Boxoffice - November 2014

$6.95 

NOVEMBER 2014 

BIG HERO 6 

opening wide Nov 7 

SHOWEAST 

AWARD 

WINNERS 

& NEW 

PRODUCTS 

BOXOFFICE 

SOCIAL 

CLUB 

PART 4 

ENERGY 

WATCH 

GREEN IS 

THE NEW 

BLACK 

GLOBAL 

ALERT 

GIRLS ARE 

NOWHERE 

TO BE SCENE 

SPECIAL SECTION 

FOCUS 

ON 

LATIN 

AMERICA 

THE OFFICIAL MAGAZINE OF THE NATIONAL ASSOCIATION OF THEATRE OWNERS

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Julien Marcel 

CEO 

BoxOffice Media 

SWEET NOVEMBER 

This issue is perhaps our most diverse ever, 

which speaks to the diversity of our industry. 

Inside you’ll find a discussion of green (as in 

environmentally responsible) technology for 

movie theaters; a fascinating report by NATO’s Kathy 

Conroy about the underrepresentation of women in 

cinema, both on screen and off, and what Hollywood— 

and we—can do about it; and a fun, enlightening 

interview with the co-directors of Marvel-Disney’s latest, 

Big Hero 6. 

We know we’re in the third quarter of the year when ShowEast rolls around 

and professionals gather in Florida for the last big domestic event of this year. 

We salute the award winners on page 32. 

We’re quite proud of our special, in-depth look at Latin America, one of the 

fastest-growing global markets in cinema. Inside our Latin America section—a 

fully bilingual magazine produced by managing editor Daniel Loria—you’ll 

find interviews with exhibitors, distributors, promoters, and others who have 

their fingers on the pulse of this exciting market. In particular, don’t miss 

Pete Filiaci’s piece on trends among Hispanic moviegoers. The Univision 

exec highlights a variety of statistics that show Hispanics to be the most avid 

moviegoers today. 

All of this shows, once again, that as we look through the window to better 

understand what happens outside our borders, we can learn something relevant 

about our domestic market—and ourselves. 

Happy reading! 

Julien Marcel 

Julien@boxoffice.com 

NOVEMBER 2014 BoxOffice ® Pro The Business of Movies 3

NOVEMBER 2014 VOL. 150 NO. 11 

52 LATIN AMERICAN CINEMA TODAY 

interview with Carlos Gutiérrez, co-founder and executive director of Cinema Tropical 

56 LATIN AMERICA MARKET UPDATE 

58 THE LOCAL TAKE 

interview with Marcos Barros, CEO of Cinesystem Cinemas 

60 BRINGING IT HOME 

interview with Bruno Wainer, founder, CEO of Downtown Filmes 

64 SHOWEAST INTERNATIONAL EXHIBITOR OF THE YEAR 

interview with Eduardo Acuña, president and general managare of Cinépolis Brasil 

68 HISPANICS AND FILM: A LOVE STORY by Pete Filiaci 

72 LOOKING AT LATIN AMERICA: AN INSIDER’S PERSPECTIVE 

interview with Miguel Rivera, chairman, NATO International Committee, director of programming, Cinépolis 

eecoceeoeeeeo 

3 HELLO by Julien Marcel 

6 B&B ACQUIRES DICKINSON THEATRES 

Giants of Exhibition has a new member of the Top 10 

7 CONFERENCE ROUNDUP 

CineShow celebrates another successful year 

8 EXHIBITION BRIEFS 

The latest news from the exhibition industry 

11 NATO CALENDAR OF EVENTS 

12 EXECUTIVE SUITE 

Global alert: Girls are nowhere to be scene by Kathy Conroy 

16 THE MODERN THEATER 

Modern marvels of cinema architecture by Katie Gerfen and David Binet 

20 SAVING ENERGY 

Green is the new black by David Richards 

22 BOXOFFICE CLASSICS 

Walt Disney Animation Studios by Kenneth James Bacon 

24 THE BOXOFFICE SOCIAL CLUB by Phil Contrino 

Part 4 of 5: Meet four exhibition industry leaders in the use of social media 

32 SHOWEAST 

Meet the award winners 

36 NEW PRODUCTS 

14 exhibition product and service provider present what’s new just 

in time for ShowEast 

42 3D RELEASE CALENDAR sponsored by RealD 

44 COVER STOERY by Daniel Loria 

BOXOFFICE® PRO interviews the directors of Walt Disney Animation Studios’ 54th 

feature: Big Hero 6 

76 COMING IN NOVEMBER by Kenneth James Bacon 

88 BOOKING GUIDE compiled by Daniel Garris 

96 CLASSIFIEDS 

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THE BAGBY CLAN 

THEY’RE MOVIN’ ON UP 

B&B THEATRES ACQUIRES DICKINSON THEATRES TO REACH THE 

TOP TEN IN BOXOFFICE’S GIANTS OF EXHIBITION 

by Phil Contrino 

n With the recent acquisition of Dickinson 

Theatres, B&B Theaters’ footprint increases 

substantially. The family-owned-and-operated 

chain, which is currently celebrating its 90th 

anniversary, now oversees 50 locations and 408 

screens across eight states. 

“I am happy that a local Kansas City company 

purchased Dickinson, as it ensures that 

several of my key employees will retain their 

jobs,” says Ron Horton, president of Dickinson 

at the time of the sale. “Bob [Bagby] and I have 

discussed a possible deal for several years, and I 

wish everyone at B&B much success.” 

BoxOffice® Pro recently caught up with 

B&B president Bob Bagby, Brock Bagby, director 

of programming and business development, 

and Bobbie Bagby Ford, vice president of marketing, 

to discuss this new development. 

B&B has acquired theaters in the past. 

What lessons will you take from other 

acquisitions as you start to work on transitioning 

the theaters? 

Bob Bagby: We’ve learned that we need to take 

it slow and not overwhelm the current staff with 

all of our new policies on day one. 

Brock Bagby: It takes time to increase business 

and to finish your long-term goals. We have to 

be patient with our new managers and teach 

them the B&B ways in a friendly and exciting 

manner. 

Bobbie Bagby Ford: The public expects changes 

right away. Keeping our message consistent 

becomes very important. 

B&B has been quick to embrace luxury 

seating. Is it your intention to add that 

quickly to these new locations? 

Bob Bagby: It will take time to work with our 

architects to develop the best plan for each 

location, but we hope to move on this as fast as 

possible. 

Brock Bagby: We definitely want to upgrade 

the facilities as quickly as we can. When spending 

millions on a remodel we have to get it just 

right, so we also don’t want to rush too quickly. 

What challenges do you expect to face 

during the transition? 

Bob Bagby: The most important thing is to 

keep the B&B culture as we combine these 

companies. We have a real family feeling within 

our company, and we want to work hard to 

keep this flourishing. One of the first things that 

we will do is have a company-wide managers 

meeting. 

Since you are a family business, will 

this make for a particularly interesting 

holiday season? Will you be talking 

branding and renovations while you cut 

the turkey? 

Bob Bagby: That’s always the case in our family. 

All of us are heavily involved in the company, 

and if we aren’t talking business we are talking 

movies. Part of our holiday tradition is to go 

to a movie as a family after we cut the turkey. 

Going together to a movie as a family is still one 

of my favorite parts of the holiday, as I still find 

watching a movie on the big screen a magical 

experience. And yes, I still have to have hot 

popcorn and a cold Pepsi. 

Brock Bagby: Absolutely! My uncle Brad Bills 

is also our film buyer, and I always look forward 

to talking to him at Thanksgiving as well. The 

whole family talks shop, but we all love doing it. 

Bobbie Bagby: How can we not talk about it? 

We all love what we do, and this is an exciting 

time. We work hard and we also play hard … 

but that time, of course, usually involves a 

family movie night! n 

6 BoxOffice ® Pro The Business of Movies NOVEMBER 2014

CINESHOW CELEBRATES 

ANOTHER SUCCESSFUL YEAR 

by Todd Halstead 

n The 16th annual CineShow, held September 

23–25 at the Embassy Suites Hotel and 

Convention Center in Frisco, Texas, kicked 

off with a gala dinner that featured a keynote 

address from NATO chairman David Passman, 

president and CEO of Carmike Cinemas. The 

evening concluded with a celebration of Rein 

Rabakukk, who, following this year’s show, 

retired as executive director of South Central 

States NATO. 

“CineShow 2014 was an especially memorable 

event,” says South Central States NATO 

president Syd Hall of Rio Entertainment. “Not 

only were we fortunate to have the always-captivating 

Mr. Passman as our keynote speaker, 

but we were also grateful for the opportunity 

to honor Rein for his contributions to both 

exhibition and Variety.” 

CineShow 2014 featured partners from 

all corners of the motion picture industry, 

highlighted by a record attendance of 130 

movie theater owners and managers, and a 

trade show representing more than 70 vendors. 

The conference included educational seminars 

exploring new developments on the EMV 

specifications for smart 

card payments and the 

Department of Justice’s 

proposed captioning 

and video description 

rules, a vendor preview 

of new products, and 

studio presentations. 

In conjunction with 

CineShow, Variety of 

Texas hosted its 67th 

Annual Golf Tournament 

and Gala. The 

event honored Richard 

“Richie” Fay, Lionsgate 

president of domestic 

theatrical distribution, 

as Texan of the 

Year for his contributions to the industry and 

support of Variety. The gala also raised more 

than $350,000 to go toward Variety’s mission 

of empowering children with special needs in 

Texas. “This was a record-setting event. A great 

testament to the caring generosity of our industry,” 

says Steve Bunnell, chairman of Variety of 

Texas and senior vice president, global content 

programming for Cinemark Holdings Inc. 

Variety of Texas also named its primary 

source of funding the “Rein Rabakukk Heart 

of Variety Fund” in honor of his service to the 

children of Variety. “This is a fitting, permanent 

tribute to a man whose efforts have helped untold 

numbers of children with special needs and 

whose leadership has guided and sustained Variety 

of Texas for decades,” says Randall L. Hester, 

president and CEO of Variety of Texas. n 


EXHIBITION 

BRIEFS 

ON THE MOVE 

VARIETY OF WISCONSIN WELCOMES 

NEW DEVELOPMENT DIRECTOR 

nBob Menefee (above), recently retired as 

vice president of Marcus Theatres, has joined 

Variety of Wisconsin as its development 

director. Variety provides assistance for people 

age 21 and younger who have a diagnosed or 

demonstrated physical disability, including 

cerebral palsy, spina bifida, muscular dystrophy 

and Down syndrome. 

Menefee has been involved with Variety 

since 1986 and most recently served as the 

president of Variety’s board of directors. 

Menefee says he is enthusiastic about raising 

awareness about Variety’s good work and 

creating a development program that will 

sustain future growth of the organization. 

HIT THE LINKS 

LAPIDUS CLASSIC MOVES TO BALI HAI 

nThe National Association of Concessionaires 

(NAC) has announced that the 31st Al Lapidus / 

Variety Boys & Girls Club Scholarship Golf 

Classic will be moving to the Bali Hai Golf 

Club next to Mandalay Bay on the Strip in Las 

Vegas. The tournament is held each year on the 

first day of CinemaCon, which in 2015 will be 

Monday, April 20. 

The move from Anthem Country Club was 

made largely due to golfers’ desires to be closer 

to Caesars Palace. Bali Hai, a world-class course 

right on the strip, will allow for an earlier 

start time (7:30) and should afford golfers the 

opportunity to get back to Caesars hours earlier 

to resume their activities, including trade-show 

set-up, on the first day of the show. 

The Golf Classic is named for the late NAC 

past president Al Lapidus, and proceeds from 

the tournament benefit college scholarships 

for the Variety Boys & Girls Club of East 

Los Angeles, the Will Rogers Motion Picture 

Pioneers Foundation, and the educational 

programs of the National Association of 

Concessionaires. 

DEAL MAKERS 

AHL TO ROLL OUT 20 DOLBY ATMOS 

SCREENS IN AUSTRALIA 

nAmalgamated Holdings Limited, an 

Australian entertainment, hospitality, and 

leisure company, and Dolby Laboratories Inc. 

have announced that AHL will install Dolby 

Atmos into some 20 new premium cinema 

screens that form part of its future expansion 

plans. 

Dolby Atmos makes it easy for filmmakers 

to place or move specific sounds anywhere in 

the movie theater, including overhead. It has 

received technical achievement awards from 

both the Hollywood Post Alliance and the 

Cinema Audio Society. As the inventors of the 

only object-based audio format used in the 

cinema today, Dolby is working closely with 

the Society of Motion Picture and Television 

Engineers in driving adoption of standards for 

object-based audio. 

“AHL believes in bringing audiences the 

latest in cinema technology, and we look 

forward to delivering to our customers this 

fully immersive sound experience in our 

planned premium cinema screens. By installing 

the Dolby Atmos sound technology into our 

theaters, we will ensure our customers enjoy the 

(continued on page 10) 


PARTNERING 

BARCO AND KINEPOLIS BRING 

BARCO ESCAPE TO EUROPE 

n Digital cinema company Barco and the 

Kinepolis group launched another European 

premiere together. In mid-October, Belgian 

moviegoers were able to immerse themselves 

in the world of Fox’s new release, The Maze 

Runner, thanks to the brand-new, panoramic 

Barco Escape theater configuration at 

Kinepolis Antwerp and Brussels. The decision 

to introduce Barco Escape at the Kinepolis 

flagship cinema fits within the strategic 

partnership agreement that both companies 

signed earlier this year. 

By combining three digital cinema 

projectors with three screens—one at the 

front and two angled screens on either side 

of it—Barco Escape creates a panoramic 

presentation that immerses the audience 

into the movie. The Maze Runner by 20th 

Century Fox is the very first film specially 

prepped for this theater configuration. The 

Maze Runner debuted in September at five 

U.S. Escape theaters. The Kinepolis flagship 

cinemas of Antwerp and Brussels will be 

the first in Europe to feature Barco Escape 

equipment. 

“Barco and Kinepolis share a common 

drive to regularly offer new experiences that 

take cinema to new heights. We are glad 

to première Barco Escape here in Europe 

together with this long-term customer, or 

rather partner, that Kinepolis Group is,” says 

Wim Buyens, senior VP entertainment at 

Barco. 

GoldMedal_Sep14-BoxOffice-F-01.indd 1 

8/14/14 1:39 PM 


EXHIBITION BRIEFS 

movies under optimum conditions,” 

says David Seargeant, group 

managing director, AHL. 

“Dolby is excited that AHL has 

chosen Dolby Atmos to be deployed 

across 20 screens,” says Mahesh 

Sundaram, regional vice president, 

Asia Pacific, Dolby Laboratories. 

“This marks another significant milestone 

for Dolby, and we look forward 

to working with AHL to bring the 

ultimate cinematic experience to 

moviegoers in Australia. With Dolby 

Atmos, you feel as if you are in the 

movie, not merely watching it. We 

are confident that moviegoers will go 

back again and again to the cinemas 

once they enjoy their first Dolby 

Atmos film.” 

DATA DUMP 

EVEN IN A TOUGH SUMMER, CINEMA IS 

STILL NO. 1 WITH MILLENNIALS 

nAccording to the Cinema Advertising 

Council, summer 2014 was a good one for 

cinema—and the outlook for 2014–2015 is 

just as bright. 

Their reasons: 

Comparisons to last summer and Q1 have 

too many caveats to be valid. Both summer 

2013 and Q1 2014 were record-breaking periods. 

In fact, Q1 2014 was the best in cinema’s 

history. So whether the yardstick was year-overyear 

or quarter-to-quarter, summer 2014 was 

up against stiff competition. 

And the competition this summer had a 

one-off of its own, the World Cup—a oncein-four-years 

competitor within a summer that 

lacked an avalanche of blockbuster films. 

The chart above confirms the power of 

millennials. The top line shows cinema’s 

performance with millennials each week (May 

through August) compared to the top TV/cable 

shows’ performance for the same period. The 

chart shows the No. 1 TV/cable shows each 

week and TV’s Live +7 numbers. 

Cinema is, by far, the No. 1 media 

option for brands targeting millennials. 

And with major blockbusters set 

for Q4—The Hunger Games, The Hobbit—it’s 

only going to get stronger. 

In addition, this new study says 

millennials call the movies a “non-negotiable” 

part of their media diet. 

IT’S A DEAL 

OMEGA CINEMA SYSTEMS 

APPOINTED AS DEALER FOR 

SONY DIGITAL CINEMA IN 

TURKEY 

nSony Europe has confirmed the 

appointment of Omega Cinema 

Systems as an official dealer for 

Sony Digital Cinema 4K projection 

systems in Turkey. Omega is supplying 14 

of Sony’s SRX-R510P and SRX-R515P 4K 

projection systems and Sony TMS Theatre 

Management Systems into Acity and Park Vera, 

two new shopping malls in the capital, Ankara. 

Installation was set to begin in mid-October, 

with completion scheduled by the beginning of 

November. 

Izmit-based Omega has provided a wide 

range of technology, installation, and support 

services to the Turkish cinema industry for 

more than 16 years. 

“It’s wonderful to welcome a new partner 

with the caliber, experience, and excellent 

Improve your bottom line with INTEGRA, our theatre management software solution 

Increase Per Cap (RPP) 

✔ Software/hardware optimized for concession areas 

✔ Prompted up-selling 

Key Performance Indicators 

✔ Detailed reports 

✔ Critical insights into the performance of your operations 

Total Guest Experience 

✔ Online ticketing, digital signage, reserved 

seating, dine-in, gift card and loyalty apps 

omniterm.com 

STABILITY YOU CAN DEPEND ON 


eputation that Omega enjoys in the region,” says David McIntosh, 

vice president of Sony Digital Cinema 4K Solutions for Europe and 

the Americas. “Turkey has been a leader in embracing digitization, and 

through our new relationship with Omega we look forward to bringing 

the best possible cinema image quality and experience to millions more 

cinema-goers. 

Annual revenues for Turkey’s box office are worth over €180 million 

annually and the total number of screens—currently around 2,000 countrywide—is 

growing at around 10 percent year-on-year. Much of this growth 

is being generated by demand for brand-new screens in Turkey’s urban 

regions, including retail and leisure centers in Ankara, Istanbul, and their 

environs. 

“Next year marks the end of movie distribution on 35 millimeter 

celluloid in turkey,” says McIntosh. “With time almost up for 35 millimeter 

film, Turkish operators are leading Europe in their total switchover to 

the benefits of digital distribution and projection. Sony 4K puts cinemas 

in the best possible position to offer their own customers premium picture 

quality, while enjoying world-class support and affordable running costs, 

today and tomorrow.” n 

Nov 4 

2014 

Nov 5 


Nov 6 


Nov 11–12 


Nov 11 


Nov 12–13 


Dec 9–12 


Jan 12 

2015 

Feb 4 

2015 

Feb 22 

2015 

Apr 20–23 

2015 

May 12–13 

2015 

May 19–20 

2015 

June 2–5 

2015 

Jun 22–25 

2015 

Jul 21–24 

2015 

Sep 15–16 

2015 

Sep 29– 

Oct 1 

2015 

Oct 7–8 

2015 

Apr 11–14 

2016 

NATO of California/Nevada Winter/ 

Spring Film Product Seminar in Southern 

California 

NATO of New Jersey Seminar 

NATO of California/Nevada Winter/ 

Spring Film Product Seminar in Northern 

California 

NATO Regional Summit 

Inter-Society Digital Cinema Forum 

(ISDCF) Meeting 

NATO Fall Summit 2014 

CineAsia 2014 

72nd Annual Golden Globe Awards 

NATO of CA & NV Board of Directors 

Lunch Meeting 

87th Annual Academy Awards Show 

CinemaCon 2015 

Mid-Atlantic NATO “Cinema Show & 

Tell” 

North Central States NATO 

ShowCanada 2015 

CineEurope 

NAC Concession & Hospitality Expo 

Show-A-Rama 2015 

Geneva Convention 2015 

NATO General Membership and Board 

Meetings 

CinemaCon 2016 

AMC Times Square 14 

Theatre 

Monterey Park CA 

AMC Jersey Gardens 

Elizabeth NJ 

Cinemark’s Century San 

Francisco Centre 9 

San Francisco CA 

Hyatt Regency 

Century Plaza 

Los Angeles CA 

Warner Bros. 

Burbank CA 

Hyatt Regency 

Century Plaza 

Los Angeles CA 

Hong Kong 

Convention & 

Exhibition Centre 

Hong Kong 

Beverly Hilton 

Beverly Hills CA 

Location TBD 

Dolby Theatre 

Hollywood CA 

Caesars Palace 

Las Vegas NV 

Hilton Hotel 

Springfield VA 

Sheraton Minneapolis 

West 

Minnetonka MN 

ShowCanada Venue TBD 

Quebec QC 

CCIB 

Barcelona 

Hyatt Regency 

Cincinnati 

Cincinnati OH 

Show-A-Rama Venue TBD 

New Orleans LA 

Geneva2015 Venue TBD 

Lake Geneva WI 

2015 Venue TBD 

Washington DC 

Caesars Palace 

Las Vegas NV 


EXECUTIVE 

SUITE 

GLOBAL ALERT 

GIRLS ARE 

NOWHERE 

TO BE SCENE 

by Kathy Conroy, Vice President and COO, 

National Association of Theatre Owners 

n Women are underrepresented in movies, as 

well as in leadership positions at organizations 

that produce, distribute, and exhibit movies. 

Through her work at the Geena Davis Institute 

on Gender in Media, Geena Davis is shining 

a light on gender imbalance in entertainment. 

Many readers will recall the Academy Award 

winner’s powerful presentation at CinemaCon 

2013, in which the she described and quantified 

the degree to which women and girls 

are underrepresented and misrepresented in 

Hollywood movies targeted to children ages 11 

and under. Crowd scenes in movies rated G, 

PG, and PG-13, for example, averaged female 

representation of only 17 percent, sending the 

message that women and girls don’t take up as 

much space as men and boys. The Geena Davis 

Institute’s research suggests that the percentage 

of speaking female characters in top-grossing 

movies has not meaningfully changed in 

roughly 50 years. Further, women and girls are 

often stereotyped and sexualized when they are 

depicted in popular content. 

Now, as Hollywood is embracing new 

audiences and opportunities in international 

markets, the Geena Davis Institute has 

conducted new research that explores whether 

the underrepresentation and misrepresentation 

of women and girls in entertainment is an 

American phenomenon or if it extends beyond 

U.S. borders. The institute partnered with the 

University of Southern California’s Annenberg 

School for Communication and Journalism to 

explore the visibility and the nature of female 

depictions in films worldwide. The result was 

“Gender Bias Without Borders,” a study that 

analyzes female character representation and 

portrayals in popular films across the 10 most 

profitable theatrical territories internationally—Australia, 

Brazil, China, France, Germany, 

India, Japan, Russia, South Korea, and the 

United Kingdom—and compares them to the 

United States. The quantitative study looked 

at films released between January 1, 2010, and 

May 1, 2013, with a rating “roughly equivalent” 

to the MPAA rating of G, PG, or PG-13 

and examined key data points including gender 

representation, portrayals, attributes, sexuality, 

and careers. 

A total of 5,799 speaking or named characters 

in the sample were evaluated for gender 

representation and found to be 69.1 percent 

male and 30.9 percent female, a gender ratio of 

2.24 males to every one female. The imbalance 

was heightened in some genres. Action-adventure 

films depicted significantly fewer females 

(23 percent) in comparison to the average (30.9 

percent), whereas comedy (32.8 percent), drama 

(34.2 percent), and animated (29.3 percent) 

movies were closer to the average. 

