funacho.com
Nacho Chips, cheese sauce, chili, salsa
G
GAMMA TECHNOLOGIES INC.
6959 NW 82nd Ave.
Miami, FL 33166
800-522-SIGN, 305-477-7567
FAX: 305-477-7637
Shai Dinari, President
E-MAIL: mail@gamma-tech.com
URL: w^ww.gamma-tech.com
Electronic moving message displays:
indoor, outdoor, single- & multi-color
GEMINI, INC.
103 Men.sing Way
Cannon Falls, MN 55009
800-533-0520, 800-LETTERS
FAX: 800-421-1256
JimWeinel,CEO
Harry Kahnert,CFO
Tom Grzechowiak, Gen. Sales Mgr.
E-MAIL: geminiletters@
worldnet.att.net
3 dimensional, snap-lock, slotted A &
B letters, changeable copy letters,
snap-lock frames: accessories
GLASSFORM
6350 Nancy Ridge Road, Suite 101
San Diego, CA 92121
800-842-1 121, 800-995-8322
FAX: 630-761-8859
Cyndi Gardner, Sales Mgr.
Manufacture of fiberglass trash
receptacles, ash urns, planters &
bench seating
GLOBE TICKET AND LABEL CO.
3435 Empire Blvd. SW
Atlanta, GA 30354
404-762-971 1, 800-523-5968
FAX: 404-762-7019
David A. Hiatt, President
Phillip Raines, VP, Sales
Clyde Almy, VP, Mktg.
Colette Acuff Coleman, Mktg. Mgr.
Custom printed tickets: souvenir,
thermal, season sheets, parking,
backstage S VIP passes
GOETZE'S CANDY CO., INC.
3900 E. Monument St.
Baltimore, MD 21205-2980
800-638-1456, 888-638-1456
Spaulding A. Goetze, SR, CEO
Mitchell Goetze, Director of
Administration & Sales
URL: www.goetzecandy.com
Goetze's Caramel Creams. Cow Tales &
Old Fashioned Caramel Apple Sticks
GOLDBERG BROTHERS INC.
P.O. Box 17048
Denver, CO 80217
303-321-1099
FAX: 303-388-0749
Randall G. Urlik, Executive VP
Film Shipping systems, port windows,
speaker brackets, lobby equipment,
platter accessories & film guidance
rollers
GOLD MEDAL PRODUCTS CO.
10700 Medallion Dr.
Cincinnati, OH 45241-4807
513-769-7676, 800-543-0862
FAX: 513-769-8500
Dan Kroeger, President
J.C. Evans, Chairman
John Evans, VP Sales
Gary Wood, Natl. Sales Mgr.
Robin Breth, Mktg. & Advertising
E-MAIL: goldmel9@eos.net
URL: www.gmpopcorn.com
Complete concession equipment,
popcorn poppers and supplies
GOLD MEDAL (CAROLINA)
2119 S. Elm/Eugene St.
Greensboro, NC 27416-6556
910-273-3346, 800-888-3346
FAX: 910-271-8153
Kim Taylor, Branch Mgr.
Complete concession products S
supplies
GOLD MEDAL (INDIANA)
1445 Brookville Way, Suite K
Indianapolis, IN 46239-1035
317-353-1015, 800-874-1090
FAX: 317-353-0239
Mike Snellenberger, Branch Mgr.
Complete concession equipment &
supplies
GOLD MEDAL (NASHVILLE)
746 Freeland Station Road
Nashville, TN 37228-1002
615-256-4000, 800-827-0440
FAX: 615-256-1973
Frank Connor, Branch Mgr.
Complete concession equipment &
supplies
GOLD MEDAL (NEW ORLEANS)
5425 Powell St.
New Orleans, LA 70123-2306
504-733-7348, 800-460-3850
FAX: 504-733-8055
Complete concession equipment S
supplies
GOLD MEDAL (ORUNDO)
7000-A Venture Circle
Orlando, FL 32807-5330
407-671-3626,800-433-1002
FAX: 407-679-3229
Drew Hill, Mgr.
Complete concession equipment &
supplies
GOLD MEDAL (PinSBURGH)
519 Parkway View Drive
Pittsburgh, PA 15205-1410
412-787-1030, 800-383-2356
FAX: 412-787-7295
Jeff Roth, Branch Mgr.
Complete concession equipment &
supplies
GOnSCHALK THEATRE IDEAS
208 Rosander Ave.
P.O. Box 198
Vale, SD 57788
605-456-2259
Ernie Gottschalk, Owner
H/lfg. & distributor Of flex shafts for
old style Manley corn poppers
GRADUS LIGHTING
Park Green SKI 17LZ
Macclesfield, Cheshire
ENGLAND
441625428922
FAX: 441625430607
Paul Baker, General Manager
Decorative & safety step & aisle
lighting
GREAT WESTERN PRODUCTS
30290 U.S. Hw 72, P.O. Box 466
Hollywood, AL 35752
800-239-2143
205-259-3578
FAX: 205-574-2116
Scott Martin, President
Ralph Ferber, VP, Sales/Marketing
Mark Hamilton, Natl. Accounts
Manager
Keith Black, Special Projects
Manager
E-MAIL: wsp.gwp@worldispi.com
Manufacturers & processors of
concession supplies: home of
bag-n-box nacho cheese
H
HADDEN THEATRE SUPPLY CO.
10201 Bunsen Way
Louisville, KY 40299
502-499-0050
FAX: 502-499-0052
Louis Bomwasser, Owner
Rose Seiden Faden, Office Manager
Specialty equipment for projection &
sound
HAFLER
P.O. Box 1860
Tempe, AZ 85281
888-423-5371
FAX: 602-894-1528
Richard Gentry, Natl. Sales and
Marketing Manager
Will Lewis, Director
URL: www.hafler.com
Audio amplifiers for professional &
high-end home use
HARIBO OF AMERICA, INC.
1825Woodlawnl)r.
Suite 204
Baltimore, MD 21207
800-638-BEAR, 410-265-8890
FAX: 410-265-8898
Christian Jegen, President
Margie Walter, Sales Coordinator
Dan Love, Western Regional Sales
Manager
Gummi Bears S other Gummi candies
HAVEN TECHNOLOGY
CORPORATION
670 L. I'arkridgc Ave., Suite 105
Corona, CA 91719
909-340-0800
FAX: 909-340-2314
Timothy Lee, Sales Mgr.
E-MAIL: ha ventch®ix .netcom.com
Manufacturer of talk-thru
communicators

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NEW AND USED THEATRE EQUIPMENT
CINEVISION CORPORATION brings you
one of the largest selections of new, used and
rebuilt theatre equipment in the country. With 25
years of experience, this enables us to provide
installations and service world-wide. All rebuilt
equipment sales are backed by a full one-year
warranty.
accepted.
Trade-ins of your surplus equipment are
PROJECTOR HEADS-35MM-USED

HERMAN GOELITZ
CANDY CO., INC.
2400 N. Watney Way
Fairfield, CA 94533
707-428-2800
800-323-2800
FAX: 707-423-4436
Herman G. Rowland, Chairman of
the Board
Patrick Huffman, President
Peter F. Cain, VP, Marketing
Michael L. Bianco, VP,
Manufacturing
David B. Klabunde, VP, Sales
E-MAIL: sales@jellybeUy.com
URL: www.jellybelly.com
Concessions, candy: Jelly Belly Jelly
Beans
HERSHEY CHOCOLATE USA
14 E. Chocolate A%'e.
Hershey, PA 17033
717-534-4200
FAX: 717-534-7694
S. Michael Hughes, Assoc. Sales
Dvlpmnt Mgr.
Chocolate and non-chocolate
confections: Twizzlers, Hershey's,
Reese's. KitKat, Amazin' Fruit &
Heide
HIGH PERFORMANCE STEREO
64 Bowen Street
Newton Centre, MA 02159-1820
617-244-1737
FAX: 617-244-4390
John F. Allen, President
Sound equipment
HIRE-NELSON CO.
325 Factory Road
Addison, IL 60101
Ki 630-543-9400
FAX: 630-543-5334
Alan Bosworth, Gen. Mgr.
Concession cabinetry S counters
HITEC GROUP INTL., INC.
8160 Madison
Burr Ridge, IL 60521
630-654-9200
800-288-8303
FAX: 630-654-9219
Richard Uzuanis, VP
URL: www.hitec.com
E-MAIL: spn@hitec.com
Assistive Listening devices for
individuals S public facilities
HI-TECH MOTION PICTURE
SYSTEMS
P.O. Box 4186
St. Augustine, FL 32084
904-829-5702
FAX: 904-829-5707
Larry PoUa, CEO/ President
E-MAIL: Iarry@870.com
URL: www.870.com
Custonfi and mass produced
automations and light dimmers
HOLLYWOOD EXPRESS LTD.
P.O. Box IIW
Longridge Rd., Ribbleton
Preston, PR2 5DA
ENGLAND
077-283-0830
FAX: 077-283-1831
Brian Hobbs
HOT 'N' SPICEY, INC.
61«()01c-nt.mgy Blvd. #200
Worthinglon, OH 43085-3866
800-641-5661
614-848-5660
FAX: 614-848-5640
Patricia \owc, Presidenl
Gourmet sausage line
HURLEY SCREEN
CORP.
110 Industry Lane
P.O. Box 296
Forest Hill, MD 21050
410-836-9333
410-879-6757
FAX: 410-838-8079
Gorman W. White Jr., VP,
Operations
Custom made screens, frames &
masking; screen brushes &
attaching springs
HUSSEY SEATING
CORP.
Dyer Street
N' Berwick, ME 03906
207676-2271
FAX: 207-676-2222
James Chadboume, Theatre Sales Mgr.
Jack Rogers, VP, Sales
Kate Gray, VP, Installation & Major
Projects
Theatre seating
I
ICEE USA
23660 Research Drive, A
Farmington Hills, MI 48335
810-615-4433
FAX: 810-615-9212
Bob Walker, Natioi\al Sales
Manager
Frozen carbonated beverages: Arctic
Blast & Icee
INDIANA CASH DRAWER
CO.
1315 S.Miller St.
P.O. Box 236
Shelbyville, IN 46176
317398-6643
800-227-4379
FAX: 317-392-0958
Randy Boone, VP, Finance
Robert Benavides, VP, Sales &
Marketing
Phil Stephens, VP, Operations
Catherine H. Woods, Sales
Manager
E-MAIL: webmaster@icdpos
URL: www.icdpos-com
Electronically or manually activated
cash drawers
INDIANA CASH DRAWER
CO. (EAST)
290 Turnpike Rd.
Suite 418
Westborough, MA 01581-2843
508-754-6600
FAX: 508-799-9686
Stephen Toomey, Regional Sales
Manager
Electronically or manually activated
cash drawers
INDIANA CASH DRAWER
CO. (SOUTH)
335 Chesterfield Ave.
Nashville, TN 37212
615-269-7411
FAX: 615-269-7338
Steve Hicks, Regional Mgr.
Electronically or manually activated
cash drawers
INDIANA CASH DRAWER
CO. (SOUTH CENTRAL)
811 E. Piano Pkwy., #118
Piano, TX 7,5074
972-424-6797
FAX: 972-424-5765
Glenn Jones, Branch Mgr.
Electronically or manually activated
cash drawers
INTERNATIONAL CINEMA
EQUIPMENT CO., INC.
100 N.E. 39th St.
Miami, FL 33137
305-573-7339
FAX: 305-573-8101
Steven H. Krams, CEO
Dara Reusch, Exec. VP
E-MAIL: iceco@aoI.com
URL: www.iceco.com
Westar projection equipment: supplier
of motion picture, theatrical, video
& studio equipment
IROQUOIS POPCORN
900 Morse Ave.
Elk Grove Village, IL 60007-5108
847-439-9000
FAX: 847-437-0763
Donald Amfahr, President
Pre-popped popcorn
IRWIN SEATING CO.
3251 Fruit Ridge Rd. NW
P.O. Box 2429
Grand Rapids, MI 49501
616 784-2621
FAX: 616-784-5819
Bruce Cohen, Sr. VP, Sales & Mktg.
Bill Marsh, Sales Manager
Paul Winter, Sales Manager
Joe Hoy, Sales Manager
E-MAIL: dsales@irwin-seat.com
URL: www.irwin-seat.com
Complete line of standard and luxury
theatre chairs
ISCO-OPTIC GMBH
Robert-Bosch-Breite 10
37079 Goettingen
GERMANY
495515058432
FAX: 495515058410
Christian Lindstedt
Projection lenses
IWERKS ENTERTAINMENT
4540 W. Valerio St.
Burbank,CA91505
818-842-7165
818-841-7766
FAX: 818-842-0921
Don Stults, VP, Linear-Loop
Projectors
Ron Schmidt, VP, Engineering
B.J. Seeley, Sales Mgr.
E-MAIL: linloop@aol.com
URL: www.iwerks.com
Linear-Loop 35mm & 70mm film
projection systems
J
JAMES RIVER CORP.
800 Conni-clicut Ave.
6000 River Park
Norwalk,CT 06856
203-854-2372
FAX: 203-852-0535
Gary R. Simons, VP, Sales
Paper products, dispensing systems,
food wraps
JARCO INDUSTRIES, INC.
98 Park Avenue /P.O.Box 159
Babylon, NY 11702-0159
516-422-9000
FAX: 516-422-9005
Jeffrey Stein, President
Justin Stein, VP, Operations
Mike Carlin, VP, Production
Marianne Conti, Controller
E-MAIL: jarcoindustries@juno.com
Custom fabricators of concession
stands, boxoffices. lobby fixtures.
popcorn warmers, display cases S
related equipment
JBL PROFESSIONAL
8500 B.ilboa Blvd.
Northridge, CA 91329
818-894-8850
FAX: 818-830-1220
Mark Mayfield, Director, Cinema
Marketing
E-MAIL: mmayfiel@harman.com
URL: www.jblpro.com
Loudspeaker systems for any cinemi
application, including amplifiers
and crossovers
J.G. CLARK CO./SOUTHFIELD
CARTON CORP.
1171 W. Center St.
Marion, OH 43302
800-274-4882
205-333-0333
FAX: 800-538-2594
Ken Vance, Vice President
Dean Maccagnone, Sales Manager
Concession and food service
packaging: folding cartons,
popcorn containers, tubs, combo
trays
JOS. SCHNEIDER OPTISCHE
WERKEKREUZNACH
Ringstr. 132
D-55543 Bad Kreuznach
GERMANY
49-671601280
FAX: 49-671601108
Bruno Molitor, Rep.
Projection lenses
JUST BORN, INC.
1300 Stefko Blvd., P.O. Box 1158
Bethlehem, PA 18016
610-867-7568
800-445-5787
FAX: 800-543-4981
Garey Logan, Regional Sales Mgr.
Rich Ryan, Group Mktg. Mgr.
Hot Tamales, t/like & Ike assorted
fruit candies
K
K & W POPCORN CO., INC.
710 East 24th St., Box 275
Trenton, MO 64683
816-359-2030
FAX: 816-359-3026
William Kennebeck, President
Popcorn processors
KARASYNC DIGITAL AUDIO, INC.
17 Washington St.
Norwalk,CT 06854
203-899-0671
FAX: 203-348-1430
John Karamon, President
Jeneno Karamon
All electronic system for multichannel
digital audio for film & video

I
KARMA, INC.
500 Milford St.
P.O. Box 433
Watertown, WI
800-558-9565
414-261-1424
FAX: 414-261-3302
Elizabeth Bergmann,
E-MAIL: karma@kanna-mc
URL: www.karma-inc.com
Beverage dispensers
KELMAR SYSTEMS INC.
284 Broadway
Huntington Station, NY 11746
516-692-6131
516-421-1230
FAX: 516-421-1274
Andrew Marglin, President
Margaret PearsaU, Executive VP
Laurie Franz, Accounting
Thomas Mohr, VP, Engineering
Projection and sound equipment
KINETICS NOISE CONTROL
6300 Irelan Place
Dublin, OH 43017
614-889-0480
FAX: 614-889-0540
Larry Holben, VP, Interior Systems
Turn l(ey acoustical treatment and
design; manufacturing, engineering
and installation
KINETRONICSCORP.
1778 Main St.
Sarasota, FL 34236
941-951-2432
FAX: 941-955-5992
Eric Stasen, Sales Mgr.
E-MAIL: info@kinetronics.com
URL: www.kinetronics.com
Anti-Static and dust control products
KINTEK, INC.
224 Calvary St., P.O. Box 9143
Waltham, MA 02254-9143
617-894-6111
FAX: 617-647-4235
Heidi Uliss, Sales Administrator
E-MAIL: kintekste@aoI.com
Sound systems S equipment
KLIPSCH PROFESSIONAL
P.O. Box 1320
Hope, AR 71802-1320
501-777-0693, 800-467-6796
FAX: 501-777-0593
Don Shamsie, Preisdent
fiigital-ready (high output low
distortion) loudspeakers
KLOSS MFG. CO./POPPERS
SUPPLY
737 N. 13th St.
P.O.Box 1149
Allentown, PA 18105
SOO-445-7100
510-435-9071
FAX: 610-435-8764
Richard C. KIoss, President
Stephen P. KIoss, VP
E-MAIL: kIossmfg@aoI.com
Concession equipment, food, service
and repair
(NEISLEY ELECTRIC COMPANY
l'.O.Box4692
jfoledo, OH 43610
iH9-241-1219, FAX: 419-241-9920
-larry L. EweU, President
Robert Freeman, VP, Research &
Development
ietty Schiffler, Admin. Assist.
oe Monks, Purchasing & Controller
ohn Crowl, Factory Foreman
.amphouses, power supplies and
consoles
KOALA CORPORATION
11600E. 53rd Ave., Unit D
Denver, CO 80239-2312
800-666-0363
303-574-1000
FAX: 303-574-9000
Pamela Schmidt, Director of
Marketing
Phil Richards, VP, Sales
E-MAIL: koalaco@koaIabear.com
URL: Vk^ww. koalabear.com
Booster Buddy reversible children 's
seat with cup and candy/popcorn
holder
KORYNROLSTAD STUDIOS/
BANNERWORKS, INC.
2610 Western Ave.
Seattle, WA 98121
206-448-1003
FAX: 206-448-1204
Koryn Rolstad, President/Owner
Jeffrey Peterson, Principal Designer
Adam Ernst, Designer
Jim Pomeroy, Designer
April Anderson-Silva, Office
Manager
Andrei Morozov, Production
Manager
Decorative ceiling systems; banners
KOSS CORP.
4129 No. Port Washington
Milwaukee, WI 53212
414-964-5000
800-USA-KOSS
FAX: 414-964-8615
Robin Berry, Public Relations
Manager
URL: www.koss.com
Sterophones, computer speal

McAllister ASSOCIATES, inc.
274 Main Street, Suite 301
Reading, MA 01867-3611
617-942-0700, FAX: 617-942-0240
Richard A. McAllister, President
Computerized theatre management
systems: booking, film remittance,
concession, advertising S accounting
MDI
38271 W. Twelve Mile Road
Farmington Hills, Ml 48331
248-553-1900, 800-228-8925
FAX: 248-488-5700
Heidi M. Prior, Mktg. Operations Mgr.
Ralph Baughn, Regional Sales Mgr.
Gary Rigby Natl Sales Mgr.
URL: www.mdiworldwide.com
Postergrip, easy snap-open frames:
StoreWorl24
Garmisch-Partcnkirchen
GERMANY 82456
49-882195010
FAX: 498821950144
Georg Wettlaufer
URL: www.popcom.de
Concession equipment & supplies
(popcorn and nachos)
ODELL'S
P.O. Box 11336
Reno, NV 89510-1336
800-635-0436
702-323-8688
FAX: 702-323-6532
Art Anderson, Owner
Michael Blout, National Sales
Manager
Popcorn toppings and popcorn
popping oil
ODYSSEY PRODUCTS,
INC.
5845 Oakbrook Pkwy.
Suite G
Norcross, GA 30093
770-448-4873
770-825-0243
FAX: 770-453-9626
Eve Miller, Mktg. & Admin.
Theatre electronics: Infrared
assistive equipment, fiber optic
products, digital interface kits,
sound accessories, alarms, etc.
ODYSSEY PRODUCTS, INC.
(SHIPPING &
ENGINEERING)
5845 Oakbrook Pkwy.
Suite G
Norcross, GA 30093
770-825-0243
FAX: 770-453-9626
Ken Reeves, Engineering
Infrared assistive equipment for
theatres, support services, digital
interface kits, alarms, sound
racking & harnesses
OMEGA PAHERN
WORKS
1302 East Walnut Ave.
P.O. Box 1446
Dalton, GA 30722-1446
800-241-4908
706-226-2223
FAX: 706-272-7617
Joyce Maxwell, Print Div. Mgr.
Printed carpets for commercial use
OMNIMOUNT SYSTEMS
I.Wl VV. 17th St.
Tempe,AZ 85281-6225
602-829-8000
FAX: 602-756-9000
Garret E. Weyand, CEO
Monica Pershall, Sales/
Customer Service
URL: www.omnimount.com
Mounting devices for speakers S
monitors
ORC LIGHTING PRODUCTS
1.3(X) Optical Drive
Azusa.CA 91702
626-815-3100
800-755-LAMP
F/VX: 626-815-3074
George Bachar, Vice President,
Customer Development
Jim Harp, Vice President,
Sales & Marketing
E-MAIL: orclight@aol.com
Manufacturers of a complete line of
xenon projection lamps
OSRAM SYLVANIA INC.
V.O 15\ 3.305
Brentwood, TN 37024
800-394-0363
FAX: 615-661-4710
John Dawsey. Manager, Theatre
Pnxlucis
OSRAM brand xenon lamps

OMNECTED
\X/ITH
THE
YSSEY FAMILY
PRODUCTS
Making the right connections in the theatre industry .;
Is what Odyssey does best.
CO-3 Electronic Crossover
goy creating
custom designed
equipment to solve
-
your connection
The 3.5
Monitor (6&8 Channel)
I needs, like the first
^
rear wall infrared
system for the
hearing impaired, or
? the popular Digital
interface Kit introduced in
h 1994, the only 3.5" booth
monitor, and a fiber optic status panel system.
The Digital Interface Kit
We can save you hours of time on sound system
wiring and upgrading for digital with our custom
sound harnesses, Theycomewith our guarantee of a
perfect fit, and since time is money the savings can
really add up.
If you have a special equipment requirement or
want a feature unique to your business we can
design itforyouquicklyandaffordably.
Fiber Optic Display Panel System
We have, or will create the solution to keep your
theatre connected and operating efficiently.
Infrared Sound System

79 Rmrrkvnrv
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PACER/CATS
8800 Sunset Blvd., 6th Floor
Los Angeles, CA 90069
310-360-6035
FAX: 310-360-0405
Del Banjo, Exec. VP
Dan Haugen, Sr. VP
Eric Edwards, Exec. VP/CFO
E-MAIL: banjod@ticketmaster.com
URL: www.pacercats.com
Computerized boxoffice, concession
& management systems:
teletict

, systems,
Contoinhoi- 1007 71
ROUNDUP FOOD EQUIPMENT
1025 W. National Ave.
Addison, IL 60101
)30-543-8650, 800-253-2991
-AX: 630-543-0359
ames Antunes, President/
Chief Exec.
Thomas Krisch, VP, Mktg.
JRL; www.ajanhines.com
Concession equipment, cases &
counters, grills, warmers, scales
s
iARNOW CANDY COMPANY
'.O. Box 9016/280 W. Merrick Road
/alley Stream, NY 1 1582-9016
SOO-833-1542
;AX:516-872-t072
Jill Smith, VP
SENSIBLE CINEMA SOFTWARE
419 Main Street, FrankUn, TN 37064
615-790-7797
FAX: 615-790-8031
Rusty Gordon, Owner
E-MAIL: rusty.gordon®
sensiblecinema.com
URL: www.sensiblecinema.com
Point-of-sale ticketing & boxoffice
report software, printers, pole
displays, cash drawers & turnkey
systems
SERVER PRODUCTS INC.
P.O.Box 530
Menomonee Falls, WI 53052
414 251-7100, 800-558-8722
FAX: 414-251-2688
Ronald Ripple, VP, Sales & Mktg.
URL: www.server-products.com
Popcorn poppers & warmers, nacho
equipment, condiment pumps, etc.
SHOFAR KOSHER FOODS
2365 E. Linden Ave.
Linden, NJ 07036
908-925-6000, FAX: 908-925-5331
Leonard H. Posnock, Dir., Sales
Kosher foods: franks and other meats
SIGNATURE ELECTRONIC SIGNS
13 Avenue D, Williston, VT 05495
800-545-7976, 802-863-5200
FAX: 802-863-6661
Mary Skelton, Sr. Account Exec.
Boxoffice & theatre signs & marquees
SILVER KING
1600 Xenium Lane North
Minneapolis, MN 55441
612-553-1881
FAX: 612-553-1209
Mike Rodich, VP, Marketing
Concession equipment, refrigeration
products
SLUSH PUPPIE CORP.
1950 Radciiff Dr.
Cincinnati, OH 45204
513-244-2400
800-543-0860
FAX: 513-251-3458
Amy Cook, Mktg. Coordinator
Supplies and equipment for
Slush Puppie ice crystals
beverages
SMART THEATRE SYSTEMS
5945 Peachtree Corners East
Norcross, GA 30071-1337
800-45-SMART, 770-449-6698
FAX: 770-449-6728
Norman R. Schneider, CEO
Vincent P. Luciani, President
E-MAIL: smart@america.net
URL: www.smartdev.com
Complete line of cinema sound
products S systems
-ull line concession distributor
>. BOSE, INC.
1516 Olive St.
Racine, WI 53408
H4-638-1998
-AX: 414-638-1989
Jcott Bose, President
-ilm storage & shipping containers,
trailer adapter rings
Confused?
iCHNEIDER CORP. OF AMERICA
:85 Oser Ave.
-iauppauge, NY 11788
il6-761-5000
•AX: 516-761-5090
Jwight Lindsey, Sr. Vice President
i-MAIL: info@schneideroptics.com
JRL: www.schneideroptics.com
.enses and filters for motion picture
projection and production
ICHULT INDUSTRIES, INC.
18 Cedar, Pleasant Hill, MO 64080
«0-783-8988, 800-9-SCHULT
AX: 816-540-4790
iobert E. Schult, President
.hirley H. Schult, Exec. VP
effrey L. Schult, Exec. VP
Ceith E. Schult, Exec. VP
till Lustig, Sr. VP Sales & Marketing
:-MAIL: sales@schult.com
JRL: www.schult.com
't}eatre displays, signage, boxoffice
projection: internet web
design & LAN networking
Sculptured WALL SYSTEMS
i210 Fourth Avenue
terkeley.CA 94710
10-526-4090
AX: 510-524-2608
'.D. "Dusty" Dillion, Owner
inda Dillion, Owner
decorative plaster products including
light sconces & trims
EATING CONCEPTS, INC.
901-600 Morena Blvd. P.O. Box 1089
an Diego, CA 921 17
19-581-5715
AX: 619-581-5725
>se Letayf, President
imes Walsh
heatre seating
ELBY PRODUCTS, INC.
.O. Box 267, Richfield, OH 44286
16-659-6631, 800-647-6224
AX: 216-659-4112
•rry W. Selby, President
rive-in screen towers
Don't be.
The Marble Company has provided the best value in booth
supplies for more than 35 years.
Let us save you time and money by providing all of your booth needs.
• SANKOR PROJECTOR LENSES • SPLICING AND CUE TAPES
• CT-35 SPLICERS
• MARBLE X-CEL* XENON BULBS
• EXCITER LAMPS * REFLECTORS
• LENS CLEANER, FILM LUBE & OILS • AND MUCH, MUCH MORE
fflMARBLE COMPANY
I N O O
P. O. Box 1 60030 • Nashville, TN 372 1 6 • 6 1 5-227-7772 • 80a759-5905 • TAX 6 1 5-227-7008
Response No. 296

1A
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SONY CINEMA PRODUCTS
CORPORATION
10202 W. Washington Blvd.
Culver City, CA 90232
310-244-5777
FAX: 310-244-2024
James N. Fiedler, President
Dan Taylor, VP, Bus. Dev.,
N.America
BiU Mead, VP, Bus. Dev., Int'l
Gemma Richardson, VP,
Worldwide Publicity
Digital & analog theatrical sound
systems: SDDS playback system
(DFP-2000) & Sony DCP-1000
Processor
SOUNDFOLD INTERNATIONAL
P.O.Box 292125
Dayton, OH 45429-2125
937-293-2671
800-782-8018
FAX: 937-293-9542
Arthur C.Sickels, CEO
Tony Sickels, President
Tom Miltner, VP
Louise Toon, Secretary
Acoustical wallcovering, speaker
brackets, front ends
SOUTHERN SCENIC
EQUIPMENT CO.
4006 .\ine-.VlcFarland Dr.
Alpharetta, GA 30201
770-475-0733
FAX: 770-475-0910
Ted C Yarborough, Owner
Theatre & stage drapery: fabrication
and installation of replacement seat
covers
SPECIALIZED GRAPHICS
P.O. Box 10337
Prescott, AZ 86304
FAX: 800-637-9124
Susan Bailey, VP
E-MAIL: spgraph@primenet.com
Signage: promotional enlargements S
special event materials
SPECO/SYSTEMS & PRODUCTS
ENGINEERING CO.
709 \. 6th Street
Kansas City, KS 66101
913-321-3978
913-321-3979
FAX: 913-321-7439
George W. Higginbotham, President
Gene Higginbotham, VP
Mark Pearson, Chief Engineer
Platter systems S film handling equip:
cue sensors, interlock roller assy's,
film cleaner, automations,
dimmers, etc.
SPURRIER CHEMICAL CO. INC.
1200 E. Central
P.O. Box 2812
Wichita, KS 67201
316-265-9491
800-835-1059
FAX: 316-265-9518
Kurt J. Luhmann, VP Natl. Accts.
Cleaning and sanitation programs S
products
STAGE ACCOMPANY
(SA USA, INC.)
7004 I .ouis*' Terrace
Bay Kidgc, NY 11209
800-955-7474
FAX: 718-680-1226
Marcel Vantuyn, President
URL: www.9lageflccompany.com
SA sound systems feature the Ribbon
Compact Driver for unequaled
sound quality and speech
intelligibility
STAGE ACCOMPANY
Anodewog 4, Hoorn 1627LJ
The Netherlands
31229282930
FAX: 31229282930
John Bakker, Account Manager
E-MAIL: info@stageaccompany.com
URL: www.stageaccompany.com
Complete range of cinema
loudspeakers and amplifiers
STEIN INDUSTRIES INC.
22 Spraguc Ave.
Amityville,NY11701
516-789-2222
FAX: 516-789-8888
Stuart Stein, President
Andrew Stein, VP
Susan Solomon, Controller
Concession stands, popcorn poppers
& warmers, nacho warmers and
misc. theatre lobby fixtures
STEWART FILMSCREEN
CORP.
1161 W.Sepulveda Blvd.
Torrance, CA 90502
310-784-5300
800-762-4999
FAX: 310-326-6870
Jim Tiffany, Dir. of Mktg.
URL: http: / /v«vw.stewartfilm.com
E-MAIL:stewfilm@ix.netcom.com
Seamless projection screens & frame
equipment
STRONG INTERNATIONAL,
INC.
4350 McKinley Street
Omaha, NE 68112
402-453-4444
FAX: 402-453-7238
John Wilmers, President and Chief
Executive Officer
Brad French, Secretary/
Treasurer/CFO
Ray Boegner, Sr. VP
Pat Moore, Motion Picture;Isco
Lens-West Coast & Pacific Rim
Bob Simminger, Eastern U.S. Sales
Manager
URL:www.strongcinema.com
Projection & sound equipment for
commercial theatres and special
venue applications: xenon slide
projectors & spotlights
STRONG WESTREX ASIA
Room 3707
China Resources Bldg.
26 Harbour Rd.
Wanchai
HONG KONG
852-28278289
FAX: 852-28275993
Projection S sound equipment for
commercial theatres
SUMINISTROSKELONIKSA
CalleBadajozl59Bis
08018 Barcelona
SPAIN
34-33004361
FAX: 34-33000315
Lorenzo Garcia, Rep.
Cinema sound systems
SUNMARK SPECIAL MARKETS
KIS^ Ni'w i ianipslurt- Ave.
St. Louis, MO 63123
314-832-7575
FAX: 314-832-1754
Linda CrDonnell, VP Sales &
Marketing
Candy and seed Items
SUPER-V CORPORATION
1311 N. Fairfax Avenue
Suite 15
West Hollywood, CA 90046-4749
213-851-8842
FAX: 213-874-9798
Barnard Sackett, Pres./CEO
Roger Shanepeck, Sales Mgr.
Joseph W. Schmit, Technical
Consultant
Super-Vision image modifying
auxiliary projection optical system
SUPREME PRODUCTS INC.
605 East Loop 340
P.O. Box 154308
Waco, TX 76715-4308
254-799-4941
FAX: 254-799-4943
Pat H. Hood, President
Hugh D. Hood, Vice President
E-MAIL: h.hood@genie.geis.com
Vending carts, portable stands & food
S beverage vending trailers for
outdoor use
SYSTEM OPERATING
SOLUTIONS
22833 Bothell-Evt. Hwy.
Suite 1210
Bothell, WA 98021
800-434-3098
FAX: 360-805-0632
Sell and service ticketing and
concession systems
T
TALK-A-PHONECO.
5013 N. Kedzie Ave.
Chicago, IL 60625
773-539-1100
FAX: 773-539-1241
Robert Shanes, Marketing EHrector
URL: www.talkaphone.com
E-MAIL: info@talkaphone.com
Intercom systems, talk-through
equipment. Cat 2F
TDS OF NEVADA
P.O. Box 71647
Reno, NV 89570-1647
702-825-3273
FAX: 702-827-9017
Bill Johnston, Managing Dir.
Finance & leasing ofboxofflce,
concession and related equipment
S software
TECCON ENTERPRISES LTD.
686CliffsideDr.
P.O.Box 38
San Dimas, CA 91773
909-599-0817
FAX: 909-592-2408
Jacobus L. Dimmers, President
H^agnetic recording heads,
calibration/alignment, test films &
screening room electronics
TECHNIKOTE SCREEN CORP.
63 Seahring Slreet
Brooklyn, NY 11231
718-624-6429
FAX: 718-624-0129
Sol Shurpin, President
Mitchell M. Schwam, VP Sales
Philip Gluck, Office Mgr.
Anthony Tuccillo, Production Mgr.
Projection screens, screen frames,
paint, brushes
TEMPO INDUSTRIES, INC.
2002-A South Grand Ave.
Santa Ana, CA 92705
714-662-4680
FAX: 714-641-0944
Greg Smith, Sales Mgr.
Aisle lighting & carpeted stepnose
lighting systems
TEXAS THEATRE
SUPPLY
346 Senova Drive
San Antonio, TX 78216
210-344-3823
210-340-5766
FAX: 210-344-2522
Rosemary Olivarri, Owner/
Director
Complete line of theatre equipment &
supplies
THEATRE SUPPORT
SERVICES, INC.
310 SW 66th Terrace
Margate, FL 33068
954-971-7787
Jerry Chase, President
E-MAIL: tssinc@idt.net
Ticketing programs & systems:
concession systems
TICKETPRO SYSTEMS
870 Mercury Dr.
Lawrenceville, GA 30045
800-552-0313
770-682-5485
FAX: 770-682-8397
John W. Shaw, CEO
E-MAIL: ticketpro@sprynet.com
URL: www.movie-info.com/
ticketpro
Boxoffice S concessions systems
TIVOLI INDUSTRIES,
INC.
1513 E.St Gertrude PL
Santa Ana, CA 92705
714-957-6101
FAX: 714-957-1501
Charles Kimmel, President and
Chief Operating Officer
Marie Paris, Operations Manager
Bert Stieg, Sales Manager
E-MAIL: tivoliind@aol.com
Specialty low voltage lighting
products & systems tor ail theatre
needs
TOASTMASTER
(A MIDDLEBY CO.)
14(K) IiMstmasterOr.
Elgin, IL 60120-9272
847-741-3300
800-323-2210
FAX: 847-741-0015
Harry Erickson,
E-MAIL: 104521 ,3371©
compuserve.com
URL: www.middleby.com
Cooking & warming equipment
TOOTSIE ROLL
INDUSTRIES, INC.
7401 South Cicero Ave.
Chicago, IL 60629
773-838-3400
773-838-3430
FAX: 773-838-3534
Byard T. Ebling, Marketing
Manager
Paul Broadway, Marketing
Manager
James Langill, Marketing & Sales
Administration
Robert Immen, Sales Manager
Candy: Junior Mints, Mason Dots,
more.

WISTA!(
SCHttN f^AMIS
International Cinema Equipment Co. Is pleased to announce that It has Introduced
a new line Steel Pre-fabricated Motion Picture Screen Frames. This new line of Frames
is the latest addition to a growing list of products manufactured by
the company for the Motion Picture & Theatre Industry. For prices,
technical information and a free brochure call your theatre
equipment dealer or, write, fax or e-mail us today.
Quick delivery time Is our speciality.
^
^
Other fine products we manufacture or distribute:
WestarATAP/k14
Automatic
Projectors
M.T.E. Studio Equipment
Wester 35 &
35/70 mm Projectors
Lens, Screen, Lamp and
Aspect Ratio Calculators
i^;.,:-:
'

'
TOTAL AUDIO
.

Dealers
Of Equipment and Supplies
in the U.S. and Canada
The following companies are dealers in specialized equipment and supplies for
theatrical exhibition. In order to make it easier for readers to locate the dealer
of a particular product or service nearest them, these listings have been
presented alphabetically by U.S. state. A separate Canadian index is provided
on the last page of this section.
ALABAMA
CINEMA EQUIPMENT & SUPPLY
131 Second Ave. N.E. / Box 2044
Decatur, AL 35602
205-353-5928
FAX: 205-353-5928
J.A. Duncan, President
Cathy Wahl, Sec. & Treas.
Theatre equipment sales & installation
SMITH PROJECTION &
SOUND THEATRE
EQUIPMENT & SUPPLY
3922 Nolen Ave. S.E.
Huntsville, AL 35801
205-534-7008; FAX: 205-534-7008
E.H. Smith, CHvner
Theatre equipment and supplies
ARIZONA
FESTIVAL CONCESSIONS
403« li. Superior
Phoenix, AZ 85040
602-437-0466
FAX: 602-437-3256
Pascal Agosta, President
Popcorn/concession equpment/fsuppfes
MASQUE SOUND & RECORDING
16()h VV. 12th Place
Tempe, AZ 85281
602-829-8255
FAX: 602-829-8175
ScotI H. Kalata, Mktg. Coordinator
Sound equipment sales/service/rental
METRO FUN FOODS
420S. 5-ird Ave,
Phoenix, AZ 85043
602-278-1010
FAX: 602-278-3232
Paul McClcllan, Gen. Mgr.
Lyn Fortin, Dir. /Sales
Concessions: foods, maintenance,
equipment i sanitation
CALIFORNIA
ALAN GORDON ENTERPRISES
1430 N. Cahuenga Blvd.
Hollywood, CA 90028
213-466-3561
FAX: 213-871-2193
Grant Loucks, President
Wajrne Loucks, Gen. Mgr.
Projection & sound equipment,
spotlights & screens
BERLOC MFG./SIGN COMPANY
7405 Greenbush A\'e.
North Hollywood, CA 91605
818-503-9823, 800-290-SIGN
FAX: 818-503-0934
Teri McClain, Secretary
Marquees, directories, bulletin boards
& changeable letters
CINEMA EQUIPMENT
SALES OF CALIFORNIA
23011 Moulton I'kvvv., Suite 1-5
Laguna Hills, CA 92653
714-470-0298
FAX: 714-470-0835
Carl Williams, President
Michael Smith, Gen. Mgr.
E-MAIL: 104024,2425
©compuserve.com
URL: www.cinema-equip.com
Worldwide sales, service, installation:
equipment, furnishings & supplies
BfTERTAMMENT EQUIPMENT CORP.
6363Sant.i Mtinici Blvd.
Hollywood, CA 90038
213-871-2194, 800-448-1656
FAX: 213-871-21%
James A. Lavorato, President
Gordon A. McLeod,
Dir. /Tech. Services
E-MAIL: entequip®aol.com
URL: www.enlequip.com
Cinema equipment sales,
service S design
JBL PROFESSIONAL
8500 Balbud Blvd.
Northridge,CA 91329
818-894-8850
FAX: 818-830-1220
URL: www.jblpro.com
Marc Spector, Cinema Market Mgr.
Cinema loudspeaker systems
METRO GOOD TIME FOODS
33508 Central Ave.
Union City, CA 94587
510-429-9800
FAX: 510-429-9828
Paul Lawson, Gen. Mgr.
Food: popcorn, candy & equipment
METROPOLITAN CONCESSIONS
9950 Mission Mill Rd.
Pico Rivera, CA 90601-4709
562-695-0541
FAX: 562-695-6796
Ron R. Naslund, Dir. /Sales & Mktg.
E-MAIL: teammetro@aol.com
Concessions, foods, maintenance,
equipment S sanitation
MILEN POPCORN-
CONCESSION SALES
446 Queens Lane
San Jose, CA 95112
408-436-1615, 408-436-1623
FAX: 408-436-5563
E-MAIL: MILEN_SALES
©compuserve.com
Concession & snack bar equipment &
supplies, service & repair
MTSWEST
1802 Victory Blvd.
Glendale, CA 91201
818-247-8667
FAX: 818-247-3508
Jerry Van de Rydt, Vice Pres.
E-MAIL: mtsnws®aol.com
Theatre equipment
NCS CORP.
P.O. Box 206
CastaicCA 91310-0206
888-900-1984, 805-257-1984
FAX: 805-257-1660
George A. Bruce Jr.,
Regional Sales Mgr.
URL: www.ncsco.com
Projection equipment, sound
systems, cinema supplies,
concession casework i products
PACIFIC CONCESSIONS
1250 Bayhill Dr.
Suite 301
San Bruno, CA 94066
415-871-8711
FAX: 415-871-7480
Dan Livak, Vice Pres.
Financing & concession services
QUALITY CONCESSIONS SUPPLY
6081 Rickenbacker Rd.
Commerce, CA 90040
310-721-1900, 310-488-3652
FAX: 213-721-6261
Kevin Fisher, Vice Pres.
Sandy Torres, Office Mgr.
Concessions supplies
R.J. AUEN CO.
P.O. Box 4906
West Hills, CA 91308-4906
818-592-6033
FAX: 818-592-6467
Roy J. Allen III, Gen. Mgr.
E-MAIL: rjallen@pacbell.net
Candy cheese & snacks
TEGTMEIER ASSOCIATES
P.O. Box 776
Menio Park, CA 94026
415-324-4335
FAX: 415-324-4336
John Tegtmeier, President
Seating, crowd control, posts & ropes
THEATRE SERVICE & SUPPLY
9582 Topanga Canvon Bhd.
Chatsworth,CA 91311
818-701-4475
FAX: 818-701-0394
Bill Miller, President
E-MAIL: theatreser©aoI.com
Theatre design, equipment sales,
installation S service
VANDERMARK ELECTRONICS
P.O. Box ,3472
Santa Rosa, CA 95402
707-545-4068
James Vandermark, Chvner
Surveying, developing & installing of
sound systems S design equipmen

