Boxoffice

$6.95 

OCTOBER 2014 

THE MPAA & THE 

CLASSIFICATION 

AND RATING 

ADMINISTRATION 

INTERVIEW 

CARA HEAD JOAN GRAVES 

EXPOCINE ’14 

SAO PAULO, BRAZIL 

INTERVIEW 

TONKS CEO MARCELO LIMA 

PLUS 

THE BOXOFFICE 

SOCIAL CLUB 

PART 3 OF 5 

SETTING THE 

SUMMER RECORD 

STRAIGHT 

NO—THE SKY 

ISN’T FALLING 

ACCESSIBILITY 

IN THE THEATER 

SPACE 

WHAT YOU NEED 

TO KNOW NOW 

SIMULTANEOUS 

RELEASE IS THE 

NEXT BIG THING 

AGAIN? 

GENEVA 

CONVENTION 

A REVIEW 

Brad Pitt goes behind 

enemy lines as WWII 

tank commander 

Wardaddy in Fury 

WE SALUTE THE 

WOMEN OF 

EXHIBITION 

& DISTRIBUTION 

THE OFFICIAL MAGAZINE OF THE NATIONAL ASSOCIATION OF THEATRE OWNERS

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BoxOffice Media 

THE LEAGUE OF 

EXTRAORDINARY PEOPLE 

This issue of BoxOffice® Pro offers proof of our 

industry’s greatest asset—interesting, talented, 

creative people. Some of our colleagues, 

however, because of their skill in a specific area 

like digital marketing or social media, stand out from 

even the most brilliant crowd. That describes the new 

group of individuals in this month’s BoxOffice® Social 

Club, the third installment in our five-part series. And 

speaking of outstanding, this month we also profile 

women who are shaping the future of our industry. Year after year it gets 

harder to come up with a short list for our Key Women in Exhibition and 

Distribution, as so many women deserve to be featured. What a great problem 

to have! 

Fall happens to be the time of year to meet lots of extraordinary people in 

person. Those among you who attended the Geneva Convention will enjoy 

reliving that excellent event in these pages. And we are already looking forward 

to gathering at ShowEast and farther afield—a brand-new trade event in 

the heart of the booming Latin America market, Brazil. We’re very happy to 

partner with Expocine, building more and more bridges within our industry. 

The difficult summer of 2014 is now behind us, and the industry is looking 

forward to a very promising year end, and an even better 2015. We believe the 

future will bring great movies, but we know it will bring extraordinary people. 

Julien Marcel 

Julien@boxoffice.com 

OCTOBER 2014 BoxOffice ® Pro The Business of Movies 3

ROYAL SCREENVISION PAPERS

OCTOBER 2014 VOL. 150 NO. 10 

FURY 

Opening October 17 

3 HELLO by Julien Marcel 

6 EXHIBITION BRIEFS 

The latest news from the exhibition industry 

10 EXECUTIVE SUITE 

Accessibility in the theater space by Esther Baruh 

12 NATO NEWS 

Summer and smoke (and mirrors): 

Simultaneous is the next big thing. Again. by Patrick Corcoran 

14 CHARTS & GRAPHS 

A look at the power of Brad Pitt at the box office and 

forecasting the results for Fury 

15 EXPOCINE 

An interview with Marcelo Lima, CEO of digital 

marketing firm Tonks by Daniel Loria 

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16 SETTING THE SUMMER RECORD STRAIGHT by Daniel Loria, Phil Contrino, and Shawn Robbins 

Summer box office numbers are down, but there’s no need to 

take out your umbrella—the sky isn’t falling 

18 HOW WE GOT HERE by Daniel Loria 

A (very) quick overview of the history behind CARA, the MPAA’s 

Classification and Rating Administration 

20 THE BOXOFFICE INTERVIEW by Julien Marcel 

Joan Graves, SVP, Chairman, CARA 

22 GENEVA CONVENTION by Daniel Loria 

Hollywood and the heartland meet again 

26 GENEVA BOXOFFICE PANEL 

State of the Industry 

30 THE BOXOFFICE SOCIAL CLUB by Phil Contrino 

Part 3 of 5: Meet five exhibition industry leaders in the use of social media 

36 WOMEN IN EXHIBITION & DISTRIBUTION by Daniel Loria 

50 3D RELEASE CALENDAR sponsored by RealD 

52 COMING IN OCTOBER by Kenneth James Bacon 

64 BOOKING GUIDE compiled by Daniel Garris 

70 CONVENTION NEWS 

Australian International Movie Convention 

72 CLASSIFIEDS 

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EXHIBITION 

BRIEFS 

SCREENS 

SEVERTSON SCREENS ADDS 

MICROPERF OPTION TO FOLDED 

CINEMA SCREEN LINE FOR 

INTERNATIONAL SHIPPING 

n Severtson Screens, a manufacturer of projection 

screens for the cinema, commercial, pro 

AV, and home-theater markets, has announced 

that its new folded SēVision 3D GX line of cinema 

projection screens now includes Severtson’s 

microperf screen as an option for international 

shipment. Severtson Screens plans to introduce 

the updated line at ShowEast. 

According to the company, the Severtson 

microperf viewing surface eliminates moiré, 

which is often problematic in screens with 

larger perforation, yet continues to provide a 

more realistic soundstage, allowing speakers to 

be placed directly behind the screen. The practically 

invisible pinpoint holes in the material 

allow sound to be smoothly transmitted while 

preserving audio quality. The Folded SēVision 

3D GX line of cinema projection screens offers 

up to 15 percent better sound transfer over 

standard perforated screens, while providing 

optimum visual performance at the same time, 

resulting in the ultimate audio and video experience 

for theater customers. 

Says Dan Maxwell, Severtson vice president 

and chief operating officer, “Since we introduced 

the folded SēVision 3D GX line earlier 

this year, we have had to increase production 

in our Mesa, Arizona, facilities to keep up with 

the international demand. Now, with the addition 

of the microperf option, we are excited 

to offer this top-of-the-line product to our 

customers located around the globe who have 

been looking for such a screen, but shipping 

costs associated with such large packages as this 

were out of reach for so many up until now.”- 

SERVERS 

CINEMACENTER SELECTS DOREMI 

TECHNOLOGY TO COMPLETE ITS 

DIGITAL ROLL-OUT 

n Doremi recently announced that Cinemacenter, 

the largest independent national 

exhibitor in Argentina, has selected Doremi 

servers and media blocks to complete the digitization 

of its screens. Cinemacenter’s installation 

includes Doremi IMS1000, IMS1000-AR 

(assembled in Argentina) and ShowVault/IMB 

servers as their playback solution. 

“We have found excellence in Doremi; not 

only in its products but also in regard to its 

technical support and services in Argentina. 

The reliability Doremi offers strengthens our 

partnership and provides piece of mind in addressing 

any future issues,” says Esteban Suñe, 

director of Cinemacenter. 

Cinemacenter will complete its digital conversion 

in November 2014 and will continue its 

new screen and theatrical growth throughout 

2015. Cinemacenter currently has 19 theaters 

and 88 screens, which gives it a national market 

share of 8 percent. 

“We are very proud that such an iconic and 

future-driven company like CCA has chosen 

Doremi technology to deliver content to more 

than 80 cinemas distributed throughout the 

country,” says Jason Vreeman, senior sales manager, 

Latin America, Doremi. 

6 BoxOffice ® Pro The Business of Movies OCTOBER 2014

POPCORN 

CRETORS ANNOUNCES SEVERAL NEW 

PRODUCTS INCLUDING POPPERS, 

PIZZA OVEN, AND CARAMEL COATER 

n C. Cretors and Company, a designer and 

manufacturer of food processing and concession 

equipment, has announced its new Apprentice 

popcorn popper (right), an affordable, 

high-quality popper with a no-frills design. 

Its frame is stainless steel 

and welded for durability. 

The swing-down, stainless 

steel kettle has a removable 

agitator and lid for easy 

cleaning. The one-piece 

magnetic catch lid allows 

simple loading and maintenance, 

and the pan is 

easily removed via a single 

twist lock. 

The company is also 

offering a new combination 

pizza oven and display 

cabinet (the oven cooks 

one 16-inch pizza, and 

the display cabinet holds 

four 16-inch pizzas on four rotating racks); 

the Double Feature, a combination popcorn 

popper and caramel coater in one space-saving 

unit (patent pending), which can make up to 

12.5 pounds of caramel corn per hour; a new 

molded plastic top for its popular Mach 5 

popcorn popper; and a new Filter Hood option 

for all Cretors popcorn popping plants. 

In 1885 Cretors introduced the first 

patented steam-driven popcorn machine that 

popped corn in oil. Its Foodservice Division 

offerings have expanded to include machines 

that produce and/or dispense cotton candy, 

nachos, caramel corn, and hot dogs; topping 

and dispensing equipment; 

and warming and display 

cabinets. 

MEDIA BLOCKS 

GDC TECHNOLOGY 

SHIPS MORE THAN 

14,000 SX-3000 

IMB WORLDWIDE, 

CHOSEN BY 

EVERGRANDE 

FOR THE DIGITAL 

ROLLOUT OF ITS NEW 

CINEMA CHAIN IN 

CHINA 

n GDC Technology, a 

digital cinema solution 

provider, has shipped over 14,000 units of its 

SX-3000 Standalone Integrated Media Block 

(SX-3000 IMB) globally, making it the most 

widely installed IMB on the market. According 

to the company, SX-3000 IMB sales have 

grown 2 percent year-on-year since its introduction 

in 2013. As of July 2014, GDC Technology 

holds the largest share of Asia’s digital 

cinema server and theater management system 

market, and is the No.1 digital cinema server 

provider in China, South Korea, and Taiwan, 

with approximately 61 percent, 74 percent, and 

50 percent market share, respectively. GDC 

Technology is the second largest digital cinema 

server provider in the United States with more 

than 11,000 servers installed. 

Evergrande Cinema Line Management 

Co., Ltd. has selected GDC Technology as its 

technology partner to provide approximately 

300 units of its SX-3000 Standalone Integrated 

Media Block (IMB) and 30 sets of its Theatre 

Management System (TMS) at its cineplexes 

in China. As of August 2014, GDC’s IMB 

and TMS have already been deployed in 15 

Evergrande cineplexes. 

Evergrande Cinema Line. a subsidiary of 

Evergrande Group—a Hong Kong–based conglomerate 

that focuses on residential property 

development, fast-moving consumer goods, 

and the hotel, sports, and culture industries— 

specializes in theater investment, development, 

and management. It has up to 108 cineplexes 

under planning and construction in China, 

with more than 1,000 screens, and it is expected 

to account for over 10 percent market share 

in the coming 5 years. 

NOVEMBER 2013 BoxOffice ® Pro The Business of Movies 57 

ad.indd ads.indd 54 54 

6/6/13 10/4/13 7:44:53 AMPM 

OCTOBER 2014 BoxOffice ® Pro The Business of Movies 7 

ad.indd 54 

6/6/13 7:44 AM

EXHIBITION BRIEFS 

“Stable and reliable hardware and software 

are both essential for a top cinema line in 

China,” says Guangwei Li, general manager 

of Evergrande Cinema Line. “After stringent 

comparison and analysis over a long period of 

time, we have come to a conclusion that GDC’s 

IMB and TMS are compliant with all our 

requirements.” 

AUDIO 

MEYER SOUND MAKES KANSAS DEBUT 

n For its first location outside of the Northwest, 

the Cinetopia theater chain has built 

three massive GXL screens, each equipped 

with a Meyer Sound cinema system and Dolby 

Atmos. Named Overland Park 18, this eastern 

Kansas theater complex also has close to 200 

Meyer Sound cinema loudspeakers. 

The local media noted the lifelike detail of 

the Meyer Sound cinema loudspeakers. “When I 

heard the rain falling on screen, I could make out 

the drops, not just a swoosh,” wrote Jeneé Osterheldt, 

lifestyle columnist for the Kansas City Star. 

Says Rudyard Coltman, owner of Cinetopia. 

“We pride ourselves on the fact that we’ve 

been told this theater is 10 to 15 years ahead of 

the industry in the technology and amenities 

it offers.” 

In addition to the Meyer Sound implementation 

of Dolby Atmos, Cinetopia’s GXL rooms 

offer giant screens up to 75 feet wide and four 

stories high, 4K digital projection, and steeply 

raked coliseum seating with high-backed 

reclining seats. 

Meyer Sound cinema systems are also installed 

at Cinetopia locations Progress Ridge 14 

in Beaverton, Oregon, and Washington State’s 

Vancouver Mall 23, which features Dolby 

Atmos. According to Coltman, Cinetopia will 

continue its national expansion, with its next 

luxury complex slated to open in the Dallas 

suburb of Lewisville. 

PROMOTION 

THE MARCUS CORPORATION 

PROMOTES KIM LUECK TO 

CHIEF INFORMATION 

OFFICER 

n The Marcus Corporation has 

announced the promotion of 

Kim Lueck (pictured) to chief 

information officer. Lueck will 

also continue to serve as vice 

president of technology for the 

Marcus Theatres division, 

and will join The Marcus 

Corporation’s executive 

management committee. 

Lueck, a 17-year veteran 

of Marcus Theatres, 

has served the company 

in a variety of information 

technology positions, 

most recently as chief 

information technology officer. In her new 

role, she will provide vision and leadership 

for the development and implementation of 

technology-focused initiatives for The Marcus 

Corporation, and will oversee the planning 

and implementation of enterprise information 

technology (IT) systems in support of 

divisional operations. 

Lueck joined Marcus Theatres in 1997 as 

an IT project manager and was promoted to 

information technology manager in 1999. She 

joined The Marcus Corporation’s corporate IT 

team in 2000. She moved back to Marcus 

Theatres in 2006 as director of technology 

and was promoted to her most 

recent role in 2008. 

“We are pleased to welcome 

Kim to our executive management 

team in her new role. Her 

experience and familiarity with 

our organization, practices, and 

teams have contributed 

to the success of our 

company. I know she 

will keep us on the leading 

edge of technology 

platforms to support 

our future growth,” says 

Gregory S. Marcus, president 

and chief executive 

officer of The Marcus 

Corporation. 


EXECUTIVE SUITE 

BARCO TAKES SEAT ON THE 

EXECUTIVE BOARD OF THE 

INTERNATIONAL 3D & ADVANCED 

IMAGING SOCIETY 

n Barco has become a founding member of the 

International 3D & Advanced Imaging Society, 

which was founded by the film industry’s creative 

stakeholders, including the Walt Disney 

Studios Motion Pictures, DreamWorks Animation 

(DWA), Sony, Paramount, Imax, Dolby, 

Panasonic, and MasterImage3D, to advance 

the creative arts and sciences of stereoscopic 3D 

and 4K. The organization has more than 1,800 

professional members in over 20 countries and 

hosts education seminars and awards throughout 

the world. 

Wim Buyens, Barco’s senior vice president 

entertainment, becomes a member of the 3D 

Society’s executive committee and board of 

governors. 

“Our objective is always twofold: enhance 

the cinema-going experience for the audience, 

while also giving exhibitors the ability to 

generate premium revenues by delivering these 

value-added experiences,” says Wim Buyens. 

“We are proud that the 3D Society has spotted 

our commitment and is happy to get us on 

board to create a new road map for today’s 

entertainment industry.” 

In addition, Barco’s 4K laser-illuminated 

projector has been nominated for a Lumière 

Award—one of the 

prestigious International 

3D & Advanced Imaging 

Society Awards that honor 

superb technologies that 

drive the industry forward. 

The awards were presented 

during a gala session on 

September 24 at Paramount 

Pictures Studios in Hollywood, 

California. 

ON THE MOVE 

PETE LUDÉ JOINS 

REALD 

n Global visual technology 

company RealD Inc. has 

announced that Pete Ludé 

(pictured) has joined the 

company as senior vice president. 

A highly regarded expert 

on cinema, broadcast, 

and digital media, Ludé 

will head the company’s 

development and commercialization 

of proprietary 

technologies designed to 

enhance production, delivery, 

and display of digital 

media for an enriched visual 

experience in the cinema, 

home, and on mobile. Ludé 

will also work closely with 

the motion picture, television, 

and online production 

industries to introduce new 

innovations that enhance 

storytelling through advanced 

motion imaging. 

“With the addition 

of Pete, we will be better 

equipped than ever to 

leverage our extensive 

research and development 

experience to bring exciting 

new imaging technologies 

to market,” says Michael V. 

Lewis, CEO of RealD. 

Prior to joining RealD, 

Ludé served as CTO at 

Mission Rock Digital in 

San Francisco. Previously 

he was senior vice president 

of Sony’s Silicon Valley 

R&D labs. He is past 

president of SMPTE and 

a SMPTE fellow. Ludé was 

also the founding chairman 

of the Laser Illuminated 

Projector Association, and 

is a frequent speaker on the 

future of broadcast, Ultra 

HD television, stereoscopic 

3D, and laser displays. n 


EXECUTIVE 

SUITE 

ACCESSIBILITY 

IN THE THEATER 

SPACE 

by Esther Baruh 

Manager, Government Relations, NATO 

n For decades, exhibitors have worked to make 

their theaters open and accessible to all patrons. 

From sensory-friendly showings and “cry 

rooms” for babies and their moms to maintaining 

facilities compliant with the Americans 

with Disabilities Act, theater operators are keen 

to provide welcoming experiences for people 

with diverse needs and from all walks of life. 

Among the progress in this area over the 

past few years is the increased availability of 

closed captioning and audio description for 

those with hearing and vision impairments. 

Theater operators both large and small have 

equipped their auditoriums with technology 

that allows patrons to individually watch 

movies with captions and hear a descriptive 

track that narrates the on-screen action. Over 

half the auditoriums in America offer these 

services. For theater operators, it’s not just 

about the increased ticket sales that come 

with more possibilities for more patrons, but 

creating an environment of inclusiveness and 

ensuring that everyone can fully experience a 

movie on the big screen. 

NATO and its members have worked for 

years with disability advocates, studio partners, 

and technology companies to expand the 

options available for patrons with these needs, 

and advancement in this arena is ongoing. In 

addition to developing standards for closed 

captioning and audio description on digital 

cinema packages, NATO and its members 

are involved in the evolution of sophisticated 

technology solutions. 

Exhibitors should be aware that federal 

regulators at the Department of Justice 

(DOJ) are in the latter stages of rulemaking 

with regard to these technologies. At the 

end of July, the DOJ published a Notice of 

Proposed Rulemaking (NPRM) on closed 

captioning and audio description accessibility 

requirements for movie theaters. The public 

comment period on the NPRM has been extended 

to December 1, 2014, and a final rule 

may be ready for publication by spring 2015. 

NATO believes all patrons with hearing 

and vision impairments should be able to 

attend movies in cinemas and is proud of the 

progress made by its members in voluntarily 

providing this access. The DOJ’s proposed 

device count requirements vastly exceed 

the need in the marketplace, however, and 

would place a substantial economic burden 

on theater operators. NATO is proactively 

advocating for the industry by submitting 

comments, encouraging members to comment, 

and engaging members of Congress on 

this issue. 

Below you’ll find a summary of the 

NPRM. 

DIGITAL SCREENS 

One hundred percent of digital screens are 

required to be enabled for closed captioning 

and audio description. If a screen is converted 

to digital after the rule is finalized, the theater 

will have six months to comply with the rule. 

ANALOG SCREENS 

The DOJ has not made a determination as 

to what the requirements should be for analog 

screens. The DOJ is requesting comments on 

whether analog screens should have a fouryear 

compliance schedule or whether the DOJ 

should delay rulemaking regarding analog 

screens at this time. 

DRIVE-IN THEATERS 

Drive-in theaters are exempt from the 

requirements to provide closed captioning 

and audio description technology at this time. 

Until this technology becomes commercially 

available for drive-ins, the DOJ has proposed 

to defer rulemaking. 

DEVICE REQUIREMENTS: CLOSED 

CAPTIONING DEVICES 

Movie theaters are required to have a num- 

cofo 

eoeee 

eeeofoece 

100 or less 2 

101 to 200 2 plus 1 per 50 seats over 100 seats or a fraction thereof 

201 to 500 4 plus 1 per 50 seats over 200 seats or a fraction thereof 

501 to 1,000 10 plus 1 per 75 seats over 500 seats or a fraction thereof 

1,001 to 2,000 18 plus 1 per 100 seats over 1,000 seats or a fraction thereof 

2,001 and over 28 plus 1 per 200 seats over 2,000 seats or a fraction thereof 


er of devices roughly equal to 2 percent of total seat count in a theater 

complex. The chart on the previous page was published in the NPRM 

and is reproduced here. 

OO 

If Assistive Listening Devices (ALDs) have two channels, one of 

which can be used for audio description, a movie theater would not be 

required to purchase additional audio description devices (assuming 

that the number of ALDs in the theater meets the legal requirement of 

4 percent of total seat count). If ALDs do not have this second channel, 

movie theaters must supply at least one audio description device per 

screen, with a minimum of two devices per theater. 

OOOOOO 

O 

If a movie is made with closed captions and audio description, 

movie theaters are required to obtain that version of the movie for exhibition. 

However, a theater can book and exhibit a movie that is only 

available without captioning and/or audio description. 

 

Movie theaters are not required to set aside specific seats for those 

using closed captioning or audio description devices. 

 

Movie theaters are required to advertise in any place where movie times 

are listed that the theater offers closed captioning and audio description. 

This includes but is not limited to: on the theater website, on posters, in 

newspapers, on telephonic recordings of show times, and on marquees. 

O 

Movie theaters are required to have, at all times, at least one 

employee who knows how to operate the closed captioning and audio 

description devices and can communicate these instructions to patrons. 

A movie theater is not required to provide a sign-language interpreter. 

OO 

The DOJ estimates that compliance with the rule will cost 

between $175 million and $275 million. The average initial cost for 

digital theaters to purchase and install closed captioning and audio 

description equipment as calculated by the DOJ and published in the 

NPRM is listed in the chart below. The cost includes captioning hardware 

and software; individual captioning devices; audio description 

hardware; and audio description devices. The chart does not include 

expected maintenance costs. (The DOJ calculated these costs based 

on the purchase and installation of Doremi and USL devices; the 

chart does not take into account the cost of purchase and installation 

of Sony devices.) n 

eee 

Megaplex 

(16 or more screens) 

Multiplex 

(8 to 15 screens) 

Miniplex 

(2 to 7 screens) 

eeo 

$38,547 

$26,839 

$10,586 

Single Screen $3,198 


EXECUTIVE SUITE 

NATO 

NEWS 

eeocofBooooooeSnowpiercerOcece 

oeBeeeoooo 

SUMMER AND 

SMOKE (AND 

MIRRORS) 

Simultaneous is the next 

big thing. Again. 

by Patrick Corcoran 

Vice President and Chief Communications 

Officer, NATO 

n Deep in the summer doldrums, with nobody 

really wanting to talk about the lackluster 

summer box office, we were treated to the 

remarkably noisy spectacle of a “revolution” in 

the release of independent movies. A division 

of The Weinstein Company, RADiUS, released 

Snowpiercer, the critically acclaimed sci-fi action 

picture by Korean director Bong Joon-ho, 

and starring Captain America’s Chris Evans. 