The study found that the gender of the 

director and writer was related to the onscreen 

portrayal of girls and women. Films with 

a female director attached had 6.8 percent 

more females on screen than those without 

a female director. Historically, women have 

been underrepresented in the role of director. 

There have been notable exceptions, of course. 

Extraordinary women like Ida Lupino, Penny 

Marshall, Barbra Streisand, Jane Campion, 

Sofia Coppola, Betty Thomas, Nora Ephron, 

Kathryn Bigelow, and Diablo Cody have been 

successful despite Hollywood’s tendency to 

restrict the range given to female directors. 

The underrepresentation of female writers, 

producers, and directors was examined in the 

recent study. Out of a total of 1,452 filmmakers 

in the study, 20.5 percent were female and 

79.5 percent were male. This translates into a 

gender ratio behind the camera of 3.9 males to 

every one female. Women comprised 7 percent 

of directors, 19.7 percent of writers, and 22.7 

percent of producers across the sample, as the 

country-by-country breakdown in Table 1 

illustrates. (continued on page 14) 

TABLE 1: GENDER PREVELANCE BEHIND THE CAMERA 

COUNTRY DIRECTORS WRITERS PRODUCERS GENDER RATIO 

AUSTRALIA 8.3% 33.3% 29.4% 2.5 : 1 

BRAZIL 9.1% 30.8% 47.2% 1.7 : 1 

CHINA 16.7% 21.4% 25.3% 3.1 : 1 

FRANCE 0 6.7% 13.6% 9.6 : 1 

GERMANY 7.1% 22.2% 23.8% 3.7 : 1 

INDIA 9.1% 12.1% 15.2% 6.2 : 1 

JAPAN 0 22.7% 7.5% 9.5 : 1 

KOREA 0 15.4% 20.0% 5.2 : 1 

RUSSIA 0 13.6% 17.7% 6.3 : 1 

U.K. 27.3% 58/8% 21.8% 2.7 : 1 

U.S. / U.K. 9.1% 9.1% 21.6% 4.7 : 1 

U.S. 0 11.8% 30.2% 3.4 : 1 

TOTAL 7% 19.7% 22.7% 3.9 : 1 


EXECUTIVE SUITE 

TABLE 2: CLOUT-BASED POSITIONS BY CHARACTER GENDER ACROSS 8 INDUSTRIES 

SECTOR MALES FEMALES 

THE C-SUITE 86.1% (n=68) 13.9% (n=11) 

BUSINESS/FINANCE (INVESTORS, DEVELOPERS) 88.7% (n=47) 11.3% (n=6) 

HIGH LEVEL POLITICIANS 90.5% (n=115) 9.5% (n=12) 

PARTNERS IN LAW FIRMS 100% (n=1) 0 

NEWS DIRECTORS 0 100% (n=1) 

ACADEMIC ADMINISTRATORS 70.6% (n=12) 29.4% (n=5) 

ENTERTAINMENT STUDIO HEADS, AGENCY PARTNERS 83.8% (n=31) 16.2% (n=6) 

RELIGEOUS LEADERS 100% (n=3) 0 

The study looked not only at prevalence, 

but also at the portrayal of women and girls. 

It examined the way in which characters 

were depicted, with special attention to the 

demographics, stereotypes, and occupations of 

the speaking characters. Male characters held 

disproportionately more positions of power 

than their female counterparts in the 120 

movies in the sample. Few female characters 

filled executive positions in the C-suite. Of the 

79 executives shown across the sample, only 

13.9 percent were female. Female characters in 

academics, sports, and religion faced a similar 

struggle, as Table 2 above illustrates. 

There is reason to believe that onscreen gender 

balance and gender depiction are improving. 

There have been several movies in the past 

few years that have included notably nonstereotyped 

depictions of girls and women—Brave, 

The Fault in Our Stars, Frozen, Gravity, The 

Hunger Games, Maleficent, and others. Perhaps 

a trend toward serious and diverse roles for 

women has begun. At the same time, more 

women are producing, writing, and directing. It 

was inspiring to see Angelina Jolie, for example, 

stand before the audience at CinemaCon 2014, 

not as a glamorous movie star, but as a producer 

and director speaking with great passion 

about her project, Unbroken. 

This fall, Geena Davis and her colleagues 

convened decision makers interested in the 

empowerment of women and girls at symposia 

held in New York, Washington, D.C., and Los 

Angeles. John Fithian and I had the opportunity 

to attend the Washington, D.C., event 

titled, “Second Symposium on Gender in the 

Media.” The program featured keynote remarks 

by Davis, a presentation of the “Gender Bias 

Without Borders” research results by Stacy 

Smith of the USC Annenberg School, and a 

panel of thought leaders discussing, “Stories 

from Around the World: Empowering Women 

and Girls Through Film.” Elizabeth Frank, 

chief content and programming officer, AMC 

Theatres, participated in the panel that discussed 

the impact of global film on women and 

girls, as well as best practices to drive change. 

The presentations that afternoon led to the 

undeniable conclusion that gender inequality 

is rampant in global films. Not one country 

is anywhere near representing the reality 

that girls and women comprise fully half of 

humanity. Half. Not 30.9 percent. Half. It is 

critical that exhibition and distribution, with 

a customer base that is at least half female, 

address this imbalance. One might ask, but 

what can I do? 

Content creators can do a lot to affect 

change, and many are stepping up to the plate. 

Davis reported that 68 percent of the entertainment-industry 

executives familiar with 

the message said they had used the institute’s 

research in two or more projects, and 41percent 

had used the findings in three or more projects. 

When asked what they had changed, over 25 

percent had changed the aspirations or occupations 

of female characters or their dialogue. “If 

she can see it, she can be it,” one of the institute’s 

key messages, is taking root. Davis makes 

the point that while gender equality in “the real 

world” will take years to achieve, underrepresentation 

of girls and women on screen can be 

fixed immediately. “In the time it takes to make 

a movie, we can change what the future looks 

like,” she said. “There are woefully few women 

CEOs in the world, but there can immediately 

be lots of them in films.” 

It’s not only content creators who can 

positively affect change. Leaders in all 

segments of the industry can be advocates 

for gender equality. Exhibitors can be aware 

of gender balance when making decisions 

about what content to play on their screens. 

Choose to show gender-balanced films on your 

screens. Exhibitors and distributors can create 

and maintain inclusive workplaces. Choose 

inclusiveness. Research suggests that gender 

balance is directly related to good decision 

making. Diverse inputs from individuals 

with different backgrounds result in better 

outcomes. Inclusiveness is not only the right 

thing to do; it’s the smart thing to do. Engage 

women and men as advocates for change. To 

hear a compelling argument, listen to Emma 

Watson’s speech before the United Nations as 

part of the HeForShe campaign. 

Senator Amy Klobuchar from my home 

state of Minnesota recently shared some advice 

she was given regarding how to best advocate 

for gender equality: “Speak softly and carry a 

big statistic.” She rejected the “speak softly” 

part, noting her preference to speak with 

passion, but she agreed wholeheartedly with 

the importance of having solid data. The Geena 

Davis Institute provides an abundance of 

entertainment industry–specific data to support 

the message. Read the research findings. The 

institute’s website is aptly named www.seejane. 

org. Think about the data and incorporate it in 

your decision making. 

Celebrate the women in your organizations 

and industry. NATO applauds BoxOffice Pro 

for publishing “Women in Exhibition and 

Distribution” in the February 2013 issue. Last 

year the magazine recognized five exceptional 

women in exhibition and distribution—Amy 

Miles (Regal), Pat Gonzalez (Paramount), Nora 

Dashwood (ArcLight), Elizabeth Frank (AMC), 

and Nikki Rocco (Universal). BoxOffice Pro 

continued its focus on women in last month’s 

issue by recognizing nine women who are 

making significant contributions to the industry—Marianne 

Abiaad (Royal Corporation), 

Susie Beiersdorf (Sony Electronics), Mariana 

Hong (MasterImage 3D), Belinda Judson 

(NATO Regionals), Pat Marshall (Cineplex), 

Kelly O’Connor (Warner Bros.), Shelly Olesen 

(C. Cretors and Company), Darryl Schaffer 

(Screenvision), and Ann Stadler (Marcus 

Theatres). 

NATO celebrated Nikki Rocco this fall 

at NATO’s advisory board meeting as she 

prepares to step down as president of domestic 

distribution at Universal Pictures after 47 years 

at the studio. Rocco was the first woman to 

be named, in 1996, to head a major studio’s 

theatrical distribution operations. Thank you, 

Nikki Rocco, for providing women throughout 

the industry with a most positive representation 

of female executive leadership. “If they can see 

it, they can be it.” n 


THE MODERN 

THEATER 

CINETECA NACIONAL S. XXI 

(RENOVATION AND EXPANSION) 

Location: Mexico City 

Operator: CONACULTA 

Opened: 2012 

Screens: 11 

Seats: 2,495 (plus outdoor amphitheater) 

Architect: Rojkind Arquitectos 

Sited in the southwestern quadrant of Mexico 

City, the revitalized Cineteca Nacional campus saw 

806,803 eager moviesgoers in 2013—a 29 percent 

increase year over year. It reopened in 2012 after local 

firm Rojkind Arquitectos renovated the six original 

screening rooms, which date back to 1982, and added 

four additional theaters; the structures are connected 

overhead by a steel roof canopy clad in perforated 

aluminum panels that allow daylight and natural 

air to flow into the circulation spaces. But the best 

promotion for the movie industry comes in the form 

of a large outdoor screen integrated into the facade of 

the building, which invites crowds numbering into 

the thousands to come and watch films al fresco in 

the outdoor amphitheater. 

MODERN 

MARVELS 

OF CINEMA 

ARCHITECTURE 

by Katie Gerfen and David Binet 

n There is some debate about which 

building can claim the title of the first 

movie theater. Does the honor belong 

to the 72-seat Vitascope Theater, which 

showed its first film in the basement of 

Buffalo’s Ellicott Square Building in 1896? 

The converted store known as Vitascope 

Hall that opened in New Orleans in 1895? 

Or Berlin’s Wintergarten theater, which 

was the site of one of the earliest public 

viewings of a film by the Skladanowsky 

brothers in that same year? Regardless 

of who got there first, the popularity of 

films quickly spawned an architectural 

tradition that continues today. Be they 

rendered in intricate Art Deco splendor, 

modernist concrete, or contemporary 

steel, cultural palaces to motion pictures 

have been cropping up around the globe 

for more than a century, defining cities, 

streetscapes, and, more importantly, creating 

a sense of wonder in their visitors. 

Here are just a few that prove that architecture 

can help to craft a moviegoing 

experience that won’t soon be forgotten. 

CINERAMA DOME 

Location: Los Angeles 

Operator: Pacific Theatres / ArcLight Cinemas 

Opened: 1963 

Screens: 1 

Seats: 856 

Architect: Welton Becket and Associates 

Built in only 16 weeks, this iconic dome at 

Sunset and Vine in Los Angeles was slated 

to be the first in a series of hundreds of such 

prefab structures to go up around the country. 

Designed by Welton Becket and Associates (of 

Capitol Records Building fame), the structure 

was based on R. Buckminster Fuller’s geodesic 

dome and is composed of 316 precast concrete 

panels. When the theater opened with a showing 

of It’s a Mad, Mad, Mad, Mad World with 

Spencer Tracy, it housed 937 seats in front of 

its curved screen; a 2002 renovation that connected 

it to the 14-screen ArcLight Cinemas 

reduced that to 856. 

THE SKANDIA THEATRE 

Location: Stockholm, Sweden 

Operator: Nordic Cinema Group 

Opened: 1923 

Screens: 1 

Seats: 570 

Architect: Gunnar Asplund 

According to Chinie Hagen of SF Bio, 

world-renowned Swedish designer Gunnar 

Asplund imagined the Skandia in a style known 

as semi-atmospheric cinema. Patrons would 

enter the cinema by way of a square, indicative 


THE MODERN THEATER 

of the Italian piazzas. They would 

then be led through inner-city streets 

and large gates and enter an auditorium 

with the illusion of a night sky 

overhead. 

The Skandia now operates on a minimal 

schedule, hosting the Stockholm 

International Film festival 

every November, as well as public 

lectures, and other private events. 

WANDA CINEMAS 

LUOYANG 

Location: Luoyang, China 

Operator: Wanda International 

Cinema 

Opened: 2011 

Screens: 8 

Architect: AXIS Design Union 

A modern, irregular luminescence 

defines Wanda’s innovative cinema 

in Luoyang (above, left). Inspired 

by the film Red Sorghum (“Hong 

gao liang”), Wanda’s signature red 

permeates all aspects of this imaginative 

design. The director of Red 

Sorghum, Yi-Mou Zhang, said that 

movies are dreams. The goal of the 

designers was to create a geometric 

wonderland where patrons could 

escape into the world of the cinema 

and leave their worries outside, thus 

embracing that dreamlike environment. 

ZIEGFELD THEATRE 

Location: New York 

Operator: Bow Tie Cinemas 

Opened: 1969 

Screens: 1 

Seats: 1,131 

Architect: Emery Roth & Sons 

Built a few hundred feet from 

the original Ziegfeld Theatre, this 

cinema treasure remains one of the 

few remaining single-screen palaces 

in the United States. The interior 

design by John McNamara elicits 

nostalgia for the old American movie 

palace with its deep-red and darkwood 

motifs. The Ziegfeld has hosted 

numerous premieres (including a 

screening of Cry, the Beloved Country 

in 1995 with Nelson Mandela in 

attendance) and special events, given 

the grand scope of the auditorium 

and the prime midtown location. 

Katie Gerfen is executive editor, 

design for ARCHITECT magazine. 

n 


We Congratulate the 2014 ShowEast Award Honorees 

SHOW “E” AWARD 

Ken Caldwell – Walt Disney Studios Motion Pictures 

INTERNATIONAL EXHIBITOR OF THE YEAR 

Eduardo Acuña – Cinépolis 

SALAH M. HASSANEIN HUMANITARIAN AWARD 

Malco Theatres 

Accepted by Bobby Levy 

AL SHAPIRO DISTINGUISHED SERVICE AWARD 

Jody & Stanley J. Reynolds, 

Reynolds & Reynolds Inc. 

RENTRAK’S LATIN AMERICAN BOX OFFICE ACHIEVEMENT AWARD 

Presented to Walt Disney Studios Motion Pictures International for “Maleficent” 

AWARD OF COMMENDATION 

ANCINE (National Cinema Agency) 

Accepted by Manoel Rangel 

BINGHAM RAY INDEPENDENT SPIRIT AWARD 

Randy Ostrow 

Independent Producer 

INTERNATIONAL DISTRIBUTOR OF THE YEAR 

Videocine – Accepted by Emilio Azcárraga Jean 

ANTI-PIRACY LATIN AMERICAN GOVERNMENT LEADERSHIP AWARD 

Arturo Ancona, Head of the PGR Specialized Unit Against IP Crimes, Mexico 

2014 ShowEast Hall of Fame Inductees 

Eugene Amodeo* 

Libby Mauro 

Henri Frankfurter 

Juli Mitchell 

Florence Groner 

Thom Velde 

* posthumous

SAVING 

ENERGY 

GREEN IS THE 

NEW BLACK 

by David Richards 

n Like many other businesspeople, theater 

owners are always looking at ways to eliminate 

inefficiencies and reduce wasted money. Energy 

costs are a significant portion of the overhead of 

running a theater; reducing electricity usage not 

only lowers costs and helps your bottom line, it 

also reduces your carbon footprint and is nice 

for the planet. 

A way to reduce energy usage is to simply 

turn off equipment at night when it isn’t needed. 

However, one of the aspects of the automated, 

all-digital cinema is that now someone has 

to make a special trip to the projection booth 

to power equipment on or off. As a practical 

matter, turning off the equipment at night 

doesn’t always happen, whether it’s the policy 

in your theater or not. The projector lamp 

will often be turned off by the automation, 

but cooling fans, audio amplifiers, and other 

equipment often remain on. 

As an illustration of energy wasted during 

off hours, let’s consider the idle power consumed 

by a typical audio rack. Even when not 

being used to show a movie, an audio rack can 

draw as much as 120 watts per amplifier, which 

might add up to 700 watts. Many theaters 

are installing new immersive audio systems 

with even more speakers and amplifiers than 

usual, which also increases the energy used to 

perhaps as much as 1 kilowatt of power at idle! 

That power is consumed 365 days a year, 12 

hours a day during off-hours for no purpose. 

For a 10-screen multiplex this could cost the 

theater owner from $4,000 to $6,000 per year, 

depending on the number of amplifiers and the 

local cost of electricity. 

If your theater personnel do, in fact, turn 

everything off at night and on again in the 

morning, that can accomplish the energy 

savings but can take a fair amount of time in 

a large multiplex. And it still results in wear 

and tear on breakers and switches. Reports are 

common of power switches and breakers failing 

from the constant cycling. 

Moving iMage Technologies offers a series 

of products to address this problem. The IS-20 

Power Manager series (pictured) was designed 

specifically to turn equipment on when needed, 

and off when not needed. The unit switches six 

circuits of 20 amps each, or up to 120 amperes 

of AC current. It may be used to control the 

power to the projector, the playback server, and 

audio gear including the sound processor and 

amplifiers. Commands to power equipment up 

and down can be sent by contact closure, serial 

communication, or over a local area network. 

The device includes inrush surge protection 

to softly apply the AC voltage and sequences 

the six circuits on or off over several seconds to 

minimize current surges at the building load 

center. It also includes UL 1449 level-three 

surge protection devices to protect delicate 

equipment from voltage surges and spikes that 

might come in on the supply voltage. 

The IS-20 series was designed especially for 

supplying amplifiers in an audio rack, however 

it’s equally applicable to controlling house 

lighting, signs or marquee lighting, the concession 

stand, or any other aspect of the theater 

where it’s desirable to power equipment on and 

off on a daily basis. One of the side benefits of 

the product is being able to remotely reset a 

piece of equipment that may have stopped responding 

to cues or commands. A technician in 

a network operations center hundreds of miles 

away can toggle the power to the equipment off 

and on again to reset it, potentially avoiding a 

trip by a service technician. 

The IS-20a base model allows on/off control 

of all six channels. The more advanced IS-20d 

model allows individual control of each AC 

circuit and also allows the user to program 

specific time delays for each channel using a 

user-friendly graphical user interface. Both 

models monitor the AC outputs and provide 

feedback via the Internet if any power circuit 

has failed. 

The IS-20a and IS-20d products are the 

first in a series of new tools being developed by 

Moving iMage Technologies to help theaters 

“go green.” Because going green can add black 

to your bottom line. n 

David Richards has over 20 years of experience 

in the cinema industry. He spent 

six years in engineering and engineering 

management positions at Christie Digital 

Systems in Cypress, California, prior to 

being a co-founder and partner in Moving 

iMage Technologies in 2003, where he 

serves as vice president of engineering. 

Richards has been active in the Society of 

Motion Picture and Television Engineers 

(SMPTE) since 1986, serving on several 

engineering committees and as an officer 

in the Hollywood Section. He is the author 

of several technical papers and articles for 

trade publications. 


BOXOFFICE 

CLASSICS 

Snow White and the Seven Dwarfs 

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Walt Disney 

Animation Studios 

The image on the left is a full-page ad that appeared in the Jan. 1, 1938, edition 

of BOXOFFICE. Leave it to Disney to announce the world’s first animated 

feature with such simplicity. At the time of this ad placement, the film 

was still a month away from its general release (it was playing exclusively 

to sold-out crowds—twice a day— at L.A.’s iconic Carthay Circle Theater). 

It was a colossal hit—the highest-grossing film of all time. Since then, Walt 

Disney Animation Studios has garnered many accolades. Last year’s Frozen 

won the Oscar for Best Animated Feature while Beauty and the Beast was 

the first animated film to be nominated Best Picture. The ad on the following 

page, placed by Walt Disney’s distributor at the time, Columbia Pictures, 

appeared when Mickey Mouse was just 18 months old (Mar. 18, 1930). Our 

connection to Disney doesn’t stop there. The magazine you are holding is 

printed outside Kansas City in Marceline, Missouri—the childhood home of 

Walt Disney. 


DISNEY’S 54 ANIMATED FEATURES 

Snow White and the Seven Dwarfs 

Pinocchio 

Fantasia 

Dumbo 

Bambi 

Saludos Amigos 

The Three Caballeros 

Make Mine Music 

Fun and Fancy Free 

Melody Time 

The Adventures of Ichabod and Mr. Toad 

Cinderella 

Alice in Wonderland 

Peter Pan 

Lady and the Tramp 

Sleeping Beauty 

One Hundred and One Dalmatians 

The Sword in the Stone 

The Jungle Book 

The Aristocats 

Robin Hood 

The Many Adventures of Winnie the Pooh 

The Rescuers 

The Fox and the Hound 

The Black Cauldron 

The Great Mouse Detective 

Oliver & Company 

The Little Mermaid 

The Rescuers Down Under 

Beauty and the Beast 

Aladdin 

The Lion King 

Pocahontas 

The Hunchback of Notre Dame 

Hercules 

Mulan 

Tarzan 

Fantasia 

Dinosaur 

The Emperor’s New Groove 

Atlantis: The Lost Empire 

Lilo & Stitch 

Treasure Planet 

Brother Bear 

Home on the Range 

Chicken Little 

Meet the Robinsons 

Bolt 

The Princess and the Frog 

Tangled 

Winnie the Pooh 

Wreck-It Ralph 

Frozen 

Big Hero 6 

YOU 

ARE 

NO 

LONGER 

ALONE. 

Hiro & Baymax, 

stars of Big Hero 6, 

e 

Animation Studio’s 

e 

feefi 

oe 

month 

SONICEQUIPMENT.COM 

NOVEMBER 2014 BoxOffice ® Pro 

The Business of Movies 

23

PART 4 OF 5 

by Phil Contrino 

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 BOXOFFICE ® 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 

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

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

and witter have on the bo office since ay . So it 

only makes sense that all this coverage would lead to 

our first BOXOFFICE 

® Social Club. Over the next 

CRYSTAL TRAWICK 

MARKETING PROJECTS MANAGER 

CARMIKE CINEMAS 

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. he right tweet can make 

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

from someone famous. 

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With a footprint of 278 locations across 

41 states, it is important to represent 

our brand identity while maintaining 

a consistent message that reflects 

our company’s culture of service 

and excellence in entertainment. 

However, we also acknowledge the 

unique identity of each market we 

serve. It is clear that no centralized 

message can adequately 

personalize the experience of our 

guest, and therefore we work 

alongside our management team 

while relying on their expertise to 

appropriately engage our guest in 

the social media arena. 

In summary, our philosophy regard- 

ing social media is more of a blend of 

centralized control with local accessi- 

bility in order to provide an engaging 

experience for our guest. 

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For a social media promotion, typically support is provided from multiple 

platforms to ensure the targeted exposure rate for the campaign 

is reached through grassroots efforts and high virality. Utilizing the 

national site, localized pages, paid advertisement, in-theater marketing 

materials, and our website, we are able to accomplish higher rates of 

exposure and engagement for a campaign. 

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It is important to create a conversation through engaging content, not a 

push notification. Therefore, we have developed a content schedule that 

covers a wide spectrum of our industry, with each post encouraging 

guests to engage our sites through commentary and true social networking. 

Our post schedule is tailored to trends, exclusive information, 

and special offers, which adds value for each of our followers. 

Frequency is another factor we pay close attention to and regulate. 

