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APRIL 2015<br />
EXECUTIVE<br />
SUITE<br />
DID THE 2015<br />
OSCARS MEAN<br />
ANYTHING?<br />
Scott Eastwood<br />
as Luke Collins in Fox’s<br />
The Longest Ride opening<br />
April 10<br />
GOVERNMENT<br />
RELATIONS<br />
COMING SOON<br />
TO A THEATER<br />
NEAR YOU<br />
BOXOFFICE<br />
INTERVIEW<br />
MITCH NEUHAUSER<br />
CINEMACON 2015<br />
PREVIEW<br />
FILMMAKER<br />
INTERVIEW<br />
THE MAKERS OF<br />
THE D TRAIN<br />
CONCESSION<br />
STAND<br />
Q&A WITH<br />
RICOS PRODUCTS<br />
SPOTLIGHT ON<br />
VARIETY THE CHILDREN’S<br />
CHARITY & WILL ROGERS<br />
MOTION PICTURE PIONEERS<br />
FOUNDATION<br />
FOCUS ON<br />
THEATER<br />
MANAGEMENT<br />
SYSTEMS<br />
WE CELEBRATE<br />
MARCUS<br />
THEATRES<br />
80 YEARS OF<br />
EXHIBITION<br />
EXCELLENCE<br />
The Official Magazine of the National Association of Theatre Owners
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congratulates<br />
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Box Office April2015_AAM.indd 7 12/03/2015 17:37:12
Daniel Loria,<br />
Managing Editor /<br />
Senior Overseas<br />
Analyst<br />
n Arjen Robben isn’t a very popular guy in Mexico. Not lately anyway, or<br />
at least not since the World Cup—when, as Mexico and the Netherlands<br />
approached overtime of their second-round match, the Dutch winger fell<br />
lightly under a lazy defensive challenge and was awarded a last-minute<br />
penalty kick that killed Mexico’s World Cup dreams.<br />
Despite my home country having much more to be upset about outside of<br />
soccer, the World Cup loss seemed to trigger an awful sense of defeatism<br />
that reverberated throughout the coming months. So you’ll forgive me if,<br />
as Alejandro González Iñárritu approached the stage to receive the Best<br />
Picture Oscar for Birdman at the Academy Awards, I began feeling cold<br />
chills running down my spine. Instinctively I was praying the first Mexican director of a Best<br />
Picture winner didn’t accidentally bump into Arjen Robben on his way to the podium.<br />
Contemporary Mexican cinema seemed to be at a creative standstill when González Iñárritu’s<br />
debut feature, Amores Perros, became an international box office hit. It was eye-opening for<br />
me, then a teenager, to see that Mexican cinema not only had a future but that it was also<br />
embraced by audiences outside the country. Today, Mexico’s recent streak at the Academy<br />
Awards is nothing short of fantastic: Emmanuel Lubezki has won Best Cinematography<br />
(Gravity, Birdman) in back-to-back years while Alfonso Cuarón (Gravity) and González Iñárritu<br />
(Birdman) have made it two consecutive Best Director wins. While the Academy Awards<br />
have received public backlash for the lack of diversity among nominees, Mexicans like myself<br />
are still blushing at the country’s recent run of Oscar successes.<br />
It’s crucial that we begin to think of the Latino audience not as a monolithic demographic but<br />
as Latino audiences. The diversity within the Latin American communities in the United States<br />
is vast; Hispanics in Miami are a very different group from those in Los Angeles. In addition,<br />
the influence of Latinos at the box office cannot simply be measured by the box office performance<br />
of films that cater to those groups.<br />
John Fithian brought up the importance of Latino moviegoers during his keynote address at<br />
CinemaCon last year. Univision’s Pete Filiaci, who recently wrote a column for BoxOffice<br />
on Hispanic audiences, will be hosting a panel on the topic at this year’s edition. The data is<br />
showing a clear trend: Latino audiences are loyal moviegoers and are coming back to cinemas<br />
at higher rates than other groups. With the audience in place, and (one assumes) the veneer of<br />
artistic legitimacy that the Academy Awards can bring, I for one am looking forward to seeing<br />
more films made by and featuring Latinos come to our screens. n<br />
Daniel Loria<br />
daniel.loria@boxoffice.com<br />
APRIL 2015 BoxOffice ® Pro The Business of Movies 3
APRIL 2015 VOL. 151 NO. 4<br />
Orland Park Cinema<br />
in Orland Park,<br />
Illinois, in 1995<br />
Exhibition briefs edited by Laura Silver 6<br />
Executive suite: Did the 2015 Oscars mean anything?<br />
by John Fithian<br />
10<br />
Government relations: Coming soon to a theater near you<br />
by Belinda Judson<br />
12<br />
Concession stand: Ricos cheese and nachos by Daniel Loria 14<br />
Box office forecast: Furious 7 continues franchise’s success<br />
in April by Phil Contrino<br />
15<br />
FOCUS ON THEATER MANAGEMENT SYSTEMS<br />
An introduction by Daniel Loria 16<br />
THE LATEST TMS NEWS FROM<br />
MARCUS THEATRES<br />
CELEBRATES<br />
80 YEARS<br />
> Arts Alliance Media 16<br />
> Christie 16<br />
> Dolby 17<br />
> GDC 18<br />
> Hollywood Software 18<br />
> Sony 19<br />
> Unique Digital Cinema 19<br />
CinemaCon 2015 preview: Mitch Neuhauser, Managing<br />
Director, CinemaCon interview by Daniel Loria<br />
20<br />
Will Rogers Motion Picture Pioneers Foundation:<br />
Strong goals set for 2015 after success in 2014 by Christina Blumer<br />
22<br />
Variety the Children’s Charity spotlight: Five kids who have<br />
been helped recently by Erica Lopez<br />
22<br />
MARCUS THEATRES CELEBRATES 80 YEARS OF EXCELLENCE<br />
Introduction by Chris Aronson, President and CEO, 20th Century Fox 25<br />
Marcus Theatres: A narrative timeline by Daniel Loria 25<br />
Marcus Theatres today by Daniel Loria 34<br />
An awkward reunion: Interview with Andrew Mogel and<br />
Jarrad Paul, writer/directors of The D Train by Daniel Loria<br />
38<br />
3D release calendar sponsored by RealD 40<br />
On screen capsule April previews by Kenneth James Bacon 42<br />
Booking guide compiled by Daniel Garris 52<br />
Classifieds 56<br />
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APRIL 2015 BoxOffice ® Pro The Business of Movies 5
EXHIBITION<br />
BRIEFS<br />
Edited by Laura Silver<br />
SONY AND MEDIAMATION FORGE<br />
STRATEGIC PARTNERSHIP IN JAPAN<br />
n Sony Business Solutions Corporation will<br />
be the exclusive distributors for MediaMation’s<br />
MX4D Motion EFX Cinema Theatres in Japan.<br />
The flagship installation in this new alliance will<br />
be the TOHO Cinemas LaLaport Fujimi in<br />
April, with two additional 100-plus-seat installations<br />
following shortly thereafter in TOHO<br />
Cinemas Roppongi Hills and TOHO Cinemas<br />
Shinjuku. TOHO Cinemas is Japan’s largest<br />
cinema chain.<br />
MX4D is<br />
MediaMation’s<br />
4D pneumatically<br />
driven motion EFX<br />
system, an immersive<br />
technology that<br />
allows moviegoers<br />
to experience big<br />
Hollywood blockbusters<br />
with the<br />
addition of moving<br />
seats, air and water<br />
blasts, leg ticklers,<br />
fog, scents, and<br />
other special effects<br />
that emanate from<br />
specially designed theater seats, or from inside<br />
the theater itself. These multiple special effects<br />
are programmed to both sync with and enhance<br />
the action on the screen for a more exciting and<br />
realistic moviegoing experience.<br />
“We see MediaMation’s MX4D Motion EFX<br />
Theatres as the next evolution in the cinema<br />
market,” says Takashi Hayasaka of Sony. “Media-<br />
Mation provides strong experience and the best<br />
technology available. Sony Business Solutions<br />
Corporation is proud to be a partner with them<br />
in this exciting growth industry.”<br />
Since its inception MediaMation has worked<br />
with major theme parks, museums, and family-fun<br />
centers. Since 2010 it has been bringing<br />
its technological innovations to the cinema market,<br />
where it has been well received—new rollouts<br />
of cinema screens are happening monthly.<br />
OMNICOM MEDIA GROUP SIGNS<br />
UP-FRONT DEAL WITH NATIONAL<br />
CINEMEDIA<br />
n Omnicom Media Group, the media services<br />
division of Omnicom Group Inc., has entered<br />
into an up-front agreement with National<br />
CineMedia (NCM) to bring Omnicom client<br />
brands to movie patrons across NCM’s network<br />
in 2015.<br />
The deal will cover approximately $50<br />
million in advertising over the next year and<br />
includes NCM’s FirstLook pre-show, Shazam<br />
cinema interactivity, movie-theater lobby activations,<br />
and online and mobile video campaigns<br />
specifically targeting NCM movie audiences.<br />
This 2015 up-front deal is an expansion<br />
of Omnicom Media Group’s successful use<br />
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6 BoxOffice ® Pro The Business of Movies APRIL 2015
of cinema over the years for a wide variety of clients. “This represents<br />
the continued evolution of our premium video strategy and is another<br />
step toward ensuring that our clients have preferred access to a wide<br />
range of advertising alternatives,” says John Swift, CEO, North America<br />
investment of Omnicom Media Group. “Our clients expect us to identify<br />
the best video marketing options, and cinema fits perfectly into that<br />
category.”<br />
NCM’s first-ever agency up-front deal with Omnicom Media Group is<br />
the cap to a very successful 2014–15 up-front season, which saw up-front<br />
commitments increase nearly 100 percent over the prior year. NCM’s<br />
2015–16 up-front luncheon event will be held on Wednesday, May 13, at<br />
the AMC Loews Lincoln Square movie theater in New York City.<br />
REGAL ENTERTAINMENT GROUP PARTNERS WITH<br />
MOVIETICKETS.COM<br />
n MovieTickets.com has entered into an agreement with Regal Entertainment<br />
Group, the largest and most geographically diverse movie-theater circuit<br />
in the United States. Through the deal, MovieTickets.com will offer its<br />
ticketing solutions across all 572 Regal Cinemas theaters (7,356 screens),<br />
including its three main brands: Regal Cinemas, Edwards Theatres, and<br />
United Artists Theatres.<br />
“Our new relationship with Regal establishes MovieTickets.com as<br />
the leader in the advance-movie-ticketing category, based on both screen<br />
count and number of movie-theater chains served,” says Joel Cohen, CEO<br />
of MovieTickets.com. “The addition of over 7,300 screens significantly<br />
boosts our footprint in the domestic marketplace and magnifies the opportunities<br />
for us on a much broader scale.”<br />
“Regal is excited about our relationship with MovieTickets.com,” says<br />
Dave Doyle, CIO at Regal Entertainment Group. “Our partnership<br />
with MovieTickets.com means greater access to the magic of moviegoing<br />
at Regal and added convenience for our customers.”<br />
(continued on page 8)<br />
VOLFONI RAISES PRODUCTION CAPACITY<br />
AHEAD OF MASSIVE 3D RENTAL CONTRACTS<br />
ENDING<br />
n In the 15 months since its launch at CineAsia 2013,<br />
the SmartCrystal Diamond has become the No. 1 selling<br />
Hi-LEF 3D system. With over 300 units shipped, this<br />
represents one installation every 36 hours somewhere on the<br />
planet. For that reason, Volfoni has announced that it has<br />
opened a second factory for the production of the Smart-<br />
Crystal Diamond in Qingdao, China. Volfoni repeats its<br />
successful rollout of production processes that have been developed<br />
by its R&D and production team in Nice, France.<br />
“The unique compact triple-beam technology from Volfoni<br />
is extremely well adapted for mass production without<br />
any compromise on quality,” says Jérôme Hamacher, chief<br />
operating officer of Volfoni.<br />
The facilities are state of the art with dust-free assembly<br />
zones. At peak times, they allow for an output of 500<br />
3D systems per month. The advantage of Volfoni’s global<br />
production network is its ability to balance the workload<br />
between sites and to achieve economies of scale that can<br />
ultimately be shared with customers.<br />
APRIL 2015 BoxOffice ® Pro The Business of Movies 7
EXHIBITION BRIEFS<br />
MovieTickets.com began deployment of its service across Regal<br />
Cinemas, Edwards Theatres, and United Artists Theatres in early<br />
March, with the rollout continuing through the end of that month.<br />
With the addition of these theaters, MovieTickets.com will be<br />
providing advance movie ticketing to over 28,000 screens worldwide,<br />
becoming the largest online advance-movie-ticketing platform in the<br />
world.<br />
UNIQUE DIGITAL COMPLETES 600 MOVIE TRANSIT<br />
INSTALLATIONS ACROSS UK & IRELAND<br />
n Unique Digital’s groundbreaking broadband content delivery system,<br />
Movie Transit, has now passed 600 theater deployments across the U.K.<br />
and Ireland, including every independent cinema in the territory. This<br />
brings the total number of Movie Transit–enabled cinemas to over 1,500.<br />
All Movie Transit installations consist of an eco-friendly, low-power-consumption<br />
content server, firewall security, and dedicated broadband<br />
connectivity.<br />
Over 70 percent of Movie Transit broadband installations are<br />
equipped with super-fast fiber connections between 50 and 150 Mbps.<br />
With assistance from telecom giant BT, Unique Digital plans to achieve<br />
at least 100 Mbps in all sites within 12 months, opening the door to<br />
alternative content, live streaming, and dynamic programming.<br />
With such a large footprint of IP broadband installations, the U.K.<br />
and Ireland is now the world’s largest single territory for broadband<br />
feature delivery. All 600 cinemas are receiving feature, advertising, and<br />
trailer content each week.<br />
Chris Hagan, chairman of Unique Digital, says, “Many doubted that<br />
a broadband-only network for this volume of traffic was possible at this<br />
point in time. However, with the backing of our partners, BT, we have<br />
built the first large-scale broadband network for the future of theatrical<br />
content delivery. With speeds only increasing year on year, Movie Transit<br />
is future proofed.”<br />
REALD AND<br />
CAP CINEMA<br />
ANNOUNCE<br />
EXCLUSIVE<br />
PARTNERSHIP<br />
n Global visual<br />
technology company<br />
RealD has announced<br />
an exclusive<br />
partnership with Cap<br />
Cinema, which will<br />
oversee the installation of RealD 3D technology across 50 screens<br />
at 10 Cap Cinema sites, many of which will also be fitted with<br />
RealD’s new precision white-screen technology.<br />
Phillippe Dejust, CEO of Cap Cinema, says, “We are pleased<br />
to partner with RealD, the world’s recognized leader for 3D broadcasting<br />
systems, and to share a joint commitment to providing<br />
customers with the best 3D projection quality possible. With the<br />
precision white screens and RealD 3D systems, we are confident<br />
we can deliver clear, bright 3D imaging, promising our viewers an<br />
immersive occasion like never before.”<br />
Bob Mayson, managing director of RealD Europe Ltd. says,<br />
“This agreement with Cap Cinema demonstrates our commitment<br />
to focus on the French market, signaling an improvement in<br />
French cinema quality through our new precision white screens.”<br />
Cap Cinema will continue full installation of the precision<br />
white screens, with the hardware also being installed at their new<br />
site, Cagnes sur Mer. In addition, Cap Cinema is also exploring<br />
its introduction of RealD’s “LUXE: A RealD Experience,” a new<br />
premium large-format initiative.<br />
8 BoxOffice ® Pro The Business of Movies APRIL 2015
NATIONAL THEATRE LIVE, SONY,<br />
AND VUE ENTERTAINMENT<br />
INTERNATIONAL RAISE CURTAIN ON<br />
NEW PARTNERSHIP<br />
n Sony Digital Cinema has confirmed an<br />
initiative with the National Theatre and Vue<br />
Entertainment International to screen four<br />
National Theatre Live stage productions in 4K<br />
ultra high definition. This unique three-way<br />
partnership represents the first agreement of its<br />
kind between a leading cultural brand, a cinema<br />
chain, and an electronics manufacturer.<br />
Over the next year, audiences at Vue<br />
Cinemas across the U.K. and Ireland will be<br />
able to enjoy a world-class theatrical experience<br />
without traveling far from home. The four<br />
shows will be captured with Sony cameras at<br />
4K resolution, with four times the detail of<br />
ordinary Full HD television broadcasts.<br />
First fruit of the new partnership is the<br />
NT’s acclaimed production of David Hare’s<br />
Behind the Beautiful Forevers (right), based on<br />
the book by Katherine Boo, directed by Rufus<br />
Norris and starring Meera Syal.<br />
In August 2014, Sony cameras were used<br />
to capture the summer’s footballing action in<br />
Brazil, with images from FIFA World Cup Final<br />
beamed live in 4K to fans at Vue’s Westfield<br />
multiplex in London. All of Vue Entertainment<br />
International’s 755 screens in the U.K. are now<br />
converted to 4K digital projection with the<br />
help of Sony. n<br />
APRIL 2015 BoxOffice ® Pro The Business of Movies 9
EXECUTIVE<br />
SUITE<br />
DID THE 2015 OSCARS MEAN ANYTHING?<br />
by John Fithian, President and CEO, NATO<br />
AMERICAN SNIPER $337,442,628<br />
THE IMITATION GAME $88,532,410<br />
THE GRAND BUDAPEST HOTEL $59,100,318<br />
SELMA $51,013,157<br />
BIRDMAN $41,595,292<br />
THE THEORY OF EVERYTHING $35,519,787<br />
BOYHOOD $25,372,195<br />
WHIPLASH $12,734,000<br />
SOURCE BOXOFFICE.COM / MARCH 11, 2015<br />
n In this space two years ago, I opined that the 2013 Oscars meant<br />
something because the movies nominated for Best Picture (and other<br />
major categories) that year made a difference, both commercially and<br />
intellectually. That year six of the nine films nominated for Best Picture<br />
grossed more than $100 million domestically while addressing important<br />
themes about the human experience. Flash forward two years, and can<br />
the same claim be made? Not so much.<br />
As I write this column at the close of February, only one of the<br />
2015 Best Picture nominees (American Sniper at a strong $323 million)<br />
has grossed more than $100 million, while only one more movie (The<br />
Imitation Game at $85 million as of February 27) has an outside shot at<br />
achieving that milestone. Six of the eight nominees have grossed far less<br />
than $100 million (Birdman—$38M; Whiplash—$11M; Grand Budapest<br />
Hotel—$59M; Selma—$50M; The Theory of Everything—$34M; and<br />
Boyhood—$25M). Given that data, it isn’t difficult to conclude that most<br />
people watching the Oscars telecast had not seen most of the movies<br />
being honored.<br />
According to Nielsen data, approximately 36.6 million people<br />
watched the Oscar broadcast, down 14.9 percent from the 43 million<br />
who did so in 2014. (In 2014, four of the nine movies nominated for<br />
Best Picture grossed more than $100 million.) The winning movie,<br />
Birdman, has been seen in theaters by fewer than five million people, so<br />
the vast majority of the viewers had not seen the winning movie. And the<br />
viewers of the Oscars constitute the most ardent movie lovers. Consider<br />
what five million ticket sales represents in a country of more than 320<br />
million people, and one can begin to understand how little the Oscars<br />
meant to the average American this year.<br />
American Sniper, the only nominated picture with big commercial<br />
success, was indeed nominated in six categories but took home only the<br />
Oscar for sound editing. None of the movies represented by winners in<br />
the categories of Best Picture, Best Actor, Best Actress, Best Director, Best<br />
Supporting Actor, Best Supporting Actress, Best Original Screenplay,<br />
Best Adapted Screenplay, Best Cinematography, or Best Original Musical<br />
Score has grossed more than $100 million, and only one (again, The<br />
Imitation Game, this time for Adapted Screenplay) has grossed more than<br />
$60 million. In other words, most movies nominated for major awards,<br />
and most winners of those major awards, performed quite modestly at<br />
the box office.<br />
The disconnect between commercial success and awards recognition<br />
can be seen in other ways. In the animated movie category, for example,<br />