IndieWire noted, “Snowpiercer marks a tipping 

point in the movie industry’s shift from analog 

to digital. Why? It marks the most commercial 

movie to ever open in theaters and quickly go 

to VOD.” 

Indeed, this might well be the case. The 

movie had a big star, a crowd-pleasing premise, 

and a track record of success overseas, grossing 

more than $81 million since its August 2013 

release. So why jump to VOD in the movie’s 

third weekend in release? Some, including 

this author, have argued that simultaneous 

release leaves money on the table that could 

have accrued to theatrical, while at the same 

time, shifting some of that reduced revenue 

away from theater owners. RADiUS co-presidents 

Tom Quinn and Jason Janego addressed 

that issue in an interview with The Hollywood 

Reporter: 

But with such positive reviews—94 

percent on Rotten Tomatoes—did you 

leave money on the table by releasing 

it so early on VOD? 

Quinn: I can argue that we didn’t. 

Listen, everybody else seems to know 

what should have happened. So, I’m 

going to go on record and say what I 

think could have happened. I think 

there are two movies in recent memory 

that fit the review profile almost exactly: 

Children of Men and Drive. Compare 

the numbers of what all three of those 

movies did in France. Drive grossed $13 

million in France and Children of Men 

grossed $2.5 in France. Snowpiercer was 

$5 million. Snowpiercer’s based on a 

French graphic novel. Historically, Bong 

Joon-ho’s ratio of what he grosses in 

France can be as much as 40 percent of 

what his films have grossed in the U.S. 

If we released Snowpiercer the way Drive 

and Children of Men were released in 

the U.S., we’d be in the red. So, could it 

have made $50 million? Absolutely. But 

this was the right way to go. Had there 

been more exhibitors willing to come 

on board, I think they would have seen 

some real success with the film in their 

theaters. Unfortunately, we were limited 

to a certain number of exhibitors that 

were able to play Snowpiercer. 

Why, one might ask, would they be limited 

to a certain number of exhibitors that “were 


able to play” it? Those movie theaters that chose 

to play Snowpiercer before its VOD bow in the 

third weekend (eight the first weekend and 250 

the second) saw a strong per location average of 

$21,398 the first weekend and a strong gross of 

$1,007,926 the second. 

The third weekend tells a different story. 

Snowpiercer expanded from 250 to 356 screens 

in its third weekend (a 42.4 percent increase), 

and revenues declined by 37 percent. Approximately 

a third of those screens were reported 

to be four-walled (in other words, RADiUS 

had to rent screens to get play, even before the 

VOD release). RADiUS announced VOD 

revenues for the week of $2 million. 

That cannibalization of revenues that 

proponents of simultaneous release say won’t 

happen? It happened. 

Let’s look at another independent release 

that happened, coincidentally, the same weekend 

that Snowpiercer went to VOD, for some 

useful comparisons. Boyhood, the critically 

acclaimed Richard Linklater movie—shot over 

12 years—explores the childhood of a boy 

from age six to the day he leaves for college. 

IFC Films, which has also experimented with 

simultaneous release, distributed it. 

Boyhood, with a traditional platform release 

(it opened on five screens, then 34, then 107 

in its third week) expanded from 107 screens 

to 310 screens in its fourth weekend (189 

percent increase) and revenues rose 36 percent. 

Further, Boyhood outgrossed Snowpiercer (in its 

third-week expansion) on slightly fewer screens 

($1.76 million to $.63 million). 

Boyhood, through it seventh week in release, 

had grossed $16,315,715, while Snowpiercer, 

through its ninth week in release, had grossed 

$4,428,208. It had grossed $6 million on VOD 

over the same time period. Snowpiercer’s location 

count had fallen to 71 in week seven, 28 in 

week nine. Boyhood in its seventh week was in 

723 theaters. 

I have made the case that simultaneous 

release in the home and in theaters not only 

leaves money on the table and cannibalizes 

theatrical revenue, but that it also reflects either 

a lack of marketing money or a lack of confidence 

in a movie’s theatrical prospects (lack of 

money and lack of confidence are not unrelated). 

Quinn and Janego have publicly disputed 

that suggestion, but their own analysis in the 

above-quoted Hollywood Reporter interview 

suggests otherwise. As does Harvey Weinstein 

in IndieWire: 

“CJ [Entertainment] wanted to go 

wide, they believed in it,” Weinstein says 

in a phone interview. “I read the script 

and saw the footage, and when I saw the 

final movie with the very artistic flourishes 

that we all love, I thought, ‘it’s not 

for a wide audience; it’s a smart movie 

for a smarter audience.’” 

A smarter audience that they preferred not 

know about the VOD release in the third week. 

As IndieWire notes, “RADiUS wisely did not 

announce the imminent VOD date (it leaked), 

so as to encourage moviegoers to go to the 

movie.” 

So why does this matter? Why all the 

spilled ink over a movie that played on fewer 

than 1 percent of U.S. screens and grossed 

5/1000 of a percent of total box office so far 

this year? 

Perhaps it’s because evangelists of simultaneous 

release tout it as the future of independent 

movies, or the press is distracted by shiny 

new things, but regardless, there are people 

who see it as something other than a way to 

wrangle some of the glamour (and reviews) 

from a theatrical release that a straight-to-video 

release can’t otherwise command. Some of 

those people include the European Commission. 

The EC recently published a study, “Analysis 

of the legal rules for exploitation windows 

and commercial practices in EU Member 

States and the importance of exploitation 

windows for new practices,” concerning the 

length and ordering of release windows in the 

member states of the European Union. 

Our colleagues at the Union Internationale 

des Cinéma (UNIC) summarized the report 

thusly: 

The report sets out by explaining why 

release windows exist, examining the 

economic, cultural, institutional, and 

regulatory factors that shape film industry 

release practices across different version 

markets and European territories. 

It underlines the importance of release 

windows to film financing. It also analyzes 

in detail the release schedule for 

films across the EU, providing valuable 

information territory by territory. 

The report then outlines how EU law 

relates to release windows but at the same time 

recognizes that EU member states can design 

their own policies if they wish to influence film 

release practices in their territories. It explains 

different legal and regulatory circumstances 

across the EU, paying particular attention to 

France, Bulgaria, Germany, Austria, Latvia, 

and Spain, where legislative measures or film 

support rules influence release practices with 

varying degrees. 

The conclusions the EC draws are of some 

concern to UNIC, as the report states: 

The study shows that a trend toward 

shorter theatrical windows is clearly 

visible and further evolutions seem 

inevitable, even if some stakeholders 

continue to oppose it. Alternative 

release schedules and methods—that 

approach the sequencing system with 

more flexibility—have been already 

tested by several companies and related 

to various films. Digitization brings 

along increased room and potential for 

differentiation, flexibility, and diversity. 

Shorter windows may benefit certain 

types of content in specific contexts: 

non-mainstream titles could in particular 

benefit from the added marketing 

impact associated with shorter windows 

or with a simultaneous or quasi simultaneous 

release, e.g. in theaters and on 

VOD. 

While the differences between each film 

and distribution channel will continue to be 

crucial to attract the audience, maintaining 

strict and inflexible windowing rules seems no 

longer to be valid in current circumstances. 

For those systems that fix release windows 

in legislation and/or regulation, it will 

become more and more necessary to provide a 

sufficient number of derogations. The example 

of France, where it is proposed by the Lescure 

report to make the current system of release 

windows more flexible, shows that such debates 

are already ongoing. 

Indeed, the report points to simultaneous 

release experiments here in the United States 

as models of successful release, citing the examples 

of Margin Call, Arbitrage, and Bachelorette. 

As I noted in the January 2013 BoxOffice 

magazine, it is difficult to call these movies 

unqualified successes. Each of them, compared 

to similarly themed movies, underperformed 

significantly in total grosses in the United 

States compared to their grosses in traditional 

release in international markets. 

As for Bachelorette, we can profitably 

compare its performance to the 

similarly themed comedy Bridesmaids. 

Bridesmaids, also with a conventional 

release window, grossed $169,106,725 

domestically and $4,609,169 in France 

for a split of 97/3. Bachelorette grossed 

$447,954 domestically and $1,192,880 

in France for a split of 27/73. Even if 

Bachelorette starred Jerry Lewis, this 

kind of overperformance for an American 

comedy in France is incroyable. 

Undoubtedly, independent movies face 

obstacles to profitable theatrical release, and it 

is understandable why distributors may want 

to reduce their financial exposure and exchange 

a small profit for the uncertain possibilities of 

higher revenues down the line, but no one has 

been able to demonstrate what good it does for 

theater owners. Theaters are in the business of 

making money by showing movies in theaters. 

I don’t see much upside in a sideline of providing 

cosmetics to non-kosher farm animals. n 


CHARTS & 

GRAPHS 

Brad Pitt on the set of Fury, 

opening wide October 17 

BOXOFFICE 

FORECAST 

Opening Weekend: 

$25,000,000 

Cumulative: 

$93,000,000 

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eeoeco 

TOP TEN 

FURY: AN ANALYSIS 

PROS 

> Brad Pitt commands plenty of 

publicity by just walking out his front 

door. The media will be eager to cover 

this title as much as they can. 

> The WWII genre has been good to 

Pitt: Inglourious Basterds was a $318 

million global hit. 

> This one has “Oscar bait” written 

all over it. We’ll be very surprised 

if the words “possible Best Picture 

nominee” aren’t mentioned in a ton of 

reviews. 

> Online reactions to the first trailer 

have been mostly positive. 

CONS 

> If The Judge and Gone Girl end 

up overperforming, that could steal 

attention away from Fury. 

> We doubt the inclusion of Logan 

Lerman (The Perks of Being a Wallflower) 

will bring in younger crowds. 

> A lot of moviegoers were disappointed 

by The Monuments Men 

earlier this year, and that could leave 

them reluctant to embrace another 

WWII flick. 

World War Z $202,359,711 

Mr. & Mrs. Smith $186,336,279 

Ocean’s Eleven $183,417,150 

Megamind $148,415,853 

Troy $133,378,256 

The Curious Case of 

Benjamin Button $127,509,326 

Ocean’s Twelve $125,544,280 

Inglourious Basterds $120,540,719 

Ocean’s Thirteen $117,154,724 

Interview with the Vampire $105,264,608 


egan branching out to international conventions— 

CinemaCon, CineEurope, CineAsia—to see how 

they worked and what we could learn from them. 

The magazine opened the doors for us to become 

better acquainted with all the vendors associated 

with the exhibition business: technology, seating, 

concessions, and so on. Our suppliers were really the 

ones who pushed us to set up something bigger and 

better in Brazil, and that’s how the idea for our 

trade show, Expocine, came about. 

FIRST 

LOOK 

by Daniel Loria 

Marcelo Lima (right) was born into the exhibition 

industry in his native Brazil. Now the CEO of Tonks, a 

company specializing in digital marketing for exhibitors 

that also publishes Exibidor, a trimester trade magazine 

for the Brazilian exhibition market, Lima is setting his 

sights on establishing the next major global convention in 

his home country. Expocine is scheduled for November 10 

and 11 in Sao Paulo, bringing together the major players 

in Latin American exhibition. BoxOffice caught up with 

Lima to get an exclusive first look at the event. 

CAN YOU TELL US ABOUT YOURSELF, 

EXIBIDOR, AND EXPOCINE? 

I used to work at Centerplex Cinemas, a family company, 

so I’ve been working with cinemas since my 

childhood and have been able to build relationships 

with exhibitors and distributors alike. I decided to 

leave Centerplex to begin consulting for exhibitors— 

developing websites and software for clients. Through 

that experience I was able to establish good relationships 

with most of the major studios. Having the 

connections in place, we decided to launch a simple 

magazine where we could talk about the exhibition 

industry in Brazil. The publication took off, and we 

recognized a great opportunity to turn it into a true 

trade magazine for our industry. That’s when we 

WHY IS IT IMPORTANT TO HOST A 

MAJOR TRADESHOW FOR LATIN 

AMERICA IN LATIN AMERICA? 

A number of Latin American exhibitors attend 

trade shows in the United States. However, we also 

have a lot of exhibitors that don’t have the money 

to book a ticket to Miami or Las Vegas and stay at a 

hotel there. Hosting the event in Brazil became an 

important priority for us for that very reason. There 

isn’t anything like this in South America; while 

studios have the financial reach to market 

their films in the region, suppliers 

lack the same visibility to market 

their products. Expocine 

intends to bridge that gap. 

We want to bring all aspects 

of exhibition and distribu- 

tion together under one roof 

right here in Latin America. 

WHAT CAN WE LOOK 

FORWARD TO AT 

EXPOCINE? 

Something new for Brazil 

and Latin America. Exhib- 

itors often only have access 

to film trailers when they 

attend one of the smaller 

conventions here in Latin 

America. Expocine offers 

the full package for Latin 

American exhibitors: 

panels, screenings, and 

a trade show. n 


SETTING THE 

SUMMER 

RECORD 

STRAIGHT 

by Daniel Loria, Phil Contrino, and Shawn Robbins 

Summer box office 

numbers are down, 

but there’s no need 

to take out your 

umbrella—the sky 

isn’t falling. 

n If ever a summer movie season could be 

described as a mixed bag, it was this one. 

Summer 2014’s box office haul topped out 

at an estimated $4.03 billion—down 14 

percent from last year’s record $4.69 billion. 

This marks the eighth consecutive year in 

which summer (defined in this review as May 

1 through August 31) crossed the $4 billion 

threshold. Unfortunately, it was still the lowest 

since 2006’s $3.64 billion. The lower figures 

sent media pundits into a tailspin, as we once 

again heard the familiar cries of an industry 

in crisis. Numbers don’t lie, but they don’t tell 

the whole story either. BoxOffice analysts Phil 

Contrino, Daniel Loria, and Shawn Robbins 

look at what went wrong in summer 2014 and 

why the bad news isn’t heralding the doomsday 

the trades suggest. 

1 GUARDIANS OF THE GALAXY $307,344,958 

2 TRANSFORMERS: AGE OF EXTINCTION $245,112,671 

3 MALEFICENT $239,703,484 

4 X-MEN: DAYS OF FUTURE PAST $233,797,694 

DOMESTIC GROSSES: MAY—AUGUST, 2014 

5 DAWN OF THE PLANET OF THE APES $206,913,699 

6 THE AMAZING SPIDER-MAN 2 $202,853,933 

7 GODZILLA $200,676,069 

8 22 JUMP STREET $190,962,963 

9 TEENAGE MUTANT NINJA TURTLES $181,801,752 

10 HOW TO TRAIN YOUR DRAGON 2 $175,287,420 

A SLOW START 

The writing was on the wall after June 

dipped 16 percent from last year, followed 

swiftly by July’s 29.5 percent year-over-year 

plunge. In fact, it was the first July to fall 

short of $1 billion since 2002’s $961 million 

tally. 

The slow start, however, can be attributed 

to scheduling factors—films that would 

have typically received a May-July release but 

received a different landing spot on the release 

calendar for a variety of reasons. Studios have 

begun to follow up on the long-awaited call 

for a 12-month release calendar, dedicating 

blockbuster titles to traditionally slower 

months: The LEGO Movie in February and 

Captain America: The Winter Soldier in early 

April. 

Audiences were asked to wait on two big 

titles from major studios. The tragic death of 

Paul Walker saw Universal pushing the release 

of Fast and Furious 7 out of July. Pixar sat 

out its first summer in years with the delay of 

The Good Dinosaur, now scheduled to reach 

theaters in November 2015. 

The two delays and the wider release 

schedule doesn’t explain all of the summer’s 

shortcomings, but they do ultimately influence 

the season’s bottom line. 

A BIG FINISH 

The dog days of summer closed on a high 

note. Guardians of the Galaxy and Teenage 

Mutant Ninja Turtles combined for $438 


million as the industry enjoyed its best August 

on record (not accounting for inflation) with 

$1.016 billion—the first time August has ever 

surpassed the billion dollar mark. That bests 

August 2013’s previous record of $930 million. 

The billion dollar mark isn’t anything to 

scoff at, considering important factors that can 

easily curtail attendance: the back-to-school 

period and return of high school, college, and 

professional football on the weekends. 

For the third consecutive year, Marvel 

Studios claimed the highest-grossing summer 

flick as Guardians followed in the footsteps 

of 2012’s Avengers and last year’s Iron Man 

3. Interestingly, this marks the first time that 

an August release “won” its summer. Given 

the proclivity of sequels to routinely top the 

charts, Guardians—the only film to claim first 

place three times this summer—also stands 

out as the season’s first champ since 2003’s 

Finding Nemo to feature a cast of characters 

never before seen on film. Pitching Iron Man 

is one thing; pitching a movie whose two 

A-list stars appear only as voice actors, Vin 

Diesel and Bradley Cooper as a giant monosyllabic 

tree and talking raccoon respectively, 

is a whole other task. Guardians director James 

Gunn pulled it off and audiences responded 

with a $94 million opening weekend over the 

first August weekend and back-to-back No. 1 

finishes to cap off the summer. 

BRIGHT SPOT 

Guardians of the Galaxy wasn’t the only 

new title to emanate from this summer’s box 

office. Original stand-alone titles included hits 

like Maleficent, Lucy, and an expansion of the 

young-adult demographic beyond postapocalyptic 

science-fiction with the teen drama The 

Fault in Our Stars. Art-house audiences also 

responded at the box office, bringing in over 

$18 million for Richard Linklater’s acclaimed 

family epic Boyhood. If last year’s franchise 

fatigue dominated headlines, this summer’s 

slew of original hits should answer any lingering 

questions as to Hollywood’s originality 

“problem.” 

With major franchises taking a sabbatical 

from summer 2014, the season’s release 

schedule represented a prime opportunity 

for a fresh start for many familiar properties. 

Teenage Mutant Ninja Turtles scored back-toback 

weekends atop the box office in its first 

two frames. Other big screen rebirths included 

Godzilla, X-Men: Days of Future Past, and 

strong numbers for first sequels like Dawn of 

the Planet of the Apes and 22 Jump Street. 

While 22 Jump Street had the benefit of 

a strong performance from its predecessor, 

Neighbors was able to break out of a crowded 

field of R-rated comedies that otherwise 

underperformed. The focus on raunchy laughs 

contributed to this summer’s decline when 

taking into account the relatively few family-friendly 

animated releases of the season. 

This isn’t to say that the R-rated summer 

comedy is at risk, but it’s doubtful the market 

will be as crowded with so many adult-oriented 

comedies in the coming years. 

The comedy misfires, while disappointing, 

were far from becoming the bottom-line-breaking 

flops that studios fear. 

Studio bean counters can rejoice over the 

fact that this year saw very few financial 

bombs along the lines of The Lone Ranger, 

After Earth, White House Down, R.I.P.D., 

or Turbo. For example, Tom Cruise’s 

crowd-pleasing Edge of Tomorrow disappointed 

domestically, but strong word of mouth 

and overseas returns have strengthened its 

bottom line. The same applies to the Transformers, 

Amazing Spider-Man, and How to 

Train Your Dragon sequels, whose international 

revenues ensured overall financial 

prosperity for Paramount, Sony, and Fox, 

respectively—albeit not at the level once 

hoped for regarding the latter two. 

Reviews and audience word of mouth were 

largely positive for most tentpole releases. The 

average Rotten Tomatoes critics’ and Flixster 

audience scores didn’t vary by much from last 

summer, but among the top 10, four films 

scored over 90 percent on both sites this 

year (Guardians, X-Men, Apes, and Dragon). 

Last summer only two films scored over 78 

percent with critics (Star Trek Into Darkness, 

87 percent; Despicable Me 2, 74 percent) while 

Trek claimed the only Flixster score over 90 

percent. 

There’s no question that Fox and Disney 

walk away with the most bragging rights. 

The latter boasts two of the top three films of 

summer (Guardians and Maleficent), not to 

mention Captain America: The Winter Soldier’s 

fantastic run prior to May. Meanwhile, Fox 

claimed four of the top 12 grossers—led 

by Bryan Singer’s X-Men return and Matt 

Reeves’s Apes sequel. 

On the year, Fox currently has a slight 

0.6 percent lead over Disney in market share 

among all studios. 

ASKING TOO MUCH FROM ONE 

ANIMATED TENTPOLE 

One notable takeaway this year was 

the lack of animated offerings and the first 

absence of Pixar from the summer slate since 

2005 due to The Good Dinosaur’s delay. 

Following its predecessor’s box office and 

critical success four years back, How to Train 

Your Dragon 2 represented the only tentpole 

animation this summer. (Disney’s Planes: Fire 

and Rescue was expected to perform modestly, 

as it did.) That alone was cause for high expectations 

ahead of its June release, but once Turtles 

inevitably passes it on the chart, Dragon 2 

will rank 10th among summer releases. Prior 

to 2014, at least one animated film cracked 

the top five for eight straight summers. Mulan 

in 1998 (ninth place) was the last to rank so 

low. 

Consider Dragon 2’s strong reviews (92 

percent on Rotten Tomatoes), word of mouth 

(92 percent Flixster score, “A” CinemaScore), 

and holding power (a respectable 3.48x 

multiple from opening weekend, stronger 

than Monsters University’s 3.26 last year). One 

possible cause of the film’s inability to capture 

a larger audience was its nature as a less 

comedic story than is typical of megagrossers 

like the Shrek, Toy Story, and Despicable Me 

sequels. 

It didn’t help that Dragon 2’s release 

coincided with the start of the month-long 

FIFA World Cup in Brazil, an event that drew 

record numbers in North America. Dragon 

2’s overseas boost comes in part from a tiered 

release strategy that was careful not to conflict 

with the World Cup in all international 

markets. 

How to Train Your Dragon 2 was therefore 

burdened with overly high expectations at the 

box office and simply couldn’t carry all the 

weight for a summer bereft of major animated 

titles. Additionally, cash-strapped parents may 

still be reconciling their bank accounts after 

buying so many tickets to Frozen and The 

LEGO Movie earlier this year, not to mention 

last year’s string of animated hits. LEGO could 

have easily been a summer release in years 

past, its $250 million–plus North American 

haul balancing out the business that Dragon 2 

was unable to attract. 