After several studies of our site, we’ve reviewed the trending behavior of 

our guests’ interactions to find the sweet spot for post frequency. Again, 

it is important to keep our guests engaged while not over-communicating 

or appearing to push unwarranted information. 

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o 

With our Go for the Gold promotion, we truly saw the strength of an 

engaging social media strategy. During this promotion we developed 

a call to action within our social media platform, prompting guests to 

attend our locations for a special offer. The redemption was executed 

through the use of a follower’s mobile device at our POS systems 

within our participating locations. Throughout this promotion, we 

were able to measure the impact of this strategy through considerably 

increased foot traffic during nonpeak business hours. n 


THE BOXOFFICE SOCIAL CLUB 

KELLY SAMARDAK 

MARKETING MANAGER 

CINEMA EQUIPMENT + SUPPLIES 

Please tell our readers about your role with Cinema Equipment 

and Supplies. What does your average day look like? 

I am the marketing manager. Every day is different with the various exciting 

projects I’m working on and the brilliant teams I get to work with. 

On any day I could be conducting a brainstorming session for new product 

branding and packaging, meeting with the Cielo (our patent-pending 

software service that enables cinema managers and owners to manage 

their cinemas from anywhere) product team, planning for and participating 

in trade shows, securing ad space, and, most importantly, making 

sure that CE+S continues to be known for delivering quality solutions for 

the cinema industry. Woven in between all of that is one of my favorite 

roles: amplifying our corporate culture internally and externally through 

social media. 

What kind of social media messages do you think your followers 

respond to most? Why do you think that is? 

The challenge of running social media accounts for B2B is understand- 

ing what the end goal is. Do we expect to sell 20 digital projectors in 

response to a Facebook or Instagram post? Let’s be realistic; it would 

be great, but that’s probably not going to happen. What we’re 

doing with our social channels is sharing the company with our 

friends, partners, and employees. CE+S has over 30 years’ experience 

providing solutions to the cinema industry. What began 

as a mom-and-pop shop is rapidly expanding while maintaining 

the family business values. The growth we’re experiencing 

is exciting, and we want to share our story with the people 

who make our growth possible. 

Facebook insights prove that images shared from our photo archives and 

glimpses into our employee activities are the most engaging. Stats and 

follower counts are great, but that human connection is the real bonus. 

Via Twitter, we were able to drive traffic to our CineEurope booth simply 

by engaging in conversation. From an internal communications perspective, 

it has been really rewarding to share our photos from the trade-show 

circuit—our whole team contributes to the success of our expo team, and 

they appreciate being along for the ride via social media. 

A big dream of mine is to see #weirdcinemawednesday catch on, on 

Instagram and Twitter. I’ve been encouraging people each Wednesday to 

share stills, quotes, etc. from weird movies. So far I am the only participant. 

Let’s make it happen! 

How has social media changed what you do as a marketer? 

Besides having neck pains from looking at my phone, social media 

communication as a piece of the marketing pie gives me the opportunity 

to make meaningful connections with our customers and 

partners. Cinema Equipment and Supplies is international, 

and social media outlets create a virtual 

watercooler where we can share the culture 

of the company, reconnect with partners, celebrate 

customer triumphs (like full digital 

conversion), and embrace the special 

industry in which we work. n 

With Kelly is the familiar face of character 

actor Richard Riehle, who has appeared 

in countless television shows 

feeficGlory, 

Casino, Office Space, Bridesmaids, 

and Transformers: Age 

of Extinction 

26


ALISON MAXON 

PRESS & PR SPECIALIST, NORTH AMERICA 

BARCO INC. 

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Overall, I think it’s a good 

practice for any company, large 

or small, to leverage a mix of today’s 

key social media platforms 

as each offers a unique way to 

share relevant news as well as 

increase brand awareness. 

At Barco, we are heavily 

involved in Twitter, Facebook, 

and LinkedIn. Each 

platform allows us to deliver 

various information and 

thought-leadership messaging 

in different ways 

and can better ensure that 

we are touching our key 

audiences. One must 

remember that not 

everyone is on Twitter. 


Do you try to keep the tone of your social media 

ofoooofioeoeeffece 

to mix up the tone? 

As Barco is in a multitude of markets, from digital cinema 

to health care to media and entertainment to corporate 

AV, each with a unique audience that is looking for specific 

information, we work to craft our posts that are in the 

best-fitting tone and will grab the audiences’ attention. It’s 

important to know not just what you are talking about, 

but who you are talking to when it comes to strong social 

media presence. 

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eeooeec 

Yes and no. There are definitely more people involved with 

a tech background, which makes it more convenient for us 

in engaging with them through social media. However, what 

makes social media a challenge is that its parameters must be 

understood in order to stand out to those you wish to impact. 

Again, it’s about knowing who you are targeting, what you 

are sharing, and how the social media tool being used works 

best in delivering it. n 



JODI AKERS 

MARKETING SPECIALIST 

CLASSIC CINEMAS 

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office 

We handle the majority of our 

social media efforts through our 

home office. This way our managers 

can focus on the operation 

of the theaters instead of having 

to worry about posting to our 

various social media accounts. 

Managers are encouraged to 

share ideas, promotions, and 

photos with us, but we actually 

post on our different platforms. 

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Facebook and Pinterest are the most popular platforms with 

our guests. We do use other social media sites as well, but 

these two are where we see the most interaction. We share 

information on upcoming events, promotions, last-minute 

changes, and new films opening at our locations. 

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eeoooooeeo 

Every summer we run a nine-week series called the Wednes- 

day Morning Movie Series. For nine weeks we show G- and 

PG-rated films at 10 a.m. each Wednesday for just one 

dollar. In addition to the family-friendly movie, our staff 

plays interactive games with the kids before the movie; we 

also routinely have costume characters to interact with our 

guests. We are sure to include photos on our website and 

social media pages. Our Facebook fans help us promote 

this series as they share the schedule and photos with their 

friends. We continue to see increased attendance each year. 

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The way we are able to communicate with our patrons. 

Being able to inform our guests immediately regarding up- 

coming events and any last-minute activity at our locations. 

We have the ability to interact and respond to any customer 

questions or issues in a timely manner. Guests expect imme- 

diate feedback and social media gives us the ability to meet 

or exceed their expectations. n 

NOVEMBER 2014 

BoxOffice ® Pro The Business of Movies 31

SHOW “E” AWARD 

KEN CALDWELL 

Senior Vice President, 

North American Theatrical Sales 

Walt Disney Studios Motion Picture 

Distribution 

Ken Caldwell will be the recipient of 

the Show “E” Award, an annual award 

celebrating one of the year’s most 

outstanding industry professionals. 

Caldwell has more than thirty years’ 

experience in theatrical distribution 

for Disney and currently oversees all 

of the studio’s releases throughout 

the North American market. 

BINGHAM RAY SPIRIT AWARD 

RANDY OSTROW 

SALAH M. HASSANEIN 

HUMANITARIAN AWARD 

MALCO THEATRES 

Malco president and CEO, Stephen P. 

Lightman, will be accepting the 2014 

Salah M. Hassanein Humanitarian 

Award on behalf of his company as 

Malco approaches its 100th anniversary 

in 2015. The annual award recognizes 

an industry leader’s efforts in 

the philanthropic community. Malco 

Theatres currently operates in 33 locations 

with a combined total of 345 

screens across Arkansas, Kentucky, 

Louisiana, Mississippi, Missouri, and 

Tennessee. 

Randy strows storied career as a film producer includes a number of years 

when he crossed paths and collaborated with his childhood friend, Bingham 

Ray. Ostrow will be receiving the award established in his friend’s memory, 

given to a member of the industry who reects Rays independent spirit and 

creative vision. 

AL SHAPIRO 

DISTINGUISHED SERVICE 

AWARD 

JODY REYNOLDS 

Secretary of the Board 


STANLEY J. REYNOLDS 

President, CEO 


Reynolds & Reynolds has built a 

name for itself as a leader in the insurance 

business. The company was 

founded by Stanley J. Reynolds in 

1976 and quickly grew well beyond 

the borders of its home state of Iowa. 

Today, Reynolds & Reynolds offers 

a wide range of insurance services, 

including a special nationwide program 

focused specifically on cinemas. 

ShowEast will commend Stanley 

and Jody’s commitment to charitable 

causes throughout the years with 

the Al Shapiro Distinguished Service 

Award. 

INTERNATIONAL DISTRIBUTOR 

OF THE YEAR 

VIDEOCINE 

Emilio Azcárraga, chairman of the board of Grupo Televisa, 

will be on hand to receive the International Distributor 

of the Year award on behalf of Videocine. The company 

has a track record of bringing hit films to the eican 

bo office parent company elevisa looks to be on 

track to replicate that success across the border through 

Pantelion, its partnership with Lionsgate, dedicated to 

bringing theatrical films to atino audiences in the nited 

States. 

ANTI-PIRACY LATIN AMERICAN 

GOVERNMENT LEADERSHIP AWARD 

MEXICO’S SPECIALIZED UNIT AGAINST IP CRIMES 

rturo ncona, head of eicos , the attorney 

general’s specialized investigations unit against copyright 

and industrial property crimes, will receive the Anti-Piracy 

Latin American Government Leadership Award 

on behalf of the organization he represents. Ancona 

has headed since , thus complementing 

a long career in public service, legal practice, and academia, 

where he has worked tirelessly to defend copyright 

laws in Mexico. 

AWARD OF COMMENDATION 

MANOEL RANGEL 

CEO 

ANCINE 

As the CEO of Brazil’s Agência Nacional do Cinema (AN- 

CINE), Manoel Rangel has dedicated his time to ensuring 

the well-being and growth of the Brazilian exhibition 

market through promotion, regulation, and overall 

supervision of the industry. Rangel has headed ANCINE 

since 2006 and has overseen the Brazilian market’s rise 

into one of the most dynamic in the global exhibition 

business. 

RENTRAK LATIN AMERICAN BOX OFFICE ACHIEVEMENT AWARD 

MALEFICENTeo 

Maleficent proved to be a global bo office uggernaut for Disney, grossing over million worldwide, 

with over two-thirds of its global haul coming from outside orth America. The film broe maor bo 

office milestones across a variety of individual Latin American marets, including crossing the 

million threshold in eneuela, the million mar in Brail, and the million milestone in eico. 


BOXOFFICE Congratulates the 

2014 ShowEast Hall of Fame Inductees 

Eugene Amodeo Julie Mitchell Thom Velde 

Henri Frankfurter Libby Mauro Florence Groner 

SHOWEAST HALL OF FAME CURRENT MEMBERS 

Steve Horton Rex Norris Elmer Bills 

Bruce Olson Joan Corrado Chuck Goldwater 

Sonny Gourley Bert Livingston Jorge Peregrino 

Stan Reynolds Sr. Craig Zeltner Marty Zeidman 

Chuck Viane Danny Seddon Steve Friedstrom 

Kathleen Ciaramello Frank Carroll Ron Polon 

Bud Mayo Noel Kendall Tony Kerasotes 

David Garel Claude Chene MaryAnn Anderson 

Jerry Brand Bob Capps Wayne Lewellen 

Mike Mihalich Bill Towey Rene Brunet 

Bill Hertz George Levitt Tom Sawyer 

Dean Schaff Mike Share Ioan Allen 

Phil Fortune Tom Moyer Jim Nocella 

Arnold Shartin Bill Stembler John Stembler, Jr. 

Roy White Royce Brimage Robert Dowling 

Larry Hanson Joe Kennedy Ronald P. Krueger 

Hal McClure Tony Rhead Gino Campagnola 

Harry Clark Al Frank Jerry Gordon 

Red Harkins Mike Kominsky Rod Rodriguez 

Kip Smiley, Sr. Shirley Becker Ralph Donnell 

Steve Ellman Lou Lencioni Frank Patterson 

Frank Welton Phil Barlow Jerry Gruenberg 

Arnie Lewis Marcus Loew Jim Merck 

Seymour Smith Jack Teahan Phil Borack 

Sherrill C. Corwin Sheila DeLoach Richard Graff 

Larry Lapidus Irving Lomis Ted Mann 

Arthur Manson Jim Murray Gen. John Stembler, Sr. 

Paul Del Rossi Jerry Forman Ted Pedas 

Bud Stone Raymond Syufy, Sr. Jim Velde 

Nat Fellman Lee Roy Mitchell Pat Notaro 

Carl Patrick Barry Reardon Ted Solomon 

Stanley H. Durwood Sam Feldman Michael R. Forman 

Salah M. Hassanein Leo Jaffe Frank Mancuso 

Ben Marcus Bernard Myerson Bert Nathan 

Sumner Redstone Harmon “Bud” Rifkin Paul Roth 

Tom Sherak Mort Sunshine Jack Valenti

BGW 

In response to new audio formats such as Dolby Atmos 

and Aurosound 3D, BGW introduces new Immersive 

Sound mplifiers below, right. hese new Bs pack 

up to 16 channels in a single chassis and do it with power 

and control never before available in any commercial 

amplifier. hese new Bs are fully balanced differential 

amplifiersan industry firstand offer unprecedented 

speed, control, and low noise. 

Signaltonoise ratio approaches a staggering dB. 

Silence never sounded better. 

new clipdetector and limiter circuit make it 

impossible to overdrive the amp. Distortion remains 

below 1 percent regardless of the drive conditions. 

• Each channel is fully protected from overvoltage, 

overcurrent, short circuits, or other faults by optically 

coupled circuits that remain outside the signal path. 

• Versatile channel assignments: 

BGW’s Immersive Sound 

mplifiers are 

available in 

multiple power 

configurations 

including 

200W x 16, 

400W x 8, 

and 800W 

x 4 all in a 

single amplifier 

chassis. 

BARCO 

With its stunningly 

bright and uniform 

images, crisp detail, and 

exceptionally rich colors, 

the Barco laser projector 

(left) radically improves 

the 3D and general 

cinema experience. It 

is the worlds first laser 

projector capable of 

displaying 4K HFR content 

(from 48 up to 60 fps) 

and 4K 3D content thanks 

to Barco’s revolutionary 

lchemy technology.t 

also uniquely features a 

fully integrated system 

with unified laser light sources 

that are housed inside the projector. 

ffering maimum efficiency in colorbased 

3D from a single projector, Barco’s innovative laser 

model delivers brighter 3D and constant, uniform images 

with ecellent contrast and no lamp icker. 

Barco Escape is the company’s new multiscreen, 

degree panoramic movie format and a new way of 

experiencing the movies. Instead of just one screen, Barco 

Escape uses three screens, creating an atmosphere that 

puts the viewers in the middle of the experience. Imagine 

watching a movie that’s not just in front of you, but 

everywhere around you, a movie experience that envelops 

your sense in the story in a way that allows you to truly be 

in the movies, not just at the movies. 

3078 Prospect Park Drive 

Rancho Cordova CA 95670 

 

www.barco.com/en/Contact 

www.barco.comenmarketsigitalcinema 

1749 Chapin Road 

Montebello, CA 

90640 

 

info@bgw.com 

www.bgw.com 


CINEMA EQUIPMENT AND 

SUPPLIES 

Cinema Equipment and Supplies (CE+S) introduces Cielo, a patent-pending 

software application (right) that enables cinema owners and managers to 

manage their cinemas from absolutely anywhere. Cielo integrates with the 

cinema’s network operations center (NOC), gathers data, and displays 

immediately actionable alerts to the cinema manager or owner to ensure 

efficient asset and consumable updates, resulting in less downtime. his 

streamlined communication does not require managers to be on-site, giving 

them the power to oversee their cinema operations from anywhere. 

Cielo is the perfect complement to network operations center (NOC) 

services. Communication is streamlined, transparent, and proactive. 

12457 S.W. 130th Street 

Miami, FL 33186 

305-232-8182 

www.cinemaequip.com/cielo 

CHRISTIE 

Christie Professional Services will debut its new Christie 

Experiential Network business with theater solutions for 

exhibitors, studios and brands. “From the Street to the 

Screens” (above) transforms patrons’ entire cinema experience 

with outdoor projection mapping and a fully interactive, 

multiplatform, revenue-generating digital hub inside. Christie 

is one of the few international companies to offer a completely 

integrated digital signage delivery, from strategy and content 

creation to system design and deployment of all visual displays, 

to software and content integration as well as enterprise-level 

network operations center, maintenance, and ongoing technical 

support to keep those systems running 24/7. Lobby signage 

formats can include freestanding displays, menu boards, 

transparent LCDs, and shape-driven, architectural installations. 

10550 Camden Dr. 

Cypress, CA 90630 

714-236-8610 

www.christiedigital.com 


NEW PRODUCTS 

C. CRETORS AND COMPANY 

C. Cretors and Company, the leading designer and manufacturer of food processing 

and concession equipment for 129 years, has announced the Double Feature (right), a 

combination popcorn popper and caramel coater in one unit (patent pending). Users can 

save money and space by buying just one machine to produce excellent caramel corn. The 

Double Feature has a 12 oz. capacity that produces up to 12.5 lbs. of coated popcorn per 

hour. Users simply pop a batch of popcorn, dump it from the kettle, cook a caramel mixture 

in the kettle, then put the popcorn back into the kettle with the heated caramel for coating. 

The unit plugs into a standard electrical outlet and the kettle is made of stainless steel for 

easy cleaning. The Double Feature is an excellent entry-level machine that can produce 

caramel corn nearly anywhere. 

176 Mittel Dr. 

Wood Dale, IL 60191 

847-616 -6900 

800-228-1885 

solesen@cretors.com 

www.cretors.com 

DOREMI 

The Doremi TMS3 (Theatre Management System, shown) is now 

available as a software-only solution (hardware independent). 

The TMS provides a comprehensive user interface and offers 

support for installation on any platform, allowing for lower cost of 

ownership. 

eeeAutomate pre-show and trailer packs insertion 

within playlists/template / Automatic collection and upload 

of standard and custom reports / APIs for third-party 

development (KLV and web service API) / Manage 

content automatically (based on scheduled shows) to 

move content across screens easily. 

1020 Chestnut St. 

Burbank, CA 91506 

818-562-1101 

info@doremilabs.com 

www.doremilabs.com 


ENTERTAINMENT SUPPLY & TECHNOLOGIES 

Entertainment Supply & Technologies and Venue 

aletannounce allonnect, a call button and 

venue management system now available for 

dinein movie theaters. allonnect is composed 

of a hardware and software system and includes 

lit call buttons that allow customers to signal 

wait staff when they require service. It also features 

seat sensors that monitor which seats are occupied 

at any given time and allow theater staff to 

verify customer purchases of tickets for each show 

without an usher present, which creates a more 

welcoming environment for guests and saves labor 

dollars. allonnect software also pulls information 

from other theater management systems, such 

as ticketing, food, and beverage S, as well as 

other systems that may be used by the venue to 

manage its business, and displays all data using a 

single, easytoread dashboard. heater owners, 

managers, and wait staff are able to view the all- 

onnect system screens from anywhere using any 

webenabled device such as a computer, tablet, or 

smartphone. With a continuously evolving set of 

new features, the allonnect system enhances the 

customers cinematic eperience, improves service 

levels, and increases revenue per customer, all at a 

very high return on investment. 

orthdale ecutive enter 

orthdale Blvd., Ste. B 

ampa, 

 

reibenensutec.com 

www.venue-valet.com 


RS 

GOLD MEDAL PRODUCTS 

As government regulations increase, Gold Medal Products Co. responded to not 

only meet but exceed the standards. The PopClean Poppers are designed with 

a specialied filtration system to adhere to B requirements. Steam smoke, 

salt output, and oil vapors created during the popping process are trapped and 

filtered, leaving the area grease and residue free. 

Additional features are included, such as a convenient temperature and 

counter display. n oillevel sensor with indicator comes standard, 

allowing users to easily monitor their oil supply. To address safety concerns, 

the integrated firesuppression system eliminates the need for any thirdparty 

hood above the popper. 

he allstainlesssteel construction makes the oplean oppers easier to clean 

and maintain. lus, lighting and signage are for increased visibility and 

enhanced energy efficiency. vailable with o. or o. kettles, oplean 

oppers come in a variety of models and sies to fit the needs of any sie theater. 

HARKNESS 

rom breathtaking through to 

its spectacular performance in , 

Clarus XC 270, the new high-gain 

surface from arkness Screens, allows 

cinema exhibitors to dramatically 

improve cinema presentation 

without compromising on centerscreen 

brightness. The new fourthgenerationdsmoothcoating 

technology 

has specific properties more commonly 

seen in white screens, allowing for 

improved brightness uniformity and 

color accuracy above that typically seen 

in screens. esigned to work with 

all passive systems, larus 

screens create visibly deeper content 

that draws in the audience, creating a 

more captivating viewing experience. 

arkness Blvd. 

redericksburg, 

540-370-1590 

infousaharknessscreens.com 

www.harknessscreens.comclarusc 

edallion r. 

Cincinnati, OH 45241 

800-543-0862 

info@gmpopcorn.com 

www.gmppcorn.com 

JACK ROE 

Build loyalty with your customers with the updated 

R mobile app shownnow link your device to your 

e-mail address to retrieve past sales history, loyalty points 

information, and gift card balance. Turn your customers’ smartphones into 

portals to your cinema, putting powerful customer-management tools into the 

palms of their hands. The native JACRO app is available for Android, iPhone, 

and Blackberry and uses the devices location services to map the distance to 

the theater and link through to S apps for quick and easy directions. nclude 

also custom pages with information on ticket pricing, special events or loyalty 

programs, providing instant and easy access to key cinema information directly 

from your customers’ mobile devices. Each app is customized to support your 

brands colors and images. his is the latest development in the ack Roe 

Systems product line to help make it easy and affordable for todays cinemas to 

use the latest technology to maimie their ticket and concessions sales. 

206 S. 11th St. 

Nashville, TN 37206 

 

salesackroeusa.com 

www.ackroeusa.com 

IRWIN SEATING COMPANY 

Irwin Seating Company, the leader in seating solutions for the cinema 

industry, is pleased to introduce the Spectrum Recliner Series (shown). 

Spectrum features a full line of interchangeable components that 

allows clients to specify a premium recliner chair that fits their specific 

design criteria. And, of course, since it’s from Irwin Seating Company, 

you can trust the Spectrum Recliner is designed intelligently for easy 

cleaning and maintenance and with the durability that you’ve come 

to expect from Irwin Seating. 

3251 Fruit Ridge N.W. 

Grand Rapids, MI 49544 

866-464-7946 

sales@irwinseating.com 

www.irwinseating.com 

40 BoxOffice ® Pro The Business of Movies 

NOVEMBER 2014

OMNITERM 

Social Rewards is a social media– 

based loyalty marketing program 

that rewards consumers for 

engaging in socialmedia activity 

such as watching ouube videos, 

brand mentions via Twitter, 

and acebook fan activity. By 

participating, the consumer acquires 

Social Rewards points that can be 

transferred to a theater’s loyalty 

program. 

mniterms ntegra heatre 

anager automatically handles the 

transfer process to their loyalty 

account and generates an email 

advising consumers of their new 

point level. Social Rewards points 

are processed in addition to the 

customer’s normal transaction 

points, and any Rewards that are 

reached will be provided on their 

next visit. 

Skymark venue, nit 

ississauga, ntario 

anada, 

 

sales@omniterm.com 

www.omniterm.com 

RETRIEVER SOFTWARE 

Retriever Software introduces Retriever Mobile, a branded mobile app for individual 

theaters and theater circuits. This dynamic app posts schedules by location with links 

tofilmdetails, official websites, and nternet ticket purchasing. pgrades will incorporate 

pushnotifications and mobile wallet functions including customer card redemptions. 