the most successful animated picture of the year—The Lego Movie<br />
($258M)—wasn’t even nominated. The award category that best reflected<br />
ticket sales was visual effects—a category in which the five nominees had<br />
an average gross of $245 million, and in which every nominee grossed<br />
more than $175 million. Yet few would call visual effects a top award<br />
category (though maybe we should, given the results).<br />
As theater owners and operators, NATO members care both about the<br />
artistic and intellectual impact of the movies they exhibit as well as the<br />
commercial success those films produce. Exhibition constitutes one of the<br />
few businesses in which the product being offered changes every week.<br />
Our members’ businesses can and often do rise and fall dramatically in the<br />
short run based on which movies are on the screen at any given time.<br />
Should not the most significant annual celebration of movies promote<br />
both the art and the commerce of the industry? Why won’t academy<br />
members better reflect the preferences of their consumers in the selection<br />
process?<br />
10 BoxOffice ® Pro The Business of Movies APRIL 2015
Part of the reason why the academy’s voters don’t represent the American<br />
population is that those voters skew white, old, and male. Recent<br />
studies have indicated that 94 percent of the more than 6,000 voters in<br />
the academy are white; 77 percent are male; and the average age is 63.<br />
Perhaps equally telling is the fact that the voters represent the creative<br />
side of the industry and not the selling side. Does it make sense, for<br />
example, that the academy has branches for costume designers, casting<br />
directors, and makeup artists but not for theater operators, DVD sellers,<br />
or online retailers?<br />
To be sure, the academy did recently take a step to foster consideration<br />
of more movies, and hopefully more commercially successful<br />
movies. Beginning in 2010 the maximum number of Best Picture nominees<br />
was raised from five to ten. Overall, that change has allowed more<br />
commercially successful movies to be considered (see chart). Prior to the<br />
change, rarely did more than one or two of the Best Picture nominees<br />
gross more than $100 million. After the change, the average number<br />
of high-grossing movies nominated for Best Picture between 2010 and<br />
2014 has been 4.2. Equally important, 20 percent or fewer of the Best<br />
Picture nominees prior to the rules change constituted high grossers,<br />
while 45 percent of the nominees between 2010 and 2014 hit that bar of<br />
$100 million in domestic gross. We can hope that 2015 was an aberration<br />
and not a harbinger of things to come.<br />
Beyond changing the number of movies that may be nominated in<br />
the Best Picture category, however, there is much more that could be<br />
done to make the Oscars more relevant. Consider these personal ideas<br />
(none of these ideas constitutes a policy or position of NATO as an<br />
organization):<br />
Expand the number of movies that may be nominated in additional<br />
categories.<br />
Term limit voters in the academy instead of appointing them for life.<br />
Create new branches in the academy that represent movie sellers.<br />
Consider the opinions of consumers, perhaps by creating a movie allstar<br />
ballot at cinemas and allowing those results to influence the academy<br />
voters.<br />
Aggressively pursue diversity in the academy to roughly approximate<br />
the country in terms of sex, race, age, and other demographic factors.<br />
NATO’s domestic members sell more than a billion tickets a year to<br />
movies that will never receive any attention from the academy voters.<br />
And the lack of connection to the Oscars is even more palpable in the<br />
other 80 countries where NATO has member operations. Does Hollywood<br />
really “know better” than their consumers which movies deserve<br />
recognition? n<br />
Year<br />
BP nominees grossing<br />
more than $100M<br />
Total films<br />
nominated BP<br />
2006 0 5 0<br />
2007 1 5 20<br />
2008 1 5 20<br />
2009 2 5 40<br />
2010 5 10 50<br />
2011 5 10 50<br />
2012 1 9 11<br />
2013 6 9 67<br />
2014 4 9 44<br />
2015 1–2 8 13–25<br />
%<br />
APRIL 2015 BoxOffice ® Pro The Business of Movies 11
GOVERNMENT<br />
RELATIONS<br />
COMING SOON TO A THEATER NEAR YOU<br />
by Belinda Judson, State Governmental and Regional Liaison/NATO<br />
n What do all the items at right have in<br />
common? They all have pending legislation<br />
somewhere around the country or, in many<br />
cases, several places around the country. All<br />
could be of concern to exhibitors.<br />
Many of these items, such as all of the<br />
tax-related and the minimum-wage proposals,<br />
have appeared on state agendas year after year.<br />
The nature of the beast is that even though<br />
something is defeated one year, it doesn’t mean<br />
the issue goes away. The same issue could and<br />
often does show up the following legislative session,<br />
and it is pretty obvious how these would<br />
affect theater operators.<br />
However, there have been some issues<br />
addressed recently that call for a more detailed<br />
conversation. Some are new and some have<br />
been around but now bring a different twist to<br />
the table.<br />
Often the same issues are addressed on the<br />
state and federal level. As you can see from<br />
the list, captioning and menu labeling both<br />
show up as federal and state issues. While one<br />
would think that state lawmakers would be<br />
satisfied that there are federal regulations being<br />
promulgated on both of these issues, onerous<br />
legislation is still being proposed in certain<br />
jurisdictions.<br />
Why does it matter if something passes<br />
in a state if it is already going to be regulated<br />
through the federal government? Because often<br />
the state legislation takes things a step further,<br />
which means the proposal could be more<br />
onerous than the already burdensome federal<br />
regulations. The more stringent state legislation<br />
would take precedence.<br />
For example, in some of the state proposals<br />
for menu labeling, the bills would eliminate<br />
the 20-location threshold and stipulate that all<br />
food service or “entertainment facilities” must<br />
be included in the menu-labeling laws. The<br />
penalties for noncompliance will be very stiff.<br />
In the case of the captioning bill in Hawaii,<br />
it also could be more burdensome than the<br />
proposed rules being considered by the Department<br />
of Justice. While the DOJ seems to recognize<br />
that some films are distributed without<br />
closed captioning, and their current proposal<br />
does not penalize exhibitors if they show these<br />
films, the Hawaii bill would mandate that every<br />
movie exhibited in a theater must be captioned.<br />
From time to time, states have tried to<br />
pass legislation to codify the ratings system. A<br />
new bill in Puerto Rico would legislate trailer<br />
compatibility. The bill proposes a hefty fine<br />
from $500 up to $5,000 for noncompliance.<br />
Captioning<br />
Federal and State<br />
Admissions Taxes<br />
State and Local<br />
Alcohol Tax<br />
Local<br />
Food and Beverage Tax<br />
State and Local (Includes<br />
candy, regular beverages and<br />
sweetened beverages)<br />
Sales and Use Taxes<br />
State and Local<br />
Tax Reform<br />
State<br />
Employees’ Rights to<br />
Scheduled Employment<br />
State and Local<br />
Gift Cards<br />
State<br />
Menu Labeling<br />
Federal and State<br />
Minimum Wage: Minimum,<br />
Teen, and Training<br />
State, Federal, State and Local<br />
Double or Triple Pay for<br />
Holidays<br />
State<br />
Movie Licensing<br />
State<br />
State Preemption for/against<br />
Local Authorization<br />
State<br />
Trailer Compatibility<br />
Puerto Rico<br />
Violent Video Games<br />
State<br />
The Puerto Rican legislation serves as a good<br />
reminder why ratings compliance and trailer<br />
compatibility are important in your theaters.<br />
A couple of new topics have been added<br />
to the mix. One issue that is spreading is state<br />
preemption for local authorization which,<br />
depending on the legislation, could be good<br />
or bad. On the helpful side, some of the bills<br />
propose that the state preempt the authority of<br />
local lawmakers to address issues like admissions<br />
taxes, minimum wage, sick leave, or local<br />
add-on taxes. At the other end of the spectrum<br />
are bills that would repeal the existing state preemption<br />
and allow local authorities to set their<br />
own parameters on the issues. Having to deal<br />
with patchwork laws throughout a state would<br />
be a compliance nightmare.<br />
Also beginning to show up on several state<br />
agendas (and in San Francisco) is the topic of<br />
employees’ rights to scheduled employment.<br />
These bills suggest that employees should<br />
have advance notice of their schedules, with<br />
proposed legislation calling for lead time of<br />
anywhere from one week to 21 days. Theaters<br />
would also have to pay “compensation costs” if<br />
they were unable to comply with the scheduling<br />
ordinances.<br />
As exhibitors are well aware, a vast majority<br />
of staff are part-timers, and staffing needs are<br />
tied to theater attendance, which is always unpredictable.<br />
While theater owners understand<br />
the need for predictable schedules, it would be<br />
very difficult to comply with ordinances that<br />
call for scheduling done so far in advance.<br />
Also, since most of our employees are teenagers<br />
entering the job market for the first time,<br />
they appreciate having some flexibility in their<br />
schedules. It is one of the incentives to work in<br />
a movie theater where operators do their best<br />
to try to accommodate employees’ coursework,<br />
school activities, and social schedules. Mandatory<br />
advanced scheduling ordinances would<br />
preclude theater owners from being flexible<br />
enough to allow employees to attend to their<br />
other commitments. And the compliance costs<br />
would add an extra burden on the rising costs<br />
of doing business.<br />
As you can see from this long, but not<br />
comprehensive, list of state and local issues,<br />
there is a great deal being addressed in our<br />
state capitals. If you want to know about more<br />
legislation being addressed in your area, please<br />
reach out to your NATO regional representatives.<br />
You may find the regional map with<br />
contact information on NATO’s website at<br />
natoonline.org. n<br />
12 BoxOffice ® Pro The Business of Movies APRIL 2015
CONCESSION<br />
STAND<br />
RICOS CHEESE AND NACHOS<br />
Q&A with Charlie Gomez, VP of Specialty Channel<br />
and Megan MacDiarmid, Manager of Marketing Services<br />
Ricos has a long history; can you tell us<br />
about the history of the company?<br />
Ricos Products Co. started in 1976 after the<br />
creation of concession nachos. Frank Liberto,<br />
the originator of concession nachos, had to<br />
create Ricos in order to keep up with the demand<br />
for his new product. Ricos Products Co.<br />
is a subsidiary of Liberto Specialty Co., which<br />
has been around for over 100 years. Before the<br />
creation of concession nachos, Liberto’s was<br />
selling popcorn, peanuts, and sno-cones. Ricos<br />
continues to sell these items as well as pickles,<br />
jalapeños, salsas, and the like.<br />
When did Ricos enter the cinema<br />
business by offering its products at the<br />
concession stand?<br />
Liberto’s supplied popcorn prior to nachos<br />
being introduced. Nachos were sold at theaters<br />
shortly after their creation.<br />
What are some of your best sellers/most<br />
successful offerings?<br />
In the cinema channel our best seller is Hot-N-<br />
Easy Nacho Cheese Sauce. In the retail channel<br />
our best sellers are our #10 cans of nacho and<br />
condensed cheddar cheese. What makes a great<br />
nacho (cheese, nacho chips, and jalapeño peppers)<br />
are Ricos most popular cinema items.<br />
Are there any new or upcoming<br />
offerings you’d like to tell us about?<br />
There are currently no new items in the cinema<br />
channel, but we are launching a new squeeze<br />
cheese as well as 8-ounce cups of cheese in the<br />
retail channel. We have also expanded on our<br />
canned cheese sauces and created a mild, medium,<br />
and hot offering to please every taste bud!<br />
Over the years, have you noticed any<br />
particular concession become less<br />
popular with audiences?<br />
Patrons are more attentive<br />
to what<br />
concession<br />
items contain, such as trans fats, glutens,<br />
etc. We are proud to say that Ricos does offer<br />
some TFF cheese sauces.<br />
Are there any presentation strategies<br />
at the concession stand that you<br />
would suggest to exhibitors in order to<br />
maximize sales?<br />
We have been very successful with counter<br />
cards, posters, and nacho promos. We are<br />
currently running a promo with a theater chain<br />
that allows the customer to get a combo of<br />
nachos, a drink, and a free candy. It seems to be<br />
doing really well for us so far.<br />
Why do you think Ricos products<br />
have caught on so well with cinema<br />
audiences?<br />
Firstly, the high quality of our products. We<br />
pride ourselves on making the best-tasting and<br />
highest-quality products for all of our consumers.<br />
Also, our unique formula allows patrons to<br />
enjoy nachos without “filling up.” Other items<br />
can be enjoyed with nachos to give you a full<br />
concession experience. Cinema audiences were<br />
some of the first to embrace our nachos and<br />
helped to make them one of the top concession<br />
items now! Our products that we offer in cinemas<br />
are very movie friendly. Get your ticket,<br />
grab your box of popcorn or tray of nachos,<br />
and enjoy your movie!<br />
What trends do you see happening in<br />
the cinema concessions business in the<br />
coming years?<br />
More attention will be paid to the health<br />
benefits of the concession items such as transfat-free,<br />
gluten-free, and so on. We are always<br />
watching the trends and figuring out ways to<br />
make our products even better for our loyal<br />
consumers. n<br />
14 BoxOffice ® Pro The Business of Movies APRIL 2015
BOX OFFICE<br />
FORECAST<br />
FURIOUS 7 CONTINUES<br />
FRANCHISE’S SUCCESS IN APRIL<br />
by Phil Contrino<br />
n The transformation of the April release<br />
schedule over the last couple of years is another<br />
prime example of how distributors are getting<br />
better at utilizing all 52 weeks of the year. It’s<br />
kind of hard to believe that up until 2009,<br />
the record for the best April opening weekend<br />
belonged to 2003’s Anger Management with<br />
$42 million. In 2009, Fast & Furious burned<br />
past that sum with an impressive $70.9 million<br />
haul. Two years later, 2011’s Fast Five set the<br />
bar even higher by raking in $86.2 million<br />
during its debut frame that began on April 29.<br />
Of course, records are made to be broken; last<br />
year Captain America: The Winter Soldier posted<br />
a staggering $95 million haul.<br />
As you read this, the opening of Furious 7 is<br />
just around the corner. Even if Furious 7 doesn’t<br />
end up beating Captain America: The Winter<br />
Soldier, it’s bound to get pretty close. (For what<br />
it’s worth, as of press time we believe that it will.)<br />
The Fast & Furious franchise is an example<br />
of brand building at its finest. Very few<br />
franchises can say that they are stronger than<br />
ever by the time a seventh film comes around.<br />
(We’re thinking of you, Police Academy: Mission<br />
to Moscow.) It’s also important to remember<br />
that the franchise started to lag in the middle,<br />
but smart decisions—both creatively and fiscally—rescued<br />
it from becoming just another fad<br />
property that burned too bright, too fast.<br />
There are several reasons why this franchise<br />
has become so successful, but I think the main<br />
reason is that its creators understand what fans<br />
want, and they give it to them. Everything<br />
from casting decisions to marketing materials<br />
connect in a big way, and that’s a clear sign the<br />
people in charge are very much in tune with<br />
their customers.<br />
The diverse cast that makes up the Fast &<br />
Furious franchise is also a huge accomplishment<br />
that shouldn’t be ignored. Hollywood’s global<br />
focus gets sharper by the day, and we expect<br />
others to imitate the smart decisions made by<br />
F&F with increasing frequency. The moviegoing<br />
audience in North America alone gets more<br />
diverse with each passing year, so savvy casting<br />
at home is just as important as it is abroad.<br />
Furious 7 will definitely be April’s biggest<br />
movie, but there are other titles that should<br />
become solid midlevel hits. Let’s run down a<br />
few of them. n<br />
Paul Blart: Mall Cop 2<br />
The original Paul Blart<br />
turned into a surprise hit<br />
back in 2009 by raking in a<br />
whopping $146 million. Do we<br />
expect the sequel to match<br />
that? No. Yet Sony will have<br />
a success on their hands if<br />
the second entry snags even<br />
half of what its predecessor<br />
tallied. Families are sure to<br />
flock to this film as a viable<br />
alternative to the wave of PG-<br />
13 releases in April.<br />
Unfriended<br />
We are very impressed by<br />
the reactions on Facebook<br />
and Twitter to this Internetbased<br />
thriller. Even though<br />
its premise—a girl who<br />
committed suicide haunts<br />
people on a Skype chat—has<br />
inspired plenty of snark, it<br />
also seems to be connecting<br />
in a big way with young<br />
crowds. Teens may be fickle,<br />
but we’re optimistic for now.<br />
The Longest Ride<br />
Never underestimate the<br />
power of a tearjerker<br />
romance from best-selling<br />
writer Nicholas Sparks.<br />
Opening just one week after<br />
Furious 7 is not going to<br />
be an easy task, but we’re<br />
betting this one will find a<br />
way to carve out a nice niche.<br />
March Holdovers<br />
When looking at April, it’s<br />
important not to discount the<br />
impact of March holdovers.<br />
Get Hard and Home will<br />
deliver a high percentage of<br />
their total haul within April.<br />
APRIL 2015 BoxOffice ® Pro The Business of Movies 15
T H E A T E R M A N A G E M E N T S Y S T E M S<br />
Exhibitors that operate multiple cinemas already know the importance<br />
of picking the right theater management system (TMS). The software<br />
is a perfect solution to centralize and streamline the time-consuming<br />
tasks associated with operating a multiscreen cinema across a number<br />
of locations. BoxOffice takes a look at a number of different TMS<br />
options on the market today.<br />
by Daniel Loria<br />
Screenwriter<br />
n Arts Alliance Media’s Screenwriter TMS allows exhibitors to fully<br />
exploit the automation potential of digital cinema. It supports the widest<br />
range of digital cinema equipment, including all projectors from Barco,<br />
Christie, Cinemeccanica, Kinoton, NEC, and<br />
Sony, and media blocks from Barco, Christie,<br />
Dolby, Doremi, GDC, Qube, Sony, and<br />
USL. Comprehensive content handling<br />
supports both Interop and SMPTE DCPs,<br />
intelligent version management, multiple<br />
content libraries, and seamless transfers<br />
between screens or from screens to libraries<br />
as well as from libraries to screens. It includes<br />
support for automated ingest from<br />
all electronic content-delivery systems.<br />
Advanced automated operation tools include<br />
comprehensive automated pre-show<br />
support, automatic selection of the correct<br />
CPL version to match screen capabilities,<br />
template-driven automatic playlist creation,<br />
and POS integration with all the main<br />
vendors including Vista, Compeso, Allure,<br />