LOOKING AHEAD 

The poor performance following last year’s 

record summer doesn’t bode well heading into 

autumn release calendar, but there is light 

up ahead. November and December offer 

healthy potential with big buzz already driving 

Christopher Nolan’s Interstellar (November 

7), the penultimate Hunger Games chapter in 

Mockingjay Part 1 (November 21), and Peter 

Jackson’s farewell to Middle-earth, The Hobbit: 

The Battle of the Five Armies (December 17). 

For those looking at summer 2015, it 

could be a major rebound from this year. 

Universal gets things started in early April 

with Fast & Furious 7, followed shortly by 

May 1’s hugely anticipated Avengers: Age 

of Ultron. Chris Pratt, fresh off LEGO and 

Guardians, could help drive Jurassic World to 

some success, while Pixar’s Inside Out, Seth 

MacFarlane’s Ted 2, Magic Mike 2, the Minions 

spin-off, and Marvel’s Ant-Man (among 

others) should further contribute to a stronger 

June-July box office combo than this year 

mustered. 

All in all, while summer 2014’s box office 

may not be one for the ages, it can simply be 

looked upon as the industry’s financial ebb 

between more promising tides. n 


MPAA 

REPORT 

FROM THE JANUARY 12, 1935 

ISSUE OF BOXOFFICE 

SEAL TO MANY 

New York—Since the “purity seal” of the 

Production Code Administration under 

the direction of Joseph I. Breen came 

into being July 15 [1934], the stamp of 

approval has been applied to 299 feature 

pictures, it is announced. The seal also 

has been placed on 497 short subjects in 

the five and a half months. 

HOW WE 

GOT HERE 

A (very) quick overview of 

the history behind CARA, the 

MPAA’s Classification and Rating 

Administration 

by Daniel Loria 

n Hollywood had a behavior problem, or at 

least that was what salacious headlines insisted 

at the tail end of the Roaring ’20s and early 

’30s. It was an age of newfound maturity 

for narrative cinema; studios had perfected 

production with assembly line–like precision, 

running times swelled to feature lengths, and 

the adoption of new technologies such as 

sound expanded the range of possibilities for 

filmmakers. As with any medium crossing over 

to a mass audience, cinema began facing louder 

protests regarding its policing, or lack thereof, 

of the content reaching movie houses. 

The moving pictures were facing a dangerous 

proposition: potentially alienating audiences 

across the country who objected to what they 

were seeing on screen. The MPAA came up 

with a solution by drafting and enforcing the 

Motion Picture Production Code, a document 

explicitly detailing unsuitable subject matter 

in feature films. The policy was enforced from 

1934 until its demise in 1968. 

The Motion Picture Production Code was 

successful in its day and age, responding to an 

era when the vast majority of films available 

to America’s moviegoing public came from 

established studios. While some of the studio 

era’s most fascinating films came from directors 

who would bend, but not break, the constraints 

of the production code, it was only a matter of 

time before both the country’s social mores and 

the economics of the film industry itself would 

outgrow the code’s constraints. 

As has occurred countless times in the 

industry, a combination of new technology and 

the rise of international markets changed the 

economic landscape of cinema. Lightweight, 

lower-cost cameras and equipment 

brought film production 

out of the studio and into the 

streets, introducing a new wave 

of American independent cinema. 

Now, John Cassavetes could 

take a camera to the streets of his 

native New York City in a series 

of films that tackled head-on 

the evolving social attitudes and 

racial tensions of the time. An 

advertising firm from Pittsburgh 

led by George A. Romero was 

capable of financing and filming 

a visually graphic zombie movie, 

Night of the Living Dead. Europe, 

in full recovery mode from the 

disastrous effects of World War 

II, began to ramp up production 

once again—with a new batch 

of filmmakers determined to 

revolutionize the medium. Italian Neorealism 

took on the harsh realities of postwar Italian life 

and poverty, feeling no responsibility whatsoever 

to aestheticize the real-life drama unfolding on 

its streets. The French New Wave introduced a 

generation of directors who not only challenged 

the content of classical Hollywood, but also its 

narrative structure, form, and style. 

The production code was only effective in 

policing content at the production level for 

Hollywood studios; the exciting new stream of 

films and filmmakers flowed beyond its reach 

or influence. With the code quickly fading 

into irrelevance, MPAA head Jack Valenti had 

to take immediate action in order to avoid 

returning to the antiquated system of regional 

rating boards—a disjointed process of dozens of 

different classification boards across the country 

with differing criteria and concerns. The ratings 

system was thus born, and through numerous 

amendments throughout the years, has become 

ceceeeeofe 

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the familiar 

entity we know 

today. 

The 

inception of 

the ratings 

administration 

heralded a new 

era of creative 

freedom by 

applying a 

classification 

to a completed 

film, allowing 

the nuances of 

a film’s overall 

context to 

influence the 

final decision, 

thus discarding 

a fixed list of 

BOXOFFICE / OCTOBER 14, 1968 

VOLUNTARY RATING SYSTEM ON FILMS WILL START NOV. 1 [1968] 

National Program Adopted By Industry Segments Strongly Supported 

NEW YORK—A voluntary national film rating system, the first in 

the history of the American motion picture industry, was unveiled at a 

press conference here Monday [Oct. 7, 1968] by Jack Valenti, president 

of the Motion Picture Ass’n of America; Louis Nizcr, MPAA general 

counsel; Julian S. Rifkin, president of the National Ass’n of Theatre 

Owners, and Munio Podhorzer, a member of the governing committee of 

the International Film Importers & Distributors of America. To become 

effective on November 1, the program involves all essential elements of 

the industry and calls for the rating of all films released after the effective 

date. Valenti, in explaining the new program, asserted: “Our primary concern 

is children and that concern is the dominant reason for the voluntary 

film rating program.” 

To Be in Four Categories: Motion pictures exhibited in the U.S. 

will be rated in the following manner: 

G—Suggested for GENERAL Audience. This category includes motion 

pictures that in the opinion of the Code and Rating Administration 

would be acceptable for all audiences, without consideration of age. 

M—Suggested for MATURE Audiences, adults and mature young 

people (parental discretion advised). This category includes motion pictures 

that, in the opinion of the Code and Rating Administration, because 

of their theme, content and treatment, might require more mature judgment 

by viewers and about which parents should exercise their discretion. 

R—Restricted. Persons under 16 not admitted, unless accompanied 

by parent or adult guardian. This category includes motion pictures that, 

in the opinion of the Code and Rating Administration because of their 

theme, content or treatment, should not be presented to persons under 

16 unless accompanied by a parent or adult guardian. 

X—Persons under 16 not admitted. This category includes motion 

pictures in two divisions: (a) submitted to the Code and Rating Administration, 

which in the opinion of the Code and Rating Administration, are 

rated X because of the treatment of sex, violence, crime or profanity. Pictures 

rated X by the Code and Rating Administration do not qualify for 

the Code Seal, (b) not submitted to the Code and Rating Administration. 

Nonmembers of the MPAA, if they choose not to submit their pictures to 

the Code and Rating Administration, shall selfapply the X rating. Pictures 

rated X shall not be presented to persons under 16. 


forbidden scenes deemed unsuitable for audiences. 

Films that had questioned the legitimacy 

of the production code, such as Vittorio de 

Sica’s neorealist classic The Bicycle Thief, which 

was denied approval at the time because of a 

brief scene of a young boy peeing on a street, 

would now have the opportunity to be seen as a 

whole and rated accordingly. 

The crucial distinction between the production 

code from Hollywood’s studio era and the 

ratings system of today is that they target two 

completely different sets of people. Hollywood 

had a legitimate fear of government inquiries (or 

worse, intervention) in the film industry. While 

government decisions could certainly alter the 

business end, as occurred with the landmark 

Supreme Court decision against Paramount that 

abolished vertical integration in the industry, 

there was a wider-ranging fear of government 

influence on the content itself. Those fears 

weren’t entirely unfounded, as the infamous 

Hollywood blacklist and HUAC investigations 

attested. The production code was essentially 

a form of self-censorship; it promoted 

suggestion over depiction. 

The current ratings system forgoes any 

attempt to curtail depiction; it simply caters to 

the evolving criteria of parents’ interests. MPAA 

ratings are voluntary; they are not enforced by 

law, and a film does not need to be submitted 

for a rating in order to be played in the United 

efiefioeeeeofBoxOfficeYellow Submarineeo 

efoeefeeooofeecficoe 

States. CARA acts as a resource to parents 

and exhibitors alike in order to better inform 

consumers of the content they are paying to 

see. The committee’s concerns are not those of 

taste; a film’s rating is not intended to pass as a 

value judgment, but as a reference for families. 

While ratings controversies are prone to reveal 

tendencies—violence over sex, nudity over 

language—we must remember that a film’s classification 

is a consumer resource, not a decree 

from a national censorship board or morality 

committee. n 


JOAN GRAVES 

SVP, Chairman 

Classification and Rating 

Administration at the MPAA 

oOfice O lien arcel sat 

on ith oan raes an 

chairan o the lassification an 

atin inistration at 

the in os neles to talk 

aot fil ratins the eia an 

s role in the fil instr 

toa. 

Interview by Julien Marcel 

WHAT ROLE DO PARENTS PLAY IN 

THE RATINGS PROCESS? 

There are no MPAA members on the 

board, just parents. We are separate from the 

MPAA in that we are separately funded, and 

CARA hires parents directly to make up the 

committee. CARA is an independent entity 

under the umbrella of the MPAA and has 

existed since 1968. 

We’re charged to rate the film in the way 

we believe the majority of American parents 

would rate the film. To keep up to date, we 

survey parents on how they feel about violence, 

drug use, sexuality, and so on. Obviously 

we do this across the country, since different 

pockets of the U.S. feel differently about some 

of these issues. 

We try to hire parents from different parts 

of the country and of different backgrounds, 

usually with kids aged 5 to 15, since that’s the 

age range that parents make content decisions 

about. It’s not a permanent job, because you 

do get desensitized to the material after a 

while, so there is turnover. There are usually 

about 10 to 13 parents on the board, and they 

live in Los Angeles while on the board. We 

all see the film at the same time and vote privately. 

Votes are collected by the senior rater, 

and there is a discussion held about the vote. 

During that discussion we decide on the final 

rating and descriptors. 

WHAT ROLE DO THE DESCRIPTORS, 

WHICH ACCOMPANY A RATING, 

PLAY? 

The rating gives the level of content, and 

the descriptor gives everything present at that 

rating level. So if you have an R for violence, 

for example, that means the language and 

sexuality in the film are not at an R level, or 

otherwise they would be listed as well. We really 

want to reach out to parents and instruct 

them on how to use these descriptors, because 

they really provide the best information. What 

does an R mean if you don’t know what it’s 

20 BoxOffice ® Pro The Business of Movies CTBR

for? Every set of parents has different values; 

some families don’t care as much when it 

comes to language, others are more concerned 

about violence, and vice versa. The descriptors 

allow parents to make the best choices, so we 

encourage them to use them whenever they 

can. They give parents a more complete understanding 

of why a film received the rating 

that it did. 

Unfortunately, there remains a misunderstanding 

of this at the media level. A lot of the 

media just say, “It’s R for this” and go on and 

on about why they think it’s rated a certain 

way without bothering to even look at the 

descriptors. The descriptors are part and parcel 

of the whole thing. 

WHY DO YOU THINK THAT MISUN- 

DERSTANDING PREVAILS AFTER ALL 

THESE YEARS, THAT CARA IS SOME- 

TIMES MISTAKEN FOR A CENSORSHIP 

ORGANIZATION? 

[Former MPAA Head] Jack Valenti told 

me many times, there had to be a better 

system than the MPAA telling studios what 

had to go into a movie. He strongly believed 

filmmakers should be able to put anything 

they want in a movie—no censorship. That’s 

really what the voluntary rating system does— 

allows filmmakers to make movies the way 

they want to make them. It gives them more 

creative latitude to include what they want to 

include, while also making sure parents are 

aware of the content. 

What leads to the misunderstanding that 

we are somehow a censorship board is that the 

distributors or producers, they are a business. 

They have the bottom line in their heads of 

what they expect to get out of their investment, 

and they often have a filmmaker sign a 

contract for a certain rating. Even though our 

system is built to allow the filmmaker to do 

whatever they want, and we just put a label 

on it to indicate the type of content, what 

happens is that the filmmaker has a separate 

arrangement with their employer—not with 

us. That agreement is between the filmmaker 

and the person paying them. We don’t care if 

the filmmaker decides to edit down the film or 

not; as far as we’re concerned, they can leave 

the film just as it was presented to us. 

THESE MEDIA “SCANDALS” COME 

UP EVERY NOW AND THEN. HOW DO 

YOU TACKLE THEM? 

I think one of the main reasons we have 

been successful is because we treat every film 

as an attorney would treat a client. We don’t 

talk about it apart from stating what it’s rated 

and why. But because we don’t talk about the 

film, we can get caught in some pretty unfair 

stories that get floated to the media—people 

assuming a rating was handed down for one 

reason or another. 

A sampling of R rating descriptors 

for upcoming October releases 

Gone Girl — for a scene of bloody 

violence, some strong sexual content/ 

nudity, and language 

Whiplash — for strong language including 

some sexual references 

Horns — for sexual content, some 

graphic nudity, disturbing violence 

including a sexual assault, language 

and drug use 

Annabelle — for intense sequences of 

disturbing violence and terror 

The Judge — for language including 

some sexual references 

Fury — for strong sequences of war 

violence, some grisly images, and 

language throughout 

Nightcrawler — for violence including 

graphic images, and for language 

Before I Go to Sleep — for some brutal 

violence and language 

Birdman — for language throughout, 

some sexual content, and brief 

violence 

DO YOU TAKE INTO ACCOUNT THE 

POTENTIAL ECONOMIC IMPACT THAT 

YOUR RATING DECISIONS CAN HAVE 

ON SPECIFIC FILMS? 

One of the things we’re careful not to pay 

any attention to is money. It shouldn’t matter 

to the parents if a film will or won’t make 

any money, and we don’t pay attention to the 

financial aspect in our rating decision. 

DO YOU BELIEVE ALTERNATIVE CON- 

TENT WILL SEEK OUT RATINGS AS 

MUCH AS COMMERCIAL FILMS HAVE? 

The only alternative content that has been 

submitted to us have been concerts, and we 

rate them accordingly. Operas have come in as 

well, but we’re not seeing too much alternative 

content. We’re a voluntary system; you don’t 

need to go through the process unless you are 

looking for our rating. There does have to be 

commercial intent, however; one time we got 

a submission from a man wanting us to give a 

rating on the home-video footage of the birth 

of their child. We politely declined. 

WHAT IS THE LEVEL OF ENGAGE- 

MENT AND DISCUSSION YOU HAVE 

WITH EXHIBITORS? 

The exhibitors are very cooperative, because 

they’re first down the line if a parent is 

not happy. The more information they can get 

out there, the more informed their clientele 

will be, and the better off everyone is. 

HOW WOULD YOU DESCRIBE THE 

RELATIONSHIP WITH NATO? 

The cooperation with NATO has been 

vital since the very beginning, back in 1968 

when Jack Valenti formed the system. NATO 

agreed to enforce the ratings so the voluntary 

nature of the ratings system would be taken 

seriously. It’s important for us to collaborate 

with NATO members so they can best know 

how to inform their customers about the 

ratings. I see the whole thing as a win-win if 

we all do our job. If parents are not surprised 

in a negative way by the content, they are 

more likely to return to the cinema with their 

families more often. 

I UNDERSTAND NATO TAKES PART IN 

THE APPEAL PROCESS. 

They do. When we give a rating to a 

submitter, they have several choices: they can 

accept it; if they think we’re right but don’t 

want to release the film with that rating, we 

can engage in a discussion on how to edit or 

change it to get a lower rating, and they submit 

it again; if they think we’re wrong, they 

can go to the appeals board, a separate entity 

made up of different exhibitors and distributors 

with NATO filling up half that board. 

ARE YOU AWARE OF THE IMPACT OF 

A FILM’S RATING INTERNATIONAL- 

LY? FOR EXAMPLE, DOES A FOREIGN 

FILM’S RATING IN ITS HOME COUNTRY 

INFLUENCE YOUR OWN, OR HAVE 

YOU NOTICED THAT YOUR RATING 

USUALLY CARRIES OVER TO OTHER 

TERRITORIES? 

Certain countries have told me that it does 

influence them, but you have to be very careful 

about this. There can be different versions 

of a film that play in different countries, so 

you don’t know if you’re actually comparing 

apples to apples or oranges to apples. 

THROUGH CARA YOU’RE IN A UNIQUE 

POSITION TO WATCH MANY OF THE 

FILMS THAT ARE RELEASED IN THE 

UNITED STATES EACH YEAR. DO YOU 

KEEP TRACK OF CERTAIN TRENDS 

THAT POP UP NOW AND THEN IN 

CINEMA? 

Oh, there can be some awful trends. One 

year it was scenes involving people throwing 

up, another it was showing characters actually 

going to the bathroom—that stuff I notice! 

Genres come in and out. For a while we had 

everyone wanting to make a horror movie, 

and I see that calming down lately; Halloween 

doesn’t look as packed with horror movies as 

it used to. n 


Geneva Convention 

September 9–11, 2014 

Grand Geneva Resort 

Lake Geneva, Wisconsin 


n “Once again attendance was strong for 

our annual gathering,” said Co-chairman 

John Scaletta. “We are very pleased with the 

ongoing support we receive from exhibition, 

distribution, and industry vendors through 

their attendance, participation, and sponsorships 

of Geneva Convention. This year the 

trade show was sold out again with nearly 

100 booth spaces.” 

Attendees were treated to a diverse event 

schedule that included convention standards 

such as screenings/studio presentations, 

panels on topics such as tax credits, hospitality, 

and the general state of our industry, 

the NATO issues briefing, and plenty of 

opportunities for networking. Then there was 

something more unconventional: a speech 

from Captain D. Michael Abrashoff, former 

commander, USS Benfold, about management 

techniques. 

“Although we saw many familiar faces, 

it is exciting to see the momentum build as 

new attendees took advantage of the unique 

programming developed for Geneva Convention,” 

said George Rouman, co-chairman. 

Several industry leaders—both on the 

national level and the local level—received 

recognition at the event. On the studio side, 

Lionsgate received the BoxOffice Blue Ribbon 

Award for having the highest-grossing 

domestic release of 2013 with The Hunger 

Games: Catching Fire, and 20th Century 

Fox received Studio of the Year. The Ben 

Marcus Award went to Screenvision’s Travis 

Reid, Cinema Buying Group’s Bill Campbell 

received the Larry Hansen Award, and Sonic 

Equipment’s Eric Olsen accepted the Vendor 

of the Year Award on behalf of his employer. 

Joe Delgado of Moving Image Technologies 

accepted the Friend of Exhibition Award 

on behalf of industry vet and former-NEC 

employee Peter Nicholas, who was unable 

to attend due to sickness. On the local side, 

three members of the local film community 

were added to the Midwest Exhibition Hall 

of Fame: Gene Grengs, Grengs Theatres, 

Wisconsin; Paul Ayotte, National Screen 

Service/MTS (posthumously), Minnesota; 

and Frederick E. Heise, Melody Drive-In, 

Indiana. Ayotte’s son accepted the award on 

his behalf. 

This year’s event also raised money for 

two charities that are highly valued by the 

film industry. “Since its inception, proceeds 

of Geneva Convention have benefited two 

very important industry charities, Will 

Rogers Motion Picture Pioneers Foundation 

and Variety Club. To date contributions have 

exceeded $500,000 to Will Rogers Motion 

Picture Pioneers Foundation and $100,000 

to Variety Club,” said co-chairmen Rouman 

and Scaletta. 

Next year’s Geneva Convention is scheduled 

for September 29–October 1, 2015. n 


GENEVA CONVENTION 


Although we saw 

many familiar faces, it 

is exciting to see the 

momentum build as 

new attendees took 

advantage of the 

unique programming 

developed for Geneva 

Convention. 

George Rouman 



BOXOFFICE CONFERENCE: “STATE OF THE INDUSTRY” SEPT. 10, 2014 

MODERATOR Peter Cane 

Chairman, Boxffice Media 

PANELISTS Rolando 

Rodriguez President and 

C, Marcus Theatres 

John Fithian President and 

CEO, NATO Phil Contrino 

Vice President and Chief 

Analyst, Boxofficecom 

Chris Aronson President of 

Domestic Distribution, 20th 

Century Fox Bill Campbell 

Managing irector, Cinema 

Buying Group 

ROLANDO RODRIGUEZ 

MARCS TATRS 

ON LARGE-FORMAT 

SCREENS 


“Imax is certainly a very strong 

brand, but I believe exhibitors also 

have done a very good job at providing 

their own large-screen format. 

This makes a lot of sense economically, 

as it gives exhibitors the exibility 

to play the product at will and 

thus meet consumer demand.” 

BILL CAMPBELL 

“It’s always the goal of independent 

exhibitors in small towns to deliver 

the same product that people would 

have to drive 150 miles away for. You 

see a lot of independents making 

their own agship theaters where the 

demand is there with large-screen 

formats. We’ve made the moviegoing 

experience so much better. We’re 

doing everything we can.” 

CHRIS ARONSON 

‘We have been very supportive of 

large-screen-format theaters. As 

a former exhibitor, I understand 

the need to control what plays on 

screen. Should I highlight one disappointment, 

despite all the efforts 

of various stakeholders including 

AT, we would have all benefited 

from a more consistent branding 

around large-screen-format theaters. 

This being said, everyone who has 

ventured into the large-screen-format 

arena has had wonderful results. 

Ultimately, the theatrical experience 

has to be better than anything else. 

As an industry we have to provide 

the environment that cannot be 

replicated in the home. That is the 

future of cinema-going.” 


“I agree that as an industry we need 

to unite on a common messaging 

around large-screen format to clearly 

communicate to the consumer this 

capability. From the consumer’s perspective, 

I have no doubt that this is 

an amenity they are looking for and 

one that adds to the moviegoing experience.” 

ON IMMERSIVE 

SOUND 


“Both Auro and Atmos are two great 

sound systems. When it comes to 

communicating about the sound experience, 

I think Atmos in particular 

is doing a fantastic job. Their trailer 

explains what consumers should 

expect to hear prior to enjoying the 

movie. It resonates with our consumers. 

When they leave the auditorium, 

they say, “Wow! You told me what I 

was going to experience—and I did!” 

So we definitely believe in immersive 

audio. We intend to include it in 

more large-screen locations and to 

market it and share its benefits with 

consumers.” 

CHRIS ARONSON 

“We are big supporters of Atmos; 

our filmmakers are too believe that 

Atmos is a breakthrough in sound 

similar to when we went from mono 

sound to digital sound. There’s an 

exponential difference in the quality 

of sound.” 

JOHN FITHIAN 

“I completely agree with your comments 

about the quality of both 

Dolby and Barco sound systems. 