Retriever Softwares updated nternet ticket ticketing module provides a fresh, new 

look that will increase your theaters advance ticket sales. clear screen ow simplifies 

online ticket purchases by your patrons. Retrievers accompanying schedule irame is 

posted directly on your website and conveniently updates the show schedule on your 

web page automatically whenever it changes on the pointofsale. 

Retriever Software is also launching maor enhancements to the Restaurant odule, igital Signage, 

and Realime anagement designed to significantly improve performance and easeofoperation. 

. thaca ve., Ste. 

nglewood, 

888-988-4470 

sales@retrieversoftwareinc.com 

www.retrieversoftwareinc.com 

SONIC EQUIPMENT 

By placing the neisley candy displays on the customer side of the concession area, 

theaters across the country are seeing a dramatic increase in candy sales. 

ustomiable colors tomatch your theaters decor 

• Six-week lead time 

• 44” H x 21.5” W x 37” L 

900 West Miller Rd. 

ola, S 

 

info@sonicequipment.com 

www.sonicequipment.com 


UPCOMING 3D MOVIES 


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 

APR 10 THE WEINSTEIN COMPANY UNDERDOGS 

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 

JUL 10 UNIVERSAL MINIONS 

JUL 17 WARNER BROS. PAN 

JUL 24 SONY/COLUMBIA PIXELS 

JUL 24 FOX POLTERGEIST 

AUG 7 FOX THE FANTASTIC FOUR 

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 THE PEANUTS MOVIE 

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: THROUGH THE LOOKING GLASS 

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 


The next stage in the Disney/Marvel saga is here, 

as Disney Animation makes an obscure Marvel comic its own. 

by Daniel Loria 

What if Mickey Mouse suited up next to the 

Avengers with the help of Goofy and Pluto? 

Yeah, that’s what we thought. And that’s probably 

why the Disney brand has been largely 

muted from the string of global box office hits 

that have spawned since Disney’s acquisition 

of Marvel in 2009. The immense creative freedom and control wielded 

by Marvel in its films have proven to be key factors in its success. The 

series of films derived from comic book properties has generated an 

interconnected universe of heroes, villains, and storylines that audiences 

around the world cannot get enough of. 

To think of the Hollywood super-team that Disney and Marvel 

have created solely in terms of the Marvel Cinematic Universe, however, 

would shortchange the potential growth of both brands. If Marvel 

shines through brighter than Disney in the recent live-action comic book 

adaptations, this winter’s Big Hero 6 opens the door to a Marvel property 

brought to life through the expertise of Disney Animation. 

Big Hero 6 welcomes a new stage in the Disney-Marvel relationship 

by introducing an obscure comic book title as rebooted and reconceptualized 

by Walt Disney Animation Studios. The film tells the story of a 

young genius named Hiro Hamada who teams up with his health-care 

robot, Baymax, and a team of scrappy, improvised crime fighters to solve 

a mystery brewing in the streets of the fictional metropolis San Fransokyo. 

The film’s directing duo Don Hall (Winnie the Pooh) and Chris 

Williams (Bolt) joined BoxOffice in a conversation covering the film’s 

origin, visual style, and their influences as animators. Big Hero 6 hits 

screens nationwide on November 7. (continued on page 46) 


COVER STORY > BIG HERO 6 

INTERVIEW 

DON HALL & CHRIS WILLIAMS 

CO-DIRECTORS > BIG HERO 6 

OPENING NOV. 7 

oocoecoeoec 

ceooBig Hero 6? 

DON HALL After Disney’s acquisition of 

Marvel, I started thinking about what my next 

project would be and was very excited about 

the prospect of mashing up my two passions: 

Disney Animation and Marvel Comics. I started 

looking around through Marvel properties 

and came across this title called Big Hero 6. 

I’d never read it—I just loved the title—so I 

bought the comic and researched it a bit further 

and fell in love with the idea of doing something 

for a Japanese superhero team. Marvel 

gave us their full, enthusiastic blessing to take 

it and make it our own without setting it or 

having to follow the continuity of the Marvel 

Cinematic Universe. We created our own story 

and our own world where these characters live. 

CHRIS WILLIAMS ON HIS EARLY INFLUENCES 

Seeing Superman y was also 

great and so were movies like 

Jaws and Star Warswere all 

children of Star Wars. 

ceex 

DH There was a broad concept of a 14-yearold 

super-genius whose brother passes away, 

and the brother’s robot becomes his surrogate 

big brother. In addition to that, we knew that 

we were going to have an origin story there as 

well. But before spending too much time on 

the story, our producer, John Lasseter, sent us 

on a research trip. John feels that research really 

helps to inspire stories, and that you’ll find 

things on a research trip that you never could 

imagine. It was definitely the case for us when 

we went to Carnegie Mellon; that’s where we 

discovered how we wanted our robot to be. We 

had a strong desire to bring something to the 

screen that hadn’t been seen before. We came 

across a researcher at Carnegie Mellon doing 

work in soft robotics, and once we saw that, we 

knew that we had Baymax. The character’s personality 

came from it being a health-care robot; 

all of that came from that research trip. 

CHRIS WILLIAMS I think there’s always the 

danger to fall into the temptation of racing 

ahead and writing a story and script once you 

sign on to do a film. There’s the danger that 

you’ll bypass the research stage, which can be 

so important to a film. One of the things that 

John talks about is that the story of a movie 

can always change in the years of developing it, 

but you can’t really change the world of a film. 

You need to do your research before you set off 

to build a world like that. That idea is really 

fundamental to the way we do movies here. 

ooeoefico 

eooeeofefi 

oo 

CW We did research into San Francisco and 

Tokyo because we knew that our world was 

going to be a mash-up of both those cities. We 


COVER STORY > BIG HERO 6 

got pretty deep into what this world was 

going to look like well before 

there was a story in place. 

DH It came out of our 

first meeting with 

Marvel, where they 

said they were 

excited about us 

taking a relatively 

obscure property of 

theirs and doing something with it. They 

were very curious to see what we’d do with 

it, and gave us the go-ahead to not have to 

connect it with the Marvel universe. We still 

wanted to keep the Japanese aesthetic, and 

San Francisco came about because it felt 

like an iconic city with a lot of wellknown 

imagery—bridges, houses, cable 

cars, and so on. We thought it would be 

a lot of fun to apply a Japanese aesthetic 

to all of that. There’s something fun 

about the blend, and it’s indicative of 

a trend in the whole film of mashing up 

different concepts: you have the Marvel-Disney 

part, the East-West element, the superhero origin story, 

and a boy-and-his-dog robot story. 

ccficeeooece 

offieBlade RunneroeeoeMinority 

Reporteeeeefoeooo 

oceooeoefeefi 

DH We’re looking at five, ten years down [the road] with what could be 

happening with technology. We didn’t want it to get too 

advanced—none of that stuff with the flying cars. 

We wanted the robot, Baymax, to be the 

technological marvel of the movie. My 

feeling with futuristic movies is that 

they always fall into two categories: 

the cold dystopian future where people 

wear really crisp suits and stop acting 

like people. Then there are also the 

postapocalyptic ones, where the world 

never feels like a fun place to visit for ninety 

minutes. We wanted to make sure our world felt grounded and real. 

CW There are certain technologies in the film that feel pretty advanced, 

and others that feel pretty familiar. It was important that the world 

looked like it had a history and that it felt lived in. It’s dense; 

it’s populated; you get a sense that we understand our world 

beyond what’s in the frame. If you can do that, people feel 

like they’re in a realized place, and they believe the story 

that happens there. 

oeofooefio 

oeeoooefi 

CW Our cinematic influences range from Ordinary 

People to Akira. And you’ll see those 

influences and everything in between. We 

wanted San Fransokyo to have 

a similar feel of a world that 

exists independent of the 

film, a bit like Blade Runner 

did except, of course, 

not in the same film-noir 

way. 

eeooexceoeeoecee 

fefieoe 

CW The first thing we get really excited about is our characters, especially 

the dynamic between our two main characters. We spent years 

developing these stories, and we get to know these characters intimately, 

so seeing people respond to that means a lot to me personally. 

ooffie 

eo 

cee 

o 

fi 

e 

DH I grew up in a small town in Iowa, 

and my favorite time was always Saturday 

afternoon, when I would ride my bike to 

the small local theater. I’d watch whatever 

cool Ray Harryhausen Sinbad movie they 

had, or monster movies like Godzilla. I can 

clearly remember the first time I saw Jaws. I 

was probably too young to see the film, but I 

asked my aunt to take me to go see it, and I loved it. I 

loved being scared and being around adults who were also 

scared out of their minds. 

CW For most of the people who work at Disney Animation, there 

are some pretty transformative moments at movie theaters that really 

shaped who we are. I can certainly remember seeing a print of Bambi 

when I was very young. It’s one of my earliest childhood memories, 

and it really affected me; it’s a big part of why I’m doing this today. 

It’s a movie that is so sweet and so cute but that also has a very heavy 

message; it’s the movie that told 

me that my parents were going to 

die—and what is heavier than that? 

It’s told so well that it left such a 

lasting impression, and it continues 

to impact people very deeply today. 

Seeing Superman fly was also great 

and so were movies like Jaws and 

Star Wars—we’re all children of 

Star Wars. I’m glad Don mentioned 

Harryhausen’s Sinbad movies because 

they are a big part of my early 

childhood memories as well. 

They’re the movies that assured 

me that there were adults 

out there that were into 

the same things I was 

into. That it was going 

to be OK to grow up 

because I wouldn’t have 

to let go of my imagination. 

n 

oeceoeoSupah Ninjas) 

oceoeoooc 

ee30 Rockcooce 

eooBxOeoceco 

ceoo 

eoe 


NEW QSC PRODUCTS AUDIO

INSIDE 

An Interview with Carlos Gutiérrez, 

Co-Founder and Executive Director 

of Cinema Tropical 

Latin America Market Update 

The Local Take: 

Marcos Barros 

Bringing It Home: 

Bruno Wainer 

ShowEast International 

Exhibitor of the Year: 

Eduardo Acúna 

Hispanics and Film: 

A Love Story 

Looking at Latin America: 

An Insider’s Perspective 

INSIDE 

El Momento del Cine Latinoamericano. 

Una Entrevista Exclusiva con Carlos 

Gutiérrez, Co-fundador y Director 

Ejecutivo de Cinema Tropical 

Análisis del Mercado Lationamericano 

La Versión Local: 

Marcos Barros 

Forjando Éxitos Domésticos 

Para el Público Local: 

Bruno Wainer 

ShowEast International 

Exhibitor of the Year: 

Eduardo Acúna 

Hispanos Y el Cine: 

Historia de Amor 

Un Vistazo a Latinoamérica 


FOCUS ON LATIN AMERICA 

LATIN 

AMERICAN 

CINEMA TODAY 

AN INTERVIEW WITH CARLOS 

GUTIÉRREZ, CO-FOUNDER 

AND EXECUTIVE DIRECTOR OF 

CINEMA TROPICAL 


Carlos Gutiérrez knows Latin American cinema. 

In 2001 he and Monika Wagenberg founded 

Cinema Tropical, a cineclub that promotes Latin 

American cinema in the United States. Thirteen 

years on, Cinema Tropical has established itself 

as the resource for Latin American cinema in the 

United States and is involved in the promotion, 

distribution, and support of the region’s cinema 

throughout screens in North America. As the entity’s 

executive director, Carlos Gutiérrez is one of 

the foremost experts on the region’s contemporary 

film scene. Gutiérrez met with me over coffee to 

talk about the current state 

of Latin American cinema 

around the world. 

oooefie 

ecce 

oe 

I think what’s happening 

in Latin American cinema 

right now is impressive; 

it might be in its best 

moment. Latino features 

have benefited greatly over 

the last couple of years, and 

Alfonso Cuarón winning 

the Oscar is a reflection of 

the moment we’re living 

in. The problem is that 

Latin American cinema 

as we understand it has 

totally surpassed three of the binaries in the 

film industry: art and commerce; fiction and 

nonfiction; and auteur cinema and national 

cinema. Those three dichotomies still mark 

the way we think and talk about cinema, and 

I think it’s time we rebel against them because 

it also informs programming. We’ve created 

a division between art-house and mainstream 

circuits when we need to reconsider those 

concepts, and that’s where I believe Latin 

American cinema is most compelling. Latin 

American cinema can experiment a lot more 

because the barriers within the region aren’t 

so black and white, even within categorizing 

what exactly is Latin American. There is a lot 

of diversity. Cinema can break these sorts of 

boundaries, and that’s precisely what Latino 

filmmakers have been able to accomplish: a 

brand of art-house cinema that appeals to a 

slightly wider audience. That’s precisely what 

was behind the success of the “Three Amigos,” 

Guillermo del Toro, Alejandro González 

Iñárritu, and Alfonso Cuarón. Fernando 

Meirelles (City of God) did the same in Brazil, 

and now we have Damián Szifrón doing something 

similar in Argentina with Relatos salvajes. 

foeoeceoeo 

cceoeco 

ffeecoeceoo 

oefieeoeeofceee 

ec (continued on page 54) 

CARLOS GUTIÉRREZ 

EL MOMENTO DEL CINE 

LATINOAMERICANO. UNA 

ENTREVISTA EXCLUSIVA 

CON CARLOS GUTIÉRREZ, 

CO-FUNDADOR Y DIRECTOR 

EJECUTIVO DE CINEMA 

TROPICAL 

Por Daniel Loria 

Carlos Gutiérrez sabe de cine Latinoamericano. 

En el 2001, junto a Monika Wagenberg, 

fundó Cinema Tropical en Nueva York como 

un cineclub enfocado en promover al cine de esa 

región en Estados Unidos. Trece años después de 

su fundación, Cinema Tropical 

se ha establecido como 

un referente del cine latino 

en el país, involucrado en 

la promoción, distribución, 

y apoyo del cine regional 

dentro de las salas norteamericanas. 

En su función 

como director ejecutivo de la 

entidad, Carlos Gutiérrez es 

uno de los expertos del cine 

contemporáneo de la región. 

Gutiérrez compartió varias 

tazas de café con BoxOffice 

en una conversación sobre 

el momento que vive el cine latinoamericano a 

nivel mundial. 

ooefceoeee 

oeo 

Para mí, lo que está pasando en el cine Latinoamericano 

es impresionante. Quizás esté en 

su mejor momento. El largometraje latino se 

ha beneficiado mucho en los últimos años, y 

el hecho de que Alfonso Cuarón haya ganado 

el Oscar es muy significativo e indicativo de 

cómo están las cosas. El problema es que el 

cine como lo entendemos está totalmente 

dividido en de tres binomios: arte y comercio, 

ficción y no-ficción, y cine de autor y cine 

nacional. Son las tres dicotomías que siguen 

marcando al cine, es la manera en la que 

seguimos hablando del cine. Yo siento que 

habría que rebelarnos contra eso, ya que es 

precisamente esto lo que influye y determina 

la exhibición. Se han creado estos circuitos 

divididos de cine comercial y cine arte, 

tenemos que recrear esos conceptos y creo que 

en ese aspecto la parte latina es interesante. 

El cine latinoamericano puede experimentar 

mucho más porque las barreras no están 

precisamente en blanco y negro, desde la 

misma clasificación de ¿qué es lo latino? Hay 

mucha diversidad. El cine latinoamericano 

puede romper estas categorizaciones, y eso es 

justamente lo que los cineastas latinoamericanos 

han podido lograr: un cine de autor que 

puede llegar a una mayor cantidad de público. 

Es precisamente lo que estuvo detrás del éxito 

de los “Tres Amigos,” Guillermo del Toro, Alejandro 

González Iñarritú y Alfonso Cuarón. 

Fernando Meirelles (Cidade de Deus) hizo lo 

mismo por los brasileños y ahora tenemos 

a Damian Szifron logrando algo similar en 

Argentina con Relatos Salvajes. 

eeeeceeefc- 

eeeeef 

ecoec 

coefioocee- 

52 BoxOffice ® o The Business of Movies NOVEMBER 2014

FOCUS ON LATIN AMERICA > CARLOS GUTIÉRREZ 

There is a more local, industry-oriented cinema 

produced by big telecom companies like 

Televisa (Pantelion) and Globo Filmes. Their 

productions are normally romantic comedies 

that appeal to the country’s middle and 

upper-middle classes, but they’re films that 

rarely travel abroad. You also have another 

type of cinema that is more independent in 

nature and tends to be more influential. It’s 

ironic since this is the type of cinema that 

doesn’t get formal distribution and doesn’t 

receive the credit it deserves, since there’s no 

way of quantifying its impact. I’m thinking 

of a film like La libertad from Lisandro 

Alonso, a 2001 release that barely played in 

any territories but nevertheless influenced 

the region’s cinema. 

How has globalization influenced filmmakers 

from the region? 

These filmmakers are usually watching a lot 

more films than the regular public because 

of their presence at film festivals around the 

world. But there are also aspects in a film 

that are hard to articulate: an Argentine film 

can be accessible and even relatable with 

other cultures, but Argentine cinema can be 

many things; there is a whole plurality of 

Argentine cinemas. 

In Europe we hear about the potential 

of a pan-European release, the 

type of film that can succeed across 

borders throughout the continent. Is 

there an equivalent concept in Latin 

America? 

It’s complicated because of the whole global 

validation issue. Commercial cinema proves 

itself through Hollywood, while art-house 

films go through Cannes. Latin America is 

somewhere in the middle of the equation. 

The only outlier exists within local markets, 

the domestic economies of a Mexico or 

Brazil for example, where a film can now 

succeed on its own and that can act as its 

own validation, but that’s only been the case 

as of very recently. Validation for these films 

used to only come from the outside, from its 

international presence. For a film to be seen 

in Latin America it used to have to be validated 

via the U.S. or Europe, whether it be 

through distribution or a film festival. Only 

with that international validation could a 

Latin American find a way to be seen in its 

own region. 

Is there a separation between the Latin 

American public and Latin American 

cinema in the United States? 

We’re talking about apples and oranges. The 

art-house circuit has a built-in audience 

with a certain profile and has maybe had a 

hard time attracting another type of public. 

New York is an exception; it’s one of the few 

cities in the U.S. where you see a variety of 

audiences. If a film has a good base at the 

box office, and there’s a decent marketing 

campaign behind it, Latino audiences will 

come out and support the film. 

We’ve seen a number of Latino 

directors arrive in Hollywood in the 

last number of years. Do you think this 

trend will continue in the future? 

For many filmmakers from the previous 

generation, Hollywood was the only real 

option to make a living as a director. That 

has changed over the last fifteen years; many 

directors (I’d say most of them) think the 

other way around. They want to stay and 

build a career in Latin America. Financing 

has been democratized in Latin America, 

while it has become more difficult to get a 

film financed in Hollywood. That’s why we 

have to give credit to Cuarón and Iñárritu; 

they have been able to work in the United 

States, making the type of films they want 

to make. The difficulty in financing in 

the U.S. adds pressure for films at the box 

office, something that isn’t as big of a factor 

in Latin America. Production has been able 

to extricate itself from distribution and 

exhibition in Latin America, in the way that 

regional films don’t need to be box office 

hits in order for their filmmakers to go on 

and make a second or third film. n 

noamérica que quizás no llega a cruzar 

tantas fronteras? 

Existe un cine mas local, mas industrial, producido 

por empresas de telecomunicaciones 

mas grandes y establecidas como Televisa 

(Pantelion) y Globo Filmes. Normalmente 

comedias románticas para un público local de 

clase media, media-alta –pero son películas 

que normalmente no viajan. Y finalmente 

tienes otro tipo de cine que se hace de manera 

mas independiente y que suele ser el mas influyente. 

Ahí está lo irónico ya que hay mucho 

cine que no llega a la distribución formal 

pero como no hay manera de cuantificarlo no 

recibe el seguimiento que merece. Estoy pensando 

por ejemplo en una película como La 

Libertad de Lisandro Alonso. Esa película ha 

tenido una repercusión impresionante desde 

que salió en el 2001, y no tuvo distribución en 

muchos países. 

¿Vez mucha influencia de la 

globalización en el cine latino de hoy? 

Los cineastas en general están viendo mucho más 

cine que nosotros como público por su presencia 

en festivales internacionales de cine. Pero 

también existen referencias que no se articulan, 

por ejemplo, una película argentina puede tener 

aspectos que se comparten con otras culturas 

pero existen varios tipos de cine argentino. 

En Europa se habla del potencial de 

una película pan-europea, que puede 

ser un éxito en varios países del continente. 

¿ Puede ocurrir algo similar en 

Latinoamérica? 

Es complicado porque existe el tema de la 

validación mundial. Para el cine comercial 

es Hollywood y para el cine arte es Cannes. 

Latinoamérica está a la mitad. La diferencia 

es que el tamaño de las economías locales, ya 

sea la economía mexicana o brasileña, han 

cambiado lo que se considera un éxito local. 

Con este cambio han logrado darle validez a 

aquello que hasta hace poco no tenía valor. 

La aprobación del cine latinoamericano 

llega desde afuera dependiendo de su éxito o 

aceptación internacional. Para llegar a Latinoamérica, 

una película tiene que haber sido 

validada en Estados Unidos o Europa, ya sea 

a través de la distribución o de los festivales 

de cine. Sólo con esa revalidación en mano 

podían llegar a las salas de su propia región. 

¿Existe un divorcio entre el cine latino 

y el público latino en Estados Unidos? 

Estamos hablando de peras y manzanas. El 

cine arte se construyó con cierto perfil de 

público y quizás ha tenido problemas al no 

poder incorporar otro tipo de público. Nueva 

York es una de las pocas ciudades en Estados 

Unidos donde puedes mezclar públicos, si 

tienes buena taquilla y haces buena campaña 

el público latino viene a apoyar una película 

latina. 

Hemos visto a muchos directores latinos 

llegar a Hollywood en los últimos 

años. ¿Crees que esta tendencia siga 

ocurriendo en los próximos años? 

Para varios de la última generación, llegar a 

Hollywood era la única manera de hacer una 

carrera en cine. En los últimos quince años 

eso cambió, muchos directores (yo diría la 

mayoría) piensan al contrario –quieren quedarse 

y hacer una carrera en Latinoamérica. 

La financiación se democratizó en Latinoamérica 

y ahora es más difícil encontrar 

financiamiento en Hollywood. Por eso se 

tiene que dar crédito a Cuarón y a Iñarritú, 

que han podido llegar a Estados Unidos y 

seguir haciendo el cine que les interesa. La 

falta de financiamiento en Estados Unidos 

añade presión para que las películas sean más 

exitosas en la taquilla, algo que en Latinoamérica 

no es tan primordial. Latinoamérica 

ha podido separar la producción de la distribución 

y la exhibición, las películas no tienen 

que ser grandes éxitos para que su director 

tenga la oportunidad de hacer una segunda o 

tercera película. n 



BOX OFFICE GROSS: LATIN AMERICA 2009–2013 

2009 2010 2011 2012 2013 

$1.7 Billion $2.1 Billion $2.6 Billion $2.8 Billion $3 Billion 

TOP LATIN AMERICAN MARKETS: 2013 

MEXICO $0.9 BILLION BRAZIL $0.9 BILLION ARGENTINA $0.4 BILLION 

MARKET-BY MARKET-BREAKDOWN: 2014 TOP TITLES AS OF OCTOBER 2014 

ARGENTINA BRAZIL COLOMBIA MEXICO VENEZUELA 

Frozen 

$11.5 Million 

aeficent 

$11 Million 

eatos saaes 

$11 Million 

aeficent 

$33.2 Million 

Te at 

in Or Stars 

$31.1 Million 

Noah 

$30.6 Million 

Transformers: 

Age of Extinction 

$9.9 Million 

io 

$9.6 Million 

aeficent 

$8.8 Million 

aeficent 

$46.1 Million 

Transformers: 

Age of Extinction 

$33.5 Million 

io 

$30.9 Million 

aeficent 

$25.4 Million 

io 

$15.9 Million 

X-Men: Days of 

tre ast 

$12.2 Million 

LATIN AMERICA 

MARKET UPDATE 


n Latin America continues to show steady 

box office growth. The region saw a 78 percent 

increase in box office gross over the five-year 

period from 2009 to 2013, a rate exceeding the 

55 percent boost in Asia Pacific and 10 percent 

upturn in EMEA. 