NCR, and many others. It is controlled<br />
through a standard web browser, providing<br />
ultimate deployment flexibility. Designed with<br />
the close cooperation of cinema exhibitors, its elegant interface and<br />
notification system makes it easy to spot potential issues such as missing<br />
KDMs, overlapping schedules, or failed lamps, providing peace of mind<br />
and allowing cinema staff to focus on customers.<br />
“Screenwriter supports just about every projector and server on the<br />
market—even IMAX—with the ability to move playlists and content<br />
around seamlessly so that operators don’t need to care what equipment is<br />
installed where, and exhibitors have unrestricted choice when purchasing<br />
equipment. It also interfaces with the Screenwriter mobile app, freeing<br />
cinema staff to get out of the back office and front of house to provide<br />
better customer service, safe in the knowledge that they will be made aware<br />
of any issues through notifications should any issues arise. Screenwriter<br />
is currently installed on 25,000 screens worldwide, with customers in<br />
South America (including Cineplanet, Cine Colombia, and Cinépolis),<br />
South Africa (Ster Kinekor and Nu Metro), Europe (including Cineworld,<br />
Multikino, and The Space) and Asia-Pacific (including Hoyts, Cinema<br />
XXI, and our latest Screenwriter customer, Wanda). Australia’s 230-screen<br />
Village Cinemas have been using Screenwriter since 2011 and have told us<br />
how being able to see all screens from one central location, without having<br />
to go to each screen to check the content and KDMs, has really saved them<br />
time and meant everyone has peace of mind that everything’s running<br />
smoothly. They also told us how the integration with the ticketing system<br />
has allowed playlists and scheduling to be done much more quickly—a<br />
process that could take two hours per screen was incredibly resource-intensive<br />
in a 20-screen cinema, but now they can build a week’s playlists in a<br />
single evening.” –Rich Philips, CTO, Arts Alliance Media n<br />
Avias-TMS<br />
n Arts Alliance Media’s Screenwriter also has influenced Christie’s own<br />
theater management system. Christie’s Avias-TMS is a customized version<br />
of Screenwriter, specifically designed and optimized with Christie<br />
to make the most out of Christie’s product lineup. The Avias-TMS<br />
drag-and-drop functionality is especially handy when scheduling playlists,<br />
which can be easily accessed through its web interface. Avias-TMS<br />
is neutral for any hardware and operating system (OS), fully supports<br />
any DCI-compliant server or projector, and saves time with the system’s<br />
16 BoxOffice ® Pro The Business of Movies APRIL 2015
application program interface (API) for POS<br />
integration of automatic schedule creation<br />
within the system. Avias-TMS offers playback<br />
monitoring from the dashboard interface,<br />
allowing users to check on current projector<br />
and screen status, schedules, and the playlist<br />
progress playback for each screen in the system.<br />
Any show in any theater can be started,<br />
stopped, or paused remotely thanks to centralized<br />
control, and the content-management<br />
capabilities allow for easy storage across each<br />
individual server in your complex. Playlist<br />
creating and scheduling complements the<br />
KDM management in the system, allowing<br />
for easier management across all theaters. The<br />
Avias-TMS has multiple log-in levels, giving<br />
different staff members customizable access to<br />
the TMS.<br />
“A client of Christie’s in Turkey operates<br />
a cinema business model with local content<br />
that can sometimes be three hours or more in<br />
length. The cinema ‘culture’ has typically been<br />
to break the feature into two parts with a 15- to<br />
20-minute intermission. However, this has always<br />
been a manual process. The Christie IMB<br />
with the Avias-TMS was the first integrated<br />
solution in the market that allows for automated<br />
playlist intermissions, complementing the<br />
intermission with a separate playlist comprised<br />
of national and local ads for revenue.” –Allan<br />
Fernandes, Christie Product Manager n<br />
(continued on page 18)<br />
n Dolby Laboratories’<br />
TMS is a theater<br />
management system<br />
that streamlines<br />
theater operations<br />
via its comprehensive, highly intuitive user interface specifically designed for non-IT users.<br />
The hardware-independent software application can be installed on any PC-based hardware<br />
that meets the minimum performance requirements, and provides a cost-effective, high-performance<br />
centralized library that will serve any multiplex configuration from 3 to 32 screens.<br />
The Dolby TMS combines features from both Dolby’s and Doremi’s previous TMS versions<br />
to offer a versatile and robust solution. Future versions will continue to improve ease of use,<br />
functionality, and interoperability. n<br />
APRIL 2015 BoxOffice ® Pro The Business of Movies 17
THEATER MANAGEMENT SYSTEMS<br />
TMS-1000<br />
TMS-2000<br />
TmsRemote<br />
n GDC’s TMS-1000 Theatre Management<br />
System operates six major<br />
modules to help exhibitors manage<br />
their cinemas. The User Security<br />
Manager distinguishes access levels to specific staff members into three<br />
different groups: Super User, Show Manager, and Projectionist. Each<br />
group has its own settings of TMS privileges, allowing managers to<br />
delegate tasks across the TMS without risking total chaos. The Content<br />
Manager allows users to receive, log arrivals, and validate the receipt of<br />
content via network or physical media. The central storage system is<br />
then able to deliver content to individual servers across the complex.<br />
The Data & Key Manager grants the TMS distribution of Key Delivery<br />
Messages (KDMs) to servers across the complex, an ideal solution to<br />
store, filter, and review the servers’ system logs. The Show & Schedule<br />
Manager imports data from the POS to create playlists and schedules<br />
ahead of time for daily or weekly use. The Monitoring Manager tracks<br />
the concession and playback status of all associated servers, recording<br />
any errors and reporting them on the TMS interface. The Screen Control<br />
Manager allows authorized users to remotely control playback and<br />
execute project and server automations throughout the cinema.<br />
GDC’s TMS-2000 adds 50 more features with a startup time 13<br />
times faster than the TMS-1000 and is compatible on a majority of<br />
Microsoft Windows platforms. For managers on the go, GDC offers<br />
TmsRemote: an app that can control TMS-2000 from anywhere in<br />
the theater through mobile devices. With these refined features, TMS-<br />
2000 automates and streamlines all theater operations, making theater<br />
management simple.<br />
“When it comes down to it, our TMS has better compatibility<br />
with mainstream digital cinema equipment, managing more equipment<br />
from server to projectors, and automation and audio processors.<br />
Our flexible configuration makes theater operations easier for our<br />
users, not to mention that it’s a cost-effective software solution that<br />
caters directly to our clients’ hardware needs. Our TMS supports<br />
integration with ticketing systems and NOCs and can alert managers<br />
in real time about any pressing needs throughout their complex.<br />
Besides, with the mobility provided by our TmsRemote app for the<br />
iPad, users can control and monitor the status of server, projector,<br />
and audio device remotely. It also helps track and visualize all the<br />
scheduled shows for the day with ease. The success of our TMS can<br />
be proven by our worldwide customer base. For example, in China,<br />
Jinyizhujiang Movie Circuit (“Jinyi”), one of the top five<br />
cinema circuits in China, has been our TMS customer<br />
since 2011. To manage so many screens at various remote<br />
locations, such as Inner Mongolia and Ningxia, Jinyi<br />
realized a comprehensive solution for centralized cineplex<br />
management was essential for effective management and<br />
efficient daily operations. As of January 2015, over 14,000<br />
screens worldwide across more than 2,000<br />
theaters worldwide are successfully managed<br />
by GDC Technology’s TMS!” –Dr.<br />
Man-Nang Chong, founder, chairman<br />
and CEO of GDC Technology n<br />
HOLLYWOOD<br />
SOFTWARE<br />
n Hollywood Software acquired Cinedigm’s<br />
software business in September of last year and<br />
has been hard at work preparing for this year’s<br />
edition of CinemaCon. Of its multiple software<br />
offerings, the company’s TMS provides real-time<br />
status updates that allow managers to oversee<br />
their entire complex from one screen and, with<br />
the click of a mouse, troubleshoot and solve<br />
problems instantly via an easy-to-use interface.<br />
TMS also has the ability to program all the<br />
screens in a house in under 15 minutes each<br />
week thanks to its integration with all major<br />
POS systems and automated playlist creation<br />
and content ingestion. Most recent enhancements<br />
include Dolby Atmos support and an API<br />
interface with ScreenVision, enabling automated<br />
ingestion, programming, and reporting of ad<br />
content. The TMS integrates with Hollywood<br />
Software’s Enterprise Web system for further<br />
circuit-level efficiencies, including automated<br />
KDM delivery without any involvement from<br />
theater staff. Hollywood Software’s TMS is<br />
deployed across more than 15,000 screens<br />
worldwide, including the U.S., Canada, the<br />
U.K., Caribbean, Australia, and New Zealand.<br />
“In 2005, Hollywood Software (then<br />
known as Access IT) was the first to create<br />
and deploy a TMS in the original U.S. digital<br />
cinema rollout, which included approximately<br />
4,000 screens. We’ve learned a lot since that<br />
original implementation 10 years ago and have<br />
worked with our clients to continually improve<br />
the product as the industry has evolved to include<br />
new technologies such as sound formats<br />
and delivery mechanisms. With increased<br />
pressure on exhibitors to do more with less,<br />
our goal is to deliver every capability that<br />
digital cinema promised. Our TMS provides<br />
a significant amount of these streamlined processes,<br />
and we are now delivering circuit-wide<br />
efficiencies via the centralized functionality of<br />
Enterprise Web.” –Larry McCourt, SVP Sales<br />
and Marketing, Hollywood Software n<br />
18 BoxOffice ® Pro The Business of Movies APRIL 2015
n Sony’s TMS offering can monitor up to<br />
32 project systems from its central interface,<br />
allowing for a diversity of content to reach a<br />
cinema’s screens. Its central storage hosts movies,<br />
trailers, pre-show ads, and KDMs in a central<br />
library that is able to distribute them to any<br />
screen in the system. Schedule management<br />
enables easy playlist creation and scheduling<br />
that integrates directly with a theater’s ticketing<br />
and POS system. The TMS can be integrated<br />
with CineWatch, Sony’s remote monitoring<br />
and maintenance service that alerts managers to<br />
maintenance issues and other errors that might<br />
occur. Schedule and library management are<br />
included in the TMS, which is also well suited<br />
for alternative content sources like satellite<br />
delivery. n<br />
UNIQUE DIGITAL CINEMA<br />
RosettaBridge<br />
n One of the early leaders in the TMS market, Unique Digital Cinema’s RosettaBridge<br />
comes with the backing of many exhibitors across Europe and Asia. RosettaBridge is created<br />
on a Java platform and developed to run on an enterprise server running Linux within<br />
site, allowing the system to be operated<br />
from any PC in your cinema’s network or<br />
securely accessed from any web-enabled<br />
device. RosettaBridge is designed to be<br />
a straightforward market offering. There<br />
are no add-ons, no upgrade surprises; you<br />
buy RosettaBridge TMS and you get full<br />
function and full support under one price.<br />
RosettaBridge integrates with all leading<br />
digital-cinema-server brands and operates<br />
with both existing and planned hardware<br />
on site. The library hardware hosts a<br />
range of RAID storage options anywhere<br />
between 2 to 30 terabytes. Unique has focused on making pre-show management a thing<br />
of the past by integrating pre-show content with advertising-sales providers, allowing for<br />
different pre-show playlists for every show without operator intervention.<br />
“RosettaBridge can be found managing over 10,000 screens worldwide, with high-profile<br />
clients such as the Odeon chain in the U.K., SF Bio in Sweden, Cinesa in Spain, and Blitz<br />
Cinestar in Croatia. Currently on version four release, the RosettaBridge TMS at site is complemented<br />
by our RosettaNet product, which allows centralized management of an estate’s<br />
site-based TMS. The RosettaNet innovation has truly been embraced by customers—the<br />
ability to control all your screens from your iPad, wherever you might be, is now a reality.”<br />
–Mark Stephen, Director of Sales n<br />
APRIL 2015 BoxOffice ® Pro The Business of Movies 19
CinemaCon 2015 Preview<br />
INTERVIEW WITH<br />
MITCH NEUHAUSER,<br />
MANAGING DIRECTOR, CINEMACON<br />
by Daniel Loria<br />
CinemaCon is once again starting with International Day; tell<br />
us what’s in store from day one.<br />
Our industry is truly global in nature and there are many issues and<br />
topics of importance and concern that are common to distributors in<br />
the domestic and international markets. There is still a need for the<br />
international community to gather as a group. There are matters that are<br />
specific to the international market, hence the reason we’ve continued<br />
with our International Day programming as a way to single out some of<br />
the executives and filmmakers in the international markets, hear updates<br />
on what’s going on, specific to exhibition and distribution. We’ve put<br />
together what we think is pretty good International Day programming.<br />
We traditionally start off with two keynotes, one from exhibition and<br />
another from distribution, on what’s going on in the industry: the good,<br />
the bad, the ugly, the past, the present, the future. From distribution<br />
we have Dave Hollis, executive vice president of<br />
distribution at Disney, and from exhibition<br />
we have Jerry Ye, vice president of Wanda.<br />
We have morning seminars, digital and<br />
social media programming; we’re putting<br />
together a session in the afternoon on exhibition<br />
and distribution. We’re delighted<br />
to be singling out Valmir Fernandes, the<br />
president of Cinemark International, with<br />
our Global Achievement in Exhibition award.<br />
We present something called the CinemaCon<br />
Passepartout award, which is being presented to Erlina<br />
Suharjono, the SVP Asia distribution for Warner Bros. Pictures International—she’s<br />
someone who has been working tirelessly behind the scenes,<br />
very well respected by her peers throughout distribution and exhibition.<br />
We’re honoring the filmmaker Baltasar Kormakur (pictured), the director<br />
of the upcoming film Everest, and Rentrak is presenting an award to 20th<br />
Century Fox International, last year’s leader at the international box office.<br />
It’s a jam-packed agenda, and we expect around 850 fully registered<br />
delegates for International Day.<br />
Are there any specific trends or topics you’d like to highlight<br />
at this year’s event?<br />
First and foremost, the driving force behind our industry is<br />
product, and that’s what studios bring to the table. We have six<br />
major studios on board with presentations on their upcoming<br />
slates: Sony, Disney, Fox, Universal, Paramount, and<br />
Warner Bros. Three of the studios will be screening feature<br />
films in their entirety: Disney will screen Pixar’s Inside Out<br />
(pictured), Universal will screen Pitch Perfect 2, and Fox<br />
will screen Spy. We have a great cornerstone of programming<br />
from the studio standpoint. The next major piece to our<br />
puzzle is the trade show, which is once again a sellout. We need<br />
to keep on top of what’s going on in equipment, concessions—what<br />
keeps our industry going.<br />
Lunches are a great opportunity to hear industry leaders give<br />
talks and network with colleagues. What’s on hand this year?<br />
We’re very excited about our lunches this year. Our Wednesday<br />
lunch has traditionally been filmmaker driven; in the past we’ve had<br />
Christopher Nolan, Ang Lee, Martin Scorsese, Oliver Stone, Sam Raimi,<br />
Guillermo del Toro, James Cameron, George Lucas. This year our lunch<br />
will be focused on Clint Eastwood (pictured, next page). We’re going to<br />
honor him and include a one-on-one panel with him. In early March,<br />
American Sniper became the top-grossing film released in 2015, and it’s<br />
20 BoxOffice ® Pro The Business of Movies APRIL 2015
eally a phenomenon. What he’s done<br />
is incredible; this 84-year-old icon has<br />
unified the country with one film. We<br />
couldn’t be more thrilled to have the support<br />
of Warner Bros. in bringing him so<br />
people attending can hear what he has to say<br />
about our industry, the theater-going experience,<br />
and for us to thank him for an unparalleled career.<br />
You’re also planning to bring in more discussion about<br />
independent film.<br />
Many people ask us why we don’t do anything on independent film.<br />
We’ve tried to do it on a number of occasions and hadn’t gotten the traction<br />
we really needed to pull it off, but this year we have. We’re calling<br />
our Thursday lunch “The Independent Game: Based on a True Story.”<br />
There’s such an important role that independent film plays; the major<br />
studios are continuing to fill the pipeline with incredible product for the<br />
masses, but they’re cutting back on the number of annual releases, which<br />
puts an added importance on independent distributors. They fill screens,<br />
and our screens want to be filled 52 weeks a year and offer as diverse a<br />
range of product as possible. We’re really thrilled to put together a very<br />
potent program on independent film.<br />
Can you tell us about some other panels you have planned?<br />
We have other panels scheduled throughout the convention. We have<br />
one on the importance of the Hispanic and Latino marketplace. Menu<br />
labeling is very important to members of NATO, and our friends at<br />
NAC, the National Association of Concessionaires, are hosting a panel<br />
called “The How-To Guide for Compliance with the FDA Menu-Labeling<br />
Regulations.” ICTA is putting together a program on Thursday<br />
morning: “The Unintended Consequences of Digital Cinema.” Everyone<br />
is digital, everything is going great, but it’s still a learning curve and<br />
there are some things we still need to get a handle on. We’re also putting<br />
together a program on showmanship and marketing. There’s so much<br />
going on in social media, and the print ad has gone by the wayside, but<br />
theater managers still need to be on top of their game from a marketing<br />
and showmanship standpoint. When you’re running a theater and there<br />
are guidelines and regulations pertaining to the consumer that change so<br />
often, you need to be on top of so many topics. One of them is payment<br />
security. There’s a whole new force in the world of credit cards, called<br />
EMV, that theaters need to comply with to protect their customers, and<br />
we have a panel on that on Wednesday morning.<br />
Anything new this year that we should look<br />
forward to?<br />
Something new and exciting this year<br />
is going to be the Monday-night opening<br />
that is going to take place at a brand-new<br />
club called Omnia—a fantastic state-ofthe-art<br />
club. In Vegas if you’re not with<br />