They are indeed an incredible experience, 

no doubt about it. They 

definitely have a very big role in our 

large-screen format; everything has 

to be the best in these experienc- 


es. I would highlight once more the 

question of the business model. Beyond 

large-screen format, we have 

to be able to sell more tickets or sell 

tickets at a higher price to improve 

our bottom line as these systems are 

still expensive. I would anticipate the 

need for lower price before we see 

bigger penetration. 

My second comment is that I believe 

in open competition and open standards. 

There is a good process underway 

with the participation of all 

key vendors. We need to make sure 

that whatever system our members 

use or don’t use, the movies can play 

in those systems.” 

BILL CAMPBELL 

“We always talk windows for the 

distributors, but the fact you can get 

immersive sound at your home now 

may diminish the value of the product 

in theater. It would be nice not 

to see these innovations released for 

homes so early … “ 

an experience that would be just 

OK … That’s unacceptable. You 

don’t have enough inventory for 

large-screen-format theaters to play 

everything in peak play time. You 

want to make sure that all auditoriums 

are fantastic places to watch 

motion pictures.” 

JOHN FITHIAN 

“I believe our consumers are sophisticated, 

and we can price differentiate 

between these experiences and 

that is what we are doing. Imax and 

large formats are way up at the top; 

3D is value priced as well, and consumers 

appreciate the choice they 

are offered.” 

ON ONLINE 

TICKETING AND 

LOYALTY PROGRAMS 


“As amenities continue to get added 

to theaters, it creates higher demand. 

There will be a lot more advance 

ticket sales as a result. 

PHIL CONTRINO 

BOXOFFICE 


“There is a broader picture here: we 

always learn from what other people 

do well. What’s wrong with taking 

the comfort from home and incorporating 

it into the moviegoing experience? 

Frankly, we just did, and that 

is called recliner seats! We need to 

continuously look at and learn from 

the competitive home environment. 

As exhibitors we must continue to 

match up on a price-value basis 

against viewing a movie at home. 

CHRIS ARONSON 

“I agree large-screen format is the 

best of what we offer, but we don’t 

want to discriminate against other 

auditoriums and relegate them to 

In an ideal world, we should be open 

to looking at different ways and resources 

for selling our tickets. The 

customer should not be relegated to 

going to one particular location. We 

should make it as easy as possible 

for customers to get their tickets everywhere 

they possibly can. 

In fact, we even tie it into our loyalty 

program. We should know our customers, 

including how they prefer to 

purchase tickets, and we should customize 

our conversations to them. 

We want to make ticket purchases 

as easy as possible through our 

website, through others’ websites, 

through retailers—whichever mechanism 

we can offer them—to get to 

our theaters. I am all for it!” 

CHRIS ARONSON 

20TH CENTURY FOX 



JOHN FITHIAN 

NATO 

BILL CAMPBELL 

CINEMA BUYING GROUP 

JOHN FITHIAN 

“We need to know more about our 

consumers. We do a lot of things 

right in the exhibition business, but 

one we have done horribly wrong, 

historically, is to know who our consumer 

is. Those loyalty programs are 

great to collect the data we need 

and then to use it with our business 

partners to expand our market. Super 

tickets and combo tickets are a 

great illustration of the work we are 

doing with our studio partners to 

offer our customers the opportunity 

to buy tickets at the same time as a 

later chance to download a movie, 

together with a T-shirt or a bag of 

popcorn. Loyalty programs have 

helped provide the data to build 

programs like that and many others.” 

CHRIS ARONSON 

“The super ticket idea is a good 

one; I am just not quite sure it is 

the right approach. A more expensive 

ticket price that includes the 

download for a movie you have 

not seen yet might be too much. In 

the Cineplex case, I know there is a 

refund policy, and that may be the 

smart approach.” 

JOHN FITHIAN 

“There is currently another experiment 

in the marketplace that has 

three different price points. You 

can buy just the movie ticket, or 

you can buy the movie ticket and 

the right to download later, or you 

can buy just the movie ticket on 

your way in and the right to download 

the movie on your way out. 

The best bargain, if you know you 

are going to love the movie, is to 

buy on your way in. But for those 

who are a bit more skeptical, they 

can wait until after they have seen 

the movie; it is just a little bit more 

expensive. This is a test.” 

CHRIS ARONSON 

“There are certain special events, 

like the one we did the night before 

The Fault in Our Stars, that have an 

accelerated ticket price, but there 

is a value added on top of that. 

The demand from the theaters for 

this specific live satellite event far 

exceeded the supply. It served us 

very well to heighten the interest 

in our movie, although in this 

specific case, by the night before, 

we knew we did not really need 

more awareness … Overall, it really 

helped drive the success of the 

opening of that movie.” 


“We were fortunate enough 

to be part of that particular 

programming, and it worked 

out tremendously well. To me, 

this is the type of alternative 

programming that we should be 

talking about and exploring further. 

We want to invite these stars to 

talk to our consumers, not only on 

the East or West Coast, but also in 

the Midwest.” 

PHIL CONTRINO 

“The old tracking system is dead. 

It doesn’t work anymore. It doesn’t 

take into account the new ways 

that people decide to go to the 

movies. We’ve been tracking 

Facebook and Twitter since 2010, 

which might as well be 60 years in 

the world of social media. I believe 

in the power of raw data, but I also 

think you have to be movie fan first 

and foremost. Too much tracking 

today is based on raw data aimed 

at generating a magic equation to 

predict box office My team doesn’t 

go to media screenings. We watch 

movies in theaters with paying 

customers to get a sense of how 

things play.” n 


TRADE SHOW EXHIBITOR INFORMATION 

THE ALL NEW 

OCTOBER 27-30, 2O14 

WESTIN DIPLOMAT RESORT & SPA 

HOLLYWOOD, FLORIDA 

THE MOVIE 

INDUSTRY’S 

PREMIER 

NETWORKING 

EVENT 

CONVENTION OCTOBER 27-30 

EXPO OCTOBER 27-29 

SHOWEAST.COM

PART 3 OF 5 

n Sometimes it’s easy to take for granted the impact that social 

media has had on our industry. The reason is simple: the best 

uses of social media grow naturally out of industry needs, and 

the climate that we live in now is a rational next step—a spoton, 

unforced evolutionary development. 

At Boxffice ® Pro, we’ve been touting the importance of 

these new developments for years now. We encouraged exhibitors 

to get on Facebook, emphasized the immense importance 

by Phil Contrino 

of Twitter, and highlighted some of the most exciting new apps. 

On our own website, we’ve been tracking the impact that Facebook 

and Twitter have on the box office since May So it 

only makes sense that all this coverage would lead to our first 

Boxffice ® Social Club. Over the next couple of months, we’ll 

be spotlighting key industry leaders who help their respective 

companies by using creative ways to reach consumers in the 

way they want to be reached: on their laptops, smartphones, 

and tablets. 

When it comes to the movie industry, separation is only an 

illusion. We are all in this together, and we can learn from one 

another. Just because someone on the distribution side of a 

major studio uses a particular Twitter technique doesn’t mean 

the same technique can’t work for an exhibitor running a onescreen 

theater in a rural town. That’s what’s amazing about social 

media it levels the playing field The right tweet can make 

or break a movie if it goes viral, and it doesn’t have to come 

from someone famous. 

e hope you gain something from the profiles included in 

these pages. 

CASEY WARNICK 

SOCIAL MEDIA DIRECTOR 

ALAMO DRAFTHOUSE CINEMAS 

When it comes to your social media strategy, do you give man- 

agers at individual Drafthouse locations the freedom to post, 

or do you control the message the company puts out pretty 

closely? 

We have our social strategy set up so that one person, 

typically the creative manager, in each market is at the helm 

of the social media effort. This works in our favor, since 

we have social media set up by city as opposed to by 

venue, which gives us a small team to collaborate 

together to ensure the Alamo Drafthouse voice and 

style is on point while we are also reflecting local 

initiatives. 

CASEY WARNICK 

Please give our readers an example of a 

special event that was particularly successful 

because of social media promotion. 

The recent Ghostbusters rerelease has been a 

hit at the Drafthouse largely due to our coordinated 

promotions focusing on social media. Our 

South Lamar theater in Austin, Texas, came in 

at No. 7 in the country, followed by Yonkers, 

New York, at No. 8, Richardson, Texas, at No. 

30 BoxOffice ® Pro The Business of Movies CTBR

CONGRATULATIONS 

TO THE 2014 WOMEN IN EXHIBITION 

AND DISTRIBUTION HONOREES 

MARIANNE ABIAAD 

SUSIE BEIERSDORF 

MARIANA HONG 

BELINDA JUDSON 

PAT MARSHALL 

KELLY O’CONNOR 

SHELLY OLESEN 

DARRYL SCHAFFER 

ANN STADLER

THE BOXOFFICE SOCIAL CLUB 

13, and Littleton, Colorado, at No. 26. We hit every platform, focusing 

on paid Facebook advertising, frequency on Twitter, video on Instagram, 

and newsletters and offers via our Victory program. 

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I feel strongly about responding to as many guests as humanly 

possible. We don’t pick and choose based on Klout score or complaint— 

everyone who reaches out is equally important to us. Yes, this takes a 

significant amount of time, but it is imperative for connecting with your 

audience and creating relationships. 

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Most definitely! Sharing our specialty programming via social media 

is not only a method of selling tickets, but it also showcases our brand 

and what makes us so different. We have a wide variety of programming 

to share, and we’re never at a loss for engaging content, from Terror 

Tuesday to Afternoon Tea, from Tough Guy Cinema to Girlie Night, as 

well as sing-alongs and quote-alongs. 

BOBBIE BAGBY FORD 

VICE PRESIDENT OF MARKETING 

B&B THEATRES 

BOBBIE BAGBY FORD 

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We handle all social media from our home office. We encourage 

managers to send us ideas and things going on in their community on a 

regular basis. We think it is best to make sure we are conveying a consistent 

message circuit-wide, using the same voice across all platforms. 

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Facebook is still our go-to. We do have active social media on other 

platforms, but Facebook is where we see the biggest results. It has become 

the main way we communicate with our customers about upcoming and 

last-minute events. 

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We try to keep our voice consistent, but we mix up the type of info 

we post: coupons, cool industry stories, trailers, community updates, etc. 

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Social media is invaluable for our special events. We can post an announcement 

for something happening the same day and see the results. 

Our grand openings have changed drastically because of the way we are 

able to get our info out there on our own timeline. We also do snow-day 

coupons and beat-the-heat coupons that can happen within seconds of 

finding out that the weather has changed! 

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The way we interact with our customers. We hear about issues and 

praises instantly, often while people are standing in line or have just left 

the theater. We monitor our pages around the clock and can find a solution 

right away. Quick replies are super-important to us. The supply and 

speed of info has changed the way we communicate with our customers. 

We love it! 

BRENT COOKE 

VICE PRESIDENT GUEST & DIGITAL MEDIA 

AMC 

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While our social media posting is done at our Theatre Support 

Center (TSC), our theater managers have tremendous influence over 

social messaging in their 

markets. They are closest to 

our guests, our communities, 

and our events, and we 

greatly value their input and 

insight. At the TSC we support 

localized social efforts 

from our managers, as well 

as distribute circuit-wide 

news and promotions. 

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BRENT COOKE 


THE BOXOFFICE SOCIAL CLUB 

MATT LISZT 

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Through a number of different fronts, 

including more comfort and convenience, 

enhanced food and beverage, targeted programming, 

premium sight and sound, and, in 

this case, guest engagement and loyalty, we’re 

delivering a great moviegoing experience that 

gets people excited about coming out to AMC 

and keeps them coming back again and again. 

A large part of that engagement with our 

guests is ensuring the platform we’re using fits 

the message, and vice versa. Our messages and 

content are as varied as our guests preferences. 

As such, we engage our guest across a multitude 

of social platforms, including Facebook, 

Twitter, YouTube, Instagram, Tumblr, and 

Pinterest. 

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AMC is the guest-experience leader, and 

targeted programming is one of the key ways 

we’re delivering an amazing moviegoing experience 

for our guests nationwide. Through our 

targeted programming strategy, we’re providing 

more titles and diverse content through our 

AMC Independent program to give more 

guests a reason to come out to the movies. 

As a way to support our AMCi program, 

we’ve recently launched a Facebook page and 

Twitter account (@AMCIndependent), which 

engage with guests and spread the word about 

independent film. We’ve also recently launched 

a YouTube show, AMC Independent Spotlight, 

which is a weekly program that showcases 

independent films available at AMC locations. 

This is part of our commitment to bring quality 

films to our guests, even when the films lack 

large studio marketing budgets. 

MATT LISZT 

VICE PRESIDENT OF MARKETING 

MASTERIMAGE 3D 

SCOTT ARCHAMBAULT 

DIRECTOR OF MARKETING 

MASTERIMAGE 3D 

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MasterImage 3D is a highly focused display 

technology company. We make optical hardware 

solutions for 3D deployment. Our products include 

high-brightness 3D digital cinema systems 

and glasses-free 3D mobile tablets. Essentially, 

we challenge ourselves on how technologies can 

SCOTT ARCHAMBAULT 

make 3D viewing experiences 

better. As a marketing team, 

we roll out and execute our 

corporate and product plans 

and messaging. We also stress 

engagement with ecosystem partnerships 

to usher in new content 

for 3D— on any platform. This 

is mostly focused on 3D mobile 

and includes 3D mobile games, 

short films, interface design, or 

other mobile applications. 

In many ways we are 3D 

evangelists, as customers and 

partners look to us for the 

trends that are driving the 

near-term narrative of the 3D 

trajectory. We see social media 

as an important tool to promote 

the wide-reaching developments 

in 3D technology, applications, 

content, and emerging thinking. 

We like to promote companies 

that are doing it right, ideas that 

are leading change, and the challenges 

that collectively we ought 

to address as an industry. A favorite 

hashtag we try to socialize 

is #fightflat. It is a rallying cry 

for immersive 3D experiences 

and motivation to continue to 

push how we think about content 

and new platforms. 

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oo 

By design many of the people we follow 

and who follow us have a technical slant. This 

could be tech and media journalists or theatrical 

engineers that look to us for industry perspective. 

What we have found most interesting 

is how international our social media conversations 

are. Some of the most active voices 

in social media for the 3D sector come from 

India, China, and Russia. This is a highly educated 

3D community that is looking to share, 

learn, and discuss how to make 3D bigger as a 

whole and also promote their diverse local 3D 

productions. This is a trend we are extremely 

excited to follow and participate in. 

ooceceo 

ofeofe 

As a technology company, clearly we have 

messaging and a product to sell. That obviously 

won’t change. However, as part of such 

an engaged social media community around 

immersive visual experiences, we try not to 

rely on “advertising” our products but publish 

content, curate a discussion, and be a fly on 

the wall. n 


Boxffice 

Celebrates 

Key Women in 

Exhibition and 

Distribution 

Sales Operations 

TELL US A BIT ABOUT 

Manager 

YOUR CURRENT ROLE 

MasterImage 3D 

AT MASTERIMAGE 3D. 

I am the worldwide sales 

operation manager at Master 

Image, and I have been at the company for about five and a half 

years now. I manage all of the customer accounts; do the sales 

for the Americas (U.S., Canada, and the Latin American 

countries); oversee the logistics, procurement, fulfillment, 

and all of the product management associated with it. I 

cover the logistics for all the trade shows worldwide— 

so I wear a lot of different hats at the company. 

DESCRIBE YOUR PROUDEST 

PROFESSIONAL ACHIEVEMENT SINCE 

JOINING THE EXHIBITION INDUSTRY. 

Five and a half years at a company isn’t 

a tremendously long time, but being given 

the opportunity to grow in the forefront 

of modern 3D in the exhibition industry 

has been great. There was no rule book; 

it was learn as you go, and I loved 

the aspect of excelling at that. We 

were in Burbank as a South Korean 

company originally, and we grew 

to open our subsidiary in Europe, 

which has been widely successful. 

I went from seeing less than 

1,000 screens being installed 

to currently having over 

7,000 screens in 72 countries 

worldwide. 

WHAT IS YOUR 

FAVORITE MOVIE? 

I love animated films in general, 

but I especially love Despicable 

Me. Finding Nemo is another favorite. 

Apart from animation, I am a big fan of I 

am Sam, starring Sean Penn. 

WHAT IS YOUR FAVORITE MOVIE 

SNACK? 

Nachos, hands down. 

SHARE YOUR FAVORITE CHILDHOOD 

MOVIE MEMORY. 

It was a rewarding treat for our family to 

go to the movies, growing up. My parents 

would take me and my brother out to the 

cinema if we got good grades. Now we actually 

take our parents out to the movies! n 


BOXOFFICE CELEBRATES KEY WOMEN IN EXHIBITION AND DISTRIBUTION 

Vice President & 

efeOffice 

Marcus Theatres 

TELL US A BIT 

ABOUT YOUR 

CURRENT ROLE AT 

MARCUS THEATRES. 

Early in 2014, I joined 

the Marcus Theatres executive team in the company’s newly 

created vice president and chief marketing officer role. This 

position helps to bring marketing front and center to an 

organization and industry that typically relies heavily on star 

power and Hollywood to sell theater entertainment. This shift 

in company focus presents wonderful opportunities to think 

differently about the moviegoing experience. When coupled 

with the significant capital investments Marcus is making 

across its circuit over the next two years, consumers at our 55 

theaters can expect a unique experience with state-of-the-art 

technology combined with amazing food-and-beverage amenities. 

I am excited to use my 25-plus years of marketing and 

advertising experience in building brands, partnerships and 

top-notch teams to further strengthen the solid foundation 

at Marcus Theatres, while adding industry support in 

getting people to the movies. 

WHAT IS YOUR FAVORITE MOVIE SNACK? 

There is nothing better than our popcorn. You can’t 

replicate that movie theater favorite at home! When I told my 

younger daughter that I took a job at Marcus Theatres, her 

first question: would I get a popcorn maker in my office? 

SHARE YOUR FAVORITE CHILDHOOD MOVIE 

MEMORY. 

Our family always enjoyed seeing shows on the big 

screen. The ticket that made my baby book as my first 

film was Robin Hood, but the first one I remember seeing 

was The Shaggy D.A. n 

DESCRIBE YOUR PROUDEST PROFESSIONAL 

ACHIEVEMENT SINCE JOINING THE 

EXHIBITION INDUSTRY. 

While new to the industry, our Marcus team officially 

launched our Magical Movie Rewards loyalty rewards 

program 30 days after I joined the company. It was the 

perfect project for me to get a better understanding of 

our consumers, our industry’s product/processes and 

our internal company team. I was able to immediately 

add value and leadership, helping to drive 

strategy, build partnerships, hire loyalty-specific 

talent, and add some creativity. To date, our team 

is proud to boast approximately 650,000 members 

in less than six months. We are well on our 

way to being able to achieve our initial 

aggressive goal of one million Magical 

Movie Rewards members. 

WHAT IS YOUR FAVORITE 

MOVIE? 

The Sixth Sense is my favorite 

movie when it comes to drama. 

However, as the mother of two 

daughters (ages 10 and 8), I love 

the powerful message of Frozen. 

In most animated pictures, the 

story line requires a guy to save 

a gal in distress. While I appreciate 

the many supportive 

and caring men in my life, the 

message of women helping 

women is important for our 

young girls to see. Friendship, 

sisterhood, family, and love 

are powerful factors that 

can make young ladies see 

themselves as able to conquer 

personal challenges, while 

remembering they need to 

make a difference to others. 



Vice President 

Communications & Investor 

Relations, Cineplex 

TELL US A BIT 

ABOUT YOUR 

CURRENT ROLE 

AT CINEPLEX. 

I oversee corporate 

communications, which includes media relations, public 

relations, and employee communications in addition to investor 

relations. Given the variety of roles, I deal with a wide 

range of people and topics every day, all day, which can be 

quite schizophrenic at times. A typical day includes a media 

interview or two—either on camera or via a telephone interview—a 

meeting with existing or potential investors, dealing 

with 100 e-mails on average, writing or editing a press release, 

a speech, or investor presentation, and attending a number of 

meetings. It’s crazy and fun and I never know what the next 

e-mail or phone call is going to do to completely change my 

day or evening—I love it! 


ACHIEVEMENT SINCE JOINING THE EXHIBITION 

INDUSTRY. 

I joined in 2003 when Ellis Jacob, our CEO, had 

launched Galaxy Entertainment Inc. At the time, he had left 

Cineplex Odeon Corp., a predecessor company to today’s 

Cineplex Inc., and was building a circuit of big city–style 

movie theaters in midsize markets across the country. I was 

leading the communications and marketing team. Within 

six months of joining, we merged with the Canadian assets 

of Cineplex Odeon Corp. and went public. Given that we 

had two senior managers leading each function, I gave up the 

majority of the marketing portfolio and took on the investor 

relations role, which is required for public companies. I 

wasn’t sure how that was going to work—if I could do the 

job or if I would enjoy it. Fast forward three years and I was 

very honored to receive the Investor Relations Officer of the 

Year award in 2006. This is the Oscar of the investor relations 

field worldwide, and I was so happy to be recognized for 

outstanding investor relations in our market cap for all of 

Canada. 

WHAT IS YOUR FAVORITE MOVIE? 

It’s a Wonderful Life. I’m sure that many people will be 

screwing up their faces to read this, but this film holds such 

incredible memories for me and is part of my growing up. 

I have watched this movie at least once every Christmas 

season since I was about six, and Christmas isn’t Christmas 

without it. A few years ago, one of my colleagues at 

Cineplex started a Christmas Classic film series during the 

month of December in our theaters, and I asked him to add 

it to the schedule. It was the first time in my life I got to see 

the movie on the big screen, and it was like seeing it for the 

first time all over again. 


Red licorice. In Canada our brand is Twizzlers, and I 

wouldn’t eat any other. 


MEMORY. 

I went to the movies a lot when I was growing up. 

I am the youngest of five children, and every summer 

when I was a little girl, my parents would pack us 

kids up in our pajamas and head to the local drivein 

on the weekend. They would make a thermos of 

coffee for themselves and a few bags of popcorn 

for all of us to share. (Yes, this makes me cringe 

today knowing the importance of concessions to 

our business). My mom would let us go and play 

on the swings and slide but would always say, 

“Remember when the dancing hot dog comes 

onto the screen, that’s your cue to come back 

to the car.” That’s where my love of movies 

really began. Today, when I think of our VIP 

Cinemas with licensed auditoriums, great 

food, and reclining seats, I realize how really 

far we have come in this industry. n 



TELL US A BIT ABOUT YOUR CURRENT 

ROLE AT ROYAL. 

I am a principal and executive vice president, and I am 

blessed to work with the movie theater segment of our 

company, as we supply close to 60 percent of movie 

theaters in the United States. 