,
3ill
Q^ntan^Ua^ 1 0O^
"TO
VANTAGE LIGHTING
1751'aulDr.
San Rafael, CA 94903
415-507-0402, 800-445-2677
FAX: 415-507-0502
Marc AUsman, Gen. Mgr.
E-MAIL: vanitg@aol.com
URL: www.3000.com/vantage
Replacement lamps: logo, hologram,
image & special effects projectors;
3-D laser systems
COLORADO
PROCTOR COMPANIES
10497 Centennial Rd.
Uttleton, CO 80127
303-973-8989
FAX: 303-973-8884
Bruce B. Proctor, President
E-MAIL: proctorco@aol.com
Concession stands & popcorn
warmers: boxoffice & lobby fixtures
TANKERSLEY ENTERPRISES
2100 Stout St. / P.O. Box 2039
Denver, CO 80201
303-298-8077
FAX: 303-296-4080
Robert K. Tankersley, CEO
Steve Tankersley, President
E-MAIL: tatheco@aol.com
Ttieatre equipment sales (new S
used) & service
CONNBCTICUT
NCSCORP.
P.O. Box 549
Ridgefield,CT 06877
203-438-3405, 203-438-1274
FAX: 203-438-1419
Walter Beatty Jr., VP/Gen. Sales Mgr.
Karen Raymond, Mktg. Assistant
Projection equipment, sound systems,
cinema supplies, concession stand
casework & products
NEW ENGLAND THEATRE SERVICE
295 Treadwell St.
Hamden, CT 06514
203-281-6583
FAX: 203-288-6484
Bob Peterson, President
Skip Gelati, Engineer
.,
Sales, installation & service of
projection & sound equipment
FLORIDA
CINEMA EQUIPMENT INC.
1375 N.W. 97th Ave., Suite #12
iVliami,FL 33172
! 505-594-0570; FAX: 305-592-6970
Younger, President
i-'eter Richards, Vice Pres.
3-MAIL: GYOUNGER®
[
worldnet.att.net
-IRL: www.miamicinema.com
Vew & used ttieatre equipment:
commercial & home video
DAVID TYSON LIGHTING
P.O. Box 1932
Callahan, FL 32011-1932
800-385-3148; FAX: 800-385-3149
David Tyson, President
Janet Tyson, Vice Pres.
Long-life lighting products
for the exhibition industry
FLORIDA CHOICE FOODS
1413N. StateRd. 7
Hollywood, FL 33021
954-989-7964, 305-625-1 185
FAX: 954-987-0367
Jerry Martin, President
E-MAIL: FCFpopcom@aol.com
Theatre concession supplies S
equipment: janitorial products
HOLLYWOOD THEATRE
EQUIPMENT
3300 N. 29th Ave., Suite 104
Hollywood, FL 33020
954-920-2832; FAX: 954-925-3874
Don R. Gallagher, President
Debbie Gallagher Beans, Sec./Treas.
E-MAIL: hteinc@icanect.net
Equipment & supplies sales & service
INTL. CINEMA EQUIPMENT
100 N.E. 39th St.
Miami, FL 33137-3632
305-573-7339; FAX: 305-573-8101
Steven H. Krams, CEO
Dara Reusch, Exec. VP
E-MAIL: ICECO@aol.co
URL: www.iceco.com
Sales, service & repair
MASQUE SOUND & RECORDING
4221 S.W. 34th St.
Orlando, FL 32811
407-841-2371; FAX: 407-841-2421
Scott H. Kalata, Mktg. Coordinator
Sound equipment sales,
service & rental
NCS/ CONCESSION
EQUIPMENT DIVISION
4897 W. Waters Ave., Suite 1
Tampa, FL 33634
800-733-7278, 813-884-8304
FAX: 813-889-0859
Roy Loveland, Vice Pres.
Concession casework & food
service equipment
NCSCORP.
4100 N. Powerline Rd., Suite N-5
Pompano Beach, FL 33073
305-970-6710; FAX: 305-970-4313
Phil Weir, Distribution Mgr.
Confection distribution
NCS CORP.
8406 Sunstate St.
Tampa, FL 33634
800-776-6271, 813-884-7909
FAX: 813-884-0544
Syndi Tibbetts, Branch Mgr.
Projection equipment, concession
stand casework & confections
NCS CORP. / CORPORATE OFFICE
14499 North Dale Hwy., Suite 201
Tampa, FL 33618
813-962-2772; FAX: 813-962-3402
Daniel P. Miller, President & CEO
Barney H. Bailey, Exec. VP & COO
Projection equipment, concession
stands, seating, drapes, wall
coverings, etc.
TVP—THEATRE &
VIDEO PRODUCTS
921 N.E. 79th St.
Miami, FL 33138
305-754-9136
FAX: 305-759-0863
Richard Fowler, President
John T. Gamble, Vice Pres.
E-MAIL: tvpmiami@webtv.net
Cinema equipment dealer:
custom sound systems
GEORGIA
CAPITAL CITY SUPPLY
2140 B Jackson Pkwy.
P.O. Box 19937
Atlanta, GA 30325
404-792-8424
FAX: 404-792-1424
Donald G. Howell, President
Don Hudspeth, Vice Pres.
Theatre equipment and
concession supplies
CINEVISIONCORP.
3300 N.E. Expressway, Bldg. 2A
Atlanta, GA 30341
770-455-8988
FAX: 770-455-4066
Steve Newton, President
Saundra Conner, Vice Pres.
Sales, service & rentals of 16mm,
35mm & 70mm motion picture &
sound equipment
IDAHO
NORTHWEST THEATRE
EQUIPMENT
P.O. Box 258
Wendell, ID 83355
800-341-3846, 208-536-5489
FAX: 208-536-5308
John R. Eickhof, Owner
Equipment dealer & emergency
service for seven Midwest &
Northwest states
ILLINOIS
ABDOTT THEATRE EQUIPMENT
430 Country Club Dr.
Bensenville, IL 60106
630-860-2121
630-860-2122
FAX: 630-860-5239
Harold Abbott Jr., President
Constantine A. Korose, Vice Pres.
Sales & service of most major
concession equipment
CINE-WAY, INC.
7200 N. Claremont Ave.
Chicago, IL 60645
773-764-6093, 773-764-7728
FAX: 773-274-9702
George Fukumizu, President
URL: www.l23easy.
com/gcn/cineway
Theatre equipment and accessories
MONARCH THEATRICAL
EQUIPMENT
104 N. Sixth St.
Springfield, IL 62701
217-788-5200
FAX: 217-788-5207
Fred Walraven, Tech. Dir.
E-MAIL: FRED@kerasotes.com
URL: www.kerasotes.com
Theatre equipment sales,
service & consultation
IOWA
MTS, INC.
423 S.W. Eighth St.
Des Moines, lA 50309
515-243-6520; FAX: 515-243-4987
Ted Bohemarm, Branch Mgr.
Theatre equipment dealer
& service company
KANSAS
NCSCORP.
8226 Marshall Dr.
Lenexa,KS 66215
913-492-0966, 800-457-3357
FAX: 913-492-1744
Rob M. Jaynes, Vice Pres.
Eugene J. KruU, Sr. VP
URL: www.ncsco.com
Projection equipment, sound
systems, cinema supplies,
concession stand
casework & products
REGAL DISTRIBUTING
9734 Pflumm
Lenexa, KS 66215
913-894-8787; FAX: 913-894-4005
Lee G. Kopulos, President
Greg Kopulos, Chairman
Dean Kopulos, Exec. VP
E-MAIL: regaldist@worldnet.att.net
Concession: food service
equipment S supplies
KENTUCKY
MADDEN THEATRE SUPPLY
10201 Bunsen Way
Louisville, KY 40299
502-499-0050
FAX: 502-499-0052
Louis Bomwasser, Owner
Theatre supply dealer & designer
LOUISIANA
CINEMA CONCESSION AND SUPPLY
9810 Florida Blvd.
Baton Rouge, LA 70815
504-927-4820
J.
Randolph Ogden, Owner
Theatre concession
equipment & supplies

........
3
JON BAJON INC.
2ol i N. DumontSt.
liaton Rouge, LA 70814
n04-275-9914; FAX: 504-272-3841
Jon Bajon, President
Theatre equipment &
concession supplies
MARYLAND
CARDINAL SOUNDS
MOTION PICTURE SYSTEMS
10219 Southard, Beltsville, MD 20705
301-595-8811; FAX: 301-595-5985
Neal Rockman, President
Cathy Rockman, Gen. Mgr.
Projection & sound equipment:
sales, service, consulting,
installation & repair
METRO TECHNICAL SERVICES
S639 Cherrv Lane, Laurel, MD 20707
301-470-2142; FAX: 301-490-4749
Noel Gregos, President
Jerry Sandy, Rentals
News rebuilt equipment sales:
studio rentals: service & dailies
SOL-ELECTRIC CO.
1 9334 Churubusco Lane
Germantown, MD 20874
301-404-9043; FAX 301-601-4307
Mike Marini, Owner
F-MAIL: mikem79810@aoLcom
Equipment supplies & service: projection,
sound, xenon lamps & seating
MASSACHUSETTS
BOSTON LIGHT AND SOUND
124 Brighton, Boston, MA 02134
617-787-31 31 ; FAX: 617-787-4257
Tony Lazzaro, Mgr.
E-MAIL: tony@blsi.com
URL: www.blsi.com
Projection S sound equipment
service & installation
CINEMA SERVICES SUPPLY
271 Western, Lynn, MA 01904-3017
781-599-9353, 800-231-8849
FAX:800-FAX-CSS5
Brian T. Vita, President
E-MAIL: salcs@cs5inc.com
URL: www.cssinc.com
Cinema equipment: sales,
service S installation
EASTERN CINEMA
SUPPLY & SERVICE
436 E. Washinftton St.
Hanson, MA 02341
617-871-0585, 617-294-0381
FAX: 617-871-0585
Leonard N. Miller, President
Sales & service ol projection
i sound equipment
HIGH PERFORMANCE STEREO
64 BowCTi, Newton t entre, MA 02159
617-244-1737; FAX: 617-244-4390
John F. Allen, President
Exclusive distributor ol HPS-4000
theatre sound system
SUMMIT FOODS ENTERPRISES
P.O. Box 141
Dedham, MA 02027
617-830-0201; FAX: 617-830-0205
Paul Bonfiglio, Natl. Sales
Kevin Morrissey, Gen. Mgr.
PJ Gummi Bears, Klondike Movie
Bites. Good Humor Ice Creams,
bulk candy, Naya spring water
TRIBORO CINEMA
SERVICES SUPPLY
P.O. Box 2666
Attleboro Falls, MA 02763
508-699-2164; FAX: 508-695-3828
Bud Orton, Owner
Buy S sell new& used projection &
sound equipment & booth supplies
MICHIGAN
HITCHFIELD ENTERPRISES
11055 Alberta Dr.
Brighton, MI 48116
810-632-9066; FAX: 810-632-9081
Gary Hitchens, President
Sales, sen/ice & installing of new &
used theatre equipment & supplies
NCSCORP.
P.O. Box 654
Royal Oak, MI 48068-0654
248-280-1816; FAX: 248-280-1836
Jim Fox, Regional Sales Mgr.
URL: www.ncsco.com
Projection equipment, sound systems,
cinema supplies, concession stand
casework & products
MINNESOTA
MEDU TECHNOLOGY SOURCE (MTS)
7667CahillRa.
Minneapolis, MN 55439-2749
new address as of fall:
10501 Florida Ave. South
Minneapolis, MN 55438
612-829-0161; FAX: 612-829-0166
Philip L. Rafi«on, President
John P. Ayotte, Exec. VP
E-MAIL: 73363,2440
@compuserve.com
Theatre equipment (domestic & Intl.)
service: large screen video:
specialty venues
NEBCO/EVANS DISTRIBUTION
415()lkrk,sliirfUini'
Plymouth, MN 55446
612-475-5739; FAX: 612-551-1048
John Loehr, Dir. /Sales
Theatre concessions
MISSISSIPPI
M & B CONCESSIONS
2713 Bailey Ave.
Jackson, MS 3921
601-982-4477; FAX: 601-982-4479
JR. Moran, Owner
Concession supplies i equipment
MISSOURI
REGAL DISTRIBUTING
3950 N. 20th St.; Ozark, MO 65721
417-581-2602, 800-326-2022
FAX: 417-485-2609
Mike Braswell, Branch Mgr.
Janitorial/concession supplies/equipment
RINGOLD CINEMA EQUIPMENT
1 1 155-D South Tovvne Square
St. Louis, MO 63123
314-487-3283, 314-487-3677
FAX: 314-487-3297
John M. Mattler, President
Mike Mattler, Vice Pres.
Sales/service of equipment S supplies
NEBRASKA
SUPPER THEATRE SUPPLY
1502 Davenport St.
Omaha, NE 68102
402-341-5715, 800-228-9302
FAX: 402-341-7856
Mrs. C.A. Slipper, Owner
Gary Peterson, Purchasing
Theatre supply & service
NEWJERSEY
MASQUE SOUND & RECORDING
100 Redneck Ave.
Moonachie, NJ 07074
800-307-8666; FAX: 201-939-4704
Scott H. Kalata, Mktg. Coordinator
Sound equipment sales/service/rental
NEW YORK
ADVANCED SALES & MARKETING
39 Hancock Place
Valley Stream, NY 11580
516-823-9462
FAX: 516-872-9546
Melvin H. Golbert, President
Candy brokers
ALL CINEMA SALSS AND SERVICE
8 Vernon Valley Kd.
East Northport, NY 11731
516-754-5655, 800-628-5788
FAX: 516-754-2213
James Kelly, President
Joseph Kelly, VP/Engineering
Equipment design, installation S sales:
custom equipment modifications
AMERICAN INTERNATIONAL
CONCESSION PRODUCTS
P.O. Box 379
Malveme, NY 11565
516-420-1868; FAX: 516-420-«)42
Paul Sciortino, President
Christopher Sciortino, VP/Salcs
Candy, snack foods syrups, ice cream
& theatre concession supplies
CAPITOL MOTION
PICTURE SUPPLY
630 Ninth Ave.
New York, NY 10036
212-757-4510; FAX: 212-265-5648
Ben Perse, President
Larry Perse, Exec. VP
Distributors ol sound &
projection equipment
EAST COAST LAMP SALES
8 Vernon Valley Kd.
East Northport, NY 11731
800-628-5788; FAX: 516-754-2213
James Kelly, President
Tom Kelly, Vice Pres.
Distributor of general purpose &
specialty bulbs, lighting fixtures S
energy saving products
ENTERTAINMENT EQUIPMENT CORP.
712 Main St.
Buffalo, NY 14202
716-855-2162, 800-448-1656
FAX: 716-852-4330
James Lavorato, President
Gordon A. McLeod,
Dir. /Tech. Services
E-MAIL: entequip@aol.com
URL: www.entequip.com
Cinema equipment, sales,
sen/Ice & design
FREEMAN THEATRE SERVICE
5 Hudson Rd.
Garden City, NY 11530
516-488-2753
Omar Freeman, President
Carol Freeman, Vice Pres.
Sound S projection: consulting,
sales & service
HAYES EQUIPMENT & SUPPLY
P.O. Box 29
Syracuse, NY 13211
315-432-8183
Jack Hayes, President
Theatre seating, seat covers, chair
parts: installation
MASQUE SOUND & RECORDING
630 N inth A ve.. Suite 4 1
New York, NY 10036
212-245-4623; FAX: 212-262-4013
Scott H. Kalata, Mktg. Coordinator
Sound equipment sales/rental/service
THEATRE CONFECTIONS
795 Monrix' Ave.
Rochester, NY 14607
716-271-0858
David Kates, President
Jeff Dodge, VP/Sales
Richard McGlynn, Exec VP
Concession food & equipment
sales & service
NORTH CAROLINA
AMERICAN THEATRE SUPPLY
4,324 Banni>;fi Dr., Suite llU
Charlotte, NC 28217
704-527-6077
FAX: 704-527-6078
Richard Cobb, Gen. Mgr.
Lee Helms, Asst. Mgr.
Theatre equipment S
concession supplies

PATENT PENDING
MSlf
IIGHTS.
BHHMBHw'**^!!^*^^ 1
i

Eighth
CAPITAL CITY SUPPLY
421 Greenwav Dr.
Eden, NC 27288
910-627-7551
FAX: 910-627-7551
Hill Moore, Sales /Carolina Office
Theatre equipment S
concession supplies
WORRELL SOUND & PROJECTION
riie Landfall Center, Suite 199
1319 Military Cutoff
Wilmington, NC 28405
HOO-552-7502, 910-509-1506
FAX: 800-552-7501
Bruce Worrell, Owner
Diann Worrell, Mktg. Coordinator
Projectors, sound systems, bootti
supplies, screens, seating &
lobby turnishings
OHIO
AMERICAN THEATRE EQUIPMENT
4126 Anson Dr.
Milliard, OH 43026-2206
614-876-6262
FAX: 614-876-6262
John Williamson, President
Theatre supply: sales, service
& rentals
FREMONT THEATRE SUPPLY
303 N. Ohio Ave.
Fremont, OH 43420
419-334-2758, 800-513-2939
FAX: 419-334-2758
Richard C. Smith jr., Chvner
Sales, service & installation of all new
& used theatre equipment
NCS CORP.
1 1 50 W . St., Suite 1 1
CincinnaH, OH 45203
513-352-0606, 800-543-0418
FAX; 513-352-0701
Barbara Cammack, Branch Mgr.
Kathy Bass, Natl. Account Mgr.
Projection equipment, sound
systems, cinema supplies,
concession stand
casework & products
WHEATON'S CONCESSION
SUPPLY
231 N. Fourth St.
Columbus, OH 43215
614-228-1155
FAX: 614-224-3297
Robert J.
Wheaton, President
Tom Carlson, Vice Pres.
Wholesale distributor of concession
supplies & equipment
OKLAHOMA
MOTION PICTURE
PROJECTION SERVICES
21519 E. 33rd St. South
Broken Arrow, OK 74014-1159
918-355-1452
FAX: 918-355-1452
Bcti Kchc, President
Sales & service of projection
& sound equipment
OKUHOMA THEATRE SUPPLY
628 W. Sheridan Ave.
Oklahoma City, OK 73102
405-236-8691
FAX: 405-236-8591
Maxine Peek, President
Theatre & concession
equipment S supplies
PENNSYLVANIA
ASSOCIATED HEARING
INSTRUMENTS
6796 Market St.
Upper Darby, PA 19802
800-253-3442; FAX: 610-352-2469
Dan Libby, Vice Pres.
Assistive listening devices tor the
hearing impaired; FM & infrared
CINEMA CONSULTANTS
& SERVICES INTL.
P.O. Box 9672
Pittsburgh, PA 15226
412-343-3900; FAX: 412-343-2992
Ross Falvo, President
Projection, sound & concession
equipment & supplies;
auditorium seating
CINEMA SUPPLY COMPANY
502 S. Market St.
P.O. Box 146
Millersburg, PA 17061
800-437-5505, 717-692-4744
FAX: 717-692-3073
Van Troutman, Gen. Mgr.
Theatre equipment, concession
equipment & supplies
CINETECH, INC.
225 W. Howard St.
Stowe, PA 19464
610-323-4847, 800-432-4847
FAX: 610-323-1664
Bruce J. Fitzsimmons, Gen. Mgr.
E-MAIL: cinetech@aol.com
Booth & sound equipment, service &
installation; onscreen advertising
GOLD MEDAL—PITTSBURGH
519 Parkway View Dr.
Pittsburgh, PA 15205
412-787-1030, 800-383-2356
FAX: 412-787-7295
Jeffrey Roth, Branch Mgr.
Concessions equipment,
supplies, sales & repair
REFRESHMENT SERVICES
1U2M VVS.uv Mill Kuiililvd.
Pittsburgh, PA 15220
412-481-6575
FAX: 412-481-1336
Ken Boyle, Vice Pres.
Concession wholesaler: popcorn,
candy, paper products &
janitorial supplies
ULTRATECHINC.
P.O. Box 436
Homestead, PA 15120
412-469-8324, 800-647-4795
FAX: 412-469-9351
E-MAIL: ultratcch®ibm.net
Donald E. Wunderlich, President
Charles S. Shoemaker, VP/Sales
Projection i sound, sales,
service i design
RHODE ISLAND
AUDIO VISUAL SYSTEMS
320 St. Louis Ave. / P.O. Box 2107
Woonsocket, RI 02895-2351
401-767-2080; FAX: 401-767-2081
Rita Y. Adams, President
Cinema sound installation & service
SOUTH DAKOTA
GOnSCHALK'S
208 Rosander Ave. / P.O. Box 198
Vale, SD 57788
605-456-2259
Enue Gottschalk, Ovmer
Joelen Gottschalk
Make and sell flex shafts for the
old-style t\Aanley Corn Poppers
TENNESSEE
MARBLE COMPANY
3102 Ambrose Ave. / P.O.B. 160030
Nashville, TN 37216
800-759-5905, 61 5-227-7772
FAX: 615-227-7008
J.
William Blevins, President
Brad Blevins, Gen. Mgr.
Lenses, splicers, booth supplies,
carbons, reflectors, xenon bulbs,
exciter lamps & more
TRI STATE THEATRE SUPPLY
151 Vance Ave.; Memphis, TN 38103
901-525-8249, 800-733-8249
FAX: 901-526-4300
Fred Blank, Manager
E-MAIL: tristateth@aol.com
Theatre equipment & supplies
TEXAS
GARDEN & DOZIER INC.
237 Oak Hill Dr.
Trophy Club, TX 76262
817-430-8282; FAX: 817-491-1059
Charles Darden, President
D.L. Crombie, Vice Pres.
Raw popcorn, seasonings S
concession supplies
INDEPENDENT THEATRE SUPPLY
403H \. I'.m :\u\ lAprL'ssw.n
San Antonio, TX 78219
210-226-3508; FAX: 210-226-8914
Clifford Anderson, President
Mary Anderson
Sales S service of projectors
S sound equipment
LIBERTO OF DALLAS
310 W MiK-kingbird
Dallas, TX 75247
214-688-0021; FAX: 214-637-6739
Oeanie Jones, Sales Ctxirdinator
Concession supplies i equipment
LIBERTO OF HARLINGEN
402 S."F" St., Suite 100
Harligen,TX 78550
210-423-8770
FAX: 210-425-2607
Al Taylor, Manager
Concession supplies,
equipment & service
LIBERTO OF HOUSTON
4321 Old Spanish Trail
Houston, TX 77021
713-747-7757
FAX: 713-747-4423
Lloyd Carmack, Division Mgr.
Concession supplies & equipment
SOUTHWESTERN
THEATRE EQUIPMENT
500-C North Shepherd Dr.
Houston, TX 77007
713-861-3344; FAX: 713-861-4298
R. S. Mortensen, President
Concession, janitorial, projection,
sound, seating
TEXAS THEATRE SUPPLY
346 Senova Dr.
San Antonio, TX 78216
210-344-3823, 210-340-5766
FAX: 210-344-2522
E.G. Olivarri Jr., Owner & Dir.
R.O. Taylor, Gen. Mgr.
Theatre equipment & service
UTAH
CLACO EQUIPMENT AND SERVICE
1212 S. State St.
Salt Lake City, UT 84111
801-355-1250, 801-355-1251
FAX: 801-355-1259
Clayton Stauffer, President & Owne:
Dennis Lunt, Sales Mgr.
Theatre equipment sales & service
GENERAL THEATRICAL SUPPLY
2153 S. 700 East
Salt Lake City, UT 84106
801-485-5012; FAX: 801-485-4365
Keith Perry, President
URL: www.esta.org/homepages/qt
Turnkey theatre packages; two-way
radio & paging systems for theatre
WASHINGTON
AUDIO SERVICE COMPANY
230 S. Second Si , Suite 202
Yakima, WA 98902
509-248-7041 ; FAX: 509-453-3074
Earl B. Barden, President
Mike M. Mercy, Sec. & Treas.
Theatre equipment sales,
service & installation
CIN-TRONICS
1390? Me.idow Rd.
Everell. WA'W208
425-742-74Hh; I AX: 415-742-8254
Vernon Klin^nian, Owner
E-MAIL: VKIingmai\®p rodigy.net
Projection, sound & concession
equipment sales & service

McRAE THEATRE EQUIPMENT
101 Nickerson St., Suite 210
-oattlcWA 98109
:i)o-285-8393
[A\: 206-285-8375
D,i\ id McRae, President
Miles McRae, Sec. & Treas.
Motion picture & sound
service & sales
WEST VIRGINIA
MOORE THEATRE EQUIPMENT
213 Delaware Ave. / P.O. Box 782
Charleston, WV 25323
304-344-4413, 304-744-4019
{Donald M. Moore, Owner
Sales, service & installation of new,
used & rebuilt equipment
S. BOSE, INC.
2516 01i\'eSt.
ilacine, WI 53408
WISCONSIN
114-638-1998
FAX: 414-638-1989
5C0tt Bose, President
Scott C. Barber, Vice Pres.
Video display system: data projectors:
custom designs & installations
CANADA
BEST THEATRE SUPPLY
1303 Yonge St.
Toronto, Ontario
Canada M4T2Y9
416-323-7244
PAX: 416-323-6867
David Granger, Gen. Mgr.
Theatre supplies
CINEMATRONIX
14366 109th Ave.
Surrey, British Columbia
Canada VSR 0P6
604-585-2155
FAX: 604-585-2155
Kevin Eagle, President
David Moore, Service Mgr.
E-MAIL: kevinc@direct.ca
Sound & projection equipment
sales & service: new theatre
equipment installations
CINEMATRONIX (ALBERTA)
1703-16thAve. N.W.
Calgary, Alberta
Canada T2M 0L9
403-282-4282
403-691-1993
FAX: 403-282-4282
Kevin Eagle, President
Nelson Radmore, Service Mgr.
Sound & projection equipment
sales & sen/ice: new theatre
equipment installations
DOMINION THEATRE EQUIPMENT
343 Railway St., Suite 204
Vancouver, British Columbia
Canada V6A1A4
604-682-1848, 604-254-2949
FAX: 604-682-1848
D.V.K. Fairleigh, Manager
Theatre equipment & service
ENTERTAINMENT EQUIPMENT CORP.
1000 Gerrard St. East, Suite 98021
Toronto, Ontario
Canada M4M 3L9
800-448-1656
James A. Lavorato, President
Gordon A. McLeod, Dir./Tech. Svcs.
E-MAIL: entequip@aoI.com
URL: www.entequip.com
Cinema equipment dealer
G.A. McLEOD ENTERPRISES
75 Pape Ave.
Toronto, Ontario
Canada M4M 2V5
416-469-3235
FAX: 416-469-9811
Gordon A. McLeod, President
E-MAIL: gmcIeod@direct.com
Sound systems design
service & repair
INDEPENDENT THEATRE SUPPLY
P.O. Box 3707, Station D
Edmonton, Alberta
Canada T5L4J7
403-482-1611
FAX: 403-482-3520
Tom Hutchinson, President
E-MAIL: its®compusmart.ab.ca
Cinema equipment, supplies
& furnishings
KILCULLEN MARKETING
7 Watford St.
Brooklin, Ontario
Canada LOB ICO
905-655-8633
FAX: 905-655-5873
John Kilcullen, President
Sales, service & installation
of theatre equipment
KING CINEMA SERVICES
14566 Yellowhead Trail
Edmonton, Alberta
Canada T5L 3C5
403-455-1622, 800-561-3581
FAX: 403-455-0663
Terry Yushchyshyn
Theatre equipment & supplies
MARIPLEX CINEMA SUPPLY
610 E. River Rd.
New Glasgow, Nova Scotia
Canada B2H 352
902-755-4864, 800-565-2727
FAX: 902-755-7640
Brian MacLeod, Gen. Mgr.
Cinema equipment & supplies:
projection, sound &
concession equipment
SUPPORT COMMUNICATION
4949 E. Metropolitan, Suite 169
Montreal, Quebec
Canada H1R1Z6
514-498-3335
FAX: 514-498-3335
Pierre P. Pelletier, Gen. Mgr.
Motion picture supplies
Act III Theatres • Carmike Cinemas • Cinamerica Theatres • Cineplex Odeon • Cynos Anedos Cinemas • Dickinson Theatres • Eastern Federal • Edwards Cinemas
As I went to sit in my seat
my hands held a drink cold & sweet,
but when I sat down
my face showed a frown,
cause my drink spilled all over my feet.
Since then I
have been to a place
that provides me a neat little space,
where I can sit back
with my cup in a rack,
and relax with a smile on my face.
Are your patrons smiling?
Call, The Caddy Guys
1-800-845-0591
Caddy Products • 7667 Cahill Road • Minneapolis, MN 55439 • 612-828-0030 • Fax 612-829-0166
Mann Theatres • Marcus Theatres • Metropolitan TTieatres • National Amusements Pacific Theatres • Regal Cinemas • United Artists Theatre Circuit
Response No. 421
September, 1997

Allied Goods
and Services
Alphabetized, by Subject Category
The following pages list firms that provide specialized services to the exhibition
industry, including: accessories and trailers; booking; construction; consulting;
insurance; entertainment center supplies; merchandising licensed products;
rentals; screen advertising; video displays; and miscellaneous goods and services
I ACCESSORIES/
TRAILERS/SHORTS
FILMACK STUDIOS
1327 S.Wabash Ave.
Chicago, IL 60605-2574
S()0-345-6225, 800-FILMACK
I- AX: 312-427-4866
Robert N. Mack, President
Designers & producers of digital pic
& sound ttieatre trailers & slides
INTERMISSION PRODUCTIONS LTD.
6 1 79 Knoll Wood Kd., Suite #306
Willowbrook,lL 60514
630-654-0200
Michael Dawson, President
liarbara Scheuren, Secretary
Custom and generic trailers
METROUGHT STUDIOS
^724 W. 3rd Street #400
Los Angeles, CA 90036-3043
213-932-0400; FAX; 213-932-8440
James W. Kristoff, President
E-MAIL: sales®inetrolight.com
URL: www.metrolight.com
3-D computer graphics, special
effects & 2-0 animation
NATIONAL SCREEN SERVICE GROUP
NEW JERSEY
40 Rockwood Place
Englewood, NJ 07631
201-871-7900; FAX: 201-871-7914
Peter Koplik, President
Ronald Seitenbach, Treas.
CAUFORNIA:
3655 Lenawee Avenue
Los Angeles, CA 90016
310-836-1505; FAX: 310-836-9878
Mitchell Wilcn, VP Distribution
Mona Spicer, Dir. of Film Operations
MISSOURI:
mX) Baltimore Ave.
Kansas City, MO 64108-1931
816-842-5893; FAX: 816-842-4553
Eric Allen, Branch Manager
Onestieets, trailers, ad slicks, ottier
promotional materials
PIKE PRODUCTIONS, INC.
11 Clarke Street
P.O.B. 300
Newport, Rl 02840
401-846-8890; FAX: 401-847-0070
James A. Pike, President
Cornelia M. Pike, VP
Pat Mooney, Sales
Neil Verzoni, Sales
Custom & generic policy
'
trailers/headers/daters/3-D
computer animation
SILVER SCREEN SPECIALTIES
P.O. Box 1223
Caldwell, ID 83606
208-454-9454
David Comwell, President
Karen J. Comwell, Vice President
Policy trailers
SMITHGROUP
COMMUNICATIONS, INC.
614 SW nth Ave.
Suite 405
Portland, OR 97205
503-224-1905; FAX: 503-224-5548
Phil Bevans, President/Producer
E-MAIL: smithgrp@smithgrp.com
Custom logo/policy trailers
WEST GLEN COMMUNICATIONS,
INC.
1430 Broadway, 9th Floor
New York, NY 10018
212-921-2800; FAX: 212-944-9055
Jennifer Zeitlin, Mktg. Coordinator
URL: www.westglen.com
The Popcorn Report and other free
short subjects
WILLMING REAMS
ANIMATION, INC.
325 East Ramsey Road
San Antonio, TX 78216
800-972-6468, 210-342-2141
FAX: 210-342-1523
Denise M. Reams-White,
Pres./Exec. Producer
Doug Willming, VP/ Animation Dir.
E-MAIL: wranim8@aol.com
URL: www.zdepth.com/reams
Policy trailers, concessions, computer
and character animation, video
monitor program, studio trailers on
BOOKERS
CINEMA BOOKING SVC. OF N.E. INC.
P.O. Box 827, Needham, MA 02192
617-986-2122
Stanton H. Davis, President
E-MAIL: stadav@aol.com
Film buying & booking sen/ice
CINEMA SERVICE COMPANY
6060 N. Central, Suite 638
Dallas, TX 75206
214-692-7555; FAX: 214-692-7559
Tim Patton, President
E-MAIL: Hm.csc@by-rite.com
Film buying & marketing agency
CINEMA SERVICES/
FILM BOOKING
P.O. Box 654, Succasuima, NJ 07876
201-584-8160; FAX: 201-584-0586
Craig Zeltner
Mary Shefford
CLARK THEATRE SERVICE INC.
325 Huron Ave., Suite B
P.O.B. 610727
Port Huron, MI 48060
810-982-9935; FAX: 810-982-9947
Robert Hines, President
CONTINENTAL FILM SERVICES
526 B Street, Suite A
Santa Rosa, CA 95401
707-523-1592; FAX: 707-523-4024
Richard Gambogi, President
Jeanette Cambogi, VP & Sec. /Treas.
CO-OPERATIVE THEATRES OF
OHIO
6263 Mayfield Rd.
Mayfield Heights, OH 44124
216-461-2700; FAX: 216-461-6411
John Knepp, President
Fran Volan, Film Buyer
FLORIN CREATIVE FILM SERVICE
125 North Main Streol
Port Chester, NY 10573
914-937-1603; FAX: 914-937-8496
Steve Florin, President
A full-service buying & booking circuit
GREAT EASTERN THEATRE CO.
3540 Secor Road, Suite 205
Toledo, OH 43606
419-537-8679; FAX: 419-537-0087
Keven Christy, Vice President
GREAT LAKES THEATRE
SERVICE, LTD.
P.O. Box 861
Wheaton, IL 60189
630-510-91 19; FAX: 630-510-9735
Lou Michael, President
Booker for independent theatres in
the midwest
JACOBS ENTERTAINMENT, INC.
48 East 43rd Street
New York, NY 10017
212-986-7488; FAX: 212-986-2524
Jeffrey Jacobs
JANE M. KLOTZ'S BOOKING
SERVICE
9801 Tribonian Dr.
Fort Washington, MD 20744-5713
301-567-1775; FAX: 301-567-1775
Jane M. Klotz, Owner/Operator
Buying S booking service for theatres
M & N BOOKING SERVICE
2712 Evans
P.O. Box 20221
Cheyenne, WY 82003
307-634-3980; FAX: 307-634-9497
Mike Schwartz, Owner/Film Buyer
E-MAIL: mandnbook®aol.com
MILGRAM THEATRES, INC.
GSB BIdg. # 412, One Belmont Ave.
Bala Cynwyd, PA 19004
610-664-3900; FAX: 610-664-3903
Robert Milgram, VP/Head Film Buyer
Film buying & booking
MINI THEATRES
534 Broadhollow Road, Suite 430
Melville, NY 11747
516-293-3456; FAX: 516-293-3490
Harold Lager, Owner
Martin Goldman, Ownor
MOTION PICTURE COUNSELING
301 Mt. Sha.sia Drive
San Rafael, CA 94903
415-491-1234; FAX: 415-491-1294
Ronald Litvin, President

i
1 116
I
FAX:
I
I
EASTERN:
I
I
1
Exhibitor Relations
BUENA VISTA
HOME OFFICE:
350 S. Buena Vista St.
Burbank, CA 91521-1293
800-247-4887; FAX: 818-566-1050
Contacts: Nancy Klueter, Susan Levin
EASTERN:
212-735-5421; FAX: 212-735-5491
Contact: Michael Ricciardi
CANADA:
800-263-2853 (Canada only);
416-964-9275; FAX: 416-964-8537
Contact: Greg Mason
SOUTHEAST:
800-241-0045; FAX: 770-246-8949
Contact: Chuck Cromer
MIDWEST:
800-323-01 34; 847-384-3955
FAX: 847-384-3993
Contact: Mike Wozny
SOUTHWEST:
800-527-6851; 214-363-9494
FAX: 214-363-9967
Contact: J.T. Capps
VESTERN:
800-247-3419; FAX: 818-972-9543
Contacts: Meiko Just Christina Nedelec
DREAMWORKS
HOME OFFICE:
16030 Venhira Blvd., Fourth Floor
Encino, CA 91436; FAX: 818-733-7775
Contacts: Pat Gonzales, 818-733-7755;
Juliet Fang, South, 818-733-7757;
Eric Tabak, Central, 818-733-7758;
Shawnie Bilic, West, 818-733-7756
EASTERN: Crystal King,
212-588-6220; FAX 212-588-6266
FOX
f.O. Box 900 #89-351
Beverly Hills, CA 90213
310-FOX-3295; FAX: 310-FOX-3823
Contacts: Branden Miller, Michelle Baert
Fox Searchlight: Shannon Simpson,
310-FOX-5707; FAX: 310-FOX-3823
MGM/UA
HOME OFFICE:
2500 Broadway St., Suite 4127
Santa Monica, CA 90404-3061
310-449-3331; FAX: 310-449-3008
Contacts: Nancy Seidman, 310449-3331;
Joe Whitmore, 310-449-3328
TORONTO:
416-703-9579 xl04; FAX 416-504-3821
Contact: Marisa Contardi
EAST/CENTRAL:
212-708-0391; FAX: 212-245-1481
Contact: Ira Miller
SOUTHWEST:
310-444-1624; FAX 310-444-1698
Contact: Debbie Lasater
MIRAMAX
99 Hudson St., Ninth Hoor
New York, NY 10013
212-965-4719; FAX: 212-965-4790
Contact: Jeff Goldman
\NEWLINE
HOME OFFICE:
N. Robertson Blvd., L.A. 90048
310-657-5263
Kristina Warner, 310-967-6913;
\
Suzanne Hansen, 310-967-6983
212-649-6107
Contact: Anthony Laulette
SOUTHERN: 770-952-0056
[Contact: Mike Simonds
SOUTHEAST: 214-696-0755
Contact: Sharon Malczewski
CENTRAL: 214-696-0755
Contact: Jocelyn Mangano
WESTERN: 818-380-7312
Contact: Steve Schoenburg
PARAMOUNT
HOME OFFICE:
5555 Melrose Ave.
Marathon Bldg. 4112
Hollywood, CA 90038
213-956-4836; FAX: 213-862-1054
Contacts: Mark Mulcahy, Steve Gorman
EASTERN:
212-654-7794; FAX 212-654-4722
Contacts: Joel Gajewski, Steve Barrett
SOUTHERN:
800-521-1995; FAX 972-701-8359
Contacts: Elvira Golden (xl06),
Janice Talbert{xl05)
MIDWESTAVEST:
800-285-3218; FAX 818-380-7853
Contacts: Bill Saugez (Midwest),
Sue Francis (West)
POLYGRAM
9333 Wilshire Blvd.
Beverly Hills, CA 90210
Polygram Contact: Suzanne LeRoy
310-3854061; FAX: 310-385-4006
Gramercy Contact: Krissy Gray
310-385-4451; FAX: 310-385-4404
SONY
10202 W. Washington Blvd.
Culver City, CA 90232
310-244-5660; FAX: 310-244-1870
Contacts: Ted Hatfield, Ed Clegg
UNIVERSAL
HOME OFFICE:
100 Universal City Plaza
Universal City, CA 91608
Contacts: Steve Ellman,
818-777-1768; FAX: 818-866-1481
Lisa Holland, 818-777-3817;
FAX: 818-866-3356
EASTERN: 212-605-2783
Contact: Paul Francis
NEW ENGLAND/
CENTRAL: 617426-8760
Contact: Jack Kenn
SOUTH/MIDWEST:
214-360-0022 x223
Contact: John Hall
WESTERN: 818-777-01 1
Contact: Scott Carson
WARNER BROS.
HOME OFFICE:
4000 Warner Blvd.
Burbank, CA 91522
818-954-6858; FAX: 818-954-7160
Contact: Kelly O'Connor
EASTERN:
617-848-2550 xll; FAX: 617-848-2550
Contact: Tom Rosa
CANADA:
416-250-8384 x347; FAX: 416-250-8930
Contact: Susan Sharpe
SOUTHERN:
214-360-3065; FAX: 214-696-1154
Contact: Kay Lynn Teske
MIDWESTERN:
818-379-1805; FAX: 818-788-1678
Contact: Daniel Solomon
WESTERN:
818-379-1813; FAX: 818-788-1678
Contact: Jill Schaffel
EDIFICE, INC.
EDIFICE, INC.
EDIFICE, INC.
EDIFICE, INC.
NOW SHOWING
AT OVER
500 SCREENS
DESIGN/ BUILD
GENERAL CONTRACTORS
THEATRE SPECIALISTS
704-332-0900
Response No. 243
(^^/infsinhor 1007 8^

BOOKERS
(continued)
NCN(NAT'L CONSULTANTS
NETWORK) CORP.
P.O. Box 340792
Sacramento, CA 95834-0792
g 16-484-4654
Dr. Wilson Harris, President
Peter Francci, CEO/PR
Bookers and consultants
PREFERRED BOOKING SERVICE
IbOl [ Lirrison Ave.
Cincinnati, OH 45214
nl3-921-8266; FAX: 513-921-8206
Fred Schweitzer, Larry Thomas
R/C THEATRES MANAGEMENT CORP.
231 W. Cherry Hill Court/P.O.B. 1056
Keisterstown, MD 21 136
410-526-4774; FAX: 410-526-6871
Irwin R. Cohen, President/CEO
Scott R. Cohen, Pres./Film Contracts
J. Wayne Anderson, Pres./Ops
SILVER SCREBI MANAGEIVENT CORP.
2440 E. Tudor Rd., Suite 120
Anchorage, AK 99507
907-562-0089; FAX: 907-561-3299
Rand Thomsley, President/Gen Mgr.
E-MAIL: filmgaUery@compuserve.com
THEATRE BOOKING SERVICES
2425 Cleveland Ave., Suite 200
Santa Rosa, CA 95403
707-5B-1586; FAX: 707-523-1799
Mike Timko, Head Film Buyer
Independent theatres booking service
THEATRE SERVICE NETWORK, INC.
211 S. Bridge St., P.O. Box 190
Yorkville, IL 60560
630-553-0588; FAX: 630-553-0594
Buck Kolkmeyer, President
Steve Felperin, VP
E-MAIL: theatres@earthlink.net
URL: home.earthlink.net/theatres/
UNITED THEATRE SERVICE
P.O. Box 1649, Bothell, WA 98041
425-488-0944; FAX: 425-488-9318
Michael R. Forman, Chairman
Dorothea Mayes, Dir./Film Buyer
VONDERHAAR CINEMA
P.O. Box 222, Osseo, MN 55369
612-422-8535; FAX: 612-422-8236
Mike Vonderhaar, Owner
E-MAIL: vondymovie@aol.com
WESTERN AMUSEMENT CO., INC.
P.O. B. 690, Pacific PaUsades, CA 90272
310-454-6677; FAX: 310-454-3527
Skip Kamm, President/Film Buyer
WOODWARD'S BOOKING SERVICE
508 St. Andrews Drive
Greensburg, PA 15601-6077
412-834-2776; FAX: 412-834-2653
Don Woodward, Owner
CONSTRUCTION
BONDI ASSOCIATES
970 South 2nd. St., San Jose, CA 95112
408-293-7006; FAX: 408-293-7006
John C. Bondi, Div. VP/Gen'l Mgr.
James J. Becher, Mgr. Engineering
CINEMA CONSULTANTS &
SERVICES INTL. INC.
P.O. Box 4672, 1'lttsburgh, PA 15226
412-343-3900; FAX: 412-343-2992
Ross Falvo, President
Construction, planning: concession
counters design S installation
CINEMA DESIGNS GROUP
7 Central St., North Easton, MA 02356
617-341-2800; FAX: 617-341-4170
Bill Hanney, President
CORPORATE DESIGN
3501 N. MacArthur Blvd., Suite 575
Irving, TX 75062
972-255-9039; FAX: 972-258-4993
Melissa Montague, President
Tina MacDonald, Interior Designer
Theatre remodeling S interior design
Fast&
Easy Ticketing
Concession
Sales & Inventory
DAVIS DURAND-HOLLISRUPE
ARCHITECTS
1 1 103 W. Avenue, Suite 3
San Antonio, TX 78213
210-377-3306; FAX: 210-377-3365
Gabriel E)urand-Hollis, A/A Principal
E-MAIL: ddhrl7@aol.com
Architecture, interiors for cinemas
DWORKIN CONSTRUCnON CORP.
220 East 65tli St., New City, NY 10021
212-750-7262; FAX: 212-750-7353
Lawrence Dworkin, President
Comprehensive
Reporting
A DIVISION OF NICHE BUSINESS SOLUTIONS, INC
Maintaining an average response time
Great Support
and Service
ofless than 5 minutes for the fifth year in a row.
870 MERCURY DRIVE S.E.
LAWRENCEVILLE GA 30045
TEL 770 682 5485 FAX 770 682 8397
Call for a brochure and quote 800 552 0313
INTERNET WWW.M0VIE-INF0.COM/TICKETPR0
RMinnM No. 240
EDIFICE, INC.
P.O.B. 36349, 1401 West Morehead St.
Charlotte, NC 28236
704-332-0900; FAX: 704-332-0901
Eric Laster, President
New theatres renovations, additions
LARGO CONSTRUCTION
555 Street Road, Ben Salem, PA 19020
800-272-2432, 215-245-0300
FAX: 215-638-7933
Jeffrey W. Spence, VP
ConstmcSon, design additkxis^converskjns,
renovations complete turnkey services
MBK CONSTRUCTION, LTD.
175 Tc-chnology Dr., lr\-inc, CA 92718
714-789-8300; FAX: 714-789-8339
Frank D. Moson, Corp. VP
PACIFIC CONCESSIONS, INC.
1250 Bayhill Drive, Suite 301
San Bruno, CA 94066
415-871-871 1; FAX: 415-871-7480
Alan Kates, President
Financing & concession services
PROCTOR COMPANIES
lM97CenlenniaI Rd., Littleton, CO801Z7
303-973-8989; FAX: 303-973-8884
Bruce Proctor, President
Rick Greene, Vice President
Protect management of food service
areas for construction/renovation

Response No. 78
If your theater management system
gives you peace, serenity, and happiness,
it must be from Mars.
If
your theater management system uses the most reliable
technology on Earth, it
must be from MARS! If your service
calls get answered by a human being, your system must be
from MARS. If
you are able to close out your theater quickly
each night, your system is
MARS is
definitely from MARS.
a system designed to run on off-the-shelf
hardware while giving you the flexibility to handle all
aspects
of managing your theaters. From the box office to the
concession stand, it
allows managers to quickly perform
functions so they can spend less time managing their
system and more time managing their theater.
To learn more about MARS,
call John Ventura at 212-450-8140.
OMARSl
THEATER MANAGEMENT SYSTEMS
A division of MovieFone! Inc.

'
OT^Q
A
I
CONSTRUCTION
(continued)
RANACK CONSTRUCTORS, INC.
b52 S. Countv Koad 4E
Loveland, CO 80537
970-667-3698; FAX: 970-667-3694
Jim Rankin, President
SELBY PRODUCTS, INC.
3^21) Congress Pkwy./P-O. Box 267
Richfield, OH 44286
2 1 6-659-6631 , 800-647-6224
FAX: 216-659-4112
jerry W. Selby
Drive-in screens & illuminated awnings
THEATRE SERVICE NETWORK, INC.
2ns. Bridge St./ P.O. Box 190
YorkviUe,IL 60560
6.TO-553-0588; FAX: 630-553-0594
Buck Kolkmeyer, President
Steve Felperin, VP
F - MAIL: theatres@earthlink.net
CONSULTANTS/
DESIGNERS/
ARCHITECTS
AMPERSAND CREATIVE
^2837 Karon Drive
Macomb Township, MI 48042
810-786-1934; FAX: 810-786-9240
John Kukawinski, President
FA1 AIL: ampcreative@ooinpuserve.oom
Promo materials & graphic design
AUSTIN & ASSOCIATES
1 Hardwood Hill Road
Pittsford, NY 14534
716-387-9820
Bruce A. Austin, President
E-MAIL: baagll®rit.edu
Research and consulting
BONDI ASSOCIATES
970 South 2nd St.
San Jose, CA 95112
408-293-7006; FAX: 408-293-7006
John C. Bondi, Div. VP/Gen'l Mgr.
James J.
Becher, Mgr. Engineering
Design services
BURDEN ASSOCIATES
20944 Sherman Way, Suite 213
Canoga Park, CA 91303
818-340-4590
Richard W. Burden, President
Radio sound systems
CAPITOL SEATING COMPANY
P.O. Box 938
Belton, TX 76513
817-939-1853; FAX: 817-939-0917
Terry L. Mantz, CEO
Todd Mantz, VP
Delane Redden, Sales Mgr.
Denise Severson, Office Mgr.
Complete theatre seat refurbishing
CARDINAL SOUND & MTN. PICS.
SYSTEMS, INC.
10219 Southard Drive
Beltsville,MD 20705
301-595-8811; FAX: 301-595-5985
Neal Rockman, President
Cathy Rockman, General Manager
EMAIL: nrockman@cardinalsound.oom
Motion picture and sound system
design
CINEMA CONSULTANTS &
SERVICES INTL. INC.
P.O. Box 9672
Pittsburgh, PA 15226
412-343-3900; FAX: 412-343-2992
Ross Falvo, President
CINEMA DESIGNS GROUP
7 Central Street
North Haston, MA 02356
617-341-2800; FAX: 617-341-4170
Bill Hanney, President
Design & construction of movie
theatres
CINEMA GROUP LTD.
23679 Calabasas Rd.
Suite 518
Calabasas, CA 91302
800-582-9690, 818-225-8030
FAX: 818-225-8029
Clyde Mc Kinney, VP Sales
E-MAIL: sales@cinemagroup.com
CORPORATE DESIGN
3501 N. MacArthur Blvd.
Suite 575
Irving, TX 75062
972-255-9039; FAX: 972-258^993
Melissa Montague, President
Tina MacDonald, Interior Designer
Specializing in movie theatre
interiors
DALE SYSTEM, INC.
1101 Stewart Ave.
Garden City, NY 11530
516-794-2800, 800-645-6366
FAX: 516-542-1063
Harvey Yaffe, President
Alan Lowell, Treasurer
Internal security services, mystery
shopping, traffic counts
DATA QUEST
INVESTIGATIONS, LTD.
15 Springvale Avenue
Boston, MA 02132
800-292-9797, 61 7-323-0050
FAX: 617-323-0054
Russ Bubas, President
Mystery shopping inspections (e.g.
theatre patron counts),
pre-employment background
checks. CCTV& undercover work
DAVIS DURAND-HOLLISRUPE
ARCHITECTS
11103 West Avenue
Suite 3
San Antonio, TX 78213
210-377-3306; FAX: 210-377-3365
Gabriel Durand-HoUis, A/
Principal
E-MAIL: ddhrl7@aol.com
Planning services for cinemas
DPA ACOUSTICS
9319 LBJ Freeway
Suite 216
Dallas, TX 75243
972-644-2130; FAX: 972-644-2133
D. P. Ayyappan, Consultant
Services in the areas of acoustics &
noise control
EAST COAST THEATRE DESIGN
P.O. Box 499
Washingtonville, NY 10992
914-496-9125; FAX: 914-496-1692
Harvey A. Berg, Architect/Engineer
Andrew J.
Hennessy, Sr. Associate
Mark S. Olson, Sr. Associate
E-MAIL: haberg@aol.com
Architectural firm specializing in
design and cost-effective theatre
planning
A coniplelc \\induw.