the times, you’re behind the times, and<br />
we’re really excited to introduce Cinema-<br />
Con and its delegates to Omnia. It’s going to<br />
follow our gala opening-night event and screening,<br />
which will be the first industry screening of Pitch<br />
Perfect 2. Elizabeth Banks (pictured) will be on hand with some special<br />
surprises, and we’re looking to get out of the gate in a very exciting way. n<br />
CinemaCon returns to Caesars Palace in Las Vegas April 20–23.<br />
APRIL 2015 BoxOffice ® Pro The Business of Movies 21
SPIRIT OF<br />
GIVING<br />
WILL ROGERS MOTION<br />
PICTURE PIONEERS<br />
FOUNDATION<br />
STRONG GOALS SET FOR 2015<br />
AFTER SUCCESS IN 2014<br />
Compiled by Christina Blumer<br />
n The Pioneers Assistance Fund (a program<br />
of the Will Rogers Motion Picture Pioneers<br />
Foundation) provides financial assistance and<br />
supportive counseling to veterans from the<br />
theatrical motion picture entertainment world—<br />
including exhibition, distribution, and trade services<br />
(IATSE)—who are experiencing a hardship<br />
due to illness, accident, or underemployment.<br />
In 2014, the Pioneers Assistance Fund provided<br />
over $700,000 in direct-care service grants,<br />
helping over 284 people with financial assistance<br />
in a variety of ways including burials, emergency<br />
grants, care management, and medical bills. They<br />
also provided 4,000 hours of direct client service<br />
by their two full-time social workers.<br />
For 2015 the Pioneers Assistance Fund is<br />
excited to announce:<br />
1. The launch of an outreach campaign<br />
to human-resource directors in the<br />
exhibition community in order to<br />
educate and explain the program.<br />
Every person in exhibition should<br />
know the facts of how the Pioneers<br />
Assistance Fund can help.<br />
2. The evolution of its new<br />
health expos at film-industry<br />
conventions as well as numerous<br />
NATO events and theater-manager<br />
meetings. These expos provide free health<br />
screenings that encourage attendees to take a<br />
preventative-health approach and shine a light on<br />
areas when they might be able to improve to feel<br />
better and live a longer, healthier life.<br />
The Will Rogers Neonatal Ventilator and<br />
Pulmonary Grant Program (a program of the<br />
Will Rogers Motion Picture Pioneers Foundation)<br />
is excited to announce its expansion and<br />
new name, Brave Beginnings. The mission of the<br />
neonatal equipment program is to help the many<br />
hospitals across the United States in need of<br />
additional or updated ventilator equipment<br />
and critical-care pulmonary<br />
services.<br />
Since its inception in 2006,<br />
the neonatal program has contributed<br />
more than $2.9 million<br />
to 78 facilities across 30 states. In<br />
the last year alone, the program<br />
committed more than $500,000 in<br />
grants to 15 facilities nationwide for<br />
life-saving pulmonary equipment. These<br />
funds are used to purchase critical equipment<br />
A<br />
A<br />
L<br />
S<br />
Y<br />
H<br />
S<br />
for neonatal intensive care units (NICUs).<br />
Due to the overwhelming need for this type of<br />
equipment nationwide, the program is expected<br />
to triple in size within the next few years.<br />
Some facts about the preemie epidemic:<br />
1. The U.S. ranks sixth out of the top 10<br />
countries with the highest number of premature<br />
births.<br />
2. 43 percent of all deaths in children<br />
under the age of five are caused by<br />
premature birth.<br />
3. 26 percent of preemies will<br />
develop chronic lung disease<br />
because hospitals are underequipped.<br />
n<br />
VARIETY THE<br />
CHILDREN’S CHARITY<br />
SPOTLIGHT<br />
FIVE KIDS WHO HAVE BEEN<br />
HELPED RECENTLY<br />
Compiled by Erica Lopez, Executive Director<br />
n Sixteen-month-old Asher was born at 41<br />
weeks via emergency C-section with his umbilical<br />
cord wrapped twice around his neck. These<br />
birth complications caused damage that made<br />
crawling and sitting impossible for this sweet<br />
E<br />
little boy. Meanwhile, his parents<br />
were worried about bills<br />
from the seven weeks<br />
Asher spent in the<br />
ICU, countless<br />
supplies, doctor’s<br />
appointments,<br />
and physical<br />
therapy sessions.<br />
His new gait trainer,<br />
funded by U.S. Variety, is<br />
Asher’s first form of independence.<br />
Now that he is moving and walking around<br />
freely, exploring the world as a little boy<br />
should, his parents say, “He absolutely loves it!<br />
We cannot say thank you enough! What you<br />
do is absolutely a blessing!”<br />
Alyssa is a remarkable seven-year-old who<br />
addresses people and challenges in the same way:<br />
with a big smile. She is incredibly social and<br />
loves to go to her friends’ birthday parties and<br />
playdates. She participates in the Buddy Sports<br />
program and Tomorrow’s Dreams<br />
Today, a music program for<br />
special-needs children.<br />
Her favorite sport<br />
is soccer, and her<br />
favorite instrument<br />
is the snare<br />
drum. She also<br />
loves art, reading,<br />
spending time with<br />
her grandparents, going<br />
to the beach, swimming in the pool,<br />
and—of course—going to Disney World. Alyssa<br />
S<br />
R<br />
A<br />
N<br />
G<br />
M<br />
A<br />
R<br />
A<br />
D<br />
A<br />
T<br />
had wanted a bicycle for a very long time, but<br />
a bicycle that meets her needs was simply not<br />
affordable. U.S. Variety funded a bicycle that<br />
will not only provide Alyssa the opportunity to<br />
enjoy riding just like other children; it will also<br />
help her to gain the strength and endurance she<br />
needs to become more independent in all of her<br />
I<br />
daily activities.<br />
Six-year-old Nadia lives with<br />
an extremely rare developmental<br />
birth defect. Riding a bike is the<br />
only aerobic exercise she can do<br />
for more than 10 minutes at a<br />
time. The adaptive bike U.S.<br />
Variety funded for Nadia is perfect<br />
for her needs—it has a wide<br />
base, which means it’s stable, and<br />
can grow with her for another three to<br />
five years. Her mom says, “Nadia’s expression<br />
as she rides her bike says it all. Thank you so<br />
much for this opportunity. She has had many<br />
struggles in life, and this present will never be<br />
forgotten. She has been riding it every day and<br />
never wants to get off. We have even thought<br />
of allowing it to be her ‘wheelchair.’”<br />
The little things some of us take for granted<br />
mean the world to 13-year-old Mato. When<br />
he received his adaptive bike funded by U.S.<br />
Variety, he jumped on and rode right away. He<br />
O<br />
said several times, “Mom, you have no<br />
idea how it feels to be able to do this.<br />
I’ve waited 13 years to ride a bike.<br />
And it feels so good to be outside<br />
and not in my wheelchair.” His<br />
mother was just as thrilled:<br />
“Mato has finally accomplished<br />
a dream he has had for many<br />
years. I cannot express my<br />
happiness for him right now. This<br />
would not be possible without your<br />
help and generosity. We can’t thank you<br />
enough.” A few months later, Mato’s mother<br />
checked in with some great news: “He has been<br />
riding two to three times a week on his bike.<br />
He lost some weight, as his clothes show. He<br />
has just loved it. He is having a major surgery<br />
next month. He told his doctor he has been<br />
riding his bike, and they told him it was the<br />
best way to get ready for this surgery.”<br />
Grace is as smart and social as her peers in<br />
her first-grade class, but she needs help physically<br />
with walking, climbing stairs, and<br />
dressing herself. Her parents thought<br />
an adaptive bicycle specially fitted<br />
for Grace would be a great idea:<br />
not only would it give her a<br />
way to play with her friends,<br />
it would also help strengthen<br />
her lower extremities, balance,<br />
motor and visual planning, and<br />
coordination. We are proud to say<br />
that with her new adaptive bike from<br />
U.S. Variety, Grace is now playing and<br />
exercising every day. n<br />
C<br />
A<br />
E<br />
22 BoxOffice ® Pro The Business of Movies APRIL 2015
CELEBRATING<br />
EIGHT DECADES<br />
OF EXHIBITION<br />
EXCELLENCE<br />
24 BoxOffice ® Pro The Business of Movies APRIL 2015
In any industry, the critical element to<br />
a company’s success is maintaining<br />
its focus on the customer. As long as I<br />
have known the Marcus family, I have<br />
admired their ability to do just that—the<br />
moviegoer comes first!<br />
I’ve had the pleasure of watching<br />
Marcus Theatres grow through the years,<br />
and it’s clear to me that Steve and Greg<br />
Marcus have successfully maintained the<br />
family-oriented values that have made<br />
their theater chain successful over eight<br />
decades and three family generations.<br />
With a remarkable 80-year history,<br />
Marcus Theatres has been providing their<br />
customers with a quality moviegoing experience<br />
since opening its first theater in<br />
Ripon, Wisconsin, in 1935, and continues<br />
in the 55 theaters in the Marcus Theatres<br />
circuit today.<br />
That same commitment to quality and<br />
service is evident in Marcus Theatres’ relationship<br />
with its studio partners. During<br />
the 10 years I’ve been at 20th Century<br />
Fox, our two organizations have forged<br />
a strong bond. The Marcus family, along<br />
with Marcus Theatres’ president and<br />
CEO, Rolando Rodriguez, understands<br />
the studio-exhibitor relationship is a truly<br />
symbiotic one. We rely on theater chains<br />
like Marcus Theatres to invest in new<br />
technologies and provide our customers<br />
with the ultimate moviegoing experience.<br />
It’s exciting to see exhibitors like Marcus<br />
Theatres investing in innovative technologies<br />
and reinventing what it means<br />
to take in a movie. For the film-goer, a<br />
trip to the movies is no longer limited to<br />
popcorn, a soda, and a two-hour escape<br />
into their favorite comedy, drama, or action-adventure.<br />
Today’s concept of “going<br />
to the movies” has evolved for the better<br />
at Marcus Theatres with in-lobby restaurants<br />
and lounges, in-theater food service,<br />
premium large-format UltraScreens with<br />
Dolby Atmos sound, and comfortable<br />
DreamLounger recliners. Marcus Theatres<br />
understands that our customers can now<br />
go to their local cinema for a truly enjoyable<br />
and complete night out with family<br />
and friends.<br />
As long as exhibitors like Marcus<br />
Theatres continue to provide first-rate<br />
technology, amenities, and unique food,<br />
beverage, and concession options, the<br />
motion picture exhibition industry will<br />
continue to thrive.<br />
Here’s to the next 80 years, Marcus<br />
Theatres! Thank you for your partnership<br />
and for your shared commitment to providing<br />
memorable moviegoing experiences<br />
for our customers.<br />
Chris Aronson<br />
President and CEO, 20th Century Fox<br />
1911<br />
Marcus Theatres<br />
A N A R R A T I V E T I M E L I N E<br />
by Daniel Loria<br />
Founder<br />
1914<br />
Ben Machtey is born in Stolpce, Poland.<br />
Ben’s father, Samuel Machtey, immigrates to the<br />
United States. The family’s last name is changed<br />
to Marcus upon his arrival at Ellis Island. Samuel<br />
Marcus settles in Minneapolis as a cattle broker. It’s<br />
a big year for two titans of the feature film. Charlie<br />
Chaplin and Cecil B. DeMille both release their first<br />
films in 1914.<br />
1925<br />
Ben Marcus joins his father in the United States.<br />
Charlie Chaplin’s The Gold Rush is released.<br />
1929<br />
MAR. 23, 1929<br />
Ben Marcus enrolls in the University of Minnesota.<br />
Sound technology begins to make its way into the motion picture business; Vaudeville<br />
performer George Jessel, who turned down the opportunity to star in the first “talkie”,<br />
The Jazz Singer (1927), didn’t hesitate when offered the musical Lucky Boy in 1929.<br />
1934<br />
In the same year of his marriage to his wife, Celia, Ben Marcus buys the site of a<br />
former department store in downtown Ripon, Wisconsin, for $15,000 as the location<br />
for his first theater. The Production Code goes into effect, introducing a new era of<br />
self-censorship into the Hollywood studio system.<br />
APRIL 2015 BoxOffice ® Pro The Business of Movies 25
1935<br />
Marcus uses personal savings and family loans to remodel<br />
the theater, which officially opens that year as the Campus<br />
Theatre. Shirley Temple is all the rage in the United States; the<br />
seven-year-old actress is awarded a special Oscar at that year’s<br />
Academy Awards.<br />
1940<br />
Ben Marcus turns his single theater into a circuit with an<br />
expansion that includes locations in Wisconsin towns Tomah,<br />
Sparta, Reedsburg, Oshkosh, Neenah, and Appleton. Marcus<br />
Theatres enters its first metropolitan market with the Tosa<br />
Theatre in suburban Milwaukee. Walt Disney releases two<br />
animated classics in one year: Pinocchio and Fantasia. It’s also a<br />
particularly strong year for live-action feature films with the release<br />
of George Cukor’s The Philadelphia Story, John Ford’s The<br />
Grapes of Wrath, and Alfred Hitchcock’s first Hollywood film,<br />
the David O. Selznick–produced and Academy Award–winning<br />
Rebecca.<br />
1949<br />
Marcus Theatres opens its first drive-in theater as the country<br />
enjoys the postwar economic boom. Carol Reed’s postwar film<br />
noir, The Third Man, reunites Citizen Kane stars Orson Welles<br />
and Joseph Cotten and wins the Grand Prix at the Cannes Film<br />
Festival.<br />
1955<br />
Marcus Theatres owns and operates a total of 27 theaters.<br />
Frank Sinatra and Marlon Brando get lucky in Guys and Dolls,<br />
while Marilyn Monroe wows audiences in her own special way in<br />
Billy Wilder’s The Seven Year Itch.<br />
1958<br />
Marcus Theatres continues to expand, operating 36 theaters<br />
and employing 900 people across the state of Wisconsin. Marcus<br />
Theatres diversifies its assets by entering the restaurant<br />
business with the opening of the first Big Boy burger franchise<br />
in Milwaukee. Alfred Hitchcock subverts Jimmy Stewart’s niceguy<br />
persona in Vertigo, which fails to immediately catch on with<br />
critics and audiences of the time.<br />
1960<br />
Diversification continues as Marcus Theatres enters the hotel<br />
business with the opening of the Guest House Inn in Appleton,<br />
Wisconsin. Alfred Hitchcock’s Psycho scares audiences into<br />
showing up on time; the film’s marketing campaign emphasizes<br />
audience punctuality in order to preserve the film’s plot twists.<br />
1962<br />
Ben’s son, Steve Marcus, enters the family business by leading<br />
the renovation of the Pfister Hotel in Milwaukee. Steve would<br />
26 BoxOffice ® Pro The Business of Movies APRIL 2015
CELEBRATION OF MARCUS THEATRES’ 50TH ANNIVERSARY AT THE CAMPUS THEATRE IN<br />
RIPON, WISCONSIN, 1985<br />
stay in charge of the Pfister until 1971. Exhibitors and studios<br />
work together in promoting the big-screen appeal of the cinema<br />
to get audiences out of their TV-equipped living rooms. Lawrence<br />
of Arabia wins Best Picture at the Academy Awards.<br />
1972<br />
A MARCUS CONCESSION STAND ATTENDANT IN 1975<br />
Marcus goes public, uniting its exhibition, restaurant, and hospitality<br />
assets into The Marcus Corporation. The single-screen<br />
model is no longer part of the future, as all new theaters are<br />
equipped with two or three auditoriums. The Godfather wins<br />
the Academy Award for Best Picture. Filmmakers push the<br />
boundaries as more mainstream cinemas begin programming<br />
X-rated films like Fritz the Cat and Bernardo Bertolucci’s Last<br />
Tango in Paris.<br />
1979<br />
Marcus Theatres operates 39 theaters across Wisconsin.<br />
Kramer vs. Kramer dominates the Academy Awards and Francis<br />
Ford Coppola’s troubled masterpiece Apocalypse Now wins the<br />
Palme d’Or at Cannes.<br />
1985<br />
Bruce Olson is named president of Marcus Theatres. Marcus<br />
Theatres celebrates its 50th anniversary with a screening of<br />
Jack Benny’s It’s in the Air at the Campus Theatre, the first feature<br />
film shown in the theater. Sylvester Stallone single-handedly<br />
ends the cold way (sort of) in blockbuster hits Rambo: First<br />
Blood Part II and Rocky IV.<br />
1988<br />
Steve Marcus replaces his father as CEO of The Marcus Corporation.<br />
Ben Marcus takes a role as chairman. Rain Man is the<br />
box office champion of the year and takes home the Academy<br />
Award for Best Picture. Bruce Willis evades terrorists and an<br />
L.A. corporate Christmas party as John McClane in Die Hard.<br />
1990<br />
Marcus Theatres operates a total of 151 screens across Wisconsin.<br />
Home Alone, Ghost, Dances with Wolves, and Pretty Woman<br />
lead the box office in the U.S.<br />
BEN MARCUS AND STEVE MARCUS IN 1979<br />
28 BoxOffice ® Pro The Business of Movies APRIL 2015
1992<br />
Greg Marcus joins The Marcus Corporation, becoming the third<br />
generation to enter the family business. Disney’s Aladdin is the<br />
highest-grossing film of the year, while Clint Eastwood’s gritty<br />
revisionist western, Unforgiven, takes home the Academy Award<br />
for Best Picture.<br />
1993<br />
The Marcus Corporation is listed in the New York Stock<br />
Exchange. Marcus Theatres makes inroads into the Chicago<br />
metropolitan area with the opening of a new theater in Gurnee,<br />
Illinois. A big year for Steven Spielberg as Jurassic Park runs<br />
away with the box office title and Schindler’s List wins big at the<br />
Academy Awards.<br />
1994<br />
Marcus purchases the former Playboy Club in Lake Geneva,<br />
Wisconsin, and rebrands it as the Grand Geneva Resort. It<br />
currently serves as the home of NATO’s Geneva Convention.<br />
Pulp Fiction explodes onto the scene, making Quentin<br />
Tarantino and Harvey Weinstein household names. Jim Carrey<br />
becomes an A-list star after scoring three comedy hits in a<br />
single year: Ace Ventura: Pet Detective, Dumb and Dumber,<br />
and The Mask.<br />
1995<br />
Ben Marcus retires after 60 years in the exhibition business.<br />
Toy Story becomes the first feature film made completely by<br />
computer-generated images, taking the top spot at the box<br />
office and introducing the world to Pixar Animation Studios.<br />
1998<br />
Marcus Theatres expands to Minnesota and Ohio, including the<br />
acquisition of six theaters in the Twin Cities area and a pair of<br />
Ultraplexes in the Columbus area with a combined total of 33<br />
screens. Bruce Willis saves the world (with Aerosmith belting a<br />
No. 1 hit on the soundtrack) in Armageddon, the highest-grossing<br />
film of the year. Joel and Ethan Coen’s The Big Lebowski<br />
fails to find a significant audience during its theatrical release.<br />
1999<br />
Marcus Theatres becomes a pioneer in the exhibitor premium<br />
large-format business, rolling out its UltraScreen brand<br />
at the Westown Cinema in Waukesha, Wisconsin. The long<br />
wait is over with the release of Star Wars Episode I: The Phantom<br />
Menace. The Matrix revolutionizes action sequences and<br />
Keanu Reeves’s career. M. Night Shyamalan breaks out with the<br />
low-budget hit The Sixth Sense. Stanley Kubrick’s final film, Eyes<br />
Wide Shut, is released months after his death.<br />
2007<br />
Marcus Theatres opens one of its flagship cinemas with the<br />
Majestic Cinema in Brookfield, Wisconsin. The Majestic is<br />
30 BoxOffice ® Pro The Business of Movies APRIL 2015
C<br />
M<br />
Y<br />
CM<br />
MY<br />
CY<br />
CMY<br />
K<br />
From your friends at NEC Display Solutions<br />
and Texas Instruments.<br />
©2015 NEC Display Solutions of America, Inc. and the NEC logo are registered trademarks of NEC.<br />
All other brand or product names are trademarks or registered trademarks of their respective holders.