Principal, Executive 

Vice President 

Royal Corporation 




Finding a solution to a problem, whether in 

a product, process, or training and implementation, 

is the most rewarding. 


Having a five-year-old girl, I would not 

dare but say Frozen. The soundtrack is stuck 

in my head! 


SNACK? 

Nothing beats a popcorn and a diet soda. 

SHARE YOUR FAVORITE CHILDHOOD 

MOVIE MEMORY. 

I grew up in Lebanon, and movies are a 

big part of the culture. My favorite memories 

are going to the Empire circuit theaters with 

my grandfather. n 

Congratulations 

Women of Distinction 

Thank you for your partnership 

Marianne Abiaad 

Executive Vice President 

Royal Paper 

Shelly Olesen 

VP Sales & Marketing 

C. Cretors and Company 

Kelly O’Connor 

SVP, Exhibitor & Marketing Services 

Warner Bros. 

Darryl Schaffer 

EVP, Operations & Exhibitor Relations 

Screenvision 

Your Friends at Marcus Theatres Corporation 



Vice President Sales 

and Marketing 


TELL US A BIT 

ABOUT YOUR 

CURRENT ROLE AT 

CRETORS. 

When I received a call 

23 years ago from a recruiter telling me that she had found the 

perfect sales job for me, I never imagined that it would involve 

popcorn! I began my career with C. Cretors and Company 

in 1991 as a regional salesperson, and then moved to senior 

marketing manager and on to director of sales and marketing. 

Today I have the pleasure, as vice president of sales and marketing, 

to direct our domestic and international sales and marketing 

efforts of concession and food-service equipment. I will 

forever be grateful to Charles Cretors, who in 1893 invented 

and patented the first popcorn machine and, in turn, received 

credit for starting the entire concession industry—a U.S. 

industry that has gone global. The opportunity to work for a 

fifth-generation family owned and operated USA manufacturer, 

in an amazing industry, creates endless opportunities. 

Popcorn, “palomitas,” “pipoca”—around the 

globe it truly is the business of popping 

corn. 

DESCRIBE YOUR 

PROUDEST 

PROFESSIONAL 

ACHIEVEMENT 

SINCE JOINING 

THE EXHIBITION 

INDUSTRY. 

I have to believe the 

best is yet to come! For 

me it’s a string of moments. 

I have a degree 

in teaching and have a 

natural desire and need 

to give back. My role as 

VP of sales and 

marketing 

allows 

me 

those moments to “pay it forward.” I enjoy mentoring and 

training new salespeople or groups of theater concession 

managers. I equally enjoy seeing our industry through the 

fresh eyes of one just starting out. We learn and grow from 

each other. Some of my favorite and proudest moments are 

when given the opportunity to utilize our industry to benefit 

a cause. Cretors’s 125th anniversary gala in 2010 doubled as 

a tribute to the birth of the concession industry. Concession 

vendors, studios, and exhibitors donated silent-auction items 

and together helped raise $35,000 for Chicago Arts Partnership 

in Education (CAPE), a nonprofit organization dedicated 

to expanding the arts in Chicago public schools. 


Popcorn, of course! 


MEMORY. 

I vividly remember my first cinema 

experience. My mother loaded my 

three older siblings and me 

into the car and took us to 

the Lincoln Village Theatre 

in Chicago to see Mary 

Poppins. It wasn’t only my 

first movie experience 

but also my first concession 

popcorn experience. 

We sat in our 

seats and when Julie 

Andrews came on the 

big screen I couldn’t 

believe that the 

book had come to 

life! I felt like I was 

a part of the movie 

and didn’t move 

for two hours. The 

pure size of the 

screen, the sound, 

and concession 

popcorn—I was 

hooked! n 


On Behalf of Cretors 

Congratulations to 

Key Executive Women 

Shelly Olesen 

VP Sales & Marketing, 


Kelly O’Connor 

SVP, Exhibitor & Marketing Services, 

Warner Bros. 

Pat Marshall 

VP, Communications and 

Investor Relations, Cineplex 

Susie Beiersdorf 

VP Sales, Digital Cinema Solutions, 

Sony Electronics 

WOMEN ROYAL IN PAPERS EXHIBITION 

Mariana Hong 

Sales Operations Manager, 

MasterImage 3D 

Belinda Judson 

State Government and 

Regional Liaison, NATO 

Marianne Abiaad 

Executive VP, 

Royal Paper 

Ann Stadler 

VP and CMO, 

Marcus Theatres 

Thank you for 

your many 

contributions to the 

theater industry. 

And to our 

own Shelly Olesen, 

thank you for always 

going the extra mile, 

you make us proud! 

www.cretors.com


Vice President of Sales, TELL US A BIT ABOUT 

Digital Solutions 

YOUR CURRENT 

Sony Electronics 

ROLE AT SONY. 

I am the vice president 

of sales at Sony 

Digital Cinema for the United States. I am responsible for 

relationships with our exhibition partners along with our 

distribution and studio partners. As Sony Digital Cinema 

4K projection systems are represented in approximately 

30 percent of all U.S. screens, and Sony 4K is represented 

through studio production and distribution 

systems, I interface from production through exhibition 

with decision makers and implementers 

at all levels of the business. Additionally, I 

am involved with and participate in industry 

organizations such as SMPTE, ISDCF, and 

ICTA and currently serve as president of 

the Inter-Society. 

the drive-in in Big Bear Lake, California. We lived in the 

apartment above the snack bar, and I grew up helping out 

in everything from selling tickets to running the booth, 

literally learning every facet of the theater business. Many 

of my fondest memories are watching movies from the 

walk-in seating area. I remember sneaking in to watch 

Dracula once, even though I wasn’t allowed to watch it and 

had nightmares because of it! n 


PROFESSIONAL 

ACHIEVEMENT SINCE 

JOINING THE EXHIBITION 

INDUSTRY. 

It is difficult to point to a 

singular event, as I was raised 

in the exhibition industry from 

a very young age. My dad was a 

theater owner in Los Angeles, and 

my mom worked as a cashier in 

the cinemas. I grew up in theaters 

and briefly left the business to study, 

returning to the industry first with 

Cineplex Odeon, then with DTS in 

the early rollout of digital sound, and 

now, with Sony Electronics, the rollout 

of digital cinema and related products. If 

there is an overriding success, it is sharing 

with my longtime industry friends the history, 

innovation, successes, and longevity of our 

industry. 


“I didn’t get a ‘harrumph’ 

out of that guy!” (Blazing 

Saddles) 

WHAT IS YOUR 

FAVORITE MOVIE 

SNACK? 

Popcorn, even if 

I am not hungry! 

SHARE YOUR 

FAVORITE 

CHILDHOOD 

MOVIE 

MEMORY. 

My fondest 

memories come 

from my family’s 

days running 



Senior Vice President, 

Exhibitor and Marketing 

Services / Warner Bros. 

TELL US A BIT ABOUT YOUR CURRENT ROLE AT WARNER BROS. 

My primary role is to liaise between domestic distribution and our marketing team 

to ensure we capitalize on marketing opportunities in theaters and with our partners in 

exhibition. Additionally, I work with exhibition and cross divisionally at Warner on new 

initiatives and special projects—which I love. 

DESCRIBE YOUR PROUDEST PROFESSIONAL ACHIEVEMENT SINCE 


I have been involved in helping shape new technologies and 

precedent-setting initiatives as they relate to growing opportunities 

for marketing in theaters, of which I am very proud. 

However, I have to say that my proudest moments all 

come from the collaboration and relationships I have 

made while working with my business colleagues—at 

Warner Bros. and throughout the industry. I feel 

very lucky and proud to be surrounded by such 

wonderful people. 

WAHT IS YOUR FAVORITE MOVIE? 

That’s such a tough one. I watch The 

Shawshank Redemption anytime I have the 

chance and continue to love it, but I am a 

sucker for romances and my favorites are 

The Princess Bride and Love Actually. 


SNACK? 

My guilty pleasure at the concession 

stand is popcorn with loads of butter 

and salt, sprinkled with M&M’s to 

ensure all major food groups are represented: 

butter, salt, and chocolate. 

SHARE YOUR FAVORITE 

CHILDHOOD MOVIE MEMORY. 

I remember being scared out of 

my wits watching Jaws. I couldn’t 

go back in the water all summer, 

even though rationally I knew 

there would likely be no 

sharks in the pools and 

lakes of northern Colorado. 

n 



TELL US A BIT ABOUT YOUR CURRENT ROLE AT 

NATO. 

I am the NATO state government and regional liaison. 

I also head up three NATO regional associations. The liaison 

role helps us coordinate messaging for state and local 

legislation that is proposed nationwide. And it also serves 

to help the NATO regional affiliated organizations have 

closer ties to NATO. 


ACHIEVEMENT SINCE JOINING THE EXHIBITION 

INDUSTRY. 

NATO’s network of regional affiliated associations are 

run by paid or volunteer leaders throughout the country. 

Getting to serve as the liaison between NATO and its 

affiliated associations is very motivating and gratifying. We 

have incredible members, who are dedicated to exhibition 

and the industry, and it is exciting to be able to interact 

with the regional leaders and their members as we all strive 

to represent exhibition in the best possible way. It is also 

a privilege to have been elected by my peers to be their 

current regional representative on the NATO Executive 

Board. 


Gone with the Wind is one of my all-time favorites. The 

casting was brilliant—just as I pictured the characters in 

the book. 

WHAT IS YOUR 

FAVORITE MOVIE 

SNACK? 

Growing up we never 

had sweets at home. So 

State Government and 

Regional Liaison 

NATO 

Junior Mints and SnoCaps were always a big treat and are 

still some of my favorites. 

SHARE YOUR 

FAVORITE 

CHILDHOOD 

MOVIE MEMORY. 

Going to the 

movies was a big, 

special event. 

My grandfather 

would give me 

money that I 

would save and 

save until a new 

kids’ movie came 

out. Then my 

mom, brother, and 

I would go see it 

at this beautiful 

opera 

house in 

town. n 



Executive Vice President, 

Operations and Exhibitor Relations 

Sceenvision 

TELL US A BIT ABOUT YOUR CURRENT 

ROLE AT SCREENVISION. 

I oversee operations and exhibitor relations. We have a 

network of over 14,000 screens and 180 exhibitor partners. 

My team manages the partnership with those exhibitors and 

delivers content to those exhibitors. My role also includes 

overseeing alternative content, which is something we 

launched at the end of 2007 as a way to generate additional 

revenue for our partners. This year has actually been our 

most successful year in alternative content. We just had a 

program called Dragon Ball Z, which grossed $2.6 million, 

and we also had three great Broadway shows this 

year. We are therefore very proud of the alternative 

content business as well. 

Ms. Schaffer is second from right 


MEMORY. 

I loved going to the movies as a kid. I think my first 

movie was Dumbo, rereleased in the ’70s, and I loved 

that. Then I remember going to Radio City Music Hall to 

see movies! I think those were mostly musicals. I also have 

great memories of going with my dad to the movies, often 

uptown. We would get a hot dog beforehand at Papaya 

King. We saw Jaws, Rocky, Blazing Saddles, Star Wars, Close 

Encounters—just to name a few! n 




I am definitely most proud of the relationship 

we have with our exhibitor partners and the 

team we have built to manage those relationships, 

coupled with the fact that average term 

remaining across our network right now is over 

nine years per screen. We recently signed a new 

nine-year term with Marcus Theatres, and in the 

past 18 months we also signed new deals with 

Bow Tie Cinemas, Regency Theatres, Classic 

Cinemas, Malco Theatres, Allen Theatres, and 

B&B Theatres. We are very proud of this very 

stable network we have created. In conjunction 

with the pending merger with NCM, that’s definitely 

a great value we are going to bring. 


I actually don’t have a single favorite movie. 

Some of my favorites include: The Sound of 

Music, Shawshank Redemption, Schindler’s List, 

The Silence of the Lambs, Life Is Beautiful, and 

Manhattan. 


SNACK? 

Popcorn. 


UPCOMING 3D MOVIES 

2014 

OCT 17 FOX THE BOOK OF LIFE 

NOV 7 DISNEY BIG HERO 6 

NOV 26 FOX/DREAMWORKS ANIMATION PENGUINS OF MADAGASCAR 

DEC 12 FOX EXODUS: GODS AND KINGS 

DEC 17 WARNER BROS. THE HOBBIT: THE BATTLE OF THE FIVE ARMIES 

2015 

FEB 6 WARNER BROS. JUPITER ASCENDING 

FEB 6 UNIVERSAL SEVENTH SON 

FEB 6 PARAMOUNT THE SPONGEBOB MOVIE: SPONGE OUT OF WATER 

MAR 27 FOX/DREAMWORKS ANIMATION HOME 

MAY 1 DISNEY AVENGERS: AGE OF ULTRON 

MAY 15 WARNER BROS. MAD MAX: FURY ROAD 

JUN 5 FOX/DREAMWORKS ANIMATION B.O.O.: BUREAU OF OTHERWORLDLY OPERATIONS 

JUN 5 WARNER BROS./NEW LINE SAN ANDREAS 

JUN 12 UNIVERSAL JURASSIC WORLD 

JUN 19 DISNEY INSIDE OUT 

JUN 19 FOX THE FANTASTIC FOUR 

JUL 10 UNIVERSAL MINIONS 

JUL 17 WARNER BROS. PAN 

JUL 24 SONY / COLUMBIA PIXELS 

JUL 24 FOX POLTERGEIST 

SEP 18 UNIVERSAL EVEREST 

SEP 25 SONY/COLUMBIA HOTEL TRANSYLVANIA 2 

OCT 2 SONY/TRISTAR THE WALK 

OCT 9 DISNEY THE JUNGLE BOOK 

NOV 6 FOX PEANUTS 

NOV 25 DISNEY THE GOOD DINOSAUR 

DEC 18 DISNEY STAR WARS: EPISODE VII 

DEC 23 FOX/DREAMWORKS ANIMATION KUNG FU PANDA 3 

2016 

FEB 12 UNIVERSAL UNTITLED PETS PROJECT 

MAR 4 DISNEY UNTITLED DISNEY ANIMATION FILM 1 


MAR 11 UNIVERSAL WARCRAFT 

MAR 18 FOX/DREAMWORKS ANIMATION BOSS BABY 

APR 8 UNIVERSAL CLIFFORD THE BIG RED DOG 

MAY 27 DISNEY ALICE IN WONDERLAND 2 

JUN 17 DISNEY FINDING DORY 

JUL 1 SONY/COLUMBIA ANGRY BIRDS 

JUL 1 WARNER BROS. TARZAN 

JUL 15 FOX ICE AGE 5 

JUL 22 WARNER BROS. KING ARTHUR 

AUG 5 SONY/COLUMBIA UNTITLED SMURFS MOVIE 

AUG 12 UNIVERSAL SPECTRAL 

SEPT 23 WARNER BROS. NINJAGO 

OCT 21 WARNER BROS. JUNGLE BOOK: ORIGINS 

NOV 4 FOX/DREAMWORKS ANIMATION TROLLS 

NOV 23 DISNEY UNTITLED DISNEY ANIMATION FILM 2 

DEC 16 DISNEY UNTITLED STAND-ALONE STAR WARS FILM 

2017 

JAN 13 FOX/DREAMWORKS ANIMATION CAPTAIN UNDERPANTS 

FEB 10 WARNER BROS. UNTITLED WARNER ANIMATION GROUP PROJECT 1 

MAR 10 FOX/DREAMWORKS ANIMATION UNTITLED KEVIN LIMA BOLLYWOOD MUSICAL 

APR 7 FOX FERDINAND 

APR 7 UNIVERSAL PACIFIC RIM 2 

JUN 9 FOX / DREAMWORKS ANIMATION HOW TO TRAIN YOUR DRAGON 3 

JUN 16 DISNEY UNTITLED PIXAR ANIMATION FILM 1 

NOV 22 DISNEY UNTITLED PIXAR ANIMATION FILM 2 

DEC 22 FOX/DREAMWORKS ANIMATION THE CROODS 2 

2018 

FEB 9 WARNER BROS. UNTITLED WARNER ANIMATION GROUP PROJECT 2 

FEB 16 FOX/DREAMWORKS ANIMATION LARRIKINS 

MAR 9 DISNEY UNTITLED DISNEY ANIMATION FILM 3 

MAR 23 FOX ANUBIS 

MAY 18 FOX/DREAMWORKS ANIMATION MADAGASCAR 4 

JUN 15 DISNEY UNTITLED PIXAR ANIMATION FILM 3 

NOV 21 DISNEY UNTITLED DISNEY ANIMATION FILM 4 

DEC 21 FOX/DREAMWORKS ANIMATION PUSS IN BOOTS 2 


COMING 

SOON 

STAR BEN AFFLECK AND 

DIRECTOR DAVID FINCHER 

ON THE SET OF GONE GIRL 

BELIEVE IT OR NOT 

GONE GIRL 

OCT 3 n Former Entertainment Weekly staff writer Gillian Flynn’s popular novel comes 

to the screen with a strong cast and an even stronger director, David Fincher. Fincher never 

disappoints—we’ll excuse him for Alien 3—and the story’s twists and turns, along with its 

unusual structure, promise compelling viewing. The big question? Have Fincher and writer 

Flynn played around with the well-known ending? The book’s fans have been fidgety about 

what’s in store. 

DISTRIBUTOR Fox CAST Ben Afeck, Rosamund Pike, eil Patrick arris, Tyler Perry WRITER 

illian lynn DIRECTOR avid incher GENRE rama Mystery Thriller RATING R 


“STAY HERE. I’LL CHECK IT OUT.” 

ANNABELLE 

OCT 3 n The trailer for this prequel to 2013’s 

highly successful The Conjuring ($318 million 

worldwide), features Jiffy Pop, the 1959 

Flamingos hit “I Only Have Eyes for You,” and 

the only thing creepier than a clown in the 

moonlight—dead-eyed dolls! The director of 

The Conjuring, James Wan, moved on to the 

Fast & Furious franchise, handing the reins of 

this spin-off to veteran cinematographer John 

R. Leonetti (Insidious). Is a Chucky/Annabelle 

mash-up in our future? 

DISTRIBUTOR Warner Bros. CAST Annabelle 

Wallis Ward Horton, Alfre Woodard WRITER 

Gary Dauberman DIRECTOR John R. Leonetti 

GENRE Horror RATING R 

LOST BOYS OF THE SUDAN 

THE GOOD LIE 

OCT 3 n The first of three 2014 releases 

featuring Oscar-winner Reese Witherspoon, 

The Good Lie is based on real events. Witherspoon 

stars as Carrie Davis, a Kansas employment-agency 

counselor who struggles to find 

jobs for three Sudanese refugees in a landscape, 

both urban and rural, that is completely foreign 

to them. Ice, telephones, and drinking straws 

are complete novelties to the young men, making 

their integration into American life both a 

challenge and a life-altering opportunity. 

DISTRIBUTOR Warner Bros. CAST Reese Witherspoon, 

Corey Stoll, Sarah Baker WRITER Margaret 

Nagle DIRECTOR Philippe Falardeau GENRE 

Drama RATING PG-13 

WHERE’D EVERYBODY GO? 

LEFT BEHIND 

OCT 3 n You may not recognize Left Behind 

director Vic Armstrong’s name, but you have 

certainly seen his face. As long-time stunt 

double for Harrison Ford and the various James 

Bonds, Armstrong has jumped from a horse 

to a German tank, rappelled into a villain’s 

volcano lair, and skied down the Alps chased by 

machine-gunning henchmen. Now Armstrong 

is taking the reins of this reboot of the Left Behind 

series of Bible-based apocalyptic thrillers. 

One wonders if star Nic Cage is hoping this 

film will reboot his rather stalled career. 

DISTRIBUTOR Freestyle Releasing CAST Nicolas 

Cage, Cassi Thomson, Chad Michael Murray 

WRITERS Paul LaLonde, John Patus DIRECTOR 

Vic Armstrong GENRE Action | Sci-Fi | Thriller 

RATING TBD 


COMING IN OCTOBER > WIDE RELEASES 

SEXY TIME 

ADDICTED 

OCT 10 n Writer Zane (real name Kristina 

Laferne Roberts) began her publishing career 

writing erotic fiction in her spare time. After 

self-publishing The Sex Chronicles, publishing 

house Simon & Schuster signed her, and her 

most popular work, Addicted, has now been 

brought to the screen by music-video director 

Bille Woodruff. Addicted, about a successful 

woman whose life spirals out of control due 

to her extramarital activities, features Dancing 

with the Stars third-place finisher William Levy 

as one of her paramours. 

DISTRIBUTOR Lionsgate CAST Sharon Leal, Kat 

Graham, Boris Kodjoe, William Levy WRITER 

Christina Welsh, Ernie Barbarash DIRECTOR Bille 

Woodruff GENRE Drama | Thriller RATING R 

WATCH YOUR FINGERS! 

ALEXANDER AND THE 

TERRIBLE, HORRIBLE, NO 

GOOD, VERY BAD DAY 

OCT 10 n Judith Viorst’s wildly popular 

children’s book has been captured on film for 

a second time. In 1990, HBO cablecast an 

animated musical version of the story about 

Australia-obsessed Alexander’s tragic day of 

gooey gum, skittish skateboards, and dental 

drama. In this version, everyone from his parents 

to his siblings experiences a not-so-wonderful 

day. Disney icon Dick Van Dyke shows 

up as himself—which we think would make for 

a pretty good day. 

DISTRIBUTOR Walt Disney CAST Steve Carell, 

Jennifer Garner, Ed Oxenbould WRITER Rob 

Lieber DIRECTOR Miguel Arteta GENRE Comedy 

RATING PG 

ALL RISE 

THE JUDGE 

OCT 10 n Director David Dobkin (Wedding 

Crashers) is known for raucous comedies but 

this month goes all prestige with this drama 

about an attorney who defends his ornery 

father, the judge of the title, on a charge of 

murder. This legal/family drama, featuring two 

powerhouse actors at the top of their game, 

was reasonably well received at the Toronto 

International Film Festival. Billy Bob Thornton 

appears as the sly and seasoned prosecutor. 

DISTRIBUTOR Warner Bros. CAST Robert 

Downey Jr., Robert Duvall, Vera Farmiga, 

Vincent D’Onofrio WRITER Nick Schenk, Bill 

Dubuque DIRECTOR David Dobkin GENRE Drama 

RATING R 


CHILDREN OF THE NIGHT 

DRACULA UNTOLD 

OCT 10 n Count Dracula, Bram Stoker’s 

1897 creation, is the second most-filmed 

character since cameras began to turn (the 

resident of 221B Baker Street being No. 1). 