CONSULTANTS/DESIGNERS/

.
Hmoonse No. 237
C0NSULTANTS/DGSK3NERS/
ARCHITECTS
(conlinued)
THEATRE SERVICE NETWORK,
INC.
2 1 1 S. Bridge St., P.O. Box 190
^ orkville, IL 60560
h30-553-0588; FAX: 630-553-0594
Buck Kolkmeyer, President
Steve Felperin, VP
E-MAIL: theatres@earthlink.net
THOMAS BERKES ARCHITECT
4801 Abbeyville Ave.
Woodland Hills, CA 91364
818-222-1485; FAX: 818-222-1486
Thomas Berkes, A. I. A,, Principal
E-MAIL: 62372@t-mail.telescan.com
Specializing in design, construction,
remodels and multiplexing
THORBURN ASSOCIATES
P.O. Box 20399
Castro Valley, CA 94546-8399
510-886-7826; FAX: 510-886-7828
Steven J.
Thorbum, P.E., Principal
E-MAIL: ta@ta-inc.com
L'RL: www.ta-inc.com
Acoustical consulting and audio visual
design
TK ARCHITECTS, INC.
lOb VVe^t nth St., Suite 1900
Kansas City, MO 64105
816-842-7552; FAX: 816-842-1302
Theodore Knapp, ALA, President
Michael A. Cummings, ALA, VP
E-MAIL:
102575.2037@compuserve.com
Theatre specialists;design, planning,
renovations & expansions
TOWER PINKSTER TITUS
ASSOCIATES, INC.
678 Front Ave., Suite 255
Grand Rapids, MI 49504
616-456-9944; FAX: 616-456-5936
Michael Van Schelven, Project Mgr.
Architecture & engineering lor
multiplex theatres
VANDEMARK ELECTRONICS
P.O. Box 3472
Santa Rosa, CA 95402
707-545-4068
James Vandemark, Owner
Design & build theatre sound systems
VONDERHAAR CINEMA
MARKETING
P.O. Box 222
Osseo, MN 55369
612-422-8535; FAX: 612-422-8236
Mike Vonderhaar, Owner
E-MAIL: vondymovie@aol.com
ENTERTAINMENT
CENTER EQUIPMENT
AND SUPPLIES
COLORADO HARDSCAPES
7803 E. Har\'ard Ave.
Denver, CO 80231
800-447-1888, 303-750-8200
E-MAIL: cohardscapes@mho.net
URL: www.coIoradohardscapes.com
Simulated rock formations for places
where natural materials cannot be
used
GENERAL AMUSEMENT CORP.
23801 Calabasas Rd. Ste. 1002
Calabasas.CA 91302
818-222-1234; FAX: 818-222-5620
Lois P.Glezerman, President
E-MAIL: gacgames@aol.com
Operator of video/pinball/
coin-operated equipment
IMAX CORPORATION
CORPORATE HEADQUARTERS
2525 Speakman Drive
Mississauga, Ontario, L5K IBl
905-403-6500; FAX: 905-403-6450
E-MAIL: info@imax.com
URL: www.imax.com
Large format equipment/state-of-the-art
sound systems & IH/IAX 3-D
IWERKS ENTERTAINMENT
4540W. ValerioSt.
Burbank, CA 91505-1046
Location-based entertainment
attractions
LASER FANTASY INTERNATIONAL
8411 154th Avenue NE
Redmond, WA 98052
425-881-5356; FAX: 425-883-7169
events@laserfantasy.com
www.laserfantasy.com
Lasers and laser light shoves
SEGA CITY
255 Shoreline Dr., Suite 200
Redwood City, CA 94065
Amusement games
SHOWSCAN ENTERTAINMENT
INC.
3939 Landmark St.
Culver City, CA 90232-2315
310-558-0150; FAX: 310-559-7984
Russell Chesley, VP, Worldwide
Sales/Mktg
E-MAIL: rchesley@compuserve.com
Movie-based entertainment
attractions, ride simulation, large
screen theatres, & 15/70 giant
screen format (2D/3D/Dome)
INSURANCE
MAROEVICH, O'SHEA & COGHLAN
42.T Market St., lOth Floor
San Francisco, CA 94105
415-957-0600, 800-951-0600
FAX: 415-957-0577
Van Maroevich, President
Steve Elkins, Account Mgr.
E-MAIL: staff@maroevich.com
URL: www.maroevich.com
Entertainment insurance company
REYNOLOS & REYNOLDS INC.
300 Walnut, The Plaza, Suite 200
Des Moines, lA 50309-2239
515-243-1724, 800-767-1724
FAX: 515-243-6664
Stanley J. Reynolds, President
Ron J. Fry, Exec. VP
E-MAIL: info@mr-inc.iix.com
URL: www.iix.com/mr_inc
AM TO-endorsed independent agency
for movie theatre insurance
WIUIAM TUFT CORP.
P.O. Box 10167
Peoria, IL 61612-0167
309-674-2673; FAX: 309-674-3723
William H. Tuft, President
CINEMA EQUIPMENT SAIES
OF CALIFORNIA, INC.
WE'VE DONE rr FOR THEM .
.
-- MAJOR HOLLYWOOD STUDIOS
- - LEADING SPECIAL-EFFECTS & DIGITAL HOUSES
- - PRODUCTION-SUPPORT FACILITIES
- - FILM PROCESSING LABORATORIES
... WE CAN DO IT FOR YOU!
We're meeting the exacting projection and sound requirements of the
companies producing the films! We have the experience and the ability to
do your job RIGHT! We offer favorable selling-prices, technical support abililv
and installation / repair services. Call us if you waiit your job done
BY PROFESSIONALS!
CAKl. WIII.IAMS 23011 Mouiton Pkwy. #1-5
Uguna Hills, Ca. 92653
MIKHSMHH
714-470-0298 / FAX: 714-470-0835 / http://www.cinema-equip.com

^nfptnhpr 1QQ7
Q1
MERCHANDISING
BASSTOY INTERNATIONAL
71 Barber Greene Road
Don Mills, Ontario, M3C 2A2
416-445-0544; FAX: 416-445-2894
Brian A. Stewart, President
E: 104362.1210®compuserve.com
URL: www.tribute.ca
Entertainment-basedpromotions
BUENA VISTA PICTURES
350 S. Buena Vista St., ROD-170
Burbank,CA 91521-1293
818-560-6200; FAX: 818-566-1050
Nancy Klueter, VP, Exhib. Relations
Joel Masket, Exec. Dir., Natl. Promos
COLPACLTB.
728 W. Jackson Blvd., #1002
Chicago, IL 60661
312-382-1537; FAX: 312-466-0139
Theodore Alpert, Agent, U.S.
l\/larl(eting to ctiildren to encourage
'
attendance, foodservice sales
GEORGE FENMORE INC.
250 West 54th Street
New York, NY 10019
212-977-4140; FAX: 212-977-4404
George Fertmore, President
Souvenir programs
HOLLYWOOB BREAM FACTORY
) 1842 Sylvania Ave.
Toledo, OH 43613
419-474-3065; FAX: 419-474-9740
Tom Martin
Hollywood-related products: clapper
and reel clocks, watches, etc.
MGM/UA DISTRIBUTION CO.
2450 Broadway St., 2nd Floor
Santa Monica, CA 90404
310-449-3820; FAX: 310-449-3277
Susan Notarides, Exec. VP, Lie. &
Merch.
ORION PICTURES CORP.
1888 Century Park East
Los Angeles, CA 90067
310-282-0550
Producer & distributor of feature
films,
TV sales, home video &
theatrical exhibition
PARAMOUNT PICTURES
5555 Melrose Ave.
Zukor2134
Los Angeles, CA 90038
213-956-8525; FAX: 213-956-8411
Alan Cordova, VP Exhibitor Services
PROMOTIONAL MGMT. GROUP
5700 Broadmoor, Suite 912
Mission, KS 66202
913-831-7644; FAX: 913-831-7577
Dave Johnson
E-MAIL: djohnson@pmg-online.com
URL: www.pmg-online.com
TRISTAR PICTURES
10202 W. Washington Blvd
Culver City, CA 90232
310-280-5660, 310-280-8007
FAX: 310-280-1870
Ted Hatfield, VP Exhibitor Relations
Risa Steiner, Mgr. Exhib. Relations
TWENTIETH CENTURY FOX
P.O. Box 900
Beverly Hills, CA 90213
310-203-3295; FAX: 310-203-3823
Mari Bamum, Dir. Exhib. Relations
UNIVERSAL MERCHANDISING INC.
100 Universal City Plaza
Universal City, CA 91608
818-777-5577; FAX: 818-733-0249
Elizabeth Gelfand, Sr. VP Mktg.
Neil Friedman, President
Nancy Cushing-Jones, Pres./Publishing
UNIVERSAL PICTURES
100 Universal City Plaza
Universal City, CA 91608
818-777-1768; FAX: 818-733-1481
Steve EUman, VP Nat'l Exhib. Relat.
Lisa Holland, Mgr. Natl. Exhib. Svcs.
WARNER BROS./LCA
4000 Warner Blvd.
Burbank,CA 91522
818-954-7980
Dan Romanelli, President
MISCELLANEOUS
A-1 PREMIERES, INC.
5188-C Europa Drive
Boynton Beach, FL 33437
561-364-7630, 561-364-7631
Edward LaPidus, President
Searchlights/red carpet/security/permits,
premiere specialists in NYC area
ALCOPS, INC.
6701 W. 64th St., Suite 221
Overland Park, KS 66202
913-362-0104; FAX: 913-362-5859
Mickey Gitlin, President
Teri Gitlin, Secty./Treas.
Theatre investigating & security
sen/ices, pre-employment screening
ALEXANDER FILM & VIDEO
SERVICES
1075 Elkton Drive
Colorado Springs, CO 80907
719-531-6311; FAX: 719-531-7731
Regina Hutchison, Owner
E-MAIL: videohutch@aol.com
Film to video, foreign conversions,
blank tapes, duplication
ALL NATION'S FUG CO. INC.
114 W. 5th St.
Kansas City, MO 64105
800-533-3524; FAX: 816-842-3995
Greg Wald, President/Owner
Custom flags, banners & related products
BANNERWORKS, INC./KRS
2610 Western Ave.
Seattle, WA 98121
206-448-1003; FAX: 206^48-1204
Koryn Rolstad, Pres./Ovmer/Desig'r
Sculptural ceiling-hung designs for
corporate and public spaces
BASELINE
838 Broadway, New York, NY 10003
212-254-8235; FAX: 212-529-3330
Lee Royle, President
Tom Harter, VP Technical Services
E-MAIL: info@pkbaseline.com
URL: www.pkbaseline.com
Online database for the entertainment
& communications media industries
|
BEST LOCKER SERVICE
4602 Kenmore Dr. NW
Washington, D.C. 20007
800-LOCKER-4, 202-333-8580
FAX: 202-333-4287
Bemice Silverman, President
E-MAIL: bestlckr@erols.com
Coin-operated checking lockers
Discover The Better Wa
To Hammer Out Your Ac
Now, for just pennies per day per screen,
you can have your ads professionally produced
l| and sent to the newspaper in just minutes.
-^1 'ti'i
f So, join the others who have already discovered the
^
easiest way to generate their ads without
«\ chiseling away at their budget or nerves.
Premier
DataVision, Inc.
The World Leader in Motion Picture Advertising
800 723-4002
Response No. 294

I
MISCELLANEOUS
(continued)
BOSTON CONCESSIONS GROUP
1 1 1 Sixth Street
Cambridge, MA 02141
hI7-499-2700; FAX; 617-661-3023
[oe O'Donnell, Joe Armstrong
Operates concession stands in
theatres
BOXOFFICE MAGAZINE
6640 Sunset Blvd., Suite 100
Hollywood, CA 90028
213465-1186; FAX; 213-465-5049
Ray Greene, Editor-in-Chief
Kim Williamson, Managing Editor
Robert M. Vale, Natl. Adv. EHrector
E-MAIL; boxoffice@earthlink.net
URL: www.boxoffice.com
Monttily trade magazine covering all
business aspects of the motion
picture industry
BRAUN BRUSH CO.
43 Albertson Ave.
Albertson, NY 11507
M6-741-6000, 800-645-4111
¥.\X: 516-741-6299
Lance Cheney, President
E-MAIL; braunbrush@juno.com
URL: www.braunbrush.com
Screen S maintenance brushes,
popcorn squeegees, environmentally
safe cleaning chemicals
CFI (CONSOLIDATED FILM
INDUSTRIES)
459 Seward St., Hollywood, CA 90038
213-960-7444; FAX; 213-460^885
lerry Vimig, President
URL: www.cfi-hollywood.com
Film lab and video tape services
CINEMA CLEANING SYSTEMS
3102 Oak Lawn A\e., Suite 700
Dallas, TX 75219
800-959-2052
Tyler Struve, President
Cinema cleaning systems & products
CINETYP, INC.
843 Seward Street
Hollywood, CA 90038
213-463-8569; FAX; 213-463-4129
John H. Bell, President
E-MAIL; cinetyp@aol.com
Foreign-language subtitles and deaf
captions, LASER subtitles
CY YOUNG INDUSTRIES, INC.
1346 jasper
North Kansas City, MO 64116
816-474-1776, 800-729-2610
FAX: 816-474-1900
John R. (Rick) Young, Sr., Pres./CEO
Carrie E. Young, VP/COO
Catherine L. Young, VP of New
Product Development
Replacement seat covers, drapes,
cupholders, etc.
DRIVE-IN-SPEAKER NEWSLEHER
1247 Queen
Southington, CT 06489-1267
860-747-2996; FAX: 860-747-2996
David Brian Lounder, Publisher
Monthly newsletter of the Drive-ln
Theatre Preservation Society, Inc.
EARTH COMMUNICATIONS
OFFICE
12021 Wilshire Blvd., Box 557
Los Angeles, CA 90025
310-656-0577; FAX: 310-656-1657
Larry Kopald, COB
URL; http://www.oneearth.org
E-MAIL: ecoffice@earthlink.net
EASTMAN KODAK CO.
343 State St.
Rochester, NY 14650-0310
716-724-4848; FAX: 716-724-9702
Robert S. Woolman, Gen. Mgr. & VP
Films used to make features
ENTERTAINMENT MEDIA
SERVICES
71 Barber Greene Rd.
Don Mills, Ontario M3C 2A2
416-445-0544; FAX; 416-445-2894
Sandy 1. Stewart, President
Development & production of custom
media & advertising for the
entertainment industry
EXHIBITOR REUTIONS CO., INC.
116 N. Robertson
Suite 606
Los Angeles, CA 90048
310-657-2005; FAX; 310-657-7283
John N. Krier, President & Owner
Paul Dergarabedian, Exec. VP
Motion picture research & boxoftice
tracking
HOLLYWOOD DREAM FACTORY
1842 Sylvania Ave.
Toledo, OH 43613
419-474-3065; FAX; 419-474-9740
Tom Martin
Hollywood memorabilia, posters,
photos, filmmaking equipment
INDEPENDENT MARKETING EDGE
827 Blackniore Place
Bozeman,MT 59715
406-587-1251; FAX; 406-586-1571
Dan Klusmann, President
E-MAIL; movieinfo@aol.com
Bi-weekly newsletter for theatre
managers
MTERNAT10NAL FILM SERVICE, INC.
130 Ferry A\ e.
Collingswood, NJ 08104
609-962-6800, 609-962-8400
FAX; 609-962-6051
David Adleman, President
E-MAIL: pyrf68a@prodigy.com
National Film Service's PA branch.
Special delivery of films from
theatre to theatre in PA, NJ S DE
KIDS TRIBUTE
71 Barber Greene Rd.
Don Mills, Ontario M3C 2A2
416-445-0544; FAX; 416-445-2894
Sandy 1. Stewart, President
In-theatre entertainment magazine
LEXIS-NEXIS
4520 East-West Highway, Suite 610
Bethesda,MD 20814
301-215-8111,301-215-8100
FAX; 301-215-8128
Meg Hargreaves, Dir. of Marketing
EMAIL margaretiiargreaves@iods-nexis.com
URL; www.Iexis-nexis.com
Online entertainment library
w/industry info & Hollywood news
LOMMA GOLF CO.
1120 So. Washington Ave.
Scranton, PA 18505
717-346-5559; FAX: 717-346-5580
Gary Knight, Exec. VP
Portable, prefab miniature golf
courses, indoor/outdoor
MODULAR HARDWARE
P.O. Box 35398, Tucson, AZ 85740
800-533-0042; FAX: 800-533-7942
Robert]. Hotch, President
E-MAIL; modhdwe@modhdwe.com
URL: www.modhdwe.com
Partition hardvmre/washroom accessories
The movie trailer company with inspiring ideas for theatre owners.
We entertain your patrons and worlc to malce profits for you.
* '
Whethernearorfar,far away...
we produce trailers in all formats with stereo surround..-.
and distribute worldwide, on budget and on time!
KK rilVE PRODUCTIQtS
The Newport Company
with the Hollywood Conn eiEtroil
'.
r>^
PHONE (401) 846-8890 ~ FAXf(401) 847-0070
PO Box 300 ~ Newport, Rhode-Island 02840 USA

MISCELLANEOUS
(continued)
MOVIEADCORP.
3500 N. Andrews Ave.
Pompano Beach, FL 33064
800-329-4989; FAX: 954-784-0700
Emil T. Noah Jr., President
Supply ad slicks, title ari, concession
mylars & translites
MOVIEFONE
CALIFORNIA:
6430 Sunset Blvd., Ste. 802
Los Angeles, CA 90028
213-461-4048, 212-504-7555
FAX; 213-461-0330
J. Russell Leatherman, President
Andrew Jarecki, Managing Director
NEW YORK:
4 World Trade Center, Suite 5280
New York, NY 10048
212-504-7555
Telephone movie guide and advance
ticket sales
M0VIE-INF0.COM
4 870 Mercury Dr. SE
Lawrenceville, GA 30045
770-682-5485; FAX: 770-682-8397
John W. Shaw, CEO
E-MAIL: web@movie-info.com
URL: www.movie-info.com
MOVIETONES
1 8056 Lake Encino Dr.
Incino.CA 91316
> 1 .s-344-9896; FAX: 818-344-9897
Robert G. Kardashian, President
Music for movie theatre lobbies and
auditoriums
NFS (NATIONAL FILM SERVICE)
16830 Ventura Bhd., Suite 202
Encino, CA 91436
818-386-6650, 800-664-4637
FAX: 818-386-6654
Terry Kierzek, President
E-MAIL: theatre@nationalfilm.com
URL: www.nationalfilm.com
Film Storage and delivery warehouse
service nationwide
NLNV CINEMAS
2301 Glenallen Ave., Suite 405
Silver Spring, MD 20906
301-962-0642
Steven D. Sharkey, President
Design, print and sell discount card
promotions for first-run
(non-discount) theatres
PACIFIC CONCESSIONS, INC.
1250 Bayhill Drive, Suite 301
San Bruno, CA 94066
415-871-8711; FAX: 415-871-7480
Alan Kates, President
Financing & concession services
POT 0' GOLD PROOUCTIONS, INC.
2211 Rogero Road
Jacksonville, FL 3221 1-4099
800-446-5330, 904-744-7478
FAX: 904-744-7488
Clarke Mazza, President
Pre-show entertainment, concession
& advertising programs
PREMIER DATEVISION, INC.
1536 Cole Blvd., Suite #340
Golden, CO 80401
303-232-1901; FAX: 303-232-1429
Blane O. Newton, President
Automated directory and co-op ad
creation/delivery
PRE-VUE ENTERTAINMENT
MAGAZINE
7825 Fay Ave., La Jolla, CA 92037
619-456-5577; FAX: 619-542-0114
Frank Lane, President
Penny Langford, Publisher
E-MAIL: prevuemag@aol.com
URL: www.pre-vuemagazine.com
In-hbby movie magazine (free to patmns)
S. BOSE
P.O. Box 081331, Racine, WI 53408
414-638-1998; FAX: 414-638-1989
Scott Bose, President
Scott Barber, Vice President
Patented MOVIE MOVER film
shipping technology
THE SCREENING ROOM INC.
3131 Sheridan Drive, Century Mall
Amherst, NY 14226
716-837-0376; FAX: 716-837-0376
Bob Golibersuch, President
Network of resources & consulting
services for video & laser theatres
SEAR SOUND
353 West 48th St.
New York, NY 10036
212-582-5380; FAX: 212-581-2731
Walter Sear, CHvner
Roberta Findlay, Studio Mgr.
Music recording studio for films
S-H-0-W-T-l-M-E
1224 N. Beverly Glen Blvd.
Bel Air, CA 90077
310-474-3363, 213-Showtime
FAX: 310-474-2981
Allen Mostow, President
E-MAIL: synergysys@tvincars.com
URL: www.tvincars.com
Telephone movie showtimes/info
TRIBUTE MAGAZINE
71 Barber Greene Rd.
Don Mills, Ontario, M3C 2A2
416-445-0544; FAX: 416-445-2894
Sandy A. Stewart, President
E: 104362.1210@compuserve.com
URL: www.tribute.ca
In-theatre entertainment magazine
RENTALS
AUDIO RENTS, INC.
1541 N. Wilcox Ave.
HoUywood, CA 90028
213-874-1000; FAX: 213-460-2676
Robert Burton, Engineer
E-MAIL: audmts@pacbell.net
Post-production audio equipment,
Dolby SR for exhibition
BOSTON LIGHT & SOUND, INC.
124 Brighton Ave.
Boston, MA 02134
617-787-3131; FAX: 617-787-4257
David Dowling, Manager
E-MAIL: info@blsi.com
URL: www.blsi.com
Projection equipment, dailies
CARDINAL SOUND & MTN. PICS.
SYSTEMS, INC.
10219 Southard Drive
Beltsville,MD 20705
301-595-8811; FAX: 301-595-5985
Neal Rockman, President
Cathy Rockman, General Manager
EMAIL: nrockman@cardinalsound.com
Sound and motion picture systems
THEATRE
EXHIBITION
EQUIPMENT
XENON
BULBS
BOOTH
SUPPLIES
&
LENSES
FILM
PROJECTORS
&
SOUND
SYSTEMS
NCS Corporation
WORLDWIDE CINEMA SUPPLY DEALER
CONCESSION
&
LOBBY
PRODUCTS
llllfBllMI 'H
Corporation
>- ONE STOP SHOPPING SOURCE
LOBBY
;f FACTORY DIRECT PRICING
^ TOLL FREE ORDERING
^ i- MAJOR CREDIT CARDS ACCEPTED \,
^ PROFESSIONAL SUPPORT TEAM
y- WORLDWIDE PRODUCT DISTRIBUTION
;f OUR GUARANTEE - 100% SATISFACTION
Call 1-800-776-6271
H~l
Su^i^U^fuu^ t^ SttenteUttMUHt ^Ktiuat^ Sutcc f926
Response No. 6
&
BOX OFFICE
FIXTURES
Contomhoi- 1O07
Ot

RENTALS
(continued)
CHARTER FINANCIAL
153 Hast 33rd St.
New York, NY 10022
2 1 2-805-1000; FAX: 212-805-1050
Jerome Rosen
L RL: www.chartfin.com
Leases and finances theatre
equipment
HILL TOP PRODUCTIONS
309 Lomita St.
P.O. Box 4752
Santa Fe, NM 87501
505-982-3191, 505-984-4966
FAX: 505-982-3191
Bill Hill, CEO
l-MAIL: hilltop@sfol.com
Portable 35mm projection systems,
Mag-optical, Interlock
SCREEN
ADVERTISING
ADFILMS
230 Merton Street
Suite 403
Toronto, Ontario M4S IBl
416-483-3551; FAX: 416-483-2401
Fred T. Stinson, President
Keith Stinson, Mktg. Mgr.
E-MAIL: adfilms@hookup.net
Screen ads in English and French
including paid public service
messages
C&AADVERTISING,INC.
4725 Merle Hay Rd.
Suite 100
Des Moines, lA 50322
800-735-5748, 515-334-5222
FAX: 515-334-5226
Shirlee Ludemann, President
Complete on-screen slide advertising
program
CAPTIVE COMMERCIALS, INC.
775 Kennesaw
Birmingham, MI 48009
248-647-4050; FAX: 248-647-4050
Jack Metzel, President
E-MAIL: issuespc@ix.netcom.com
URL: www.issuesprocon.org
Theatre screen advertising sales
FILMACK STUDIOS
1327 S.Wabash Ave.
Chicago, IL 60605-2574
800-345-6225, 800-FILMACK
FAX: 312-427-4866
Robert N. Mack, President
Designers & producers of digital pic
S sound theatre trailers & slides
NATIONAL PRE-VUE NETWORK
7825 Fay Ave.
La Jolla,CA 92037
619-456-5577; FAX: 619-542-01 14
Frank Lane, President
Petmy Langford, VP of Operations
E-MAIL: prevuemag@aol.com
URL: www.pre-vuemagazine.com
Rolling Stock commercial advertising
on screens (military market)
POT 0' GOLD PRODUCTIONS, INC.
2211RogeroRd.
Jacksonville, FL 3221 1-4099
904-744-7478, 800-446-5330
FAX: 904-744-7488
Clarke Mazza, President
Martha Mazza, CFO
Kim Magdalein, General Sales Mgr.
E-MAIL: comazza@aoI.com
Pre-show entertainment & advertising
programs
SILVER SCREEN ADVERTISING
6101 France Ave. South
Edina, MN 55410
612-920-7938; FAX: 612-338-3944
David Peterson
E-MAIL: ssasIide@aol.com
35mm slide entertainment/advertising
programs for movie theatres:
computer-based production house
TIESSO COMMUNICATIONS, INC.
110 Pacific Avenue
Suite 298
San Francisco, CA 94111
415-434-8722
William Schmeltzer, President
Trailers & animation
UNIQUE SCREEN AD
612 S. 2nd St.
P.O. Box 2165
St. Cloud, MN 56302-2165
320-654-6578, 800-358-1818
FAX: 320-202-2916
Eugene Schreder, President
E: mediapro@mediaproinc.com
www.mediaproinc.com/usa.html
Screen trailers
UNITED CINEMA MEDIA
NETWORK
30799 Pinetree Road
P.O. Box 202
Cleveland, OH 44124-5952
888-277-UCMN; FAX: 216-442-6848
Russell J.
Wintner, President
Screen advertising
VAL MORGAN CINEMA
ADVERTISING (AMERICA)
247 N. Goodman St.
Rochester, NY 14607
800-724-6684; FAX: 716-244-8245
Adam Barone, President
John Schroth, VP & Dir. of
Operations
E-MAIL: adaml2b@aol.com
"Screen Seen At The Ulovies' slide
program; in-house production
SERVICE
AMPAC THEATER CLEANING
SERVICES
P.O. Box 421
Monterey, CA 93942
408-372-3728; FAX: 408-372-3728
Arnold Meltzer, Owner
Theatre cleaning services
DONDI ASSOCIATES
970 South 2nd St.
San Jose, CA 951 12-5825
408-293-7006; FAX: 408-293-7006
John C. Bondi, Div. VP/Gen'l Mgr.
James J.
Becher, Manager,
Engineering
CALIFORNIA SEATING AND
REPAIR
12455 Branford St., Unit 2
ArIeta,CA 91331
818-890-SEAT; FAX: 805-581-0226
William (Tim) McMahan, President
Installation, rentals, seating repair &
sales of used chairs
Xenon Lamps
Yumex ILC, Ltd. proudly introduces its line ot xenon lamps for film
projection. These xenon lamps will provide stable, bright
Movie theatres
performance for today's highly vivid films.
everywhere are ordering our lamps. For more information, call:
Cinema Xenon • 7613 LeBerthon Street • Tujunga CA 91042
818-352-6448 • Fax: 818-353-4091
Response No. 202

I
SERVICE
(continued)
CARDINAL SOUND & MTN. PICS.
SYSTEMS, INC.
10219 Stiuthard Drive
Beltsville.MD 20705
301-595-8811; FAX: 301-595-5985
Neal Rockman, President
Cathy Rockman, General Manager
E-MAIL:
ru-ockman@cardinalsound.com
Motion picture systems, projectors,
sound repair and maintenance
CY YOUNG INDUSTRIES, INC.
1346 Jasper, N. Kansas City, MO 64116
816474-1776, 800-729-2610
FAX: 816-474-1900
John R. (Rick) Young, Sr., Pres./CEO
Carrie E. Young, VP/COO
Catherine L. Young, VP New Prod. Dev.
Reupfiolster seating, molded cushions
DECLERCQ'S THEATRICAL
SPECIALTIES, INC.
2907 E. 7th Street
Oakland, CA 94601
510-534-6587, 800-200-6873
FAX: 510-534-1472
Joe DeClercq, President
Paul DeClercq, VP
E-MAIL: info@declercqs.com
URL: www.declercqs.com
Ttieatre rigging, tiardware. screen cleaning
FRANK BOLKOVAC
103 Sunset Drive
Monroeville, PA 15146
412-373-7968
Frank Bolkovac, Owner
Re-building, re-conditioning projector
intermittants; hard-to-get parts
MAG NORTH, INC.
764 Middle Country Rd., P.O.B. 309
Seldon, NY 11784
516-698-791 1, 800-773-5852
FAX: 516-732-4577
George F. Greene, VP OPS
E-MAIL: MagNorth@aol.com
Theatre cleaning specialists
NATIONAL CINEMA SERVICE
1512 Edwards Ave., Suite 3
Harahan, LA 70123
504-734-0707; FAX: 504-734-0700
Charlie A. Achee, Jr., President
Chris Pierce, Controller
Sound & projection sen/ice,
equipment & parts sales
SILVER SCREEN THEATRE
SPECIALISTS
1109 Lincoln Ave.
Flint, Ml 48507
313-233-6460
Tony Minca, President
Brian Minca, Vice President
Scree/7 cleaning, screen/sound installation
ULTRAFLAT
20306 Sherman Way
Winnetka, CA 91 306-31 08
818-884-0184; FAX: 818-884-0184
Herbert Bammerlin, President
Robert Caspari, Sales/Technical
www.los-angeles-online.com/ultrfIt
Xenon reflector S motion picture optics
recoated, repolished & repaired
VANDEMARK ELECTRONICS
P.O. Box 3472
Santa Rosa, CA 95402
707-545-4068
James Vandemark, Owner
Design, build and install movie
theatre sound systems
3D
AMERICAN PAPER OPTICS INC.
3080 Bartlett Corporate Drive
Bartlett,TN 38133
901-381-1515,800-767-8427
FAX: 901-381-1517
John Jerit, President
E-MAIL: optics3D@lunaweb.net
3-D glasses
DEEP VISION 3-D
6457 Santa Monica Blvd.
Box 38386
Hollywood, CA 90038
213-465-5819
Stephen Gibson, President
E-MAIL: post@3dglasses.com
URL: www.3dglasses.com
3-D glasses
DIMENSIONS
5240 Medina Rd.
Woodland Hills, CA 91364-1913
818-592-0999; FAX: 818-592-0987
Daniel Symmes, President
3-D consultation for theatrical motion
pictures, television & print media
MARKS POLARIZED CORP.
275-D Marcus Blvd.
Hauppauge, NY 11788
516-273-8900; FAX: 516-273-1190
Ronald Miller, President
E-MAIL: mpc@iacsoft.com
URL: www.iacsoft.com/mpc
3-D viewers (anaglyphic or
polarized), projectors and camera
adapters
STEREOVISION INTERNATIONAL,
INC.
3815 Burbank Blvd.
Burbank,CA 91505
760-431-2900, 818-769-7332
FAX: 818-843-8608
Christopher J. Condon, President
John Rupkalvis, Tech. Advisor
3-D screens, 3-D projection lenses
VmEO/ADVERTISING\
ALL PRO
124 West 60th St.
New York, NY 10023
212-582-4611; FAX: 212-582-5645
Sid Rubinstein, President
Arleen West, Production Director
Moviewall, video displays, complete
video production services
GENERAL AMUSEMENT CORP.
23801 Calabasas Rd., Ste. 1002
Calabasas, CA 91302
818-222-1234; FAX: 818-222-5620
Lois P. Glezerman, President
E-MAIL: gacgames@aol.com
WILLMING REAMS ANIMATION
325 East Ramsev Road
San Antonio, TX 78216
800-972-6468, 210-342-2141
FAX: 210-342-1523
Denise M. Reams-White, Pres./EP
Doug Willming, VP/ Animation Dir.
E-MAIL: wrarum8@aol.com
URL: www.zdepth.com/reams
Video monitor program, trailers on tape
t
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Response No. 170
September, 1997 95

Exhibitor's
Phonebool(
A Directory of Important Organizations and Associations
What follows is a brief listing of significant organizations and
associations which fall outside of the editorial parameters of the main
body of the BOXOFFICE BUYERS DIRECTORY, but which BOXOFFICE feels
are of great significance to film professionals. They have been
alphabetized for your convenience.
ACADEMY OF INTERACTIVE
ARTS AND SCIENCES
106353 Sanld Munica Blvd., Ste 180
Los Angeles, CA 90025
310-441-2280
FAX; 310-441-2285
Chairman/President: MarcTeren
Serving as a bridge between
entertainment & computer
companies
ACADEMY OF MOTION PICTURE
ARTS AND SCIENCES
8949 Wilshire Blvd.
Beverly Hills, CA 90211
310-247-3000
FAX: 310-859-9351
Sponsors annual Academy Awards,
plus various other functions that
seek to honor and celebrate film.
AMERICAN CINEMATHEQUE
7000 Hollywood Blvd., 3rd Floor
Hollyw

I
[
FAX:
I
t
Sentember. 1997 97
MOTION PICTURE
ASSOCIATION OF AMERICA
WASHINGTON, D.C.
1600 Eye St., N.W.
Washington, DC 20006
202-293-1966
FAX: 202-296-7410
President: Jack Valenti
CALIFORNIA:
15503 Ventura Blvd.
,Encino,CA 91436
818-995-6600
FAX: 818-382-1798
Sr. VP:BethlynJ. Hand
Chairman, Classification and
Rating Administration:
Richard M. Mosk
MOTION PICTURE
EXHIBITORS OF WASH.,
ALASKA & OREGON
P.O. Box 2714
Kirkland, WA 98083
206-823-9456
FAX: 206-823-2022
Exec. Director: Bruce Gardner
NATIONAL ASSOCIATION OF
CONCESSIONAIRES
35 East Wacker Dr., Suite 1816
Chicago, IL 60601
312-236-3858
FAX: 312-236-7809
President: Norm Chesler
Executive Dir.: Charles A. Winans
Director of Communications:
Susan Cross
Trade association; certification &
video employee training aids,
publications, regional seminars
& annual trade show convention.
NATIONAL ASSOCIATION OF
DISCOUNT THEATRES
7302 Greenville Ave., Suite 800
Dallas, TX 75231
214-696-1644
FAX: 214-369-9972
President: Randy Hester
NATIONAL ASSOCIATION OF
THEATRE OWNERS (NATO)
4605 Lankershim Blvd. Suite 340
North Hollywood, CA 91602
(818-506-1778
818-506-0269
President: William F. Kartozian
VP and Exec. Director: Mary
Ann Grasso
We largest international trade
association for film extiibitors
in the world. Publishes NATO
News: co-sponsors SHOWEST
convention.
NATO AFFILIATES:
lUTO OF CALIFORNIA
116 N. Rotiertson Blvd., Suite 708
Los Angeles, CA 90048
310-652-1093
FAX: 310-657-4758
NATO OF GEORGIA
P.O. Box 18707
Atlanta, GA 31126
770-455-8988
NATO OF IDAHO
P.O. Box T
fwin Falls, ID 83301
208-734-2402
President: Larry Roper
NATO OF KENTUCKY
P.O. Box 607
c/o Malco Theatres
Owensboro,KY 42302
502-683-2727
President: Don Burchett
NATO OF
MARYLAND/VIRGINIA/
WASHINGTON, D.C.
P.O. Box 1830
Hampton, VA 23669-1830
757-722-5275
FAX: 757-722-5276
Executive Director: Jerome
Gordon
NATO OF NEW YORK STATE
244 West 49th St., Suite 200
New York, NY 10019
212-246-6460
FAX: 212-265-6428
President: Jerry Siegel
NATO OF OHIO
1320 State Route 37 W.
Delaware, OH 43015
614-881-5541
FAX: 614-881-5390
President: Bill Duersen
NATO OF PENNSYLVANIA
111 Chestnut Street
Philadelphia, PA 19106
215-592-8326
FAX: 215-592-7061
President: H. Donald Busch
NATO OF WISCONSIN &
UPPER MICHIGAN
759 N. Milwaukee St., Suite 421
Milwaukee, WI 53202
414-271-5935
FAX: 414-271-8819
President: Paul J. Rogers
MID-ATUNTICNATO
P.O. Box 1830
Hampton, VA 23669-1830
757-722-5275
FAX: 757-722-5276
Executive Director: Jerome
Gordon
PERMANENT CHARITIES
COMMIHEE OF THE
ENTERTAINMENT INDUSTRY
11132 Ventura Blvd., Suite 401
Studio City, CA 91604
818-760-7722
FAX: 818-760-7898
POPCORN MUSEUM
Wyandot Popcorn
Marion, OH 43302-3819
614-387-4255
Director: George Brown
A museum that lives up to its
name by preserving the past,
presenting the present and
preparing for the future of
moviegoers
' favorite snackl
SHOWCANAOA'98
416-969-7057
FAX; 416-964-5839
'98 Dates/Location:
May 10-14
Victoria, B.C.
Chairman: Dina Lebo
For over a decade, the premier
venue for the Canadian
exhibition marketplace.
SHOWEAST
244 W 49th Street, Suite 200
New York, NY 10019
212-246-6460
FAX: 212-265-6428
The East Coast's premier exhibitor
trade show/convention.
SHOWEST
1 16 N. Robertson Blvd., Ste 708
Los Angeles, CA 90048
310-657-7724
FAX: 310-657-4758
President: Daniel Wheatcroft
Executive Director: Herb Burton
World's largest convention &
trade fair for the motion picture
exhibition industry.
SHOWSOUTH
P.O. Box 18707
Atlanta, GA 31126
770-455-8988
SHOW COALITION
8439 Sunset Blvd., Ste 104
Los Angeles, CA 90069
213-654-6742
FAX: 213-656-2647
Director: Caroline O'Connell
Explores the entertainment
media 's effects on audiences:
sponsors seminars.
SOCIETY OF MOTION
PICTURE AND TELEVISION
ENGINEERS (SMPTE)
595 W. Hartsdale Ave.
White Plains, NY 10607
914-761-1100
FAX: 914-761-3115
Dir. of Mktg.: John Izzo
Professional engineering society
dedicated to advancing the
motion imaging arts & sciences.
THEATRE HISTORICAL
SOCIETY OF AMERICA
152 N. York Road, Suite 200
Elmhurst,lL 60126
630-782-1800
FAX: 630-782-1802
Exec. Director: Richard Sklenar
To celebrate and preserve
American theatres. Publishes
Marquee magazine.
THEATRE OWNERS OF NEW
ENGLAND (T.O.N.E.)
One Exeter Plaza, 7th Floor
Boston, MA 02116
617-424-TONE
Chairman: William Towley
VARIETY CLUBS
INTERNATIONAL
350 5th Ave., Suite 119
New York, NY 10118
212-695-3818
VIDEO SOFTWARE DEALERS
ASSOCIATION
16530 Ventura Blvd., Suite 400
Encino,CA91436
818-385-1500
FAX: 818-385-0567
Executive VP: Bo Anderson
Win ROGERS MEMORIAL FUND
1640 Marengo St., Ste 40b
Los Angeles, CA 90033
914-761-5550
FAX: 914-761-1513
ODELL'S
Mfe Pap
«trf *P
RE^L
BUTTER
America's Favorite
Popcorn Topping
4
Prcmiam
100%
CfiNOLfi OIL
* * Now Available -*r lUr
Non-Hydrogenated Popping Oil
No Trans-Fat
SaPUR-KIST
TWO
Buttery Flavored Popcorn Topping
For Good Taste
and Profits
Call Our 24 Hour
Toll Free Number:
1 800-6350436
Response No. 73

Nonresponding
Companies
Assembled by Category
The following listings are of companies that did not update their entry for this
year's BUYERS DIRECTORY despite repeated attempts to contact them. Though we
are certain much of the following is still of use, BOXOFFICE cannot guarantee
the accuracy of any entry in this section. Companies listed here are encouraged
to update their listing using the form on page 6 in this issue to ensure
placement in future editions of the BOXOFFICE BUYERS DIRECTORY.
NONRESPONDING
DISTRIBUTORS
AQUARIUS RELEASING INC.
321 West 44th Street
New York, NY 10036
212-245-8530, 212-245-8781
FAX: 212-397-7701
President, Terry Levene
Dir. of Acquisitions, Sarai Berenstein
NY Branch Mgr.: Eddie Huie
Advertising; Wayne Wiel
Ancillary Dept.: Lou Steddman
Telvision Syndication: Bruce
Grossbard
General/Art/Foreign/Specialized
BEVERLY PICTURES INC.
1300 Summit Ridge Drive
Beverly Hills, CA 90210
310-550-8581
President, Herbert Bregstein
Alt/Foreign/Specialized
CINEMA PARALLEL, LTD.
601 River Rd.
Syl

