Boxoffice - October 2015

$6.95 

OCTOBER 2015 

Matt Damon as astronaut 

Mark Watney in Ridley 

Scott’s The Martian 

WOMEN IN 

EXHIBITION & 

DISTRIBUTION 

WE SPEAK WITH A DOZEN 

OF THE BRIGHTEST STARS 

IN THE INDUSTRY 

NEW 

PRODUCTS 

OUR RUNDOWN 

OF THE LATEST 

OFFERINGS 

SHOWEAST 

INTERVIEWS 

MARK CHRISTIANSEN 

CHARLEY MOSS 

MARK WALUKEVICH 

REVOLUTION 

OR EVOLUTION 

PART TWO OF 

OUR DEEP LOOK 

AT THE PRE-SHOW 

FILMMAKER 

INTERVIEWS 

THE MARTIAN’S RIDLEY SCOTT 

99 HOMES’ RAMIN BAHRANI 

PAN’S JASON FUCHS 

ICONS OF 

EXHIBITION 

TIM WARNER 

GERRY LOPEZ 

The Official Magazine of the National Association of Theatre Owners

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MIT 1

Daniel Loria 

Managing Editor 

BoxOffice Media 

The whole concept of “Miami time,” arriving to an appointment 15 to 20 

minutes late, is one of the few things you can depend on in South Florida, where 

even the weather refuses to stay the same for more than half an hour at a time. 

At ShowEast, that grace period still exists, but in a more condensed five-minute 

version, which I think we can all blame on the beautiful ocean view from the 

Diplomat hotel. Nevertheless, it’s always nice to be back in South Florida, but 

it’s especially nice to be back in October, knowing that another cold winter is 

around the corner for those of us based in the Northeast. 

Returning to South Florida is a bit of a homecoming for me, since it’s the one 

place in the U.S. I still consider home. Very much in that vein, I profile the story 

of the Younger family, who also call South Florida home for their family business, 

Cinema Equipment and Supplies, still going strong after three generations. We are also pleased to 

bring back our annual Women in Exhibition & Distribution feature, in which we highlight the fantastic 

achievements of some of the great women that work in our industry. 

This issue wraps up our special coverage on cinema advertising with the second half of Mark de Quervain’s 

analysis of the rise of the interactive pre-show. On the film front, we’re pleased to bring you one of 

our strongest issues of the year with interviews with two of today’s most compelling filmmakers, Ramin 

Bahrani and Ridley Scott, by our very own Phil Contrino. You may be more used to seeing Phil quoted 

in various national publications as a movie-industry expert, but, as you’ll see in these upcoming pages, he 

happens to be a great interviewer as well. 

As always, please feel free to reach out to me with your comments and questions. 