So what could possibly be untold is a bit of a 

mystery. The Hobbit’s Luke Evans (replacing 

previously announced Sam Worthington) 

straps on the fangs in this go-around as real-life 

15th-century ruler Vlad III, Prince of Wallachia 

(later dubbed the Impaler by both friends and 

enemies). Mixing fact with fiction—we doubt 

Roman emperor Caligula was a vampire—the 

film purports to tell the story of Vlad’s transformation 

into the vampiric Dracula. Isle of Man 

actress Samantha Barks (Les Misérables) co-stars 

as Baba Yaga, a supernatural being drawn from 

Slavic folk tales. Commercial director Gary 

Shore chose rural Northern Ireland to stand 

in for Transylvania. Dracula Untold is the first 

Hollywood Dracula tale since Dracula 2000 in, 

well, 2000. 

DISTRIBUTOR Universal CAST Luke Evans, Sarah 

Gadon, William Houston, Dominic Cooper 

WRITERS Matt Sazama, Burk Sharpless DIREC- 

TOR Gary Shore GENRE Action | Drama | Fantasy 

| Horror | War RATING PG-13 

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NO ONE WILL EVER BELIEVE YOU 

ST. VINCENT 

OCT 10 n Professional party crasher and 

curmudgeon Bill Murray returns to Lost in 

Translation form as St. Vincent de Van Nuys, a 

drunken, misanthropic war vet who’s finagled 

into watching his new single-mom neighbor’s 

12-year-old kid. Murray’s de Van Nuys 

takes the boy to the track and strip clubs and 

introduces him to his sometime gal pal (Naomi 

Watts), a Russian hooker. Murray’s performance 

has been lauded by critics, and awards 

consideration appears to be likely. 

DISTRIBUTOR The Weinstein Company CAST Bill 

Murray, Melissa McCarthy, Chris O’Dowd, Scott 

Adsit, Naomi Watts WRITER/DIRECTOR Theodore 

Melfi GENRE Comedy RATING PG-13 

BOOM GOES THE DYNAMITE 

FURY 

OCT 17 n Inglourious Basterds’ Brad Pitt is 

back behind German lines in Fury, a men-ona-mission 

tale of a tank commander and his 

war-weary crew in the last month of World 

War Two. Pitt’s character, Wardaddy, faces a 

nightmarish decision. With their tank disabled 

but operational, do they stand and fight the 

advancing German army or abandon the killing 

machine with hopes of finding safety? The film 

was shot in the United Kingdom and Fury, as 

the Tiger tank is called, is the only working 

tank from the era in existence. 

DISTRIBUTOR Sony/Columbia CAST Brad Pitt, 

Shia LaBeouf, Logan Lerman, Michael Peña 

WRITER/DIRECTOR David Ayer GENRE Action | 

Drama | War RATING R 

CANDID CAMERA 

NIGHTCRAWLER 

OCT 17 n This thriller’s trailer shows an 

almost emaciated Jake Gyllenhaal as a wannabe 

paparazzo who ambulance-chases around Los 

Angeles looking for grisly crime scenes that he 

can capture on video and sell to news outlets. 

Not satisfied with simply recording events as 

they unfold, Gyllenhaal’s Lou Bloom begins to 

stage-manage crime scenes for better footage. 

Rene Russo (spouse of the film’s director) 

co-stars as a news producer who motivates 

Bloom to gather gratuitous images of death and 

destruction. 

DISTRIBUTOR Open Road Films CAST Jake 

Gyllenhaal, Rene Russo, Riz Ahmed, Bill Paxton 

WRITER/DIRECTOR Dan Gilroy GENRE Crime | 

Drama | Thriller RATING R 


MÉXICO LINDO Y QUERIDO 

THE BOOK OF LIFE 

OCT 17 n The Day of the Dead holiday 

serves as the backdrop for this sumptuously 

designed fable. With Guillermo del Toro as 

a creative producer, award-winning Mexican 

director Jorge Gutierrez enlisted Reel 

FX Creative Studios (Free Birds) to animate 

the story of Manolo (voiced by Y tu mamá 

también’s Diego Luna), a young man who is 

torn between fulfilling the expectations of his 

family and following his heart. In love with the 

beautiful Maria, yet having to compete with 

the affections of the charming Joaquin, Manolo 

inspires the spirits La Muerte and Xibalba to 

bet on who will win Maria. Afraid to lose the 

bet after Maria falls for Manolo, Xibalba sends 

a snake to kill Manolo, hoping his death will 

result in Joaquin becoming Maria’s lover. In order 

to return to the human world and to Maria, 

Manolo embarks on an incredible journey that 

spans three fantastical worlds, where he must 

face his greatest fears armed with only his wits, 

his guitar, and his two swords. 

DISTRIBUTOR Fox CAST Diego Luna, Zoe 

Saldana, Channing Tatum WRITERS Jorge 

Gutierrez, Doug Langdale DIRECTOR Jorge Gutierrez 

GENRE Animation | Adventure | Comedy | 

Family | Fantasy | Romance RATING PG 

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“TWO HOUSEHOLDS …” 

THE BEST OF ME 

OCT 17 n This is the ninth adaptation of a 

Nicholas Sparks novel with the tenth coming 

in 2015. Originally slated to star the late Paul 

Walker, the film now stars James Marsden 

(X-Men: Days of Future Past) in this romantic 

story of love both lost and regained. Like 

Sparks’s The Notebook, The Best of Me features 

both younger and older actors sharing roles. 

DISTRIBUTOR Relativity Media CAST James 

Marsden, Michelle Monaghan WRITERS Will 

Fetters, J. Mills Goodloe, Michael Hoffman 

DIRECTOR Michael Hoffman GENRE Drama | 

Romance RATING TBD 

A HASBRO HALLOWEEN 

OUIJA 

OCT 17 n Originally set to be a big-budget 

Pirates of the Caribbean–like extravaganza with 

big-name personnel in front of and behind the 

camera, Ouija is now a more modestly budgeted 

frightener with a gaggle of new faces as 

stars, and former production coordinator Stiles 

White at the helm for the first time. The story: 

“After a friend is brutally killed in an accident, 

a group of close teenage friends must confront 

their most disturbing fears when they awaken 

the dark powers of an ancient spirit board by 

attempting to contact their friend. They soon 

realize that the Ouija board is not just a game; 

it’s real life.” 

DISTRIBUTOR Universal CAST Daren Kagasoff, 

Ana Coto, Bianca A. Santos, Erin Moriarty 

WRITERS Juliet Snowden, Stiles White DIRECTOR 

Stiles White GENRE Horror RATING PG-13 

MEMENTO REDUX? 

BEFORE I GO TO SLEEP 

OCT 17 n S.J. Watson took a course called 

Writing a Novel. His first attempt, Before I Go 

to Sleep, was published in 2011. Ridley Scott 

optioned it and tapped the son of Oscar-nominated 

director Roland Joffé (The Killing Fields) 

to helm it. Nicole Kidman plays a woman 

who is unable to build new memories due to 

an auto accident several years earlier. To help 

reconstruct her life, she begins a journal and 

soon discovers that all she has come to believe 

about herself and those in her orbit may not be 

the truth. 

DISTRIBUTOR Clarius Entertainment CAST Nicole 

Kidman, Mark Strong, Colin Firth WRITER/DI- 

RECTOR Rowan Joffé GENRE Mystery | Thriller 

RATING R 


MIND GAMES 

HORNS 

OCT 17 n At some point we’ll need to stop 

calling him Harry Potter, and now is as good a 

time as any. All grown up—he’s 25!—Londoner 

Daniel Radcliffe has been naked on Broadway 

(Equus), has danced on Broadway (How to 

Succeed in Business without Really Trying), and 

played Jewish New Jerseyite Allen Ginsberg. 

Now he’s sporting horns. Here, Radcliffe stars 

as Ignatius “Ig” Perrish, a man who awakes 

with two small bumps on his forehead after 

a night of carousing. As time goes by, the 

bumps become horns, and he discovers he has 

the ability to elicit the darkest secrets of those 

around him. Accused of the rape and murder of 

his girlfriend, Perrish uses his newfound powers 

to find the real killer. Joe Hill, who wrote the 

novel the film is based on, praised Radcliffe’s 

performance, calling it a “wrenching, vulnerable, 

emotionally naked performance that isn’t 

like anything he’s ever done on screen before. 

He is such a wonderful Ig Perrish.” Harry 

Potter no more! 

DISTRIBUTOR Dimension Films CAST Daniel Radcliffe, 

Juno Temple, James Remar, Kelli Garner, 

Heather Graham WRITER Keith Bunin DIRECTOR 

Alexandre Aja GENRE Drama | Fantasy | Horror | 

Thriller RATING R 

Fresh from the 

BoxOffice Magazine Vault 

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on Tumblr 

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The Classic Ads 

The Classic Reviews 

Exhibition News 

from 1920 to today 

The stories behind 

the stories 

Updated three 

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@bxclassics 

visit BoxOffice Classics at boxofficeclassics.tumblr.com 


COMING IN OCTOBER > LIMITED RELEASES 

LA CHAMBRIE BLEUE 

BLUE ROOM 

OCT 3 n From the Cannes Film Festival program: “A 

man and a woman, secretly in love, alone in a room. They 

desire each other, want each other, and even bite each other. 

In the afterglow, they share a few sweet nothings. At least 

the man seemed to believe they were nothing. Now under 

investigation by the police and the courts, what is he accused 

of?” Writer/director/star Mathieu Amalric will be familiar to 

American audiences as the villain in Quantum of Solace. 

DISTRIBUTOR Alfama Films CAST Mathieu Amalric, Léa Drucker, 

Stéphanie Cléau WRITERS Mathieu Amalric, Stéphanie 

Cléau DIRECTOR Mathieu Amalric GENRE Crime | Thriller 

RATING TBD 

PRIMARY COLORS 

THE HERO OF COLOR CITY 

OCT 3 n The film’s site describes this 

animated fantasy: “Each night, when Ben falls 

asleep, his crayons jump into their magical 

crayon box that transports them to their 

home in Color City, a world of dazzling hues, 

soaring fantasy, and the whimsy of childhood. 

This land is fed by an enchanted rainbow and 

waterfall that provides the city and its citizens 

with color.” 

DISTRIBUTOR Magnolia Pictures CAST Christina 

Ricci, Rosie Perez, Sean Astin, Craig Ferguson 

WRITERS Jess Kedward, J.P. McCormick, Kirsty 

Peart, Rich Raczelowski, Evan Spiliotopoulos 

DIRECTOR Frank Gladstone GENRE Animation 

RATING G 

THE WRITE STUFF 

KILL THE 

MESSENGER 

OCT 10 n Double Oscar-nominee 

Jeremy Renner (The Hurt 

Locker, The Town) stars in this 

fact-based drama about investigative 

journalist Gary Webb, who 

wrote about what he believed to 

be a “dark alliance” between the 

CIA and the Los Angeles drug 

trade. He posited that the government 

let slide the apprehension 

and prosecution of certain drug 

lords so the money that went 

back to Nicaragua would help 

finance the Contras, whom the 

U.S. government could not legally 

finance due to the passage of the 

Boland Amendment. Webb was 

a controversial figure even within 

the reporting field. Webb died in 

2004 from two gunshots in the 

back of the head. It was ruled a 

suicide. 

DISTRIBUTOR Focus Features 

CAST Jeremy Renner, Ray Liotta 

WRITER Peter Landesman DIREC- 

TOR Michael Cuesta GENRE Biography 

| Crime | Drama | Mystery | 

Thriller RATING R 


NESSUN DORMA 

ONE CHANCE 

OCT 10 n Carphone Warehouse employee Paul Potts auditioned 

for the television show Britain’s Got Talent. To date, the YouTube 

video of that audition boasts 127,266,186 views. This film is 

the rags-to-riches story of that shy, fledgling opera singer with a 

winning performance by Tony winner—and soon to be host of 

CBS’s The Late, Late Show—James Corden. It’s no mystery that 

Potts won the pre-Susan Boyle competition, and it’s no surprise 

that Simon Cowell, a judge on the show, is the producer of this 

biopic. 

DISTRIBUTOR The Weinstein Company CAST James Corden, Julie 

Walters, Colm Meaney WRITER Justin Zackham DIRECTOR David 

Frankel GENRE Biography | Musical RATING PG-13 

SIMMONS SHINES 

WHIPLASH 

OCT 10 n Oscar buzz has surrounded this 

indie ever since it was unveiled at Sundance 

earlier this year. The focus of that attention 

is character actor and Farmers Insurance 

spokesman J.K. Simmons. Simmons portrays 

a ruthless bandmaster and taskmaster who 

bleats, boasts, and badgers young Miles Teller 

as a would-be jazz drummer. As for Simmons—think 

R. Lee Ermey in full Full Metal 

Jacket fury. Farmers may not be able to afford 

Simmons come Oscar time. 

DISTRIBUTOR Sony Pictures Classics CAST Miles 

Teller, J.K. Simmons, Melissa Benoist, Paul Reiser, 

Austin Stowell WRITER/DIRECTOR Damien 

Chazelle GENRE Drama | Music RATING R 

LOOK, UP IN THE SKY … 

BIRDMAN 

OCT 17 n To some, Michael 

Keaton will always be Batman. 

But for moviegoers in this critically 

acclaimed film, washed-up 

actor Riggan Thomson (Keaton) 

will always be Birdman, a 

superhero Thomson once played 

in a trilogy of movies. Thomson, 

desperate for a career resuscitation, 

decides to stage a Broadway 

play. Birdman’s cinematographer, 

Emmanuel Lubezki (Gravity), 

achieves a technical tour de 

force, expanding his bag of 

tricks by lensing the film in one 

seemingly continuous take. A 

neat trick when one considers 

the film flashes back in time, has 

inside and outside locations, and 

several fantasy sequences. 

DISTRIBUTOR Fox Searchlight Pictures 

CAST Michael Keaton, Zach 

alifianakis, dward orton, Amy 

Ryan, Emma Stone, Naomi Watts 

WRITERS Alejandro G. Iñárritu, 

Nicolás Giacobone, Alexander 

Dinelaris Jr., Armando Bo DIREC- 

TOR Alejandro G. Iñárritu GENRE 

Comedy | Drama RATING R 


COMING IN OCTOBER > LIMITED RELEASES 

TEN-HUT 

CAMP X-RAY 

OCT 17 n Kristen Stewart 

trades in her Snow White and the 

Huntsman armor for camo to 

play a young Army private sent 

to the Camp X-Ray temporary 

detention camp at Guantanamo 

Bay, Cuba. New York–born Iranian 

actor Peyman Moaadi plays 

a detainee. The relationship 

between Stewart and Moaadi 

is reminiscent of that between 

Jodie Foster and Anthony 

Hopkins in Silence of the Lambs. 

Though there is nary a fava bean 

in sight, Stewart’s character does 

refer to the detainee as Lecter, 

making the comparison even 

more striking. (Recall Stewart 

even played Foster’s daughter in 

Panic Room.) The performances 

have been given the thumbs-up 

by critics who have seen it and 

currently holds a Fresh rating at 

Rottentomatoes.com. 

DISTRIBUTOR IFC Films CAST 

Kristen Stewart, Peyman Moaadi, 

John Carroll Lynch WRITER/ 

DIRECTOR Peter Sattler GENRE 

Drama RATING R 

TO COOL FOR SCHOOL 

DEAR WHITE PEOPLE 

OCT 17 n This satire about black students at an Ivy League college 

won the 2014 Sundance Film Festival’s Special Jury Award for Breakthrough 

Talent. It is described by its makers as “a sly, provocative satire 

of race relations in the age of Obama.” The New York Times critic 

A.O. Scott wrote, “Seeming to draw equal measures of inspiration 

from Whit Stillman and Spike Lee, but with his own tart, elegant sensibility 

very much in control, [director Justin] Simien evokes familiar 

campus stereotypes only to smash them and rearrange the pieces.” The 

director raised some of the production costs via source funding site Indiegogo. 

crowd- 

DISTRIBUTOR Lionsgate/Roadside Attractions CAST 

Tyler James Williams, Tessa Thompson, Teyonah 

Parris, Brandon P Bell WRITER/DIRECTOR Justin 

Simien GENRE Comedy | Drama RATING TBD 

GIRLS JUST WANT TO HAVE FUN 

LAGGIES 

OCT 24 n From the Sundance program: “Content to 

remain in a permanent adolescence, 28-year-old Megan 

clings to her job as a sign flipper for her father’s accounting 

company as her high school friends get married and 

advance their careers. When her high school boyfriend 

proposes unexpectedly, Megan panics and forgoes 

attending a professional-development retreat to hide, at 

least temporarily, at the home of her new 16-year-old 

friend, Annika, and her attractive, single dad.” 

DISTRIBUTOR A24 Films CAST Keira Knightley, Chloë 

Grace Moretz, Sam Rockwell WRITER Andrea Seigel 

DIRECTOR Lynn Shelton GENRE Comedy | Romance 

RATING R 


BOOKING 

GUIDE 

Compiled by Daniel Garris 

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS 

DISNEY 818-560-1000 / ASK FOR DISTRIBUTION 

ALEXANDER & THE 

TERRIBLE, HORRIBLE, 

NO GOOD, VERY BAD 

DAY 

FRI, 10/10/14 WIDE STEVE CARELL, ED OXENBOULD MIGUEL ARTETA PG COM/FAM DOLBY DIG 

BIG HERO 6 FRI, 11/7/14 WIDE RYAN POTTER, SCOTT ADSIT 

DON HALL, CHRIS 

WILLIAMS 

NR ANI/ADV/COM 3D/DOLBY DIG 

INTO THE WOODS THU, 12/25/14 WIDE MERYL STREEP, EMILY BLUNT ROB MARSHALL PG MUS/FAN DOLBY DIG 

MCFARLAND, USA FRI, 2/20/15 WIDE KEVIN COSTNER, MARIA BELLO NIKI CARO PG DRA/SPORT DOLBY DIG 

CINDERELLA FRI, 3/13/15 WIDE LILY JAMES, RICHARD MADDEN KENNETH BRANAGH PG ADV/DRA/FAN DOLBY DIG 

MONKEY KINGDOM 

AVENGERS: 

AGE OF ULTRON 

TOMORROWLAND 

FRI, 4/17/15 WIDE 

FRI, 5/1/15 WIDE 

FRI, 5/22/15 WIDE 

ROBERT DOWNEY JR., CHRIS 

EVANS 

GEORGE CLOONEY, BRITT 

ROBERTSON 

ALASTAIR 

FOTHERGILL, MARK 

LINFIELD 

NR 

DOC 

JOSS WHEDON NR ACT/ADV 

3D/IMAX/ 

DOLBY ATMOS 

BRAD BIRD NR SF/ADV IMAX 

INSIDE OUT FRI, 6/19/15 WIDE AMY POEHLER, LEWIS BLACK PETE DOCTER NR ANI/COM/FAM 3D 

ANT-MAN FRI, 7/17/15 WIDE PAUL RUDD, MICHAEL DOUGLAS PEYTON REED NR ACT/ADV DOLBY DIG 

THE JUNGLE BOOK FRI, 10/9/15 WIDE NEEL SETHI, BILL MURRAY JON FAVREAU NR ADV 

UNTITLED COLD WAR 

SPY THRILLER 

FRI, 10/16/15 WIDE TOM HANKS, AMY RYAN STEVEN SPIELBERG NR DRA/THR 

THE GOOD DINOSAUR WED, 11/25/15 WIDE LUCAS NEFF, JOHN LITHGOW PETER SOHN NR ANI/COM/FAM 3D 

STAR WARS: 

EPISODE VII 

UNTITLED DISNEY 

ANIMATION FILM 

CAPTAIN AMERICA 3 

FOCUS FEATURES 424-214-6360 

KILL THE MESSENGER 

THE THEORY OF 

EVERYTHING 

FRI, 12/18/15 WIDE HARRISON FORD, MARK HAMILL J.J. ABRAMS NR ACT/ADV/SF 3D/IMAX 

FRI, 3/4/16 WIDE NR ANI 3D 


FRI, 10/10/14 LTD. 

FRI, 11/7/14 LTD. 

JEREMY RENNER, ROSEMARIE 

DEWITT 

EDDIE REDMAYNE, FELICITY 

JONES 

ANTHONY RUSSO, 

JOE RUSSO 

NR 

ACT/ADV 

MICHAEL CUESTA R CRI/DRA/THR DOLBY DIG 

JAMES MARSH PG-13 DRA 

BLACK SEA FRI, 1/23/15 LTD. JUDE LAW, SCOOT MCNAIRY KEVIN MACDONALD NR ADV/THR 

SELFLESS 

INSIDIOUS CHAPTER 3 

SINISTER 2 

LONDON HAS FALLEN 

FRI, 4/17/15 WIDE 

FRI, 5/29/15 WIDE 

FRI, 8/21/15 WIDE 

FRI, 10/2/15 WIDE 

RYAN REYNOLDS, NATALIE 

MARTINEZ 

DERMOT MULRONEY, STEFANIE 

SCOTT 

SHANNYN SOSSAMON, JAMES 

RANSONE 

GERARD BUTLER, AARON 

ECKHART 

TARSEM SINGH NR SF/THR 

LEIGH WHANNELL NR HOR/THR 

CIARAN FOY NR HOR/THR 

FREDRIK BOND NR ACT/THR 

THE FOREST FRI, 1/8/16 WIDE JASON ZADA NR HOR/THR 

CHRIST THE LORD FRI, 3/23/16 WIDE CYRUS NOWRASTEH NR DRA 

FOX 310-369-1000 / 212-556-2400 

GONE GIRL FRI, 10/3/14 WIDE BEN AFFLECK, ROSAMUND PIKE DAVID FINCHER R DRA/THR DOLBY DIG 

THE BOOK OF LIFE FRI, 10/17/14 WIDE DIEGO LUNA, ZOE SALDANA JORGE R. GUTIERREZ PG ANI/ADV/COM 3D/DOLBY DIG 

PENGUINS OF 

MADAGASCAR 

WED, 11/26/14 WIDE 

TOM MCGRATH, CHRIS MILLER 

SIMON J. SMITH, 

ERIC DARNELL 

NR ANI/COM/FAM 3D 

THE PYRAMID FRI, 12/5/14 WIDE ASHLEY HINSHAW, DENIS O’HARE 

GRÉGORY 

LEVASSEUR 

R 

HOR/THR 



EXODUS: 

GODS AND KINGS 

NIGHT AT THE MUSEUM: 

SECRET OF THE TOMB 

FRI, 12/12/14 WIDE CHRISTIAN BALE, JOEL EDGERTON RIDLEY SCOTT NR ACT/DRA 3D/DOLBY DIG 

FRI, 12/19/14 WIDE BEN STILLER, ROBIN WILLIAMS SHAWN LEVY NR ADV/COM/FAM 

TAKEN 3 FRI, 1/9/15 WIDE LIAM NEESON, MAGGIE GRACE OLIVIER MEGATON NR ACT/THR 

KINGSMEN: 

THE SECRET SERVICE 

HITMAN: AGENT 47 

UNTITLED VINCE 

VAUGHN MOVIE 

FRI, 2/13/15 WIDE COLIN FIRTH, TARON EGERTON MATTHEW VAUGHN NR ACT/THR DOLBY DIG 

FRI, 2/27/15 WIDE 

RUPERT FRIEND, ZACHARY 

QUINTO 

ALEKSANDER BACH NR ACT/THR 

FRI, 3/6/15 WIDE VINCE VAUGHN, TOM WILKINSON KEN SCOTT NR COM 

HOME FRI, 3/27/15 WIDE JIM PARSONS, RIHANNA TIM JOHNSON NR ANI/ADV/SF 3D/DOLBY DIG 

THE LONGEST RIDE 

SPY 

B.O.O.: BUREAU OF 

OTHERWORLDLY 

OPERATIONS 

FRI, 4/10/15 WIDE 

FRI, 5/22/15 WIDE 


BRITT ROBERTSON, SCOTT 

EASTWOOD 

MELISSA MCCARTHY, JASON 

STATHAM 

SETH ROGEN, MELISSA 

MCCARTHY 

GEORGE TILLMAN 

JR. 