September, 1997 99
BILDSTEIN-ADLOFF
Gleiwitzerstr.l
D65779 Kelkheim, Germany
06195-73346; FAX: 06195-73346
B. Bildstein, Rep.
Ticketing & concession equipment
CATCO MARBLE & GRANITE, A
DIV. OF CATCO
Overseas Ent., Inc., 200 Markley St.
Port Reading, NJ 07064
908-602-9600, 800-526-2826
FAX: 908-602-0665
Sammy S. Tawil, Natl. Sales
Marble, granite, limestone S porcelain
tiles for exterior & interior
CCEMCORP
1 10 Industry Lane/ FOB 296
Forest Hill, MD 21050
410-838-0036, 410-879-3022
FAX: 410-838-8079
Gorman White Jr., VP, Operations
Ticket issuing and boxoffice control
equipment
CMF FOODSERVICE
P.O. Box 20670
Rochester, NY 14602-0670
eOO-999-5044; FAX: 716-383-8337
Rich Livingston, VP Natl. Account
Sales
A/ac/jo and hot dog cheese sauces &
bulk popcorn
CHANGE AD LETTER GO.
20954 Currier Road
Walnut, CA 91789
^09-598-1996, 800-866-7676
FAX: 909-598-2251
Jody Snyder, Sales Mgr.
Marquee letters, change arms,
storage cells & accessories
CHINA MIST TEA CO.
7435 East Tierra Buena Lane
Scottsdale, AZ 85260
'602-998-8807, 800-242-8807
FAX: 602-443-8384
John Ludwig, Natl. Accounts Mgr.
URL: http: / /www.chinamist.com
Fresh brewed iced teas S equipment
CONCEPTS IN VENDING
91 Old Flat River Road
Coventry, RI 02816
401-397-9275; FAX: 401-397-9105
Rob Schmidt, President
E-MAIL: robswork@msn.com
Bulk candy dispensing equipment &
coin-op vending program
CONNOLLY ROLL-A GRILL CORP.
12 First St./P.O.B. 398
Pelham, NY 10803
914-738-4333, 800-468-4681
FAX: 914-738-2186
Robert Foster, Gen. Sales Mgr.
Kathleen Kelly, Sales Coordinator
Concession equipment, grills, ovens,
bakers, warmers
CONTINENTAL FAR EAST INC.
3-18-9 Roppongi, Minato-Ku
Tokyo 106, Japan
(3)35838451; FAX: (3)35890272
Ike Morikubo, Mktg. Mgr.
E-MAIL: cfepro@bird.mbnet.or.jp
CREATIVE IMAGES
3205 Inspiration Drive
Weatherford, TX 76087
817-821-1911
FAX; 817-596-5849
Tony Monje, President
E-MAIL: tonymonje@aol.com
Manufacture & distribute training
videos related to the movie theatre
industry
CROSSROADS ESPRESSO
1801 BavshoreHwv,
Burlingame, CA 94010
41 5-342-1 1 1 1 , 800-552-4424
FAX: 415-697-6464
Frank Manfredonia, Regional Sales
Manager
Commercial espresso machines
DAKTR0N1CS, INC.
331 Thirty Second Ave./POB 5128
Brookings, SD 57006-0128
605-697-4300, 800-843-9878
FAX: 605-697-4700
Dr. Aelred J. Kurtenbach, President
Frank Kurtenbach, Sales Manager
Jim Morgan, VP/Engineering
Sue Alnihjeld, Commercial Market
Manager
Mark Steinkamp: Mktg. & Sales
Support
Computer programmable advertising
displays for in/outdoor use
DELTA LIGHT
Industrieweg 72
B-8800 Roesecare, Belgium
32-51-225775; FAX: 32-51-210983
Paul Ameloot, Rep.
Lighting products, displays & stands
DESTROS.P.A.
Via Marco Polo
35020 Albignasego, Italy
3949-8805299; FAX: 3949-8805384
Dino Chiarotto, Rep.
Theatre seating
DI-AN CONTROLS INC.
16 Jonathan Drive
Brockton, MA 02401
508-559-8000; FAX: 508-559-8658
Robert D. Kodis, President
John Sheehy, Sales Mgr
Boxoffice equipment and supplies,
computers and service, concession
registers
DINAC BENELUX
Afrikalaan 20
3000 Gent, Belgium
329-2254005; FAX: 329-2230413
Jean-Francois Minta, Rep.
Theatre lighting & hand rails
DIVERSIFIED MGMT
SERVICES INC.
301 Sovereign Court Ste. 103
St. Louis, MO 63011
314-227-4855; FAX: 314-227-2927
James H. Peake, Pres.
Computerized boxoffice and
concession systems
EXA INDUSTRIES PTE. LTD.
81 Genting Lane, #02-01 Everich
Indust. BIdg.
SINGAPORE 349566,
(65)8417800; FAX: (65)7480672
ELECTRO CHEMICAL PRODUCTS
460 Van Emburgh Ave., P.O. Box 578
Washington Twp., NJ 07675
201-612-0234; FAX: 201-612-9824
Thomas Gallik, President
John Gallik, Sales Manager
Manufacturer of film cleaning
machines and chemicals
EMERALD ISLE
21718 S. Vermont Ave., Suite 201
Torrance, CA 90502
310-533-5936
FAX: 310-533-5952
Spencer L.M. Chun, President/CEO
E-MAIL: emeraId@exo.com
Frozen fresh fruit drinks S California
Smoothies
EMERGENCY LIGHTING
SERVICES, INC.
150 Brookside Rd.
Waterbury, CT 06708
800-225-0263; FAX: 203-756-6312
Dick Clark, President
Emergency lighting products S L.E.D.
exit sign retrofits
ENTERTAINMENT EQUIPMENT
CORPORATION
6363 Santa Monica Blvd.
Hollywood, CA 90038
213-871-2194, 800-448-1656
FAX: 213-871-2196
James A. Lavorato, President
E-MAIL: entequip@aoI.com
Film cleaning equipment for the
motion picture industry
FIGUERASINT'L SEATING
08186 LlicadeMunt
Barcelona, Spain
343-841-4119; FAX: 343-841-4017
M. Joan Foguet,
Seating
FLOMATIC INTERNATIONAL
5924 SE 47th Ave.
Portland, OR 97206
503-775-2550, 800-435-2550
FAX: 503-771-0068
John Cochran, VP & COO
Post-mix dispensing valves, parts &
accessories
FONDA GROUP, INC
15-21 Lower Newton St.
P.O. Box 329
St. Albans, VT 05478
802-524-5966; FAX: 802-527-2582
David Fredrickson, Product Mgr.
Popcorn cups, holders, paper cold
and hot cups, food trays
GEHL'S GUERNSEY FARMS, INC.
N. 116 W. 15970 Main Street
P.O. Box 15970
Germantown, WI 53022-2600
414-251-8570, 414-251-8572
FAX: 414-251-9318
Cindy Jach, Customer Service Rep.
Dairy-based foods; cheese sauces,
puddings, evaporated milk S iced
cappucino
QHIGNYSA
Au Vesale 13
1300Wavre, Belgium
32-10-243500; FAX: 32-10-243600
Philippe Chevalier,
Cinema screens
HALGO SPECIALTIES
16760 Stagg Street #209
Van Nuys, CA 91406
818-366-0744, 818-786-4436
FAX: 818-780-3486
Norm Goldstein, President/Owmer
E-MAIL: halgoone@aol.com
Drapery, custom track rigging and
motor systems
HAMILTON BEACH/PROCTOR SILEX
4421 Waterfront Dr.
Glen Allen, VA 23060
804-527-7206; FAX: 804-527-7282
Elinor Mutascio,
Communications Mgr.
URL: http: //www.hambeach.com
E-MAIL: emutascio@hambeach.com
HANOVER UNIFORM CO.
529 West 29th St.
BalHmore,MD 21211
800-541-9709; FAX: 410-235-6071
John Mintz, Sales Mgr.
Uniforms of all types for the theatre
industry
HARLAN FAIRBANKS CO., LTD.
7121A6thSt. S.E.
Calgary, Alberta, T2H 2M8
403-253-9214
FAX: 403-252-0920
Ralph White Ace, Branch Manager
Popcorn products, nachos S syrups
HAYES EQUIPMENT & SUPPLY
CO., INC.
P.O.Box 29
Syracuse, NY 13211
315-432-8183
Jack Hayes, President
Manufacturer of auditorium seat
covers
HILL ARTS & ENTERTAINMENT
SYSTEMS
741 Boston Post Road
Guilford, CT 06437
203-453-1718, 800-899-8086
FAX: 203-458-2465
Larry Schwartz, President
E-MAIL: mail@hillae.com
URL: http:/ /ww^w.hillae.com
BRANCHES:
ENGLAND:
Manor House, 21 Soho Square
London WIV 5FD, England
171-385-7417
FAX: 171-386-8478
Stacia Smales Hill, Sales Mgr.
E-MAIL: sales@hillae.com
501 Mariners Drive
Newport Beach, CA 92660
714-646-2341; FAX: 714-646-2871
Cliff Thrasher, Regional Sales Mgr.
E-MAIL: sales@hillae.com
Computer ticketing & software
ICON SOFTWARE
Icon House
376-378 Chiswick High Rd.
London W4 5TF, England
44-817428770
FAX: 44-817428772
Jarod Smith, Rep.
Boxoffice systems
ISLAND DISPLAY CORP.
95 Hoffman Lane, Suite K
Cenhallslip, NY 11722
516-234-9320
FAX: 516-234-9463
C. Araujo-Felicciardi, VP, Sales
Title art, poster cases, interiors,
exterior signs S displays
KRISPYKISTCO.
120 S. Halsted St., Dept. B3
Chicago, IL 60661
312-733-0900;
FAX: 312-733-3508
J.C. Geiersbach, Mktg. & Operations
Snack food processing equipment S
concession products
USERGATE SYSTEMS, INC.
28050 U.S. Hwy. 19 North, Suite 502
Clearwater, FL 34621
813-725-0882
FAX: 813-791-7883
Fred Maglione, VP Sales
Computerized ticketing, concessions
& access control equipment
UVEZZI PRECISION INC.
999 Regency Dri\e
Glendale Heights, IL 60139-2281
708-582-1230,
800-323-1772
FAX: 708-582-1238
Albert LaVezzi, President
Douglas Kremer, Executive VP
Stephanie LaVezzi, Sales & Mktg.
Mgr.
Precision projector components

STAR MANUFACTURING INTL.
10 Suniu-n Dr)\ e, TO. Box 430129
St. Louis, MO 63143
800-264-7827, 314-781-5353
FAX: 800-264-6666
Frank Ricchio, VP, Sales & Mktg.
URL: http: / / www.star-mfg.com
Hot dog cookers, popcorn machines,
nacho equipment
STEWART ELECTRONICS CORP.
120 Blue Ravine Rd., Suite 2
Folsom, CA 95630
916-985-7200
FAX: 916-985-9600
Randall Curlee, VP, Mktg. & Sales
Cinema power ampiifiers
SUNNYWELL DISPLAY
SYSTEM, INC.
730 Stimson Ave.
City of Industry, CA 91745
818-369-7359, 800-322-0938
FAX: 818-369-5739
James Huang, President
URL: sunnywell.com
E-MAIL: surmywell@earthlink.net
Electronic LED moving message
signs, POP displays, etc.
'tci-tyrolitco.,inc.
367 Route 109
West Babylon, NY 11704
516422-2000; FAX: 516-661-6798
Craig Marcin, Sales Mgr.
Projection lenses, port glass, mirrors,
specialty optics
TECOmCATRICAL BJCTROMCS CO
11221ndustri.ilUr.
Mathews, NC 28105
800-863-8326; FAX; 704-845-1709
Bob Saunders, President
Projection equipment
TRANS-LUX CANADA LTD.
5446 Gorvan Drive
Mississauga, Ontario, L4W 3E8
800-268-0491
Richard Brandt, Chairman
Programmable signs. Message
centers: indoor & outdoor
TRANS-LUX PTY. LTD.
73 Broadmeadow Road, Newcastle
2292
NSW, Australia,
049-62-3611
Richard Brandt, Chairman
Programmable signs, message
centers;indoor & outdoor
TRIPLEHCORP.
One Triplett Drive
Bluffton, OH 45817
419-358-5015; FAX: 419-358-7956
Joel Weldy, Mktg. Mgr.
Warren Hess, President
Daniel Delong, VP Finance
Electronic test equipment
UTOPIA TECHNOLOGY
PARTNERS, INC.
125 E. Sir Francis Drake Blvd., #300
Larkspur, CA 94939
415-464-4500, 800-956-1301
FAX: 415-164-4510
Laura Rime, Dir., Corp. Communic.
Utopia & Aurora software for
support/help desk automation
VICTOR PRODUCTS CO.
328 N. 18th St.
Richmond, VA 23223
804-643-9091
FAX: 804-648-3601
Mitch Zinder, President
Fountain syrups, sundae toppings:
concession supplies & equipment
WIL-KIN
70 East Lake St., Suite 1600
Chicago, IL 60601
312-726-5300
FAX: 312-726-2732
John Wolski
WILSHIRE CORPORATION
2401 N. Palmer Drive
Schaumburg,lL 60196
847-397-4600, 800-323-4789
FAX: 847-397-0250
William G. May, President & CEO
David Noble, President, Canada
David May, Exec. VP
Joeseph Asfour, Exec. VP, Sales &
Mktg.
Robert Wonder, VP, Sales & Mktg.
Equipment for beverage dispensing S
ice making & dispensing
WILSHIRE CORPORATION
2788 Winsted Rd.
Torrington,CT 06790
800-489-6748
FAX: 860-496-8115
William G. May, President &
CEO
BRANCH:
23 Barr Road
Ajax, Ontario Canada, LIS 3Y1
905-686-3212
FAX: 905-428-2062
David Noble, President, Canada
Equipment for beverage dispensing:
Ice making & dispensing
XANTO SEARCHLIGHTS
Kartuizerstraat 50
8310Beugge, Belgium
32-50356233
FAX: 32-50371382
Geert Callewaert, Rep.
Searcf\lights & lighting effects
XETRON-ADIV.OF
NEUMADE PROD.
10 Saddle Road
Cedar Knolls, NJ 07927
201-267-8200; FAX: 201-267-4903
Mark Smith, VP Sales/Marketing
Projection and sound equipment
YOUR PLACE MENU SYSTEMS
2600 Lockheed Wav
Carson City, NV 89706
800-321-8105, 702-882-7834
FAX: 702-882-5210
John O'Neil, General Manager
Indoor & outdoor menu systems
NONRESPONDING
ALLIED
CINEMA LINKS
3 Sandy Ridge Road
Brunswick, ME 0401 1-9334
207-725-6188, 207-725-0139
FAX: 207-725-0145
C. Gregory Melick, Principal & CEO
Bradley P. Smith, Principal
URL:www.maine.com/thirdwave
E-MAIL: thirdwave@maine.com
FILM BOOKING OFFICE CORP.
9441 LBJ FwN' Ste #507
Dallas, TX 75243-4536
214-234-6192
FAX: 214-234-8571
John Shaw, President
E-MAIL: mlifbo@aol.com
Film buying & booking agency
mi WALLACE
^AJt h e at r e s
THEATRE MANAGEMENT OPPORTUNITIES
RAPID ADVANCEMENT OPPORTUNITIES
AGGRESSIVE, EXPANSION-ORIENTED FUTURE
WALLACE THEATRE CORPORATION, A NATIONALLY RECOGNIZED REGIONAL
THEATRE CIRCUIT, IS SEEKING OUTSTANDING THEATRE MANAGEMENT PROFESSIONALS
(SINGLE-MULTIPLEX EXPERIENCE) TO JOIN OUR RAPIDLY GROWING ORGANIZATION.
PLEASE CONSIDER:
• OPPORTUNITIES ON THE WEST COAST, HAWAII AND INTERNATIONAL MARKETS
• RELOCATION REIMBURSEMENT
• EXCELLENT COMPENSATION AND BENEFIT PACKAGE
• POTENTIAL ADVANCEA^NT TO SENIOR MANAGEMENT
IF YOU ARE A TEAM PLAYER, ENJOY WORKING WITH THE PUBUC AND ARE SEEKING
A CAREER AND A FUTURE IN THE MOTION PICTURE EXHIBITION INDUSTRY
PLEASE CONTACT US:
BRETT J. HAVLIX
GENERAL MANAGER
WALLACE THEATRE CORPORATION
3375 KOAPAKA SI SUITE 345
HONOLULU, HI 96819
808-836-6055
FAX 808-816-6077
WALL^CE THEATRE CORPORATION IS AN EQUAL OPPORTUNITY EMPLOYER
Response No, 289
September, 1997 101
\

MESCOP, INC.
I'O. Box303
Sussex, Wl 53089
414-251-6808
FAX: 414-251-9033
l.imes C. Florence, President
Film buying S booking
WESTCOAST THEATRE SERVICES
788 Beatty Street, #401
Vancouver, B.C., V6B 1A2
604-669-4738
1 AX: 604-669-9640
1 lector Ross, President
1 )ouglas Isman, Manager
PPR ENTERPRISES
1 523-L West Struck Ave.
Orange, CA 92867
714-771-7863
I- AX: 714-771-3277
Poul Rasmussen, Owner
Design, planning, manufacturing S
installation of concession & box
office cabinets
EMERGENCY LIGHTING
SERVICES, INC.
130BrooksideRd.
VVaterbury, CT 06708
800-225-0263; FAX: 203-756-6312
Dick Clark, President
Bruce Bird, Natl. Sales Mgr.
Design and updating of emergency
lighting & L.E.D. exit signs
MINI THEATRES
3^1 I'landomc Road
Manhasset, NY 11030
516-627-7977; FAX: 516-627-3506
Harold Lager, Owner
Marty Goldman, Owner
Consulting on ttteatres, site locations,
independent distribution
r
PPR ENTERPRISES
1523-L West Struck Ave.
Orange, CA 92867
714-771-7863
FAX: 714-771-3277
Poul Rasmussen, Owner
Theatre interior design and
construction
RANACK CONSTRUCTORS, INC.
652 S. County Road 9E
Loveland, CO 80537
970-667-3698
FAX: 970-667-3694
Contact: Jim Rankin
Theatre interior design and
construction
SIGMA DESIGN GROUP
1507 Ashland Ave.
Santa Monica, CA 90405
310-452-2292;
310-376-2755
FAX: 310-452-4073
Gerald Nash, Sr. Partner
Evans Wetmore, Glenn Berggren
E-MAIL: sigmagn@aol.com
Theatre design consultants, screen
design
MIR CORPORATION
4805 Lawrenceville Hwy.,
Suite 116
Lilbum, GA 30247
Contact: Paige Abell
Interactive video batting systems with
virtual reality components
RIDE DEVELOPMENT CO.
P.O. Box 13610
Salem, OR 97309
Interactive video systems with virtual
reality components
VIRTUAL GLIDERS
6(X) Komas Drive, P.O. Box 58700
Salt Lake City, UT 84158
An interactive 3-D virtual reality
experience
VIRTUALITY, INC.
7801 Mesquite Bend Drive, Suite 105
Irving, TX 75063
214-556-1800, 800-ILLUSION
FAX: 214-556-1890
Mindy V. Moore, Mktg. Mgr.
Immersive virtual reality
entertainment systems & software
BUX-MONT FLAGPOLE CO.
221 Horsham Rd.
Horsham, PA 19044
215-675-1040; FAX: 215-675-4443
William Sweigart, Owner
Contact: Rick Crawford
Flags of all nations, signs, marquees
CINEMA LINKS
3 Ridge Road
Brunswick, ME 04011-9334
207-725-6188, 207-725-0139
FAX: 207-725-0145
C. Gregory Melick, Principal & CEO
Bradley P. Smith, Principal
Demographics, business plans,
advertising, 'Queue Cards'
ENTERTAINMENT MARKETING
GROUP
8913 1/2 Sunset Blvd
Los Angeles, CA 90069
310-358-8566, 310-358-8564
FAX: 310-659-9558
Phil Alexander, President
Television, radio & print promotions:
corporate sponsorships:on-line
promotions
FILM FINDERS
718 WestboumeDr.
West Hollywood, CA 90069
310-657-6397
FAX: 310-657-6608
Sydney Levine, President
Peter Belsito, Exec. VP
7601 5.1 377@compuserve.com
Finding features for acquisitions by
clients, domestic & foreign
MASTERCARD INTERNATIONAL
2000 Purchase St.
Purchase, NY 10577
Lisa Piteris,
Credit cards
MIRREX INC.
2025 East Linden Ave.
Linden, NJ 07036
800-346-0386, 908-486-1811
FAX: 908-486-2347
Ernest L. Piano, General Mgr.
Glassless mirrors for scenery
MOVIELINE INTERNATIONAL
9441 LBJ l'reewa\' #507
Dallas, TX 75243'
214-234-6192
FAX: 214-234-8571
John Shaw, President
E-MAIL; mlifbo@aol.com
Film information fax and newsletter
service for film buyers
SHOW COALITION
1440 S. Sepulveda Blvd., Suite 348
Los Angeles, CA 90025
310-444-8380
FAX: 310-444-8524
Stephanie Thomas, Director
A non-profit political education
organization for people in the
entertainment industry
Making You Unforgettable
A
with portable displays
•Exceptional quality, service and value since 1964
•Tradeshow services
•AutoCAD services
to custom island exhibits.
•Portable and modular systems for purchase, rent or lease
Many choices of fabrics, graphic treatments and accessories
trade
show ««^_.,^^_,
eXMIBITS I For more information, callm marketing at 888.746.9876
Fl
102 BOXOFFICE
Response No. 197

TO: NONRESPONDING COMPANIES
RE: YOU GOOFED!
Dear Sir or Madam:
You goofed! Otherwise your company
wouldn't be in this section, referred to
in our offices as the "penalty pokey."
If you're here it means: (1) We tried to
contact you more than once. (2) You
failed to respond. This section is just
our way of giving you a second chance.
A BUYERS DIRECTORY RESPONSE
FORM is located on PAGE 6 of this
issue. Fill it out and send it in today and
we'll definitely contact you for next
year's directory, giving your company
its best opportunity to reach exhibition
professionals from coast to coast. And
it's all yours FOR FREE!
Or don't bother taking the measly five
minutes to help us help you. We'll miss
you next year, of course. But we're sure
your competitors won't.
SOUND DESIGNERS STUDIO
424 West 45th St.
New York, NY 10036
212-757-5679; FAX: 212-265-1250
Bernard Fox, Studio Mgr.
E-MAIL; bfox.70@compuserve.com
Post-production audio-for-video &
recording services
TRIPLETTCORP.
One Triplet Drive
Bluffton, OH 45817
419-358-5015; FAX: 419-358-7956
Tony Augsburger, Natl. Sales Mgr.
Test equipment
UNET 2 CORPORATION
80 East 11th Street
New York, NY 10003
212-777-5463; FAX: 212-777-5534
James Monaco, Pres.
Provides electronic publistiing
services to media companies
UNIQUE SCREEN AD
PRODUCTIONS
30536 Brentwood Road
Paynesville, MN 56362
320-276-8893
FAX: 320-276-8416
John Goltz Sr., Owner
Produces screen ads for ttieatres in
Minn, N.D., S.D., Iowa & Wise
ASC TECHNICAL SERVICES CORP.
675 N. Glenville Dr., Suite 145
Richardson, TX 75085-1625
214-437-2160
FAX: 214-437-2138
R.V. Gandolfi, President
B. Schroeder, Dir. Field Operations
A. Biers, Central Area Field Coord.
Sound and projection service,
equipment and parts sales
EMERGENCY LIGHTING
SERVICES, INC.
150 Brookside Rd.
Waterbury.CT 06708
800-225-0263,6-8148
FAX: 203-756-6312
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104 BoxonicR
"FROM WHERE I SIT..."
Our Forum For Readers Just Like You
would have to be living in a cave not
Oneto be aware that these are good times in
the cinema industry. For those on the
equipment side, these are also very challenging
times. In the particular area of cinema sound,
digital technology is a major impetus behind
improvements in
SOUND 2001:
THE FUTURE
IS NOW
by Mark Mayfield
what moviegoers actually
hear at their local multiplex. The most obvious
case is the increasing conversion to one or
more of the three digital sound formats (Dolby
SR-D, DTS and SDDS). Digital technology
is now also the standard in the pre- and postproduction
stages ofthe film industry, from the
recording of production dialogue on DAT machines
to sound editing on digital workstations.
The one link in the audio chain that might
never become digital, however, is the last link:
the loudspeakers. Because human hearing depends
on being in the path of moving air
molecules (sound waves), we still need to
create that air movement in order to make
sound. This is necessarily a physical/mechanical
process and, until someone invents a digital
brain interface (ouch ! ), the quality of sound
we ultimately hear is dependent on how the
loudspeaker systems convert the electrical signal
to moving air molecules.
The primary improvements to sound quality
that are created by digital processes are increased
dynamic range, lower distortion,
lower noi.se, and more channels. Performance
advantages have removed many constraints
faced by film soundtrack creators and mixers,
because the limitations of optical and even
magnetic sound do not exist with digital. Tlie
result: Soundtracks are becoming much more
sophisticated in the subtle and sometimes notso-subtlc
(think explosions) sounds that can be
captured on the soundtrack. This makes thejob
of the kxidspcaker system even more critical—and
challenging.
The g(xxl news is that only the strong will
survive: inferior equipment will quickly succumb
to the demands of digital sound. The
pervasiveness of digital soundtracks for feature
films and the equipping of nearly 15,000
of the world's cinemas with the capability to
play back digital has provided new motivation
to increase research and development programs
for advanced sound systems for motion
picture sound mixing and playback. The aim
of these R&D programs must to be provide
systems that can take full advantage of everything
that digital sound technology can offer to
theatre exhibitors. In so doing, advanced cin-
The good news
is that only the
strong will survive;
inferior equipment
will quickly succumb
to the demands
of digital sound.
ema loud-speaker systems must provide the
new "canvas" for sound artists to communicate
their work to moviegixjrs, much the same
way that new grades and fomiulations of film
stock pn)vide better color quality and clarity
for the visual experience.
Translating the benefits of digital
soundtracks (increased dynamic range, lower
distortion, lower noise, and more channels)
into requirements for tomorrow's cinema
sound systems requires a reexamination of
every aspect of how sound is heard in the
cinema. Dynamic range means the range from
the quietest to the loudest section of the
soundtrack — "from a whisper to a scream." It
is important to note that this does not necessarily
mean films will be played louder in theatres,
although the higher dynamic range of digital
does allow greater sound pressure levels to be
delivered to the loudspeakers. The capability
is often abused, and repeated abuse will lead
to loudspeaker and hearing damage. This is not
why digital sound is so great, and this is definitely
not why loudspeaker manufacturers are
developing improval systems. What is important
is that the soundtrack and the loudspeaker
system work together to
allow the
artist (director, sound editor, etc.) more ft-eedom
to create the sound environment that is
necessary to support the film.
To be able to play back the additional dynamic
range, a loudspeaker system requires
sufficient "headroom." Headroom can be visualized
as reserve power so that the system is
not constantly working at its maximum. It is
similar conceptually to driving a race car down
a city street; it does not need to be driven at its
maximum potential speed, and it is certainly
not stressed at slower speeds. In sound system
language, this means more amplifier power
and speakers of higher power-handling capability.
Because a system that has greater headroom
is less often pushed to its limits, that
system is also more reliable over many years
of service in moviehouses.
Because the digital signal provided by the
soundtrack is typically free from mediuminduced
distortion (such as tape saturation or
optical overload), any distortion caused by the
speaker system itself will become more noticeable.
So an improved system for digital must
also minimize distortion to fully translate the
digital signal. The bad news is that distortion
is inherent with any transducer (i.e., a device
that converts energy from one form to another—electrical
to acoustical, in the case of a
loudspeaker), so the goal is to minimize it. The
same is true with noise: Every electrical device
in the signal path from the microphone to the
loudspeaker induces some level of audible
noise, but the medium itself provides a virtually
noise-fiiee transfer, so again the goal is to
minimize it in the elecux)nics associated with
the loudspeaker system.
Digital soundtracks also offer the capability
for more channels of sound, such as stereo or
"split surrounds," or the addition of Left-Extra
and Right-Extra screen channels with the
eight-channel SDDS process. Tliis new capability
does not directly affect loud-speaker design
as much as it affects the implementation
of loudspeakers in the actual cinema.
To achieve the gcxil of designing a cinema
loudspeaker system capable of delivering the
potential of digital soundtracks requires reexamining
conventional speaker system design—keeping
what works and developing
new approaches to exceed old limitations.
Two-way speaker system design has been with
us since the 1920s, and it has served well until
the sound source (digital soundmjcks) outstripped
the two-way concept's ability to meet

the dynamic range, power handling
and distortion levels of digital.
As with other areas of professional
sound, the time has come
to consider the three-way system
concept for cinema sound.
With
a three-way system,
the job of reproducing
the entire audio spectrum
is divided among three, instead
of two. sections. Each
section now
works a little
less hard, so
overall system
headroom can
be increased,
along with
greater
overall
system reliability.
In addition,
each section can
be optimized for
that part of the
audio
spectrum
it is reproducing—rather
like
hiring a specialist
for each job.
A more vivid
image is that of
a three-person triathlon team,
where a swimmer, a runner and a
cyclist each contribute to the overall
goal of the race, yet each is a
specialist in his event. With a
three-way system, each component
is designed specifically for
low-, mid- or high-frequency
audio reproduction, and the entire
system faces far fewer compromises
as a result.
Conceptually, the three-way
concept offers all of the necessary
performance advantages that digital
soundtracks demand, but there
is the added complexity of two
crossover points (the parts of the
frequency response at which the
low-frequency section stops
working and the midsection takes
over, and at which the mid-fte-
It ts worth
making the
necessary
investments [so]
the improvements
offered by
digital sound
can he realized.
quency section gives way to the
high-frequency section). Also, the
three different devices must be
"time aligned" in the vertical plane
so that signals from all three sections
reach the listeners "in
phase," or at the same time. Fortunately,
digital technology provides
a simply implemented solution for
these and other system complexities.
Because each system will be
and
each cinema has
its own acoustic
characteristics,
attention must
be paid to the
speaker/room
interaction if the
installed in a different cinema environment,
three-way system
is to be fully
optimized. All
these functions
(crossovers,
time alignment
and equalization)
can be easily
addressed
using digital
technology.
There is
no
doubt that digital film sound technology
places extra demands on
the last remaining "analog" hnk in
the audio chain. But it also offers
amazingly powerful tools for getting
the most out of tomorrow's
cinema loudspeaker systems. For
the future of our industry, it is
worth making the
necessary investments
to make sure that the
improvements offered by digital
sound can be realized in movie
theatres. This necessarily dictates
a change in the way that we think
about cinema sound—and a
change in the way we implement
sound in theatres.
Hi
Mark Mayfield was director of
cinema marketingfor Northridge,
Calif-based JBL Professional.
A NOTE TO OUR READERS: Our "From Where
I Sit" section is designed to provide professionals
working in the motion picture business and allied
industries a forum for the free exchange of ideas.
Think of it as a space in which you can unveil a new
idea or approach, or discuss how traditional methods
might best evolve as moviemaking and moviegoing
enter their second century.
Those who would like to contribute essays of up to
1 ,000 words for publication in BOXOFFICE should
write to the magazine at 6640 Sunset Blvd., Suite
100, Hollywood CA 90028.
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Response No. 109
September, 1997 105

—
••••• OUTSTANDING
REVIEWS
September 1997
DAY AND DATE: SEPTEMBER 19
WIDEAWAKE •••
Starring Joseph Cross, Dana
Delany, Denis Leary, Robert Loggia
and Rosie O'Donnell. Directed and
v/ritten by M. Night Shyamalan.
Produced by Cary Woods and
Cathy Konraa. A Miramax release.
Comedy/drama. Rated PG for language
and thematic elements.
Running time: 88 min.
"My grandpa and me, we always
watcned out for
new
each other,"
fifth-grader Joshua
(newcomer Joseph
Cross) soys by way
of introducing this
story about a young
boy's coming of (religious)
age. Raised in
a contemporary but
devout Catholic family,
Joshua experiences
a crisis of faith
when dear Grandpa
Beal (Robert Loggia,
playing effectively
against type) passes
away; now could
such misery happen
if a supreme being
exists? 'I'm going on
a mission," Joshua tells best friend Dave
(Timothy Reifsnyder) at the Waldron Academy
for boys. "What are you going to look
for?" Dave asks. Joshua's reply: "God."
In a usually deft weaving of narrative
and subnarrotives, writer/director M.
Night Shyamalan ("Praying With Anger")
takes Joshua on a journey not commonly
seen in today's cinema: one into faith.
Divided into three chapters (The Questions
A WAKENIN(;S: Joseph Cross ami Rosie
(> 'Donnell in Miramax's "Wide Awake. "
The Signs and The Answers) and featuring
fine character turns from Dana Delany
("Exit to Eden") asjoshua's caring obstetrician
mom, Denis Leary ("The Ret") as his
concerned physician dad and Rosie
O'Donnell (also "Exit to Eden") as a sportsloving
nun, "Wide Awake" avoids most of
the bathos (and his acting) that marred
Shyamalan's "Praying With Anger," leaving
more room for tne Filmmaker 5 dexterity
with the simpler emotions. Fine family fare.
"Wide Awake" still
gives its theological
concerns more than
modest authenticity.
Yet "Wide Awake"
hardly delves to
Rilkean levels of religious
discourse, the
Family's sure wealth
works against the
sense of crisis, and
recurring appearances
of an angelic
little boy (Michael
Craig Bigwood) are
obvious in import.
Yet "Wide Awake"
profits from heartfelt
and sensitive telling
and from its structured
symbolism; as
Joshua interacts with people and nature,
he advances toward his goal. Cross does
a nice job, though the anguish delivered
by Ciaran Fitzgerald in Mike Newell's
"Into the West" seems beyond him (and
Shyamalan); matters never get too uncoov
fortable. Still, in a moviemaking world
dominated by attention to secular matters,
the parochial "Wide Awake" is a refreshing
change of pace.
Kim Williamson

'
FEST REVIEWS
FESTIVITIES
BOXOFFICE brings you
critical coverage from
across the seas
KARLOVY VARY
^thitgoing European correspondent MELISSA MORRISON
reports on the Karlovy Vary festfrom Prague.
CHRISTMAS
ORATORIO icir
Starring Johan Widerberg
and Lena Endre. Directed by
Kjell-Ake Andersson. Written
by Kjell Sundstedt and Kjell-
Ake Andersson. Produced by
Katinka Farago and Anita
Hallgren. A Sandrews Film
production; no stateside distributor
set. Drama. Swedishlanguage;
English subtitles.
Not yet rated. Running time:
124 min. Won best actress
prize (Lena Endre).
"Christmas Oratorio"
("Juloratoriet") takes some odd
twists, most of them unconvincing,
in its tale of a young family
surviving the death of its
mother. The title, for example,
refers to the demanding Bach
composition that Solveig (Julie
Christie lookalike Lena Endre),
a radiant mother and music
lover, persuades her village
choir to attempt. Solveig dies in
a horrible accident before she
can see the piece performed. Although
the introduction of the
"Christmas Oratorio" heralds a
major metaphor if ever there
was one, it isn't really touched
upon again until the movie's
final scene, when Solveig's
grandson, now an eminent conductor,
realizes her dream.
Instead, most of the film is
devoted to the separate torments
of Solveig's husband (Peter
Haber), who strikes up an unlikely
pen-pal romance with a
New Zealand farm girl and who
sees the ghost of his now mocking
wife everywhere; and of her
teenaged son, Sidner (Johan
Widerberg), who is set upon by
the town's silly middle-age seductress
(Viveka Seldahl), who
bears his love-child and drives
Sidner to an asylum and... well,
the plot gets even more convoluted,
so it's probably best to
leave it at that. The rest of the
story—suicide, reconciliation,
long journeys—sails along with
the audience left scratching
their heads back on the dock.
An improbable conclusion is
particularly stilted and odd.
The film has a chilly elegance
as well as a deliberate "this is a
drama" tone that make it hard to
warm to, despite the beauty of
its Swedish setting and the
plaintiveness of actor Widerberg.
It does, however, feature
in a completely unironic role a
legless man as a character who
formerly worked as a human
cannonball (Tomas von Bromssen),
which gives the film a kind
of distinction, though what exactly
is hard to specify.
EAST SIDE
STORY •••i/z
Directed by Dana Ranga.
Written by Andrew Horn and
Dana Ranga. Produced by Andrew
Horn. A Kino Intl. release.
Documentary. English,
Russian and other languages;
English subtitles. Unrated.
Running time: 77 min.
Chorines in overalls, wheatsheaving
choreography, and
lyrics like "Harvest, harvest!
Our quota has been obtained!":
Who'd have thought socialist
culture could be so cheesy.
And so entertaining. With
this Anda Films production,
writer/producer Andrew Horn
and co-writer/director Dana
Ranga have unearthed some
gems from the musical archives
of the former Soviet Union, the
former East Germany, the former
Czechoslovakia and other
,
a
A LIFE IN REVIEW
Jesse Shlyen, Whose Work at BOXOFFICE
Always Merited Five Stars, Passes Away
BOXOFFICE MAGAZINE lost a piece of its history with
the recent passing of Jesse Stilyen at age 87. Jesse—
who with our founder, his older brother Ben Shlyen, and
our advertising consultant Morrie Schlozman formed the indispensable
troika that built
BOXOFFICE into the journalistic
institution it is today—spent
his entire working life with the
magazine, rising up the ranks
all the way to the Managing
Editor's slot.
"Jessie Shlyen was not only a
close friend,' Morrie says. "We
were like brothers. Jessie and I
were teenage buddies, doing the
town in my 1 927 Essex. In 1 93 1
during the Great Depression,
when the company where I was
working folded, it was Jessie who
introduced me to Ben.
HATS OFF: Jesse Shhen.
"Jessie was a loyal, kind
friend, a great editor and writer, and a powerful force in the
success ofBOXOFFICE," Morrie says. "I shall never forget him."
Jesse's involvement with BOXOFFICE began with the very
first issue, published more than 77 years ago when he was just
11 years old. The magazine was called The Reel Journal back
then; it would be 1 3 more years before Ben Shlyen assembled
the elements to take BOXOFFICE national, and the rechristening
took place at that time. Jesse helped get the word out from
day one; when Ben needed assistance delivering the premiere
issue of his original exhibitor newsletter to the colorful inhabitants
of Kansas City's film exchange (known as Film Row),
Jesse hopped on his bike and delivered copies by hand.
The Shlyen family were exhibitors themselves, and Jesse
learned about exhibition at their family-owned Maple Theater,
where during his teenage years Jesse would serve variously as
cashier, ticket taker, biff poster, popcorn vendor and publicist.
The whole time, Jesse also held down regular duties at The Reel
Journal, first as a print-shop worker and later as a staff writer
From 1929 to 1932, Jesse was editor of The Reel Journal
and contributed news from the Kansas City market. Brother Ben
was off about the business of building a publication empire
through the acquisition of various regional exhibitor newsletters,
which were united under the BOXOFFICE name with the
publication of our first national edition on May 4, 1933. By
that point, Jesse had moved into the circulation department—
post later passed to Morrie Schlozman who, like Jesse, would
wear many hats at the magazine. During Jesse's and Morrie's
watch, BOXOFFICE rose to a position ofpre-eminence, becoming
the magazine with the largest verified circulation of any
publication for exhibitors—a title it holds to this day.
Jesse's unprecedented run as managing editor began in
1 936 and lasted more than four decades, right up until his
retirement. It was interrupted only by two years of military
service during World War II. His contributions to BOXOFFICE
just cannot be calculated; his last appearance in our pages
occurred in 1 995, when he was a profile subject for an issue
dedicated to the 75th anniversary of the first issue of The Reel
journal that Jesse had helped hand deliver.
It's fitting, then, that we pay tribute to Jesse in our 1997
Buyers' directory—the 59th annual edition of an industry classic
that Jesse himself toiled to launch. Along with Ben and
Morrie, Jesse helped light, tend and feed the fbme of the torch
that has been passed to those of us who work here today.
What we hope it illuminates is that which Jesse was instrumental
in bequeathing to us: the best, most timely, most entertaining
and above all most informative publication for exhibition professionals
available anywhere, at any price.
Sleep well, Jesse. Sleep well.—Roy Greene
Jesse Shlyen is survived by sons Sanford and Stephen,
daughter Nancy Dorfman, sister Estaire Nelson, and grandson
Brian Dorfman. Jesse's wife of 40 years. Bertha, died in 1 980.
J

FEST REVIEWS: GALWAY, IRELAND
E
|p Incoming European correspondent TONY DEAN reports on the Galwayfestfrom Ireland.
THE BUTCHER BOY ••••
Starrinq Eamonn Owens, Alan
Boyle, Stephen Rea, Aisling
O'Sullivan, Fiona Show, Brendan
Gleeson and Ian Hart. Directed and
produced by Neil Jordan. Written
by Patrick McCable and Neil Jordan.
A Warner Bros, release.
Drama. Rated R for language and
violence. Running time: 109 min.
This may be an Irish-made movie with
local surroundings, but it could be set anywhere
in the wona. Based on a best-selling
novel by Patrick McCabe, "The Butcher
Boy" is set in a small Irish town in the 1 960s.
The cinema and radio are what keep the
locals going, and young Francie Brady is no
different than anyone else. A boy with a
fertile imagination, he listens to the adults as
they argue the ways of the world, in particular
the Cuban missile crisis.
Coming from a dysfunctional family (his
father is an alcoholic, his mother is a suicidal
manic-depressive), Francie is closest to
his school chum Joe. Life is best for him
when they act out the cowboy and Indian
games based on what they've read in
comic books. Living with a drunken father
and a mother who is forever preparing
cakes for the imminent arrival of 'Uncle
Alo" from London does not deter the cheerful
lad. Life gets cruel, however, and he
loses his father, mother and friend, which
leaves him insecure and threatened by his
adult surroundings. In order to get his own
back on the world, he takes his ariger out
on a snobbish neighbor who won'tlet her
son play with him; the fact that she dresses
in shock green makes him think she's like
one of the aliens in his comics.
Neil Jordan's 10th film is an extraordinary
piece of cinema. It features almost an
entire Irish cast, including Stephen Rea as
the father and Aisling O'Sullivan as the
mother; pop sinqer Sinead O'Connor appears
in the film s apparition sequences as
ttie Virgin Mary. Perhaps the most astounding
performer in the film is a youngster
named Eamonn Owens, who plays the
young boy. With no acting experience, he
was picked from 2,000 other hopefuls for
the part: Alan Boyle, who comes from the
same school, plays his paijoe to perfection.
This film gives life to the screen, capturing
an era long forgotten. And not only are the
performances stunning; so is Jordan's direction,
of the caliber that says "Oscar."
BOGWOMAN •••
Starring Peter Mullan and Sean
McGinley. Directed and written by
Tom Collins. Produced by Martha
O'Neill and Tom Collins. A De
Facto production; no stateside distributor
set. Drama. Not yet rated.
Running time: 80 min.
The Bogside in Derry, Northern Ireland
is
tfie setting for this striking movie about
the women of the area known worldwide
for "the trouisles." The film goes a long way
to explain the origins oFthe civil rights
movement: The setting is right before
Bloody Sunday, when many marchers for
Irish freedom were shot by British troops.
A woman goes back to her old home in
the country to see the lost of it as it's being
pulled down. Safe for the moment and
away from the troubled place in which
she now must live, she picks up a bulb
from the ground to bring back home with
her the feeling of having "roots."
A lot of the Irish question makes its way
into the plot as the old woman tells her
story; in between, the film shows different
aspects of life up north. Weil made and
acted, "Bogwoman" is a strong look at
the poiiticalsituation and the human condition
in Northern Ireland.
THE DISAPPEARANCE
OFFINBAR ifV2
Starring Jonathan Rhys-Myers,
Luke Griffin and Sean McGinley. Directed
by Sue Clayton. Written by
Sue Clayton and Dermot Bolger.
Produced by Martin Bruce-Clayton,
David Collms, Bertil Ohisson and
Soren Staemose. A Samson production;
no stateside distributor set.
Drama. Not yet rated.
Young Finbar comes from a
dilapidiated housing estate in the south of
the city; his father fiad little success with
his singing career, so he invests his energies
into his son. The lad gets a chance at
ecoming a footballer and is given a
hero's send-off by the community. Within
a month, he's back. He calls on his friend
Danny, who has always been there for
him, and in a moment of self-pity Finbar
falls from a bridge. Friends search for
him, but there is no trace of a body. After
months pass, a garbled phone call from
Stockholm to Danny gives the first clue as
to Finbar's whereabouts. Danny sets off to
find him, meeting up with all sorts of eccentric
characters who eventually lead
him to Lapland, where he finds our hero.
For almost an hour, moviegoers are
treated to the culture of Lapland and Stockholm.
Yet this could have been a silent film;
there is very little dialogue (most of what
there is in Scandinavian languages and
isn't subtitled, in any case), so audiences
ore left with little explanation why a local
girl beds Danny while all the men in the
village snigger. The film is beautiful, but
there's so much of that beauty and so little
going on plotwise that the movie almost
disappears like Finbar. Luke Griffin as
Danny holds the film together with his facial
expressions, ancTJonathan Rhys-
Myers as Finbar lights up the screen with
his presence. Except for that, however,
"The Disappearance of Finbar" has little to
keep patrons from making o similar exit.
FESTS
parts of a world that no longer exists to
make a documentary that manages to
illuminate a fascinating comer of humanity
while remaining witty fun.
Using film clips and interviews with the
era's technicians and stars (including two
identified as the Elvis and the Doris Day of
the East), "East Side Story" shows how
these musicals acted as both propaganda
and escapism for their audiences. Despite
the fact that the genre originated in Hollywood,
Stalin, it turns out, was its biggest
booster, supporting films that portrayed
cheerful workers harmonizing about the
while in reality his purges were
good life,
diminishing the flocks.
Meanwhile, films
like the 1958 East German hit "My Wife
Wants to Sing," in which a Mrs. Cleaver-ish
hausfrau becomes a glamorous performer,
thrilled audiences while offending communist
censors. The filmmakers parallel such
movies with Hollywood's lush-life musicals
of the Depression era, depicting a fantasy
world when reality was anything but.
The best part of "East Side Story" is that
it is copiously illustrated with kitschy excerpts
from films such as "Tractor Drivers"
(USSR, 1939), "I Don't Want to Marry"
(Romania, 1961) and "No Cheating Darling"
(East Germany, 1973), which give the
documentary its humor and energy. Seeing
a scene from East Germany's version of
"Beach Blanket Bingo"— 1968's "Hot
Summer"—with its Frankie and Annette
doppelgangers is kind of like climbing
through the looking glass. It's this delicious
sense of the bizarre that makes "East Side
Story" as suited to a midnight-movie marquee
as to an art-house.
FORGOTTEN LIGHT
••l/Z
Starring Boleslav Polivka and Veronika
Zilkova. Directed by Vladimir Michalek.
Written by Milena Jelinek. Produced by
Alice Nemanska, Jana Tomsova and Ivana
Kacirkova. A Studio Fama 92 production;
no stateside distributor set. Drama. Czechlanguage;
English subtitles. Not yet rated
Running time: 101 min. Won best actor
(Boleslav Polivka) and an audience award
The makers of "Forgotten Light"
("Zapomenute svetio") deal with recent
Czech past in this story of a beleaguered
village priest and a small group of parishioners
struggling to save their church in 1 987,
two years before the communists, with their
repressive religious policies, fell. Considering
its elements—a dying mother, a crisis
of faith, plus a flood and some fire—the
movie has surprisingly little power.
What it does have is a somber steadiness
and a cohesiveness. It also has the calmly
magnetic presence of Boleslav Polivka,
who (in a best-actor-winning performance)
plays denim-and-leather-clad Father Holy.
The film touches on the issue of members
of the Catholic hierarchy who collaborated
with the communists. The film's making
must be a release of sorts, given that its story
couldn' t be told even a decade ago. Still, the
main question "Forgotten Light" raises is:
Why this film now?