Until next month, 

Daniel Loria 

daniel.loria@boxoffice.com 

OCTOBER 2015 BoxOffice ® Pro 3

OCTOBER 2015 VOL. 151 NO. 10 

WOMEN IN EXHIBITION& DISTRIBUTION 73 

Hello by Daniel Loria 3 

Exhibition Briefs Edited by Laura Silver 8 

Executive Suite Warner and Lopez: Two exhibition 

industry icons exit within weeks of each other by John Fithian 

18 

Communiqué So long, summer by Patrick Corcoran 20 

Box Office Breakouts Oscar race preview: Will 2015’s 

contenders be commercially viable? by Phil Contrino 

24 

Filmmaker Interview Accidental thriller: 99 Homes director 

Ramin Bahrani talks about guns, working with nonactors, and 24 

finding the moral ambiguity in his characters Interview by Phil Contrino 

Filmmaker Interview Peter before Pan: Pan screenwriter 

Jason Fuchs talks Neverland mythology Interview by Daniel Loria 

26 

The Pre-show Revolution or evolution? Part 2 of 2 by Mark de Quervain 30 

Vendor Profile A family tradition: From Honduras to Miami 

and encompassing three generations in the exhibition 

business, the Younger family looks forward to a bright 

42 

future for Cinema Equipment & Supplies by Daniel Loria 

SHOWEAST 47 

INTERVIEWS 

Charley Moss PARTNER, BOW TIE CINEMAS 50 

Mark Christiansen EXECUTIVE VICE PRESIDENT OF WORLDWIDE 

52 

OPERATIONS, PARAMOUNT PICTURES 

Mark Walukevich SENIOR VICE PRESIDENT AND EVENT CINEMA, 

NATIONAL AMUSEMENTS 

GREAT SCOTT 

RIDLEY SCOTT 

TALKS SCI-FI, 3D, AND 

THE DEMANDS OF 

ART AND COMMERCE 

Interview by 

Phil Contrino 

2015 NEW PRODUCTS 56 

3d release calendar Sponsored by RealD 94 

on screen Capsule previews by Jonathan Papish 96 

booking guide Compiled by Daniel Garris 106 

classifieds 112 

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EXHIBITION BRIEFS 

Sky Cinemas at Kuwait’s 

Dalal Complex 

SKY CINEMAS KUWAIT SIGNS EXCLUSIVITY 

AGREEMENT WITH BARCO 

n Barco has forged a new alliance in the Middle East. 

Sky Cinemas Kuwait, a relatively new chain of cinemas 

that’s also part of a large Kuwait-based real-estate 

group, has made a commitment to Barco partner 

CineTech to exclusively install Barco projectors, including 

laser projection for future sites. Sky currently 

has three screens installed in the capital, Kuwait City, 

with five new screens planned by mid-2016. Last July, 

three new screens were inaugurated in Kuwait City, 

featuring two DP2K-10s and one DP2K-20C Barco 

projector. By mid-2016, the cinema group wants to 

install another five screens. The cinema group also has 

expansion plans in Kuwait and the wider region. 

Barco Gold Partner CineTech Middle East JLT, 

a cinema and multifunction-auditorium solutions 

provider for the Middle East and Africa, is another 

part of the expansion-story equation. Fahad Al-Saleh, 

owner and spokesperson for Sky, says he is confident 

that the partnership will prove to be a winning ticket: 

“With the experienced support of CineTech Middle 

East JL and the state-of-the-art technology of Barco, 

I’m convinced that we are going to make the moviegoers 

an offer they can’t refuse. Now and in many years 

to come.” 

UNIQUE DIGITAL AND MACCS INTEGRATE 

DIGITAL DELIVERY WORKFLOW 

n Unique Digital and MACCS International have 

completed the integration of a full end-to-end digital 

workflow for digital delivery to cinemas. This integrated 

solution enables film distributors to automate the 

delivery of digital cinema packages (DCPs) and key 

delivery messages (KDMs) to cinemas via the DCinemaHub 

and Movie Transit platforms. 

DCinemaHub, part of MaccsBox, is a global 

web-based communication platform that connects 

distributors, post-production houses, shipping depots, 

and cinemas through a single web interface to fully 

automate the ordering of DCPs and KDMs. Unique’s 

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Spectre wil have its 

world premiere on 

October 26 at the Royal 

Albert Hall in London. 

Movie Transit is an electronic point-to-point distribution 

system for DCP feature films. Initially deployed 

nationwide in Norway in 2012, the system has now 

been fully deployed in six territories across more than 

1,700 cinemas. 

Users of the MACCS booking system will be able 

to create DCP and KDM orders and automatically 

synchronize them with DCinemaHub. The integration 

will be available immediately for all users of MACCS 

and Unique’s Movie Transit systems currently deployed 

in Norway, Sweden, Denmark, Finland, the U.K., and 

Ireland. 

REGAL HAS THE ULTIMATE TICKET TO 

SPECTRE 

n Regal Entertainment Group has announced the Regal 

Ultimate Ticket for Spectre, the newest James Bond 

movie. This limited-edition, black, anodized-steel Spectre 

ticket is only available to the first 1,000 customers 

awaiting the opening of the movie. Regal guests with 

the Ultimate Ticket can see Spectre every day while the 

movie is in theaters. Spectre, from Albert R. Broccoli’s 

EON Productions, Metro-Goldwyn-Mayer Studios, 

and Sony Pictures Entertainment, will be released in 

the U.S. on November 6. 

In addition, guests have been able to purchase a 

shadowy, etched, collectible card with the Spectre symbol 

for $100 since Monday, September 14, until the 

Regal Ultimate Ticket for Spectre is sold out. The Regal 

Ultimate Ticket will only be available for sale online on 

Regal’s website at REGmovies.com/spectreticket. 