NR 

DRA/ROM 

PAUL FEIG NR ACT/COM 

ANTHONY LEONDIS NR ANI/COM/FAM 3D 

PAPER TOWNS FRI, 6/19/15 WIDE NAT WOLFF NR DRA 

POLTERGEIST 

FRI, 7/24/15 WIDE 

SAM ROCKWELL, ROSEMARIE 

DEWITT 

GIL KENAN NR HOR/THR 3D 

THE FANTASTIC FOUR FRI, 8/7/15 WIDE MILES TELLER, KATE MARA JOSH TRANK NR ACT/ADV 3D 

FRANKENSTEIN 

FRI, 10/2/15 WIDE 

JAMES MCAVOY, DANIEL 

RADCLIFFE 

PAUL MCGUIGAN NR HOR/SF 

PEANUTS FRI, 11/6/15 WIDE STEVE MARTINO NR ANI/COM/FAM 3D/DOLBY DIG 

THE MARTIAN WED, 11/25/15 WIDE MATT DAMON RIDLEY SCOTT NR SF/DRA 

KUNG FU PANDA 3 WED, 12/23/15 WIDE JACK BLACK, ANGELINA JOLIE JENNIFER YUH NR ANI/COM/FAM 3D 

JOY FRI, 12/25/15 WIDE JENNIFER LAWRENCE DAVID O. RUSSELL NR DRA 

THE REVENANT 

PEREGRINE’S HOME FOR 

PECULIARS 

FRI, 12/25/15 LTD. 

LEONARDO DICAPRIO, TOM 

HARDY 

ALEJANDRO G. 

IÑÁRRITU 

NR 

ADV/DRA 

FRI, 3/4/16 WIDE TIM BURTON NR FAN 

BOSS BABY FRI, 3/18/16 WIDE TOM MCGRATH NR ANI/COM 3D 

FOX SEARCHLIGHT 212-556-2400 

BIRDMAN 

WILD 

THE SECOND 

BEST EXOTIC MARIGOLD 

HOTEL 

FAR FROM THE 

MADDING CROWD 

LIONSGATE 310-309-8400 

FRI, 10/17/14 LTD. 

FRI, 12/5/14 LTD. 

MICHAEL KEATON, ZACH 

GALIFIANAKIS 

REESE WITHERSPOON, GABY 

HOFFMANN 

ALEJANDRO G. 

IÑÁRRITU 

R COM/DRA DOLBY DIG 

JEAN-MARC VALLÉE R DRA DOLBY DIG 

FRI, 3/6/15 LTD. JUDI DENCH, MAGGIE SMITH JOHN MADDEN PG COM 

FRI, 5/1/15 LTD. 

CAREY MULLIGAN, MATTHIAS 

SCHOENAERTS 

THOMAS 

VINTERBERG 

PG-13 

DRA/ROM 

ADDICTED FRI, 10/10/14 WIDE SHARON LEAL, BORIS KODJOE BILLE WOODRUFF R DRA 

EXISTS 

JOHN WICK 

FRI, 10/24/14 LTD. 

FRI, 10/24/14 WIDE 

DORA MADISON BURGE, SAMUEL 

DAVIS 

KEANU REEVES, MICHAEL 

NYQVIST 

EDUARDO SÁNCHEZ R HOR 

DAVID LEITCH, 

CHAD STAHELSKI 

NR 

ACT/THR 

SAW FRI, 10/31/14 WIDE CARY ELWES, DANNY GLOVER JAMES WAN R HOR/THR QUAD 

JESSABELLE FRI, 11/7/14 LTD. SARAH SNOOK, MARK WEBBER KEVIN GREUTERT PG-13 HOR/THR 

THE HUNGER GAMES: 

MOCKINGJAY - PART 1 

FRI, 11/21/14 WIDE 

JENNIFER LAWRENCE, JOSH 

HUTCHERSON 

FRANCIS LAWRENCE PG-13 ACT/ADV/SF 

SPARE PARTS FRI, 1/16/15 MOD. GEORGE LOPEZ, CARLOS PENA SEAN MCNAMARA PG-13 DRA/FAM 


BOOKING GUIDE 


THE AGE OF ADALINE FRI, 1/23/15 WIDE BLAKE LIVELY, HARRISON FORD 

LEE TOLAND 

KRIEGER 

NR 

DRA/ROM 

LAZARUS FRI, 1/30/15 WIDE OLIVIA WILDE, MARK DUPLASS DAVID GELB PG-13 HOR/THR 

MORTDECAI 

THE DIVERGENT SERIES: 

INSURGENT 


FRI, 3/20/15 WIDE 

JOHNNY DEPP, GWYNETH 

PALTROW 

SHAILENE WOODLEY, THEO JAMES 

DAVID KOEPP NR ACT/COM 

ROBERT 

SCHWENTKE 

NR ACT/ADV/SF DOLBY DIG 

CHILD 44 FRI, 4/17/15 WIDE TOM HARDY, NOOMI RAPACE DANIEL ESPINOSA NR DRA/THR 

THE HUNGER GAMES: 

MOCKINGJAY - PART 2 

GODS OF EGYPT 

FRI, 11/20/15 WIDE 

FRI, 2/12/16 WIDE 

JENNIFER LAWRENCE, JOSH 

HUTCHERSON 

GERARD BUTLER, GEOFFREY 

RUSH 

FRANCIS LAWRENCE NR ACT/ADV/SF 

ALEX PROYAS NR ACT/ADV 

THE DIVERGENT SERIES: 

ALLEGIANT - PART 1 

FRI, 3/18/16 WIDE SHAILENE WOODLEY, THEO JAMES NR ACT/ADV/SF 

OPEN ROAD FILMS 310-696-7504 

NIGHTCRAWLER FRI, 10/31/14 WIDE JAKE GYLLENHAAL, RENE RUSSO DAN GILROY R CRI/DRA/THR DOLBY DIG 

ROSEWATER 

FRI, 11/7/14 LTD. 

GAEL GARCÍA BERNAL, KIM 

BODNIA 

JON STEWART NR DRA 

THE GUNMAN FRI, 2/20/15 WIDE SEAN PENN, JAVIER BARDEM PIERRE MOREL NR ACT/CRI/THR 

LITTLE BOY FRI, 2/27/15 WIDE KEVIN JAMES, JAKOB SALVATI 

ALEJANDRO 

MONTEVERDE 

NR 

DRA/FAM 

ROCK THE KASBAH FRI, 4/24/15 WIDE BILL MURRAY, BRUCE WILLIS BARRY LEVINSON NR COM 

TRIPLE NINE 

FRI, 9/11/15 WIDE 

CHIWETEL EJIOFOR, CASEY 

AFFLECK 

JOHN HILLCOAT NR CRI/THR 

THE NUT JOB 2 FRI, 1/15/16 WIDE NR ANI/COM/FAM 

PARAMOUNT 323-956-5000 

MEN, WOMEN & 

CHILDREN 

INTERSTELLAR 

HOT TUB TIME MACHINE 

2 

WED, 10/1/14 LTD. 

FRI, 11/7/14 WIDE 

ADAM SANDLER, ROSEMARIE 

DEWITT 

MATTHEW MCCONAUGHEY, ANNE 

HATHAWAY 

JASON REITMAN R COM/DRA DOLBY DIG 

CHRISTOPHER 

NOLAN 

NR 

SF/ADV 

THU, 12/25/14 WIDE ROB CORDDRY, CRAIG ROBINSON STEVE PINK R COM 

IMAX/DOLBY 

ATMOS 

SELMA 

THU, 12/25/14 LTD. 

DAVID OYELOWO, TOM 

WILKINSON 

AVA DUVERNAY NR DRA 

PROJECT ALMANAC 

FRI, 1/30/15 WIDE 

JONNY WESTON, SOFIA BLACK- 

D’ELIA 

DEAN ISRAELITE NR SF/THR 

THE SPONGEBOB 

MOVIE: SPONGE OUT OF 

WATER 

FRI, 2/6/15 WIDE TOM KENNY, BILL FAGERBAKKE PAUL TIBBITT NR ANI/COM/FAM 3D/QUAD 

SCOUTS VS. ZOMBIES FRI, 2/20/15 WIDE TYE SHERIDAN, LOGAN MILLER 

THE MOON AND THE 

SUN 

FRI, 4/10/15 WIDE 

PIERCE BROSNAN, KAYA 

SCODELARIO 

CHRISTOPHER 

LANDON 

NR 

COM/HOR 

SEAN MCNAMARA NR ACT/ADV/FAN 

MONSTER TRUCKS FRI, 5/29/15 WIDE JANE LEVY, LUCAS TILL CHRIS WEDGE NR ANI/ADV/FAM 

TERMINATOR GENISYS 

WED, 7/1/15 WIDE 

ARNOLD SCHWARZENEGGER, 

EMILIA CLARKE 

ALAN TAYLOR NR ACT/SF 

FRIDAY THE 13TH FRI, 11/13/15 WIDE NR HOR 

MISSION: 

IMPOSSIBLE 5 

BEN-HUR 

FRI, 12/25/15 WIDE 

FRI, 2/26/16 WIDE 

TOM CRUISE, JEREMY RENNER 

CHRISTOPHER 

MCQUARRIE 

TIMUR 

BEKMAMBETOV 

NR 

ACT/THR 

BEVERLY HILLS COP FRI, 3/25/16 WIDE EDDIE MURPHY BRETT RATNER NR ACT/COM 

RELATIVITY 310-724-7700 / ASK FOR DISTRIBUTION 

NR 

DRA 

THE BEST OF ME 

FRI, 10/17/14 WIDE 

MICHELLE MONAGHAN, JAMES 

MARSDEN 

MICHAEL HOFFMAN NR DRA/ROM DOLBY DIG 



BEYOND THE LIGHTS 

JANE GOT A GUN 

FRI, 11/14/14 WIDE 

FRI, 2/20/15 WIDE 

GUGU MBATHA-RAW, NATE 

PARKER 

NATALIE PORTMAN, EWAN 

MCGREGOR 

GINA PRINCE- 

BYTHEWOOD 

PG-13 DRA DOLBY DIG 

GAVIN O’CONNOR NR WES/ACT 

DESERT DANCER FRI, 3/20/15 LTD. FREIDA PINTO, REECE RITCHIE RICHARD RAYMOND NR DRA 

UNTITLED ARMORED 

CAR PROJECT 

SONY 212-833-8500 

FRI, 8/14/15 WIDE 

ZACH GALIFIANAKIS, OWEN 

WILSON 

JARED HESS NR COM/CRI 

FURY FRI, 10/17/14 WIDE BRAD PITT, SHIA LABEOUF DAVID AYER R ACT/DRA/WAR QUAD 

ANNIE 

FRI, 12/19/14 WIDE 

JAMIE FOXX, QUVENZHANÉ 

WALLIS 

THE INTERVIEW THU, 12/25/14 WIDE SETH ROGEN, JAMES FRANCO 

KITCHEN SINK 


NICHOLAS BRAUN, MACKENZIE 

DAVIS 

WILL GLUCK PG MUS/FAM QUAD 

EVAN GOLDBERG, 

SETH ROGEN 

NR ACT/COM QUAD 

ROBBIE PICKERING NR COM/HOR 

THE WEDDING RINGER FRI, 1/16/15 WIDE KEVIN HART, JOSH GAD JEREMY GARELICK NR COM QUAD 

CHAPPIE 

PAUL BLART: 

MALL COP 2 

UNTITLED CAMERON 

CROWE PROJECT 


HUGH JACKMAN, SHARLTO 

COPLEY 

NEILL BLOMKAMP NR SF/ACT/COM 

FRI, 4/17/15 WIDE KEVIN JAMES, RAINI RODRIGUEZ ANDY FICKMAN NR COM/FAM 

FRI, 5/29/15 WIDE BRADLEY COOPER, EMMA STONE CAMERON CROWE NR ROM/COM/DRA 

RICKI AND THE FLASH FRI, 6/26/15 WIDE MERYL STREEP, KEVIN KLINE JONATHAN DEMME NR COM/DRA 

PIXELS FRI, 7/24/15 WIDE ADAM SANDLER, KEVIN JAMES CHRIS COLUMBUS NR ANI/ACT/COM 3D/QUAD 

GRIMSBY 

FRI, 7/31/15 WIDE 

SACHA BARON COHEN, MARK 

STRONG 

LOUIS LETERRIER NR COM 

GOOSEBUMPS FRI, 8/7/15 WIDE JACK BLACK, DYLAN MINNETTE ROB LETTERMAN NR HOR 

HOTEL 

TRANSYLVANIA 2 

THE WALK 

FRI, 9/25/15 WIDE 

FRI, 10/2/15 WIDE 

ADAM SANDLER 

JOSEPH GORDON-LEVITT, BEN 

KINGSLEY 

GENNDY 

TARTAKOVSKY 


ROBERT ZEMECKIS NR DRA 3D/IMAX 

BOND 24 FRI, 11/6/15 WIDE DANIEL CRAIG SAM MENDES NR ACT/ADV/THR 

UNTITLED ROGEN / 

GORDON-LEVITT X-MAS 

MOVIE 

FRI, 12/11/15 WIDE 

SETH ROGEN, JOSEPH GORDON- 

LEVITT 

JONATHAN LEVINE NR COM 

INFERNO FRI, 12/18/15 WIDE TOM HANKS RON HOWARD NR THR 

SONY PICTURES CLASSICS TOM PRASSIS / 212-833-4981 

WHIPLASH 

FOXCATCHER 

MR. TURNER 

LEVIATHAN 

UNIVERSAL 818-777-1000 

FRI, 10/10/14 EXCL 

NY/LA 

FRI, 11/14/14 EXCL 

NY/LA 

FRI, 12/19/14 EXCL 

NY/LA 

WED, 12/31/14 EXCL 

NY/LA 

MILES TELLER, J.K. SIMMONS DAMIEN CHAZELLE R DRA QUAD 

STEVE CARELL, CHANNING TATUM BENNETT MILLER R DRA DOLBY DIG 

TIMOTHY SPALL, PAUL JESSON MIKE LEIGH R DRA DOLBY DIG 

ALEKSEY SEREBRYAKOV, ROMAN 

MADYANOV 

ANDREY 

ZVYAGINTSEV 

DRACULA UNTOLD FRI, 10/10/14 WIDE LUKE EVANS, DOMINIC COOPER GARY SHORE PG-13 ACT/HOR IMAX/QUAD 

OUIJA FRI, 10/24/14 WIDE OLIVIA COOKE, DOUGLAS SMITH STILES WHITE PG-13 SF/HOR/THR 

DUMB AND 

DUMBER TO 

UNBROKEN 

FRI, 11/14/14 WIDE 

THU, 12/25/14 WIDE 

JIM CARREY, JEFF DANIELS 

JACK O’CONNELL, DOMHNALL 

GLEESON 

BOBBY FARRELLY, 

PETER FARRELLY 

R 

DRA 

PG-13 COM QUAD 

ANGELINA JOLIE NR DRA/WAR QUAD 

BLACKHAT FRI, 1/16/15 WIDE CHRIS HEMSWORTH, VIOLA DAVIS MICHAEL MANN R CRI/THR 

THE BOY NEXT DOOR FRI, 1/23/15 WIDE JENNIFER LOPEZ, RYAN GUZMAN ROB COHEN R THR 

SEVENTH SON FRI, 2/6/15 WIDE JEFF BRIDGES, BEN BARNES SERGEY BODROV PG-13 ADV/FAN 3D/IMAX/QUAD 


BOOKING GUIDE 


FIFTY SHADES OF GREY 

FRI, 2/13/15 WIDE 

DAKOTA JOHNSON, JAMIE 

DORNAN 

SAM TAYLOR- 

JOHNSON 

NR DRA/ROM QUAD 

FAST & FURIOUS 7 FRI, 4/3/15 WIDE VIN DIESEL, DWAYNE JOHNSON JAMES WAN NR ACT/CRI IMAX 

PITCH PERFECT 2 FRI, 5/15/15 WIDE ANNA KENDRICK, REBEL WILSON ELIZABETH BANKS NR COM/MUS 

JURASSIC WORLD 

FRI, 6/12/15 WIDE 

CHRIS PRATT, BRYCE DALLAS 

HOWARD 

COLIN TREVORROW NR ACT/ADV/SF 3D/IMAX 

TED 2 

FRI, 6/26/15 WIDE 

MARK WAHLBERG, SETH 

MACFARLANE 

SETH MACFARLANE NR COM 

MINIONS FRI, 7/10/15 WIDE SANDRA BULLOCK, JON HAMM 

KYLE BALDA, PIERRE 

COFFIN 


TRAINWRECK FRI, 7/24/15 WIDE AMY SCHUMER, TILDA SWINTON JUDD APATOW NR COM 

STRAIGHT OUTTA 

COMPTON 

FRI, 8/14/15 WIDE 

O’SHEA JACKSON JR., COREY 

HAWKINS 

EVEREST FRI, 9/18/15 WIDE JASON CLARKE, JOSH BROLIN 

UNTITLED BLUMHOUSE 

HORROR FILM 1 

CRIMSON PEAK 

KRAMPUS 

F. GARY GRAY NR DRA 

BALTASAR 

KORMÁKUR 

FRI, 9/25/15 WIDE NR HOR 

FRI, 10/16/15 WIDE 

WED, 11/25/15 WIDE 

MIA WASIKOWSKA, TOM 

HIDDLESTON 

GUILLERMO DEL 

TORO 

MICHAEL 

DOUGHERTY 

NR ADV/DRA 3D/IMAX 

NR HOR IMAX 

NR 

COM/HOR 

THE NEST FRI, 12/18/15 WIDE TINA FEY, AMY POEHLER JASON MOORE NR COM 

UNTITLED BLUMHOUSE 

HORROR FILM 2 

FRI, 1/8/16 WIDE NR HOR 

RIDE ALONG 2 FRI, 1/15/16 WIDE KEVIN HART, ICE CUBE TIM STORY NR ACT/COM 

THE UNTITLED PETS 

PROJECT 

FRI, 2/12/16 WIDE 

LOUIS C.K., ERIC STONESTREET 

CHRIS RENAUD, 

YARROW CHENEY 


WARCRAFT FRI, 3/11/16 WIDE BEN FOSTER, TRAVIS FIMMEL DUNCAN JONES NR ACT/ADV/FAN 3D/IMAX 

CLIFFORD THE BIG RED 

DOG 

THE BEST MAN 

WEDDING 

THE HUNTSMAN 

WARNER BROS. 818-977-1850 

ANNABELLE 

THE GOOD LIE 

THE JUDGE 

HORRIBLE BOSSES 2 

FRI, 4/8/16 WIDE DAVID BOWERS NR ANI/COM/FAM 3D 

FRI, 4/15/16 WIDE TAYE DIGGS, NIA LONG MALCOLM D. LEE NR COM/DRA 

FRI, 4/22/16 WIDE 

FRI, 10/3/14 WIDE 

FRI, 10/3/14 LTD. 

FRI, 10/10/14 WIDE 

WED, 11/26/14 WIDE 

CHRIS HEMSWORTH, CHARLIZE 

THERON 

ANNABELLE WALLIS, WARD 

HORTON 

REESE WITHERSPOON, ARNOLD 

OCENG 

ROBERT DOWNEY JR., ROBERT 

DUVALL 

JASON BATEMAN, JASON 

SUDEIKIS 

INHERENT VICE FRI, 12/12/14 LTD. JOAQUIN PHOENIX, JOSH BROLIN 

THE HOBBIT: THE 

BATTLE OF THE FIVE 

ARMIES 

WED, 12/17/14 WIDE 

IAN MCKELLEN, MARTIN 

FREEMAN 

FRANK DARABONT NR ADV/FAN 

JOHN R. LEONETTI R HOR 

PHILIPPE 

FALARDEAU 

PG-13 DRA QUAD 

DAVID DOBKIN R COM/DRA QUAD 

SEAN ANDERS R COM QUAD 

PAUL THOMAS 

ANDERSON 

R CRI/COM/DRA QUAD 

PETER JACKSON NR ACT/ADV/FAN 

AMERICAN SNIPER THU, 12/25/14 LTD. BRADLEY COOPER, LUKE GRIMES CLINT EASTWOOD NR ACT/DRA 

MAX 

FRI, 1/30/15 WIDE 

JOSH WIGGINS, THOMAS HADEN 

CHURCH 

JUPITER ASCENDING FRI, 2/6/15 WIDE CHANNING TATUM, MILA KUNIS 

FOCUS FRI, 2/27/15 WIDE WILL SMITH, MARGOT ROBBIE 

BOAZ YAKIN NR ADV/FAM 

ANDY WACHOWSKI, 

LANA WACHOWSKI 

GLENN FICARRA, 

JOHN REQUA 

3D/IMAX/ 

DOLBY ATMOS 

NR ACT/ADV/SF 3D/IMAX/QUAD 

R 

ROM/COM/CRI 

HEART OF THE SEA 

FRI, 3/13/15 WIDE 

CHRIS HEMSWORTH, BENJAMIN 

WALKER 

RON HOWARD NR DRA 



GET HARD FRI, 3/27/15 WIDE WILL FERRELL, KEVIN HART ETAN COHEN NR COM 

HILLSONG - 

LET HOPE RISE 

WED, 4/1/15 LTD. 