ahead of the curve of many of the trends that rule today’s<br />
exhibition business, featuring amenities such as a Zaffiro’s<br />
Pizza restaurant, an ice cream parlor and coffee shop, cocktail<br />
lounge, and Art Deco–style façade and lobby. The purchase of<br />
11 theaters from Cinema Entertainment Corporation extends<br />
Marcus Theatres’ reach into a number of new markets, including<br />
St. Cloud, Minnesota; Fargo, North Dakota; and Cedar Falls,<br />
Iowa. Sam Raimi’s Spider-Man trilogy comes to an end with<br />
Spider-Man 3, the highest-grossing film of the year in the United<br />
States.<br />
2008<br />
Marcus Theatres acquires Douglas Theatres in Omaha and<br />
Lincoln, Nebraska, adding 83 screens to its circuit. The<br />
2007–2008 WGA strike extends far enough to cancel the Golden<br />
Globes ceremony, and many analysts begin to fear a compromise<br />
won’t be met in time to prepare the Academy Awards ceremony.<br />
Fortunately, the crisis is averted in time and No Country<br />
for Old Men walks away with Best Picture.<br />
2009<br />
Greg Marcus, the third generation in the family business,<br />
becomes CEO. Steve Marcus remains chairman of the board.<br />
Avatar unlocks the potential of digital cinema and digital 3D,<br />
extending its holiday-season release well into the following year<br />
and becoming the highest-grossing film of all time.<br />
2010<br />
Marcus Theatres operates 668 screens across seven states.<br />
Low-budget The Hurt Locker upsets Avatar for Best Picture.<br />
2013<br />
Rolando Rodriguez is appointed president and CEO. Marcus<br />
Theatres launches its $5 Tuesday discount program, including<br />
$5 admission and free popcorn. A string of late-year releases<br />
combine for a big 2013 at the box office, including Frozen, and<br />
The Hobbit: The Desolation of Smaug..<br />
2014<br />
Significant investments are made across the Marcus Theatres<br />
circuit, including the latest in premium large-format screens<br />
with the UltraScreen DLX featuring Dolby Atmos sound;<br />
DreamLounger leather recliner seating; significant expansions<br />
to in-lobby food-and-beverage offerings with Zaffiro’s restaurants<br />
and Take 5 Lounges; in-auditorium dining inside Big<br />
Screen Bistros; and other major theater renovations.<br />
2015<br />
Marcus celebrates its 80th anniversary with a presence of 685<br />
screens across 55 cinemas in seven states. The company’s 56th<br />
theater, the Palace at Sun Prairie, just outside Madison, Wisconsin,<br />
is slated to open in May 2015, adding 12 more screens<br />
to the circuit. Marcus reaches the milestone of one million<br />
Magical Movie Rewards loyalty program members in March,<br />
less than one year after the program is launched.<br />
32 BoxOffice ® Pro The Business of Movies APRIL 2015
BRING ON THE<br />
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CONGRATULATIONS TO<br />
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MARCUS THEATRES TODAY<br />
by Daniel Loria<br />
After 80 years in business, the family<br />
company looks forward to a bright<br />
future.<br />
n Marcus Theatres has grown considerably<br />
from its humble roots in its home state of<br />
Wisconsin. The company opened its first<br />
cinema outside of Wisconsin as recently as the<br />
early ’90s. “We traditionally had just stayed<br />
at home in Wisconsin, and that was really my<br />
grandfather’s mentality: you sort of stay close to<br />
home,” says Greg Marcus, grandson of founder<br />
Ben Marcus and president and CEO of the<br />
Marcus Corporation. “With time we built out<br />
Wisconsin and broadened our horizons. We<br />
knew we were good at what we did; we always<br />
had good people in good management teams.<br />
We leveraged that and grew the business.”<br />
Today, Marcus Theatres is one of the top<br />
exhibition circuits in North America, operating<br />
nearly 700 screens across seven states. The last<br />
18 months have seen an investment of more<br />
than $100 million in the company’s exhibition<br />
business, as Marcus Theatres focuses its efforts<br />
on offering what Jeff Tomachek, executive vice<br />
ROLANDO RODRIGUEZ AND GREG MARCUS IN 2013 ON<br />
RODRIGUEZ’S FIRST DAY AS PRESIDENT AND CEO OF<br />
MARCUS THEATRES<br />
president, calls “a complete entertainment<br />
destination.”<br />
In many ways, it seems like a natural<br />
progression for a company that has long been<br />
active in a diverse number of consumer-oriented<br />
businesses that include hotels and restaurants.<br />
Much of that investment is dedicated to<br />
amenities that complement the theater-going<br />
experience and offer patrons a great array of<br />
choices when going to the movies. Marcus<br />
Theatres was a pioneer in exhibitor-branded<br />
premium large-format screens, commonplace<br />
among leading exhibitors today but ahead of its<br />
time when the company unveiled its first 3-story-tall,<br />
75-foot-wide screen at the Westown<br />
Cinema in Waukesha, Wisconsin, in 1999. The<br />
UltraScreen brand is now bundled together<br />
with the company’s own line of recliner seats,<br />
DreamLoungers, to create the UltraScreen<br />
DLX experience. The new UltraScreen DLX<br />
locations have led Marcus Theatres to adopt yet<br />
another innovation in its theaters: reserved seating.<br />
Kim Barengo, a 27-year veteran at Marcus<br />
Theatres, who worked her way up from the<br />
concession stand to district director, believes<br />
34 BoxOffice ® Pro The Business of Movies APRIL 2015
customers enjoy the hassle-free experience of<br />
claiming seats well in advance without having<br />
to snake articles of clothing across seats. “People<br />
commit earlier in the day to that experience<br />
and can show up five minutes before or five<br />
minutes after show time and know they’ll still<br />
have their seat.”<br />
Marcus Theatres’ strategy for the future<br />
doesn’t end in the screening room. “We tend<br />
to survey and spend a lot of time talking to our<br />
guests, and what we heard a number of years ago<br />
were two really important things that mattered<br />
to them: screen size and the comfort and quality<br />
of seats,” explains Tomachek. “That’s around<br />
the same time they started to talk to us about<br />
additional food-and-beverage options as well.”<br />
The company now offers four different enhanced<br />
food-and-beverage options in its theaters:<br />
Zaffiro’s, a full-service pizza restaurant; Zaffiro’s<br />
Express, offering heartier options beyond candy<br />
and popcorn sold through the concession stand;<br />
in-theater dining through its Big Screen Bistro<br />
auditoriums; and cocktails through its Take 5<br />
Lounge areas in the lobby. “The Marcus Corporation<br />
has a long history in restaurants and food<br />
and beverage. On the Marcus Theatres side we<br />
have been able to draw from that and learn from<br />
and utilize some of those resources. It has made<br />
it a natural progression for us to move some of<br />
that stuff into our theaters.”<br />
The transformation of the neighborhood<br />
movie theater isn’t a phenomenon exclusive to<br />
Marcus Theatres. The exhibition industry has<br />
largely followed the example of airports and<br />
sports stadiums, reconceptualizing the use of<br />
HAPPY 80 th<br />
ANNIVERSARY MARCUS<br />
THEATRES!<br />
space in the theater to allow consumers more<br />
options to spend more. Tomachek sees the<br />
evolution as part of creating a more comfortable<br />
and customizable experience for the<br />
audience. “If you look at what the moviegoing<br />
experience was five to eight years ago, you see<br />
something very different than what you see<br />
now. It’s all about what’s that next thing; what<br />
is the consumer looking for and how can we<br />
provide it?”<br />
Extra amenities give consumers the ability<br />
to spend more when they’d like, but what about<br />
those who believe a night out at the movies is<br />
already too expensive as it is? Marcus Theatres<br />
rolled out its $5 Tuesday to bridge that gap.<br />
The program offers $5 admission with a free<br />
small popcorn—an alluring discount for families,<br />
considering the slow economic recovery<br />
of recent years. “Tuesdays have become one of<br />
our busiest days of the week. We have<br />
a lot of moviegoers and families that<br />
hadn’t been to the theater in years or<br />
felt that they could no longer afford to<br />
go to the movies,” says Barengo. “Last<br />
summer I had my babysitter cancel on<br />
me on a Tuesday. She said, ‘Is there<br />
any other day of the week that I can<br />
watch your kids? I really want to go to<br />
the movies on Tuesday.’”<br />
“It’s been a resounding success for<br />
us but, more importantly, it ties in to<br />
the larger picture of what we’re trying<br />
to accomplish organizationally: making<br />
sure that the health and well-being of<br />
our company and industry as a whole<br />
remains strong,” expands Marcus<br />
Theatres president and CEO Rolando<br />
Rodriguez, who shared his excitement<br />
about the program with BoxOffice<br />
in an interview last year. “The industry<br />
went down in attendance last year, and<br />
one of our ultimate goals is to continue<br />
to see that consumers find our value<br />
proposition to be attractive. The way<br />
we define ‘value’ isn’t only through the<br />
offerings and amenities we have … but<br />
also looking at the pricing of those very<br />
options. One of the key things in our<br />
industry is that we cater to the general<br />
masses, so we have to be very cognizant<br />
of having the right price for the right<br />
customer at the right time. It doesn’t<br />
mean we have a discounted price on<br />
the weekend—that’s a high-demand<br />
period—but there should be a time<br />
period that we can cater to those value<br />
consumers that we have already lost<br />
due to the economic conditions in<br />
our country. … I can’t tell you how<br />
many letters, notes, and comments<br />
we’ve received from families that we<br />
had lost because they couldn’t afford<br />
to come to our theater anymore. We<br />
picked to have it on a weekday, and al-<br />
36 BoxOffice ® Pro The Business of Movies APRIL 2015
“We … have a role as exhibitors to make sure that<br />
we properly satisfy the consumers to build their<br />
loyalty, their constant attendance, and to see if there<br />
are other ways to keep on bringing them into our<br />
theaters.”<br />
—Rolando Rodriguez<br />
though it’s not the most desirable time period,<br />
it still gives people the chance to enjoy an entertainment<br />
experience with their families.”<br />
The value-pricing initiative is a central part<br />
of the company’s strategy of encouraging repeat<br />
visits to Marcus Theatres. “Hitting that $5<br />
price point is making it affordable for people<br />
that not only haven’t been here for a while but<br />
also to those that already come on the weekend<br />
but want to check out an extra movie within<br />
their budget,” says Barengo. Marcus Theatres’<br />
loyalty program complements that strategy.<br />
Launched in April 2014, the program enrolled<br />
its one millionth member in March, within its<br />
first year.<br />
“While attendance is largely driven by<br />
the quality and quantity of films that are<br />
released throughout the course of the<br />
year, we also have a role as exhibitors<br />
to make sure that we properly satisfy<br />
the consumers to build their loyalty,<br />
their constant attendance, and<br />
to see if there are other ways to<br />
keep on bringing them into our<br />
theaters,” Rodriguez emphasizes.<br />
Earlier this year, Marcus<br />
Theatres began placing<br />
more focus on hosting film<br />
series across its cinemas.<br />
The company worked with<br />
Disney to host a film series<br />
called “Enchanted Tales” that<br />
ran over the course of four different weekends<br />
at select Marcus Theatres locations. A “Ladies’<br />
Night” series began its run in late February,<br />
screening romantic comedies on Monday<br />
nights and offering drink specials at some of its<br />
theaters. The film series concept is also timed<br />
to coincide with major studio releases. Marcus<br />
Theatres prepared for the release of Furious 7 by<br />
screening the preceding titles in the franchise<br />
on weekdays.<br />
This year has produced strong box office<br />
results so far, but Rodriguez knows the future<br />
success of the company, and exhibition industry<br />
at large, depends on maintaining sustainable<br />
growth year over year. “We can’t just look at<br />
our business as a one-year success story,” he<br />
says. “If you look at the history of Marcus Theatres,<br />
we’ve been around for 80 years, and we<br />
plan to be around for 80 more; our investments<br />
have a little more strategic philosophy to them.<br />
We have invested over $100 million into our<br />
business in the past year and a half. That wasn’t<br />
necessarily intended for 2015; we believe these<br />
investments are going to be sustainable for<br />
many years to come.<br />
“What you will continue to see with Marcus<br />
Theatres, and what you have been seeing for<br />
the last 80 years, is that we’re not a ‘one-year’<br />
company—our goals are long term. We have a<br />
base of three generations of leadership and are<br />
looking forward to continued family stewardship<br />
of the company.” n<br />
APRIL 2015 BoxOffice ® Pro The Business of Movies 37
AN AWKWARD REUNION<br />
Interview with ANDREW MOGEL and JARRAD PAUL,<br />
writer/directors of THE D TRAIN<br />
by Daniel Loria<br />
Andrew Mogel (above left,<br />
with star Jack Black) and<br />
Jarrad Paul (above right)<br />
had been writing together<br />
for several years when they decided<br />
to try their hand at directing. Earlier<br />
this year, the duo found themselves<br />
premiering their directorial debut<br />
at the Sundance Film Festival. The<br />
D Train was one of the most talkedabout<br />
titles at Sundance, leading to a<br />
reported $3 million deal from specialty<br />
distributor IFC Films. The film stars<br />
Jack Black as a (still-) recovering high<br />
school loser dedicated to making his<br />
high school reunion a hit by convincing<br />
the coolest guy from his class (James<br />
Marsden) to return to his hometown<br />
for the event. The plan involves lying<br />
to both his wife (Kathryn Hahn) and<br />
employer (Jeffrey Tambor) in order<br />
to fly to L.A. in a desperate bid to talk<br />
the former hometown star athlete and<br />
current struggling actor into attending.<br />
Things don’t go according to plan,<br />
and an unexpected twist makes<br />
for a very awkward reunion back<br />
home. BoxOffice caught up with the<br />
directors ahead of the film’s theatrical<br />
release to find out how the story came<br />
together.<br />
It’s a bit ironic we’re holding the<br />
interview right now; my own high<br />
school reunion starts in half an hour.<br />
Now when I walk in, I can look cool and<br />
tell people I’m 15 minutes late because<br />
I was interviewing the directors of The<br />
D Train.<br />
Andrew Mogel: It’s the least we could do.<br />
You guys have been writing together<br />
for a while now; how did this idea come<br />
together?<br />
Jarrad Paul: We’ve been writing for a long<br />
time and wanted to direct something. We<br />
started with this character who was crippled<br />
by his high school persona and would do<br />
anything to rewrite that history.<br />
AM: We wanted to explore how far someone<br />
would go to improve their own high school<br />
history, but how far would you go to become<br />
friends with the popular guy from high school?<br />
It must have been tempting to go a<br />
more conventional route with a script<br />
like this. I’m thinking of ’80s comedies<br />
that probably would have tacked on<br />
some redemptive element. Your film is<br />
hardly a conventional comedy in that<br />
regard.<br />
AM: It was never that for us. We always<br />
intended it to be grounded and real and have<br />
heart and drama. It wasn’t a straight comedy<br />
for us; it was more of a dark comedy. We<br />
didn’t want to go down the typical reunion<br />
route.<br />
JP: I think that’s our sensibility in general.<br />
We tend to embrace the weird. There is this<br />
comedic conceit in the movie: a guy lying to<br />
his wife and lying to his boss. We wanted to<br />
see what happens when you try to treat that in<br />
a real way, and this is what we came up with.<br />
AM: We were hugely inspired by John Hughes<br />
movies growing up, and we always thought<br />
that tonally this could be in that world more<br />
so than, say, the Judd Apatow comedy world.<br />
That isn’t a disparaging remark to Judd; I’m<br />
just trying to say that it wasn’t that to us<br />
ever—it was never a straight-up comedy to us.<br />
Casting is so crucial for a film like this.<br />
How did you approach that process?<br />
AM: Our producer was Mike White, and he<br />
has a long-standing relationship with Jack<br />
Black. Jack was always someone we thought<br />
would be perfect for it, and when Mike came<br />