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n Recently opened Movie 

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Rouge, Louisiana, has selected 

Christie as the exclusive 

provider of entertainment 

solutions to power all 10 of 

its screens. 

Following $6 million in 

renovations, the new state-ofthe-art 

entertainment center 

continues Movie Tavern’s national 

expansion efforts dedicated 

to creating full-service 

in-theater dining destinations 

across 21 theaters and 171 

digital screens. 

“Selecting the suite of Christie entertainment solutions 

from their Solaria projectors and Vive Audio line 

is an integral part of our strategy,” says Ron Krueger 

II, president and chief operating officer, Southern 

Theatres, which owns Movie Tavern. “With their 

design, installation services, and monitoring through 

their network-operations center, Christie provides our 

circuit the reassurance that we’re receiving the latest 

technology innovations and services.” 

Southern Theatres was one of the first major exhibitors 

in the U.S. to power a multiplex exclusively with 

Christie Vive Audio and Christie Solaria Series projectors. 

In addition to the Movie Tavern in Baton Rouge, 

Louisiana, Southern Theatres also plans the Christie 

Vive installation at the Movie Tavern in Flourtown, 

Pennsylvania. 

NEW TITLES EMPLOY DOLBY VISION AND 

DOLBY ATMOS 

n Three new Hollywood features will soon be joining 

the Dolby Cinema experience: The Martian, in theaters 

October 2; Pan, in theaters October 9, and In the 

Heart of the Sea, in theaters December 11. 

“We are delighted to see a dynamic slate of movies 

embracing today’s most advanced and powerful 

imaging and sound technologies,” says Doug Darrow, 

senior vice president, cinema, Dolby Laboratories. 

“Dolby Cinema has demonstrated that it can transport 

the audience into a new world of action-packed 

blockbusters with booming sounds, but can also pack 

animated films with heart and emotion.” 

Pan and In the Heart of the Sea are Warner Bros. 

Pictures’ second and third films to be released at Dolby 

Cinema locations, following San Andreas. 20th Century 

Fox had an earlier Dolby release with Maze Runner: 

The Scorch Trials on September 18. 

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Ron Hageman 

RON HAGEMAN IS NEW EXECUTIVE 

DIRECTOR AT SONIC 

n Ron Hageman has recently assumed the role of 

executive director of the Sonic Equipment Company. 

An employee of Sonic Equipment since 2006, 

Hageman has worked in other roles for the cinema 

service company ranging from construction manager 

to digital cinema installer to director of Sonic Services. 

Hageman was also instrumental in the creation 

and implementation of Sonic Operational Solutions 

(SOS), the company’s remote monitoring service and 

call center. 

As executive director Hageman will be responsible 

for day-to-day operations as well as provide strategic 

direction, working closely with theater owners and 

the Sonic executive management to ensure quality 

and excellence up and down the chain. He succeeds 

longtime executive director Eric Olson, who will 

remain with the company as director of sales. Olson 

will now be on the road meeting with current and 

potential new customers to expand the company 

footprint. 

Sonic Equipment provides community-owned 

theaters, independent exhibitors, and theater 

circuits with equipment, installation, and a custom 

preventative-maintenance program. The company 

currently services more than 1,200 screens around 

the nation. 

GOODRICH ANNOUNCES RECLINER SEATING 

FOR HOLLAND, MICHIGAN 

n This month Goodrich Quality Theaters Inc. 

will install power recliner seating in all seven 

auditoriums at the Holland 7 in Holland, 

Michigan. The Holland 7 installation will be 

Goodrich’s first complex featuring recliner seating 

in all auditoriums. Goodrich currently has one 

auditorium of recliner seating in its Champaign, 

Illinois, Savoy 16 IMAX. 

Goodrich purchased the recliners from Holland, 

Michigan–based seating company Telescopic Seating 

Systems (TSS). Goodrich’s Holland 7 will debut 

TSS’s Clean Sweep System, which allows theater 

staff to simply press a secure button located inside 

the auditorium to extend recliner leg rests for easy 

cleaning. 