RUN ALL NIGHT FRI, 4/17/15 WIDE LIAM NEESON, JOEL KINNAMAN 

UNTITLED REESE 

WITHERSPOON / SOFIA 

VERGARA COMEDY 


REESE WITHERSPOON, SOFÍA 

VERGARA 

MICHAEL JOHN 

WARREN 

JAUME COLLET- 

SERRA 

NR 

NR 

DOC 

ACT/CRI/THR 

ANNE FLETCHER NR ACT/COM 

MAD MAX: FURY ROAD FRI, 5/15/15 WIDE TOM HARDY, CHARLIZE THERON GEORGE MILLER NR ACT/ADV/SF 3D/QUAD 

SAN ANDREAS 

ENTOURAGE 


FRI, 6/12/15 WIDE 

DWAYNE JOHNSON, ALEXANDRA 

DADDARIO 

ADRIAN GRENIER, KEVIN 

CONNOLLY 

BRAD PEYTON NR ACT/THR 3D 

DOUG ELLIN NR COM 

MAGIC MIKE 2 WED, 7/1/15 WIDE CHANNING TATUM GREGORY JACOBS NR COM/DRA 

PAN FRI, 7/17/15 WIDE HUGH JACKMAN, LEVI MILLER JOE WRIGHT NR ADV/FAN/FAM 3D 

POINT BREAK FRI, 7/31/15 WIDE ÉDGAR RAMÍREZ, LUKE BRACEY ERICSON CORE NR ACT 

THE MAN FROM 

U.N.C.L.E. 

FRI, 8/14/15 WIDE HENRY CAVILL, ARMIE HAMMER GUY RITCHIE NR ACT/ADV/COM 

ME BEFORE YOU FRI, 8/21/15 WIDE NR ROM 

UNTITLED WHITEY 

BULGER FILM 

THE INTERN 

FRI, 9/18/15 WIDE 

FRI, 9/25/15 WIDE 

JOHNNY DEPP, BENEDICT 

CUMBERBATCH 

ANNE HATHAWAY, ROBERT DE 

NIRO 

SCOTT COOPER NR CRI/DRA 

NANCY MEYERS NR COM 

THE CONJURING 2 FRI, 10/23/15 WIDE VERA FARMIGA, PATRICK WILSON NR HOR/THR 

UNTITLED NEW LINE 

COMEDY 

MIDNIGHT SPECIAL 

UNTITLED NEW LINE 

HORROR FILM 

FRI, 11/13/15 WIDE NR COM 

WED, 11/25/15 WIDE 

FRI, 1/29/16 WIDE 

MICHAEL SHANNON, JOEL 

EDGERTON 

JEFF NICHOLS NR SF/THR 

HOW TO BE SINGLE FRI, 2/12/16 WIDE LILY COLLINS, ALISON BRIE CHRISTIAN DITTER NR ROM/COM 

BATMAN V SUPERMAN: 

DAWN OF JUSTICE 

WEINSTEIN CO./DIMENSION 646-862-3400 

ONE CHANCE 

ST. VINCENT 

THE IMITATION GAME 

FRI, 3/25/16 WIDE HENRY CAVILL, BEN AFFLECK ZACK SNYDER NR ACT/ADV 

FRI, 10/10/14 LTD. 

FRI, 10/10/14 EXCL 

NY/LA 

FRI, 11/21/14 LTD. 

JAMES CORDEN, ALEXANDRA 

ROACH 

NR 

DAVID FRANKEL PG-13 MUS/COM/DRA DOLBY DIG 

BILL MURRAY, NAOMI WATTS THEODORE MELFI PG-13 COM DOLBY DIG 

BENEDICT CUMBERBATCH, KEIRA 

KNIGHTLEY 

MORTEN TYLDUM PG-13 DRA DOLBY DIG 

BIG EYES THU, 12/25/14 MOD. AMY ADAMS, CHRISTOPH WALTZ TIM BURTON PG-13 DRA 

PADDINGTON 

THU, 12/25/14 WIDE 

BEN WHISHAW, HUGH 

BONNEVILLE 

UNDERDOGS FRI, 1/16/15 WIDE RUPERT GRINT, ANTHONY HEAD 

THE COUP FRI, 3/6/15 WIDE OWEN WILSON, PIERCE BROSNAN 

REGRESSION FRI, 8/28/15 WIDE ETHAN HAWKE, EMMA WATSON 

PAUL KING NR ANI/COM/FAM 

JUAN JOSÉ 

CAMPANELLA 

JOHN ERICK 

DOWDLE 

ALEJANDRO 

AMENÁBAR 

NR ANI/COM/FAM DOLBY DIG 

NR 

NR 

ACT/THR 

THR 

PLUSeeoeeocoeoec 

BONUS DISTRIBUTION: SHOWEAST (HOLLYWOOD, FL) AND EXPOCINE (SÃN PAULO) 


CONVENTION 

NEWS 

2014 AUSTRALIAN 

INTERNATIONAL MOVIE 

CONVENTION (AIMC) SET TO 

PREVIEW A BIG BOX OFFICE YEAR 

n The 69th Australian International Movie 

Convention (www.movieconvention.com.au) 

will be held at Jupiters Hotel & Casino on 

Queensland’s Gold Coast from October 12–16. 

Executive director of the AIMC, Michael 

Hawkins, says this annual event has become a 

must on the industry calendar for the Australian, 

New Zealand, and Pacific region as it 

offers those in production, distribution, cinema 

exhibition, and allied trades an unparalleled 

opportunity to come together as an industry. 

“The AIMC always seeks to build a strong 

and diverse program which caters for all our 

delegates, whether they be independent or 

regional cinema operators, major circuits, distributors, 

producers looking to forge strategic 

alliances, or suppliers with innovative products 

and services to optimize the cinema-going 

experience,” says Hawkins. 

“This year I know we will see some very 

strong product, ahead of what many have 

forecast as a strong box office year in late 

2014/2015. We will be off to a good start as 

the AIMC opening night hosts the Australian 

premiere of the Universal-distributed Working 

Title film The Theory of Everything. 

“Also, as a special supplementary initiative 

of the 2014 AIMC, we will present a distribution 

symposium at the end of the week to 

provide film students with the opportunity to 

hear about some of the challenges and opportunities 

relating to our industry, many of which 

they will need to consider as future industry 

participants.” 

Here is an overview of AIMC 2014: 

THE MOVIES 

The major Hollywood distribution companies 

of Paramount Pictures, Sony Pictures 

Releasing, 20th Century Fox, Universal 

Pictures, Walt Disney Studios Motion Pictures, 

and Warner Bros. will present previews and 

footage from their product slated for late 2014 

and 2015 release. 

The Australian Independent Distributors 

Association (AIDA) will have product presentations 

and movie screenings throughout the four 

days of the convention, including Dan Gilroy’s 

crime drama, Nightcrawler, about a young man 

who stumbles upon the underground world 

of L.A. freelance crime journalism, starring 

Jake Gyllenhaal, and Love Is Strange, a drama 

starring John Lithgow, Alfred Molina, and 

Marisa Tomei. AIDA member companies 

include Becker Film Group, Curious Film, 

Entertainment One Films, Icon Film Distributors, 

Madman Entertainment, Palace Films, 

Pinnacle Films, Potential Films, Sharmill Films, 

Studio Canal, Rialto Distribution, and Umbrella 

Films. 

Upcoming Australian movie Stalkher will 

feature in a special presentation by director, 

producer, and star John Jarratt. 

THE SPEAKERS 

A wide range of current industry issues 

addressed by local and international experts are 

on the agenda for this year’s AIMC. 

AIMC Executive Director Michael Hawkins 

says he is delighted to welcome John Fithian, 

CEO of the National Association of Theater 

Owners (NATO), back to the convention this 

year to join a panel discussion titled “Future 

of Cinema,” which will also feature panelists 

from Dolby Laboratories, Christie Digital, and 

Village Cinemas Australia. 

Hawkins says this year’s program is full and 

diverse. 

“There is something for everybody. Whether 

it is RealD presenting their recent research findings 

on 3D trends in Australia or Christie Digital’s 

sessions ‘Tomorrow’s Innovation Today’ 

and ‘Future-Proofing the Sound Experience in 

your Theatre,’ or the IP Awareness Foundation 

sharing research on the way Australians watch 

movies, there will be much information to keep 

delegates abreast of current trends and future 

directions. 

“I am delighted to announce that the Natalie 

Miller Fellowship will deliver a presentation 

on inspiring the future female leaders of 

the screen industry. Plus Fan-Force.com will 

introduce a revolutionary platform that guarantees 

packed sessions—I’m expecting that one to 

be popular.” 

THE BUSINESS 

The trade show will be at capacity, with 

several new suppliers exhibiting alongside 

regular suppliers for delegates interested in 

expanding, refurbishing, converting, or upgrading 

equipment to view the latest products 

and trends. 

THE AWARDS 

Various industry recognition awards will be 

given at AIMC 2014, ranging from independent 

distributors recognizing excellence in 

cinema operation to highest-grossing box office 

results for movies distributed in the previous 12 

months to peer-assessed awards for excellence 

in film craft and lifetime achievement. 

THE NETWORKING 

AIMC delegates regularly provide feedback 

that the opportunity to network with colleagues, 

stakeholders, and industry associates is 

an invaluable part of the convention experience. 

The Deluxe Network Bar will operate 

each evening after the close of the day’s official 

program. The Gala Convention Wrap function 

will provide an exciting finale to a busy week, 

with entertainment, dancing, fun, and the 

presentation of some major industry achievement 

awards. 

THE PARTNERS 

AIMC Marketing and Sponsorships 

Manager, Christine Pitcher, says the support of 

many partner organizations makes the AIMC 

possible. 

“Every contribution of funds, equipment, 

and personnel contributes greatly to our ability 

to provide a world-class industry event that we 

are very proud to present,” says Pitcher. 

“The Queensland Government provides 

support through various funding bodies including 

our presenting partner, Tourism and Events 

Queensland as well as Screen Queensland and 

the City of Gold Coast. 

“The conversion of the Jupiters Theatre is 

made possible through the support of the Hoyts 

Cinema Technology Group, Christie Digital, 

Deluxe Australia, RealD, Dolby Laboratories, 

Doremi, Dreamweavers, Harkness Screens, and 

Jupiters Gold Coast. The quality presentations 

in the Jupiters Theatre are coordinated and 

managed by Event Technology Consulting.” 

THE VENUE 

Jupiters Hotel & Casino on Broadbeach Island, 

Gold Coast, provides a venue that allows 

delegates to easily move between the distributor 

screenings in the Jupiters Theatre to the seminars 

and networking functions in the Pavilion 

Ballroom and the trade show and lunches in 

the Pavilion Marquee. 

SUPPLEMENTARY PROGRAM 

As a special initiative of AIMC 2014, 

we have teamed up with the Griffith Film 

School to present a Distribution Symposium 

on Friday, October 17. This will provide film 

students with the opportunity to participate 

in the event, learn firsthand of some of the 

strengths and weaknesses currently affecting the 

industry, and network with industry peers and 

executives. n 


AMERICAN COMPUTER 

OPTICS, INC. 

(PORT WINDOW GLASS) 

240 Goddard 

Irvine, CA 92618-4625 

www.portwindowglass.com 

PG 6 

AMERICAN CINEMA 

EQUIPMENT 

1927 N. Argyle St. 

Portland, OR 97217 

www.cinequip.com 

PG 8 

ART HOUSE CONVERGENCE 

603 E. Liberty St. 

Ann Arbor, MI 48104 

www.arthouseconvergence.org 

PG 63 

B&B THEATRES 

2101 W Kansas St. 

Liberty, MO 64068 

www.bbtheatres.com 

PG 33 

CARDINAL SOUND & MOTION 

PICTURE SYSTEMS 

6330 Howard Ln. 

Elkridge, MD 21075 

www.cardinalsound.com 

PG 72 

CARMIKE CINEMAS 

1301 First Avenue 

Columbus, GA 31901 

www.carmike.com 

PG 39 

CHRISTIE DIGITAL SYSTEMS 

10550 Camden Dr. 

Cypress, CA 90630 

www.christiedigital.com 

INSIDE FRONT COVER 

C. CRETORS & COMPANY 

176 Mittel Dr. 

Wood Dale, IL 60191 

www.cretors.com 

PG 43 

DOLBY LABS 

3601 West Alameda Ave. 

Burbank, CA 91505 

www.dolby.com 

INSIDE BACK COVER 

DOLPHIN SEATING 

313 Remuda St. 

Clovis, NM 88101 

www.dolphinseating.com 

PG 49 

ENPAR AUDIO 

www@enparaudio.com 

PG 57 

EXPOCINE 

Rua Frei Caneca, 569 

Consolação, CEP: 01307-001 

São Paulo/SP BRAZIL 

www.expocione.com.br 

PG 35 

FANDANGO 

12200 W. Olympic Blvd., Ste. 400 

Los Angeles, CA 90064 

www.fandango.com 

PG 4 

HARKINS THEATRES 

7511 E McDonald Dr. 

Scottsdale, AZ 85225 

www.harkinstheatres.com 

PG 31 

HARKNESS SCREENS 

Unit A, Norton Road 

Stevenage, Herts 

SG1 2BB UK 

www.harkness-screens.com 

PG 9 

J&J SNACK FOODS 

6000 Central Hwy. 

Pennsauken, NJ 08109 

www.jjsnack.com 

PG 2 

MALCO THEATRES 

5851 Ridgeway Center Pkwy. 

Memphis, TN 38120 

www.malco.com 

PG 48 

MARCUS THEATRES 

100 E. Wisconsin Ave., Ste. 2000 

Milwaukee, WI 53202 

www.marcustheatres.com 

PG 41, 47 

MAROEVICH, O’SHEA & 

COUGHLAN 

44 Montgomery St., 17th Fl. 

San Francisco, CA 94104 

www.mocins.com 

PG 5 

OMNITERM 

2785 Skymark Ave., Unit 11 

Mississauga, ON 

Canada, L4W 4Y3 

www.omniterm.com 

PG 55 

READY THEATRE SYSTEMS 

4 Hartford Blvd. 

Hartford, MI 49057 

www.rts-solutions.com.com 

PG 34 

REALD 

100 North Crescent Dr., Ste. 200 

Beverly Hills, CA 90210 

www.reald.com 

PG 50–51 

RETRIEVER SOFTWARE 

888 West Ithaca Ave., Ste. 100 

Englewood, CO 80110 

www.RetrieverSoftwareInc.com 

PG 19 

ROYAL PAPER PRODUCTS 

P.O. Box 151 

Coatesville, PA 19320 

www.royalpaper.com 

PG 45 

SCREENVISION 

1411 Broadway 33rd Fl. 

New York, NY 10018 

www.screenvision.com 

PG 37, BACK COVER 

SENSIBLE CINEMA 

SOFTWARE 

7216 Sutton Pl. 

Fairview, TN 37062 

www.sensiblecinema.com 

PG 72 

PROMETHEUS 

GLOBAL MEDIA 

(SHOWEAST) 

770 Broadway, 15th Floor 

New York, NY 10003 

www.filmexpos.com 

PG 29 

SONIC EQUIPMENT 

COMPANY 

900 W. Miller 

Iola, KS 66749 

www2.sonicequipment.com 

PG 1 

USHIO AMERICA, INC. 

5440 Cerritos Ave. 

Cypress, CA 90630 

www.ushio.com 

PG 11 

WHITE CASTLE 

555 West Goodale St. 

Columbus, OH 43215 

www.whitecastle.com 

PG 7 

BOXOFFICE ® PRO (ISSN 0006-8527), Volume 150, Number 10, October 2014. BOXOFFICE ® PRO is published 

monthly by Boxffice Media, C, San icente Blvd, Ste , os Angeles, CA , SA corporate 

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Copyright Boxffice Media, C All rights reserved SUBSCRIPTION CUSTOMER SERVICE: BOXOFFICE 

PRO, P.O. Box 16015, North Hollywood, CA 91615-6015, USA, Phone (818) 286-3108, Fax (800) 869-0040, bxpcsmagservcom, 

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CHAIRMAN 

Peter Cane 

CEO 

Julien Marcel 

CREATIVE DIRECTOR 

Kenneth James Bacon 

BOXOFFICE ® PRO 

MANAGING EDITOR 

Daniel Loria 

INDUSTRY CONTRIBUTORS 

Esther Baruh 

Patrick Corcoran 

CONTRIBUTING EDITORS 

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Daniel Garris 

COPY EDITOR 

Laura Silver 

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BOXOFFICE.COM 

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Daniel Garris 

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VP, ADVERTISING 

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BUYING & SELLING 

MARQUEE LETTERS. Buying and selling. 

New and Used marquee letters 

all types. We buy old. We sell new. All 

styles. Trade in your old letters and get 

new letters. Turn those old letters into 

cash. Your source for new Pronto, Zip- 

Change, Snap Lok, Slotted. mike@pilut. 

com 800-545-8956 

LOOKING TO PURCHASE 3-8 screen 

venue in California or south western 

United States. Contact: Atul Desai 949- 

291-5700 

DRIVE-IN CONSTRUCTION 

DRIVE-IN SCREEN TOWERS since 1945. 

Selby Products Inc., P.O. Box 267, Richfield, 

Phone 

EQUIPMENT WANTED 

ASTER AUDITORIUM SEATING & AU- 

DIO. We offer the best pricing on good 

used projection and sound equipment. 

Large quantities available. Please visit 

our website, www.asterseating.com, or 

call 888-409-1414. 

AMERICAN ENTERTAINMENT PROD- 

UCTS LLC is buying projectors, processors, 

amplifiers, speakers, seating, 

platters. If you are closing, remodeling 

or have excess equipment in your warehouse 

and want to turn equipment into 

cash, please call 866-653-2834 or email 

aep30@comcast.net. Need to move 

quickly to close a location and dismantle 

equipment? We come to you with trucks, 

crew and equipment, no job too small or 

too large. Call today for a quotation: 866- 

653-2834. Vintage equipment wanted 

also! Old speakers like Western Electric 

and Altec, horns, cabinets, woofers, etc., 

and any tube audio equipment. Call or 

email: aep30@comcast.net. 

COLLECTOR WANTS TO BUY: We pay 

top money for any 1920-1980 theater 

equipment. We’ll buy all theater-related 

equipment, working or dead. We remove 

and pick up anywhere in the U.S. 

or Canada Amplifiers, speakers, horns, 

drivers, woofers, tubes, transformers; 

Western Electric, RCA, Altec, JBL, Jensen, 

Simplex and more. We’ll remove 

installed equipment if it’s in a closing 

location. We buy projection and equipment 

too. Call today: 773-339-9035; 

cinema-tech.com; email ILG821@aol. 

com. 

FOR SALE 

2 BRAND NEW 3000 watts Christie Xenon 

lamps for 35mm projectors. Contact: 

Atul Desai 949-291-5700. 

BARCO 3D/DIGITAL EQUIPMENT FOR 

SALE: Purchase for $55K. Equipment 

list provided upon request. Contact seller 

at mschwartz@pennprolaw.com. 

PREFERRED SEATING COMPANY, 

your source for new, used and refurbished 

theater and stadium seating. 

Buying and selling used seating 

is our specialty. Call toll-free 866- 

922-0226 or visit our website www. 

preferred-seating.com. 

12 PLEX THEATER FOR SALE with stadium 

seating. 6 acres of Land. Selling at 

below land value. $2,000,000. Located 

in untsville A, at the niversity Mall 

Please call 407-948-6751. 

USED DIGITAL PROJECTORS AVAIL- 

ABLE. Barco dcp2000 and others 

slightly used. Don’t close your theater 

conversion is cheaper than you think. 

Call Stetson Snell 505-615-2913 

18 SETS OF USED 35MM AUTOMAT- 

ED PROJECTION SYSTEM (comes 

with Projector, Console, Automation 

Unit and Platter) comprising of 10 sets 

of Christie and 8 sets of Strong 35mm 

system available on ‘as is where is’ basis 

in Singapore. Contact seller at engthye_ 

lim@cathay.com.sg 

HELP WANTED 

THEATRE MANAGEMENT POSITIONS 

AVAILABLE Pacific orthwest Theatre 

Company. Previous management experience 

required. Work weekends, evenings 

and holidays. Send resume and 

salary history to movietheatrejobs@ 

gmail.com 

THEATRE MANAGEMENT POSITION 

AVAILABLE. Xscape Theatres is forecasting 

rapid expansion adding 2 to 4 

sites per year. To qualify for possible 

immediate placement previous theatre 

management experience is required. 

Must be able to work evenings, weekends, 

and holidays. Send resumes and 

references to sbagwell@alianceent.com 

WE CLEAN THEATERS 

EXCLUSIVELY! 

From coast to coast for 35 YEARS. 

Let us give you our references. 

www.maintenancecooperative.com 

or call 770-503-1102 

or mail to Aliance Management Co. LLC 

825 Northgate Blvd. Suite # 203 New 

Albany, IN 47150. Compensation based 

on experience. 

SERVICES 

DULL FLAT PICTURE? RESTORE YOUR 

XENON REFLECTORS! ltraat repolishes 

and recoats xenon reectors 

Many reectors available for immediate 

exchange. (ORC, Strong, Christie, Xetron, 

others) ltraat, Sherman 

Way, Winnetka, CA 91306; 818-884- 

0184. 

ALLSTATE SEATING specializes in refurbishing, 

complete painting, molded 

foam, tailor-made seat covers, installations 

and removals. Please call for 

pricing and spare parts for all types of 

theater seating. Boston, Mass.; 617-770- 

1112; fax: 617-770-1140. 

CONSOLIDATED THEATRE SERVICES, 

LLC has a wide variety of theatre sound 

equipment available at competitive 

prices. Our extensive inventory includes 

amplifiers, processors, speakers and 

sound racks from makers such as JBL, 

Dolby, Ashly, Klipsch, Crown and more. 

You are welcome to call us at 305-908- 

1613 for further information. 

THEATER SPACE FOR LEASE 

AN 8,400 SQ. FT. SPACE containing 

two movie theaters is available for lease 

in Frankfort, KY, at a very reasonable 

lease rate. It would be perfect for the 

new concept of eating in the theater. 

The theaters are located in the middle 

of a major shopping center. The center 

owners would prefer an operating movie 

theater rather than convert the space 

into retail use. Contact Alexa at 859- 

221-9921 or email her at alexarkelley@ 

gmail.com for more information. 


DOLBY ATMOS® 

With more than 100 titles and counting, 

Dolby Atmos ® 

is transforming the world of 

motion pictures. The CP850 is the complete 

audio solution for today’s digital cinemas. 

AVAILABLE 

NOW! 

SONY PICTURES 

dolby.com/atmos 

Dolby and the double-D symbol are registered trademarks of Dolby Laboratories. Dolby Atmos is a trademark of Dolby Laboratories. © 2014 Dolby Laboratories, Inc. All rights reserved. S14/27774/28010

Boxoffice - October 2014

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