on board, it made it much easier to reach out<br />
to him. He read it right away and responded<br />
to it immediately. From there it made things<br />
a bit easier, because there are many people in<br />
the world that want to work with Jack.<br />
JP: That’s exactly what we were looking for:<br />
people who have the comedic sensibility and<br />
instinct, but also depth and reality to them.<br />
That’s something the rest of our cast—Jeffrey<br />
Tambor, Kathryn Hahn, James Marsden—<br />
they all bring this realistic aspect along with<br />
the comedy, and that’s something that was<br />
very important to us.<br />
You premiered the film at Sundance;<br />
how was the experience?<br />
AM: It was really special, better than we could<br />
38 BoxOffice ® Pro The Business of Movies APRIL 2015
have imagined. We hadn’t shown the movie to anybody before we got<br />
there, so our nerves were high and we weren’t sure how the audience<br />
would react. It was quite an enjoyable experience to see it work on that<br />
level.<br />
This is the type of comedy that works best with a big<br />
audience at a theater.<br />
JP: Having that communal experience with an audience is not only<br />
important but also kind of speaks to our generation, too. We grew up<br />
going to movies; we didn’t have all this technology—watching movies<br />
on your phone and all those things.<br />
AM: It’s also the kind of movie where there are a lot of cringe-worthy<br />
moments—moments where Jack’s character does things that are uncomfortable.<br />
And that is enhanced when you’re surrounded by people<br />
who are feeling that same thing.<br />
Talking about that character, your movie has this Psycho<br />
moment; forty minutes in there’s a big plot twist, and<br />
the story takes an entirely different direction. Where did<br />
you want to take the character after that no-turning-back<br />
moment in the film?<br />
JP: To us it was all about the aftermath of that sharp turn. It was never<br />
really about that moment, but what happens to him afterward. He<br />
unravels, and his whole world as he knows it is changed to the core.<br />
AM: That’s important for the character because he’s stuck in this rut,<br />
and it takes knocking his whole world down and rebuilding it to get<br />
over these things he’s dealing with. It takes something like this to make<br />
him realize it’s not about what other people think about him.<br />
Do you have any influences that you draw upon in your<br />
comedy?<br />
JP: We love all the people that I feel everybody else loves. We love the<br />
Coen brothers and Alexander Payne.<br />
AM: And we also love movies like Can’t Buy Me Love.<br />
JP: Yeah, that’s the thing. These movies like Planes, Trains, and Automobiles<br />
and Vacation. We’re taking from a lot of different sources.<br />
Do you have a favorite memory of going to the movies?<br />
JP: I went to see The Karate Kid with my dad, and I couldn’t get<br />
enough of that underdog sports drama. My other one was when my<br />
dad took me to see Vacation, which was the first R-rated movie I went<br />
to see.<br />
AM: Vacation is my favorite movie of all time, but my memories of that<br />
come from watching it on VHS over and over, even though I did go see<br />
it in the theater, too. For me it was Planes, Trains and Automobiles. I remember<br />
going out to see that movie when it opened, and I was crying<br />
laughing throughout the whole thing. That movie has moments where<br />
it’s hysterically funny, but there is so much heart to it in the end—John<br />
Candy was so brilliant with that.<br />
Right before I head out, I have to ask: did you guys attend<br />
your own high school reunions?<br />
JP: We actually went to a bunch of other peoples’ high school reunions<br />
as research for th—[laughs]. No, I’m joking. We haven’t gone to any of<br />
ours, and I don’t think we have the intention of going.<br />
AM: Yeah, I think it’s going to be an intentional skip for us. We made<br />
this movie instead; this was our reunion.<br />
Well, now that you guys are filmmakers out in L.A., you<br />
never know when you’ll get that phone call from a long-lost<br />
classmate.<br />
JP: We live in fear of that every day.<br />
The D Train opens on May 6 through IFC Films.<br />
APRIL 2015 BoxOffice ® Pro The Business of Movies 39
COMING SOON IN 3D<br />
AVENGERS: AGE OF ULTRON<br />
MAY 1 · DISNEY<br />
CAST Robert Downey Jr., Chris Evans<br />
DIR Joss Whedon<br />
GENRE Act/Adv<br />
SPECS 3D/IMAX/Dolby Atmos<br />
MAD MAX: FURY ROAD<br />
MAY 15 · WARNER BROS.<br />
CAST Tom Hardy, Charlize Theron<br />
DIR George Miller<br />
GENRE Act/Adv/SF<br />
SPECS 3D/Quad<br />
POLTERGEIST<br />
MAY 22 · FOX<br />
CAST Sam Rockwell, Rosemarie DeWitt<br />
DIR Gil Kenan<br />
GENRE Hor/Thr<br />
SPECS 3D/Dolby Dig<br />
SAN ANDREAS<br />
MAY 29 · WARNER BROS./NEW LINE<br />
CAST Dwayne Johnson, Alexandra Daddario<br />
DIR Brad Peyton<br />
GENRE Act/Thr<br />
SPECS 3D<br />
JURASSIC WORLD<br />
JUNE 12 · UNIVERSAL<br />
CAST Chris Pratt, Bryce Dallas Howard<br />
DIR Colin Trevorrow<br />
GENRE Act/ Adv/Sci-Fi<br />
SPECS 3D/IMAX<br />
INSIDE OUT<br />
JUNE 19 · DISNEY<br />
VOICE CAST Amy Poehler, Lewis Black<br />
DIR Pete Docter<br />
GENRE Ani/Com/Fam<br />
SPECS 3D/Dolby Atmos<br />
TERMINATOR GENISYS<br />
JULY 1 · PARAMOUNT<br />
CAST Arnold Schwarzenegger, Emilia Clarke<br />
DIR Alan Taylor<br />
GENRE Act/Adv/SciFi<br />
SPECS 3D/IMAX/Dolby Digital<br />
MINIONS<br />
JULY 10 · UNIVERSAL<br />
VOICE CAST Sandra Bullock, Jon Hamm<br />
DIR Pierre Coffin, Kyle Balda<br />
GENRE Ani/Com/Fam<br />
SPECS 3D/Quad<br />
ANT-MAN<br />
JULY 17 · DISNEY<br />
VOICE CAST Paul Rudd, Michael Douglas<br />
DIR Peyton Reed<br />
GENRE Act/Adv<br />
SPECS 3D/Dolby Dig<br />
40 BoxOffice ® Pro The Business of Movies APRIL 2015
ALSO UPCOMING IN 3D<br />
JUL 24 WARNER BROS. PAN<br />
2015<br />
JUL 24 SONY/COLUMBIA PIXELS<br />
AUG 7 FOX FANTASTIC FOUR<br />
AUG 14 WEINSTEIN UNDERDOGS<br />
SEP 18 UNIVERSAL EVEREST<br />
SEP 25 SONY/COLUMBIA HOTEL TRANSYLVANIA 2<br />
OCT 2 SONY/TRISTAR THE WALK<br />
OCT 9 DISNEY THE FINEST HOURS<br />
NOV 6 FOX THE PEANUTS MOVIE<br />
NOV 25 DISNEY THE GOOD DINOSAUR<br />
DEC 18 DISNEY STAR WARS: THE FORCE AWAKENS<br />
DEC 25 WARNER BROS. POINT BREAK<br />
2016<br />
FEB 12 UNIVERSAL THE SECRET LIFE OF PETS<br />
MAR 4 DISNEY ZOOTOPIA<br />
MAR 11 UNIVERSAL WARCRAFT<br />
MAR 18 FOX/DREAMWORKS ANIMATION KUNG FU PANDA 3<br />
APR 15 DISNEY THE JUNGLE BOOK<br />
MAY 6 DISNEY CAPTAIN AMERICA: CIVIL WAR<br />
MAY 20 SONY/COLUMBIA ANGRY BIRDS<br />
MAY 27<br />
DISNEY<br />
JUN 17 DISNEY FINDING DORY<br />
JUL 1 WARNER BROS. TARZAN<br />
JUL 15 FOX ICE AGE 5<br />
JUL 22 WARNER BROS. KING ARTHUR<br />
ALICE IN WONDERLAND:<br />
THROUGH THE LOOKING GLASS<br />
AUG 5 SONY/COLUMBIA UNTITLED SMURFS MOVIE<br />
AUG 12 DISNEY PETE’S DRAGON<br />
AUG 12 UNIVERSAL SPECTRAL<br />
AUG 19 FOCUS FEATURES KUBO AND THE TWO STRINGS<br />
SEP 23 WARNER BROS. THE LEGO NINJAGO MOVIE<br />
OCT 21 WARNER BROS. GEOSTORM<br />
NOV 4 DISNEY DOCTOR STRANGE<br />
NOV 4 FOX/DREAMWORKS ANIMATION TROLLS<br />
NOV 23 DISNEY MOANA<br />
NOV 23 UNIVERSAL UNTITLED GREAT WALL PROJECT<br />
DEC 16 DISNEY ROGUE ONE<br />
2017<br />
JAN 13 FOX/DREAMWORKS ANIMATION BOSS BABY<br />
FEB 10 WARNER BROS. UNTITLED WARNER ANIMATION GROUP 1<br />
MAR 10 UNIVERSAL KONG: SKULL ISLAND<br />
MAR 10 FOX/DREAMWORKS ANIMATION CAPTAIN UNDERPANTS<br />
APR 7 FOX FERDINAND<br />
APR 7 UNIVERSAL PACIFIC RIM 2<br />
APR 14 DISNEY/DREAMWORKS GHOST IN THE SHELL<br />
MAY 5 DISNEY GUARDIANS OF THE GALAXY 2<br />
MAY 26 DISNEY STAR WARS: EPISODE VIII<br />
JUN 16 DISNEY TOY STORY 4<br />
OCT 6 WARNER BROS. JUNGLE BOOK: ORIGINS<br />
NOV. 3 DISNEY THOR: RAGNAROK<br />
NOV 22 DISNEY UNTITLED PIXAR ANIMATION FILM 1<br />
DEC 22 FOX/DREAMWORKS ANIMATION THE CROODS 2<br />
2018<br />
FEB 9 WARNER BROS. UNTITLED WARNER ANIMATION GROUP 2<br />
FEB 16 FOX/DREAMWORKS ANIMATION LARRIKINS<br />
MAR 9 DISNEY UNTITLED DISNEY ANIMATION FILM 1<br />
MAR 23 FOX ANUBIS<br />
MAY 4 DISNEY AVENGERS: INFINITY WAR PART I<br />
JUN 15 DISNEY UNTITLED PIXAR ANIMATION FILM 2<br />
JUN 29 FOX/DREAMWORKS ANIMATION HOW TO TRAIN YOUR DRAGON 3<br />
JUL 6 DISNEY BLACK PANTHER<br />
NOV 2 DISNEY CAPTAIN MARVEL<br />
NOV 21 DISNEY UNTITLED DISNEY ANIMATION FILM 2<br />
2019<br />
MAY 3 DISNEY AVENGERS: INFINITY WAR PART II<br />
JUL 12 DISNEY INHUMANS<br />
APRIL 2015 BoxOffice ® Pro The Business of Movies 41
Film capsules by Kenneth James Bacon<br />
APR 3 n No doubt you’ve seen the<br />
trailer for the latest in the Fast & Furious<br />
franchise, where Dom and his crew drive<br />
cars out of a transport plane. With all the<br />
advances in CGI, you’d think a sequence<br />
as dazzling as this would be a snap. But<br />
hang on—they really drove high-priced<br />
cars out of transport planes. Such is the<br />
peddle-to-the-metal filmmaking typical of<br />
these spectacularly popular films. As for<br />
computer magic, the film does boast a rare<br />
use by replacing the faces of body doubles<br />
of the late Paul Walker (two being his<br />
brothers) with faux-Walker facial imagery.<br />
DISTRIBUTOR Universal CAST Vin Diesel,<br />
Paul Walker, Dwayne Johnson, Michelle<br />
Rodriguez WRITER Chris Morgan<br />
DIRECTOR James Wan GENRE Action<br />
| Crime | Thriller RATING PG-13 for<br />
prolonged frenetic sequences of violence,<br />
action and mayhem, suggestive content,<br />
and brief strong language RUNNING TIME<br />
134 min.<br />
FURIOUS<br />
7<br />
APR 10 n Nicholas Sparks is both a<br />
popular and controversial writer; The<br />
Longest Ride is the 10th of his novels to<br />
be adapted for the screen (next year will<br />
bring the 11th—The Choice). And if the<br />
cowboy on our cover looks familiar, it’s<br />
because he is the spitting-image son of<br />
iconic cowpoke Clint Eastwood. Though<br />
Eastwood the Younger has a dozen screen<br />
credits, it’s only been in recent years<br />
that he’s used the Eastwood moniker<br />
professionally (previously he was credited<br />
as Scott Reeves). Like The Notebook, The<br />
Longest Ride features flashbacks with two<br />
actors playing the same role: Alan Alda<br />
and Jack Huston (the war-scarred Richard<br />
Harrow in Boardwalk Empire).<br />
DISTRIBUTOR Fox CAST Britt Robertson,<br />
Scott Eastwood, Jack Huston, Oona<br />
Chaplin WRITER Craig Bolotin DIRECTOR<br />
George Tillman Jr. GENRE Drama |<br />
Romance RATING PG-13 for some<br />
sexuality, partial nudity, and some war<br />
and sports action RUNNING TIME TBD<br />
THE LONGEST RIDE<br />
42 BoxOffice ® Pro The Business of Movies APRIL 2015
APR 17 n Between 1978 and 1990,<br />
Andrei Chikatilo—The Butcher of Rostov—murdered<br />
52 women and children<br />
in the Soviet Union. HBO broadcast a<br />
film based on the case with Frank Darabont<br />
regular Jeffery DeMunn as Andrei<br />
Chikatilo. Child 44 is based on a highly<br />
regarded novel, by Tom Rob Smith, based<br />
very loosely on the case. In the film, set<br />
during Stalin’s reign, Tom Hardy plays a<br />
Ministry of State Security agent tasked<br />
with solving the murder of dozens of<br />
children. Acclaimed novelist Richard Price<br />
(The Wanderers, Bloodbrothers, Clockers)<br />
adapted the book for Swedish director<br />
Daniel Espinosa (Safe House).<br />
CHILD 44<br />
DISTRIBUTOR Lionsgate CAST Tom Hardy,<br />
Noomi Rapace, Joel Kinnaman, Gary<br />
Oldman WRITER Richard Price DIRECTOR<br />
Daniel Espinosa GENRE Drama | Thriller<br />
RATING R for violence, some disturbing<br />
images, language, and a scene of<br />
sexuality RUNNING TIME 137 min.<br />
APRIL 2015 BoxOffice ® Pro The Business of Movies 43
ON SCREEN IN APRIL > WIDE RELEASES<br />
APR 17 n Life of Pi star Suraj Sharma<br />
(along with Tina Fey) narrates this nature<br />
documentary that takes place deep<br />
in the South Asia jungle among ancient<br />
ruins. The filmmakers are expert in this<br />
material, having been responsible for<br />
the worldwide sensation that was BBC’s<br />
Planet Earth. This is Disneynature’s<br />
eighth True Life Adventure, which harks<br />
back to their Oscar-winning documentaries<br />
from the 1950s, The Living Desert<br />
and The Vanishing Prairie. This entry<br />
in the series features the adventures of<br />
a family of toque macaques. A portion<br />
of box office receipts will be donated to<br />
Conservation International.<br />
DISTRIBUTOR Disneynature DIRECTORS<br />
Alastair Fothergill, Mark Linfield GENRE<br />
Documentary RATING TBD RUNNING TIME<br />
TBD<br />
MONKEY KINGDOM<br />
APR 17 n Kevin James rides his Segway<br />
to the Mojave Desert in this sequel to the<br />
2009 box office, but critically drubbed,<br />
hit. Vegas casino icon Steve Wynn opened<br />
the doors of his prized property, Wynn<br />
Las Vegas, to the production for star and<br />
writer Kevin James to romp and roll. The<br />
generous Nevada tax credits and 90 minutes<br />
of Wynn product placement aside, it<br />
makes sense to expand the playing field<br />
for James’s brand of physical comedy by<br />
shooting in Sin City. Comedienne Loni<br />
Love, formerly an electrical engineer at<br />
Xerox, plays one of Blart’s motley crew of<br />
security guards.<br />
DISTRIBUTOR Columbia CAST Kevin James,<br />
David Henrie, Neal McDonough, Daniella<br />
Alonso WRITERS Kevin James, Nick Bakay<br />
DIRECTOR Andy Fickman GENRE Action<br />
| Comedy RATING PG for some violence<br />
RUNNING TIME 94 min.<br />
PAUL BLART:<br />
MALL COP 2<br />
44 BoxOffice ® Pro The Business of Movies APRIL 2015
APR 17 n Recently, ABC’s Modern Family<br />
featured an episode composed entirely<br />
of screen images of FaceTime and Skype<br />
calls, texts, and e-mails, mirroring the way<br />
modern families (see what I did there?)<br />
communicate. Unfriended is the horror<br />
version of this idea with much of the<br />
on-screen terror presented on computer<br />
screens and smart phones. The scares<br />
come when a group of six friends are<br />
sharing a Skype session and a seventh user<br />
logs on—seemingly a girl who committed<br />
suicide the previous year after the group<br />
had posted a humiliating video of her<br />
taken at a drunken party.<br />
DISTRIBUTOR Universal CAST Shelley<br />
Hennig, Renee Olstead, Jacob Wysocki,<br />
William Peltz WRITER Nelson Greaves<br />
DIRECTOR Levan Gabriadze GENRE Horror<br />
| Thriller RATING TBD RUNNING TIME 82<br />
min.<br />
UNFRIENDED<br />
APRIL 2015 BoxOffice ® Pro The Business of Movies 45
ON SCREEN IN APRIL > WIDE RELEASES<br />
APR 24 n Blake Lively (Sisterhood of<br />
the Traveling Pants) stars in this romantic<br />
fantasy about a young woman, Adaline,<br />
who has remained the same age for eight<br />
decades (perhaps she ate magical popcorn<br />
at Marcus’s first theater in Ripon,<br />
Wisconsin). Harrison Ford takes a rare<br />
character role as the father of a man<br />
with whom Adaline becomes involved.<br />
A weekend with her boyfriend’s parents<br />
threatens to expose her secret. Ellen<br />
Burstyn plays Adaline’s elderly daughter,<br />
the only one who knows her secret.<br />
Director Lee Toland Krieger helmed the<br />
well-received Celeste and Jesse Forever.<br />
DISTRIBUTOR Lionsgate CAST Blake Lively,<br />
Michiel Huisman, Kathy Baker, Amanda<br />
Crew WRITERS J. Mills Goodloe, Salvador<br />
Paskowitz DIRECTOR Lee Toland Krieger<br />
GENRE Drama | Romance RATING PG-13<br />
for a suggestive comment RUNNING TIME<br />
110 min.<br />
THE AGE OF ADALINE<br />
APR 24 n An unusual collection of faces<br />
populate this tale of a young boy during<br />
World War II who goes to great lengths,<br />
some seemingly magical, to have his father<br />
come home from the conflict. Mexican<br />
director Alejandro Gómez Monteverde’s<br />
2006 Bella was a popular art-house hit<br />
lauded by various pro-life organizations,<br />
and this film comes with a similar<br />
ecclesiastical pedigree. Roma Downey, a<br />
devout Roman Catholic, responsible for<br />
the recent History Channel miniseries The<br />
Bible, is one of the executive producers of<br />
Little Boy.<br />
DISTRIBUTOR Open Road CAST Jakob<br />
Salvati, David Henrie, Kevin James, Emily<br />
Watson WRITERS Alejandro Gómez<br />
Monteverde, Pepe Portillo DIRECTOR<br />
Alejandro Gómez Monteverde GENRE<br />
Comedy | Drama | War RATING PG-13<br />
for some mature thematic material and<br />
violence RUNNING TIME TBD<br />
LITTLE BOY<br />
46 BoxOffice ® Pro The Business of Movies APRIL 2015
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ON SCREEN IN APRIL > LIMITED RELEASES<br />
THE SALT OF THE EARTH<br />
APR 3 n An Oscar nominee for Best Documentary, the film focuses<br />
on the work of Brazilian photographer Sebastião Salgado. Salgado’s<br />
work itself is documentary in nature as he travels the world capturing<br />
images that often focus on workers in underdeveloped nations. Gold<br />
miners and coffee workers have been among his subjects. German<br />
filmmaker Wim Wenders (Buena Vista Social Club) shares the<br />
director’s chair with Juliano Salgado, the photographer’s son.<br />
DISTRIBUTOR Le Pacte CAST Wim Wenders, Juliano Ribeiro Salgado,<br />
David Rosier DIRECTORS Wim Wenders, Juliano Ribeiro Salgado<br />