Goodrich also will install TSS’s Smart Power 

product to operate the recliners. One Smart Power 

device provides electricity to an entire row of chairs 

(up to 32) versus the more typical setup of one 

electrical outlet per two chairs. 

The six-figure renovation project will also 

include new carpet and tile in all auditoriums plus 

lobby and a newly designed concessions stand. Holland 

7 will then introduce reserved seating online 

or at the touch monitors at the theater. Holland 7 is 

not scheduled to increase ticket prices. 



Texas-based Studio 

Movie Grill now has 23 

locations in 10 states. 

STUDIO MOVIE GRILL EXPANDS INTO 

SOUTHERN CALIFORNIA 

n Studio Movie Grill will open its 23rd national 

location, and second in California, at the Simi Valley 

Town Center Shopping Mall in Simi Valley. The new 

theater will house nine auditoriums and will be part of 

the upscale outdoor shopping, dining, and entertainment 

destination anchored by Macy’s and new-to-market 

Studio Movie Grill. SMG Simi Valley is slated to 

open on October 22. 

Each theater will feature luxury custom-built recliners 

with built-in tabletops and service call buttons, 

innovative menu options along with some surprising 

new finger food desserts, a premium bar, an eclectic 

wine list, and signature SMG Cellars wines from 

central California. A menu of craft brews and over 60 

premium spirits will be available. 

SMG will work with G4S for its security services 

because of their initiative regarding the hiring of returning 

military veterans as part of the White House’s 

Joining Forces campaign. All security officers assigned 

to SMG Simi Valley will be military veterans. 

The new venue will host free monthly Special 

Needs Screenings for children with special needs and 

their siblings, with adult tickets available at matinee 

pricing. Alternate programming, called SMG with 

a Twist, will feature educational and family programming, 

documentaries, cartoons, concert films, 

sporting-event broadcasts, and advanced promotional 

screenings. n 


EXECUTIVE SUITE 

The NATO Executive Board meetings will never be the 

same without the passion and leadership of Tim Warner 

and Gerry Lopez. (Sorry, Gerry. Tim has more tenure in the 

exhibition industry so he gets listed first.) On a broader 

scale, though, the industry will never be the same either. All 

exhibitors, big and small, and indeed everyone who makes 

a living in the movie business, owe a debt of gratitude to 

these two men. 

WARNER AND 

LOPEZ 

Two exhibition industry icons exit 

within weeks of each other 

by John Fithian 

President and CEO, NATO 

At Cinemark, Tim opened new markets across Latin 

America to the modern cinema experience, was a leading 

part of a team that achieved the highest quality levels in 

sight and sound, and helped bring exhibition into excellence 

in so many other ways. (We can call Tim the “Master 

of Satellite Delivery,” for example.) At AMC, Gerry fostered 

a leading brand, achieved a historic cross-cultural deal 

with the Chinese, and brought so many innovations to the 

industry. (Can you say “King of Luxury Seating”?) Tim and 

Gerry both set company records in revenues and returned 

significant value to their investors. 

What may produce an even longer-lasting impact on the 

business, however, is the way in which Tim and Gerry both 

inspired this generation of theater managers and the next 

generation of exhibition leaders. This author is fortunate to 

meet midlevel executives and theater managers across the 

country and the world when traveling on behalf of NATO. 

At so many encounters during those travels, Cinemark and 

AMC personnel commented on the strategic, intelligent, 

and motivational impact made by their respective leaders, 

Tim and Gerry. 

To be sure, Tim and Gerry have had their disagreements. 

They each infused their strategy development with 

intense passion for the business and the people who work 

in it. And sometimes, just sometimes, their strategies developed 

in contradiction to each other. That’s when the sparks 

flew and the debate grew intense. But everyone who sat 

through a Tim–Gerry debate benefited from the discourse, 

and the industry was better for it. Some of our association’s 

best decisions and greatest innovations started with 

a Tim–Gerry debate. 

Let’s consider each man’s career in turn. 

Tim Warner: Immediate Past CEO and Current 

Board Member, Cinemark Holdings, Inc. 

Tim Warner served as chief executive officer of 

Cinemark Holdings, Inc., headquartered in Plano, 

Texas, from January 2012 until September 

2015. He also served on the company’s board 

of directors from November 2014 to the present. 