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^u^^ 100-7 /'!> i'yi\
FESTIVAL REVIEWS
THE GOOD LIFE
iririr
Starring Fernando Ramallo and Lucia
Jimenez. Directed and written by David
Trueba. Produced by Ana Huete and
Cristina Huete. A Fernando Trueba, Kaplan
& Olmo Films production; no stateside distributor
set. Drama. Spanish-language;
English subtitles. Not yet rated. Running
time: 108 min. Won a specialjury prize.
A kind of Spanish "Wonder Years," "The
Good Life" ("La buena vida") is about how
15-year-old Tristan (a very natural Fernando
Ramallo) copes when both mortality
and sex hit him in the face. When the film
begins, he's just another smart-ass kid,
good-humoredly recounting his parents'
foibles (including his own conception the
night Franco died) by inserting himself into
the retelling. Then tragedy strikes: Tristan's
parents are killed in a car accident. He is left
with his doddering grandfather (Luis
Cuenca), a sympathetic teacher (Isabell
Otero) and a sexy firebug of acousin (Lucia
Jimenez) to comfort him.
In recounting the painful adjustments
Tristan must make, the film manages not to
wallow in the tragic, instead leavening the
proceedings with realistic humor. It also manages
the tricky act of putting Tristan's sexual
explorations against such a woeful backdrop
without trivializing the situation; he's grieving
and trying to score at the same time.
That said, the film doesn't take its audience
to any great heights, although it elicits
a few lumps in the throat. Most of the time,
"The Good Life" unreels in that comfort
zone between close-to-the-bone truthfulness
and too-clever artificiality. It's a relief
for a filmgoer who doesn't want to be
wrung dry, but it also leaves one with the
nagging feeling that if it had taken a few
risks it would have been harder to watch but
a better film for the sacrifice.
LATE FULL MOON 1/2
Starring Icchak Find and Nikolaj
Urumov. Directed and written by Eduard
TMchariev. Produced by Edi Yahariev. A
Bulgarian National Television and Budapest
Filmstudio production; no stateside
distributor set. Drama. Bulgarianlanguage;
French subtitles. Not yet rated.
Running time: 120 min.
It's nice to hear a voice from Bulgaria,
but did it have to be this film? "Late Full
Moon" ("Zakasnialo palnolunie") examines
the generational breach wrought by the
fall of communism in Europe, leaving a
Wild East of mafia capitalists among the
young and deepening poverty among the
old. The Old Man (Icchak Finci) is one of
the latter. He tsk-tsks the shallow life of his
son (Nikolaj Urumov): nude-model wife,
thieving son, twittering cell phone. Soon
he's spiraling into Sofia's dregs: first a
prison-like old folks' home, then a garbage
dump lorded over by a trash-palace Gypsy.
Some bad performances, jarring transitions,
teen-age villains from the "Saved by
the Bell" school of subtlety, a busload of
old-people cliches and, finally, spelling
mistakes in the French subtitles make "Late
Full Moon" a tedious experience.
ORBISPICTUS iri^ir
Starring Dorotka Nvotova and Marian
Labuda. Directed by Martin Sulik. Written
by Martin Sulik, Marek Lescak and
Ondrej Sulaj. Produced by Rudolf
Biermann. An In Film production; no
stateside distributor set. Drama. Slovaklanguage;
French subtitles. Not yet rated.
Running time: 105 min.
"Orbis Pictus" is inscrutable yet curiously
satisfying. Sixteen-year-old Tereza
(Dorotka Nvotova) leaves her waywardgirls
home to find the mother who put her
there. She tramps across Slovakia, ablaze in
fall colors; as in a Middle Europe fairy tale,
she suffers the perils of forest and city,
meeting odd characters along the way.
An old woman buried to her neck in soil,
a May-September couple celebrating their
folk wedding, a distinguished man hiding
in a restaurant kitchen: Their stories are
nominally explained, but whatever they're
meant to symbolize hovers above the scene
like a ghost refusing to be acknowledged.
Perhaps it's a parable of a girl facing precarious
womanhood: Tereza's encounters
have an undertone of sexual menace.
UNDER THE BRIDGE -ki^Vl
Starring Damien Leake and Melissa Leo.
Directed and written by Charles Weinstein.
Produced by Charles Weinstein and Andy
Clark. A Soho Partnership production; no
stateside distributor set. Drama. Not yet
rated. Running time: 90 min.
"Under the Bridge" might have seemed
fresh a decade ago because of its fromwithin
portrayal of a homeless community
as well as its vivid, if romanticized, performances.
Today, though, that's not enough.
The catalyst for looking at this particular
collection of roof-challenged individuals is
the appearance of Eddie, an eight-year-old
runaway orphan who appears at their squat
under New York's Williamsburg Bridge.
He joins a familiar group: There's the black
sage (Damien Leake); the junkie prostitute
with fabulous hair (Mehssa Leo); the crusty
but kind-hearted overseer (Zach Grenier).
The kid (Matthew Weathers) is cute but
personality-free. It's easy to forecast the
movie's plot: Junkies overdose, dreams are
shattered, some people die, others get a shot
at redemption. It's really not a bad story,
just a too-familiar one.
FEST: MELBOURNE, AUSTRALIA7%
COURTIiJG COURTNEY ^^V^^
Starring Dana Gould, Eliza
Coyle, Taylor Negron and Sean
Masterson. Directed and wr/ffen
bv Paul Tarantino. Produced by
Hadeel Reda, Serge Rodnunsky
and Paul Tarantino. A Toasted
Films production; no stateside distributor
set. Romantic comedy. Not
yet rated. Running time: 84 min.
Perhaps the most
original romantic
comedy of its kind
since 'When Harry
Met Sally...," this deceptively
clever
debut by v/riter/director
Paul Tarantino
(no relation to Quentin)
emerges as both
a genuine crowdpleaser
and a surprisingly
poignant look
at the chaos of modern
courtship.
An inventive faux
COURIERS: Dana
in Paul Tarantino'
documentary structure
focuses on the ongoing romantic crises
of 29-year-old Courtney Baker (Eliza
Coyle) as recorded by her best friend and
aspiring filmmaker Nick Hastings (Dana
Gould). As Courtney finds herself on the
verge of her 30th birthday and no closer to
finding a suitable mate than when she and
Nick were unsuccessful high school sweethearts,
Nick looks for an explanation. Interviews
with ex-boyfriends, family
members, friends and acquaintances are
interspersed with flashbacks and real-time
intrusions into Courtney's private life.
slowly and steadily building a portrait of
romantic dysfunctionality as funny as it is
touching. Episodes centering around a
misfit singles support group and its lessthan-ethical
patron. Doctor Phelps (veteran
comic Taylor Negron), are priceless.
Unlike such popular mockumentaries as
"This Is Spinal Tap" and "Bob Roberts,"
however, "Courting Courtney" is neither
Gould and Eliza Coyle
"Courting Courtney.
cynical nor satirical. Even at their most
bizarre, the emotions
and relationships
always ring
true, a credit not only
to Taronti no's writing
but to an eclectic and
able cast. Gould's
breezy affability and
Coyle's homespun
charms anchor the
picture solidly among
such familiar comic
faces as Kothy Griffin,
Ryan Stiles, "Saturday
Night Live"
alum Julia Sweeney
and Negron, who
proves to be a scene-stealer. Technically,
the film is similarly polished, exhibiting no
traces of its rumored five-figure budget.
Deftly edited and crisply photographed,
"Courting Courtney" is currently seeking a
stateside distributor, but European audiences
in Holland and Belgium will see the
film released, respectively, during this September
and October.
Tarantino's skillful blending of unabashed
honesty and romantic optimism
is a feat that's almost as impressive as true
love itself.
Wade Major

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FESTIVAL REVIEWS
CANNES
A, B, C... MANHATTAN ^^^1/2
Starring Lucy Knight and Erin Norris.
Directed by Amir Naderi. Written by Ben
Edlund and Jessica Gholke with Maryam
Dalan, Tracy McMillan and Amir Naderi.
Produced by Amir Naderi and William
Rexerll. No stateside distributor set. Drama.
Not yet rated. Running time: 90 min.
Iranian-bom director Amir Naderi lias set
this film in the Lower East Side of Manhattan,
where he now resides; its title comes
from Avenues A, B and C. Its central characters
are three young woman who share an
apartment. Colleen (Lucy Knight) is a single
mother and photographer. Kacey (Erin
Norris) has lost both her boyfriend and
girlfriend, but is most concerned with retrieving
her pet dog. Kate (Sara Paul) is an
aspiring musician who has come to New
York to escape a troubled relationship.
"A, B, C... Manhattan" is most successful
in establishing a vivid atmosphere of life on
the edge. Naderi, who also edits, combines
long takes with tight spaces to emphasize
the constricted feeling of the characters and
their lack of options. Not much happens in
the thin screenplay, co-written by Naderi.
For a large part of the film, people are
"making time" in a neighborhood bar. The
characters are dominated by the movie's
setting, although Knight does convey
Colleen's pain as she realizes she may have
to give up her daughter. Ed Scheia
THE BROTHER icicir
Starring Serguei Bodorov, Viktor
Soukhoroukov and Svetlana Pismitchenko.
Directed and written by Alexei
Balabanov. Produced by STW Film Co.
No stateside distributor set. Drama. Russian-language;
English subtitles. Not yet
rated. Running time: 99 min.
"The Brother" ("Brat") is set in contemporary
Russia, but both the story and style
of the film have outside influences. Danila
(Serguei Bodorov) returns home after serving
two years in the army. Bored by smalltown
life, Danila decides to visit his older
brother, who has a prosperous life in St.
Petersburg. The brother has never given the
details of how he's made his fortune, and
Danila discovers that his brother (Viktor
Soukhoroukov) is a contract killer for one
of the city's mob factions.
Danila encounters the worst effects of
Westernization. The mean streets of post-
Soviet Union St. Petersburg are full of violence
and drugs. He saves an old man from
an extortionist and steals a gun. Urban Russian
life is also dominated by American
culture in less dangerous ways: Danila is
constantly trying to find the latest CD of his
favorite rock band and eventually attends
one of their concerts.
Putting his military training to good use,
Danila becomes a member of his brother's
mob and is assigned to kill a rival gangster.
He successfully carries out his assignment
but ends up running for his life, although
along the way he does find time for romance
with both a pretty trolley conductor (Svetlana
Pismitchenko) and a drug addict.
"The Brother" has the gritty look typical
of Soviet films. But, like the events
and details of the story, the style is influenced
by American films. It's very fastpaced,
with some last-minute escapes
from danger. Bodorov, who played the
young recruit in "Prisoner of the Mountains,"
again has a strong screen presence.
In the end, the film is engrossing, but it
doesn't take the time to go beneath the
surface of its characterizations. And
there's enough violence and gunfire for a
Hollywood summer movie. EdScheid
THE BRAVE ^^1/2
Starring Johnny Depp, Marlon Brando,
Marshall Bell, Elpidia Carrillo and Clarence
Williams III. Directed by Johnny
Depp. Written by Johnny Depp, D.P. Depp
and Paul McCudden. Produced by
Charles Evans Jr. and Carroll Kemp. No
stateside distributor set. Drama. Not yet
rated. Running time: 123 min.
As if the story of a man selling himself to
a snuff production to help support his family
weren't gruesome enough, a horrific
murder/suicide involving the film's original
director has long kept the "The Brave"
atop Hollywood's "least wanted" list. Had
a star of Johnny Depp's stature not entered
the picture, it's likely the project would
have remained stalled, and rightfully so.
As the film starts, a young Native American
man named Raphael (Depp) walks,
strolls and meanders his way through a
Southwestern wasteland for a meeting with
a mysterious, wheelchair-bound Mr. Mc-
Carthy (Marlon Brando). Down in the bowels
of some kind of abandoned factory,
McCarthy appears before him, rambles incoherently
for several minutes about a
"job," and then dismisses Raphael with a
hefty "down payment."
Subsequent scenes focus on Raphael's
relationship with wife and children, the abject
poverty in which they live, and the
friction created by his sudden and unexplained
increase in wealth. Eventually, it
becomes clear that this "job" involves sacrificing
his life, although the notion that this
is in the service of a snuff film is hinted at
only in the vaguest possible terms.
As an exercise in how a wafer-thin concept
can be stretched past the two-hour
mark, "The Brave" is a resounding success.
As an attempt at communicating a message
about Native American poverty, it's a disaster.
Shots of Depp walkmg, walking, walking,
walking and walking obliterate any
sense of pace or focus, instead serving only
to prolong transition time between a handful
of dialogue scenes that are neither interesting
nor enlightening.
As credited co-writer, director and .star,
it's hard to lay blame for the film's failure
on anyone but Depp, however harsh that
verdict might seem. With protracted, lingering
shots of himself in various states of
distress peppered throughout the film, it
would be easy to accuse Depp of narcissism
if not forthe fact that there's simply nothing
else in the film worth photographmg.
"The Brave" is still without an American
distributor and is likely to remain so until
its producers resign themselves to a lower
askmg price. At that time, the film will be
able to move on and promptly find itself
without an audience. Wade Major
EAST PALACE, WEST
PALACE •••1/2
Starring Si Han and Hu Jun. Directed
and produced by Zhang Yuan. Written by
Wang Xiaobo and Zhang Yuan. No stateside
distributor set. Drama. Mandarinlanguage;
English subtitles. Not yet rated.
Running time: 94 min.
What kind of 50th-anniversary Cannes
fest would it be if the Chinese failed to cause
a brouhaha? Thanks to bad-boy filmmaker
Zhang Yuan's gay-themed "East Palace,
West Palace," no one will ever know.
So furious were the powers within the
Chinese government with the film's inclusion
in Un Certain Regard that Zhang's
passport was confiscated and Zhang
Yimou's "Keep Cool" was pulled from the
competition. And yet, by comparison to the
fest s other gay-themed Chinese film
(Hong Kong filmmaker Wong Kar-Wai's
"Happy Together"), "East Palace, West
Palace" seems downright prudish.
What distinguishes "East Palace, West
Palace" ultimately has less to do with its
politics than its dramatics. Arguably the
most compelling new Chinese film since
the rise of the Fifth Generation. Zhang's
mostly self-financed chamber piece is
something of a small miracle, a film that
makes an audacious frontal assault on traditional
Chinese sensibilities and taboos
even as it nevertheless clings steadfastly to
a meticulous aesthetic tradition.
Focusing almost exclusively on a nightlong
conversation between a Tianenmen
park police officer and a gay man he has
detained for lewd conduct, "East Palace,
West Palace" is structured as a mental
tango, a dance of wits wherein deep inhibitions
and hidden desires are methodically
laid bare. As the gay A-Lan, actor Si Han
creates a heart-rending portrait of a man
wholly at peace with his lifestyle, despite
the inevitability of persecution. Alternating
ambiguously between episodes of torment
and bliss, his "confession" unfolds like a
mystery novel, drawing policeman Shi
Xiaohua (Hu Jun) unwittingly into a carefully
crafted emotional trap.
Had the film succeeded on a purely psychological
level, it would be impressive
enough. But Zhang extends his attention to
detailto every aspect of the film's technical
execution as well, marking a giant step forward
from such earlier, rougher works as
the notorious "Beijing Bastards." Whether
or not Zhang will be allowed to continue
making films, or under what conditions that (
might happen, remains to be seen. Either
way. the mere existence of "East Palace,
West Palace" bodes well not just for the
future of Chinese filmmaking but for Chinese
society itself. Wade Mqjor
i
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.Spntpmher. 1997 fR-125i 111
FESTIVAL REVIEWS
HAPPY TOGETHER •*
Starring Leslie Cheung and Tony Leung
Chiu-Wai. Directed, written and produced
by Wong Kar-Wai. A Kino release. Romance.
Cantonese-, Mandarin- and Spanish-language;
English subtitles. Unrated.
Running time: 94 min. Won best director.
Yet another (over)extended rock video
masquerading as an Asian art film from
Hong Kong's shades-laden king of cool,
Wong Kar-Wai 's "Happy Together" is
noteworthy for not much else than the casting
of sex symbols Leslie Cheung ("Farewell
My Concubine") and Tony Leung
Chiu-Wai ("Chungking Express," "Hard-
Boiled") as its story's gay lovers.
Shock value and the Cannes fest's best
director prize aside, Wong's follow-up to the
lavishly overpraised "Chungking Express"
offers little in the way of stylistic or narrative
progress, although it should please his core
fans. As with previous efforts, Wong's "style"
here consists primarily of random experimentation
with film stocks, exposures, frame rates
and other assorted laboratory tricks. Had such
tinkering been in the service of a story! But a
near-total absence of narrative very quickly
makes even the most minute excesses m style
almost unbearably tedious. As music and imagery
splash, audiences are treated to nothing
more exciting than boy meets boy, boy loses
boy, boy gets boy back, boy loses boy, boy
gets boy back, boy loses boy, und so weiter.
The affair isn't as tedious as it might have
been, thanks primarily to a beguiling Argentinean
setting, nicely photographed by
Christopher Doyle whenever Wong's meddling
is kept to a minimum. But such interludes
are outnumbered by an endless parade
of closeups revealing the lead actors m various
states of angst and contemplation. By
the time the credits roll to a blithe cover of
the '60s rock ditty "Happy Together," audiences
might not be so appreciative of the
titular irony.
Wade Major
JOURNEY TO THE BEGINNING
OF THE WORLD ^^1/2
Starring Marcello Mastroianni, Jean
Yves Gautier and Leonor Silveira. Directed
and written by Manoel de Oliveira.
Produced by Paulo Branca. No stateside
distributor set. Drama. French- and Portuguese-language;
English subtitles. Not
yet rated. Running time: 93 min.
"Journey to the Beginning of the World"
("Viagem Ao Principio Do Mundo") contains
the 1 7 1 St film appearance by Marcello
Mastroianni, notable because it's the last of
his many memorable performances before
his death in December of last year.
Mastroianni's character here is very similar
to Manoel de Oliveira, the film's 88-yearold
writer/director. Both have the same profession,
the same first name and wear a
similar floppy-brimmed hat.
Alfonso (Jean Yves Gautier) is a French
actor with a role in a Franco-Portuguese
co-production. His dead father was from
Portugal. He decides to visit his dad's home
village and to meet a surviving aunt. Because
Alfonso does not speak Portuguese,
the film's director, Manoel (Mastroianni),
and two other actors accompany him to
translate. As their car drives through the
rural roads, the sights trigger the director's
reminiscences of his early life. At journey's
end, the travelers find a village full of harsh
conditions and unhappy memories.
Providing a depth the rest of the film
lacks, Mastroianni's performance shows
his remarkable range. He's full of charm
while bantering with a young actress
(Leonor Silveira); closeups show Mastroianni's
face full of emotion and warmth as
the director recalls events from his past. He
even makes a face full of childish delight at
a stuffed cat. But the main storyline, of the
actor investigating his Portuguese roots, is
too slight to maintain much interest when
Mastroianni is not onscreen. Part of the
reason is that the script doesn't develop the
other characters on the journey, and much
of de Oliveira' s directorial style consists of
a repetitious combination of conversations
in the car and shots of the road as if viewed
from the back window. Ed Scheid
LA FEMME DEFENDUE irir
Starring Isabelle Carre and Philippe
HareL Directed by Philippe Harel. Written
by Eric Assous. Produced by Les Productions
Lazennec. No stateside distributor set.
Drama. French-language; English subtitles.
Not yet rated. Running time: 102 min.
This film is a cinematic exercise on adultery
in which the camera literally becomes
the eyes of the man: Only his field of vision
is seen on the screen. Francois (director
Philippe Harel) is 39 and married. He has
met the unmarried Muriel (Isabelle Carre),
age 22, at a party. He persuades her to meet
him at a bar. Later, they begin an affair.
Because "La Femme Defendue" is told
from the man's point of view, Harel is only
briefly seen reflected in a mirror. Most of
the screen time focuses on Carre as her
character speaks with her lover. She has a
captivating presence, but not enough to sustain
this film, which seems too drawn out at
feature length. The dialogue is routine and
without any insight, and the screenplay has
too many repetitious scenes in which
Francois persuades Muriel to continue the
affair when she wants to end it. Ed Scheid
POST COiTUM:
ANIMAL TRISTE
^^^1/2
Starring Brigitte Rouan, Patrick
Chesnais, Boris Terral and Nils Tavernier.
Directed by Brigitte Rouan. Written
by Brigitte Rouan, Santiago Amigorena,
Jean-Louis Richard, Guy Zilberstein and
Philippe Le Guay. Produced by Humbert
Balsan. No stateside distributor set.
Drama. French-language; English subtitles.
Not yet rated. Running time: 99 min.
This film's title is a quotation from the
Roman poet Ovid about unhappiness following
lovemaking; it's an apt expression
of the movie's theme of a love affair's painful
effects. Diane (director/co-writer Brigitte
Rouan) is 40ish and comfortable in her
relationships with her lawyer husband (Patrick
Chesnais) and two teenage sons. She is
a successful editor in a publishing house.
Yet Diane begins an affair with Emilio
(Boris Terral), a hydraulic engineer 20
years younger, and her overwhelming passion
for Emilio starts to dominate her life
to the point she risks losing both her family
and her career. She misses important meetings
after she secretly brings Emilio along
on a crucial business trip. Ironically, as her
husband finds out about the affair, he is
her
defending an old woman who killed
unfaithful husband with a dinner fork.
As in "Overseas," Rouan' s previous acting/directing/co-writing
effort, "Post
Coitum: Animal Triste" develops a diverse
group of characters. The script examines
the effects Diane's affair has on people in
her life, making the film more intriguing
than are conventional films about romantic
triangles that focus only on the lovers.
Rouan' s direction seamlessly combines a
variety of moods that correspond to Diane's
volatile emotional state, skillfuUy including
an imaginative fantasy of the euphoric Diane
as she begins her involvement with Emilio.
The film is dominated by the raw intensity
of Rouan' s performance. Rouan' s unflinching
camera reveals both Diane's
intimate feelings as well as the hysteria that
eventually develops as the affair ends.
Rouan 's efforts are also supported by a flne
cast: Chesnais makes the husband a sympathetic
figure who hopes his wife will return
to the stability of her family, and Nils
Tavemier is particularly good as a novelist
who gets over his writer' s block by fictionalizing
Diane's story. Ed Scheid
WESTERN •••1/2
Starring Sergi Lopez, Sacha Bourdo and
Elisabeth VitaU. Directed by Manuel Poirier.
Written by Manuel Poirier and Jean-
Francois Goyet. Producedby Maurice Bernart.
No stateside distributor set. Comedy.
French-language; English subtitles. Running
time: 136 min. Won a specialjury prize.
Not a western, "Western" is a road movie
set in western France. Owing to its clever
script and slighdy bittersweet tone, "Western"
earned a special jury prize at Cannes. A story
of two impossibly opposite men bonding, of
love lost and friendship found, it takes a number
of elements of American road movies and
gives them a decidedly French twist.
A handsome, confident Spaniard named
Paco (Sergi Lopez), and a shy, diminutive
Russian, Nino (Sacha Bourdo), are each
traveling through Brittany in search of love.
With nothing in common, a chance encounter
brings them together: Nino steals Paco's
car. Looking for the unlikely thief, Paco
finds love instead, in the fonn of Marinette
(Elisabeth Vitali), a lovely antiques dealer.
When she insists they take time apart to
discover if their love is solid, a dejected
Paco heads for the road again, again by
chance encountering Nino—and his car.
Despite their differences, they join forces
and eventually become close, sharing bizarre
meetings with, among others, an
angry farmer, a pair of sexually liberated
models, and a lusty single mother of eight.

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FESTIVAL REVIEWS
The road movie is nothing new, as fans
of Hope and Crosby know well. But what
makes "Western" so uniquely French is its
preoccupation with love, emotions and
human psychology. Nonetheless, funny,
touching, familiar yet original, "Western"
seems like it could be a natural hit for
stateside audiences.
Lael Loewenstein
••
THE SERPENT'S KISS
Starring Ewan McGregor, Greta
Scacchi, Pete Postlethwaite and Richard
E. Grant. Directed by Philippe Rousselot.
Written by Tim Rose Price. Produced by
Robert Jones, John Battsek and Tim Rose
Price. No stateside distributor set. Drama.
Not yet rated. Running time: 110 min.
"The Serpent's Kiss" is the directorial
debut of French cinematographer Philippe
Rousselot, Oscar winner for "A River Runs
Through It." In 1699, Meneer Chrome
("Trainspotting's" Ewan McGregor) is
hired by Thomas Smithers ("The Lost
World's" Pete Postlethwaite) to design an
elaborate estate garden as a present for wife
Juliana ("Emma's" Greta Scacchi). Bored
by country solitude, she has little interest in
husband or garden . Daughter Thea (Carmen
Chaplin, Charlie's granddaughter) is so uncomfortable
in the formal environment that
her father believes she is disturbed.
Juliana's scheming cousin Lord
Warburton ("Twelfth Night's" Richard E.
Grant) is secretly using the garden to bankrupt
Thomas, hoping that Juliana will turn
her attentions to him. Nothing goes as
planned; The garden is destroyed by storm,
Juliana is attracted to the young Chrome,
but Chrome is drawn to Thea.
The premise is similar to that of "The
Draughtsman's Contract," but this film is
more concerned with the feelings of its characters
than was Greenaway ' s chilly tale. The
theme of manipulation in "The Serpent's
Kiss" is not original, but the film is made
entertaining by the accomplished cast, particularly
Scacchi, who is adept in whatever
period her films are set, and she aptly conveys
that her character is the one most constricted
by the conventions of the time from
revealing her emotions directly. Grant's
flamboyance is always amusing. Also, the
painterly images of the cast in 1 7th-century
costumes in the unusual garden add to the
film's visual appeal. EaScheid
PREVIOUSLY REVIEWED: AUGUST/SEPTEMBER/OCTOBER FILMS
-Bandwagon" -k-k-km: CFP, 9/12 ltd; sec April 1997.
'Box of Moonlight" -k-kl/l: Trimark, 8/1 LA, exp 8/22 & 8/29; see Nov. 1996.
"Career Girls" •••••: October, 8/8 NY/LA, 8/15 exp; see Aug. 1997.
"Coffy" •••: Kit Parker. 8/29 reissue; see May 28, 1973 issue.
"Deep Crimson" ••••: New Yorker, 10/8; see April 1997.
"The Delta" •: Strand, 8/1 NY, 8/15 lA; see July 1997.
"Differentfor Girls" ••: First Uok, 9/12 NY/LA; see March 1997.
"Dogs" if-k: Phaedra. Aug. undated; see April 1997.
"The End of Violence" •••: MGM. 9/12; see Aug. 1997.
"Fast, Cheap & Out of Control" •••: Sony Classics, 10/3 NY/LA; see April 1997.
"Fire" •••1/2: Zeitgeist, 8/22 NY; see July 1997.
"The Full Monty" ••••: Fox Searchlight, 8/13 NY/LA, 8/29 exp; see April 1997.
"Going All the Way" •••: Gramercy, 9/19 ltd, 9/26 exp; see April 1997.
"Hamsun " ••• 1/2: First Run, 8/6 NY; see March 1997.
"The House of Yes" •••1/2: Miramax, 10/10 NY/IA; see April 1997.
"Hurricane Streets" •••: UA, 10/24; see April 1997.
"The Ice Storm" *icV2: Fox Searchlight, 9/26 NY, 10/3 exp; see July 1997.
"In a Strange City" •••1/2: Filmopolis, Sept. undated; see July 1996.
"In the Company ofMen" ••1/2: Sony Classics, 8/1 NY/IA; see Apr. 1997.
"Intimate Relations" ••: Fox Searchlight, 9/5; see Sept. 1996.
"I Was a Jewish Sex Worker" •kkV2: Greycat, 9/1 LA; see April 1997.
"Kicked in the Head" ••: October, 9/12 NY/IA, 9/19 exp; see Aug. 1997.
"LA. Confidential" k-k-km: Warner Bros., 9/19;seeAug. 1997.
•Ulies" •: Turbulent Arts, 10/17 NY, 10/24 lA; see April 1997.
"Love Always" • 1/2: Legacy, 9/26 ltd; see April 1997.
"loveJones" •••1/2: New Line, 8/8 reissue; see May 1997.
"Love Serenade" *kl/2: Miramax, 8/1 exp; see Aug. 1996.
"Mimic" -k-kV2: Miramax, 8/22 widie; see Aug. 1997.
"Man Homme" •••: Artificial Eye, 8/15 NY; see March 1997.
"Mouth to Mouth" •••1/2: Miramax, 9/5 NY/IA; see .Sept. 1996.
"My Sex Ufe..." -kkk: Zeitgeist, 9/17 NY; see Aug. 1996.
"The Myth of Fingerprints" •••1/2: Sony Classics, 9/19 NY; see Apr. 1997.
"Nenetie et Boni" -kkk: Strand, mid-Sept.; see April 1997.
"Omaha: the movie" •• 1/2: Movieworld, 9/26; see April 1996.
"Paperback Romance" kk\l2: Goldwyn, 8/1 ltd; sec May 1997.
"Parallel Sons" •••: Greycat, 10/10 NY; see May 1997.
"SelfMade Hero" ••••: Strand, 9/26; see March 1997.
"Shall We Dance?" •••1/2: Miramax, 8/1 exp; see May 1997.
"She 'v .So Lovely" ••: Miramax, 8/15; see Aug. 1997.
"Sunday" ••••: CFP, 8/22 NY/IA; see July 1997.
"The Sweet Hereafter" k kkk: Fine Une, 10/10; see Aug. 1997.
"Timeless" kkk: Phaedra, Sept. undated; see April 1996.
"Trojan Eddie" • •: CastU Hill, Sept. LA; see April 1997.
TORONTO
PORTRAITS CHINOIS
iririric
Starring Helena Bonham Carter, Romane
Bohringer and Jean-Claude Brialy.
Directed by Marline Dugowson. Written
by Martine Dugowson and Peter Chase.
Produced by Georges Benayoun. No
stateside distributor set. Drama. Frenchlanguage;
English subtitles. Not yet rated.
Running time: 138 min.
A group of artistically inclined French
friends fall in love and out of love in traditional
romantic manner in "Portraits
Chinois" ("Shadow Play"), but everything
old here feels new again. Set in Paris (of
course), "Portraits Chinois" is as intricately
developed and lovingly crafted as the photos
to which its title refers. It begins with a
couple, English fashion designer Ada (Helena
Bonham Carter) and screenwriter Paul
(Jean Philippe Ecoffey) moving into a new
home. They've been together for a while,
but they're not really happy or communicating
their dissatisfaction to each other.
Guido (Sergio Castellito), Paul's writing
partner, is having severe relationship problems
but can only mope around Ada and
Paul's kitchen. Enter Lise ("Mina Tannenbaum's"
Romane Bohringer), an up-andcoming
fashion designer who finds herself
in the middle of Ada and Paul's marriage.
"Portraits Chinois" sounds like a glib
Woody Allen film, but it cuts much deeper.
Director/co-writer Martine Dugowson
(also "Mina Tannenbaum") follows these
four and their friends as they laugh, bicker
and lie to each other—in short, as they live
their lives of not-so-quiet desperation. She
even allows the audience to hear her
characters' thoughts, an effective device in
that it allows the filmmaker to contradict the
words that are coming from their mouths.
Her whole cast is excellent, but standouts
are Bonham Carter (who, impressively,
learned to speak fluent French for her role)
as the somewhat cold Ada, and Castellito as
the hilariously hapless Guido. Jean-Claude
Brialy as Sandre, Ada's domineering fashion
mentor, is also fine. With a sublime
soundtrack (including the ubiquitous Leonard
Cohen tune), "Portraits Chinois" contrasts
romantic musical stereotypes with the
less-than-flattering reality of people's ordinary
love lives. But the movie allows for a
smart and happy ending that nicely twists
the fiction/reality conundrum of the cinema.
Happiest of all should be those movie
buffs who venture out to see this unheralded
gem. Shlomo Schwartzberg
SWANN •
Starring Miranda Richardson, Brenda
Fricker and Michael Ontkean. Directed by
Anna Benson Gyles. Written by David
Young. Produced by Ann Scottand Christina
Jennings. No stateside distributor set. Mystery.
Not yet rated. Running time: 96 min.
This tepid and innocuous story about a
best-selling writer, Sarah Maloney ("Kansas
City's Miranda Richard.son), who's

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FESTIVAL REVIEWS
trying to pen a biography of Mary Swann,
a murdered farm wife and obscure Canadian
poet, has all the ingredients needed to
be a clever little mystery. Unfortunately, the
only real mystery is why anyone wanted to
make "Swann" in the first place.
The drama, based on a novel by Carol
Shields, should spring to life when Sarah
comes to Canada to research her book and
meets the last woman to see Mary Swann
alive—the local librarian, Rose ("A Time to
Kill's" Brenda Fricker). Rose distrusts
Sarah's celebrity status, wishing to do her
own modest tribute to the rural scribe. Yet
nothing comic, or remotely dramatic, is done
to develop and explore their competing purposes.
It even remains unclear why Swann
maintains such a haunting presence in their
lives. Instead, contrived circumstances involving
a jealous boyfriend (David Cubitt)
and a potential romance for Sarah with the
dimply Stephen (Michael Ontkean) clutter
the film just so Sarah and Rose can reconcile,
and Sarah can finally find herself.
Richardson gives the kind of pinched performance
to which she's proved prone in
dramas like "Dance With a Stranger" and
"Damage" (as opposed to the expansiveness
she displayed in the lighter "Enchanted April"
and "The Evening Star"). Fricker, who usually
displays a noble integrity, comes across
here as merely earnest. Also, lacking dramatic
tension to cover such faults, "Swann" allows
audiences to see lapses of logic in its story.
For example, when Sarah's house is broken
into and her book materials are stolen, she
doesn't call the police or set out on the
culprit's trail; she decides she'd rather have
intercourse with Stephen. And how many
writers would find the theft of their work the
perfect aphrodisiac? Kevin Courrier
GONE, GONE, FOREVER GONE ^^
Starring Phuong Dung, Le Tuan Anh
and Hoang Phuc. Directed by Ho Quang
Minh. Written by Nguy Ngu and Ho
Quang Minh. Produced by Tran Thanh
Hung. No stateside distributor set. Drama.
Vietnamese-language; English subtitles.
Not yet rated. Running time: 85 min.
Vietnamese history is given the full treatment
in this epic tale spanning the country's
last 50 years, including its disastrous split
before Viemam was reunified. Two brothers
whose lives were torn asunder by the war
one went to the North, one to the South
come together afterward through the good
offices of their sister, a Buddhist nun.
"Gone, Gone, Forever Gone" is a beautifully
shot movie, with much emphasis on
the changes of the seasons and Vietnam's
natural beauty, but the film doesn't have
much impact. Whether it's because of a low
budget or director/co-scripter Ho Quang
Minh's deficiencies as a filmmaker, the delineation
of different time periods in the
story is never very clear. Nor are the film's
many flashbacks deftly inserted into the
structure. What characterizations there are
in "Gone, Gone, Forever Gone" are perfunctory
at best. Reverence for history is
fine, but this dry movie needs more flesh
and blood. Shlomo Schwartzberg
STRANGLED LIVES
••
Starring Vincent Linden, Sabrina Ferilli
and Luca Zingaretti. Directed by Ricky
Tognazzi. Written by Simona Izzo, Graziana
Diana and Guiseppe Manfridi. Produced
by Vittorio Cecchi Gori and Rita
Cecchi Gori. No stateside distributor set.
Thriller. Italian-language; English subtitles.
Not yet rated. Running time: 108 min.
"Strangled Lives" is a thriller that aims
to equal the work of the great Francesco
Rosi ("The Mattel Affair," "Illustrious
Corpses"), but it's a slick, empty work. The
film concerns Francesco (Vincent Linden),
an architect running his late father-in-law's
construction firm who's besieged by financial
and personnel problems at work. De-
THRILL RIDE—THE
SCIENCE OF FUN •^
Narrated by Harry Shearer. Directed
by Ben Stassen. Produced
by Charlotte Muggins. A Sony Classics
release. Documentary. Rated
G, Running time: 38 min.
Format: IMAX.
Openina with a bang, "Thrill Ride—The
Science or Fun" takes viewers on an animated,
hair-raising ride through a dark,
falling-down mineshaft using computergenerated
imagery to bring to life the hard
turns and tummy-pitching sensations of a
real roller coaster. Despite this colorful
and highly imaginative Intro, the rest of
this New Wave International production
fails to provide the same momentum.
The film opens by documenting the history
of roller coasters from their origin in
Paris In 1 804 to the peak of the rides'
fame at the turn of the century to today's
daredevil amusement park diversions. By
mounting cameras on both the front and
back of a coaster, director Ben Stassen
allows viewers to vicariously experience
the same sensations as those aboard,
queasy stomachs and all. But the real focuses
of Stassen, a CGI expert, are the
history of ride simulators, starting with
their development by NASA and the military,
and the ways computer-generated
imagery Is used to create special effects In
film. To demonstrate, "Thrill Ride" uses
footage from popular ride films "Secrets of
the Lost Temple, ' "The Devil's Mine Ride"
and "Asteroid Adventure."
Although the overall affect of these simulated
rides Is pretty close to the experience
of the "real thing," the thrill of a CGI
ride still can't compare to plunging down
a roller coaster's steep wooden track,
wind in your face, and nearing the clacking
of the rails and the sighs of straining
wood beneath you. Given the film's concerted
attentions to the technical aspects
of today's "virtual reality" rides ancf ride
films, "thrill Ride" doesn't quite earn the
E-ticke^f_stgtiisJt promises.
spite the doubts of his loving wife, Miriam
(Sabrina Ferilli), he is cajoled by an old
acquaintance, Sergio (Luca Zingaretfi), into
involving him in the family business, a decision
that becomes potenfially fatal when
Sergio's evil nature is revealed.
Director Ricky Tognazzi and his scripting
trio might have serious concerns about
the corrupfion infecting virtually every aspect
of Italian life, but "Strangled Lives'"
melodramatic approach to its subject
doesn't make for gripping drama. And a
subplot involving Sergio's designs on Miriam
borders on the exploitative. In the end,
the film seems well made but strangles itself,
leaving no lasting traces. It's the perfect
murder.
SPECIAL FORMATS
Pat Kramer
Shlomo Schwartzberg
ALASKA: SPIRIT OF
THE WILD •••1/2
Narrated by Charlton Heston.
Directed by George Casey. Written
by George Casey and Mose Richards.
Produced by George Casey
and Paul Novros. Narrated by
Charlton Heston. A Graphic Films
Corp. release. Documentary. Un^
rated. Running time: 40 min.
Format: IMAK. ?
"Alaska: Spirit of the Wild" is the latest
IMAX film by the celebrated team of
George Casey, a three-time Oscar-nominatecT
director ("Africa: The Serengeti,"
"Ring of Fire") and Paul Novros, who
m
Casey on
pays homage to
shares production credits with
the former and several other critically acclaimed
IMAX-format films ("The Great
Barrier Reef," "Planet Ocean").
Like their many other colorful. In-depth
films, "Alaska" provides a wealth of intriguing
footage celebrating and unveiling
the mystique surrounding the rugged territory.
At the same time, It
Alaska's native inhabitants and the scores
of settlers who lost their lives trying to tame
this wild land where extreme weather conditions,
glaciers and Impassable mountain
ranges dominate the landscape.
"Alaska" is a beautiful movie. In one
scene, a herd of stampeding caribou fly
over the camera in a snot for which director
of photography Rodney Taylor literally
risked his life. Other scenes diepict closeup
footage of great walls of ice, a hundred
or more feet in height, splintering away
from a massive motnerlode and violently
exploding into the ocean. In yet others, the
camera travels over woodlands and rivers,
perilously close to the sides of approaching
mountains. Best of all, though,
are the closeups of Alaska's most numerous
residents—its wildlife—with captivating
shots of polar bear, black bear, sea
lions, wolves, moose, caribou and (just
offshore) humpback whales. The film
—
provides
the excitement "Thrill Ride- "^he Scishould
have.
Pat Kramer

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FLASHBACK: AUGUST 17, 1946
What BOXOFFICE said about...
THE BIG SLEEP
[The latest noir entry, "L.A. Confidential, "comesfrom the studio that released this
mystery on August 31, 1946. Here 's what BOXOFFICE had to say.]
Fast-moving murder mysterj without time
for a yawn, except the title. It's Bogart from
action start to gun-blazing fmish, with excellent
support from Lauren Bacall and all others
of the cast. Plenty of high-wire suspense and
unexpected situations that call for nail-nibbling
or chair-arm twisting. Bogart is a twofisted,
many-gunned private detective who
meets the strange Sternwood family, and odd
events pop off like firecrackers as he tries to
solve the difficulties of two charming but erratic
daughters. Toss in half a dozen assorted
murders, flavor well with realistic fistics, stir
with revolvers, automatics and tommyguns,
and you've got a first-rate thriller. Excellently
produced and directed by Howard Hawks,
with equal plaudits to Sid Hickox for photography.
Highly recommended for fans who like
their whodunits highly seasoned, and for those
troubled with somnolence. Starring Humphrey Bogart, Lauren Bacall, John
Ridgely, Martha Vickers, Dorothy Malone, Peggy Knudsen and Regis Toomey.
SELLING ANGLES:
Outstanding bet is more plugging of the established names of Bogart and Bacall
on marquees, on fronts and in lobbies. Here's another bookstore tie-in with a sales
drive for Raymond Chandler's novels and similar murder mysteries. As blackmail
features in the plot, use mailing lists in various ways. Get cooperation of photo
stores, as a camera plays a big part in the story. Furniture stores could cooperate
with bed displays in windows.
CATCHLINES:
Don't Be Found Asleep When Bogart and Bacall Are in Town...The Show With
a Sock and a Kiss...'Snews ofThe Big Snooze...When the Latchstring Doesn't Mean
Welcome...Putting All the Yeggs in One Basket.
Riddled With Red Lead and Peppered With Hot Shot...Bigger, Better, Bogart,
Bacall...Mystery History of a Strange Family. ..Trading Slugs and Socks for
Love...Solving Sudden Death With a Punch.
BEAN if-kirMl
Starring Rowan Atkinson, Peter Mac-
Nicol, Harris Yulin, Pamela Reed and
Burt Reynolds. Directed by Mel Smith.
Written by Richard Curtis, Robin Driscoli
and Rowan Atkinson. Produced by Tim
Bevan, Eric Fellner and Peter Bennett-
Jones. A Gramercy release. Comedy. Not yet
rated. Running time: HO min. Opens 10/17.
Mr. Bean, deftly played and created by
British Ihesp Rowan Atkinson, and his antics
are at home on PBS in the States, but
globally they know no bounds. For most
people around the world, just mention the
name "Bean" and you hear instant laughter
His 30-minute sketches— in which he usually
wreaks havoc on just about anyone,
leaving a trail of chaos behind him—are
prime-time fare. "Bean" marks his full-feature
debut. It was indeed a task to transfomi
his 1l\ character into a full-fledged, threedimensional
personage, but the finished
pr(xluct is well worth seeing—it's an incredibly
entertaining piece of comic mayhem.
The story: Bean, never without his truefriend
teddy, is the most inept and detested
employee at the British Royal National Gallery;
the staff can't wait to dump him. When
a rich benefactor (Burt Reynolds) donates
$50,000,000 to the Grierson Gallery of California
to bring America' s greatest painting,
"Whistler's Mother," back home, the Brits
see their chance. The folks at the Royal
National are asked to send their finest academician
to oversee travel proceedings.
They decide to send not their greatest
scholar but the abhorred Bean in their desperate
hope of getting rid of him forever.
Within days of arrivmg in Los Angeles,
Bean has almost totally destroyed the marriage,
career and life of his host. Then the
gallery's chairman (Harris Yulin) leaves
Bean alone in the room with the painting
another disa.strous scenario.
"Bean" is truly a gag-a-minute film, even
if a few of those border on the sophomoric.
Thanks to Atkinson's ability to weave true
emotion into his character, the audience
senses that underneath that sadistic and ego-
REVIEWS
maniacal shell Mr. Bean does have real
feelings. Watch his eyes: When he's told
that he's nothing but a klutz and everything
is his fault, one can feel only compassion.
The film earlier
opened in Holland and
Australia to fantastic results,
and much of the
world followed this
summer; it finally
reaches American
screens on October 17.
None too soon: "Bean"
is a clever mixture of
slapstick, British humor
and L. A. sunshine. In the
end, after almost ruining
everybody's life—and
then ultimately saving
the day—and with teddy
safe at home. Bean
cruises down Sunset
Boulevard (the Randy
Newman ditty "I Love
L.A." blaring in the
background), savoring every moment.
What more could you wish for the man?
Well, how about a sequel? PKay Krieg
BREAKING UP ^^^
Starring Russell Crowe and Salma
Hayek. Directed by Robert Greenwald.
Written by Michael Cristofer. Produced by
Robert Greenwald and George Moffly. A
Warner Bros, release. Romantic comedy.
Rated Rfor language and sexuality. Running
time: 89 min. Screened at the Seattle
fest. Opens 9/26 NY/LA/Tor.
Steve and Monica fall into a love so fulfiUing
that he stops smoking and she no
longer watches her weight. But wait a minute:
If this relationship is so great, why is
Steve ("L.A. Confidential's" Russell
Crowe) gasping for air and Monica ("Fools
Rush In s" Sauna Hayek) feeling so burdened?
Therein lies the contradiction that
comprises "Breaking Up," the story of an
affair that depending on the hour—is so
perfect it's doomed or so terrible it works.
As Monica says, "It's a failure, but it' s ours."
Written by Michael Cristofer ("The
Witches of Eastwick"),"BreakinB Up" is
constructed hke a patchwork quilt, with a
variety of vignettes sewn together into a
multi-textured conglomerate of ideas and
emotions. Some scenes are pithy monologues
in which a character discusses Freud
directly with the audience. In others, notably
a uinny segment at Monica's gym, the
movie evokes sketch comedy found on latenight
TV. Director Robert Greenwald is
adept with each of his film's ambiences and
able to bundle diverse scenes into a continuous
story. Overall, he employs tight shots
and cramped sets to create a sense of claustrophobia
that reflects Steve and Monica's
relationship as it progresses through several
years of breakups and makeups.
In addition, Steve, a photographer, and
Monica, a teacher, are "Breaking Up's"
only characters, which means Crowe and
Hayek must double-handedly carry the entire
film. For the most part, they're up to the

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REVIEWS
task. From the moment Steve meets Monica,
the pair's attraction seems genuine, and
both characters conduct themselves like
real people, even when their dialogue suggests
acting more than living. This New
Regency acquisition is a good movie, but it
doesn't have enough zingy lines or story
innovations to rise above the level of prototypical
romantic comedy. Steve and Monica
can't live with or without each other, but
moviegoers in search of chuckles and romantic
insight can take or leave this
cinematic coupling. Ian Hodder
THE DISAPPEARANCE OF
GARCIA LORCA ^^1/2
Starring Andy Garcia,
Esai Morales,
Jeroen Krabbe, Marcela Walerstein,
Giancarlo Giannini and Edward James
Olmos. Directed by Marcos Zurinaga.
Written by Marcos Zurinaga & Juan Antonio
Ramos and Neil Cohen. Produced by
Marcos Zurinaga, Moctesuma Esparza
and Robert Katz. A Sony Pictures release.
Drama. Rated Rfor bloody violence and a
scene ofsexuality. Running time: 108 min.
Opens 9/12 NY/LA.
Films in which pohtical intrigue is played
for political commentary and not for narrative
excitement are among the most difficult to
make successful. The last great pohtical film
may have been 1969's "Z"; though it's in that
tradition, "The Disappearance of Garcia
Lorca" (aka "Lorca," "Death in Granada" and
"Blood of a Poet") is only modestly effective.
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LORCA-LIKE: Andy Garcia.
Based on two Ian Gibson books about the
political killing of the Spanish poet Garcia
Lorca, the film boasts a number of interesting
characterizadons and some compelling
acting. But it has two themes—the inhumanity
of fascism, and relationship of father
to son—and, paired together, the two
make an incongruent mix.
Filmmaker Marcos Zurinaga ("Tango")
clearly is passionate about his subject, but
perhaps too much. At key moments, his
white-hatted characters declaim more than
speak; their fervency forestalls audience
empathy against the blackguards, and an
offputfing score is simple-minded in its support.
On the positive side, most of the players
give interesting rhythms to their
characters that overcome the freneticism of
the film's tendency toward back-and-forthing
in time. Kim Williamson