GENRE Documentary RATING PG-13 for thematic material involving<br />
disturbing images of violence and human suffering, and for nudity<br />
RUNNING TIME 110 min.<br />
WOMAN IN GOLD<br />
APR 3 n Former Green Lantern Ryan Reynolds and Dame<br />
Helen Mirren may seem like a strange on-screen duo, but this<br />
true story casts Mirren as a Holocaust survivor attempting to<br />
recover a painting stolen from her by the Nazis, with Reynolds<br />
as her attorney. The case dragged on for a decade before landing<br />
in the Supreme Court (Republic of Austria v. Altmann). Nazi art<br />
plundering was also the theme of the recent misfire The Monuments<br />
Men.<br />
DISTRIBUTOR Weinstein CAST Helen Mirren, Ryan Reynolds, Daniel<br />
Brühl, Katie Holmes WRITER Alexi Kaye Campbell DIRECTOR Simon<br />
Curtis GENRE Drama RATING PG-13 for some thematic elements and<br />
brief strong language RUNNING TIME TBD<br />
LAST KNIGHTS<br />
APR 3 n Clive Owen goes full medieval warrior in this actionadventure<br />
with enough swords, castles, and damsels to satiate the most<br />
jaded cosplayer or larper (look those up if you must). Morgan Freeman<br />
lends his dulcet tones to the proceedings as warrior Owen’s master.<br />
Lionsgate describes the film as an “epic, sword-clashing adventure of<br />
loyalty, honor, and vengeance.” Norwegian Aksel Hennie, soon to be<br />
seen in the upcoming The Martian, plays the baddie.<br />
DISTRIBUTOR Lionsgate CAST Clive Owen, Morgan Freeman, Cliff Curtis,<br />
Aksel Hennie WRITERS Michael Konyves, Dove Sussman DIRECTOR<br />
Kazuaki Kiriya GENRE Action | Adventure RATING R for some violence<br />
RUNNING TIME TBD<br />
LOST RIVER<br />
APR 10 n Ryan Gosling wrote and directed this fantasy neo-noir<br />
that was both booed and cheered at Cannes. Warner Bros. describes<br />
the film as “a dark fairy tale about love, family, and the fight for<br />
survival in the face of danger.” Others have likened it to a cross<br />
between David Lynch and Italian horror master Mario Bava. The<br />
Guardian said of it: “colossally indulgent, shapeless, often fantastically<br />
and unthinkingly offensive and at all times insufferably conceited.”<br />
DISTRIBUTOR Warner Bros. CAST Christina Hendricks, Iain De<br />
Caestecker, Matt Smith, Saoirse Ronan WRITER Ryan Gosling DIRECTOR<br />
Ryan Gosling GENRE Fantasy | Thriller RATING R for disturbing violent<br />
images, language and some sexual content RUNNING TIME 95 min.<br />
48 BoxOffice ® Pro The Business of Movies APRIL 2015
EX MACHINA<br />
APR 10 n Contrasting with Lost River on the quality scale is<br />
this sci-fi effort from writer and first-time director Alex Garland.<br />
Currently holding a mid-90s score at rottentomatoes.com,<br />
Ex Machina concerns a young programmer who is selected to<br />
participate in a breakthrough experiment in artificial intelligence<br />
by evaluating the human qualities of a breathtaking female A.I.<br />
Swedish actress Alicia Vikander, soon to be seen in the big-screen<br />
adaptation of The Man from U.N.C.L.E., plays the robot.<br />
DISTRIBUTOR A24 CAST Domhnall Gleeson, Alicia Vikander, Oscar Isaac<br />
WRITER Alex Garland DIRECTOR Alex Garland GENRE Drama | Sci-Fi<br />
RATING R for graphic nudity, language, sexual references, and some<br />
violence RUNNING TIME 108 min.<br />
BEYOND THE REACH<br />
APR 17 n The classic short story The Most Dangerous Game, first<br />
published in 1924 and brought to the screen by the makers of<br />
King Kong in 1932, gets the modern treatment. Michael Douglas<br />
stars as a high roller who decides to hunt down his guide, War<br />
Horse’s Jeremy Irvine, after the guide witnesses Douglas kill an old<br />
man during a hunting trip in the kiln-like heat of the American<br />
Southwest.<br />
DISTRIBUTOR Lionsgate CAST Michael Douglas, Jeremy Irvine, Ronny<br />
Cox WRITER Stephen Susco DIRECTOR Jean-Baptiste Léonetti GENRE<br />
Thriller RATING R for some violence RUNNING TIME TBD<br />
the only conference for producers, by producers<br />
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APRIL 2015 BoxOffice ® Pro The Business of Movies 49
ON SCREEN IN APRIL > LIMITED RELEASES<br />
TRUE STORY<br />
APR 17 n True Story seems like an odd story selection for a<br />
theater director mostly known for staging Shakespeare. However,<br />
Rupert Goold chose this modern true tale for his third film. James<br />
Franco plays Christian Longo, a murderer from Oregon who poses<br />
as journalist Michael Finkel while on the lam. Finkel, here played<br />
by Jonah Hill, had his own problems—he was caught making up<br />
stories for the New York Times Magazine.<br />
DISTRIBUTOR Fox Searchlight CAST James Franco, Jonah Hill, Felicity<br />
Jones, Gretchen Mol WRITER David Kajganich DIRECTOR Rupert Goold<br />
GENRE Drama | Mystery | Thriller RATING R for language and some<br />
disturbing material RUNNING TIME 100 min.<br />
THE WATER DIVINER<br />
APR 24 n Russell Crowe returns to his Aussie roots (though he<br />
was born in New Zealand) to make his directorial debut. Crowe<br />
plays an Australian farmer who travels to post–World War I Turkey<br />
after the famed Battle of Gallipoli to find his missing sons. Of note,<br />
this months’s Anzac Day, which commemorates Aussies and Kiwis<br />
who have served and died for their countries, was originally a day<br />
set aside to remember those who died at Gallipoli, a battle the allied<br />
forces lost.<br />
DISTRIBUTOR Warner Bros. CAST Russell Crowe, Olga Kurylenko, Jai<br />
Courtney, Cem Yılmaz WRITERS Andrew Anastasios, Andrew Knight<br />
DIRECTOR Russell Crowe GENRE Drama | War RATING TBD RUNNING<br />
TIME 111 min.<br />
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50 BoxOffice ® Pro The Business of Movies APRIL 2015
BOOKING<br />
GUIDE<br />
Compiled by Daniel Garris<br />
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS<br />
DISNEY 818-560-1000 Ask for Distribution<br />
MONKEY KINGDOM<br />
Fri, 4/17/15 WIDE<br />
Alastair Fothergill,<br />
Mark Linfield<br />
G Doc Dolby Dig<br />
AVENGERS: AGE OF ULTRON Fri, 5/1/15 WIDE Robert Downey Jr., Chris Hemsworth Joss Whedon NR Act/Adv<br />
3D/IMAX/Dolby<br />
Atmos<br />
TOMORROWLAND Fri, 5/22/15 WIDE George Clooney, Britt Robertson Brad Bird NR SF/Adv IMAX/Dolby Dig<br />
INSIDE OUT Fri, 6/19/15 WIDE Kaitlyn Dias, Amy Poehler Pete Docter NR Ani/Com/Fam 3D/Dolby Atmos<br />
ANT-MAN Fri, 7/17/15 WIDE Paul Rudd, Michael Douglas Peyton Reed NR Act/Adv 3D/Dolby Dig<br />
THE FINEST HOURS Fri, 10/9/15 WIDE Chris Pine, Casey Affleck Craig Gillespie NR Dra/Thr 3D<br />
UNTITLED COLD WAR SPY THRILLER Fri, 10/16/15 WIDE Tom Hanks, Amy Ryan Steven Spielberg NR Dra/Thr<br />
THE GOOD DINOSAUR Wed, 11/25/15 WIDE Lucas Neff, John Lithgow Peter Sohn NR Ani/Com/Fam 3D<br />
STAR WARS: THE FORCE AWAKENS Fri, 12/18/15 WIDE Harrison Ford, Mark Hamill J.J. Abrams NR Act/Adv/SF 3D/IMAX<br />
ZOOTOPIA Fri, 3/4/16 WIDE Byron Howard NR Ani/Adv/Fam 3D<br />
THE JUNGLE BOOK Fri, 4/15/16 WIDE Neel Sethi, Bill Murray Jon Favreau NR Ani/Adv 3D<br />
CAPTAIN AMERICA: CIVIL WAR Fri, 5/6/16 WIDE Chris Evans, Robert Downey Jr. Anthony Russo, Joe Russo NR Act/Adv 3D<br />
ALICE IN WONDERLAND:<br />
THROUGH THE LOOKING GLASS<br />
Fri, 5/27/16 WIDE Johnny Depp, Mia Wasikowska James Bobin NR Adv/Fan 3D<br />
FINDING DORY Fri, 6/17/16 WIDE Ellen DeGeneres, Albert Brooks Andrew Stanton NR Ani/Adv/Fam 3D<br />
THE BFG Fri, 7/1/16 WIDE Mark Rylance, Ruby Barnhill Steven Spielberg NR Adv/Fan/Fam<br />
PETE’S DRAGON Fri, 8/12/16 WIDE Oakes Fegley, Bryce Dallas Howard David Lowery NR Ani/Fan/Fam 3D<br />
FOCUS FEATURES 424-214-6360<br />
INSIDIOUS: CHAPTER 3 Fri, 6/5/15 WIDE Dermot Mulroney, Stefanie Scott Leigh Whannell PG-13 Hor/Thr<br />
SELF/LESS Fri, 7/31/15 WIDE Ryan Reynolds, Natalie Martinez Tarsem Singh PG-13 SF/Thr<br />
SINISTER 2 Fri, 8/21/15 WIDE Shannyn Sossamon, James Ransone Ciaran Foy NR Hor/Thr<br />
LONDON HAS FALLEN Fri, 10/2/15 WIDE Gerard Butler, Aaron Eckhart Babak Najafi NR Act/Thr<br />
THE DANISH GIRL Fri, 11/27/15 EXCL NY/LA Eddie Redmayne, Alicia Vikander Tom Hooper NR Dra<br />
THE FOREST Fri, 1/8/16 WIDE Natalie Dormer, Michiel Huisman Jason Zada NR Hor/Thr<br />
CHRIST THE LORD Fri, 3/11/16 WIDE Vincent Walsh Cyrus Nowrasteh NR Dra<br />
RACE Fri, 4/8/16 WIDE Stephan James, Jeremy Irons Stephen Hopkins NR Dra/Sport<br />
KUBO AND THE TWO STRINGS<br />
Fri, 8/19/16 WIDE<br />
Art Parkinson, Matthew<br />
McConaughey<br />
Travis Knight NR Ani/Adv/Fam 3D<br />
FOX 310-369-1000 / 212-556-2400<br />
THE LONGEST RIDE Fri, 4/10/15 WIDE Britt Robertson, Scott Eastwood George Tillman Jr. PG-13 Dra/Rom Dolby Dig<br />
POLTERGEIST Fri, 5/22/15 WIDE Sam Rockwell, Rosemarie DeWitt Gil Kenan PG-13 Hor/Thr 3D/Dolby Dig<br />
SPY Fri, 6/5/15 WIDE Melissa McCarthy, Jason Statham Paul Feig NR Act/Com Dolby Dig<br />
PAPER TOWNS Fri, 7/24/15 WIDE Nat Wolff, Cara Delevingne Jake Schreier NR Rom/Thr<br />
FANTASTIC FOUR Fri, 8/7/15 WIDE Miles Teller, Kate Mara Josh Trank NR Act/Adv 3D<br />
HITMAN: AGENT 47 Fri, 8/28/15 WIDE Rupert Friend, Zachary Quinto Aleksander Bach NR Act/Thr<br />
MAZE RUNNER:<br />
THE SCORCH TRIALS<br />
Fri, 9/18/15 WIDE Dylan O’Brien, Kaya Scodelario Wes Ball NR SF/Thr<br />
VICTOR FRANKENSTEIN Fri, 10/2/15 WIDE James McAvoy, Daniel Radcliffe Paul McGuigan NR Hor/SF<br />
THE PEANUTS MOVIE Fri, 11/6/15 WIDE Noah Schnapp, Hadley Belle Miller Steve Martino NR Ani/Com/Fam 3D/Dolby Dig<br />
THE MARTIAN Wed, 11/25/15 WIDE Matt Damon, Jessica Chastain Ridley Scott NR SF/Adv<br />
ALVIN AND THE CHIPMUNKS 4 Wed, 12/23/15 WIDE Jason Lee, Justin Long Walt Becker NR Ani/Com/Fam Quad<br />
JOY Fri, 12/25/15 WIDE Jennifer Lawrence, Bradley Cooper David O. Russell NR Dra<br />
THE REVENANT Fri, 12/25/15 LTD. Leonardo DiCaprio, Tom Hardy Alejandro G. Iñárritu NR Adv/Dra<br />
DEADPOOL Fri, 2/12/16 WIDE Ryan Reynolds, Gina Carano Tim Miller NR Act/Adv<br />
PEREGRINE’S HOME FOR<br />
PECULIARS<br />
Fri, 3/4/16 WIDE Eva Green, Asa Butterfield Tim Burton NR Adv/Fan<br />
KUNG FU PANDA 3 Fri, 3/18/16 WIDE Jack Black, Angelina Jolie Jennifer Yuh NR Ani/Com/Fam 3D<br />
X-MEN: APOCALYPSE Fri, 5/27/16 WIDE James McAvoy, Michael Fassbender Bryan Singer NR Act/Adv<br />
INDEPENDENCE DAY 2 Fri, 6/24/16 WIDE Roland Emmerich NR Act/Adv/SF<br />
MIKE & DAVE NEED<br />
WEDDING DATES<br />
Fri, 7/8/16 WIDE Zac Efron, Adam DeVine Jake Szymanski NR Com<br />
ICE AGE 5 Fri, 7/15/16 WIDE Ray Romano, John Leguizamo Mike Thurmeier NR Ani/Com/Fam 3D<br />
FOX SEARCHLIGHT 212-556-2400<br />
TRUE STORY Fri, 4/17/15 LTD. Jonah Hill, James Franco Rupert Goold R Dra/Thr Dolby Dig<br />
FAR FROM THE MADDING CROWD<br />
Fri, 5/1/15 LTD.<br />
Carey Mulligan, Matthias<br />
Schoenaerts<br />
Thomas Vinterberg PG-13 Dra/Rom Dolby Dig<br />
52 BoxOffice ® Pro The Business of Movies APRIL 2015
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS<br />
ME AND EARL AND THE DYING GIRL Fri, 6/12/15 LTD. Thomas Mann, Olivia Cooke Alfonso Gomez-Rejon NR Dra<br />
BROOKLYN Fri, 11/6/15 LTD. Saoirse Ronan, Domhnall Gleeson John Crowley NR Rom/Com/Dra<br />
LIONSGATE 310-309-8400<br />
CHILD 44 Fri, 4/17/15 WIDE Tom Hardy, Gary Oldman Daniel Espinosa R Dra/Thr<br />
THE AGE OF ADALINE Fri, 4/24/15 WIDE Blake Lively, Michiel Huisman Lee Toland Krieger PG-13 Dra/Rom Dolby Atmos<br />
CRIMINAL Fri, 8/21/15 WIDE Kevin Costner, Ryan Reynolds Ariel Vromen NR Act/Cri/Thr<br />
SICARIO Fri, 9/18/15 LTD. Emily Blunt, Benicio del Toro Denis Villeneuve NR Act/Cri/Dra<br />
THE LAST WITCH HUNTER Fri, 10/23/15 WIDE Vin Diesel, Elijah Wood Breck Eisner NR Act/Fan<br />
THE HUNGER GAMES:<br />
MOCKINGJAY - PART 2<br />
Fri, 11/20/15 WIDE Jennifer Lawrence, Josh Hutcherson Francis Lawrence NR Act/Adv/SF IMAX<br />
THE CHOICE Fri, 2/5/16 WIDE Teresa Palmer, Benjamin Walker Ross Katz NR Dra/Rom<br />
GODS OF EGYPT Fri, 2/12/16 WIDE Gerard Butler, Brenton Thwaites Alex Proyas NR Act/Adv<br />
THE DIVERGENT SERIES:<br />
ALLEGIANT - PART 1<br />
Fri, 3/18/16 WIDE Shailene Woodley, Theo James Robert Schwentke NR Act/Adv/SF<br />
MECHANIC: RESURRECTION Fri, 4/15/16 WIDE Jason Statham, Jessica Alba Dennis Gansel NR Act/Thr Dolby Dig<br />
NOW YOU SEE ME:<br />
THE SECOND ACT<br />
Fri, 6/10/16 WIDE Mark Ruffalo, Jesse Eisenberg Jon M. Chu NR Cri/Thr<br />
POWER RANGERS Fri, 7/22/16 WIDE NR Act/Adv/Fam<br />
DIRTY GRANDPA Fri, 8/12/16 WIDE Robert De Niro, Zac Efron Dan Mazer NR Com<br />
DEEPWATER HORIZON Fri, 9/30/16 WIDE Mark Wahlberg NR Act/Dra<br />
OPEN ROAD FILMS 310-696-7504<br />
LITTLE BOY Fri, 4/24/15 WIDE Jakob Salvati, Emily Watson Alejandro Monteverde PG-13 Dra/Fam<br />
DOPE Fri, 6/12/15 WIDE Shameik Moore, Tony Revolori Rick Famuyiwa NR Com/Dra<br />
TRIPLE NINE Fri, 9/11/15 WIDE Chiwetel Ejiofor, Casey Affleck John Hillcoat NR Cri/Thr<br />
ROCK THE KASBAH Fri, 11/13/15 WIDE Bill Murray, Bruce Willis Barry Levinson NR Com<br />
SNOWDEN<br />
Fri, 12/25/15 WIDE<br />
Joseph Gordon-Levitt, Shailene<br />
Woodley<br />
Oliver Stone NR Dra/Thr<br />
THE NUT JOB 2 Fri, 1/15/16 WIDE Cal Brunker NR Ani/Com/Fam<br />
PARAMOUNT 323-956-5000<br />
TERMINATOR GENISYS Wed, 7/1/15 WIDE Arnold Schwarzenegger, Emilia Clarke Alan Taylor NR Act/Adv/SF 3D/IMAX/Dolby Dig<br />
MISSION: IMPOSSIBLE 5 Fri, 7/31/15 WIDE Tom Cruise, Jeremy Renner Christopher McQuarrie NR Act/Adv/Thr IMAX<br />
PARANORMAL ACTIVITY:<br />
THE GHOST DIMENSION<br />
Fri, 10/23/15 WIDE Gregory Plotkin NR Hor<br />
SCOUTS VS. ZOMBIES Fri, 10/30/15 WIDE Tye Sheridan, Logan Miller Christopher Landon NR Com/Hor<br />
RINGS Fri, 11/13/15 WIDE Matilda Lutz F. Javier Gutiérrez NR Hor<br />
MONSTER TRUCKS Fri, 12/25/15 WIDE Jane Levy, Lucas Till Chris Wedge NR Ani/Adv/Fam<br />
ZOOLANDER 2 Fri, 2/12/16 WIDE Ben Stiller, Owen Wilson Justin Theroux NR Com<br />
BEN-HUR Fri, 2/26/16 WIDE Jack Huston, Toby Kebbell Timur Bekmambetov NR Dra<br />
BEVERLY HILLS COP Fri, 3/25/16 WIDE Eddie Murphy Brett Ratner NR Act/Com<br />
FRIDAY THE 13TH Fri, 5/13/16 WIDE David Bruckner NR Hor<br />
TEENAGE MUTANT<br />
NINJA TURTLES 2<br />
Fri, 6/3/16 WIDE Dave Green NR Act/Adv<br />
STAR TREK 3 Fri, 7/8/16 WIDE Chris Pine, Zachary Quinto Justin Lin NR Act/Adv/SF<br />
RELATIVITY 310-724-7700 Ask for Distribution<br />
DESERT DANCER Fri, 4/10/15 LTD. Freida Pinto, Reece Ritchie Richard Raymond PG-13 Dra<br />
BEFORE I WAKE Fri, 5/8/15 WIDE Kate Bosworth, Thomas Jane Mike Flanagan PG-13 Hor/Thr<br />
HILLSONG - LET HOPE RISE Fri, 5/29/15 MOD. Michael John Warren NR Doc<br />
THE BRONZE Fri, 7/10/15 LTD. Melissa Rauch, Gary Cole Bryan Buckley NR Com<br />
MASTERMINDS Fri, 8/7/15 WIDE Zach Galifianakis, Owen Wilson Jared Hess NR Com/Cri<br />
JANE GOT A GUN Fri, 9/4/15 WIDE Natalie Portman, Ewan McGregor Gavin O’Connor NR Wes/Act<br />
THE DISAPPOINTMENTS ROOM Fri, 9/25/15 WIDE Kate Beckinsale, Gerald McRaney D.J. Caruso NR Hor/Thr<br />
KIDNAP Fri, 10/9/15 WIDE Halle Berry, Lew Temple Luis Prieto NR Act/Thr<br />
AUTOBAHN Fri, 10/30/15 WIDE Nicholas Hoult, Felicity Jones Eran Creevy NR Act/Cri/Thr<br />
SONY 212-833-8500<br />
PAUL BLART: MALL COP 2 Fri, 4/17/15 WIDE Kevin James, Raini Rodriguez Andy Fickman PG Com/Fam Quad<br />
ALOHA Fri, 5/29/15 WIDE Bradley Cooper, Emma Stone Cameron Crowe NR Rom/Com/Dra Quad<br />
PIXELS Fri, 7/24/15 WIDE Adam Sandler, Kevin James Chris Columbus NR Ani/Act/Com 3D/Quad<br />
RICKI AND THE FLASH Fri, 8/7/15 WIDE Meryl Streep, Kevin Kline Jonathan Demme NR Com/Dra<br />
WAR ROOM Fri, 8/28/15 WIDE Priscilla Shirer, Alex Kendrick Alex Kendrick PG Dra<br />
KITCHEN SINK Fri, 9/4/15 WIDE Nicholas Braun, Mackenzie Davis Robbie Pickering NR Com/Hor<br />
THE PERFECT GUY Fri, 9/11/15 WIDE Sanaa Lathan, Michael Ealy David M. Rosenthal NR Thr<br />
APRIL 2015 BoxOffice ® Pro The Business of Movies 53
BOOKING GUIDE<br />
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS<br />
HOTEL TRANSYLVANIA 2 Fri, 9/25/15 WIDE Adam Sandler, Selena Gomez Genndy Tartakovsky NR Ani/Com/Fam 3D<br />
THE WALK Fri, 10/2/15 WIDE Joseph Gordon-Levitt, Ben Kingsley Robert Zemeckis NR Dra 3D/IMAX<br />
GOOSEBUMPS Fri, 10/16/15 WIDE Jack Black, Dylan Minnette Rob Letterman NR Adv/Com/Hor<br />
SPECTRE Fri, 11/6/15 WIDE Daniel Craig, Christoph Waltz Sam Mendes NR Act/Adv/Thr<br />
UNTITLED ROGEN / GORDON-<br />
LEVITT X-MAS COMEDY<br />
Wed, 11/25/15 WIDE Seth Rogen, Joseph Gordon-Levitt Jonathan Levine NR Com<br />
THE LADY IN THE VAN Fri, 12/11/15 LTD. Maggie Smith, Alex Jennings Nicholas Hytner NR Dra<br />
CONCUSSION Fri, 12/25/15 WIDE Will Smith, Alec Baldwin Peter Landesman NR Dra/Sport<br />
THE 5TH WAVE Fri, 1/29/16 WIDE Chloë Grace Moretz, Nick Robinson J Blakeson NR Act/Adv/SF<br />
GRIMSBY Fri, 2/26/16 WIDE Sacha Baron Cohen, Mark Strong Louis Leterrier NR Com<br />
CATFIGHT Fri, 4/1/16 WIDE Mark Waters NR Com<br />
ANGRY BIRDS Fri, 5/20/16 WIDE Jason Sudeikis, Josh Gad Clay Kaytis, Fergal Reilly NR Ani/Fam 3D<br />
UNCHARTED Fri, 6/10/16 WIDE Seth Gordon NR Act/Adv<br />
GHOSTBUSTERS Fri, 7/22/16 WIDE Melissa McCarthy, Kristen Wiig Paul Feig NR Com/Hor<br />
UNTITLED SMURFS MOVIE Fri, 8/5/16 WIDE Mandy Patinkin Kelly Asbury NR Ani/Com/Fam 3D<br />
SAUSAGE PARTY Fri, 8/12/16 WIDE Seth Rogen, Jonah Hill<br />
Greg Tiernan, Conrad<br />
Vernon<br />
NR Ani/Com<br />
UNTITLED SONY PICTURES<br />
ANIMATION FILM<br />
Fri, 9/23/16 WIDE NR Ani<br />