Prior to taking the reins as CEO, Tim was 

president and CEO from February 2012 until 

January 2014, president and chief operating officer 

from December 2006 until February 2012, 

and senior vice president prior to December 2006. 

Additionally, Tim served as president of Cinemark 

International for over 10 years and was responsible for 

leading Cinemark’s international growth efforts, primarily in Central 

and South America, where the company currently operates 1,189 

screens in 162 theaters. 

Prior to joining Cinemark, Tim was well known throughout the 

industry as the CEO of NATO of California/Nevada and the general 

chairman of NATO/ShoWest, the precursor to NATO’s CinemaCon 

and the largest convention in the world devoted exclusively to all aspects 

of the motion picture industry. During Tim’s leadership from 1989 to 

1995, ShoWest grew considerably from a regional show into the world’s 

dominant movie theater industry convention. Proceeds generated 

by ShoWest helped the national and local trade associations gain the 

resources they needed to grow into more effective organizations. 

Tim began his cinema career in Montana, where he grew in stature 

as a theater manager and a film buyer for independently owned 

cinemas. 

During his time at Cinemark, Tim has been honored to be part of 

a team that has built the company into one of the leading exhibition 

Tim Warner 

organizations in the world, operating 503 theaters with 

5,720 screens in 14 countries. 

For the national trade organization Tim has 

served as a dedicated volunteer and leader, as a 

member of the NATO Advisory and Executive 

Boards of Directors; the chairman of the 

International Committee; the chairman of the 

Regional President’s Committee; the chairman 

of the Independent Theatre Owners Committee; 

as well as in leading roles in various NATO 

regional units in the western United States. 

Despite his busy professional career, Tim has 

never hesitated to dedicate his time and resources to 

those in need. Over the years he has led many fundraisers 

for our industry charities, the Will Rogers Motion Picture Pioneers 

and Variety. 

With his “quasi” retirement (Tim will remain on the Cinemark 

board and serve as a consultant to the company), Tim will be able 

to spend a bit more time with his wonderful family, including wife, 

Winifred (Windy); daughter, Kristina, her husband, Laurent Ouaknine, 

and their daughter, Abigail; and son, Tim Jr., his wife, Heather, 

and their two sons, Dane and Bridger. 

Gerardo (Gerry) I. Lopez: Immediate Past CEO and 

President, AMC Entertainment Inc., and Current CEO and 

President of Extended Stay America, Inc. 

Gerry Lopez served as the president and chief executive officer 

of AMC Entertainment, headquartered in Leawood, Kansas, from 

March 2009 to August 2015. During his tenure at AMC Gerry acquired 

and integrated theater operators of various sizes, including the 

(at the time) country’s fifth largest, Kerasotes, growing the company 


through acquisitions and new builds to the current size 

of 5,031 screens at 351 locations. Under Gerry’s 

leadership AMC launched AMC Stubs, the industry’s 

first-ever paid loyalty program; created two 

proprietary large-format-screen concepts (ETX 

and AMC Prime); developed new food and 

beverage concepts (e.g., McGuffins); and redefined 

the industry’s assumptions about seating 

capacity and utilization by introducing recliner 

reseats and remodels. In collaboration with 

Regal, Gerry was instrumental in the conception, 

funding, and launching of Open Road Films, a 

movie distributor that was profitable in its first year. 

Prior to joining AMC, Gerry served in executive 

positions at Starbucks Coffee Company from 2004 to 2009; 

Handleman Entertainment Resources from 2000 to 2004; International 

Home Foods from 1997 to 2000; Frito-Lay from 1991 

to 1996; Pepsi-Cola Company from 1986 to 1990; and Procter & 

Gamble from 1983 to 1986. In addition to his day jobs, Gerry has 

served on seven different public and private company boards, including 

National CineMedia Inc., Digital Cinema Implementation 

Partners, and Open Road Films. 

For NATO, Gerry has also contributed his considerable talents 

and energy by serving on the association’s Advisory and Executive 

Board of Directors from 2009 to 2015, and by encouraging a culture 

at AMC to support industry initiatives through the volunteer service 

Gerry Lopez 

of other top executives. 