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REVIEWS
Navy's elite Seals. Scenes of her training
climb the ropes, crawl the ground—are just
what audiences might expect, if higher than
usual on the machismo level; so is the reaction
of her male mates, as evidenced by her
tough boot-camp commandant (Viggo
Mortensen). Yet it's not till the narrative
takes an odd byway—the unstoppable
O'Neil suddenly folds when phony charges
of fraternization with non-elisted women
(i.e., lesbian activity) arise, and the
senator's supposedly true nature is revealed—that
"G.I. Jane" becomes just plain
bad; both the senator's and O'Neil's decisions
come out of nowhere.
Fortunately, the narrative resuscitates
when O'Neil goes on her first mission in a
finale that would have been even more rousing
had it been more believable (the body
counts on the two warring sides is hardly
balanced, with the "bad" guys—Arabs, of
course—apparently unable to shoot straight
even at close range). Still, what gives this
Caravan/Scott Free/Moving Pictures production
its power for contemporary audiences
is its straight-from-the-headlines
attentions to the question of women in the
military, and on this Scott & co. are right on
target. Kim Williamson
DEF JAM'S HOW TO
BE A PLAYER ^^1/2
Starring Bill Bellamy, Natalie Desselle,
Mari Morrow and Pierre. Directed by Lionel
C. Martin. Written by Mark Brown
and Deetria Johnson. Produced by Mark
Burg, Todd Baker, Russell Simmons,
Preston Holmes and Stan Lathan. A Gramercy
release. Comedy. RatedRfor strong
sexual content and language.
In a time in which monogamy is used as
a spelling bee word, "Def Jam's How to Be
a Player" isn't going to have a lot of people
openly praising the
movie in mixed company.
A person just saying he liked it could
be enough to spark agitated discussions: The
title refers to someone who has one main
mate and yet intimately sociaUzes with several
others; a Player knows when to say the
right things and when to bluff. For date-night
moviegoers, one of the film's target demos,
the best strategy might be to cheer for the
same gender as one's companion.
Sensitized because she was dropped like
a bad habit by her boyfriend, Jenny
("B.A.P.S."' Natalie Desselle) targets her
brother Dray (Bill Bellamy, best known
from cable's "MTV Jams"), who she feels is
a womanizer who treats his women like
whores. She concocts a scheme to put a kink
in his game(plan). With the help of her friend
Katrina ("Virtuosity's" Man Morrow), she
cracks his organizer's access code and proceeds
to invite Dray's multiracial collection
of femmes to the same party, with the aim
of creating a hostile environment that will
make this Player repent and be reborn.
Ballamy plays Dray in
a way that isn't
likely to seem overly offensive, thanks to
knowing nods to the audience. A supporting
cast humorously blend in their characters to
make the tale's multiple scenarios flow. One
who perpetrates Playerism (Pierre) and two
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ResponseNo 129
fR.n7> IUiV(ii.'i.-|('i.'
REVIEWS
learning to be Players (A.J. Johnson and
Jermaine Big Hugg Hopkins) are comically
depicted. The film is funny and of course
appeals more to men, but women who've
done a little Playing themselves will enjoy
it just as much as the ones who want Dray
to be caught. Dwayne E. Leslie
TALK OF ANGELS ^•^
Starring Polly Walker, Frances
McDormand, Vincent Perez and Franco
Nero. Directed by Nick Hamm. Written
by Ann Guedes & Frank McGuinness.
Produced by Patrick Cassavetti. A
Miramax release. Romance. Rated PG
for some politically motivated violence.
Running time: 97 min.
If Miramax learned one thing from "The
English Patient," it was that romance and
war make compelling cinematic bedfellows
(a lesson that seemed to have become lost
since the days of "Gone With the Wind,"
"Doctor Zhivago" and "The Sound of
Music"). Unfortunately for the brothers
Weinstein, the formula doesn't work to that
extent in "Talk of Angels." Lovingly
adapted by Ann Guedes and Frank
McGuinness from Kate O'Brien's novel
"Mary Lavelle" and ably directed by veteran
West End stage director Nick Hamm,
"Talk of Angels" is an undeniably beautiful
and often seductive tale of colliding cultural
sensibilities and ferocious passions, all set
to the backdrop of an impending Spanish
Civil War. Sadly, the passions depicted onscreen
are fairly tepid ones, playing more
like a dime novel than the meaningful epic
the filmmakers intended.
Its notion of a reserved English-speaking
woman liberated by Latin passions is nothing
new to the movies. In this instance,
though, the Polly Walker/Vincent Perez
pairing doesn't quite click. At times, the
filmmakers almost seem to expect the sheer
beauty of the two actors to substitute for
chemistry. What ultimately salvages the
film from mediocrity is nothing less than
the craft of its execution, a credit to firsttime
helmer Hamm and an excellent supporting
cast that includes Frances
McDormand ("Fargo") as one of Mary's
fellow Irish governesses.
PICTURE PERFECT ••
Wade Major
Starring Jennifer Aniston, Kevin
Bacon, Jay Mohr and llleana Douglas.
Directed by Glenn Gordon Caron. Written
by Arlene Sorkin, Paul Slanskyand Glenn
Gordon Caron. Produced by Erwin Staff
A Fox release. Romantic comedy. Rated
PG- 13for sensuality and related dialogue.
Running time: 102 min.
Jennifer Aniston ("She's the One") stars
in this slight and contrived romantic comedy
as Kate, an ambitious advertising executive
who in order to "dress the part" lets
her bosses believe she is engagecfto a random
man in a photo, Nick ("Jerry
Maguire's" Jay Mohr), that she met only
briefly at a friend's wedding. Having the
fictitional fiance wins her a promotion, but
Kate's bosses want to meet the man. Kate
persuades Nick to help her out of her predicament.
Nick, who's been looking for an
excuse to see Kate again, is glad to oblige.
The actors share a few cute moments and
try to make the most of obvious situations.
The script has interesting comments to
make about the expectations people place
on love, marriage and commitment, but it
fails to follow through; its structure disintegrates
just at the point when it should take
off, when Kate faces actually wanting to be
with Nick, now against the wishes of her
bosses. Of course, the problem here as with
most romantic comedies is that there is very
littie to draw these two people together.
Particularly, Nick has many more reasons to
dislike Kate than to like her. Yet it's easy to
forgive these movies, given enough funny
sidekicks, interesting situations and clever
lines—all of which, unfortunately, "Picture
Perfect" has too few. Susan Lambert
SPAWN •••
Starring Michael Jai White, John
Leguizamo, Theresa Randle, D.B.
Sweeney and Martin Sheen. Directed by
Mark A.Z. Dippe. Written by Alan
McElroy. Produced by Clint Goldman.
A New Line release. SF/action. Rated
PG-13 for thematic elements involving
the demonic underworld, violence, intense
fantasy action and crude humor.
Running time: 95 min.
"Spawn" opens with a spectacular sequence
that creates a hving comic book like
no other, and issues a warning: All roads lead
to heaven or hell, depending on ones' choice;
life is the test. Twisted between his own
slowly remembered nature and the fantastic
powers of the Devil Malebolgia is black
superhero Spawn, played by Michael Jai
White ("City of Industry"). Once human, now
a creature bom from hell to do its bidding.
Spawn can't be what he was (human) yet can't
be what he was created to be (evil).
"Spawn" is the feature version of a megasuccessful
comic book series (also called
"Spawn") created by writer/artist Todd
McFarlane. The screen "Spawn" terrorizes
its namesake/hero less than the comic series
(a rough cut was edited after getting an R
rating for pervasive violent content and
menace), slows down some character revelations
and is less literal a translation than
the HBO series. Yet it delivers a satisfying
rendition of the comic's essence, as supernaturals
battle to destroy or protect mortals.
The movie belongs to Jai White, whose
eyes, voice and movements lock the audience
into his heart and staiggle. Playing Clown, an
agent of the Devil, John Leguizamo ("Romeo
and Juliet") delights by delivering wickedly
funny lines throughout and moving nimbly
despite a heavy costume. A Dippe Goldman
Williams production, "Spawn" uses 375 visual
effects shots to create a dark and complex
world. Those effects are well integrated and
cleverly active; the best, if too sparingly used,
is Spawn in the kinetic red cape of his full
costume. Also good are church and city sets.
What're massing are pieces of story logic and a
clearclimax, but perhaps the latter holds promise
of more to come. Karen Achenbach

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REVIEWS
The Buyers Guide
187 ••
Starring Samuel L. Jackson, Kelly
Rowan and John Heard. Directed by
Kevin Reynolds. Written by Scott
Yagemann. Produced by Bruce Davey and
Steve McEveety. A Warner Bros, release.
Drama. Rated Rfor violence, strong language,
drug usage and brief nudity. Running
time: 120 min.
There have been several good
teacher/bad student films in
the past few
years, standouts among them "Dangerous
Minds" and "The Substitute." This drama
isn't quite in that class. In "187" (the California
penal code for murder), Trevor (Samuel
L. Jackson) is a teacher whose career is
changed by a student attack. After recovery,
he returns as a substitute at a different
school—a school that has metal detectors
and a disrespectful student body. In genre
tradition, he is assigned to the worst class
on campus. When the rules don't work, he
decides that extreme discipline is needed.
Written by a former teacher (Scott
Yagemann) for seven years in the Los Angeles
public school system, "187" shows
evidence of all-too-real-life events and
built-up frustrations. Though filled with insights,
the film's episodic nature means
"187" falls short: Its intent seems to be to
leave beneficial impressions on a school-age
audience, but it makes its points too intellectually.
It's a pyrrhic victory, benefiting
the high-minded filmmakers but leaving the
audience a casualty.
Dwayne E. Leslie
THE WINNER •••
Starring Vincent D'Onofrio, Rebecca
DeMornay, Delroy Undo and Michael
Madsen. Directed by Alex Cox. Written
by Wendy Riss. Produced by Kenneth
Schwenker. A Live release. Drama.
Rated Rfor strong language, along with
some violence and sexuality. Running
time: 90 min.
Quirky and stylish, "The Winner" is yet
another entry in the neo-noir genre. What
distinguishes it from its brethren is its emphasis
on character and leisurely
pacing,
rather than a labyrinthine plot or visual
pyrotechnics. It's a highly stylized film;
making the most of its Vegas locations, it
nonetheless makes the city look unreal.
Philip ("The Whole Wide World's" Vincent
D'Onofrio), the story's man on a winning
streak, lives in a so-new-it' s-raw
housing development, creepy in its suburban
banality. It's not a vision of Las Vegas
audiences have seen before. The strong
cast—all character actors par excellence
breathe life into nightlife types that could
easily have been cliches.
D'Onofrio is fine playing a man so decent
and unassuming he seems like a dimwit,
and Rebecca DeMornay makes a compelling
lowlife. In the last act, "The Wirmer"
takes an odd left turn into surrealism, a move
that perhaps played better on stage (the film
is based on Wendy Riss' play). Still, the
movie is well worth a look for its coherent
and original vision of the American obsession
with luck, glamor, riches, violence and
true love. Cathy Thompson-Georges
GOOD BURGER •••1/2
Starring Kenan Thompson, Kel
Mitchel, Abe Vigoda and Sinbad. Directed
by Brian Rabbins. Written by Dan Schneider
and Kevin Kopelow & Heath Seifert.
Produced by Mike Tollin and Brian Robbins.
A Paramount release. Comedy.
Rated PG for language, some comic violence
and mild sex-related humor. Running
time: 95 min.
"Good Burger" is fat with laughs, good
for your heart, and the film introduction of
cable network Nickelodeon's two most popular
young stars: Kenan Thompson ancfKel
Mitchel (of "All That" and "Kenan & Kel"),
a sensational comedy duo the likes of which
haven't been seen since Abbott and Costello.
As directed by Brian Robbins, in big,
bright close-ups, Kenan and Kel breathe
heart and soul into this tale of virtue winning
over all, and false friendship becoming real.
Presented in association with Nickelodeon
Movies, "Good Burger," a Tollin/
Robbins production, is a tasty serving of
quality family fare. Jokes are built on Ed's
wild leaps of mind: When offered a bribe,
"How does $10 sound?", Ed crinkles a tenspot
to his ear. Tender moments with
Shaquille O'Neal and an exceptional dance
sequence with George Clinton stand out,
and the score jams. — Karen Achenbach
AIR FORCE ONE ^^1/2
Starring Harrison Ford, Gary Oldman,
Wendy Crewson, William H. Macy and
Glenn Close. Directed by Wolfgang
Petersen. Written by Andrew W. Marlowe.
Produced by Wolfgang Petersen, GailKatz,
Armyan Bernstein and Jon Shestack. A
Columbia release. Action. Rated Rfor violence.
Running time: 120 min.
Yet another tired "Die Hard" rehash
wrapped around a ridiculous premise, "Air
Force One" nevertheless stays aloft for the
better part of its two-hour running time
thanks to the diversionary skills of director
Wolfgang Petersen ("In the Line of Fire")
and some superb acting from Harrison
Ford. In the end, however, as is increasingly
the case with Hollywood action pictures,
credibility is stretched too thin for even the
best of talents to salvage this story of an
American president (Ford) hijacked by terrorists
led by the usual genre psycho ("The
Fifth Element's" Gary Oldman).
Although the interior of Air Force One
might not exactly compare to his World
War II "Das Boot" U-boat, Petersen does
manage to sustain the film's suspense and
intensity well beyond what its premise merits.
Ford, likewise, appears so believably
presidential that even fistfuls of action-film
cliches start to seem fresh. But Oldman adds
another over-acted villain to his c.v., with
temperamental exclamations of "Shaaaht
aahp!" and repeated lectures on the lost
glory of "Maaahther Raaahsia" verging on
comedy. Also, as the film winds to a close,
claustrophobic tension once again gives
way to overblown digital effects and outlandish
set pieces enough to make Ford
yearn for the calmer days aboard the Millennium
Falcon. Wade Major
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REVIEWS
I
^
P
STAR MAPS ^1/2
Starring Douglas Spain,
Efrain Figueroa, Kandeyce
Jorden, Martha Velez and
Lysa Flores. Directed and
written by Miguel Arteta.
Produced by Matthew Greenfield.
A Fox Searchlight release.
Drama. Rated R for
strong sexuality and language,
andfor violence. Running
time: 87 min.
Douglas Spain stars as Carlos,
a young Hispanic man who
returns to his family in L.A.
determined to be a star after
working as an actor in Mexico.
Despite the protests of his
sweet sister Maria (Lysa Flores),
Carlos goes to work for
his manipulative father, Pepe
(Efrain Figueroa), a pimp to a
group of young men who sell
star maps on the streets as a
front for prostitution. Carlos
has kinky sex with both Johns
and Janes, hoping his dad will
reward him with help getting
into show business. When Carlos
on his own gets a break
from a smitten actress/customer
(Kandeyce Jorden),
who's determined to put him
on her TV show, an all-out war
with Pepe ensues.
First-time filmmaker Miguel
Arteta seeks profundity in
Carlos' quest to become an
actor and escape his brutal dad,
but their emotional confrontations
don't engage the audience.
What's worse is that the
director seems to want his film
to be topical, funny, shocking
and sweet, all at the same time;
Arteta should have stuck to
Carlos' grittier story instead of
taking excursions into other
terrain. Carole Glines
OPERATION
CONDOR *iricir
Starring Jackie Chan,
Carol Cheng, Eva Cobo De
Garcia and Shoko Ikeda. Directed
by Jackie Chan. Written
by Jackie Chan and Edward
Tang. Produced by Leonard
Ho. A Dimension/Miramax
release. Action/adventure.
Rated PG-13 for martial arts
action and some shootings,
and for sensuality. Running
time: 89 min.
The third time's the charm
for Jackie Chan ("Rumble in
V the Bronx"): His latest import
) sports nonstop fun and madcap
mayhem. Miramax's Dimension
label has done a good
job of tightening the original
1 99 1 Hong Kong film (entitled
"Armor of God II: Operation
Condor"). The sequel has little
to do with the original 1987
"Armor of God" (which Jackie
Chan also directed and starred
in) except for the leading character:
Jackie (code name: Condor),
a globe-trotting Chinese
Indiana Jones/James Bond.
"Operation Condor" is one
of the best Chan movies and
the first Chan-directed film to
be released in America. Most
importantly. Dimension has
made sure to secure a PG-13
rating (as opposed to the R rating
given to both New Line's
"Rumble in the Bronx" and
"Supercop"), thus expanding
the movie audience to include
those in America who might
most appreciate Chan's blend
of goofy humor and endless
action: young teenagers.
By Chan standards, the story
is straightforward and solid, if
simple and often silly. Yet any
Chan film is really just an excuse
for extended chase sequences
and .spectacular fight
scenes that highlight Chan's
physical prowess and comic
timing, and Chan's high action/comedy
hijinks are in top
form here. Susan Lambert
KISS ME GUIDO ^^1/2
Starring Nick Scotti and
Anthony Barrile. Directed
and written by Tony Vitale.
Produced by Ira Deutchman
and Christine Vachon. A Paramount
release. Comedy.
Rated R for sexuality and
strong language. Running
time: 89 min.
The premise has potential:
In dire need of rent money,
Warren (Anthony Barrile) advertises
for a GWM (Gay
White Male) to share his apartment.
Homophobic Frankie
(Nick Scotti) answers the ad,
thinking GWM means Guy
With Money, and comedic
consternations ensue.
The film's intent is to show
how the fundamentally opposite
roommates learn from one
another and grow in the process,
but the comic possibilities
of this construct are barely
explored. (The similar
"Maybe. ..Maybe Not" exploited
this culture-clash concept
overlapping the two
protagonists' worlds more.)
Frankie isn't exposed to
enough of Warren's friends,
family or pastimes, and vice
versa, to fully demonstrate the
wide differences between the
unlikely roomies.
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Response No 72
REVIEW BRIEFS
which would ultimafely spawn
an exciting new wave of
filmmaker. Thus, a film like
Shainee Gabel and Kristin
Hahn's stunning documentary
"Anthem," shot on videotape
by two young women with a
dream and a tank of gas.
Tfieir quest: to chronicle
what is and what has become
of the "American Dream."
Having stabbed at the core of
today s American psyche
through interviews with dozens
or people ranging in influence
from waitress to White
House aide, they pour out a
complex study of the loss of
pride and dignity in America,
and the burning desire by people
of ail walks of life for authentic
heroes and valiant
political leadership.
The film is weakened by
never-ending editorials by the
filmmakers. Nevertheless,
"Anthem" stands as a vital
and unique testament to the
vigor and scope of the American
way of life' this is the rare
kind or film that should be
placed in a time capsule for
future generations so they
might have a better appreciation
of our moment in history.—
Jon A/on Walz
THE LAST TIME
I COMMITTED
SUICIDE •l/Z
Starring Thomas Jane,
Keanu Reeves and Claire
Forlani. Directed and
written by Stephen Kay,
Produced by Edv^ard
Bates and Louise Rosner.
A Roxie release. Drama.
Rated R for sexuality.
Running time: 93 min.
Based on a letter by wouldbe
poet Neal Cassady
(Thomas Jane) to writer Jack
Kerouac in the 1950s, an elliptical
screenplay by
writer/director Stephen Kay
("Intimate Power') follows
Cassady through several
nights of revelry as he romances
a suicidal young
woman ("Basquiat's" Claire
Forlani) and hangs with his
buddy (Keanu Reeves) at a
Denver pool hall, getting
drunk and gabbing endlessly
about anything.
The existential angst and
restlessness of the 1 950s Beat
generation are not conveyed
with any dramatic impact or
perception in this Kushner-
Locke/Tapestry production,
which fries to make art out of
shallowness and vacuity. For m
all his well-meaning intentions, ^
Kay fails to grasp me spiritual
malaise and rebellion of the
lifestyle.
Dale Winogura
TETSUO II: BODY
HAMMER •••
Starring Tomoroh Taguchi,
Nobu Kanaoka
and Shinya Tsukamoto.
Directed and ^^ritten by
Shinya Tsukamoto. Produced
by Fuminori Shishido
and Fumio Kurokawa.
A Manaa release.
SF. Japanese^anguaae;
English subtitles. Unrated.
Run time: 83 min.
V^riter/director/DP/art director/editor
Shinya Tsukamoto
also co-stars in his aptly
named film ("Tetsu" = iron;
"o" = man) about humans
who transform themselves into
metal (here, guns). In this
1991 Toshiba EMI/Kaiyju
production, a reworking of
Tsukomoto's 1989 "Tetsuo:
Iron Man" (same cast and
concept, different plot and setting),
mutant skinheads chase
a Japanese salaryman (punk
music superstar Tomoroh M
Taguchi) through dark, frag- ^
mented shots—stunning for
making Tokyo appear emptv
OS well as for posing small
human bodies against the infinite
webs of glass and steel
that cities have become.
Color gels add to the visual
effect, as does Chu Ishikawa's
punk-industrial score. But interest
in the story doesn't really
penetrate until the movie's
final third, when numerous
plot revelations up the tempo.—
Karen Achenbach
SUDDEN
MANHATTAN iririr
Starring Adrienne
Shelly, Louise Lasser and
Tim Guinec. Directed and
v\fritten by Adrienne
Shelly. Produced by
Marcia Kirkley. A Phaedra
release. Comedy.
Unrated. Time: 80 min.
The sweetly dippy and bonkers
"Sudden Manhattan" details
the descent of a lonely
young New Yorker (writer/director
Adrienne Shelly) into
existential madness with offbeat
humor and gentle M
strangeness. Although the in-
fluences of Hal Hartley,
Woody Allen, Roman
Polanski and David Lynch are
obvious, Shelly's daffy comic

—
—
REVIEWS
Scotti's performance as
Frankie carries the movie, adding
most of the film's humor as
the literal and figurative
straight man. He manages to
make sympathetic and charming
his character of the homophobic
yet otherwise (mostly)
virtuous "guido" (a derogatory
term for gold-chain-wearing,
brashly mannered, style-impaired
Italian-Americans who
venerate machismo). Like the
premise, first-time writer/director
Tony Vitale also has potential—if
he increases the
adventuresome aspects of his
ideas. Christine James
NOTHING TO
LOSE ^^1/2
Starring Tim Robbins,
Martin Lawrence, John C.
McGinley, Giancarlo Esposito
and Kelly Preston. Directed
and written by Steve
Oedekerk. Produced by Martin
Bregman, Dan Jinks and
Michael Bregman. A Buena
Vista release. Comedy. Rated
R for pervasive strong language
and a sex scene. Running
time: 98 min.
This Touchstone effort
doesn't exactly recapture the
golden formula of such previous
mismatched interracial
buddy pictures as "48HRS.,"
"Trading Places" and the "Lethal
Weapon" series, but it
does manage to maintain a
hapless charm of its own that,
although often clumsy and unfocused,
should please fans of
its two male leads.
Tim Robbins ("The
Shawshank Redemption")
stars as Nick Beam, a Los Angeles
advertising executive
whose happy married life
comes to a crashing halt when
he comes to believe that his
wife ("Jerry Maguire's" Kelly
Preston) is having an affair
with his boss ("That Darn
Cat's" Michael KcKean). Before
he can complete a downward
spiral into suicidal
despair, he becomes the victim
of carjacker T. Paul ("A Thin
Line Between Love and
Hate's" Martin Lawrence).
Having literally "nothing to
lose," Nick turns the tables on
his attacker, taking the man on
a journey of comic terror.
As buddy pictures go,
"Nothing to Lose" is one of the
more obvious ones, with
hardly an original or inventive
twist to be found. Thanks to the
comic chemistry between
Robbins and Lawrence, the
damage is minimal. Like a
modem-day Laurel and Hardy,
Robbins offers droll understatement
while Lawrence effects
manic outbursts. For
writer/director Steve Oedekerk,
the film is a middling
success: a monumental step up
from his last effort as a hyphenate,
"Ace Ventura: When
Nature Calls," yet well shy of
the more balanced resonance
of his winning "The Nutty Professor"
script. Wade Major
CONTACT •••1/2
Starring Jodie Foster, Matthew
McConaughey and Tom
Skerritt. Directed by Robert
Zemeckis. Written by James
V. Hart and Michael Goldenberg.
Produced by Robert
Zemeckis and Steve Starkey.
A Warner Bros,
release.
SF/drama. RatedPGfor some
intense action, mild language
and a scene of sensuality.
Running time: 150 min.
"Contact" connects, thanks
to an intelligent script by Michael
Goldenberg ("Bed of
Roses") and James V. Hart
(adapting from the Carl Sagan
novel) and a strong performance
from Jodie Foster as
Ellie, a driven scientist who
has devoted her life to searching
the airwaves for signals
from space. It's not "ID4"/
"MIB" movie fare; there are no
slime-gushing assassinations
and only one explosion. The
film's dramatic elements and
its philosophic rather than pyrotechnic
nature, along with its
spanning of the sci-fi, drama,
comedy, romance, suspense/thriller
and fantasy/adventure
genres, make the latest
from Robert Zemeckis ("Forrest
Gump") a sci-fier for sophisticated
audiences.
One day, miraculously,
Ellie' s efforts pay off: There is
a signal from space. Even as
mayhem results among the
masses, out of Ellie's past
steps Palmer Joss ("A Time to
Kill's" Matthew McConaughey,
occasionally too charming),
an easygoing spiritualist
who's now the president's religious
adviser. Aside from his
role as the love interest, the
point of Palmer's character
seems to be to draw a parallel
between the spiritual and the
scientific, though the results
are not entirely successful.
Unlike so many other alienthemed
movies, "Contact"
doesn't disappoint (at least not
entirely) with regard to provid-
Quality

Now appearing on theatres internationally...
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REVIEWS
ing outtasight sights. Special
effects are imaginatively used
to take audiences on an interspacial
tour. Ultimately,
though, the unknown can only
be glimpsed, and it's implied
that we aren't ready to be made
fully aware of the wonders of
the universe. It's a trite way of
avoiding the effort of creating
an alien world that can live up
to sustained scrutiny.
Still, the drama unfolding on
earth is the greater focus of the
filmmakers. Reaction to
history's greatest discovery is
shown as being militantly divided,
and astute commentary
is made on how such news
would actually affect the
world. At two-and-a-half
hours, "Contact" is well-paced
with humor, humanity, and an
electrifyingly ascending momentum.—
Christine James
A SIMPLE WISH •^
Starring Mara Wilson,
Martin Short, Kathleen
Turner, Robert Pastorelli and
Amanda Plummer. Directed
by Michael Ritchie. Written
byJef/Rothberg. Produced by
Sid, Bill andJon Sheinberg. A
Universal release. Comedy.
Rated PG for mild language.
Running time: 90 min.
Efforts to produce a broadbased
family film with equal
appeal for adults and children
fall flat in "A Simple Wish," an
almost too simple fantasy that
hedges so indecisively between
full-blown fantasy and
satire that it never
does justice to either
genre.
In the wake of
her "Matilda"
success, Mara
Wilson stars as
Anabel, yet another
wide-eyed,
wonder-struck
child in search of
"A Simple Wish" might
a better future; in
this case, that
consists of soliciting
her "fairy
godmother." Unfo
rt u nat ely
Anabel's fairy
godmother turns
out to be a bungling
fella named Murray (comedian
Martin Short, last seen
in "Mars Attacks!").
Had screenwriter Jeff
Rothberg and director Michael
Ritchie chosen to play this
Bubble Factory procluction as
a straightforward fantasy with
all the requisite mirth and malice,
have worked as a proper
children's film. Instead, the
filmmakers trade charm for
satire, overloading the narrative
with "hip" adult references.
Children, of course,
won't appreciate the references,
and adults are likely to
find their inclusion in a film of
this sort more curious than
amusing. Wade Major
THIS WORLD,
THEN THE
FIREWORKS ^^1/2
Starring Billy Zane, Gina
Gershon, Sheryl Lee and Rue
McClanahan. Directed by Michael
Oblowitz. Written by
Larry Gross. Produced by
Chris Hanley, Brad Wyman
and Larry Gross. An Orion
Classics release. Drama.
Rated R for strong violence,
sexuality and language. Running
time: 99 min.
"God rigged it, we take the
hits" is the Weltanschauung of
this modestly convincing adaptation
of a 1955 Jim Thompson
short story about two
troubled grifters. Bom twins,
Marty and Carol Lakewood
(Billy Zane and Gina Gershon)
while still children saw their
father, caught naked in bed
with a neighbor's wife by an
outraged husband, shotgun the
man, their little faces sprayed
by blood. Now a muckraking
journalist equally interested in
SHADEY CHARACTERS: Gina Gershon and
BilhZane in "This World, Then the Fireworks. "
roiling life's muck and in rak-
ing transgressors on to their
eternal unreward, often while
quoting biblical derangements,
Marty has always had a
special bond with sis, a weagainst-the-world
attitude.
Fate brings the dark-hearted
duo together again as Marty
and Carol, who is now a well-
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REVIEWS
upholstered prostitute, ID a iiiuik: an apparently
repressed and lonely patrolwoman,
Lois Archer ("Bliss"' Sheryl Lee), who
owns beachfront property. Machination
and murder follow.
"This World, Then the Fireworks" has
almost as many problems as its leads. Right
from the opening credits, a wildly overdone
jazz score announces the filmmakers' toohip-for-the-house
approach to Thompson's
work; they go in with cigarettes dangling
from their lips, and the smoke seems to
blind them to their real job of getting at
these two lost souls' humanity.
Debut director's Michael Oblowitz
helming and Larry Gross' scripting are
overbaked outside yet uncongealed inside,
but the work of Zane, Gershon and Lee
could hardly be better. All three have shown
an eagerness to take on on-the-edge projects,
and they deliver here. Each of their
three characters is a misfit built of conflicting
emotions and desires, and it's a delight
to watch the performers' faces handle the
challenge. Kim Williamson
OUT TO SEA •••1/2
Starring Jack Lemmon, Walter
Matthau, Dyan Cannon, Gloria DeHaven,
Brent Spiner, Elaine Stritch, Hal Linden,
Donald O'Connor, Edward Mulhare and
Rue McClanahan. Directed by Martha
Coolidge. Written by Robert Nelson Jacobs.
Produced by John Davis and David
T. Friendly. A Fox release. Comedy. Rated
PG-13 for language and sex-related
humor. Running time: 105 min.
In their first non-"Grumpy" pairing since
the 1 993 reteaming that earned them a new
generation of fans, Walter Matthau and
Jack Lemmon head "Out to Sea" to once
again prove that flab, ear hair and enlarged
prostates are no obstacles to attracting beautiful
and sexy women.
Only in the movies.
The hijinks begin when chronic gambler
Charlie (Matthau) cons his widowed
brother-in-law Herb (Lemmon) into joining
him on a Caribbean cruise, on which Charlie
plans to seduce a woman of sufficient
means to support his habit. What Charlie
hasn't told Herb is that he enrolled them as
dance hosts to avoid paying for the cruise.
The expected hijanks ensue.
Although the romantic twists and turns
that follow are fairly obvious, Matthau and
Lemmon's effortless charms and impeccable
timing keep things brisk and lively
throughout. UnliKe their previous efforts,
however, the actors here thrive less on their
interaction with each other than on their
resjjective romantic entanglements, allowing
for a more diverse collection of dramatic
and comic possibilities. The
supporting cast also provides able work.
For director Martha Coolidge ("Three
Wishes"), "Out to Sea" marks a welcome
and successful return to the breezy comedic
sensibilities she first displayed in her debut
film, "Valley Girl." Most of the film's other
creative credits are just serviceable, with
the exception of David Newman's score,
which is superb. Wade Major

Review Digest
Genre key: (Ac) Action; (Ad) Adventure; (An) Animated; (C) Comedy;
(D) Drama; (Doc) Documentary; (F) Fantasy; (Hor) Horror;
(M) Musical; (My) Mystery; (R) Romance; (Sat) Satire;
(SF) Science Fiction; (Sus) Suspense; (Th) Thriller; (W) Western.
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Addicted to Love R (WB) 200 RC 7-97 3
Anaconda PG-13 (Col)
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SeDtember. 1997 tR-143) 129
REVIEWS
THE SWAN PRINCESS: ESCAPE
FROM CASTLE MOUNTAIN ifV2
Voices by Michelle Nicastro, Douglas
Sills and Jake Williamson. Directed by
Richard Rich. Written by Brian Nissen.
Produced by Richard Rich and Jared F.
Brown. A Legacy release. Animation.
Rated G. Running time: 71 min.
Though it's somewhat more active and
colorful than its dismal predecessor, "The
Swan Princess," this sequel is pretty much
just more stiff, unpolished animation for
undiscriminating family audiences, lacking
wonder and imagination. The few moments
of charm and sweetness can be traced to
Brian Nissen' s occasionally clever script,
but Richard Rich's pandering, immature
direction is almost as blatantly amateurish
in technique as his handling of the original
(which was a success, unaccountably).
Bright colors and backgrounds are diminished
by an absence of character detail
and personality, with stilted motions and
inexpressive faces in their place. Even
worse, the three original songs by Lex de
Azevedo and Clive Romney are only
slightly more melodic and graceful than the
tunes in the previous film; one number is a
misfired and misplaced attempt at a rockmusic
style. As bland and unsophisticated
as most children's TV, this is the kind of
inept cartoon feature that sets the cause of
good animation back a couple of decades.
One plus: It's short. Dale Winogura
HEAD ABOVE WATER ^^
Starring Cameron Diaz, Harvey Keitel,
Craig Sheffer and Billy Zone. Directed by
Jim Wilson. Written by Theresa Marie.
Produced by Jim Wilson and John M.
Jacobsen. A Fine Line release. Drama.
Rated PG-13 for thematic elements and
some moments of strong violence. Running
time: 92 min.
From the school of film noir comes
"Head Above Water," a sometimes original
but largely ineffective thriller. Nathalie
(Cameron Diaz), an ex-drug addict, is vacationing
in Maine with her husband George
(Harvey Keitel), the judge who gave her a
reduced sentence. Also around is handyman
Lance (Craig Sheffer), a childhood friend
of Nathalie's who's always had a crush on
her. Then another old friend, Kent ("The
Phantom's" Billy Zane), arrives to make a
play for Nathalie when Lance and George
are off fishing—but Kent soon winds up
dead on her bed. Whodunnit?
The acting, which needs to be razor-sharp
in such a film, is substandard. Nathalie is
mainly a reactive character; though Diaz is
onscreen more than in "My Best Friend's
Wedding," she has less to do. Sheffer, the
weak link in "Bliss," turns in another
stonefaced performance. As the seemingly
meek George, Keitel is atypically bland. To
its detriment, the film tries too hard to shoehorn
these characters into complex situations,
which fails because the people are so
dull. But to their credit the filmmakers don't
telegraph their plot twists too often; there
are real surprises. Shlomo Schwartzberg
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REVIEWS
FRANK CAPRA'S
AMERICAN DREAM ^•^
Narrated by Ron Howard. Directed and
written by Ken Bowser. Produced by
Charles Buncombe. Executive produced
by Tom Capra and Frank Capra Jr. A
Columbia Repertory release. Documentary.
Unrated. Running time: 109 min.
Here's a proposal for a new axiom about
documentaries: beware of biographical
sagas that refer to their subject by first
name. "Frank Capra's American Dream" is
more artful and mformative in the way it
conveys its hidden
agenda, but
at bottom it's almost
as suspect
as the promotional
"documentaries"
the
Disney Studios
used to churn
out with such
regularity—
which helped
create a mystique
around
"Walt" so pervasive
that man\
viewers above a
certain generational
threshold
CAPRA MAN: The late James Stewart with Jean Arthur
Frank Capra's "Mr. Smith Goes to Washington.
still believe the
most successful
animation producer
in the history of movies actually had
a hand in drawing his own cartoons.
He didn't, of course, just as Frank Capra
had no real hand in the writing ofhis signature
works of the sound era. Yet—aside from an
obligatory nod to Capra's most famous scenarist,
Robert Riskin (which of course makes
no mention of the competitive tensions that
surrounded and ultimately destroyed their relationship)—
you'd never know it to watch
this movie. But that's just a sin of omission,
not on a par with the outright, albeit masterfully
subtle, distortions of Capra's record this
Capra family-produced bio purveys as fact.
For example: Capra's shrewd political decision
to wangle his way onto the Academy
board of governors in the early 1930s is
avoided, though his presidency of the Academy
is carefully presented after sequences
showing his Best Director wins for "It Happened
One Night" and "You Can't Take It
With You." Capra was up to his neck in
backstage Oscar politics by the time he
grabbed the brass ring, and his record on labor
issues (the Academy had arbitration authority
in those days) was far more ambiguous than
it is presented here. More importantly, his
famifiarity among the Academy's voting
membership undoubtedly influenced his receipt
of the tniphies he so desperately sought,
and which he pn)bably deserved anyhow.
Then there's the matter of the House
UnAmerican Activities Committee. To
hcarthis film tell it, Capra was a '50s martyr
of the McCarthyite inquisitors, whose peri(xl
as a citizen under suspicion went out
with a euphemism—the Red Channels
clouds parting "not with a bang but with a
whimper," as one of Capra's heavily featured
sons puts it. But as BOXOFFICE contributor
Joseph McBride proved in his
groundbreaking Capra biography "Frank
Capra: The Catastrophe of Success," that
whimper was emitted by Capra himself,
who eventually gave up "Mr. Smith Goes
to Washington" screenwriter Sidney Buchman
to HUAC, along with other, less wellknown
Capra collaborators, in a secret
session that ultimately saved his career.
The irony of course is that, like "Walt's,"
"Frank's" achieveinents need no gilding to
be worthy of admiration,
and
even celebration.
As this feature
rightly points
out, his films
charted a far
more complex
and a much
darker vision of
American society
and politics
than is popularly
believed. Copiously
illustrated
with clips from
Capra's ouevre
and by interviews
with such
unlikely admirers
as Oliver
Stone and Robert
Altman, it is in the simultaneously haunted
and consecrated faces of such Capra stars
as Jimmy Stewart, Gary Cooper, Jean Arthur
and Barbara Stanwyck as they enact
Capra and Riskin's populist parables of triumph
and despair that "Frank Capra's
American Dream" ultimately finds its
sought-for apotheosis. Ray Greene
SQUEEZE •••
Starring Tyrone Burton and Eddie
Cutanda. Directed and written by Robert
Patton-Spruill. Produced by Garen Topalian,
Stephanie Danan, Patricia Moreno
and Arri Newman. A Miramax release.
Drama. Rated Rfor strong violence, pervasive
strong language and some drug
content. Running lime: 96 min.
Three 14-year-old friends, Tyson (an excellent
Tyrone Burton), Hector (a poignant
Eddie Cutanda) and Bao (Phuong Duong)
attempt to survive into adulthood on the
goverty-blighted, gang-controlled streets of
Boston's Dorchester Fields. Trying to save
these kids is J.J. (Geoffrey Rhue), an adult
who runs a local youth collective. Starring
at-risk kids who came through the media
arts program of the Dorchester Youth Collective,
and based on stories by D.Y.C.
founder Emmett Folgert, "Squeeze" is the
debut film of Robert Patton-Spruill. A few
sequences (including a death) are clumsy
and stedicam work occasionally too fast and
close to follow, but most of "Squeeze" is
visually solid, and an ethnically diverse cast
creates intensity. Karen Acnenbach

«/>n«mhor 1007
NATIONAL
NEWS
MOVIEFONE WINS $22 MILLION
JUDGEMENT FROM PACER/CATS
An arbitration panel ordered ticketing systems
manufacturer Pacer/CATS to pay a
whopping $22.7 million to MovieFone, Inc.
in a judgement based on MovieFone's claim
that Pacer/CATS reneged on a 1 992 contract
to provide hardware to the phone ticketing
company, which would have helped
MovieFone to expand and improve its teleticketing
operations.
The big post-judgement question is: who's
going to pay? Key Pacer/CATS assets were
acquired by ticketing giant (and MovieFone
competitor) Ticketmaster in 1994, which
rolled those assets into another entity, called
CCS. MovieFone claims it was Ticketmaster's
acquisition of Pacer/CATS assets and the rivalry
between the two companies that caused
Pacer/CATS to fail to honor its MovieFone
commitments and that therefore Ticketmaster
is liable. Ticketmaster claims it isn't responsible
for any aspect of the judgement, since
Pacer/CATS as a company is unrelated to
Ticketmaster, and because no Ticketmaster
executives were involved with or questioned
during the arbitration.
A transcript of the three-member panel's
decision appeared to support MovieFone's
position. "Pacer/CATS materially breached
and blatantly violated the agreement between
the parties," the panel declared in part.
"Pacer/CATS, Ticketmaster and [former
Pacer/CATS parent] Wembley secretly entered
into a transaction to strip Pacer/CATS of
the resources necessary to perform its agreement
with MovieFone and, under cover of this
concealment, developed a common plan and
purpose, the aim of which was to terminate
the agreement and demolish the business."
The panel also declared that Ticketmaster's
Pacer/CATS division CCS "is explicitly bound
by its terms and liable for breaches that it
committed, or were previously committed by
Pacer/CATS." The panel pointed out that CCS
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office, phone number, stationery, business
cards and other paraphernalia."
The $22.7 million judgement was decided
upon to reimburse MovieFone for the development
costs related to its own proprietary
tele-ticketing system after Pacer/CATS faltered
in its contractual obligations.
THE LION LANDS ORION, GOLDWYN
As Metro-Coldwyn-Mayer Inc. finalized its
deal to buy Orion Pictures and Goldwyn Entertainment
Co. from Metromedia Intl. Group
(MIC) to a tune of $573 million, it also gave
out pink slips to Orion Pictures vice presidents
Brad Krevoy and Steve Stabler, who are negotiating
for a settlement of their five-year contracts
with Metromedia. Reportedly a total of
85 Orion employees were terminated immediately,
with approximately 136 employees
to stay on during the transition, of whom
25—mostly the distribution executives—will
be absorbed intothestudio, while the rest will
find their jobs eliminated over the next nine
months. MGM plans keep the Goldwyn name
as an art-film label. The fate of the 35-employee
Goldwyn unit, including Goldwyn president
Meyer Gottlieb, has yet to be determined.
MGM decided to acquire Orion and Goldwyn
in order to more than double the size of
its current library. The 2,200-title library from
Orion and Goldwyn includes "Dances With
Wolves" and "The Silence of the Lambs" and
now gives MGM "the largest modern film
library in the world," according to MGM
chairman and CEO Frank Mancuso. The library
is expected to significantly enhance the
studio's operating cash flow. Some industry
insiders say it puts MGM in a better position
for a possible initial public offering. MGM
added almost all of the 10 acquired completed
films from MIG to its practically empty
release slate.
INDIE EXECUTIVE SHUFFLE
Call it the independent executive exchange
program, but the shuffle at Miramax, October
Films and Live Entertainment is keeping everyone
on their toes. Miramax senior vice
president Scott Greenstein, often referred to
as the third Weinstein, left Miramax in June
and was taken on board at October Films to
replace co-managing executive Amir Malin,
who left October to take a top spot at Live
Entertainment.
Live, which was recently acquired by an
investors group headed by Bain Capital and
Richland Gordon & Co., named Malin copresident
in charge of domestic and international
film distribution, and announced its full
top team: Live chairman Roger Burlage remains
in place along with two new executives—Mark
A. Curcio, former head of Bain's
Los Angeles office, was named CEO, and Bill
Block, former head of West Coast operations
for talent agency International Creative Management,
was named co-president. Neither
Curcio nor Block has any previous film production
or film company experience.
Miramax, meanwhile, promoted Steven
Hutensky to senior VP of business and legal
affairs and Andrew Herwitz to senior VP of
acquisitions and business affairs. Greenstein
will join with October's other co-managing
executives Bingham Ray and John Schmidt.
Bain had bid on taking over October (before
LJniversal acquired a majority interest in the
indie) and Malin was known to be intrigued
by the potential of Live's 2,000-title library.
AMC IN PLANET HOLLYWOOD ORBIT
Planet Hollywood International, Inc. and
AMC Entertainment announced a joint venture
to develop and operate an integrated
moviegoing, dining and retail concept under
the branded name Planet Movies by AMC.
The 50/50 partnership will be responsible
for the creation and marketing of themed
environments combining AMC megaplexes
with Planet Hollywood restaurants as well as
other dining, retail and movie-related outlets.
The venture plans to open complexes worldwide;
to kick things off, seven existing AMC
'plexes encompassing 1 50 AMC screens will
be adapted to the Planet Movies concept. The
re-branded locations include AMC's Pleasure
island 24-plex in Orlando, Fla., which is located
across the street from Planet Hoi lywood's
most successful restaurant and retail unit.
The co-venture will own and operate all
subsequent units, including eight to 10 new
complexes with a total screen count between
200 to 250, which are to be built in the next
18 to 24 months. After that. Planet Movies
anticipates rolling out new facilities at the rate
of five to 1
sites per year.
MR. VALENTI GOES TO MOSCOW
Jack Valenti, chairman and CEO of the
Motion Picture Association of America
(MPAA) and chairman and CEO of the Motion
Picture Association (MPA), announced the
appointment of Simon Barsky to the post of
senior vice president and general counsel of
both the MPAA and its international counterpart,
the MPA. Barsky, who has been with the
MPAA since 1978, will oversee all of the
associations' legal affairs worldwide.
However, Valenti will continue to be involved
with one of the most prominent international
legal affairs affecting the industry: the
ongoing battle against the piracy of LJ.S. films
in foreign countries. Trade war threats against
major offenders such as China have loomed
for months as an ultimatum to incite action to
solve the problem.
In July, Jack Valenti departed for Moscow
to meet with a number of the country's highranking
government officials on the issue of
piracy. Russia is one of the largest markets in
the world for pirated U.S. films, accounting
for an estimated annual revenue loss of $300
million. Upon arrival in Moscow, Valenti met
with the Russian audiovisual industry and
launched the Russian Anti-Piracy Organization,
a new joint initiative to fight piracy. As
Valenti pointed out in a statement, "Piracy
steals from us all. Nikita Mikhalkov's awardwinning
'Burnt by the Sun' and Andrei
Konchalovsky's new work 'The Odyssey' are
just two examples of Russian works to suffer
in pirates' hands."
AU REVOIR, RYSHER
After three years in motion picture production,
a series of boxoffice losses has prompted
Rysher Entertainment to pull out of the movie
industry. It will focus exclusively on TV operations,
phasing out all theatrical production
activities. The move will result in the elimination
of about 40 jobs. CEO Tim Helfet said in
a July 8 meeting that Rysher had lost money
on its theatrical product, having never managed
to score a major boxoffice hit. The company
suffered substantial losses on the
MGfvVUA-distributed "Turbulence," which
cost nearly $60 million to make but grossed
only $11.5 million domestically, and "The
Evening Star," distributed through Paramount,
which grossed $12.5 million and resulted in
losses of more than $30 million. The total cost
to Rysher's parent company, Atlanta-based
Cox Enterprises, is estimated at $200 million.
Other Rysher projects to bomb were
"House Arrest," "Exit to Eden" and "Destiny
Turns on the Radio," while the company's hits
included "Private Parts," "Primal Fear" and
"Big Night." Rysher will produce one more
film, "EugeneOnegin," starring Ralph Fiennes
and Liv Tyler.