As often is the case, a robust international market 

tends to have a string of domestic hits, and 

Latin America is no exception. The year 2013 

marked the first time Latin America hit the $3 

billion mark in box office, partly because the 

region’s top markets supported local fare. 

Argentina’s 2013 box office benefited from 

domestic success stories like Juan Jose Campanella’s 

animated Foosball, romantic comedy 

Corazón de león, and thrillers Tesis sobre un 

homicidio and Séptimo. This year already has 

two Argentine films grossing above $5 million: 

Bañeros 4: Los rompeolas and runaway hit Relatos 

salvajes, the latter quickly shaping up to be 

one of the biggest Argentine hits of the year. 

Brazilian audiences have been loyal to domestic 

comedies, as 2014 has replicated the genre’s 

success from previous years. Mexico has not 

found a runaway hit like last year’s record-setting 

Instructions Not Included, with only romantic 

comedy Cásese quien pueda registering as a 

modest hit among domestic titles this year. The 

impact of Instructions Not Included, however, 

should not be overlooked. The title established 

a box office record for a domestic film within 

Mexico and became the highest-grossing Spanish-language 

title of all time in North America. 

The film traveled well abroad, notching positive 

numbers from regional markets like Venezuela 

and Peru. Instructions Not Included opened in 

late January in Colombia and grossed over $5 

million, ranking as one of the year’s top-ten 

highest-grossers as of October. n 

n Latinoamérica sigue creciendo en la 

taquilla. La región tuvo un incremento del 78 

por ciento sobre los últimos cinco años en el 

periodo del 2009 al 2013, a mejor paso del 

55 por ciento de aumento de Asia Pacífica y 

10 por ciento de EMEA durante el mismo 

periodo. 

El 2013 fue el primero año en el que la región 

alcanzo los $3 billones en taquilla, gracias en 

parte a la función del cine nacional en este 

territorio. La taquilla del 2013 en Argentina se 

benefició de éxitos nacionales como Metegol, 

mejor conocida como Futbolín en España, de 

Juan José Campanella, la comedia romántica 

Corazón de león, y las películas de suspenso 

Tesis sobre un homicidio y Séptimo. Este año 

ya nos ha dado dos filmes que han recaudado 

más de $5 millones: Bañeros 4: Los rompeolas y 

Relatos salvajes, que ya promete ser uno de los 

mayores éxitos Argentinos del 2014. 

El público brasileño ha sido leal a las comedias 

de su país y en el 2014 se puede repetir el 

éxito que este género ha logrado en años 

anteriores. México no ha tenido un éxito del 

tamaño de No se aceptan devoluciones, con 

la excepción de la comedia romántica Cásese 

quien pueda el cual ha sido el único éxito 

modesto del cine nacional. No se puede pasar 

por alto la gran influencia que tuvo No se 

aceptan devoluciones el año pasado. La película 

se convirtió en la película mexicana más 

taquillera de todo los tiempos en su propio 

país y además rompió record como la película 

en español más taquillera en el mercado norteamericano. 

No se aceptan devoluciones sumó 

a su éxito los logros alcanzados en las taquillas 

de Venezuela y Perú además de convertirse en 

una de las diez películas mas taquilleras de este 

año en Colombia, en donde recaudó más de 5 

millones de dólares. n 



THE LOCAL TAKE 

Most of the headlines from the Brazilian exhibition market are captured by 

the fantastic work from multinational chains Cinépolis and Cinemark. The 

market, however, is more diverse than meets the eye. BOXOFFICE recently 

spoke with Marcos Barros, CEO of Cinesystem Cinemas, the Brazilian cinema 

chain, to learn more about one of Brazil’s regional players. 

MARCOS BARROS 

CEO 

CINESYSTEM CINEMAS 

oeee 

Cinesystem began in 2003. Our first 

cinema was in Curitiba, in Parana—a 

small-to-medium-sized city in Brazil and 

where my business interests centered on 

radio stations. The opportunity to buy a 

two-screen cinema came up and we took 

it because we thought it would make 

sense having it with our radio stations 

already in place. We never intended to 

turn it into a cinema chain. We were 

later invited to acquire two more cinemas, 

in Curitiba and Porto Alegre, and 

that’s when we went to the United States 

to study the multiplex concept from 

the large exhibitors. Stadium seating, 

large-format screens, and everything. We 

came up with a business plan inspired 

by that but with the Brazilian market in 

mind, so we went on to build cinemas 

LA VERSIÓN 

LOCAL 

Muchas de las noticias que vienen del 

mercado de exhibición brasileño tienen 

que ver con el gran trabajo realizado por 

las cadenas multi-nacionales Cinépolis y 

Cinemark. Sin embargo, el mercado es 

más diverso de lo que parece. BOXOFFICE 

charló con Marcos Barros, director general 

de Cinesystem Cinemas, una cadena local 

en Brasil, para saber más sobre los cines regionales. 

MARCOS BARROS 

DIRECTOR GENERAL 

CINESYSTEM CINEMAS 

with five screens instead of 10 like you have in the United States. After 

those two cinemas, we developed another business plan for a brand of 

cinemas, and we expanded from there. 

oceoooee 

Today we have 19 cinemas with a total of 106 screens. By the end of the 

year we will have 22 cinemas with 126 screens. 

feoeeefooeeoeo 

oceeexoece 

Brazil has one of the lowest ratios of screens per person; in Brazil we 

have one screen for every 75,000 to 80,000 people. With the economic 

growth we have more shopping malls, 

and with more shopping malls we have 

more cinemas. The Brazilian market 

doesn’t have a sustainable business model 

outside of shopping malls. It’s practically 

obligatory to find a spot in a shopping 

mall in order to build a new cinema. 

eoeeoB- 

ece 

First of all, they enjoy the big movies 

like practically every other country in 

the world. They also enjoy Brazilian 

cinema that is well made, especially 

comedies. But, on the other hand, if a 

Brazilian film isn’t well made, then it 

simply doesn’t have space in the market. 

Therefore we can see that Brazilian 

audiences like quality films, regardless of 

whether they’re Brazilian or American. n 

oocoeee 

Cinesystem comenzó en el 2003. Nuestro primer cine fue en Curitibá, en 

la ciudad de Paraná -una ciudad media pequeña en Brasil en donde mis 

negocios siempre fueron las emisoras de radio. Surgió la oportunidad de 

comprar un cine de dos salas en nuestra ciudad y lo compramos porque 

pensamos que tenía sentido juntarlo con nuestras emisoras. No teníamos 

la intención de convertirlo en una cadena de cines. Fuimos invitados 

a adquirir otros dos cines en Curitibá y Porto Alegre, y ahí fue cuando 

viajamos a Estados Unidos para estudiar los multicines de la grandes 

cadenas. El stadium seating, pantallas gigantes, y todo por el estilo. Desarrollamos 

un modelo de negocios inspirado en eso, pero con el mercado 

brasileño en mente. Entonces aquí comenzamos a construir cines de cinco 

salas en vez de diez salas como hay en 

los Estados Unidos. Después de esos dos 

cines creamos un modelo de negocios 

para una marca de cines y empezamos a 

expandirnos. 

oceoeee 

eeB 

Hoy tenemos 19 cines operando con un 

total de 106 salas. Al final de año tendremos 

22 cines y un total de 126 salas. 

eeeeeeocooeoco 

coeecoeexceB 

Brasil tiene una de las menores tazas en relación de habitantes por 

pantallas. En Brasil tenemos una pantalla por cada 75-80,000 personas. 

Con el crecimiento de la economía tenemos mas centros comerciales, y 

con mas centros comerciales tenemos mas cines. Hoy el cine en Brasil no 

puede sostenerse con un modelo de negocios fuera de los centros comerciales. 

Es prácticamente obligatorio conseguir una plaza en un centro 

comercial para construir un cine nuevo. 

eoeeooeecoBeo 

En primer lugar, ellos disfrutan de los grandes estrenos como prácticamente 

todos los otros países del mundo. También disfrutan del cine 

brasileño bien hecho, especialmente comedias. El cine nacional de 

calidad puede competir de tú a tú con el cine de Hollywood. Pero si por 

el otro lado no tiene esa calidad, simplemente no tiene cabida. Entonces 

podemos deducir que los brasileños disfrutan de la calidad, sin importar 

que sea de Brasil o de Estados Unidos. n 


FOCUS ON LATIN AMERICA > BRUNO WAINER 

BRINGING IT 

HOME 

How a Brazilian distribution 

company brought domestic 

cinema into the mainstream 


Bruno Wainer’s Downtown Filmes is at the 

forefront of the domestic distribution business 

and a leader in bringing Brazilian cinema 

and its public together. Wainer’s production 

background in the Brazilian film industry has 

helped inform his decisions as a distributor 

and has made him an instrumental figure in 

the domestic success of iconic domestic hits 

like Central Station and City of God during his 

time at Lumiere, a local distributor. He was 

well aware of the potential of national cinema 

when he left Lumiere to found his own distribution 

company, Downtown Filmes, and has 

since devoted his professional life to making 

Downtown a distribution outfit big enough 

to compete with the Hollywood majors while 

championing a slate exclusively made up of 

domestic productions. BoxOffice spoke with 

Wainer to discover more about the secret to 

Downtown’s success. 

BRUNO WAINER 

FOUNDER, CEO 

DOWNTOWN FILMES 

eeoofoo 

eeeceoofe 

cooeece 

Downtown was born in 2006 with the intention 

of distributing international independent 

films and Brazilian cinema. The idea was to 

continue the work we had been doing at Lumiere, 

a distribution company I was a partner 

in from 1991 to 2005. We barely survived our 

first year in business because of the state of 

the independent cinema market. We changed 

course in 2007 after learning that the Brazilian 

government would be incentivizing local 

distributors to release domestic films. I decided 

to take the risk and make Downtown the first 

distribution company 100 percent focused on 

Brazilian cinema. Looking at the results we’ve 

accomplished since, I have no doubt it was the 

right decision. 

eee 

ececeeo- 

oceoeo 

eoefiefee 

oceoeeo 

fooeece 

I don’t know if that’s the case in Latin America; 

it used to be the case in Brazil, but it isn’t any 

longer. Brazilian audiences are embracing their 

national cinema more and more. We always get 

great feedback when we release the right type 

of film. The best example of this happened last 

year when our company, in partnership with 

BRUNO WAINER 

FORJANDO 

ÉXITOS 

DOMÉSTICOS 

PARA EL 

PÚBLICO LOCAL 

Cómo una distribuidora 

Brasileña llevó su cine 

nacional al “mainstream” 

Por Daniel Loría 

Downtown Filmes se sitúa a la vanguardia de 

la distribución doméstica del cine brasileño. 

La empresa fundada por Bruno Wainer es una 

de las voces principales de la industria del cine 

brasileño, llevando al cine nacional al público 

de su país. La experiencia de Wainer en la producción 

de cine nacional le ayudó años después 

como socio en la distribuidora Lumiere, donde 

fue parte del equipo que llevó un par de íconos 

del cine Brasileño como Central do Brasil y 

Cidade de Deus a las salas de su país. Reconociendo 

el potencial de la producción nacional, 

Wainer fundó Downtown Filmes en 2006, una 

distribuidora especializada en el cine brasileño 

que hoy en día puede competir con los estudios 

de Hollywood en Brasil. BoxOffice habló con 

Wainer para descubrir un poco más sobre la 

formula de éxito detrás de Downtown. 

BRUNO WAINER 

FOUNDER, CEO 

DOWNTOWN FILMES 

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Downtown nació en el 2006 con la intención 

de distribuir cine independiente internacional 

además de cine nacional. La idea era darle seguimiento 

al trabajo que estábamos haciendo 

en Lumiere, una distribuidora en la que fui 

socio del 1991 al 2005. Después de nuestro 

primer año viví la crisis de suministro que 

estaba aconteciendo en el mercado del cine 

independiente internacional y de la cual casi 

no nos recuperamos. Cuando en el 2007 me 

di cuenta de que el gobierno quería incentivar 

a las distribuidoras locales que distribuían 

cine nacional, vi la oportunidad de cambiar 

de rumbo. Tomé una decisión arriesgada y 

resolví convertir a Downtown en la primera 

distribuidora especializada al 100% en el 

cine brasileño. Hoy, viendo los resultados 

obtenidos, tengo certeza que tomé la decisión 

correcta. 

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OO 

Paris Filmes [another local distributor], sold 

18 million tickets to become the third-biggest 

distributor of the year in Brazil—just behind 

Disney and Fox. 

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Brazil? 

It’s a completely different job. Foreign films, 

especially if they’re coming from Hollywood, 

arrive in Brazil ready with a complete package 

in place—marketing materials, release strategy. 

It’s all part 

of the global 

plan that was 

conceived by 

the studio. On 

the other hand, 

releasing a 

national film in 

Brazil requires 

all those tasks 

to be done 

locally and inhouse. 

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exitors, 

and 

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We strive to have an honest and professional 

relationship with exhibitors. That’s what this 

business calls for and the base we work from. 

What counts from there is the potential and 

quality of our releases. 

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cBfiooec 

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Marketing is fundamental. How we’re going to 

pitch the film, what aspect of the film we’re going 

to promote in our campaign—those are the key 

aspects in the process. But the most important 

factor in marketing is the film itself; bluffing an 

audience with a domestic film rarely works. 

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oe 

When I was with Lumiere I had the opportunity 

of distributing the two biggest icons of 

modern Brazilian cinema, Central Station and 

City of God. Apart from these two classics, I 

was also involved in the distribution of some of 

the biggest domestic hits of the time, Olga and 

Os Normais. I’ve been aware of the potential 

of Brazilian cinema since then. At the time, 

however, there was no government stimulus for 

us to specialize in national cinema. The majors 

were the biggest players, since they benefitted 

from the tax breaks they received as royalties, 

which could in turn be used as an investment 

for Brazilian productions. Everything changed 

in 2007 when the government established a 

grant for the local distributors that presented 

the best results with national films. That’s when 

I realized that there was a great opportunity 

for a distributor that specialized exclusively in 

national films. n 

oeoeecooe 

eoeceo 

No sé si sea el caso en Latinoamérica, lo fue en 

Brasil anteriormente pero esta situación ya no 

se da. El público brasileño aprecia cada vez más 

el cine nacional. Cuando mostramos la película 

adecuada, recibimos las mejores reacciones 

OOB 

posibles. El mejor ejemplo es el resultado que 

mi empresa, en conjunto con Paris Filmes, 

otra distribuidora local, logró el año pasado. 

Vendimos 18 millones de entradas y fuimos la 

tercera mejor distribuidora del año, después de 

Disney y Fox. 

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ceeoeBce 

eoooeB 

Es una labor totalmente distinta. El cine 

extranjero, sobretodo el de Hollywood, llega 

listo. Los materiales, la estrategia de lanzamiento, 

todo forma parte de un proyecto 

global concebido en los estudios. 

El lanzamiento de una película 

nacional requiere que todos esos 

aspectos sean concebidos de manera 

local. 

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oeeee 

ecceccoo 

exoe 

Siempre intentamos tener una relación 

honesta y profesional con los 

exhibidores. Es lo que se requiere. 

A parte de esa base, lo que cuenta 

es la cualidad y el potencial de las 

películas. 

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ececocooco 

El mercadeo es fundamental –como vamos a 

venderla, cual aspecto vamos a valorizar más 

en la campaña de lanzamiento, esa es la clave 

del proceso. Pero la acción de comercialización 

más importante sigue siendo la propia película. 

Raramente se le puede engañar al público con 

una película nacional. 

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ecoeoeoo 

eoeoeoce 

eceeooe 

eocofee 

Cuando fui socio de Lumiere, tuve la oportunidad 

de distribuir los dos mayores íconos 

del cine brasileño moderno, Central do Brasil 

y Cidade de Deus. Aparte de esos dos clásicos, 

distribuí algunos de los mayores éxitos de la 

época, como Olga y Os Normais. Desde entonces 

estaba consciente del enorme potencial 

del cine brasileño. En esa época yo como 

distribuidor independiente, no tenía ningún 

estímulo del gobierno para dedicarme al cine 

nacional. Los jugadores principales se beneficiaban 

de la reducción de impuestos pagados 

a través de los derechos de autor, que en turno 

podían ser invertidos en filmes brasileños. 

Todo cambió a partir del 2007, cuando el gobierno 

creó un premio para los distribuidores 

locales que presentaran los mejores resultados 

con el cine nacional. Ahí me di cuenta de la 

oportunidad para una distribuidora dedicada 

al 100% al cine nacional e intenté aprovechar 

la oportunidad. n 


AD INDEX


SHOWEAST 

INTERNATIONAL 

EXHIBITOR OF 

THE YEAR 

EDUARDO ACUÑA 

PRESIDENT AND GENERAL 

MANAGER 

CINÉPOLIS BRASIL 

ooeeBecoe 

eeofec 

Brazil is a country with many opportunities. 

The market has less saturation in terms of 

screen count when compared to the rest of 

the region, particularly Mexico. Mexico has a 

population of around 120 million with approximately 

5,800 screens, and Brazil has around 

200 million people with approximately 2,700 

screens. There is a clear demand for screens, but 

one has to be careful since it’s such a regulated 

market: high taxes and other particulars that 

can raise the cost of doing business. You’ve 

heard the saying, “Everything is more difficult 

in Brazil”? It is. It requires a lot of work and 

being very careful about costs, making sure 

you can get the placement for your cinemas; 

practically everything needs to go right so you 

can succeed. 

oocoeeeo 

ooceB 

e 

We didn’t fare as poorly as we initially thought, 

and we found that there were some distributors 

who took risks during the World Cup. Fox did 

a great job with How to Train Your Dragon 2 

here in Brazil by taking a risky bet that paid 

off. There was soccer going on, yes, and even 

though it competed against our business, we 

still had a bunch of kids on school holidays 

while the cost of traveling within the country 

was high because of the World Cup. We had 

product coming in, not much—we didn’t get as 

many films coming in as in previous years—but 

we still had product and it didn’t go as badly as 

we feared. We didn’t do as well as in previous 

years either, but I would say we had a positive 

balance. 

oeeeoeeffic 

eeBexco 

ooec 

Cinépolis has a great value-added proposition; 

we are a company that innovates. We champion 

new types of cinemas, our VIP cinemas that 

we have been building for over fifteen years, 

large-format screens, and now our 4D screens. 

Cinépolis also innovates at the concessions 

stand, apart from having the classic staples 

we also offer coffee, crepes, baguettes, and 

other products. This value-added proposition 

has opened doors for us in other markets. 

Obviously you need to cater to local audiences. 

Spicy popcorn [a Mexican favorite] didn’t take 

off in Brazil, but we’ve done quite well with pao 

de queijo [cheese bread]. Our service is another 


SHOWEAST 

INTERNATIONAL 

EXHIBITOR OF 

THE YEAR 


PRESIDENTE Y DIRECTOR 

GENERAL 

CINÉPOLIS BRASIL 

oecoeecoeo 

coooecoeoc 

Brasil es un país que tiene muchas oportunidades. 

El mercado tiene una menor saturación 

de salas cuando lo comparamos con otros 

mercados de la región, particularmente cuando 

lo comparamos con México. México tiene 

unos 120 millones de habitantes y alrededor 

de 5,800 salas y Brasil tiene 200 millones de 

habitantes y alrededor de 2,700 salas. Claramente 

existe una falta de salas, pero hay que 

tener cuidado porque es un mercado regulado: 

hay muchos impuestos en Brasil que son muy 

altos y hay otros detalles que dificultan el hacer 

negocios aquí. Me imagino que has escuchado 

varias veces ese dicho, “En Brasil, todo es mas 

difícil,” y así es, implica un gran trabajo y ser 

extremadamente cuidadoso con los costos, 

asegurarse que se pueda conseguir las mejores 

ubicaciones para los cines, prácticamente todo 

tiene que salir bien para que te vaya bien. 

oocoeocoo 

eoeBeo 

o 

Fíjate que no nos fue tan mal. Esperábamos 

que nos fuera mucho peor, y encontramos que 

hubo distribuidoras que le apostaron a estrenar 

durante el mundial. Fox hizo un gran trabajo 

con How to Train Your Dragon 2 aquí en Brasil 

al tomar una apuesta complicada pero muy 

inteligente. Había fútbol y aunque el fútbol 

compite, también había un montón de niños de 

vacaciones mientras los precios para viajar desde 

Brasil estaban carísimos por el mundial. Hubo 

producto, aunque no mucho -no tuvimos la 

cantidad de películas en cartelera que solemos 

tener en junio y julio, pero sin embargo si hubo 

producto y no nos fue tan mal como esperábamos. 

No nos fue tan bien como en otros años 

pero si yo tuviera que hacer un balance, yo diría 

que fue positivo. 

oeoecoco- 

cocooBxco 

oooe 

foexoeeeeoe 

eco 

Por un lado Cinépolis tiene una gran propuesta 

de valor, somos una empresa innovadora. Tenemos 

formatos de auditorios nuevos, salas VIP 

que ya llevamos haciendo por mas de quince 

años, salas de gran formato, y ahora nuestras 

salas 4D. Cinépolis también es innovador en 

las dulcerías, además de tener los productos 

tradicionales ofrecemos café, crepés, baguettes, 

y otros productos por el estilo. Esa es una propuesta 

de valor que nos ha ayudado a que nos 

reciban bien en otros mercados. Obviamente, 


FOCUS ON LATIN AMERICA > EDUARDO ACUÑA 

of the keys behind our success. Our standards 

of service are very high; we are dedicated to 

servicing our customers. 

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ooeeeoefee 

Be 

The market is growing and raising its quality 

among exhibitors competing for public. 

Distributors are doing a great job in Brazil, we 

always get the Hollywood releases, and national 

cinema is on the rise. Domestic films have been 

having impressive results for 

the last number of years. It’s a 

growing market mainly because 

of the opening of new screens 

and cinemas, and thanks to the 

presence of Hollywood releases 

and the support for national 

cinema. There is a new project 

headed by Manoel Rangel, 

president director of ANCINE, 

who has gone to great lengths to 

find financing for the construction 

of cinemas, and that has 

helped us exhibitors a lot. He 

created a program called Cinema 

Perto de Voce, where you are 

granted quite a number of fiscal 

incentives to build new cinemas. With the high 

taxes Brazil has, this program allows for tax 

cuts associated with developing a new cinema. 

The government has also cleared a program 

called Vale Cultura, a card given to employees 

by companies who in turn receive tax cuts and 

fiscal incentives for being part of the program. 

The card contains about $20 that can be used 

at cinemas, theaters, museums, and the like. 