Gerry’s community-service efforts have been extensive 

in the field of education. For five years he 

served as a governor for the Cranbrook Institute 

of Science in Bloomfield Hills, Michigan, as 

well as four years as a director at the Trulaske 

College of Business at the University of 

Missouri–Columbia. In these capacities Gerry’s 

role went well beyond strategic guidance and 

fundraising to involve mentoring, lecturing, 

and career counseling. 

For Gerry it wasn’t retirement that led him 

from exhibition, but the call of another career challenge. 

After reinvigorating the second-largest exhibitor, 

negotiating a successful exit for its owners, and completing a 

long-awaited IPO, Gerry accomplished his goals at AMC. Gerry 

now serves as the chief executive officer and president of Extended 

Stay America, Inc. 

Gerry has been married for over 30 years to his wife, Elaine, and 

has two sons, Gerry John and Chris. 

On behalf of all NATO members and the entire movie industry, 

we are grateful for the positive impact of two of the industry’s most 

successful executives ever—Tim Warner and Gerry Lopez. And 

though our professional relationship will change, we trust that our 

personal connections will not. 

All the best to Tim and to Gerry. 

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COMMUNIQUÉ 

by Patrick Corcoran 

Vice President & Chief Communications Officer, 

NATO 

Somewhere over the western United States on the one 

American Airlines domestic 757 not equipped with 

Wi-Fi. No, really. 

n With a week left in summer by the calendar, but 

two weeks past its end according to the movie business, 

Los Angeles has gotten its first rain in months 

and the sky is a painful, fresh-scrubbed blue. L.A. 

always looks like a new place after the rain, but one 

of the literally dirty secrets of our town is that the 

cleansing rain washes months of accumulated grime, 

oil, tire rubber, and assorted debris off the streets and 

sidewalks straight into Santa Monica Bay. 

Large swaths of the otherwise cerulean bay are 

muddy brown as I fly over it on my way to Dallas for 

CineShow—the first under the new TOMA regional 

umbrella—and in the few hours since the storm, the 

incoming waves and outflowing storm drains have 

herded a line of debris a mile or so offshore. It’s mostly 

tree branches and other lightweight castoffs, but as 

anyone knows who has lived here long enough, you 

can probably also find shopping carts, car parts, spec 

scripts, and failed business plans. No matter how 

sunny, nobody will be swimming this week. 

The summer box office has had a similar cleansing 

effect on industry talk about the movie business. Fearful 

comparisons to earlier movies and earlier summers 

littered the trades as Avengers: Age of Ultron failed to 

set an opening weekend record. See my July column 

in Boxoffice for the tiresome litany of unmet (and 

unreasonable) expectations. Or you can look at what 

actually happened throughout the long summer. 

That disappointing opening week for Avengers 2? 

Up more than 50 percent over the same week in 2014. 

Jurassic World, on the other hand, defied even the 

most optimistic expectations with the biggest opening 

weekend ever and vaulted into all-time second place 

domestically and internationally. It was still playing on 

1,100 screens in mid-September, having grossed $650 

million domestically. 

Trainwreck and Straight Outta Compton demonstrated 

the box office strength of movies not aimed at 

15-year-old boys, and analysts once again proclaimed 

themselves amazed that women and African-Americans 

will turn out to see movies and were further 

shocked when they reached even broader audiences. 

Anyone who saw the reaction to Compton at Cinema- 

Con knew we had a monster hit on our hands. 

In addition to those four movies, eight others 

topped $100 million at the summer box office: two 

animated family movies, Inside Out and Minions; spy 

thriller Mission Impossible: Rogue Nation; two other 

female-led comedies, Pitch Perfect 2 and Spy; one more 

superhero in Ant-Man; and actioners San Andreas and 

Mad Max: Fury Road rounded out the summer. 

That brings to 19 the number of $100 million– 

grossing titles so far in 2015, 20 if you count American 

Sniper, which expanded to wide release in January. 

The tentpole effect remains central to summer 

success, with those 12 movies accounting for close to 

$3 billion of summer’s revenue. The remaining titles 

accounted for roughly one-third of summer revenues, 

at approximately $1.5 billion. 