1W Rnvnnnrxr
—
EXHIBITION
BRIEFINGS
A STAR IS BORN IN SOUTHFIELD
Star Theatres has opened the 20-screen, all
stadium seating, all-THX approved Star
SouthfieidEntertainmentCentreinSouthfield,
Mich., and it's already setting records. On its
opening weekend, June 20-22, the Star
Southfield had the highest attendance in the
country, with nearly 45,000 patrons coming
through the theatre's doors. It was the second
highest grossing theatre for the opening weekend
of "Batman & Robin," and the highest
grossing theatre for the July 4 opening weekend
of"Men In Black," with 55,000 attendees.
The Star Southfield's two largest auditoriums
have 700 seats each; total seating capacity
is 6,000. The 1 85,000-square-foot
complex has three themed areas: the "Historic
Detroit Lobby," "Hollywood Boulevard" and
"Hollywood Soundstage." The centerpiece of
the central concession stand is a 20-foot-tall
bucket of popcorn with basketball-sized popcorn
kernels that actually pop into the air. The
theatre's unique design even features sky ceilings
with cloud machines.
Star Theatres, based in Grand Rapids,
Mich., is run by Loews co-chairs Jim and
Barrie Loeks, and is a partnership between
Loeks Michigan Theatres and Sony Retail Entertainment.
It operates 82 screens in eight
locations throughout Michigan.
SIGNATURE STYLE
Signature Theatres has opened its flagship
Hawaiian movie theatre, the Signature Pearl
Highlands 1 2. The 1 2-screen, 2,500-seat theatre
offers all three digital sound systems
DTS, Dolby Digital and SDDS—as well as
stadium-style seating and plush high-back
chairs with cupholders. Founded in 1996,
Signature already owns and operates more than
1 00 screens in Northern California and Hawaii.
CROWN'S SCREEN COUNT
REACHES NEW APEX
Connecticut-based Crown Theatres is purchasing
Apex Cinemas, a 24-screen circuit
based in Annapolis, Md. This will bring the
total number of screens Crown owns and
operates to 67. A new 1 6-screen megaplex in
Annapolis, a 14-plex in Brooklyn, N.Y., and
a six-screen expansion of the Crown Marquis
10 in Trumbull, Conn., are also in the works.
The circuit also has sites in development in
Queens, N.Y.; Elizabeth, N.J.; Cherry Hill,
N.J.; Exton, Penn.; and Miami, Fla.
CHRISTIE ACQUIRES WESTREX
Christie Inc., a manufacturer and distributor
of motion picture theatre projection equipment,
has purchased the Wesfrex Electronic
Film Projector product line. Westrex manufactures
35mm and 70mm projectors for special
venue applications, including large
format theatres, motion simulator rides, and
3-D and multiple projector theatres. This
SHOWMANDISER PROMOTION OF THE MONTH
Mich., created a hilarious
Bill McDanlel, promotions
manager for the Star Gratiot
Theatre in Clinton Township,
mock-tabloid
to promote his theatre's screenings
of the sci-fi blockbuster "Men In
Black." The cover features a headline
proclaiming an alien invasion,
illustrated with a photo of a spaceship
flying over the Star Gratiot. Spoofs of
alien abduction stories and other
sensationalistically humorous articles
ran in the four-page tlyer, including the
Pop and Popcorn diet "guaranteed to
work wonders!" (with a typical tabloid-type
disclaimer noting that the
claim is, of course, "NOT A GUAR-
ANTEE"). A coupon for a free soda
during "MIB's" opening weekend was
also included. The publication was
distributed for free at the theatre's
boxoffice and area businesses for two
weeks prior to the film's release.
move is part of Christie's strategy to expand
into the special venue market. "We are extremely
happy about the acquisition as special
venues are an expanding market that we
have been interested in pursuing for some
time," says Christie's executive VP and COO
Jack Kline. "Westrex is a known leader in the
industry...The marriage ofthe two companies
will allow us to work as a cohesive unit to
extend our leadership position." Westrex's
manufacturing operations have moved from
Simi Valley, Calif., to Christie's headquarters
in Cypress, Calif.
DOLBY RECEIVES BAFTA AWARD
On the heels of announcing the sale of
more than 2,500 digital processors over the
first six months of 1997, Dolby Laboratories
was recently selected by the British Academy
of Film and Television Arts to receive a Special
Technical Award to mark the company's
"outstanding technical achievements in film
and sound." Dr. Ray Dolby, founder and
chairman of Dolby Laboratories, accepted the
award at a ceremony in London on July 9.
EXPANDING UPON HERITAGE
Cecil L. George, president of Altus, Okla.-
based Heritage Park Theatres, announced
plans to add three screens to their existing
five-plex in Altus, Okla. Heritage Park will
also add two screens to its four-plex in Elk
City, Okla., and in early 1998, the company
will build a six-plex in Pampa, Texas.
WB INTL. PACTS WITH PEPSI
Warner Bros. International Theatres and
Pepsico Inc. have entered into a multi-year
deal under which Pepsi products will be
served exclusively in all Warner Bros. International
cinemas. That entails 358 screens in
43 theatres in six countries: the United Kingdom,
Spain, Germany, Portugal, Italy and
japan. Promotional tie-ins and lobby merchandising
campaigns are also in the works
to cross-promote both companies.
The Widij's Bcsl Hun Ncvksp.ijvT'
Aliens Invade on July 2!!!!
Mysteriem "Men in Black" spotted in area.
»l!JJ^I»l''.'. i
Shocldng Confession!!
I spent 10 years in an
aHen prison on Mars!!!
'CMS ana BgtatA war* ntf ttUmtnrf
ON THE MOVE
United Cinemas International (UCI), an
overseas multiplex co-venture between Paramount
and Universal, has appointed David
Poveda as operations and business development
director of UCI Brasil. UCI Brasil's first
theatre is scheduled to open this month...
Hoyts Cinemas Corp. has named Jud Parker
senior executive vice president of film. ..Lynn
Shubert, a past president of the ITEA and
former VP of the theatre division of Christie
Electric Corp., has been retained as principal
consultant to spearhead Miller & Kreisel
Sound Corp. (M&K)'s launch of their new
THX-approved Multichannel Pro Solutions
line of monitors and powered subwoofers
into the exhibition market. ..Mari Barnum,
head of Exhibitor Relations for Fox, is leaving
her position after 16 years with the studio.
Barnum said she would spend some time with
her family and then explore a new career path.
OBITUARIES
Jesse Shiyen, a member of Boxoffice's founding
staff and our managing editor for decades
until his retirement in 1976, passed away May
1 2 at the age of 87. Please see page 1 07 for
Boxoffice's tribute to Jesse...Mary Jane
"Janey" Higginbotham, wife of System &
Products Engineering Co. (SPECO) president
George Higginbotham, passed away July 14
at age 66. Mary Jane was born in Horton,
Kan., on Nov. 8, 1930, and lived in Olathe,
Kan., for the past 1 8 years. She is survived by
her husband, a son, a stepson, three daughters,
a stepdaughter, 13 grandchildren and
one great-granddaughter.
SHOWMINDER
Remember to save the following dates:
ShowEast, Oct. 20-23, Trump Taj Mahal, Atlantic
City, N.). Call 21 2-246-6460...CineAsia,
December 3-5, Singapore International Convention
and Exhibition Centre. Call 2 1 2-246-
6460...ShoWest, March 9-12, 1998, Bally's
Hotel, Las Vegas, Nev. Call 310-657-7724.

guess
—
came
Seotember. 1997 133
Q&A
SMART
GET SMART:
VINCE LUCIANI
NAMED PRESIDENT
Theatre Systems, manufacturer of cinema sound products, has long known
about finding a niche and filling it. While DTS, Dolby and Sony battle for leadership
in the digital realm, SMART continues to focus much of its manufacturing and
marketing muscle on product for the many theatres that use analog sound equipment, as well
as devices that complement digital equipment. SMART'S latest strategy is to increase its
international presence, particularly in Eastern Europe, where analog sound-equipped theatres
are predominant. This moves sees Norm Schneider take the role
of chiefexecutive officer, spending most of his time focusing on that
market. Assuming the position of president is Vince Luciani, a
former engineer at SMART who spent a few years at Panasonic's
Car Audio department before returning to head domestic sales
and production at the company that first hired him right out of
college.
Boxoffice: What does this new executive structure say about the
direction in which SMART is headed?
VINCE LUCIANI: SMART is concentrating on the international
market. I was brought in to take care of domestic sales and manufacturing.
It will free up Norm, who has moved up to CEO, to concentrate
on the international market, spending a lot of time in Eastern Europe.
We're trying to stake our claim over in Europe.
Boxoffice: What is it about that market that appeals to SMART?
LUCIANI: [SMART'S product] is mainly at this point in time an
analog soundtrack audio system. We are not in the position to set forth with a new digital format.
Since we are an analog house, and the U.S. is going a lot towards digital, we feel Eastern Europe
is still running a lot of analog prints, and that's a good market there.
Boxoffice: How will the growing digitalization impact SMART'S business in the future?
LUCIANI: While the digital formats are fighting it out to see who's going to gain dominance
in the industry, SMART is always going to be there for analog backup. If another "Jurassic Park"
comes out and it's only available in DTS and your theatre only has Dolby Digital playback, then
SMART is going to be there for you to play the analog backup track. So that's basically the game
that we're playing. And also, we are expanding our product line to include more than just sound
equipment. We have just launched a a very flexible system for booth automation that includes
both the projector side and the sound side and the lights and masking and lens changes— it does
everything. So with those products, we're trying to widen our product base.
Boxoffice: What new SMART product are you most excited about?
LUCIANI: Probably the MOD VI. I would
put it in the realm of revolutionary. Because what
we're doing for a suggested retail price of $2,000 is what everyone else is currently doing in
the $4,000 to $6,000 range, it's still a full-featured analog processor, but, since it is so low-cost,
it allows you to add digital really easily.
Boxoffice: What kind of specialized product lines is SMART currently selling or developing
for the specialized needs of overseas exhibitors?
LUCIANI: We are putting together a package. The package includes a MOD VI, a new
low-cost monitor, and a six-channel amplifier. We're packaging that in a 21-inch rack, and
we're including speakers, everything complete. Our European customers do not have the
ability that we do here in the States, where you can buy speakers from one guy, amps from
one guy, and processors from another guy, because all this importing is very difficult. So they
want to have one-stop shopping for their sound systems.
Boxoffice: I understand you were with SMART a few years ago, and are just now returning
to SMART as president.
LUCIANhThat's right. Out of college, I went to graduate school here in Atlanta, and I heard
about SMART through a co-worker where I was doing some intern work. Within a week, I
came over and visited SMART and decided that's where I wanted to work. Being an audio
person, going to school in audio, I thought this was the perfect place for me. So I
here
directly out of school and worked here for about two and a half years. After that, I thought that
it was good to get a perspective of business from a large company, and Panasonic's car audio
division had an opening. By day I would work for Panasonic, but at night I would come back
to SMART and continue to do design work for them. I moonlighted with SMART for about four
and a half years of the six years that I was gone. So I kept up with SMART quite a bit, because
I had a feeling in the back of my mind that I might come back here some day. I knew that
SMART was the kind of organization that I wanted to be with.
Boxoffice: What sort of unique impression would you hope to make on SMART?
LUCIANI: i what I would like my mark to be is to open up a new market for us. I hope
that I can diversify us, and open other markets up that may not necessarily be in the theatre
industry. Of course, SMART will always be in the theatre industry, and we will always support
our current product line, and we will always do active research and development in that area.
[New markets] will probably be in the audio realm. Basically, SMART is an audio house, an
analog audio house. And we will continue to try to make better sound. Because that's what
we do. And there's sound in many, many different fields. So who knows where you might see
the SMART Devices logo pop up in the future. Christine fames
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INTERNATIONAL NEWS BRIEFS
EUROVIEWS
European News Notes by Melissa Morrison
LEAD STORY: CINEMA EXPO '97 WRAP-UP
AMSTERDAM—The sixth edition of the exhibition trade fair Cinema Expo International
ran June 29 - July 2 at Amsterdam's RAI convention center. Titles
screened for exhibitors included Buena Vista International's "Face/Off," Warner
Bros.' "Batman & Robin," Fox's "Volcano" and "Speed 2: Cruise Control" as well
as dip's "The Lost World: Jurassic Park." MGM was also on hand to assure
exhibitors that "Tomorrow Never Dies" will be delivered on time. Polygram
pushed to prove they are a major player with a screening of "Bean" and an
appearance by "Bean" star Rowan Atkinson, who was presented with the Cinema
Expo award for excellence in comedy.
Other awardees included Luc Besson ("The Fifth Element"), who received the
excellence in filmmaking award; 20th Century Fox International's Jim
Cianopulos, honored as distributor of the year; and Decatron's Albert Bert, who
won the exhibitor of the year award. Disney's Peter Schneider accepted the
creative achievement award for himself and Roy E. Disney (who was absent due
to a leg fracture from a car accident). Producer Saul Zaentz ("The English Patient"),
who received the first Albert R. Broccoli Award for excellence as a
producer, praised the award's namesake, the producer of the James Bond movies,
for creating a series of films with artistic merit that has also enjoyed worldwide
commercial success for over 35 years.
Talk at this year's Cinema Expo was over expansion into underdeveloped Italy
and the fact that few French exhibitors attended due to this year's Cinema Expo
event clashing with France's three day "Fete Du Cinema," a popular sales-boosting
campaign that offers moviegoers substantially reduced ticket prices (see
"Summer Selling Successes," next page). Next year's Cinema Expo hopes to avoid
such a conflict and is scheduled to run June 1 5-1 9, 1 998.
PATHE, CANAL PLUS UNITE EUROPEAN DISTRIBUTORS
PARIS—Two major French players have spearheaded the formation
of a theatrical network that will effectively control Europewide
rights to U.S. independent films and give American producers
a new, powerful source of funding. The Canal Plus television giant
and Pathe theatrical distributor and exhibitor announced in May at
Cannes that the new venture would involve the cooperation of
partners in the United Kingdom, Germany, Spain and Italy—in
other words, about 85 percent of Western Europe. The new group
would acquire films for these countries in one fell swoop, rather
than the usual method of licensing films region-by-region. The
other participating distributors afe the UK's Guild Pathe,
Germany's Tobis Filmkunst, Spain's Sogejpaq, as well as France's
AMLF. Either Italy's Medusa or Cecchi Gon is also expected to
participate. In return for getting rights to American independent
films, the group will invest up to $30 million in making them,
allowing IXS. producers to acquire financing with the promise of
direct sales in most of Europe. A Canal Plus spokesman said the
group would target middle-budget films and currently had $10
million to $30 million to invest. That amounts to about one to three
films annually. The rights agreement will also cover video and
pay-TV. The new project is not the first one Pathe and Canal Plus
have collaborated on in the name of European domination: The two
also joined forces earlier this year to compete for—and win—
coveted UK Lottery franchise, a sort of mini-studio meant to
strengthen the British film industry (see "Clearing A Pathe for
British Filmmakers, " this page}.
CLEARING A PATHE FOR
BRITISH FILMMAKERS
LONDON—Pathe Pictures, a
winner of one of the revolutionary
British film franchises, is
making good on its pledge to fund
first-time filmmakers. The consortium,
headed by the French
distribution and exhibition behemoth,
received $53.4 million, the
largest segment of the $149 million
awarded to three groups by
the Arts Council of England in
May. As part of its bid for the
franchise, Pathe Pictures promised
to create a fund dedicated to
producing one movie annually by
a new director for the six years of
the franchise's life span. The effort
is seen as part of Pathe' s expansion
into pan-European
ventures, and British film's recent
renaissance makes it prime
hunting ground. Other members
of Patne Pictures' consortium,
which is supposed to act as a
mini-studio, mclude Canal Plus,
Thin Man Films, Allied Films,
Pandora Productions, Fragile
Films, and Imagine Films (which
includes the output of director Mike Leigh, whose Oscar- and
Cannes-lauded "Secrets and Lies" is partially responsible for British
film's boom). The other two consortiums are the Film Consortium
and DNA Films. Pathe Pictures' films will be distributed in
the United Kingdom by Pathe Distribution, formerly Guild Pathe
Cinema.
IT TAKES A VILLAGE
LONDON—Warner Village Cinemas is planning to build
London's first megaplex, a 32-screen, 200,000-square-foot,
8,200 seat theatre that will be the largest cinema complex in
Europe. The exhibitor is also discussing the possibility of eventually
using the $56 million megaplex, converted from the
Battersea Power Station and scheduled for completion in the
year 2000, for the newly reconfigured London Film Festival
(which hopes to become Cannes' rival in size and importance)
planned for launch in fall 1 998. The compound will also contain
production and post-production space, a hotel, restaurants and
apartments.
Also in the worics for Warner Village Cinemas is a megaplex in
the city of Birmingham that would have 30 screens and 6,(K)0 seats.
Warner Village Cinemas, a joint venture between Warner Bros.
International Theatres and Australia's Village Roadshow International,
announced in April its intention to mvest a total of $163
million into British cinemas. If realized, its expansion plans would
make it the largest exhibitor in the United Kingdom. Currently, it
is number four.

s
—
had
made
always
—
INTERNATIONAL AMUSEMENTS
PAISLEY, ENGLAND—US-based
National Amusements opened its latest
Showcase Cinema on June 12 in Paisley.
England. Known as The Phoenix, the stateof-the-art
14-screen, 3,800 seat movie palace
joins 14 other United Kingdom theatres
operated by National Amusements. Less
than a month earlier, National Amusements
unveiled London's first Showcase Cinema,
located in Newham. The 14-screen, 4,000
seat movie palace boasts a decidedly American
atmosphere, with an art gallery of famous
Golden Age Hollywood stars and movie
stills; a neon sculpture tribute to Hollywood;
and a cinema store selling film-related merchandise.
The Phoenix shares these features,
as well as a coming attractions video wall, a
video game room and an expanded concession
counter that offers ice cream sundaes.
National Amusements has 156 screens in
the U.K. and more than 1,100 worldwide.
SUMMER SELLING SUCCESSES
After the success of last sear's summer
movie campaigns such as Germany's Der
Sommerhit: Kmo (a collaboration among
distributors, exhibitors and media to promote
summer movies), a slew of other European
countries have decided to try similar
tactics to goose the traditionally slack season.
Denmark spent $350,000 on a bug-the-
— med campaign "coming soon to a garden
near you"— presumably designed to encourage
Danes to take refuge from nature's
pests inside cinemas. Norway gave away tickets
to matinee screenings in its bars and restaurants.
The U.K. launched its National
Cinema Day (June 15) with reduced ticket
prices. France enlarged its Fete du Cinema
from one to three days, running June 29 to July
1 . A $6 pass allowed French cinemagoers to
see any film for the discount price of $1.70.
And in Iceland, the indusuy added a twist to
its summer campaign by appealing to tourists,
distributing booklets advertising the country's
English-language films to passengers on the
cruise ships that dock in local harbors.
Germany's Der Sommerhit: Kino,
launched last year at a cost of $20 milUon,
increased ticket sales by 19 percent.
NORWAY'S SHORT SUBJECT
OSLO—A Norwegian distributor and
major exhibitor are reviving the short-film
genre in the country, with the help of the
Norwegian film institute. Europafilm and
Oslo Cinemas have started a subscription service
in which exhibitors paying an annual fee
have access to any of Europafilm' s short
films. Currendy, Europafilm carries threequarters
of the 200 short films produced in
Norway, as well as many foreign ones, including
Aardman Animafion's Wallace and
Gromit advenoire "A Close Shave." Such
films generally are seen only on the festival
circuit, but the Norwegian team is taking advantage
of a local law that allows exhibitors
to show short films tax-free. The annual subscription
fee ranges from $400 to $2,500,
depending on the size of the cinema. Since
1 994, the Norwegian Film Institute has provided
funding for producing films for Europafilm'
short-film library. Europafilm approaches
screenwriters and directors to make the films
and takes care of post-production, prints and
other costs. Approximately 60 percent ofNorwegian
cinemas screen short films.
Q&A:
FRENCH PRODUCER
HUMBERT BALSAN
ON GOLF AND FILM
French producer Humbert Balsan has always lived on the creative end
of the arts— as an actor (most notably in Robert Bresson's "Lancelot du
Lac") and as a documentary director. In 1979, Balsan joined Ismail
Merchant and fames Ivory, and over the years has produced several of their
films, including "Quartet," "Jefferson in Paris," "Surviving Picasso" and "The
Proprietor." Balsan's 1996 film "Will it Snow for Christmas?" received both
boxoffice and critical success, and won a Cesar— France's version ofan Oscar —
for its director, Sandrine Veysset. With 35 features produced through his
company, Ognon Pictures, Balsan spoke to Boxoffice about his determination
to protect the vision of his directors, many of them first-timers, and his plans for
distributing his fdms stateside.
Boxoffice: Is it fair to call you one of the more successful producers in France today?
HUMBERT BALSAN: I play golf. In film production, like in golf, you have to be modest.
You can say I had a series of successes this year. One was with a film called "Will it Snow
for Christmas?" [on which Sandrine Veysset made her directorial debut], a very big success
in France, Switzerland and Belgium, then we had two films do very well in Cannes
"Destiny," directed by Youssef Chahine, and "Post-Coitum, Animal Triste" [the first
directorial effort of French actress Brigitte Rouan]. Both of these films were very well
received and are being sold in many territories.
Boxoffice: What is your experience with United States distribution?
BALSAN: I've never had a big hit [in the U.S.j like I had in France with "Will It
Snow For Christmas?" It was my biggest financial success. I the film for a low
Theatres have to he
booked properly
and not show a
comedy one day,
and the next day a
film of Godard.
Theatres have to
have a certain
consistency.
cost and I 1 00 percent of the negative
because I didn't need to have co-producers.
It was not the biggest hit in terms of seats in
France [800,000 admissions in 6 months]
but if you look at the ratio of cost to results,
it's very, very big.
Boxoffice: Do you plan to open a distribution
arm of Ognon Pictures stateside?
BALSAN: My idea is to have a structure
in the States that carefully follows my films
and releases some of them. I've often been
close to having a deal in the States but it has
never happened, though always for different
reasons. I think it is now the right time to
concentrate on this. We have some good
contacts with people, particularly Donald
Rosenfeld, who worked with Merchant/Ivory
for 10 years, and who is now on his own.
Boxoffice: How do you plan to reach a
stateside market?
BALSAN: This has always been the big problem with the States. The United States is a
great country for films, but it's also very protectionist. That's why I think if I take care of my
own films, there's more motivation and then more work [accomplished]. Getting to screens
is a problem. I think we'll come to the point of buying some theatres and releasing our
films here in our own theaters. But it's the same in France. I had difficulty
getting access to the good theatres in France. I think there is a huge audience for
interesting films in the States. It's just a matter of being there at the right time and
working out a certain line of films to build a relationship with an audience so they will be
faithful to the theatre. Theatres have to be booked properly and not show a comedy one
day, and the next day a film of Godard. Theatres have to have a certain consistency.
Exhibitors in the States have been doing this for many years but maybe it's not enough.
There are so many films from around the world that exhibitors can't show everything.
So the competition is very hard in this market for access to the good theatres.
Boxoffice: Would your exhibition strategy include building multiplexes here?
BALSAN: No, not at all. I would build art-houses. I'm an "artisan," as we say in
French. For a producer, that means there's a certain spirit and a way of being very
independent and doing things at a very human scale. I believe that cinema is closer
to art than to industry. So I don't think you can be totally artistically oriented if you are
doing production at a scale that's too Dig.
Boxoffice: You once said that what you require of your directors is authenticity.
BALSAN: I'm the kind of producer who doesn't try to push a director to do films
to please investors. I push directors to make the film that's inside them. It's not
always so easy, but I realized over the years that it's often in having a low bu dget
that we can do this the most.
Karen Achenbach

INTERNATIONAL NEWS BRIEFS
NORTHERN EXPOSURE
Canadian News Notes by Shiomo Schwartzberg
LEAD STORY: AMC ENTERS CANADA'S EXHIBITION MARKET
Long rumored to become part of Canada's exhibition scene, AMC Theatres,
through its Canadian subsidiary, AMC Theatres of Canada, is set to make its mark
in Toronto, where it will anchor a major retail entertainment center. The Canadian-owned
and operated PenEquity Management Corp., a designer and developer
of large-scale real estate projects, has been selected by the city of Toronto
to design an entertainment retail center on the corner of Yonge Street and Dundas
Street East. The center, to be called Metropolis, will contain fashion outlets,
themed restaurants and a music superstore, and will be anchored by a 1 1 5,000-
square-foot AMC 30-plex with 6,000 seats. That would make it the city's largest
multiplex. Says Harry Peckham, director of corporate business development for
AMC Theatres of Canada, "We are thrilled to be part of this spectacular entertainment
retail development, which will most certainly become the jewel of Toronto."
Groundbreaking on the 270,000-square-foot, C$90 million (US$64.8 million)
Metropolis will take place in spring of 1998. The center is scheduled to open in
summer of 1999.
The AMC 30-plex is part of a massive theatrical expansion in Toronto's downtown
area: Cineplex Odeon is adding nine screens to its dual Varsity cinemas,
and Famous Players is erecting a major multiplex downtown as well.
AMC is also constructing a 30-plex in Montreal; that theatre will also anchor
an urban entertainment center.
RENEWED "ALLIANCE" WITH MIRAMAX
Miramax Films has renewed its distribution agreement with
Canadian distributor Alliance Releasing. Alliance expects to release
some 80 Miramax films under the agreement. Recent Alliance
pickups from Miramax that have been successful in Canada have
mcluded 'The English Patient," "Trainspotting," "Sling Blade" and
"Kolya." Alliance, which is Canada's largest distributor, also has
an output deal with New Line.
FAMOUS: WHAT COMES A"ROUND" GOES AROUND
Famous Players' newest multiplex, the 10-screen Coliseum,
located in the Toronto suburb of Mississauga, was the top-grossing
theatre in Canada its opening weekend in May, taking in more than
C$200,000. Its C$24,000 gross for the Andy Garcia film "Night
Falls on Manhattan" was the third highest in North America. The
Coliseum boasts a unique design, in which its 10 auditoriums are
housed in a circular building (hence the theatre's name).
HOLLYWOOD COMES TO MONTREAL
The Brian De Palma film "Snake Eyes," shooting in Montreal
this summer, marks a resurgence of American filming in that city.
As recently as 1992, there were no American films shot in Montreal.
Now, the city's estimated 1 997 total film production ofC$525
million, bolstered by the U.S. presence there, brings it vei\ close to
leader Toronto's C$530 million. (While "Snake Eyes'" budget is
estimated at C$1 15 million, the 35 Quebecois features to be shot this
year will cumulatively cost only C$'75-80 million.)
There will be 15 American features shot in Montreal this year
alone. The change has come about, says Andre Lafond, City of
Montreal film commissioner, as a result of a concerted effort to get
foreign prcxiuctions to shoot in Montreal. "We established a consortium
of the indusUy—actors, producers, the city of Montreal, almost
everybody." This is a departure from the early '9()s, when the attitude
on the part of Francophone Quebec, based on protectionist concerns,
was dismissive of American prtxlucers. "They always looked at U.S.
producers a.s invaders, |and thought that it was) risky to attract ttx)
many foreign producers," says Lafond. Now, atuacting foreigners is
good business, he says. "We need new money, bigger volume in the
system, to keep prices and fees low and competitive."
TORONTO FEST FILMS ANNOUNCED
Atom Egoyan's Cannes prize winner, "The
Sweet Hereafter," will kick off the Opening
Gala at the 22nd edition of the Toronto International
Film Festival, which runs Sept. 4-13.
The festival traditionally opens with a Canadian
film.
Also at the fest will be the world premiere
of "Mrs. Dalloway," the new film from
Marleen Gorris ("Antonia's Line"), based on
Virginia Woolf s novel and starring Vanessa
Redgrave. North American premieres in Toronto
will include Curtis Hanson's "L.A.
Confidential"; Gilles MacKinnon's "Regeneration";
and Vera Belmont's "Marquise."
The spotlight director at Toronto this year will
be French director Benoit Jacquot; his most
recent film, "Le Septieme Ciel," will also
have its North American premiere at the fest.
Balkan cinema will be spotlighted as well,
and a new section called The Masters will
present films from acclaimed talents such as
Jean-Luc Godard and Lars Von Trier.
IDENTITY CRISIS: FEST VS. FEST
The Montreal World Film Festival is suing the Montreal
International Festival of Cinema and New Media for C$5 million
(US$3.6 million) on the grounds that the smaller festival is
infringing on its identity. The suit states that the Festival of
Cinema and New Media has been trying to steal films already
committed to the World Film Festival, and that its name is too
similar to the giant Montreal fest. Formerly the Montreal Festival
of New Cinema and Video, the festival moved from a post
World Film Festival slot to an early summer date that precedes
the World Film Festival by two months. The Festival of Cinema
and New Media has traditionally been seen as the edgier, more
avant garde festival of the two.
ON THE MOVE
Judy Holm has been promoted to the position of vice president,
theatrical distribution for Polygram Entertainment Canada. Holm,
formerly Polygram's director of theatrical marketing, will be responsible
for expanding Polygram's marketing division into a fully
integrated theatrical distribution arm.
Malofilm Communications has announced the appointment of
Andy Myers as vice president and managing director of Malofilm
Distribution. Myers was previously the longtime VP and general
manager of Norstar Entertainment.
And Famous Players has announced that Dennis Kucherawy will
assume the title of director, corporate public relations for the
company. He will be responsible for information liaison between
Famous Players and the public, and will be heavily involved in
Famous Players' theatrical chain expansion. Kucherawy leaves
Livent Inc., where he was vice president of communications.
DO YOU HAVE AN EXHIBITION-RELATED NEWS
ITEM ABOUT THE CANADIAN MARKET?
CONTACT SHLOMO SCHWARTZBERG IN CARE OF
OUR CANADIAN NEWS BUREAU AT: 416-638-6402

INTERNATIONAL NEWS BRIEFS
PACIFIC OVERTURES
NOTES FROM THE PACIFIC RIM by Susan Lambert
LEAD STORY:
MAJORS INVESTIGATION ANNOUNCED AT INDIE'S CONFERENCE
SYDNEY— The National Association of Theater Owners (NATO) held an inaugural conference
June 17-18 for Australia's independent theatre owners in order to discuss issues specifically
appropriate to independents, particularly issues of film rental terms and better allocation of
distributors' publicity resources. Intended to augment the Australian Movie Convention, between 70
to 100 exhibitors reportedly attended the event, held in Bowral of southern New South Wales.
At the conference, the Australian Competition and Consumer Commission (ACCC). Australia's
antitrust watchdog, announced its investigation into the exhibition and distribution sectors of the film
industry. ACCC chairman Allan Asher said they were persuaded to investigate by the number of
complaints received. Main concerns are anti-competitive behavior by the major circuits—Hoyts,
Greater Union and Village Roadshow—and distributors—Village Roadshow Films (VRF, which
handles Warner Bros, and Disney releases). UIP (which handles Paramount, Universal and MOM
releases). Columbia TriStar and 20th Century Fox. Other concerns are the use of market strength to
create monopolization and barriers to new competitors, as well as collusion and consumer protection.
The ACCC also expressed concern that agency and joint-venture arrangements in film distribution
led to a manipulation of release dates to prevent opening-week competition among titles.
The common complain by the independents, many of whom feel they are being squeezed out of
the marketplace, is over inflexible film rental terms, unrealistic terms for second-run films and
minimum exhibition periods. Other complaints include a refusal by distributors to supply prints and
inconsistent treatment by distributors. The ACCC will seek to clarify if the complaints stem from
unlawful conduct on the companies' actions or a change in the economic structure of the industry.
Asher did note there was no real ticket pricing competition between the majors except when a major
was competing against an independent theatre and commented that when it is harder to enter into an
industry, it is easier for those in the market to behave in an anti-competitive way. He added, "If
sustainable, legitimate explanations are given, it's unlikely that a court will find them in breach of
the Trade Practices Act." The ACCC investigation is expected to take 10 weeks.
PIRATING PROTECTION
HONG KONG—Just before Hong Kong returned to Chinese
rule on midnight June 30th, the democratically elected legislature
hastily enacted copyright enforcement legislation, after a year of
lobbying by Hong Kong filmmakers for tougher criminal penalties
against pirateers and illegal importers of films, videos and music,
which are putting a big dent into the already ailing Hong Kong film
industry. Actor/filmmaker Jackie Chan led a protest march with
other Hong Kong film stars and directors to persuade the government
to push for harsher restrictions and better enforcement. The
new law makes it easier to investigate and prosecute copyright
infringement and calls for stricter penalties, ranging up to eight
years in prison and HK$500,000 (US$65,000) in fines. It remains
to be seen if the Chinese government, which this past year began a
crackdown on its own pirating problem, will abide by any of the
laws enacted by the previous government.
PHILIPPINES DEVELOP FILM BOARD
MANILA—Meanwhile, in the Philippines, industry leaders also
took their battle to the Senate, which drafted a bill for the creation
of a Film Development Board under the office of the President. The
board would be involved in boosting production of quality films
and increasing the strength of the local industry. Other functions
would include holding local and international film festivals, setting
up training programs and establishing various incentive programs
for quality Philippine films. The board would be comprised of the
heads of the Film Academy of the Philippines, Cultural Center of
the Philippines and Directors Guild of the Philippines along with
noted film director Carlos Signuon-Reyna.
CHINA'S FIRST
CINEMA CIRCUIT
BEUEMG—China Film,
the country's monopoly
film importer, has established
China's first national
cinema circuit,
comprising the top 300
cinemas in the country's
15 leading markets.
Called the Zhonghua
Theatres, the chain is
more an alliance than a
registered business and is
based on previous contractual
relationships between
China Film
Distribution and Exhibition
will be required to give the Chinese films at
Association and the
theatres over the release
of foreign blockbusters.
The circuit was formed
with the intention of providing
a guaranteed
forum for releasing domestic
product in conjunction
with foreign
films. The 300 theatres
will have first run of 12
"priority" Chinese films
and 10 Hollywood films
each year, and the theatres
least a seven-day
booking. The film that launched the Zhonghua alliance in June is
"The Opium War." A historical epic by director Xie Jin, "The
Opium War" is said to be the biggest-budgeted film in China's
history at 100 million yuan ($12.5 million) and is being jointly
distributed, in a profit-sharing distribution arrangement, by China
Film and the film's producer, Sichauam "Opium War" Film and
TV Production Corp. Ltd. In order to join the Zhonghua chain,
theatres had to meet an annual boxoffice total: In large cities,
theatres must have at least 1 million yuan ($125,000) in annual
revenue, and medium-size city theatres are required to have over
500,000 yuan ($62,500) in boxoffice totals.
In other news, the recently established Forbidden City Film Co.
announced that its first film, "Since the Days of Lei Feng," a
co-production with Beijing Youth Film Studio, has done exceptionally
well at the boxoffice. The story of China's cultural revolution
hero and his devotion to the cause of socialism has passed the 5
million yuan ($635,000) mark in Beijing alone. Forbidden City,
which started up April 9, is comprised of a venture among China's
second largest network, Beijing Television, its affiliate, Beijing
Television Arts Center, the Beijing Municipal Film Co. and Beijing
Cultural Audio-Visual Publishing.
DO YOU HAVE AN EXHIBITION-RELATED NEWS
ITEM ABOUT THE ASIA-PACIFIC MARKET?
E-MAIL SUSAN LAMBERT IN CARE OF
boxoffice@earthllnk.net

,
^ BOXOFFICE
June
August
SEPTEMBER
(Current)
Buena Vista
(818)567-5000
(212)593-8900
Con Air, 6/8, AcVAdv, R, 115 min, Dolby SR
& SR-D, DTS, SDDS, Anamorphic. Nicolas
Cage, John Malkovich. John Cusack, Steve
Buscemi, Ving Rhames. Dir: Simon West.
Hercules, 6/E exci. NY. 6/20 Chicago, 6i/27
wide, Ani, G, 98 min. Dolby SR-D, SDDS,
Rat. Voices: James Woods, Danny DeVito,
Tate Donovan, Susan Egan, Matt Frev^er.
Dirs: Ron Clements, John Musker.
George of the Jungle, 7/1 6, Live Act, PG, 92
min, Dolby SR-D, SODS, Flat Brendan Eraser,
Leslie Mann, Thomas Hayden Church,
Abraham Benrubi. Dir: Sam Weisman.
Nottiing to Lose, 7/18, Com, R, 98 min, Dolby
SR-D. SDDS. Flat Martin Lav»rence, Tim Robbins,
John C- McGinley, Giancarlo Esposito,
Kelly Preston. Dir: Steve Oedekerk.
Air Bud (aka MVP), 8/1, Com, 97 min, Dolby
SR, Flat.
Kevin Zegers, Michael Jeter, Bill
Cobbs. Dir: Charles Martin Smith.
G.I. Jane (fomierly In Pursuit of Honor Navy
Cross), 8/1 5, Act, R, 1 20 min. Dolby SR i SR-
0. SODS. Anamorphic. Demi Moore. Viggo
Mortensen, Anne Bancroft. Jason Beghe, Daniel
Von Bargen. Oir: Ridley Scott.
A Thousand Acres. 9/1 9. Dra. Rat Jessica Large,
Michelle Plefter Jennifer Jason Leigh, Jason
Robards, Kelh Canadine.
Dir: Joc^ Moortiouse.
Columbia
(310)244-4000
Buddy. 6/6. Com, PG, 84 min, SODS, Anamorphic.
Rene Russo, Robbie Coltrane, Paul
Reubens, Irnna P. Hall. Dir. Caroline Thompson.
Men In Black, 7/2, SF, PG-13. 98 min. Oolby A
& SR, SDDS, Rat. Tommy Lee Jones. Will Smith.
Linda Rorentino, Rip Tom. Dir. Barry Sonnenfeld.
Air Fon» One (fomierly AfO). 7/25, Act/Dra, R,
1 1 8 min, Dolby A & SR. SDDS, DTS, Anamor-
Excess Baggage. 8/15. Act/Adv, PG-13, 90
min, SDDS, Flat. Alicia Silverstone, Benicio del
Toro. Christopher Walken, Jack Thoompson,
Nicholas Turturro. Dir Marco Brambilla.
(212)833-8500
phic. Han-ison Ford. Gary Oldman, Glenn Close,
Wendy Crewson, Jurgen Prochnovi.
Dir WoUgang Petersen.
IVIGM/UA
(310)449-3000
(212)708-0300
Paperback Romance. 8/1, Rom/Com. Gia
Carides, Anthony LaPaglia. Dir Ben Lewin.
(Goldwyn Division)
Hoodlum (formerly Hoods), 8/29, Dra, R,
DTS, Rat. Laurence Rshburne, Tim Roth,
Andy Garcia, Vanessa Williams. Oir: Bill
Duke.
The End oi Violence. 9/12. Ora
Gabriel
Byrne, Bill Pullman, Andie MacOovrell, Traci
LInd. Dir: Wlm Wenders.
The Locusts, 9/26, Dra. Kate Capshaw, Jeremy
Davies, Vince Vaughn, Ashley Judd. Dir:
John Patrick Kelly. (Orion Division)
Miramax
(212)941-3800
(213)951-4200
Squeeze. 6/13, Thr, R. Dir: Robert Patton-
Spruill
Temptress Moon, G/13, Ora, R, 115 min.
Gong Li. Dir; Chen Kaige.
Shall We Dance (Japan), 7/1 1 , Com, PG. Koji
Yasuyo. Dir Masayuki Suo.
Operation Condor (Hong Kong), 7/18 wide,
Act/Adv, PG-13. Dir/Star Jackie Chan.
Mis. Brown. 7/18. Ora, PG. Judi Dench, Billy
Connolly. Oir: John Madden.
Love Serenade (Australia), 7/25, Com/Dra, R,
101 min. Miranda Otto. Dir: Shirley Barrett.
Copland. 8/1. Dra. Sylvester Staltone. Robert De
Niro. Harvey Keitel. Ray Liotta, Janeane
Garofalo. Dir: James Mangokf.
Talk of Angels. 8/8, Ora, PG-13, 97 min, Dolby
SR. Polly Walker, Vincent Perez Dir: Nick Hamm.
She's So Lovely, 8/15. Ora. Sean Penn, Robin
Wright, John Travolta. Oir: Nick Cassavetes.
Mimic, 8/22 wide. SF/Thr. Mira Sorvino.
Josh Brolin. Dir: Guillermo del Toro.
Mouth to Mooth (Spain), 9/5. Com, R, Dolby
SR-D, Anamorphic. 1 10 min, Javier Bardem.
Dir: IVIanuel Gomez Pereira.
Seven Notes in Black (Italy), 9/19 NY/LA.
Jennifer O'Neill. Oir: Lucio Fulci.
Wide Awake, 9/19, Dra, PG. Dana Delany,
Oenis Leary. Dir: M. Night Shyamalan.
LMleCliy.9/26.
Spawn, 8/1 , SF. 87 min, Dolby SR, DTS, SODS,
New Line
(310)854-5811
(212)649-4900
Rat. Michael Jai White, John Leguizamo, D.B.
Sweeney. Martin Sheen. Dir: Mark Dippe.
Love Jones (reissue), 8/8, RonVCom. Larenz
Tate. Nia Long. Oir Theodore Witcher.
Money Talks. 8/22. Act/Com, R, 92 min,
Oolby SR, OTS, SDDS, Anamorphic. Charlie
Sheen, Chris Tucker Heather Lockiear
Oir: Brett Ratner
Paramount
(213)956-5000
(212)373-7000
Face/Oft 6/27, Art R, 136 min, Dolby SR-
D, SDDS, DTS, Anamorphk:. John Travolta.
Nicolas Cage, Joan Allen, Gina
Gershon. Dir: John Woo.
Kiss Me Guide. 7/18 ltd. Com, R, 89 min.
Nick Scotti. Anthony Barrile. Dir Tony Vltale.
Good Burger, 7/25, Com, PG, 94 min. Kel
Mitctiell. Kenan Thompson, Abe Vigoda
Dir: Brian Robbins.
Evert Horizon, 8/15, SF/Thr. Laurence
Fishburne, Sam Neill, Kathleen Quinlan.
Dir: Paul Anderson.
A Smile Like Yours, 8/22. Rom/Com, R.
Greg Kinnear, Lauren Hotly, Jay Thomas.
Dir: Keith Samples.
In and Out. 9/19. Com. PG-13. Kevin Kline.
Tom Selleck. Joan Cusack, Debbie Reynolds,
WWord Brtmley, Greg Jbari Dir Frank 0?.
TriStar
(310)244-4000
Kty Best Friend's Wedding, 6/20,
Rom/Com, PG-13. 105 min. Dolby A &SR,
SDDS, Anamorphic. Julia Roberts, Dermot
Mulroney. Cameron Diaz, Rupert Everett,
Philip Bosco- Dir: P.J. Hogan.
(212)833-8500
20tti Century Fox
(310)369-1000
Speed 2: Cniln Contol, ^3. Act PG-13.
125 n*, Dolby SR. DTS. SODS, Anamorphic.
Sandra BUbck. Jason Patrlc. Wilem Dafoe.
Gtem Ptummet. Temeura Mor risor. Brian
McCatdie. OirJanOeBont..
Out to Sea, 7/2, Com, PG-13, 106 min. Doby
SR, Flat. Walter Matthau, Jack Lemmon, Brent
Spiner, Dyan Cannon, Elaine SIritch, Hal Linden,
Donald O'Connor, Alexandra Powers.
Oir Martha CoolUge.
«, 8/1 , RoiTVCom, PG-13, 105 min,
Dolly SR & SR-0, Rat Jennifer Aniston, Kevin
Bacon, Olympia Dukakis. Jay Mohr llleana
Douglas. Dir: Glenn Gordon Caror.
Tlie Edge (formerly The Wild, formerly
Bookworm). 9/26. Act/Thr, R, 120 min, Dolby
SR & SR-O, Anamorpliic. Anthony Hopkins,
Alec Baldwin, Elle Macpherson, L 0, Jones, Hat^
Okl Perrineau. Oir: Lee Tamahori.
(212)556-2400
Universal
(818)777-1000
(212)759-7500
A Hmpto INM (tomwly The Faliy Godnwlar),
7/1 1 Com, PG. SB min, DTS. Rat
Mm ,
Wllean. Mamn Shod Kathleen Turner,
Robert PastoreHI Dir: Mk:hael Ritchie
Laave M to Beaver. 8/22, Com, PG, -83 min.
Janine Turner. Christopher McDonald, Cameron
Finley, Erik Von Detten. Dir: Andy Cadiff
Kull the Conqueror. 8/29. Adv. PG-13, -90
min. Kevin Sorbo, Tia Carrere, Karina Lombard,
LHetoot, Thomas Ian Gnffith Oir John
Nk:oella.
Warner Bros.
(818)954-6000
(212)484-8000
BMme t RoblB. S/20. Ad/Adv. PG-13, 124
min, OTS George Clooney, Chris O'Donnell.
Alcla Silverstone. AmoW Schwarzenegger,
Unu Thurman Dir: Joel Schumaclier
WM Xmrki, 7/2. Mv, PG. 107 mm. Doltiyi SR
& SR-O Jonalian Taylor Thomas Oir Bil Dear
CMtMl. 7/11. Thr. PG. ISO mm. SOOS. OTS
Jodit Foeler. MMtww MoConaugtwy. John Hurt
Oir Robert ZeinecMi.
1(7. 7/30. Ora. R. DTS Samuel L Jackson,
Kelly RoMn. John Heard Oir Kevin Reynokl»
Consplncy Thtoiy, 6/6, Thr DTS Mel
Gibson, Julia Roberts, Patrick Stewart.
Oir: Richard Donner.
FtwUMy&niiRnK B«, FarVAdv. PG, DTS
Jason Jwiee RkMer, August Scheilenbeig,
Annie Codey. Dir Sam Ptilsbury.
Mnl mi. Ad/Adv, 105 rnln, DTS. ShtqUM
O'Neal, Judd Nelson, AnnriMh GIsh. RkMn)
Roundm, Irma P. W. Ok Kioiolh Jolnion,
Fkt Down Below, ^2, Act OTS. Steven Seagal.
Marg Helgenberger. Oir Felix Ennquez HaH.
LAConndefllai,9/19. Ora. R, 138 min. Kevin
Spacey. Kim Basinger, James CromvwII,
Danny DeVito Dir: Curtis Hanson.
BmMng Up, 9/26 NY/LA/Tor. Russell Crowe,
Salma Hayek. Oir: Robert Greenwald.

FEATURE CHART — SEPTEMBER 1997
October November Forthcoming
An American Werewolf in Paris, 10/3. Hor.
Julie Delpy, Tom Everett Scott. Julie Bowen.
Din Anthony Walker.
Rocket Man (formerly Spxe Cadet). 10/10.
Com. Harland Williams. Beau Bridges. Stielley
Duvall.Dir: Stuart Gillard.
Playing God. 10/17. Dra. R. Flat. Timottiy
Hutton, David Ducfiovny. Angelina Jolie.
Dir: Andy Wilson.

