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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 />

on your 80th anniversary<br />

www.artsalliancemedia.com<br />

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 />

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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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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 />

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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


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EXCLUSIVELY!<br />

From coast to coast for 35 YEARS.<br />

Let us give you our references.<br />

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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 />

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DRIVE-IN CONSTRUCTION<br />

DRIVE-IN SCREEN TOWERS since 1945. Selby Products<br />

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EQUIPMENT WANTED<br />

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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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SUBSCRIPTIONS<br />

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BOXOFFICE ® PRO (ISSN 0006-8527), Volume 151, Number 4, April 2015. BOXOFFICE ® PRO is published monthly by BoxOffice Media, LLC, 11911 San Vicente Blvd., Ste. 355,<br />

Los Angeles, CA 90049, USA. corporate@boxoffice.com. www.boxoffice.com. Basic annual subscription rate is $59.95. Periodicals postage paid at Beverly Hills, CA, and at<br />

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56 BoxOffice ® Pro The Business of Movies APRIL 2015


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