The result of all these offerings was the second-highest-grossing 

summer in history, with $4.48 billion in 

tickets sold—a 10.4 percent increase over last year. Only 

summer 2013 was higher at $4.75 billion. Admissions, 

too, were higher, with perhaps approximately 530 

million admissions. We’ll need to wait for a Q3 average 

ticket price to know for sure. A week-by-week comparison 

of summers 2015 and 2014 accompanies this 

column (along with proof of no Wi-Fi signal). 

The movies bring customers to our theaters, but it’s 

what we do then that keeps them coming back. After 

two months up in the San Bernardino Mountains for 

summer camp, my 16-year-old daughter was anxious 

to see Jurassic World, and it was playing at a sub-run 

house in the San Fernando Valley in mid-August. It 

had been a sub-run for years. Twenty years ago, my 

mother-in-law used to take my son there for a couple 

of dollars per movie. When she came home from the 

movie, my daughter told me the movie was fun, but 

she absolutely lit up when she told me about the theater. 

“That was the most comfortable seat I have ever 

been in, in my life,” she said. “And then I put the foot 

rest up. Oh my God!” 

So. A teenage girl in the most media-savvy market 

in America, who has been around the movie business 

20 BoxOffice ® Pro SEPTEMBER 2015

her entire life and considers high-speed Internet and 

Netflix her birthrights, could not stop talking about 

the comfy seats. Sometimes, we really don’t know 

anything. But our customers do. 

When we consider the customer experience, we 

often talk about immersion, but that consideration is 

limited. Stadium seating gave our customers the best 

sight lines they had ever experienced. The days of craning 

your neck to see around the person in front of you 

were gone. Digital projection meant a flawless visual 

experience. Every time. Giant screens and immersive 

audio further created an all-encompassing experience. 

But let’s take a closer look at that experience. As 

theater owners, we privilege the theatrical experience, 

always citing the size of the screen and the communal 

experience, but is that the full extent of what we offer? 

Before we answer that question, let’s consider what 

the home experience offers. There are three things 

that the home entertainment experience offers, to my 

mind. 

Convenience. This is obvious, and has been the 

case for 60 years. It’s right there, a click or two away. 

No argument there. 

Price. In many ways, the home experience is 

already paid for, whether it is a cable 

subscription, broadband access, 

or a subscription VoD plan. 

Control. This, I think, 

is the most compelling 

argument for the home experience. 

You choose. What you watch. 

When you watch. How loud it is. Pause. 

Rewind. Click back and forth between 

channels. Text a friend. Call them 

on the phone (OK, I’m old.) 

Besides the quality of the experience, 

movie theaters offer their customers 

something unique—surrender. We ask our audiences 

to give themselves up to an experience that is not under 

their control. It starts and stops on a schedule set 

by the filmmaker and the theater. If you are here, you 

are here on our terms. There is a real value in that—it 

is, I think, a purer experience, but it requires trust, 

and execution. This is where the comfy seats become 

much more than merely comfy seats. That comfort 

sets a mood and builds trust. It prepares the audience 

for anything. “Sit back. We’ll take care of you.” That 

is why customer service is so important. Not just for 

the simple pleasure of being catered to—though that 

is important. Rather, the feeling of trust, of comfort, 

prepares the audience for the movie. The movie is 

better for the experience. 

But there is debris offshore, and the surf can be 

hazardous. To industry analysts, every home offering 

that tries to incorporate some simultaneous or near-simultaneous 

theatrical element in its distribution plan 

is the newest threat to theatrical exhibition. But these 

analysts always leave out the most important element 

in what new distribution scheme will change theatrical 

exhibition forever, and that is the simple fact 

that the overwhelming majority of theaters 

simply don’t play those movies. A high of 

about 350 screens is the widest release that 

any of these hybrids have attained. When 

you consider that there are 40,000 theater 

screens in the U.S., the inconsequential 

nature of these experiments becomes clearer. 

How is exhibition changed by what’s 

playing on seven-tenths of one percent of 

our screens? 

This summer? For exhibition, the 

water’s fine. n 

It was a great summer 

of Amy Schumer as her 

Trainwreck snuck past 

the $100 million mark in 

domestic grosses. 