BOXOFFICE Independent Feature Chart SEPTEMBER 1997
AUGUST
Artificial Eye
212-255-1922
Mon Homme (France), Com/Dra,
95 min. Anouk Grinberg. Dir:
Bertrand Blier. 8/15 NY
Happiness (France), Com, 102
min. Michel Serrault. Dir: Etienne
Chatillez. NY
CFP
212-995-9662
Sunday, Dra, 93 min. David
Suchet, Lisa Harrow, Jared Harris.
Dir: Jonathan Nossiter. 8/22 NY/LA
Castle Hill
212-888-0080
Trojan Eddie, Dra, 1 05 min. Richard
Harris, Stephen Rea. Dir: Gillies
Mackinnon. 8/29 NY, Sept LA
Cinema Parallel
410-442-1752
Talking to Strangers (reissue). 8/2
First Run
212-243-0600
Hamsun (Norway). 1 60 min. Max
Von Sydow. Dir: Jan Troell 8/6
Fox Searchlight
310-369-4402
The Full Monty, Com, 91 min, R,
Dolby SR, Flat. Robert Carlyle.
Dir: Peter Cattaneo. 8/13 NY/LA,
8/29 exp
Gramercy
310-385-4400
How to Be a Player, Com. Bill
Bellamy, Lark Voorhies. Dir: Lionel
Martin. 8/6
Kino
212-629-6880
The Keeper. Giancarlo Esposito,
Isaach de Bankole.
Kit Parl(er
800-538-5838
Coffy (1 973 reissue), Dra, 9 1 min.
Pam Crier, Booker Bradshaw.
Dir: Jack Hill. 8/29 NY
213-467-3700
Plpi Longstocking (reissue), Com.
8/22 ltd
Manga
415-975-5405
Tetsuo II: Body Hammer. Dir:
Shinya Tsukamf)to. H/1 5 LA
Northern Arts
413-268-9301
Soul in the Hole, Dtx:, 100 min.
Dir: Danielle Gardner. 8/8 NY/LA
October
212-539-4000
Career Cirit, Dra. Katrin Cartlidge,
Lynda Steadman. Dir:
Mike Leigh. 8/8 NYAA, 8/1 5 exp
Phaedra
310-478-3308
Dogs. Toby Huss, Pam Columbus.
Dir: Eve Annenberg.
Kiss and Tell, Com. Rose
McCowan. Dir: Jordan Alan.
Sleepy Heads. Dir: Yoshifumi
Hosoya.
Seventh Art
213-845-1455
Things I Never Told You,
Rom/Com. Lili Taylor, Andrew
McCarthy. Dir: Isabel Coixet.
Sony Classics
212-833-8851
In the Company of Men, Dra, 93
min. Aaron Eckhart, Matt Malloy.
Dir: Neil LaBute. 8/1 NY/LA
Strand
310-395-5002
The Delta, Dra. Shayne Gray,
Thang Chan. Dir: Ira Sachs. 8/1
NY, 8/1 5 LA
Trimark
310-314-3040
Box of Moonlight, 107 min. John
Turturro, Sam Rockwell. Dir: Tom
DiCillo. 8/1 LA, 8/22 & 8/29 exp
Triumph
310-280-8059
Masterminds (formerly Smart
Alec), Act/Com. Patrick Stewart,
Vincent Kartheiser, Brenda Pricker.
Dir: Roger Christian. 8/22
Zeitgeist
212-274-1989
Conspirators of Pleasure (Czech),
Com. Dir: Jan Svankmajer. 8/20
NY, 9/19 LA
Fire (India), Dra, 104 min. Shabani
Azmi. Dir: Deepa Mehta.
8/22 NY
SEPTEMBER
CFP
Bandwagon, Com/Mus, 1 03 min.
Kevin Corrigan, Lee Holmes. Dir:
John Schulu. 9/12 ltd
Stag, Dra, 94 min. Andrew Mc-
Carthy, Mario Van Peebles. Dir:
Gavin Wilding. 9/26 ltd
Dreamworks SKG
818-733-7000
The Peacemaker, Act/Adv.
George Clooney, Nicole Kidman.
Dir: Mimi Loder. 9/26
Filmopolis
310-914-1776
In a Strange City. Winston Chao,
Kuei-mai Yang. Dir: Chi Yin.
Fine Line
212-649-4800
Gummo, Dra. Chloe Sevigny, Max
Perlich. Dir: Harmony Korine.
9/26 NY
First Look
310-855-1199
Different for Girls, Rom/Com, 97
min. Rupert Graves. Dir: Richard
Spence. 9/12 NY, LA
Fox Searchlight
Intimate Relations, Dra, 100 min,
R. Dir: Philip Coodhew. 9/5
Ice Storm, Dra, R, 112 min,
Dolby SR, Flat. Kevin Kline, Joan
Allen. Dir: Ang Lee. 9/26 NY,
1 0/3 exp
Gramercy
Going All the Way, Dra. Jeremy
Davies, Ben Affleck. Dir: Mark
Pellington. 9/19 ltd, 9/26 exp
I
Greycat
702-737-0670
Was a Jewish Sex Worker, Doc,
74 min. Dir: Phillip B. Roth. 9/1 LA
Kino
Capitaine Conan (French reissue).
Dir: Bertrand Tavernier.
Love Always, Dra/Com. Marisa
Ryan. Dir: Jude Pauline Eberhard.
9/26 ltd
Leisure Time
212-267-4501
Twisted, Dra, 100 min. William
Hickey. Dir: Seth Michael Donsky.
Live
818-778-3174
Suicide Kings (formerly Boys
Night Out), Thr. Christopher
Walken, Sean Patrick Flanery.
Dir: Peter O'Fallow. 9/12
No Way Home, Dra. Tim Roth,
Debra Winger, James Russo. Dir:
Buddy Gioviazzo.
Manga
Gravesend, Dra. Dir: Sal Stabile.
9/5 NY, 9/1 9 LA
Movieworld
510-244-5590
Omaha: the movie. Com. 9/26
Mary Jane's Not a Virgin Anymore,
Dra. Dir: Sarah Jacobson.
Northern Arts
Withnail and 1(1987 British reissue).
Com, 105 min. Richard E.
Grant. Dir: Bruce Robinson.
October
Kicked in the Head, Com. Kevin
Corrigan, Linda Fiorentino. Dir:
Matthew Harrison. 9/12 NY/LA
Phaedra
Timeless, Dra. Dir: Chris Hart.
Polygram
310-385-4000
The Gingerbread Man, Thr. Kenneth
Branagh, Embeth Davidtz.
Dir: Robert Allman. 9/26
Seventh Art
The Long Way Home, Doc. Dir:
Mari< Jonathan I larris. 9/19 NY/LA
Sony Classics
The Myth of Fingerprints, Dra.
Noah Wyle, Julianne Moore, Roy
Scheider. Dir: B. Fneundlich. 9/1 9 NY
Strand
Latin Boys Go to Hell. Irwin Ossa.
Dir: Ela Troyano. 9/5 NY/LA
Self-Made Hero (France), Dra.
Dir: Jacques Audlard. 9/26
Nenette et Boni (France), Dra.
Gregoire Colin. Dir: Claire Denis.
Triumph
The Assignment, Act. Aidan
Quinn, Donald Sutherland. Dir:
Christian Duguay. 9/26
Zeitgeist
My Sex Life... or How I Got Into
An Argument (France), Com. Dir:
Arnaud Desplechin. 9/17 NY
Anthem, Doc. Dirs: Shainee
Gabel and Kristin Hahn. 9/19 NY
OCTOBER
Castle Hill
Eye of God, Dra. Martha
Plimpton, Nick Stahl. Dir: Tim
Blake. 10/1 7 NY, 10/31 LA
CFP
The Twilight of the Golds, Dra.
Jennifer Beals, Faye Dunaway,
Brendan Eraser. Dir: Ross Marks.
10/24
Fine Line
The Sweet Hereafter, Dra. Ian
Holm. Dir: Atom Egoyan. 10/10
Deconstructing Harry, Com.
Kirstie Alley. Dir/Star: Woody
Allen. 10/24 NY/LA, 10/31 exp
Gramercy
Bean, Com. Rowan Atkinson. Dir:
Mel Smith. 10/17
Greycat
Parallel Sons, Rom/Dra, 93 min.
Dir: John G. Young. 10/10 NY
David Searching, Com/Dra, 103
min. Anthony Rapp. Dir: l.eslie
Smith.
Kit Parker
Nueba Yol II, Com/Dra, -95 min,
NR. Luisito Marti, Raul Carbonel.
Dir: Angel Muniz.
Live
Wes Craven Presents Wishmaster,
Hor. Dir: Robert Kurtzman. 10/3
Manga
Tokyo Fist, Act. Dir/Star: Shinya
Tsukamoto
New Yorker
212-247-6110
Deep Crimson, Dra, 114 min.
Daniel Gimenez, Marisa Paredes,
Dir: Arturo Ripstein. 10/8
Northern Arts
Midaq Alley (Mexico), Dra, 140
min. Salma Hayek, Ernesto
Gomez Cruz. Dir: Jorge Pons.

4
I
BOXOFFICE Independent Feature Chart SEPTEMBER 1997
October
Year of the Horse, Doc. Neil
Young. Dir: |im larmusch.
Polygram
The Game, Dra/Thr. Michael
Douglas, Sean Penn. Dir: David
Fincher. 10/3
Sony Classics
Fast, Cheap & Out of Control,
Doc, 79 min. Dir: Errol Morris.
10/3 NY/LA
Trimark
chairman of the Board, Com.
Carrot Top. 1 0/1
Turbulent Arts
415-552-1952
Lilies, Dra. Brent Carver, Marcel
Sabourin. Dir: John Creyson.
1 0/1 7 NY, 1 0/24 LA
NOVEMBER
Castle Hill
Further Gesture. Stephen Rea.
Ltd
CFP
Sick: The Life and Death of Bob
Flanagan, Supermasochist, Doc.
Dir: Kirby Dick. 11/7 NY, LA
First Lool(
Mrs. Dalloway. Vanessa Redgrave.
Dir: Marleen Gotris. 1 1/7 NY/LA
Fox Searchlight
Oscar&Lucinda, Dra, -131 min.
Ralph Fiennes, Cate Blanchett.
Dir: Gillian Armstrong. 1 1/1
Gramercy
Matchmaker (formerly The
Strangest Places), Com. Janeane
Garotalo, David O'Hara. Dir:
Markjoffe. 11/21
International Pictures
212-925-0404
The Knowledge of Healing, Doc,
90 min. Dir: Franz Reichley. 1 1/5
NY
Live
Critical Care, Dra/Thr. James
Spader, Albert Brooks, Kyra
Sedgwick. Dir: Sidney Lumet.
11/7
Dirty Dancing (1987, director's
cut), 97 min. Patrick Swayze. Dir:
Emile Ardolino.
October
Kiss or Kill (Australia), Dra/Thr.
Matt Day, Frances O'Conner,
Chris Haywood. Dir: Bill Bennett.
Sony Classics
Tango Lesson. Dir: Sally Potter.
11/14 NY/LA
Theafilm
213-368-1778
Madam, the Grass Is High. Dir:
Delbert Mann. Thanksgiving ltd
DECEMBER
Dreamworlcs SKG
Amistad (formerly Mutiny), Dra.
Matthew McConaughey, Morgan
Freeman. Dir: Steven Spielberg.
12/12 ltd, 12/1 9 exp
Mousehunt, Com/Ani. Nathan
Lane, Lee Evans. Dir: Gore Verbinski.
12/25
Fine Line
Julian Po (formerly Tears of]ulian
Po), Dra. Christian Slater. Dir:
Alan Wade. 12/5 NY/LA
Winter Guest, Dra. Emma
Thompson, Phylidda Law. Dir:
Alan Rickman. 12/19 NY
Gramercy
The Big Lebowski. Jeff Bridges,
John Goodman. Dirs: Joel and
Ethan Coen. 1 2/25 NY/LA, Jan. exp
New Yorl(er
Beaumarchais (France), Com,
100 min. Fabrice Luchini. Dir:
Edouardo Molinaro. 12/19 NY,
Jan exp.
Trimaric
Eve's Bayou, Dra. Samuel L. Jackson,
Lynn Whitfield. Dir: Kasi
Lemmons. 12/25 ltd, 1/17 exp
Zeitgeist
will It Snow for Christmas? Dir:
Sandrine Veysset. 1 2/1 7 NY
JANUARY '98
Fine Line
Girl Talk, Dra/Com. Troy Beyer,
Randi Ingerman. Dir: Troy Beyer.
Jan '98
Manga
General Chaos: Uncensored Animation,
Ani. Various dirs.
Trimarl(
star Kid (formerly Warrior of
Waver ly Street), SF. Joseph
Mazzello. Dir: Manny Coto.
FORTHCOMING
Artificial Eye
The Mother and tne Whore
(France, 1973), Dra, 210 min.
Jean-Pierre Leaud. Dir: Jean Eustache.
Fall
Artistic License
212-265-9119
Color of a Brisk and Leaping Day,
Dra, 90 min. Peter Alexander.
Dir: Christopher Munch. Fall
Riding the Rails, Doc. Dirs: Michael
Uys, Lexy Lovell.
Other Voices, Other Rooms, Dra.
Lothaire Bluteau, Anna Thomson.
Dir: David Rocksavage.
CFP
Love and Death on Long island,
Dra. John Hurt, Jason Priestley.
Dir: Richard Kwietniowski.
Junk Mail, Com. Robert
Skjaerstad, Andrine Saether, Per
Egil Aske. Dir: Pal Sletaune.
Cinema Village
212-431-5119
Cartoon Noir, Ani, 85 min. Fall
Mondo Plympton, Ani, 85 min.
Dir: Bill Plympton. Fall
Dove
310-786-1600
Hitchhiker's Guide to the Galaxy,
Com/SF, 92 min. Douglas Adams.
Dir: Neil Davies.
Dreamworks SKG
Paulie: A Parrot's Tale. Dir: John
Roberts. 3/20/98
Saving Private Ryan, Dra. Tom
Hanks, Tom Sizemore, Edward
Burns. Dir: Steven Spielberg.
6/1 2/98
The Prince of Egypt, Ani. Voices:
Val Kilmer, Steve Martin. Dirs:
Simon Wells, Steve Hicker and
Brenda Chapman. 1 1/98
Ants, Ani. Voice: Woody Allen.
Blue Vision. Dir: Neil Jordan.
El Dorado:City of Gold, Ani. Dir:
Will Finn.
Small Soldiers.
Fine Line
Didier (France). Alain Chabat.
Dir: Alain Chabat.
The Legend of the Pianist on the
Ocean, Dra. Tim Roth. Dir:
Giuseppe Tornatore.
Pecker, Com. Dir: John Waters.
Red Violin. Samuel L. Jackson.
Dr: Francois Girard.
When I Close My Eyes Uapsn)
(formerly Letters of Love), Dra,
1 1 6 min. Dir: Shunji Iwai.
First Look
Slaves to the Underground, Dra,
92 min. Dir: Kristine Petersen.
Keep the Aspidistra Flying,
Dra/Com. Richard E. Grant, Helena
Bonham Carter.
The Other Side of Sunday (Norway),
Dra. Dir: Berit Nesheim.
This is the Sea, Dra. Richard Harris,
Gabriel Byrne, John Lynch.
Dir: Mary McGuckian.
First Run
Forgotten Silver. Mock Doc.
Dirs: Peter Jackson, Costa Botes.
Project Grizzly, Doc.
Six O'clock News, Doc.
Fox Searchlight
Cousin Bette, Dra. Jessica Lange,
Bob Hoskins. Dir: Des McAnuff.
Hard Men (UK), Dra. Vincent
Regan, Ross Boatman. Dir: J. K.
Amalou.
Polish Wedding. Claire Danes,
Gabriel Byrne, Lena Clin, Mill
Avital. Dir: Theresa Connelly.
Ship of Fools, Dra/Com. Stanley
Tucci, Campbell Scott, Tony
Shalhoub, Isabella Rosselllni. Dir:
Stanley Tucci.
Gramercy
Ving Rhames,
Body Count, Act.
Forest Whitaker, David Caruso.
Dir: Robert Patton Spruill. '98
Land Girls. Gwyneth Paltrow.
Dir: David Leiand.
Tempting Fate (formerly Shakespeare's
Sister), Dra. Kenneth
Branagh, Madeleine Stowe. Dir:
Leslie Linka Glatter.
Greycat
A Gun for Jennifer, Thr.
Killer Tounge, SF, 90 min. Me-
inda Clark. Dir: Alberto Sciamma
Gurney Releasing
212-838-2929
Com. Melissa
Follow the Bitch,
Lechner. Dir: Julian Stone.
Live
The Breakup. Bridget Fonda.
Joyride. Tobey Maguire, Benecio
Del Toro.
The Second Arrival, SF. Patrick
Muldoon. Dir: Kevin Tenny.
IVIovieworld
The Killing Kind, Dra. Kirk Harris.
The Lost Woman. Jennifer Rubin.
New Yorker
Underground, Dra, 168 min. Dir:
Emir Kusturica.
October
Condo Painting, Doc. Dir: John
McNaughton. '98
Hearts and Minds, Thr, R, 1 05
min. Dir: Ralph Ziman. '98
Three Seasons, Dra. Harvey Keitel.
Dir: Tony Bui. '98
Shadow
207-872-5111
La Petite Apocalypse (France),
Com/Dra, 110 min. Pierre Arditi.
Dir: Constantin Costa-Gavras.
Sony Classics
Ma Vie en Rose. Michele
Laroque. Dir: Alain Berliner. 2/98
Nil by Mouth. Kathy Burke, Edna
Dore. Dir: Gary Oldman. 2/98
Men With Guns, Dra. Frederico
Luppi. Dir: John Sayles. 3/98
Strand
Ayn Rand: A Sense of Life, Doc.
Full Speed, Dra, 85 min. Elodie
Bouchez. Dir: Gael Murel.
La Sentinelle (France), Thr, 144
min. Dir: Arnaud Desplechin.
The Mouse. John Savage, Angelica
Torn. Dir: Dan Adams.
Nights of Cabiria (1957 Italian
reissue), Dra, 110 min. Ciulietta
Masina. Dir: Federico Fellini.
The Tit and the Moon (Spain),
Com, 92 min. Dir: Bigas Lunas.
Tara
415-454-5838
Mushrooms (Australia), Com, 93
min. Dir: Alan Madden.
Theafilm
lames Dean: Race With Destiny.
Casper Van Dien, Robert Mitchum.
Dir: Mardi Rustam.

HOME RELEASE CHART
SEPTEMBER 1997
HOME
RELEASE

8
2
Boxoffice Magazine
presents
NovieFbne's Noviegoer Activity Report
FOr the Nonth of June 1997
MovieFone^ (777-FILM®) and its sister service, MovieLink* Online, are now the single largest source ofmovie showtime information in the country,
providing information to over 12 million moviegoers each month. Thefollowing information represents the most requested theatres and exhibitors on MovieFone.
Top 10 Exhibitors & Theatres
Ragk
1
2
3
4
5
6
7
8
9
10
EririMlor
Nost Requested Exhibitors
United Artists
AMC
Cineplex Odeon
Sony
General Cinema
Century
Cinemark
Regal
Mann
Act III
Total Requests
669,851
605,562
551.841
475,410
364,825
231,160
199.033
136,427
131,319
121,197
Last Month's
Rank
1
3
2
4
5
6
7
10
9
11
Rank
1
2
3
4
5
6
7
8
9
10
Naitet
NY
LA
NY
NY
BO
NY
Ml
NY
PH
PX
Host Requested TIteatres
Theatre
Sony Lincoln Square
AMC Century 14
Sony Orpheum
CO Worldwide
Sony Cheri
CO Chelsea
Cobb Palace 1
City Cin Village East
UA Riverview Plaza
Century Glendale 9 D-l
Total Requests
42,296
33,759
33.594
29,275
23,851
23,668
23.332
22.458
21,881
21.732
Last Month's
Rank
1
3
8
5
2
6
20
44
11
148
TMal
Requestt
New York
1,023,147
Los Angeles
568,767
Dallas
555,490
Miami
333,277
San Francisco
326,030
Philadelphiia
260,290
Phoenix
249,857
Chicago
192,299
Boston
190,382
Houston
185,983
Toronto
168,941
San Diego
111,977
Most Requested Theatres Per Screen
Total Last Month']
Rank Theatre (# screens) Requests Rank
1 CO Ziegfeld (1) 10,887 1
2 SonyAstor(l) 6,247 11
3 CO Ctielsea West (2) 10,485 19
1 Pacific Cinerama Dome (1) 5,849 1
2 GCCAvcot3) 17,462 2
3 Mann Village (1) 4,857^ 6
1 AMC Highland Pk. (4) 8,83r"''
—^^•
2 UACine{2) 4,137 12
3 AMC Forum (6) 11,230 6
1 Cobb Miami Lakes (10) 17.573 2
2 Cobb Kendall (9) 14,336 10
"
3 UA Movies at the Falls (12) 18.029 5
1 UA Coronet (1) 9.630
fS
2 Century Century 21 (1) 5,712 2
3 UA Stonestown (2) 10,700 12
1 Cinemagic (3) 15.184 2
2 UASameric(4) 13.582 1
3 AMC Olde City (2) 5.698 3
1 Hark Cine Capri (1) 4.051 2
2 Century Glendale 9 D-l (9) 21 .732 14
3 SupSav Palm Glen (8) 12,807 6
1 CO Biograph (3) 8,186 5
2 Sony Esquire (6) 10,015 6
3 CO Lincoln Village 7-9 (3) 3,855 3
1 Sony Cheri (4) 23.851 1
2 FEI Somerville (1) 2,842 3
3 GCC Chestnut Hill (5) 10,198 7
1 CO River Oal

lAA
Kiwiwvu'V
San
.
.
.
CLASSIFIED ADVERTISING
RATES: $1 .00 per word, minimum $25, $15 extra
for box number assignment. Send copy witti check
to BoxoFFicE, P.O. Box 25485, Chicago, IL 60625,
at least 60 days prior to publication.
BOX NUMBER ADS: Reply to ads with box numbers
by writing to Boxoffice, P.O. Box 25485,
Chicago, IL 60625; put ad box number on letter
and in lower-lett corner of your envelope.
HELP WANTED
LET THE GOVERNMENT FINANCE your new or existing
small business. Grants/loans to $500,000. Free recorded
message: (707) 447-6630. (RN7)
MANAGER AND MANAGEMENT TRAINEE positions
are available. We are people-oriented and believe that
excellent customer service and state-of-the-art technology
are the keys to success in the movie theatre/swap
meet industry. We offer a wide variety of benefits, competitive
salaries and opportunities for professional grovvth.
Join our team as we expand in California, Nevada, Arizona,
New Mexico, Utah and beyond. If you are looking
for growth and opportunity, have the ability to prepare,
monitor and achieve budgetary goals, and have the enthusiasm
and the ability to manage/motivate people, now
is the time to let us hear from you! Theatre/Swap or other
management experience required and some college helpful.
Send your resume and salary requirements to Century
Theatres and Swaps, Attn: Human Resources—Job Code
MGR1096, 150 Golden Gate Ave., San Francisco, CA
94102. No faxes or phone calls please.
REGAL CINEMAS INC. has opportunities available for
experienced multiplex managers and assistant managers
in the southern and eastern areas of the country. Individuals
must be self-starters and possess the leadership
qualities needed to thrive within an aggressively expanding
circuit. Salary commensurate with experience plus
concession commission and benefits. Replies held in
strictest confidence. Send resume and references to:
Regal Cinemas, 7132 Commercial Park Drive, Knoxville,
TN 37918, Attention: Jan Frazee.
EQUIPMENT FOR SALE
ACOUSTIC SOUND PANELS & CUSTOM WALL DRA-
PERIES available in flameproofed colors and fabrics,
artistic or plain. CINEMA CONSULTANTS & SERVICES
INTERNATIONAL INC., P.O. Box 9672. Pittsburgh, PA
15226. Phone (412) 343-3900; Fax (412) 343-2992.
BURLAP WALL COVERING DRAPES: $2.05 per yard,
flame retardant. Quantity discounts. Nurse & Co., Milibury
Rd., Oxford, MA 01540 (508) 832-4295.
CLOSE-OUT ALL USED EQUIPMENT: Century, Simplex,
RCA soundheads and projectors, automation,
speakers, Eprad Sword, lamps and rectifiers, pedestals,
tk:ket machines. Low, low prices. Call (615) 684-8746.
kever^e r&k
Iti Revetit Nigl«3 howble
S?it\\>er3'> negi-blotlcboslief
3oW5ic9(rV; series/ t
COMPLETE THEATRE EQUIPMENT: (New, Used or
Rebuilt) Century SA, R#, RCA 9030, 1040, 1050 Platters:
2 and 5 Tier, Xenon Systems 1000-4000 Watt,
Sound Systems mono and stereo, automations, ticket
machines, curtain motors, electric rewinds, lenses,
large screen video projectors. Plenty of used chairs.
PROFESSIONAL SERVICE AND INSTALLATION
AVAILABLE DOLBY CERTIFIED. Call Bill Younger,
Cinema Equipment, Inc., 1375 N.W. 97th Ave., Suite
14. Miami. FL 33172. Phone (305) 594-0570. Fax (305)
592-6970. 1-800-848-8886.
CUPHOLDER ARMREST. "State of the art." Call Cy
Young Industries Inc. 800-729-2610.
MICRO-FM'" STEREO RADIO Sound Systems for Drivein
Theatres. Meets FCC part 15. Static free. Available
soon: low cost Micro-FM-jr. For the hearing impaired. Call
or write: AUDIO VISUAL SYSTEMS & ENG., 320 St. Louis
Ave., Woonsocket, Rl 02895. Phone (401 ) 767-2080; Fax
(401)767-2081.
ORC 1000 built-in power supply, with bulb, $1,300. Film
splicer, $75. Gold Medal butter dispenser, counter top,
$150. Popcorn warmer, counter top, $200. Call (517)
224-8338.
PATRON TRAY. Fits into cupholder amirest. Call Cy
Young Industries Inc. at 800-729-2610.
PRICED FOR IMMEDIATE SALEl Three Century SA
projectors with Century soundheads including pedestals,
only $3,500 each. Two Christie 2000W
lamphouses with power supply, only $1 ,750 each. One
Christie 3000W lamphouse with power supply, only
$2,500. Two Christie AW2 platter systems with makeup
table, only $2,500 for all three pieces! Five Altec
Voice of the Theatre speakers, only $300 each. One
large Cretors popcorn machine, only $1,000. Five Automaticket
machines, only $100 each. Two Norcon
boxoffice microphone systems, only $250 each. Other
miscellaneous fixtures, projection, and concession
equipment available. Additional discount if entire package
is purchased. Complete equipment list available
upon request. Please submit offers on all or part of the
above equipment to P.O. Box 889275, Atlanta, GA
30356-0275, or phone (770) 594-4595.
Rebuilt Century SA & R3 projector/soundhead $4250.
Simplex XL $4450. Xenon lamps, platters, many lenses,
excellent line of other used projection and sound equipment.
TANKERSLY ENTERPRISES, P.O. Box 36009,
Denver, CO 80227. Phone (303) 716-0884; fax (303)
716-0889.
TABLET TRAYS. Fits into all cupholder armrests. Used
in multi-purpose theatres, bingo, etc. Call Cy Young Industries
Inc. at 800-729-2610.
USED EQUIPMENT FOR SALE: Projectors, prewired
stereo racks, platters, lamps, etc. Ask atiout our financing
program. Premier Seating Co. Inc., 800-955-SEAT, fax
(410) 686-6060, e-mail: pseating@aol.com.
USED PROJECTION EQUIPMENT: Replacement equipment,
single or multi booths available. Please call if you
are purchasing or selling. CINEMA CONSULTANTS &
SERVICES INTERNATIONAL INC., P.O. Box 9672, Pittsburgh,
PA 15226. Phone (412) 343-3900, Fax (412) 343-
2992.
Rk4^
V JJI.f,-crA?>: ,
WILL TRADE: YOUR THEATRE SEATS FOR OUR
USED THEATRE EQUIPMENT. Great condition at great
prices. Platters, projectors, lamphouses, complete prewired
stereo racks and much, much more. Premier Seating
Co. Inc., 800-955-SEAT, fax (410) 686-6060, e-mail:
pseating@aol.com.
EQUIPMENT WANTED
DRIVE-IN, snack bar concession and intermission related
trailers wanted. Used or unused: Older preferred. Brian Francis,
707 E. Hancock, Newberg, OR 97123. Call (503) 538-
5521 .
http://www.driveintheatre.com/99w/
PURCHASE OR TRADE: For your used theatre equipment,
concession equipment, theatre seats. Ask about
our storage facilities and our financing program. Premier
Seating Co. Inc.. 800-955-SEAT, fax (410) 686-6060,
e-mail: pseating@aol.com.
VINTAGE TUBE TYPE AMPS, woofers, drivers, horns,
parts, from Western Electric, Westrex. Altec, Jensen, JBL,
EV, Tannoy, Mcintosh, Marantz. Phone David at (818)
441-3942. P.O. Box 80371 ,
Marino, CA 91 1 1 8-8371
WANTED DEAD OR ALIVE: We will purchase Century
projectors or soundheads, new or old, complete or incomplete,
for cash. Also interested in XL and SH-1000. Call
(502) 499-0050. Fax (502) 499-0052, Hadden Theatre
Supply Co., attn. Louis.
We will buy or trade for used/new equipment on any
projector/soundhead/platter/lamphouse/console/speake
rs/lens and concession equipment. We can remove or
pick up anywhere in the U.S. or overseas. Call us at (303)
298-8077 or fax (303) 296-4080. Tankersley Enterprises,
P.O. Box 36009, Denver, CO 80227. Phone (303) 71 6-0884;
fax (303) 716-0889.
SOFTWARE
TICKETING SOFTWARE for IBM-PC. Complete software
package designed for independents and small
circuits. Point-Of-Sale ticketing for 1-12 movies with
daily and weekly reporting system. Now in use at over
60 theatre locations in the U.S. Use your own IBM
compatible. We have inexpensive thermal printers, automated
cash drawers and pole displays. Software from
$399. Printers from $499. Call (615) 790-7797 for free
demo or download now on our website at
sensiblecinema.com.
THEATRES FOR SALE/LEASE
San Diego. CA. Well-established discount theatre. Twin
screens. Contact Jill Thompson, CCIM, (619) 621-9052.
SINGLE SCREEN THEATRE and building for sale in
a
Central Plains community. This site has been in continuous
operation since its construction in 1919. Renovated
with seats, concessions, sound, lighting, the landmark
draws from three counties. Owners are retiring. Inquiries
may be made by calling (888) 716-0722 (toll free). Please
leave name and any numbers, including fax, e-mail and
postal add ress.
TWIN THEATRE, now open—first run—460 seats, lease
and equipment— platters—automation— Dolby surround—Gulf
Coast. Mississippi. $90,000. (601 )
474-7021
DRIVE-IN CONSTRUCTION
DRIVE-IN SCREEN TOWERS Since 1945 Selby Products.
Inc., P.O. Box 267, Richfield, Ohio 44286 (216)
659-6631,800-647-6224.
SCREEN TOWERS INTERNATIONAL New, used, transplanted,
complete tower sen/ice. Box 399, Rogers, TX
76569. Phone: 800-642-3591
THEATRE SEATING
"ALL AMERICAN SEATING" by the EXPERTS! Used
seats of quality. Various makes. American Bodiform and
Slellars from $12.50 to $32.50. Inivins from $12.50 to
$30.00. Heywood & Massey rockers from $25.00. Full
rebuilding available. New Hussey chairs from $70.00. All
types theatre projection and sound equipment. New and
used. We ship and install all makes. Try us! We sell no
JunkI TANKERSLEY ENTERPRISES, P.O Box 36009,
Denver, CO 80227. Phone (303) 716-0884; fax (303)
716-0889.
ALLSTATE SEATING is a company that Is specializing
in refurbishing, complete painting, molded foam, taltormade
seat covers, Installations, removals Please call for
pricing and spare parts for all types of theatre seating.
Boston. MA. Phone (617) 268-2221, FAX (61 7) 268-7011.
"BOOSTER B. SAURUS" Child booster seats. Call Cy
Young Industries Inc. at 800-729-2610.

.
Spntpmhpr. 1W7
14S
ADVERTISER INDEX
Action Lighting 145
American Licorice Company 29
Automatlcket/Hurley Screen Corp. . 129
CFS/Rentec 55
Caddy Products 83
Celestial Lighting 43
Christie Incorporated C-2
Cinema Cleaning Systems 37
Cinema Consultants & Services . . . 105
Cinema Equipment Inc 89
Cinema Equipment Sales of CA Inc. 90
Cinema Products International .... 95
Cinema Supply Co. Inc 115
Cinemeccanica U.S. Inc 31
CInevlslon Corp 67
Crain/Atlanta Inc 115
Cy Young Industries Inc 124
DTS (Digital Theater Systems) 17
DeClercq's Theatrical Specialties Inc. 1 26
Deep Vision 3-D 133
Dolby Laboratories Inc 9
ElMS Inc 35
Edifice, Inc 85
Electronic Creations Inc 145
Equipment Etc 133
Flavor Wear 123
Gemini Inc 121
Glassform 117
Gold Medal Products Co 60
Madden Theatre Supply Co 125
International Cinema Equipment Co. 75
JBL Professional 7
Jarco Industries Inc 47
Kelmar Systems Inc 77
KInetronlcs Corp. USA 120
Knelsley Electric Co 127
Largo Construction Inc 120
Lavl Industries 45
Lawrence Metal Products 127
Lou Ana Foods 123
Lucasfilm Ltd 4
Mag North 121
Manutech 103
Marble Company 73
Maroevlch, O'Shea & Coghlan .... 126
Mars Theatre Mgmt. Systems 87
CHILD BOOSTER SEATS: Molded plastic, large quantity
in stock, multiple colors available, will not deteriorate like
booster bags. Premier Seating Co. Inc., 800-955-SEAT,
fax (410) 686-6060, e-mail: pseating@aol.com.
FINALLY, AN ALTERNATIVE TO ON-SITE UPHOL-
STERY: Call us about our new upholstered backs and
cushions by mail program. More cost-efficient than on-site
upholsterers, fast tum-around, quality controlled in our
40,000 sq. ft. state-of-the-art factory. Premier Seating Co.
Inc.. 800-955-SEAT, fax (410) 686-6060, e-mail: pseating@aol.com.
ON-SITE UPHOLSTERY and replacement covers. Parts
available for many chairs. Our "Bakers Dozen" gives you
13 covers for the cost of 12. Nationwide service. Free
samples made up. Call Complete Industries for pricing.
(800) 252-6837.
SEAT AND BACK COVERS: Most fabrics in stock.
Molded cushions. Cy Young Industries Inc., 800-729-
2610.
SEATS CLEANED on site, $1.56-$2.36 per seat (coast
to coast). Call (800) 879-231 1 , 24 hours, for brochure and
information. The Carpet Cleaner, P.O. Box 154, Osceola,
MO 64776.
THEATRE SEAT AND BACK COVERS: Large in-stock
fabric inventory, fast turn-around, competitive pricing at
any quantity. Premier Seating Co. inc., 800-955-SEAT,
fax (410) 686-6060. e-mail: pseating@aol.com.
THEATRE SEAT RECONDITIONING: Total or partial
theatre seat restoration in our 40,000 sq. ft. state-of-theart
factory, featuring sandblasting, powder-coating, and
McRae Theatre Equipment 130
NCS Corp 93
National Cinema Service Corp. ... 100
National Ticket Co 122
New England Theatre Service Inc. . 129
Nick Mulone & Son Inc 128
ORC Lighting Products 39
OSRAM SYLVANIA 41
Odell's 97
Odyssey Products Inc 71
Peavey Electronics Corporation ... 49
PepsiCo. Inc 23
Permllght Technology 81
Pike Productions 92
Pot O'Gold Productions Inc 129
Potts, Robert L. Enterprises 128
Premier DataVlslon Inc 91
Proctor Companies 52
27
Promotion In Motion Companies .
QSC Audio Products Inc C-3
RDS Data Group Inc 88
Ready Theatre Systems 115
Reynolds & Reynolds Inc 65
Roblnson/Klrshbaum Industries Inc. 118
SPECO (Sys. & Prod. Eng. Co.) ... 53
Sega GameWorks L.L.C 15
Server Products Inc 59
Smart Theatre Systems 25, 61
Sol Electric Co 145
Soundfold International 122
Stein Industries Inc C-4
Strong International 33
TSM Trade Show Marketing 102
TVP Theatre & Video Products 125
Technlkote Corp 128
Theatre Service & Supply 116
Theatre Service Network Inc 117
TIcketpro Ticketing Systems 86
Tootsle Roll Industries Inc 11
Troy Sound Wall Systems 51
Ultra-Stereo Labs Inc 57
Unique Screen Ad Productions .... 5
Wagner-ZIp Change Inc 124
Wallace Theatres 101
Wlllming Reams Animation Inc. ... 119
Windjammer Barefoot Cruises .... 116
Wolk, Edw. H. Inc 126
Yumex ILC Ltd 94
in-house upholstering. Restore your seats or purchase
from our inventory. Ask about our in-house financing
program. Premier Seating Co. Inc., 800-955-SEAT, fax
(410) 686-6060, e-mail: pseating@aol.com.
THEATRE SEATS WANTED: Will buy/trade for surplus
and unwanted theatre seats, all makes and models. Premier
Seating Co. Inc., 800-955-SEAT, fax (410) 686-
6060, e-mail: pseating@aol.com.
USED AUDITORIUM CHAIRS: Choose from a large selection
of different makes and models and colors, American
Stellars and i/in Citations competitively priced,
shipped and installed. ACOUSTIC SOUND PANELS AND
CUSTOM WALL DRAPERIES available in fiameproofed
colors and fabrics, artistic or plain. CINEMA CONSUL-
TANTS & SERVICES INTERNATIONAL, Inc. P.O. Box
9672, Pittsburgh, PA. 15226. Phone (412) 343-3900, Fax
(412)343-2992.
SERVICES
ALTEC, JBL, E.V. SPEAKER RECONING: Factory authorized
service, fast turnaround. We stock diaphragms
for popular theatre drivers. Cardinal Sound & Motion
Picture Systems Inc. Dealer inquiries welcome. (301)
595-8811.
FRONT END INSTALLATION with frames, motors and
masking tracks. Call Cy Young Industries Inc. 800-729-
2610.
MY 50TH YEAR with M.P.M.O., Local 249, Dallas, TXl!
Call me, "Pinky" Pinkston, to rebuild your Century, Sinv
DIRECT IMPORTERS-MANUFACTURERS
TOLL FRLE "^
CANADA* US
800-248-0076
Response No. 98
^SolciW
Theatre Supply and Service
Dealers in JBL, Cinemeccanica & other fine products
19334 Chunubusco Lane, Germantown MD 20874
Michael Uarini PhoneA/oice Mail (301) 404-9043
Fax (301) 601-4307
E-Mail MikeM79810@AOLcoin
Response No. 476
Box Office '97
Ticketing & More...
Windov^s '95 Based
Microsoft Access Database
Concession Sales & Inventory
State of the Art - Reliable
18 Years Experience
Custom Development
Satisfaction Guaranteed
Electronic Creations, Inc.
Ph (619)480-1002 Fax (61 9) 480-6830
Response No. 203
plex projector and soundhead. Also, intermittents.
Pinkston Sales and Service, Rt 1, Box 72H, Sadler, TX
76264. Or call (903) 523-4912.
SOUND/DRAPING FABRICS IN STOCK. All new selection
of fabrics. Installation on brackets available, or sewn
in pleated drapes. Call Cy Young Industries Inc., 800-729-
2610.
SOUNDFOLDS & CURTAINS cleaned and fireproofed on
site S.20-$.40 per hung sq. ft. (coast to coast). Call (800)
879-2311, 24 hours, for brochure and information. The
Carpet Cleaner, P.O. Box 154, Osceola, MO 64776.
ULTRAFLAT. REFLECTORS: W/hy buy new when you
can have it restored? "Hopeless" cases restored to brightness.
Call your dealer or ULTRAFLAT, 20306 Sherman
Way, Winnetka, CA 91306. (818) 884-0184.
http://www.cris. com~Ultraflt
"WHILE THE THEATRE SLEEPS" On-site reupholstery.
Top fabrics, molded seat cushions and "State of the Art"
Cy Young cupholders. Call Cy Young Industries Inc.,
800-729-2610.
MISCELLANEOUS
MOVIE POSTERS WANTED: HIGHEST PRICES PAID
FOR LOBBY CARDS, 1-, 3- AND 6-SHEETS, WINDOW
CARDS, BANNERS, GLASS SLIDES. Dwight Cleveland,
P.O. Box 1 0922, Chicago, IL 6061 0-0922. (312) 525-9152
orfax (312) 525-2969.
MOVIE POSTERS WANTED! I
material. John Hazelton, 235 Norton Highway, Mineola,
NY 1 1501 . Call toll-free 1-800-CAGNEY4.
pay top dollar for vintage
MOVIE POSTERS WANTED: No collection too large or
too small! Immediate cash payments! Top prices for vintage
material! Call toll free: 1-800-213-8431.
WE NEED YOUR HELP!! TOP. (Theatre
Operating
Procedures) newsletter. Our goal is to unite, inform, entertain
and educate all theatre management woridwide.
Only with your help can we make this happen! We need
your input on operation tips, good and bad customer
experiences, inspiring stories, funny stories, why you are
proud of your theatre, or any stories related to our profession.
Fax it all to our special 24-hour fax idea hotline: (248)
738-1672. For subscription information, please fax your
name and address to the number above, or write to T.O.P.
Entertainment, 4217 Highland Rd., Suite 188, Waterford,
Ml 48238-2165.

iie IGia Picture
In
calling his dark period novel on '50s movieland corruption
"L.A. Confidential," mystery writer James Ellroy got it right.
Back in the supposedly placid 1 950s, Confidential Magazine was
eveiry studio publicist's worst nightmare—the tinseltown tattler,
ready to go to any sleazy extreme to tell the trashy truth about the
sacred cows and tinhorn idols of the movie elite.
For decades, the Hollywood powers that be had kept a Ud on the
often scandalous off-screen antics of the glamorous young millionaires
who made up the movie colony. Mindful of the destructive
controversies of the '20s (the Fatty Arbuckle manslaughter case, the
death by overdose of "all-American" actor Wallace Reid, the kinky
revelations accompanying the unsolved murder of director William
Desmond Taylor), the film
bosses had taken steps by the
early '30s to control every aspect
of their top stars' public
images. The founding of the
Hayes Office and the institution
of Hollywood's first production
code kept movie
content from offending the
tender sensibilities of the
American public, while a complex
and powerful network of
industry flacks orchestrated
carefully stage-managed public
appearances for the Hollywood
talent pool, calculated
to make some of the most
notorious hedonists in American
history seem like nothing
more nor less than exemplars
of the mainstream Middle
American value system who
got lucky and made good.
Confidential changed all
that. The brainchild of Robert
Harrison, a former adman for
the now-defunct Motion Picture
Daily, and A.R Govoni, a
sometime editor for the National
PoUce Gazette, Confidential
took the Hearstian
"yellow journalism" approach
pioneered in such outlets
as The New York Graphic
and The Los Angeles Mirror
and applied it in full-throttle, lunge-for-the-jugular fashion against
the cream of the Filmtown crop. Journalistic ethics were loose at
best: In addition to "sourcing" the usual crowd of industry hangerson
with an ax to grind. Confidential deployed its own network of
private detectives, including the notorious Fred Otash, a former L.A.
cop who became legendary within the Hollywood community for
his implacable exposure of the most iiltimate details of celebrity
misbehavior, both public and private.
Pay-offs to movietown hookers were commonplace, and Confidential
wasn't shy about running the most intimate details culled
from these less-than-reputable sources. "I'm a Hollywood call girl,"
ran the lead to one article published in March of 1957. "For a price,
I've been up against the best of the movieland wolves. But for sheer
novelty, give me Danny Kaye every time."
public lapped it up. At the height of its power. Confidential
Theracked up a whopping four million monthly nsaders, with
more copies sold of each issue than the circulation of such
emblems of ' 50s Americana as Look or The Saturday Evening Post.
"Everyone [in Hollywood] reads Confidential," Humphrey Bogart
once said. "But they deny it They say the cook brought it into the house."
But not everyone, as it turned out, read it with pleasure. In 1955,
under pressure from the film industry, the U.S. government took
steps to suppress Confidential. The Postal Service ruled that sexy
stories about Sammy Davis Jr, Guy Madison and Walter Pidgeon,
among others, were demonstrably obscene, and ordered
Confidential's publishers to submit advance copies to the Solicitor
General's office, which would rule (presumably very harshly) on
their suitabiUty to be distributed through the mail. It was a naked
violation of the First Amendment, and with the help of ace attorney
Edward Bennett WiUiams, Confidential beat back the challenge.
After that came the deluge.
In 1957, a California
state senator launched an investigation
into whether
Confidential was encouraging
Cahfomia-based private
detectives into selling out
their clients. When that tactic
failed, California governor
Goodwin Knight directed
state attorney general Edmund
G. Brown to mount a
full-scale investigation of
Confidential and its scores of
imitators.
In a star-packed trial that
included testimony from the
likes of Dorothy Dandridge,
Maureen O'Hara and
Liberace, Confidential
fought the state of Cahfomia
to a draw. After 15 days of
deUberations, the jury hung,
and a mistrial was declared.
With legal costs mounting,
Harrison accepted a plea bargain
that included a guilty
plea to one obscenity charge
and a binding agreement to
lay
off Hollywood, h took
Harrison just three issues to
realize that a defanged Confidential
was finished; he
sold out, and though the
magazine continued to publish
well into the 1960s, its era of notoriety and influence was over
Though its hyped-up tabloid style makes it a period piece today,
the ghost of Confidential looms large over American celebrity
journalism. Stories that would have rocked the public back in the
Eisenhower era are now considered so commonplace that they are
fit cover subjects for the likes of People and TV Guide. The more
errant stars have themselves gotten into the act, often collaborating
on their own carefully orchestrated "triumph ofa survivor" publicity
campaigns in which the most intimate and sordid details are passed
out like ftiee beer, accompanied by a "but that's all behind me now"
chaser.
Meanwhile, the hold stardom has on the American consciousness
has in many ways become its defining characteristic. Broadcast at
us 24 hours a day, screaming at us from every supermarket checkout
line, as close as the nearest moviehouse and as far away as the latest
satellite transmi.ssion, celebrity has become pervasive, omnipresent.
Proud of its outsider status, it's doubtful Confidential could survive
in such a star-obses.sed world. In America as well as all over the
worid, there simply no longer seems to be an outside. Ray Greene
—

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;%
'^
\V
^
iX
A
y
.^J
iVc wfll custom design and build your concession stand to your special requirement
We combine state-of-the-art technology with professional craftmanship, incorporating all
the clearly received ideas of the clients. Every feature is designed with a concept towards
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Concession Stands, Box Offices, Popcorn Poppers, Butter Dispensers. Popcorn Warmers,
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DK] mm'^
CALL: 516-789-2222 • FAX: 516-789-8888
HesponseNo. 101
9
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