This program welcomes people who couldn’t 

normally afford to go to the cinema and gives 

our industry the chance to grow and foster its 

audiences more and more. These are all factors 

that have helped the market grow, and I have 

faith that it will continue to do so for many 

years to come. 

eecceeefo 

oeeooe 

o 

Receiving this award is a great honor; it’s something 

I wasn’t expecting. This isn’t an individual 

award, but a team award. And not only for our 

team here in Brazil, but for the company as a 

whole for being able to launch this adventure 

called Cinépolis Brasil. To give you an example, 

a week after ShowEast, we will be opening our 

40th cinema with our 300th screen in less than 

four and a half years since we 

launched operations in Brazil. 

This type of growth hasn’t been 

seen in South America before, 

and we are very happy to hit 

this milestone with such positive 

results. We have won various 

awards for having the best 

cinema at Sao Paulo and Rio de 

Janeiro. There’s even an award 

given out by distributors in Brazil 

where we have been named 

the best exhibitor in the country 

for three years running. We are 

very proud to be recognized this 

way, and we know we must be 

doing something well. n 

haciendo la tropicalización 

necesaria en cada mercado. Aquí 

en Brasil las palomitas con chile 

no funcionaron, pero vendemos 

pao de queijo y nos va muy 

bien. Además de la innovación, 

nuestra clave ha sido el servicio. 

Los estándares de servicio son 

altísimos, atender al cliente es 

nuestra vocación. 

ecoee 

oeece 

ooeeeo 

ecoceoeoeeo 

ooeefocecoeec 

oeexceo 

El mercado está creciendo y elevando su nivel 

de juego entre los exhibidores compitiendo 

por el público. La distribución es muy buena 

en Brasil, siempre llegan los estrenos de 

Hollywood y el cine nacional está en alza. Las 

películas locales han tenido resultados impresionantes 

en los últimos años. Es un mercado 

creciente principalmente por la apertura de 

nuevas salas y nuevos complejos, y con la 

presencia del cine de Hollywood y la gran 

presencia y apoyo al cine nacional. Existe un 

proyecto nuevo importante que Manoel Rangel, 

director y presidente de la ANCINE, ha 

hecho un gran esfuerzo para poder conseguir 

financiamiento para la construcción de cines y 

a los exhibidores nos ha ayudado mucho. Creó 

un programa llamado Cinema Perto de Voce, 

donde hay un montón de incentivos fiscales 

para construir salas de cine. Siendo Brasil el 

país de los impuestos, este programa ayuda a 

eliminar muchos de los impuestos asociados a 

la construcción de salas. El gobierno también 

creó un programa llamado Vale Cultura, una 

tarjeta que se le da a los empleados por parte 

de las empresas que en turno reciben incentivos 

fiscales al inscribirse. La tarjeta lleva aproximadamente 

$20 que se pueden usar para 

cines, teatros, museos, etc. Este vale de cultura 

tiene el potencial de ayudar a la asistencia al 

cine, dándole la oportunidad a la gente de bajos 

recursos de ir al cine y fortalecer la posibilidad 

de que nuestro publico crezca cada vez 

más. Todos estos factores han 

ayudado al mercado a crecer y 

tengo fe que seguirá creciendo 

por muchos años. 

ooec 

eeoeeo 

eee 

Recibir el premio es un gran orgullo, 

es algo que no me esperaba. 

Sin embargo, considero que 

este no es un premio individual 

sino un premio de equipo. Y no 

sólo de nuestro equipo en Brasil, pero de la 

empresa en conjunto que hemos concretado 

esta aventura de Cinépolis Brasil. Para darte 

un ejemplo, una semana después de ShowEast 

vamos a abrir nuestro complejo número 40 

con nuestra sala número 300 en menos de 

cuatro años y medio de haber empezado 

operaciones en Brasil. Es un crecimiento que 

nunca se ha visto en Sudamérica y estamos 

muy orgullosos de haber logrado ese nivel 

de crecimiento con resultados tan positivos. 

Hemos ganado varios premios por tener el 

mejor cine de Sao Paulo y de Rio de Janeiro. 

Incluso los distribuidores locales nos han otorgado 

premios por los últimos tres años como 

el mejor grupo exhibidor de Brasil. Nos llena 

de orgullo el ser reconocidos de esta manera, 

sabemos que estamos haciendo algo bien. n 


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HISPANICS AND 

FILM A LOVE 

STORY 

by Pete Filiaci 

n What do Guardians of the Galaxy, 22 Jump 

Street, and Noah have in common? 

Not genre, not studio, not talent—and while 

all three films have earned more than $120 million 

at the box office, that’s not it either. 

What these three movies share is they belong 

to genres for which Hispanic audiences are growing 

at a significantly faster rate than non-Hispanic 

audiences. According to research by the Simmons 

National Hispanic Consumer Study, from 

2009 to 2013, Hispanic attendees for action-adventure 

pictures such as Guardians of the Galaxy 

grew at a rate of 12 percent—far surpassing the 

2 percent growth among non-Hispanics. While 

attendees for comedies (like 22 Jump Street) are 

actually off by 15 percent among non-Hispanics, 

the number of Hispanic attendees for the genre 

has increased by 5 percent. 

Movies in the action-adventure and comedy 

genres have long been most 

popular among Hispanics, but 

new trends appear to be taking 

shape. The drama category (featuring 

films like Noah) is down 9 

percent among non-Hispanic attendees 

but up dramatically—15 

percent—among Hispanic 

moviegoers. Let’s even consider 

romantic comedies, a struggling 

category that hasn’t seen a film 

cross the $100 million threshold 

in domestic box office in three 

years. Non-Hispanic audiences 

are down 19 percent since 2009, 

while Hispanic audiences are 

up a healthy 12 percent. In fact, 

Hispanic audiences have grown 

in the sci-fi, family, and horror categories, too— 

every genre tracked by Hollywood. 

This phenomenon is due in large part to 

the fact that Hispanics are much more likely 

than non-Hispanics to see movies as a family or 

group. Anecdotally, Hispanics tell us that going 

to the movie theater is a pastime in itself—a 

social experience to be shared by friends and 

family. Part of the fun is debating movie choices 

and deciding what to see after they have arrived 

at the theater. 

Hispanics not only buy more tickets per 

movie than the average non-Hispanic family, 

they also see more movies every year than the 

average moviegoer. According to Nielsen, Hispanics 

are the most frequent moviegoers of any 

demographic group, taking in 8.7 movies per 

year as compared to 7.7 per year for non-Hispanics. 

Hispanics are more likely to go to the movies 

than the general population (83 percent vs. 77 

percent). In fact, Hispanics make up 15 percent 

of the U.S. population aged 12 and older but 

buy 19 percent of the movie tickets among this 

demographic. Do the math and it’s clear: appealing 

to Hispanic audiences is key to increasing 

box office revenues. 

Opening weekend buzz can often set wordof-mouth 

in action to either make or break a 

film and its box office fortunes. Hispanics make 

an enormous impact in that measure as well, 

PETE FILIACI 

HISPANOS Y 

EL CINE UNA 

HISTORIA DE 

AMOR 

Por Pete Filiaci 

n¿Qué tienen en común Guardians of the 

Galaxy, 22 Jump Street, y Noah? 

No es el género, ni el estudio, ni el talento 

...y aunque las tres películas han 

recaudado mas de $120 millones 

en taquilla, esto tampoco es. 

Estas tres películas pertenecen 

a géneros cuyo publico 

hispano ha crecido significativamente 

más rápido que su público 

no-hispano. Según estudios 

realizados por la Simmons National 

Hispanic Consumer Study 

del 2009 al 2013, la audiencia 

para películas como Guardians 

of the Galaxy creció en hispanos 

a un paso del doce por ciento 

-mucho más que el crecimiento 

del dos por ciento entre los 

no-hispanos. Mientras el público 

no-hispano para comedias como 

22 Jump Street ha bajado el quince por ciento, 

el apoyo de hispanos ha incrementado al cinco 

por ciento. 

Las películas de acción y comedia han sido 

entre las más populares para hispanos, pero se 

siguen desarrollando tendencias nuevas. Los 

dramas como Noah han bajado en asistencia 

entre el público no-hispanos en un nueve 

por ciento pero ha incrementado la audiencia 

hispana a un quince por ciento. Ninguna 

comedia romántica ha conseguido recaudar más 

de $100 millones en la taquilla norteamericana 

en los últimos tres años. Desde el 2009, su 

público no-hispano ha bajado un diecinueve 

por ciento mientras los espectadores hispanos 

han incrementado un doce por ciento. El incremento 

del público hispano también puede ser 

visto en géneros como ciencia ficción, cine de 

familia, y películas de terror. Cada género que 

el recibe seguimiento de Hollywood ha visto un 

incremento por parte del público hispano. 

Este fenómeno se da por el hecho de que el 

público hispano es mucho más probable que 

asista al cine en familia o en grupos. Como 

anécdota, los hispanos nos han dicho que el 

ir al cine representa un pasatiempo en sí, una 

experiencia social para ser compartida con 

amigos y familia. Parte de la diversión incluye 

el debatir y decidir cuál película ver después de 

llegar al cine. 

Los hispanos no sólo compran más entradas 

por película que las familias promedios nohispanas, 

ellos también ven más películas por 

año que el espectador promedio. Según Nielsen, 

los hispanos son los espectadores más frecuentes 

de cualquier demografía, los cuales ven un promedio 

de 8.7 películas por año comparado a 7.7 

películas por año de los no-hispanos. 

Es más probable que los hispanos asistan al 

cine que el público en general (ochenta y tres 

por ciento vs setenta y siete por ciento). Los 

hispanos representan el quince por ciento de la 


FOCUS ON LATIN AMERICA > HISPANICS AND FILM 

with 47 percent of Hispanic moviegoers usually 

going to see a film on its opening weekend, 

something only 37 percent of non-Hispanics do. 

Hispanics also demand a more integrated 

entertainment experience than the general 

population. While only 72 percent of all adults 

use social media, 80 percent of Hispanics do. 

Additionally, the number of Hispanics who use 

social media has increased from 18.9 million 

in 2010 to 28.7 million in 2014, a 52 percent 

increase. Put simply: Hispanics are more likely to 

share their opinions about movies, another factor 

that will drive box office revenues. 

Hispanics’ importance at the box office will 

continue to grow over the coming years. While 

the U.S. Hispanic population has grown sixfold 

since Patton and Love Story (1970) were box 

office hits, and Hispanics represent more than 

half of the overall growth in the U.S. population 

since Gladiator (2000) ruled the screen, the current 

population of Hispanics (approximately 56 

million) will more than double to 128.8 million 

by 2060. 

At Univision’s panel in June at the “Produced 

By” Conference, National Association of Theatre 

Owners President John Fithian said, “Hispanics 

love the same movies as others … just a little 

more.” 

That statement is very true, but Hollywood 

must honor this fact. According to a study last 

year by the University of Southern California’s 

Annenberg School for Communication and 

Journalism, Hispanics filled just 4.9 percent of 

the 3,942 speaking roles in the top 100 films 

from 2013—the same percentage they held five 

years earlier. The study concluded, “Hispanics 

clearly are the most underserved racial/ethnic 

group” in the film industry. 

For the love story between Hispanics and 

movies to continue along its current happy path, 

Hollywood needs to change that plot. n 

Pete Filiaci is a vice 

president in Univision’s 

Strategy and Insights 

Group, a dedicated consulting 

team ofveterans 

from media, marketing, 

and agency backgrounds 

who help marketers 

develop and execute 

their strategies to drive 

sales with ispanics. 

cornerstone of their 

approach is helping 

companies evolve from 

treating Hispanic as a 

niche to deploying a 

“total market strategy,” 

where Hispanic is 

integrated into all phases 

of the business planning 

process. Filiaci has 20 

years of experience in 

the media industry. He 

has been with Univision 

since 1998. 

población estadounidense de la edad de 12 años 

para arriba y compran el diecinueve por ciento 

de las entradas de la misma demografía. Es una 

fórmula simple: atraer al público hispano es clave 

para incrementar los ingresos en la taquilla. 

El buzz del primer fin de semana de estrenos 

puede producir un boca a boca lo suficientemente 

grande como para poder determinar el 

éxito o arruinar una película y su recaudación 

en la taquilla. Los hispanos tienen un impacto 

enorme en ese aspecto, con un cuarenta y siete 

por ciento de espectadores hispanos viendo las 

películas en el fin de semana de su estreno, una 

costumbre compartida por solo el treinta y siete 

por ciento de los no-hispanos. 

Los hispanos también requieren una 

experiencia de entretenimiento mas integrada 

que la que busca el público general. Mientras 

las redes sociales son usadas por el setenta y 

dos por ciento del público adulto en general, 

las mismas son accedidas por el ochenta por 

ciento de los hispanos. Adicionalmente, el 

número de hispanos que usan las redes sociales 

ha incrementado de 18.9 millones en el 2010 

al 28.7 millones en el 2014, un incremento del 

cincuenta y dos por ciento. Dicho de forma 

más simple: es más probable que los hispanos 

compartan sus opiniones sobre películas, otro 

factor que influye a los ingresos de taquilla. 

La importancia de los hispanos en la 

taquilla seguirá creciendo en los próximos años. 

La población hispana en los Estados Unidos se 

ha multiplicado por seis desde los días en que 

Patton y Love Story (1970) eran los éxitos de la 

época. Este mismo grupo representaban más 

de la mitad del crecimiento de la población 

estadounidense desde que Gladiator (2000) 

dominaba las salas del país. Se espera que la 

población actual de hispanos 

en los Estados Unidos 

(aproximadamente 56 

millones) crezca por más del 

doble a 128.8 millones de 

personas para el año 2060. 

En el panel de Univisión 

que tomó lugar en la 

conferencia “Produced By,” el 

presidente de la Asociación 

Nacional de Propietarios 

de Teatro (NATO), John 

Fithian, dijo, “Los hispanos aman las mismas 

películas que nosotros...sólo que un poco más 

que los demás.” 

Lo que dijo Fithian es cierto, pero Hollywood 

todavía tiene que recorrer una gran 

distancia para responderle a este publico. 

Según un estudio conducido el año pasado 

por la Annenberg School of Communication and 

Journalism de la Universidad del Sur de California 

(USC), los actores hispanos ocuparon 

solamente el 4.9 por ciento de los 3,942 papeles 

parlantes de las 100 películas mas taquilleras 

del 2013 -el mismo porcentaje que ocupaban 

hace cinco años. El estudio concluyó que, “los 

hispanos claramente son el grupo étnico/racial 

mas desatendido” en la industria de cine. 

Hollywood necesita cambiar esa parte de 

la trama si quiere ver que esta historia de amor 

entre el público hispano y el cine continúe. n 


AD INDEX


LOOKING AT 

LATIN AMERICA 

AN INSIDER’S 

PERSPECTIVE 

Miguel Rivera acts as director 

of programming for 

one of the world’s biggest 

exhibition chains while 

simultaneously occupying 

the role of chairman for 

NATO’s International 

Committee. Rivera joined 

BOXOFFICE to chat about 

the priority issues for international exhibitors and 

share his insight on the current state of the Latin 

American market. 

MIGUEL RIVERA 

CHAIRMAN, NATO 

INTERNATIONAL 

COMMITTEE 

DIRECTOR OF 

PROGRAMMING, CINÉPOLIS 

efcoofOe- 

ooeeoo 

coeoeoec 

I’ve been participating in NATO’s International 

Committee for a couple of years now. I think 

NATO has done a great job of amplifying its 

scope to include markets outside of the United 

States. It became a priority for studios and exhibitors 

alike to seek ties with exhibitors outside 

the U.S. as soon as the international box office 

became so relevant for the studios; we began to 

see the markets with the highest growth begin 

to sprout outside the U.S. I believe NATO has 

played an important role in this very important 

and opportune task of bringing its work to other 

countries. Fortunately I was initially invited to 

be the vice chair of NATO’s International Committee 

last year and was named chair this year. 

eoeofeoe 

efoeeofOe- 

ooee 

Piracy is a global issue that affects all of us. 

The work done by the MPA is very helpful 

in terms of tracking the sources of piracy by 

country. It is also important to know what each 

exhibitor and every country is doing to combat 

this problem. This is an issue in which it can 

be very valuable to learn from the experiences 

of other colleagues and other governments in 

fighting piracy. 

Another issue of note are release windows, 

a topic that has been very controversial in the 

U.S. this year and will probably be the big issue 

discussed by everyone in the business. We need 

to respect release windows from an international 

perspective as well; there are markets that 

would be more affected than others, especially 

those countries that continue to have healthy 

DVD markets. 

oeoeec 

eeoe 

There are two global regions that are exceeding 

the average growth rate. Asia is one of them, 

mainly China, which is quickly turning into 

a powerhouse for the industry. The other is 

Latin America. There are various factors in play 

that have to do with this growth. One of those 

factors is the investment from regional and 

local exhibitors to increase the screen count in 

each country. Latin America trails only China 

in terms of increasing screen counts. The other 

important factor is a growing middle class that 

each day has more disposable income they can 

spend on entertainment options outside the 

home. A third factor has to do with Hollywood 

studios recognizing the importance of 

international markets and their contribution to 

the global box office. We’ve seen this reflected 

in many films with increasingly international 

casts. We have also seen a string of films that 

have been designed in one way or another to 

UN VISTAZO A 

LATINOAMÉRICA 

Miguel Rivera es el director de programación de 

una de las cadenas de exhibición más grandes del 

mundo mientras simultáneamente cumpliendo 

la labor de Presidente del comité internacional 

de NATO. Rivera se reunió con BOXOFFICE 

para platicar sobre los temas más relevantes que 

ocupan a exhibidores internacionales y compartir 

su perspectiva sobre el estado vigente del mercado 

latinoamericano. 

MIGUEL RIVERA 

CHAIRMAN, NATO 

INTERNATIONAL 

COMMITTEE/ 

PRESIDENTE DEL COMITÉ 

INTERNACIONAL DE LA 

NATO 

DIRECTOR DE 

PROGRAMACIÓN, 

CINÉPOLIS 

eoecoeco- 

eOcoeoc 

ecoeeee 

He participado por varios años en el Comité 

Internacional de la NATO. Creo que la 

NATO ha hecho un gran trabajo ampliando 

su enfoque para incluir a los mercados fuera 

de los Estados Unidos. Se convirtió en una 

prioridad para Hollywood crear enlaces con 

exhibidores fuera de los Estados Unidos tan 

pronto la taquilla internacional adquirió una 

gran relevancia, entonces vimos los mercados 

con mayor crecimiento surgir fuera de los 

Estados Unidos. Creo que la NATO ha jugado 

un papel muy importante y muy oportuno 

al acercar su trabajo a otros países. Afortunadamente 

tuve la invitación de ser el primer 

vice-presidente del comité internacional de 

la NATO el año pasado y a partir de este año 

tuve la oportunidad de ser nombrado presidente 

del comité internacional. 

eooeoee 

oeecoeoe 

oecoeO 

La piratería es un tema global que nos afecta 

a todos. El trabajo que realiza la MPA es muy 

útil al hacer el seguimiento de las fuentes de 

piratería por país. También es importante 

conocer lo que cada exhibidor y lo que cada 

país está haciendo de manera particular para 

combatir este problema. Este es uno de esos 

temas de los que se puede aprender mucho de 

las experiencias de otros colegas y de otros gobiernos 

que están luchando contra la piratería. 

Otro tema importante son las ventanas 

de estreno, algo que en Estados Unidos se ha 

convertido en un tema sumamente polémico 

este año y probablemente el gran tema que 

todos en la industria están discutiendo, ya que 

tenemos que respetar estas ventanas desde una 

perspectiva internacional. Hay mercados que 

se afectarán más que otros países, especialmente 

en aquellos en los que todavía hay un 

mercado de DVD saludable. 

ooefieeo- 

ccooecoeee 

Hay dos regiones en el mundo que están 

demostrando un incremento por encima de la 

tasa media de crecimiento. Asia es una de las 

regiones, mayormente China que se está convirtiendo 

en una potencia en la industria. La 

otra región es Latinoamérica. Aquí hay varios 

factores que tienen que ver con el crecimiento. 

Uno de ellos es la presencia de exhibidores 

regionales y locales que están invirtiendo de 

manera importante para aumentar el número 

de salas en cada país. Después de China, 

Latinoamérica es la región del mundo donde 

encontramos el mayor incremento en número 

de salas. El otro factor importante que está 

contribuyendo a este crecimiento es, la existencia 

de una clase media creciente que cada 

vez tiene mayor poder de adquisición y que 

puede gastar en opciones de entretenimiento 

fuera de casa. Hay un tercer factor que tiene 

que ver con el hecho de que los estudios de 

Hollywood estén reconociendo la importancia 

de los mercados internacionales y su contribución 

a la taquilla global. Esto lo hemos 

visto en muchos casos de películas que tienen 


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be hits in their country of origin. Rio and Rio 2 are a couple of examples, 

and we have The Book of Life also coming up. 

eoeeeeofeeecce 

foceeoccoofo- 

oceooofioeeeeee 

cceofoefieeoxofficeco 

eeeeeooefooe- 

oexec 

National cinema generally caters to each individual market’s public and 

are principally intended for their respective audience. That doesn’t mean 

that there aren’t films that are able to connect with audiences from different 

countries; there have been films that have accomplished just that. Last 

year we had Instructions Not Included, which was released in more than a 

dozen territories, and Metegol (Foosball), an animated film from Argentina 

of a very high standard that played in various countries. In general each 

country’s films will continue to cater to their own markets, but I feel we 

are going to see more and more of these films that are able to play outside 

their own borders. 

eeeeeecexoe 

ecoeo 

Low-cost cinemas are a very compelling concept. It is a model designed 

to cater to the base of the pyramid in countries within the region, and 

I have a feeling we’re going to be seeing more of it. It’s a very obvious 

concept to implement in the region given that many of the countries in 

the region have a population base that doesn’t have access to a cinema in 

this day and age, whether it’s due to distance or to price. This low-cost 

concept will be able to introduce screens to towns with smaller populations 

at a lower price point. n 

O 

elencos más internacionales. También hemos visto películas que de 

alguna manera están diseñadas para ser éxitos rotundos en sus países de 

origen. Río y Río 2 son dos ejemplos y próximamente tendremos a The 

Book of Life. 

oecofeeooeeee 

foexoeceeeeoocecoeceeooooeooexo 

eececeoxoe 

eoecooeeexoe 

oc 

En general el cine nacional atiende a su mercado local y está pensado 

principalmente para ese mercado. Eso no quiere decir que no puedan 

existir películas que logren conectarse con el público de países diferentes. 

Sin duda, hay algunos casos de películas que lo han logrado. El 

año pasado tuvimos a No Se Aceptan Devoluciones, que se estrenó en 

más de doce países, y Metegol, una producción animada argentina con 

estándares de altísima calidad y que se exhibió en varios países. En 

general, el cine nacional seguirá atendiendo a su público local, pero creo 

que vamos a ver cada vez más estos casos de películas que trascenderán 

fronteras. 

eeceoeeee 

ecoeexcee 

El concepto de cines de bajo costo es muy interesante. Es un modelo de 

cine diseñado para atender a la base de la pirámide en los países de la 

región países y me parece que la vamos a ver todavía más. Es muy obvio 

implementar este concepto ya que muchos países en la región tienen 

una población básica que no tiene acceso a las salas de cine hoy en día, 

ya sea por la distancia o por el precio. Este concepto de bajo costo podrá 

introducir pantallas de cine a los pueblos más pequeños a un precio 

de taquilla más bajo. n 

BOOO 


NOV 7 n From obscure Marvel comic to big-time Disney holiday release, Big Hero 6 bears 

almost no relationship to its source material. Set in an alternative universe where the City 

by the Bay is called San Fransokyo—this Japanese-flavored take on the superhero genre concerns 

a young robotics genuis, Hiro Hamada, who assembles a team of wannabe crime fighters 

to battle evildoers (of course!). Along for the ride is an inflatable vinyl robot, Baymax. 