SONY PICTURES CLASSICS Tom Prassis 212-833-4981<br />
LAMBERT & STAMP Fri, 4/3/15 EXCL NY/LA Chris Stamp, Kit Lambert James D. Cooper R Doc<br />
THE SALT OF THE EARTH Fri, 4/3/15 EXCL NY/LA Sebastião Salgado, Wim Wenders<br />
Wim Wenders, Juliano<br />
Ribeiro Salgado<br />
PG-13 Doc Dolby Dig<br />
SAINT LAURENT Fri, 5/8/15 EXCL NY/LA Gaspard Ulliel, Jérémie Renier Bertrand Bonello R Dra Dolby Dig<br />
ALOFT Fri, 5/22/15 EXCL NY/LA Jennifer Connelly, Cillian Murphy Claudia Llosa R Dra<br />
INFINITELY POLAR BEAR Fri, 6/19/15 EXCL NY/LA Mark Ruffalo, Zoe Saldana Maya Forbes R Com/Dra<br />
IRRATIONAL MAN Fri, 7/24/15 EXCL NY/LA Jamie Blackley, Joaquin Phoenix Woody Allen NR Com/Dra<br />
STX ENTERTAINMENT 310-742-2300<br />
UNTITLED BLUMHOUSE THRILLER Fri, 7/31/15 WIDE Jason Bateman, Rebecca Hall Joel Edgerton NR Thr<br />
THE SECRET IN THEIR EYES Fri, 10/23/15 WIDE Chiwetel Ejiofor, Nicole Kidman Billy Ray NR Thr Dolby Dig<br />
THE BOY Fri, 1/22/16 WIDE Lauren Cohan William Brent Bell NR Hor Dolby Dig<br />
FREE STATE OF JONES<br />
Fri, 3/11/16 WIDE<br />
Matthew McConaughey, Gugu<br />
Mbatha-Raw<br />
Gary Ross NR Act/Dra Dolby Dig<br />
UNIVERSAL 818-777-1000<br />
FURIOUS 7 Fri, 4/3/15 WIDE Vin Diesel, Paul Walker James Wan PG-13 Act/Cri IMAX/Quad<br />
UNFRIENDED Fri, 4/17/15 WIDE Shelley Hennig, Moses Storm Levan Gabriadze NR Hor/Thr Quad<br />
PITCH PERFECT 2 Fri, 5/15/15 WIDE Anna Kendrick, Rebel Wilson Elizabeth Banks PG-13 Com/Mus Quad<br />
JURASSIC WORLD Fri, 6/12/15 WIDE Chris Pratt, Bryce Dallas Howard Colin Trevorrow NR Act/Adv/SF 3D/IMAX<br />
TED 2 Fri, 6/26/15 WIDE Mark Wahlberg, Seth MacFarlane Seth MacFarlane NR Com Quad<br />
MINIONS Fri, 7/10/15 WIDE Sandra Bullock, Jon Hamm Kyle Balda, Pierre Coffin NR Ani/Com/Fam 3D/Quad<br />
TRAINWRECK Fri, 7/17/15 WIDE Amy Schumer, Bill Hader Judd Apatow R Com Quad<br />
STRAIGHT OUTTA COMPTON Fri, 8/14/15 WIDE O’Shea Jackson Jr., Corey Hawkins F. Gary Gray NR Dra<br />
THE VISIT Fri, 9/11/15 WIDE Kathryn Hahn, Ed Oxenbould M. Night Shyamalan PG-13 Hor<br />
EVEREST Fri, 9/18/15 WIDE Jason Clarke, Josh Brolin Baltasar Kormákur PG-13 Adv/Dra 3D/IMAX<br />
STEVE JOBS Fri, 10/9/15 WIDE Michael Fassbender, Kate Winslet Danny Boyle NR Dra<br />
CRIMSON PEAK Fri, 10/16/15 WIDE Mia Wasikowska, Tom Hiddleston Guillermo del Toro R Hor IMAX/Quad<br />
JEM AND THE HOLOGRAMS Fri, 10/23/15 WIDE Aubrey Peeples, Stefanie Scott Jon M. Chu NR Mus/Adv<br />
KRAMPUS Fri, 12/4/15 WIDE Allison Tolman, Emjay Anthony Michael Dougherty NR Com/Hor<br />
SISTERS Fri, 12/18/15 WIDE Tina Fey, Amy Poehler Jason Moore R Com<br />
UNTITLED BLUMHOUSE<br />
HORROR FILM 1<br />
Fri, 1/8/16 WIDE NR Hor<br />
RIDE ALONG 2 Fri, 1/15/16 WIDE Kevin Hart, Ice Cube Tim Story NR Act/Com<br />
HAIL, CAESAR! Fri, 2/5/16 WIDE Josh Brolin, George Clooney Joel Coen, Ethan Coen NR Com<br />
THE SECRET LIFE OF PETS Fri, 2/12/16 WIDE Louis C.K., Eric Stonestreet Chris Renaud NR Ani/Com/Fam 3D<br />
WARCRAFT Fri, 3/11/16 WIDE Ben Foster, Travis Fimmel Duncan Jones NR Act/Adv/Fan<br />
3D/IMAX/Dolby<br />
Atmos<br />
MICHELLE DARNELL Fri, 4/8/16 WIDE Melissa McCarthy, Kristen Bell Ben Falcone NR Com<br />
THE BEST MAN WEDDING Fri, 4/15/16 WIDE Taye Diggs, Nia Long Malcolm D. Lee NR Com/Dra<br />
THE HUNTSMAN Fri, 4/22/16 WIDE Chris Hemsworth, Charlize Theron Cedric Nicolas-Troyan NR Adv/Fan<br />
NEIGHBORS 2 Fri, 5/13/16 WIDE Seth Rogen, Zac Efron Nicholas Stoller NR Com<br />
THE MUMMY Fri, 6/24/16 WIDE Alex Kurtzman NR Act/Adv<br />
THE PURGE 3 Fri, 7/1/16 WIDE James DeMonaco NR Hor/Thr/SF<br />
54 BoxOffice ® Pro The Business of Movies APRIL 2015
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS<br />
UNTITLED NEXT BOURNE CHAPTER Fri, 7/29/16 WIDE Matt Damon Paul Greengrass NR Act/Adv/Thr<br />
SPECTRAL Fri, 8/12/16 WIDE James Badge Dale, Emily Mortimer Nic Mathieu NR Act/Thr 3D<br />
WARNER BROS. 818-977-1850<br />
LOST RIVER Fri, 4/10/15 EXCL NY/LA Christina Hendricks, Saoirse Ronan Ryan Gosling R Fan/Thr Quad<br />
THE WATER DIVINER Fri, 4/24/15 LTD. Russell Crowe, Olga Kurylenko Russell Crowe NR Dra<br />
HOT PURSUIT Fri, 5/8/15 WIDE Reese Witherspoon, Sofía Vergara Anne Fletcher NR Act/Com Quad<br />
MAD MAX: FURY ROAD Fri, 5/15/15 WIDE Tom Hardy, Charlize Theron George Miller NR Act/Adv/SF 3D/Quad<br />
SAN ANDREAS Fri, 5/29/15 WIDE Dwayne Johnson, Alexandra Daddario Brad Peyton NR Act/Thr 3D<br />
ENTOURAGE Fri, 6/5/15 WIDE Adrian Grenier, Kevin Connolly Doug Ellin R Com Dolby Dig<br />
MAX Fri, 6/26/15 WIDE Josh Wiggins, Thomas Haden Church Boaz Yakin PG Adv/Fam<br />
MAGIC MIKE XXL Wed, 7/1/15 WIDE Channing Tatum, Matt Bomer Gregory Jacobs R Com/Dra Quad<br />
THE GALLOWS Fri, 7/10/15 WIDE Cassidy Gifford, Ryan Shoos Travis Cluff, Chris Lofing NR Hor/Thr Dolby Dig<br />
PAN Fri, 7/24/15 WIDE Hugh Jackman, Levi Miller Joe Wright NR Adv/Fan/Fam<br />
3D/IMAX/Dolby<br />
Atmos<br />
THE MAN FROM U.N.C.L.E. Fri, 8/14/15 WIDE Henry Cavill, Armie Hammer Guy Ritchie PG-13 Act/Adv/Com Dolby Atmos/Quad<br />
UNTITLED WHITEY BULGER FILM Fri, 9/18/15 WIDE Johnny Depp, Benedict Cumberbatch Scott Cooper R Cri/Dra<br />
THE INTERN Fri, 9/25/15 WIDE Anne Hathaway, Robert De Niro Nancy Meyers NR Com<br />
VACATION Fri, 10/9/15 WIDE Ed Helms, Leslie Mann<br />
John Francis Daley,<br />
Jonathan M. Goldstein<br />
NR Com<br />
CREED Wed, 11/25/15 WIDE Michael B. Jordan, Sylvester Stallone Ryan Coogler NR Dra/Sport<br />
MIDNIGHT SPECIAL Wed, 11/25/15 WIDE Michael Shannon, Joel Edgerton Jeff Nichols PG-13 SF/Thr<br />
IN THE HEART OF THE SEA Fri, 12/11/15 WIDE Chris Hemsworth, Benjamin Walker Ron Howard PG-13 Adv/Dra IMAX/Dolby Atmos<br />
POINT BREAK Fri, 12/25/15 WIDE Édgar Ramírez, Luke Bracey Ericson Core NR Act/Thr 3D/IMAX<br />
HOW TO BE SINGLE Fri, 2/12/16 WIDE Lily Collins, Alison Brie Christian Ditter NR Rom/Com<br />
BATMAN V SUPERMAN:<br />
DAWN OF JUSTICE<br />
Fri, 3/25/16 WIDE Henry Cavill, Ben Affleck Zack Snyder NR Act/Adv<br />
THE CONJURING 2 Fri, 6/10/16 WIDE Vera Farmiga, Patrick Wilson James Wan NR Hor/Thr<br />
THE NICE GUYS Fri, 6/17/16 WIDE Ryan Gosling, Russell Crowe Shane Black NR Cri/Thr<br />
TARZAN Fri, 7/1/16 WIDE Alexander Skarsgård, Margot Robbie David Yates NR Act/Adv 3D<br />
KING ARTHUR<br />
Fri, 7/22/16 WIDE<br />
Charlie Hunnam, Astrid Bergès-<br />
Frisbey<br />
Guy Ritchie NR Act/Adv 3D<br />
SUICIDE SQUAD Fri, 8/5/16 WIDE Will Smith, Margot Robbie David Ayer NR Act/Adv<br />
UNTITLED NEW LINE HORROR FILM Fri, 9/9/16 WIDE NR Hor<br />
THE LEGO NINJAGO MOVIE Fri, 9/23/16 WIDE Charlie Bean NR Ani/Adv/Fam 3D<br />
WEINSTEIN CO./DIMENSION 646-862-3400<br />
WOMAN IN GOLD Fri, 4/3/15 MOD. Helen Mirren, Ryan Reynolds Simon Curtis PG-13 Dra<br />
SOUTHPAW Fri, 7/31/15 WIDE Jake Gyllenhaal, Forest Whitaker Antoine Fuqua NR Dra/Sport<br />
UNDERDOGS Fri, 8/14/15 WIDE Matthew Morrison, Nicholas Hoult Juan José Campanella NR Ani/Com/Fam 3D/Dolby Dig<br />
CROUCHING TIGER, HIDDEN<br />
DRAGON: THE GREEN LEGEND<br />
Fri, 8/28/15 LTD. Michelle Yeoh, Donnie Yen Yuen Woo-ping NR Act/Adv IMAX<br />
REGRESSION Fri, 8/28/15 WIDE Ethan Hawke, Emma Watson Alejandro Amenábar NR Thr<br />
NO ESCAPE Wed, 9/2/15 WIDE Owen Wilson, Pierce Brosnan John Erick Dowdle R Act/Thr<br />
ARTS ALLIANCE MEDIA<br />
Landmark House<br />
Hammersmith Bridge Road<br />
London W6 9EJ UK<br />
www.artsalliancemedia.com<br />
PG 2<br />
AMERICAN COMPUTER OPTICS<br />
(PORT WINDOW GLASS)<br />
240 Goddard<br />
Irvine, CA 92618-4625<br />
www.portwindowglass.com<br />
PG 8<br />
CARDINAL SOUND & MOTION<br />
PICTURE SYSTEMS<br />
6330 Howard Ln.<br />
Elkridge, MD 21075<br />
www.cardinalsound.com<br />
PG 56<br />
CHRISTIE DIGITAL SYSTEMS<br />
10550 Camden Dr.<br />
Cypress, CA 90630<br />
www.christiedigital.com<br />
inside cover<br />
CINEMACON<br />
60 Cuttermill Rd., Ste. 413<br />
Great Neck, NY 11021<br />
www.cinemacon.com<br />
inside back cover<br />
CINEMA EQUIPMENT +<br />
SUPPLIES<br />
12457 SW 130th St.<br />
Miami, FL 33186<br />
www.cinemaequip.com<br />
PG 27<br />
CINETRANSFORMER<br />
4770 Biscayne Blvd., Ste. 1450<br />
Miami,FL 33137<br />
www.cinetransformer.com<br />
PG 1<br />
DOLBY LABORATORIES<br />
100 Potrero Ave.<br />
San Francisco, CA 94103<br />
www.dolby.com<br />
PG 29<br />
DOLPHIN SEATING<br />
313 Remuda St.<br />
Clovis, NM 88101<br />
www.dolphinseating.com<br />
PG 21<br />
ENPAR AUDIO<br />
www@enparaudio.com<br />
PG 50<br />
GDC TECHNOLOGY<br />
1016 W Magnolia Blvd.<br />
Burbank, CA 91506<br />
www.gdc-tech.com<br />
PG 13<br />
GOLD MEDAL PRODUCTS<br />
10700 Medallion Dr.<br />
Cincinnati, OH 45241<br />
www.gmpopcorn.com<br />
PG 39<br />
HARKNESS SCREENS<br />
Unit A, Norton Road<br />
Stevenage, Herts<br />
SG1 2BB UK<br />
www.harkness-screens.com<br />
PG 7, 9, 37<br />
MAROEVICH, O’SHEA &<br />
COUGHLAN<br />
44 Montgomery St., 17th Fl.<br />
San Francisco, CA 94104<br />
www.mocins.com<br />
PG 5<br />
MTI (AUTOFRY)<br />
10 Forbes Rd.<br />
Northborough, MA 01532<br />
www.mtiproducts.com<br />
PG 14<br />
MOVING IMAGE TECHNOLOGIES<br />
17760 Newhope St., Ste. B<br />
Fountain Valley, CA 92708<br />
www.movingimagetech.com<br />
PG 35, 51<br />
NEC DISPLAY SOLUTIONS<br />
500 Park Blvd., Ste. 1100<br />
Itasca, IL<br />
www.necdisplay.com<br />
PG 6<br />
ODELL’S<br />
40 Pointe Dr.<br />
Brea, CA 92821<br />
www.popntop.com<br />
PG 30<br />
PARADIGM<br />
550 3 Mile Rd NW<br />
Grand Rapids, MI 49544<br />
www.paradigmae.com<br />
PG 32<br />
PEPSICO<br />
700 Anderson Hill Rd.<br />
Purchase, NY 10577<br />
www.pepsico.com<br />
PG 33<br />
PREFERRED POPCORN<br />
1132 9th Rd.<br />
Chapman, NE 68827<br />
www.preferredpopcorn.com<br />
PG 36<br />
PROCTOR COMPANIES<br />
10497 Centennial Rd.<br />
Littleton, Colorado 80127<br />
www.proctorco.com<br />
PG 43<br />
PRODUCED BY CONFERENCE<br />
(PRODUCERS GUILD OF AMERICA)<br />
8530 Wilshire Blvd., Ste. 400<br />
Beverly Hills, CA 90211<br />
www.producedbyconference.com<br />
PG 49<br />
PROMOTION IN MOTION<br />
25 Commerce Dr.<br />
Allendale, NJ 07401-0008<br />
www.promotioninmotion.com<br />
PG 23<br />
READY THEATRE SYSTEMS<br />
4 Hartford Blvd.<br />
Hartford, MI 49057<br />
www.rts-solutions.com.com<br />
PG 17<br />
REALD<br />
100 North Crescent Dr., Ste. 200<br />
Beverly Hills, CA 90210<br />
www.reald.com<br />
PG 40–41<br />
RETRIEVER SOFTWARE<br />
888 West Ithaca Ave., Ste. 100<br />
Englewood, CO 80110<br />
www.RetrieverSoftwareInc.com<br />
PG 19<br />
SCREENVISION<br />
1411 Broadway, Fl 33<br />
New York, NY, 10018<br />
www.screenvision.com<br />
PG 34<br />
SENSIBLE CINEMA SOFTWARE<br />
7216 Sutton Pl.<br />
Fairview, TN 37062<br />
www.sensiblecinema.com<br />
PG 56<br />
SONIC EQUIPMENT COMPANY<br />
900 W. Miller<br />
Iola, KS 66749<br />
www2.sonicequipment.com<br />
back cover<br />
TEXAS INSTRUMENTS//DLP<br />
12500 TI Blvd.<br />
Dallas, Texas 75243<br />
www.ti.com<br />
PG 31<br />
USHIO AMERICA, INC.<br />
5440 Cerritos Ave.<br />
Cypress, CA 90630<br />
www.ushio.com<br />
PG 11<br />
VANTIV<br />
8500 Governors Hill Dr.<br />
Symmes Township, OH 45249<br />
www.vantiv.com<br />
PG 45<br />
WEST WORLD MEDIA<br />
63 Copps Hill Rd.<br />
Ridgefield, CT USA 06877<br />
www.westworldmedia.com<br />
PG 4<br />
WHITE CASTLE<br />
555 West Goodale St.<br />
Columbus, OH 43215<br />
www.whitecastle.com<br />
PG 26<br />
WILL ROGERS MOTION PICTURE<br />
PIONEERS FOUNDATION<br />
10045 Riverside Dr., Third Fl.<br />
Toluca Lake, CA 91602<br />
www.wppioneers.com<br />
PG 47<br />
APRIL 2015 BoxOffice ® Pro The Business of Movies 55
WE CLEAN THEATERS<br />
EXCLUSIVELY!<br />
From coast to coast for 35 YEARS.<br />
Let us give you our references.<br />
www.maintenancecooperative.com<br />
or call 770-503-1102<br />
BUYING & SELLING<br />
MARQUEE LETTERS. Buying and selling. New and Used<br />
marquee letters all types. We buy old. We sell new. All<br />
styles. Trade in your old letters and get new letters. Turn<br />
those old letters into cash. Your source for new Pronto,<br />
Zip-Change, Snap Lok, Slotted. mike@pilut.com 800-<br />
545-8956<br />
LOOKING TO PURCHASE 3-8 screen venue in California<br />
or south western United States. Contact: Atul Desai<br />
949-291-5700<br />
DRIVE-IN CONSTRUCTION<br />
DRIVE-IN SCREEN TOWERS since 1945. Selby Products<br />
Inc., P.O. Box 267, Richfield, OH 44286. Phone: 330-659-<br />
6631.<br />
EQUIPMENT WANTED<br />
ASTER AUDITORIUM SEATING & AUDIO. We offer the<br />
best pricing on good used projection and sound equipment.<br />
Large quantities available. Please visit our website,<br />
www.asterseating.com, or call 888-409-1414.<br />
AMERICAN ENTERTAINMENT PRODUCTS LLC is buying<br />
projectors, processors, amplifiers, speakers, seating,<br />
platters. If you are closing, remodeling or have excess<br />
equipment in your warehouse and want to turn equipment<br />
into cash, please call 866-653-2834 or email<br />
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location and dismantle equipment? We come to you<br />
with trucks, crew and equipment, no job too small or<br />
too large. Call today for a quotation: 866-653-2834. Vintage<br />
equipment wanted also! Old speakers like Western<br />
Electric and Altec, horns, cabinets, woofers, etc., and<br />
any tube audio equipment. Call or email: aep30@comcast.net.<br />
COLLECTOR WANTS TO BUY: We pay top money for<br />
any 1920-1980 theater equipment. We’ll buy all theater-related<br />
equipment, working or dead. We remove<br />
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speakers, horns, drivers, woofers, tubes, transformers;<br />
Western Electric, RCA, Altec, JBL, Jensen, Simplex and<br />
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location. We buy projection and equipment too. Call<br />
today: 773-339-9035; cinema-tech.com; email ILG821@<br />
aol.com.<br />
FOR SALE<br />
2 BRAND NEW 3000 watts Christie Xenon lamps for<br />
35mm projectors. Contact: Atul Desai 949-291-5700.<br />
BARCO 3D/DIGITAL EQUIPMENT FOR SALE: Purchase<br />
for $55K. Equipment list provided upon request. Contact<br />
seller at mschwartz@pennprolaw.com.<br />
PREFERRED SEATING COMPANY, your source for<br />
new, used and refurbished theater and stadium seating.<br />
Buying and selling used seating is our specialty.<br />
Call toll-free 866-922-0226 or visit our website www.<br />
preferred-seating.com.<br />
USED DIGITAL PROJECTORS AVAILABLE. Barco<br />
dcp2000 and others slightly used. Don’t close your theater<br />
conversion is cheaper than you think. Call Stetson<br />
Snell 505-615-2913<br />
18 SETS OF USED 35MM AUTOMATED PROJECTION<br />
SYSTEM (comes with Projector, Console, Automation<br />
Unit and Platter) comprising of 10 sets of Christie and<br />
8 sets of Strong 35mm system available on ‘as is where<br />
is’ basis in Singapore. Contact seller at engthye_lim@<br />
cathay.com.sg<br />
HELP WANTED<br />
THEATRE MANAGEMENT POSITIONS AVAILABLE<br />
Pacific Northwest Theatre Company. Previous management<br />
experience required. Work weekends, evenings<br />
and holidays. Send resume and salary history to movietheatrejobs@gmail.com<br />
THEATRE MANAGEMENT POSITION AVAILABLE. Xscape<br />
Theatres is forecasting rapid expansion adding 2<br />
to 4 sites per year. To qualify for possible immediate<br />
placement previous theatre management experience is<br />
required. Must be able to work evenings, weekends, and<br />
holidays. Send resumes and references to sbagwell@<br />
alianceent.com or mail to Aliance Management Co. LLC<br />
825 Northgate Blvd. Suite # 203 New Albany, IN 47150.<br />
Compensation based on experience.<br />
POSITIONS AVAILABLE<br />
Paragon Theaters has THEATER MANAGEMENT POSI-<br />
TIONS available at multiple locations. If you have previous<br />
management experience, please send your resume<br />
to robert.fronckoski@paragontheaters.com..<br />
SERVICES<br />
DULL FLAT PICTURE? RESTORE YOUR XENON RE-<br />
FLECTORS! Ultraflat repolishes and recoats xenon<br />
reflectors. Many reflectors available for immediate exchange.<br />
(ORC, Strong, Christie, Xetron, others!) Ultraflat,<br />
20306 Sherman Way, Winnetka, CA 91306; 818-884-<br />
0184.<br />
ALLSTATE SEATING specializes in refurbishing, complete<br />
painting, molded foam, tailor-made seat covers,<br />
installations and removals. Please call for pricing and<br />
spare parts for all types of theater seating. Boston,<br />
Mass.; 617-770-1112; fax: 617-770-1140.<br />
CONSOLIDATED THEATRE SERVICES, LLC has a wide<br />
variety of theatre sound equipment available at competitive<br />
prices. Our extensive inventory includes amplifiers,<br />
processors, speakers and sound racks from makers<br />
such as JBL, Dolby, Ashly, Klipsch, Crown and more.<br />
You are welcome to call us at 305-908-1613 for further<br />
information.<br />
THEATER SPACE FOR LEASE<br />
AN 8,400 SQ. FT. SPACE containing two movie theaters<br />
is available for lease in Frankfort, KY, at a very<br />
reasonable lease rate. It would be perfect for the new<br />
concept of eating in the theater. The theaters are located<br />
in the middle of a major shopping center. The center<br />
owners would prefer an operating movie theater rather<br />
than convert the space into retail use. Contact Alexa at<br />
859-221-9921 or email her at alexarkelley@gmail.com for<br />
more information.<br />
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