The notion of a soft, pliable robot is not so far-fetched, as researchers at Carnegie Mellon are 

working on just such a technology for the medical and health care industries. Scott Adsit, 

who played the frentic producer who worked for Liz Lemon on 30 Rock, voices Baymax. 

DISTRIBUTOR Disney CAST Ryan Potter, Scott Adsit, Jamie Chung, Damon Wayans Jr. 

WRITERS Don Hall, Jordan Roberts DIRECTORS Don Hall, Chris Williams GENRE Animation | 

Action | Comedy RATING PG 


NOV 7 n Space—the final frontier. 

This is the voyage of Oscar-anointed 

Matthew McConaughey and Anne 

Hathaway as they journey through a 

wormhole to find a planet that can 

sustain human life, as life on Earth is 

coming to a close. The science behind the 

film—and director Christopher Nolan is 

all about verisimilitude—is based on the 

work of physicist Kip Thorne—America’s 

Stephen Hawking. Epic by any measure—its 

running time is 2:49—it is one 

of the most anticipated films of the holiday 

season. As is his habit, Nolan made 

extensive use of IMAX cameras to film 

his space opera, which travels to several 

different inhabitable (or not-so-inhabitable?) 

worlds. The trailer dances around 

the human drama a bit, and if you want 

the whole thing spoiled, read the cast list 

at IMDb. 

DISTRIBUTOR Paramount CAST Matthew 

McConaughey, Anne Hathaway, Jessica 

Chastain, Michael Caine WRITERS Jonathan 

Nolan, Christopher Nolan DIRECTOR 

Christopher Nolan GENRE Adventure | 

Mystery | Sci-Fi RATING PG-13 

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COMING IN NOVEMBER > WIDE RELEASES 

NOV 14 n Early word is this romantic 

drama is a solid piece of work from 

writer/director Gina Prince-Bythewood 

(The Secret Lifre of Bees). Britisher Gugu 

Mbatha-Raw plays Noni, a Grammy-winning 

artist who falls for the 

young cop who has been assigned to 

her security detail and saves her from 

an impulsive plunge off a hotel balcony. 

Real-life rapper Machine Gun 

Kelly—now there’s a name—plays Kid 

Culprit, Noni’s rough boyfriend who 

performs with her during an important 

BET Awards gig. Minnie Driver appears 

as Noni’s stage mother and smothering 

manager. Noni’s songs are said to be as 

good or better than the real deal, and the 

expectation is that perhaps more than 

one will show up on Oscar ballots in the 

new year. 

DISTRIBUTOR Relativity Media CAST Gugu 

Mbatha-Raw, Minnie Driver, Nate Parker, 

Danny Glover WRITER/DIRECTOR Gina 

Prince-Bythewood GENRE Drama RATING 

PG-13 


NOV 14 n The chance of this being as wildly popular as the first? We’d say one out of a 

million. “So you’re telling me there’s a chance.” That line has taken on a life of its own since it 

was first uttered by Jim Carrey’s Lloyd Christmas 20 years ago in Dumb and Dumber. Lowly 

sports franchises—we’re looking at you Jacksonville Jaguars—invoke it when the odds are 

never not in their favor. Carrey and Jeff Daniels (as Harry Dunne) once again try to out 

half-wit each other in this road comedy that finds our boys (who are now both in their 50s) 

looking for the long-lost daughter that Harry didn’t know he had—or probably how he had 

it. Jennifer Lawrence appears in flashback scenes as a young Kathleen Turner, Harry’s ex-girlfriend. 

Comedy film MVP Rob Riggle (22 Jump Street) appears in a dual role as villainous 

twin brothers. 

DISTRIBUTOR Universal CAST Jim Carrey, Jeff Daniels, Laurie Holden, Kathleen Turner WRITERS 

Peter Farrelly, Bobby Farrelly, Sean Anders, John Morris, Bennett Yellin, Mike Cerrone DIREC- 

TORS Peter Farrelly, Bobby Farrelly GENRE Comedy RATING PG-13 


COMING IN OCTOBER > WIDE RELEASES 

NOV 21 n The third film in the 

colossal phenomenon that is the Hunger 

Games franchise continues the story of 

Katniss Ever—well, you know. As has 

been a recent habit of studios, the final 

chapter has been split into two films— 

Part 2 of Mockingjay will be released 

next November. Oscar-winner Philip 

Seymour Hoffman returns as Plutarch 

Heavensbee, a role it is said he completed 

prior to his death. Julianne Moore joins 

the cast as President Alma Coin, the 

leader of District 13. With a worldwide 

gross of $1.56 billion, Lionsgate’s money 

machine is sure to rake in plenty of 

Panem credits before all is said and done. 

The books and film series are noted for 

the mellifluous names. If you would like 

to know your Panem name, we invite 

you point your browser of choice here: 

hungernames.com. 

DISTRIBUTOR Lionsgate CAST Jennifer 

Lawrence, Josh Hutcherson, Liam 

Hemsworth, Woody Harrelson WRITERS 

Danny Strong, Peter Craig DIRECTOR 

Francis Lawrence GENRE Adventure | Sci- 

Fi RATING PG-13 


NOV 26 n Horrible employees Kurt, 

Nick, and Dale return to the screen in 

this sequel to 2011’s modest hit. This 

time rather than plotting to kill their 

horrible bosses, the poor-planning trio 

intend to start their own company and 

become their own unhorrible bosses. 

Jennifer Aniston, in her first-ever sequel, 

returns as Charlie Day’s lascivious 

dentist, while Tarantino regular and 

two-time Oscar winner Christophe Waltz 

joins the cast as an unscrupulous investor 

who ruins their grand plans, inciting 

them to hatch a plan to kidnap the investor’s 

son (Star Trek’s Chris Pine). Jamie 

Foxx makes a return appearance as the 

seemingly Disney-named Dean Jones, 

otherwise known as We Can’t Print His 

R-Rated Nickname Here. Do we suspect 

a little bit of a Ransom of Red Chief flavor 

will be added to the proceedings? We do. 

DISTRIBUTOR Warner Bros. CAST Jason 

Bateman, Charlie Day, Jason Sudeikis, 

Jennifer Aniston, Jamie Foxx, Chris Pine, 

Christoph Waltz WRITERS Sean Anders, 

John Morris DIRECTOR Sean Anders GENRE 

Comedy RATING R 

AD 

NOVEMBER 2013 BoxOffice ® Pro The Business of Movies 57 

ad.indd NOVEMBER ads.indd 54 54 2014 BoxOffice ® Pro The Business of Movies 6/6/13 10/4/13 7:44:53 81 AMPM

COMING IN OCTOBER > WIDE RELEASES 

NOV 26 n Penguins Skipper, Kowalski, 

Rico, and Private are recruited by 

North Wind, a sort of CIA for animals, 

to foil the evil plot of the nefarious octopus 

Dr. Octavius Brine (John Malkovich, 

because: of course) who is plotting to 

take over the world. The characters are 

a spin-off from the Madagascar trilogy 

(a fourth is scheduled for 2018) where 

they had minor, yet hilarious, roles. 

The original voice actors for the quartet 

return, including Madagascar’s co-director 

Tom McGrath as Skipper, leader of 

the penguins. Originally, he had recorded 

the part as a placeholder for some future 

movie star, but the filmmakers liked it so 

much, they kept it. Chris Miller, director 

of Shrek the Third and the upcoming 

Puss in Boots sequel, also lends his voice 

to the film as Kowalski, the brains of the 

penguins. 

DISTRIBUTOR Fox CAST Benedict Cumberbatch, 

John Malkovich, Ken Jeong, 

Werner Herzog WRITERS John Aboud, 

Michael Colton, Brandon Sawyer, Tom 

McGrath, Eric Darnell DIRECTORS Simon 

J. Smith, Eric Darnell GENRE Animation | 

Adventure | Comedy RATING PG 


COMING IN OCTOBER > LIMITED RELEASES 

A BRIEF HISTORY OF STEPHEN 

THE THEORY OF 

EVERYTHING 

NOV 7 n These pages are a good 

place to start to begin studying for your 

Oscar pool. First up—this biopic of 

Earth’s foremost theoretical physicist, 

Stephen Hawking, has been hailed as 

one of the top films of the year with 

one of its most lauded performances. 

Eddie Redmayne (Marius in 2012’s Les 

Misérables) already has a Tony under his 

belt (Red) and has an excellent chance to 

add to his mantel come Oscar time for 

this portrait of the physicist’s early years 

through his marriage to his first wife 

(Felicity Jones, The Amazing Spider-Man 

2) including his struggle with rapidly 

advancing ALS. 

DISTRIBUTOR Focus Features CAST Eddie 

Redmayne, Felicity Jones, Charlie Cox, 

Emily Watson WRITER Anthony McCarten 

DIRECTOR James Marsh GENRE Biography 

| Drama RATING PG-13 

I DO BELEIVE IN SPOOKS 

JESSABELLE 

NOV 7 nOriginally titled Ghosts, this gothic 

tale was written by Reno 911’s Deputy Travis 

Junior—Ben Garant. How scary could it be? 

With horror specialist/producer Jason Blum 

guiding the proceedings with Saw veteran 

Kevin Greutert at the helm, things could get 

mighty spooky down Louisana way for star 

Sarah Snook as a grief-stricken woman who 

seeks solace at her father’s mansion deep in 

the bayou after her fiancé is killed in a traffic 

accident. 

DISTRIBUTOR Lionsgate CAST Sarah Snook, 

Mark Webber, Joelle Carter WRITER Ben Garant 

DIRECTOR Kevin Greutert GENRE Horror | Thriller 

RATING PG-13 

NOTHING FUNNY ABOUT IT 

ROSEWATER 

NOV 7 nThe King of Comedy Central, Jon Stewart, goes serious with his first 

film behind the camera. Maziar Bahari, a London-based journalist (and The Daily 

Show guest) spent 100 days in an Iranian jail in 2009 while reporting on the country’s 

presidential election. He was brutally interrogated while his pregnant fiancée 

waited, not knowing when or if he would return to Britain. The title of the film 

comes from the blindfolded prisoner’s manner of recognizing his interrogator. He 

smelled of rose water. Stewart himself has been accused by the Iranian government 

as working for the CIA. As most readers are aware, it is actually Stephen Colbert 

who works for the CIA. Rosewater has been met with high praise in early reviews. 

DISTRIBUTOR Open Road Films CAST Gael García Bernal, Kim Bodnia, Shohreh 

Aghdashloo WRITER/DIRECTOR Jon Stewart GENRE Drama RATING TBD 


WRESTLEMANIA 

FOXCATCHER 

NOV 14 nThis is director Bennett Miller’s third film. Both of his 

others have been nominated for Best Picture. Foxcatcher will make 

it three in a row for the most recent Cannes Best Director winner. 

The Office’s Steve Carell portrays John du Pont, an eccentric heir to 

the du Pont fortune who builds a training facility—Foxcatcher—for 

members of the men’s Olympic wrestling team. Things don’t go 

well. Carell is unrecognizable in the role, which insiders predict will 

nab him an Oscar nod. 

DISTRIBUTOR Sony Pictures Classics CAST Steve Carell, Channing 

Tatum, Mark Ruffalo WRITERS E. Max Frye, Dan Futterman DIRECTOR 

Bennett Miller GENRE Biography | Drama | Sports RATING R 

COWBOY UP 

THE HOMESMAN 

NOV 14 nThe Oscar buzz around this 

western is centered on Hilary Swank, who 

already has two on the shelf. Swank plays a 

woman who enlists Tommy Lee Jones to help 

her transport three mentally ill women across 

hostile land. Author Glendon Swarthout also 

wrote the much less grim Where the Boys Are 

based on his experiences during spring break in 

the late 1950s. 

DISTRIBUTOR Roadside Attractions CAST 

Tommy Lee Jones, Hilary Swank WRITERS Kieran 

Fitzgerald, Tommy Lee Jones, Wesley Oliver 

DIRECTOR Tommy Lee Jones GENRE Drama | 

Western RATING R 

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COMING IN OCTOBER > LIMITED RELEASES 

CODEBUSTERS 

THE IMITATION 

GAME 

NOV 21 nTV’s Sherlock, 

Benedict Cumberbatch, has 

thrown his hat into the Oscar 

ring with this biography of English 

Enigma code cracker Alan 

Turing. There’s more to Turing’s 

story than breaking an unbreakable 

code. He was the father of 

modern computer science who 

was treated so shabbily by the 

British government—he was 

tried and convicted of “gross 

indeceny” (he was gay)—he was 

only pardoned last year. He died 

60 years ago at the age of 41. 

DISTRIBUTOR The Weinstein 

Company CAST Benedict 

Cumberbatch, Keira Knightley, 

Matthew Goode WRITER Graham 

Moore DIRECTOR Morten Tyldum 

GENRE Biography | Drama | 

Thriller RATING PG-13 

WILL THE SEQUEL BE CALLED BLU-RAY? 

V/H/S: VIRAL 

NOV 21 nA second sequel of sorts to the 2012 anthology horror 

film, this movie will not be Oscar-bound, but may be fun nonetheless. 

The first certainly had its creepy moments. Here’s the skinny 

from Magnet Releasing: “Fame-obsessed teens hell-bent on capturing 

the next viral video discover they are the stars of the next Internet 

sensation.” The film includes four tales of terror, each written, helmed, 

and crewed by a different team of filmmakers. The titles of these shorts 

will give you a taste for what you’re in for: Bonestorm, Dante the Great, 

Parallel Monsters, Vicious Circles. 

DISTRIBUTOR Magnet Releasing CAST Patrick Lawrie, Emmy Argo, 

Heather Hayes DIRECTORS Marcel Sarmiento, Gregg Bishop, Nacho 

Vigalondo, Justin Benson, Aaron Moorehead GENRE Horror | Thriller 

RATING R 

LET IT SNOW 

ESCOBAR: PARADISE LOST 

NOV 26 nThe film chronicles the life of a surfer (Josh 

Hutcherson, The Hunger Games), who falls in love while 

visiting his brother in Colombia and finds out that the 

girl’s uncle is Colombian drug lord Pablo Escobar. Set 

mostly in the 1980s at the height of Escobar’s power 

(he was killed in 1993), the film is not a biography of 

Escobar, but a study of how easy it is to fall sway to the 

lifestyles of the rich and famous (and deadly). Variety’s 

Todd McCarthy calls the film “an absorbing and suspenseful 

drug trade drama” along with citing that “Del 

Toro’s presence, like Brando’s in The Godfather, looms 

over everything that happens here.” The director, Andrea 

Di Stefano, is an actor who appeared in the Life of Pi as a 

priest. This film is his first behind the camera. 

DISTRIBUTOR RADiUS-TWC CAST Josh Hutcherson, 

Benicio Del Toro, Brady Corbet, Claudia Traisac, 

Carlos Bardem WRITER/DIRECTOR Andrea Di Stefano 

GENRE Romance | Thriller RATING TBD 


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The grant of a specialized adaptive bike by Variety – the Children’s Charity has seen 6-year-old Isabella embrace life with newfound 

independence and self-esteem. Imagine not being able to participate in family outings or play with friends. This isolation is a reality 

for many children who live with a serious illness or special needs. While Isabella, who lives with cerebral palsy, a brain injury and 

development delays, cannot walk, she has amazed her family and friends by peddling the bike herself. Riding the adaptive bike is also 

strengthening Isabella’s legs, which may allow her to walk in the future. 

To join the Minions in changing children’s lives, please contact: 

Within the USA – Erica Lopez on +1 323 954 0820 or erica@usvariety.org 

Outside the USA – Sharon Castillo on +1 323 934 4688 or sharon.castillo@variety.org 

VARIETY – THE CHILDREN’S CHARITY – OUR GOAL IS TO MAKE SURE ALL KIDS REACH THEIRS

BOOKING 

GUIDE 

Compiled by Daniel Garris 

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS 

DISNEY 818-560-1000 / ASK FOR DISTRIBUTION 

BIG HERO 6 Fri, 11/7/14 WIDE Ryan Potter, Scott Adsit 

Don Hall, Chris 

Williams 

PG Ani/Adv/Com 3D/Dolby Dig 

INTO THE WOODS Thu, 12/25/14 WIDE Meryl Streep, Emily Blunt Rob Marshall PG Mus/Fan/Fam 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 

Fri, 4/17/15 WIDE 

Alastair Fothergill, 

Mark Linfield 

NR Doc 

AVENGERS: 

AGE OF ULTRON 

Fri, 5/1/15 WIDE Robert Downey Jr., Chris Evans Joss Whedon NR Act/Adv 

3D/IMAX/Dolby 

Atmos 

TOMORROWLAND Fri, 5/22/15 WIDE George Clooney, Britt Robertson Brad Bird NR SF/Adv IMAX 

INSIDE OUT Fri, 6/19/15 WIDE Kaitlyn Dias, Amy Poehler 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 

ST. JAMES PLACE 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 

Fri, 12/18/15 WIDE Harrison Ford, Mark Hamill J.J. Abrams NR Act/Adv/SF 3D/IMAX 

UNTITLED DISNEY 

ANIMATION FILM 

Fri, 3/4/16 WIDE NR Ani 3D 

CAPTAIN AMERICA 3 

Fri, 5/6/16 WIDE 

Anthony Russo, Joe 

Russo 

NR Act/Adv 

ALICE IN WONDER- 

LAND: THROUGH THE Fri, 5/27/16 WIDE Johnny Depp, Mia Wasikowska James Bobin NR Adv/Fan 3D 

LOOKING GLASS 

FOCUS FEATURES 424-214-6360 

THE THEORY OF 

EVERYTHING 

Fri, 11/7/14 LTD. Eddie Redmayne, Felicity Jones James Marsh PG-13 Dra 

BLACK SEA Fri, 1/23/15 LTD. Jude Law, Scoot McNairy Kevin Macdonald NR Adv/Thr Dolby Dig 

MAPS TO THE STARS Fri, 2/27/15 LTD. Julianne Moore, Mia Wasikowska David Cronenberg R Dra Dolby Dig 

A LITTLE CHAOS Fri, 3/27/15 LTD. Kate Winslet, Stanley Tucci Alan Rickman NR Com/Dra 

SELFLESS Fri, 4/17/15 WIDE Ryan Reynolds, Natalie Martinez Tarsem Singh NR SF/Thr 

INSIDIOUS CHAPTER 3 Fri, 5/29/15 WIDE Dermot Mulroney, Stefanie Scott Leigh Whannell NR Hor/Thr 

SINISTER 2 

Fri, 8/21/15 WIDE 

Shannyn Sossamon, James 

Ransone 

Ciaran Foy NR Hor/Thr 

LONDON HAS FALLEN Fri, 10/2/15 WIDE Gerard Butler, Aaron Eckhart Babak Najafi 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 

RACE Fri, 4/8/16 WIDE Stephan James, Jeremy Irons Stephen Hopkins NR Dra/Sport 

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

PENGUINS OF 

MADAGASCAR 

Wed, 11/26/14 WIDE 

Tom McGrath, Chris Miller 

Simon J. Smith, Eric 

Darnell 

PG 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 

Fri, 12/12/14 WIDE Christian Bale, Joel Edgerton Ridley Scott NR Act/Dra 3D/Dolby Dig 

NIGHT AT THE 

MUSEUM: SECRET OF Fri, 12/19/14 WIDE Ben Stiller, Robin Williams Shawn Levy NR Adv/Com/Fam 

THE TOMB 

TAKEN 3 Fri, 1/9/15 WIDE Liam Neeson, Maggie Grace Olivier Megaton NR Act/Thr 

KINGSMEN: 

THE SECRET SERVICE 

Fri, 2/13/15 WIDE Colin Firth, Taron Egerton Matthew Vaughn NR Act/Thr Dolby Dig 

HITMAN: AGENT 47 Fri, 2/27/15 WIDE Rupert Friend, Zachary Quinto Aleksander Bach NR Act/Thr 

UNFINISHED BUSINESS 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 Fri, 4/10/15 WIDE Britt Robertson, Scott Eastwood George Tillman Jr. NR Dra/Rom 

SPY Fri, 5/22/15 WIDE Melissa McCarthy, Jason Statham Paul Feig NR Act/Com 

B.O.O.: BUREAU OF 

OTHERWORLDLY 

Fri, 6/5/15 WIDE Seth Rogen, Melissa McCarthy Anthony Leondis NR Ani/Com/Fam 3D 

OPERATIONS 

PAPER TOWNS Fri, 6/19/15 WIDE Nat Wolff, Cara Delevingne Jake Schreier 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 

THE MAZE RUNNER: 

SCORCH TRIALS 

Fri, 9/18/15 WIDE Dylan O’Brien, Kaya Scodelario Wes Ball NR SF/Thr 

FRANKENSTEIN Fri, 10/2/15 WIDE James McAvoy, Daniel Radcliffe Paul McGuigan NR Hor/SF 

THE PEANUTS MOVIE Fri, 11/6/15 WIDE Steve Martino NR Ani/Com/Fam 3D/Dolby Dig 

THE MARTIAN Wed, 11/25/15 WIDE Matt Damon, Jessica Chastain 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 Fri, 12/25/15 LTD. Leonardo DiCaprio, Tom Hardy Alejandro G. Iñárritu NR Adv/Dra 

DEADPOOL Fri, 2/12/16 WIDE Tim Miller NR Act/Adv 

PEREGRINE’S HOME 

FOR PECULIARS 

Fri, 3/4/16 WIDE Tim Burton NR Adv/Fan 

BOSS BABY Fri, 3/18/16 WIDE Alec Baldwin, Kevin Spacey Tom McGrath NR Ani/Com 3D 

X-MEN: APOCALYPSE 

Fri, 5/27/16 WIDE 

James McAvoy, Michael Fassbender 

Bryan Singer NR Act/Adv 


BOOKING GUIDE 


FOX SEARCHLIGHT 212-556-2400 

WILD 

THE SECOND BEST EX- 

OTIC MARIGOLD HOTEL 

FAR FROM THE 

MADDING CROWD 

LIONSGATE 310-309-8400 

Fri, 12/5/14 LTD. 

Reese Witherspoon, Gaby Hoffmann 

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 

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 Dolby Atmos 

SPARE PARTS Fri, 1/16/15 MOD. George Lopez, Carlos Pena Sean McNamara PG-13 Dra/Fam 

MORTDECAI Fri, 1/23/15 WIDE Johnny Depp, Gwyneth Paltrow David Koepp NR Act/Com 

LAZARUS Fri, 1/30/15 WIDE Olivia Wilde, Mark Duplass David Gelb PG-13 Hor/Thr 

THE DIVERGENT 

SERIES: INSURGENT 

Fri, 3/20/15 WIDE Shailene Woodley, Theo James 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 AGE OF ADALINE Fri, 4/24/15 WIDE Blake Lively, Harrison Ford Lee Toland Krieger NR Dra/Rom 

THE HUNGER GAMES: 

MOCKINGJAY - PART 2 

Fri, 11/20/15 WIDE 

Jennifer Lawrence, Josh Hutcherson 

Francis Lawrence NR Act/Adv/SF 

DIRTY GRANDPA Fri, 12/25/15 WIDE Robert De Niro, Zac Efron Dan Mazer NR Com 

GODS OF EGYPT Fri, 2/12/16 WIDE Gerard Butler, Geoffrey Rush Alex Proyas NR Act/Adv 

THE DIVERGENT 

SERIES: ALLEGIANT - Fri, 3/18/16 WIDE Shailene Woodley, Theo James NR Act/Adv/SF 

PART 1 

OPEN ROAD FILMS 310-696-7504 

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 

INTERSTELLAR 

Fri, 11/7/14 WIDE 

Matthew McConaughey, Anne 

IMAX/Dolby 

Christopher Nolan PG-13 SF/Adv 

Hathaway 

Atmos 

TOP FIVE Fri, 12/5/14 LTD. Chris Rock, Rosario Dawson Chris Rock NR Com 

THE GAMBLER Fri, 12/19/14 LTD. Mark Wahlberg, Brie Larson Rupert Wyatt NR Cri/Dra 

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 

Fri, 2/6/15 WIDE Tom Kenny, Bill Fagerbakke Paul Tibbitt NR Ani/Com/Fam 3D/Quad 

OF WATER 

HOT TUB TIME 

MACHINE 2 

Fri, 2/20/15 WIDE Rob Corddry, Craig Robinson Steve Pink R Com 

PARANORMAL 

ACTIVITY: THE GHOST Fri, 3/13/15 WIDE Katie Featherston Gregory Plotkin NR Hor 

DIMENSION 

THE MOON AND 

THE SUN 

Fri, 4/10/15 WIDE Pierce Brosnan, Kaya Scodelario 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 

SCOUTS VS. ZOMBIES 10/30/15 WIDE Tye Sheridan, Logan Miller Christopher Landon NR Com/Hor 



FRIDAY THE 13TH Fri, 11/13/15 WIDE NR Hor 

MISSION: IMPOSSIBLE 5 Fri, 12/25/15 WIDE Tom Cruise, Jeremy Renner 

Christopher Mc- 

Quarrie 

NR Act/Thr 

BEN-HUR Fri, 2/26/16 WIDE Jack Huston, Toby Kebbell Timur Bekmambetov NR Dra 

BEVERLY HILLS COP Fri, 3/25/16 WIDE Eddie Murphy Brett Ratner NR Act/Com 

TEENAGE MUTANT 

NINJA TURTLES 2 

Fri, 6/3/16 WIDE NR Act/Adv 

RELATIVITY 310-724-7700 / ASK FOR DISTRIBUTION 

BEYOND THE LIGHTS Fri, 11/14/14 WIDE Gugu Mbatha-Raw, Nate Parker 

Gina Prince-Bythewood 

PG-13 Dra Dolby Dig 

THE WOMAN IN 

BLACK SEQUEL 

Fri, 1/30/15 WIDE Jeremy Irvine, Helen McCroy Tom Harper NR Hor/Thr 

JANE GOT A GUN Fri, 2/20/15 WIDE Natalie Portman, Ewan McGregor 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 

Fri, 8/14/15 WIDE Zach Galifianakis, Owen Wilson Jared Hess NR Com/Cri 

THE DISAPPOINTMENTS 

ROOM 

Fri, 9/25/15 WIDE Kate Beckinsale, Gerald McRaney D.J. Caruso NR Hor/Thr 

KIDNAP Fri, 10/9/15 WIDE Halle Berry Luis Prieto NR Act/Thr 

SONY 212-833-8500 

ANNIE Fri, 12/19/14 WIDE Jamie Foxx, Quvenzhané Wallis Will Gluck PG Mus/Fam Quad 

THE INTERVIEW Thu, 12/25/14 WIDE Seth Rogen, James Franco 

Evan Goldberg, Seth 

Rogen 

NR Act/Com Quad 

THE WEDDING RINGER Fri, 1/16/15 WIDE Kevin Hart, Josh Gad Jeremy Garelick NR Com Quad 

CHAPPIE Fri, 3/6/15 WIDE Hugh Jackman, Sharlto Copley Neill Blomkamp NR SF/Act/Com 

PAUL BLART: 

MALL COP 2 

Fri, 4/17/15 WIDE Kevin James, Raini Rodriguez Andy Fickman NR Com/Fam 

UNTITLED CAMERON 

CROWE PROJECT 

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 

KITCHEN SINK Fri, 9/4/15 WIDE Nicholas Braun, Mackenzie Davis Robbie Pickering NR Com/Hor 

HOTEL 

TRANSYLVANIA 2 

Fri, 9/25/15 WIDE Adam Sandler Genndy Tartakovsky NR Ani/Com/Fam 3D 

THE WALK 

Fri, 10/2/15 WIDE 

Joseph Gordon-Levitt, Ben 

Kingsley 

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 

Wed, 11/25/15 WIDE Seth Rogen, Joseph Gordon-Levitt Jonathan Levine NR Com 

SAUSAGE PARTY Fri, 6/3/16 WIDE Seth Rogen, Kristen Wiig 

SONY PICTURES CLASSICS TOM PRASSIS / 212-833-4981 

FOXCATCHER 

MR. TURNER 

LEVIATHAN 

STILL ALICE 

Fri, 11/14/14 EXCL 

NY/LA 

Fri, 12/19/14 EXCL 

NY/LA 

Wed, 12/31/14 EXCL 

NY/LA 

Conrad Vernon, Greg 

Tiernan 

NR 

Ani/Com 

Steve Carell, Channing Tatum Bennett Miller R Dra Dolby Dig 

Timothy Spall, Paul Jesson Mike Leigh R Dra Dolby Dig 

Aleksey Serebryakov, Roman 

Madyanov 

Fri, 1/16/15 EXCL 

NY/LA Julianne Moore, Kristen Stewart Richard Glatzer, 

Wash Westmoreland 

Andrey Zvyagintsev R Dra 

NR 

Dra 


BOOKING GUIDE 


RED ARMY 

COMING HOME 

WILD TALES 

Fri, 1/23/15 EXCL 

NY/LA 

Fri, 1/30/15 EXCL 

NY/LA 

Fri, 2/20/15 EXCL 

NY/LA 

Slava Fetisov, Vladislav Tretiak Gabe Polsky PG Doc/Sport 

Gong Li, Chen Daoming Zhang Yimou PG-13 Dra Dolby Atmos 

Ricardo Darín, Oscar Martinez Damián Szifron R Com/Dra Dolby Dig 

MERCHANTS OF DOUBT Fri, 3/6/15 EXCL NY/LA Robert Kenner NR Doc 

THE SALT OF 

THE EARTH 

UNIVERSAL 818-777-1000 

Fri, 4/3/15 EXCL NY/ 

LA Sebastião Salgado, Wim Wenders Wim Wenders, Juliano 

Ribeiro Salgado 

PG-13 Doc Dolby Dig 

DUMB AND DUMBER TO Fri, 11/14/14 WIDE Jim Carrey, Jeff Daniels 

Bobby Farrelly, Peter 

Farrelly 

PG-13 Com Quad 

UNBROKEN Thu, 12/25/14 WIDE Jack O’Connell, Domhnall Gleeson Angelina Jolie PG-13 Dra/War 

Dolby Atmos/ 

Quad 

BLACKHAT Fri, 1/16/15 WIDE Chris Hemsworth, Viola Davis Michael Mann R Act/Cri/Thr Quad 

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 

FIFTY SHADES OF 

GREY 

Fri, 2/13/15 WIDE Jamie Dornan, Dakota Johnson 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 Quad 

MINIONS Fri, 7/10/15 WIDE Sandra Bullock, Jon Hamm 

Kyle Balda, Pierre 

Coffin 

NR Ani/Com/Fam 3D 

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 F. Gary Gray NR Dra 

EVEREST Fri, 9/18/15 WIDE Jason Clarke, Josh Brolin Baltasar Kormákur NR Adv/Dra 3D/IMAX 

UNTITLED BLUMHOUSE 

HORROR FILM 1 

Fri, 9/25/15 WIDE NR Hor 

CRIMSON PEAK Fri, 10/16/15 WIDE Mia Wasikowska, Tom Hiddleston Guillermo del Toro NR Hor IMAX 

KRAMPUS Wed, 11/25/15 WIDE Michael Dougherty 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 

NR Ani/Com/Fam 3D 

WARCRAFT Fri, 3/11/16 WIDE Ben Foster, Travis Fimmel Duncan Jones NR Act/Adv/Fan 3D/IMAX 

CLIFFORD 

THE BIG RED DOG 

Fri, 4/8/16 WIDE David Bowers NR Ani/Com/Fam 3D 

THE BEST MAN 

WEDDING 

Fri, 4/15/16 WIDE Taye Diggs, Nia Long Malcolm D. Lee NR Com/Dra 

THE HUNTSMAN Fri, 4/22/16 WIDE Chris Hemsworth, Charlize Theron Frank Darabont NR Adv/Fan 

UNTITLED UNIVERSAL 

R-RATED COMEDY 

Fri, 5/13/16 WIDE NR Com 

WARNER BROS. 818-977-1850 

HORRIBLE BOSSES 2 Wed, 11/26/14 WIDE Jason Bateman, Charlie Day Sean Anders R Com Quad 

INHERENT VICE Fri, 12/12/14 LTD. Joaquin Phoenix, Josh Brolin 

Paul Thomas Anderson 

R Cri/Com/Dra Quad 

THE HOBBIT: 

THE BATTLE OF THE 

FIVE ARMIES 

Wed, 12/17/14 WIDE Ian McKellen, Martin Freeman Peter Jackson NR Act/Adv/Fan 

3D/IMAX/Dolby 

Atmos 



AMERICAN SNIPER Thu, 12/25/14 LTD. Bradley Cooper, Sienna Miller Clint Eastwood NR Act/Dra 

MAX 

Fri, 1/30/15 WIDE 

Josh Wiggins, Thomas Haden 

Church 

Boaz Yakin NR Adv/Fam 

JUPITER ASCENDING Fri, 2/6/15 WIDE Channing Tatum, Mila Kunis 

Andy Wachowski, 

Lana Wachowski 

NR Act/Adv/SF 3D/IMAX/Quad 

FOCUS Fri, 2/27/15 WIDE Will Smith, Margot Robbie 

Glenn Ficarra, John 

Requa 

R Rom/Com/Cri 

HEART OF THE SEA Fri, 3/13/15 WIDE Chris Hemsworth, Benjamin Walker Ron Howard PG-13 Dra Dolby Atmos 

GET HARD Fri, 3/27/15 WIDE Will Ferrell, Kevin Hart Etan Cohen NR Com 

HILLSONG - LET HOPE 

RISE 

Wed, 4/1/15 LTD. Michael John Warren NR Doc 

RUN ALL NIGHT Fri, 4/17/15 WIDE Liam Neeson, Joel Kinnaman Jaume Collet-Serra NR Act/Cri/Thr 

UNTITLED REESE 

WITHERSPOON / SOFIA Fri, 5/8/15 WIDE Reese Witherspoon, Sofía Vergara Anne Fletcher NR Act/Com 

VERGARA COMEDY 

MAD MAX: FURY ROAD Fri, 5/15/15 WIDE Tom Hardy, Charlize Theron George Miller NR Act/Adv/SF 3D/Quad 

SAN ANDREAS 

Fri, 6/5/15 WIDE 

Dwayne Johnson, Alexandra 

Daddario 

Brad Peyton NR Act/Thr 3D 

ENTOURAGE Fri, 6/12/15 WIDE Adrian Grenier, Kevin Connolly Doug Ellin NR Com 

MAGIC MIKE XXL Wed, 7/1/15 WIDE Channing Tatum, Matt Bomer 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/Thr 

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 Emilia Clarke, Sam Claflin Thea Sharrock NR Dra/Rom 

UNTITLED WHITEY 

BULGER FILM 

Fri, 9/18/15 WIDE 

Johnny Depp, Benedict Cumberbatch 

Scott Cooper NR Cri/Dra 

THE INTERN Fri, 9/25/15 WIDE Anne Hathaway, Robert De Niro Nancy Meyers NR Com 

VACATION Fri, 10/9/15 WIDE Ed Helms, Leslie Mann 

John Francis Daley, 

Jonathan M. Goldstein 

NR Com 

THE CONJURING 2 Fri, 10/23/15 WIDE Vera Farmiga, Patrick Wilson NR Hor/Thr 

MIDNIGHT SPECIAL Wed, 11/25/15 WIDE Michael Shannon, Joel Edgerton Jeff Nichols NR SF/Thr 

UNTITLED NEW LINE 

HORROR FILM 

Fri, 1/29/16 WIDE 

NR 

HOW TO BE SINGLE Fri, 2/12/16 WIDE Lily Collins, Alison Brie Christian Ditter NR Rom/Com 

BATMAN V SUPERMAN: 

DAWN OF JUSTICE 

Fri, 3/25/16 WIDE Henry Cavill, Ben Affleck Zack Snyder NR Act/Adv 

WEINSTEIN CO./DIMENSION 646-862-3400 

THE IMITATION GAME Fri, 11/21/14 LTD. 

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 Dolby Dig 

PADDINGTON Fri, 1/16/15 WIDE Ben Whishaw, Hugh Bonneville Paul King NR Ani/Com/Fam 

THE COUP Fri, 3/6/15 WIDE Owen Wilson, Pierce Brosnan John Erick Dowdle R Act/Thr 

UNDERDOGS Fri, 4/10/15 WIDE Matthew Morrison, Nicholas Houl 

Juan José Campanella 

NR Ani/Com/Fam 3D/Dolby Dig 

CROUCHING TIGER, 

HIDDEN DRAGON: 

Fri, 8/28/15 LTD. Michelle Yeoh, Donnie Yen Yuen Woo-ping NR Act/Adv IMAX 

THE GREEN LEGEND 

REGRESSION Fri, 8/28/15 WIDE Ethan Hawke, Emma Watson Alejandro Amenábar NR Thr 

PLUSeBoxOffceococeooceo 

BONUS DISTRIBUTION: CINEASIA / DECEMBER 9–11 / HONG KONG 


AD INDEX

AMERICAN CINEMA 

EQUIPMENT 

1927 N. Argyle St. 

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PG 7 

ARTS ALLIANCE MEDIA 

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OPTICS, INC. 

(PORT WINDOW GLASS) 

240 Goddard 

Irvine, CA 92618-4625 

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CARDINAL SOUND 

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CARMIKE CINEMAS 

1301 First Avenue 

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CHRISTIE DIGITAL 

SYSTEMS 

10550 Camden Dr. 


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CINEMA EQUIPMENT 

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12457 SW 130th St. 


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THE COCA-COLA 

COMPANY 

P.O. Box 1734 

Atlanta, GA 30301 

us.coca-cola.com 

PG 15 

DOLBY LABS 

3601 West Alameda Ave. 


www.dolby.com 

INSIDE BACK COVER 

DOLPHIN SEATING 

313 Remuda St. 

Clovis, NM 88101 

www.dolphinseating.com 

PG 75 

DOREMI LABS 

1020 Chestnut St. 


www.doremilabs.com 

PG 53 

ENPAR AUDIO 

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PG 85 

ENTERTAINMENT SUPPLY 

& TECHNOLOGIES 

Northdale Executive Center 

3820 Northdale Blvd., Ste. 308B 

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www.ensutec.com 

PG 55 

FANDANGO 

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PG 4 

GOLD MEDAL PRODUCTS 

10700 Medallion Dr. 

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PG 9 

HARKNESS SCREENS 

Unit A, Norton Road 

Stevenage, Herts 

SG1 2BB UK 

www.harkness-screens.com 

PG 29, 31 

INTERNET VIDEO 

ARCHIVE 

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www.internetvideoarchive.com 

PG 57 

IRWIN SEATING 

COMPANY 

3251 Fruit Ridge NW 


www.irwinseating.com 

PG 59 

J&J SNACK FOODS 

6000 Central Hwy. 

Pennsauken, NJ 08109 

www.jjsnack.com 

PG 61 

LIGHTSPEED DESIGN 

1611 116th Ave. NE, Ste. 112 

Bellevue, WA 98004 

www.lightspeeddesign.com 

PG 77 

MAGNA-TECH 

ELECTRONIC CO. 

1998 NE 150th St. 


www.myiceco.com 

PG 69 

MAROEVICH, O’SHEA & 

COUGHLAN 

44 Montgomery St., 17th Fl. 

San Francisco, CA 94104 

www.mocins.com 

PG 5 

MEDIAMATION 

387 Maple Ave. 

Torrance, CA 90503 

www.mediamation.com 

PG 82 

MEYER SOUND 

LABORATORIES 

2832 San Pablo Ave. 

Berkeley, CA 94702 

www.meyersound.com 

PG 21 

MOBILIARIO SEATING 

Calle del Sol # 3 

Col. San Rafael Chamapa 

Naucalpan, Estado de México 

México CP 53660 

www.mobiliarioseating.com 

PG 50 

MOVING IMAGE 

TECHNOLOGIES 

17760 Newhope St., Ste. B 

Fountain Valley, CA 92708 

www.movingimagetech.com 

PG 17, 27 

NATO 

National Association of Theatre 

Owners 

1705 N St. NW 

Washington, DC 20036 

www.natoonline.org 

PG 83 

NEC DISPLAY 

SOLUTIONS 

500 Park Blvd., Ste. 1100 

Itasca, IL 60143 

www.necdisplay.com 

PG 67 

ODELL’S 

40 Pointe Dr. 

Brea, CA 92821 

www.popntop.com 

PG 37 

OMNITERM 

2785 Skymark Ave., Unit 11 

Mississauga, ON 

Canada, L4W 4Y3 

www.omniterm.com 

PG 10 

PARADIGM 

550 3 Mile Rd. NW, Ste. B 


www.paradigmae.com 

PG 88–89 

PARAMOUNT PICTURES 

5555 Melrose Ave. 


www.cardinalsound.com 

PG 71 

PACKAGING 

CONCEPTS, INC. 

9832 Evergreen Industrial Dr. 

St Louis, MO 63123 

www.packagingconceptsinc.com 

PG 39 

PLUSRITE SPECIALTY 

LIGHTING 

2000 S. Grove Ave., Bldg. B 

Ontario, CA 91761 

www.plusriteusa.com 

PG 78 

QSC AUDIO PRODUCTS 

1675 MacArthur Blvd. 

Costa Mesa, CA 92626 

www.qsc.com 

PG 49 

READY THEATRE 

SYSTEMS 

4 Hartford Blvd. 

Hartford, MI 49057 

www.rts-solutions.com.com 

PG 80 

REYNOLDS & REYNOLDS 

300 Walnut St., Ste. 200 

Des Moines, IA 50309 

www.reynolds-reynolds.com 

PG 33 

REALD 

100 North Crescent Dr., Ste. 200 

Beverly Hills, CA 90210 

www.reald.com 

PG 19, 42–43 

RETRIEVER SOFTWARE 

888 West Ithaca Ave., Ste. 100 

Englewood, CO 80110 

www.RetrieverSoftwareInc.com 

PG 41 

RICOS PRODUCTS 

830 S Presa St. 

San Antonio, TX 78210 

www.ricos.com 

PG 35 

SCREENVISION 

1411 Broadway 33rd Fl. 

New York, NY 10018 

www.screenvision.com 

PG 8, BACK COVER 

SENSIBLE CINEMA 

SOFTWARE 

7216 Sutton Pl. 

Fairview, TN 37062 

www.sensiblecinema.com 

PG 96 

SONIC EQUIPMENT 

COMPANY 

900 W. Miller 

Iola, KS 66749 

www2.sonicequipment.com 

PG 23-25 

SPOTLIGHT CINEMA 

NETWORKS 

www.spotlightcinemanetworks.com 

PG 49 

STADIUM SAVERS 

550 3 Mile Rd NW 


www.stadiumsavers.com 

PG 18 

ST. JUDE CHILDREN’S 

RESEARCH HOSPITAL 

262 Danny Thomas Pl. 

Memphis, TN 38105 

www.stjude.org 

PG 73 

USHIO AMERICA, INC. 

5440 Cerritos Ave. 


www.ushio.com 

PG 11 

USL, INC. 

181 Bonetti Dr. 

San Luis Obispo, CA 93401 

www.uslinc.com 

PG 2 

VARIETY 

4601 Wilshire Blvd., Ste. 260 


www.usvariety.org 

PG 87 

VIP CINEMA SEATING 

101 Industrial Dr. 

New Albany, MS 38652 

www.vipcinemaseating.com 

PG 13 

THE WALT DISNEY 

COMPANY 

500 S. Buena Vista St. 


thewaltdisneycompany.com 

COVER 

WEST WORLD MEDIA 

63 Copps Hill Rd. 

Ridgefield, CT USA 06877 

www.westworldmedia.com 

PG 45 

WHITE CASTLE 

555 West Goodale St. 

Columbus, OH 43215 

www.whitecastle.com 

PG 81 

WILL ROGERS MOTION 

PICTURE PIONEERS 

FOUNDATION 

10045 Riverside Dr., Third Fl. 

Toluca Lake, CA 91602 

www.wrpioneers.com 

PG 95 

BOXOFFICE ® MEDIA 

CHAIRMAN 

Peter Cane 

CEO 

Julien Marcel 

CREATIVE DIRECTOR 

Kenneth James Bacon 

BOXOFFICE ® PRO 

MANAGING EDITOR 

Daniel Loria 

INDUSTRY CONTRIBUTORS 

David Binet 

Kathy Conroy 

Todd Halstead 

GUEST CONTRIBUTOR 

Pete Filiaci 

Katie Gerfen 

David Richards 

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Daniel Garris 

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Ally Bacon 

BOXOFFICE.COM 

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Daniel Loria 

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Shawn Robbins 

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Daniel Garris 

ADVERTISING 

VP, ADVERTISING 

Susan Uhrlass 

9107 Wilshire Blvd., Ste. 450 

Beverly Hills, CA 90210 

susanbooffice.com 

310-876-9090 

SUBSCRIPTIONS 

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Stark Services 

12444 Victory Blvd., 3rd Floor 

North Hollywood, CA 91606 

lucia@starkservices.com 

818-985-2003 

BOXOFFICE ® PRO (ISSN 0006-8527), Volume 150, Number 11, November 2014. BOXOFFICE ® PRO is published 

monthly by Boffice edia, , San icente Blvd., Ste. , os ngeles, , S. corporate 

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corporatebooffice.com 


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 roducts nc., .. Bo , Richfield, 

OH 44286. Phone: 330-659-6631. 

EQUIPMENT WANTED 

ASTER AUDITORIUM SEATING & AUDIO. 

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 PRODUCTS 

LLC is buying projectors, processors, amplifiers, 

speakers, seating, platters. f 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. 

mplifiers, 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 Huntsville 

AL, at the University 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 AUTOMATED 

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 acific orthwest heatre 

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 or mail to Aliance Management 

Co. LLC 825 Northgate Blvd. Suite # 

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 

203 New Albany, IN 47150. Compensation 

based on experience. 

SERVICES 

DULL FLAT PICTURE? RESTORE YOUR 

XENON REFLECTORS! ltraat repolishes 

and recoats enon reectors. any re- 

ectors available for immediate echange. 

(ORC, Strong, Christie, Xetron, others!) Ultraat, 

Sherman ay, innetka, 

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. 

ur etensive 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. 

OWN THE YEAR’S MOST EMMY ® NOMINATED 

MINISERIES FARGO SEASON 1 NOW AVAILABLE 

ON BLU-RAY AND DVD 

Fargo features an all-new “true crime” story and follows a new case with new 

characters, murder, and that innesota nice that made the oen Bros. film an 

enduring classic. Billy Bob Thornton stars as Lorne Malvo, a rootless, manipulative 

man who meets and forever changes the life of a small town insurance 

salesman, Lester Nygaard (The Hobbit’s ee). 


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 

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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 - November 2014

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