BOX OFFICE BREAKOUTS 

OSCAR RACE PREVIEW 

WILL 2015’S CONTENDERS 

BE COMMERCIALLY VIABLE? 

by Phil Contrino 

n The Oscar race is coming into sharper 

focus now that two prominent film 

festivals—Telluride and Toronto—have 

introduced the world to some of the early 

contenders. Some films take off, while 

others fall flat. It’s the same story every 

year. It’s actually kind of funny that the 

Oscar season gets started at the same time 

as the NFL season and the phenomenon 

that is fantasy football, because the 

dynamics are kind of similar. Right 

now football fans around the country 

are talking about sleepers and duds in 

the same way that Oscar prognosticators 

are assessing the race. Sounding great 

on paper is one thing, but it’s all about 

execution. 

Last year’s crop of Best Picture 

nominees wasn’t a very commercially 

successful bunch. The Academy missed 

the opportunity to recognize such 

huge hits as Gone Girl, Interstellar, 

and Guardians of the Galaxy in the 

Best Picture race. Will this year be 

any better? This month I’ve taken 

a closer look at the commercial 

prospects of some of the key 

contenders. 

SPOTLIGHT 

Many influential 

Oscar pundits are 

calling this real-life 

story about Boston Globe journalists exposing 

cover-ups in the Catholic Church (starring 

Michael Keaton, above) a lock for a Best Picture 

nomination, which would mark a new accomplishment 

for distributor Open Road. Unfortunately, 

films about journalism have a spotty 

track record in terms of ticket sales. Such genre 

classics as The Insider and Zodiac received 

plenty of critical recognition but failed to catch 

on in a significant way at the box office. 

STEVE JOBS 

There’s no shortage 

of praise for Danny 

Boyle’s film about 

the tech icon. The 

marketing campaign 

is already very strong, 

and it’s sure to intensify 

as we get closer 

to release. There’s no 

reason this one can’t 

exceed the success of 

The Social Network. 

THE DANISH GIRL 

Oscar pundits are divided 

on the potential of this one, 

but most agree that Eddie 

Redmayne (right) should 

have no problem snagging a 

Best Actor nod. The subject 

matter—a transgender 

pioneer’s journey in the early 

1900s—will tap into the cultural 

discussion about transgender 

rights that’s currently 

going strong. LGBT moviegoers 

and their allies will show up in 

support. 

BLACK MASS 

Isn’t it great to watch Johnny Depp (left) ditch his cartoony shtick and deliver a tough-asnails 

performance? It’ll be very surprising if he doesn’t end up on the Best Actor list, but the 

film itself looks like it will probably be overshadowed. The commercial prospects are high for 

this one, and U.K. grosses augur well for a strong North American tally. 


PLENTY OF 

UNSEEN FILMS 

REMAIN … 

Much like a running back who 

really pops in Week 5, the season 

will likely be shaped in a big way by 

some films that still haven’t screened. 

The two biggest wild cards are Joy 

and The Revenant. Both films carry 

strong Oscar pedigrees, and they 

could easily dominate key 

categories if the execution 

is there. n 

THE MARTIAN 

This crowd-pleaser should do very well in tech 

categories, and it also has a good shot at ending 

up in competition for Best Picture. Director Ridley 

Scott and a diverse cast led by Matt Damon 

(above) have crafted one of the most emotionally 

rewarding sci-fi films ever released. The Martian 

should easily breeze past $500 million globally. 


FILMMAKER INTERVIEW 

ACCIDENTAL 

THRILLER 

99 Homes director Ramin 

Bahrani talks about guns, 

working with nonactors, and 

finding the moral ambiguity in 

his characters 

Interview by Phil Contrino 

With 99 Homes, writer-director Ramin Bahrani doesn’t shy 

away from the harsh—and, more often than not, illegal— 

nature of home foreclosures that started taking place after 

the U.S. housing bubble burst in 2008. The story follows 

one particularly greedy real estate broker (an Oscarworthy 

Michael Shannon), who recruits a down-on-his luck 

guy (Andrew Garfield) to come work with him after he 

forecloses on his home. Bahrani discuss his powerful new 

film with BoxOffice. 

n While you were researching the movie, 

were there any stories or families you 

couldn’t stop thinking about? 

Definitely. In the research there were two people 

who were critical to me. One was Lynn Szymoniak; 

she’s a fraud attorney. The banks made a mistake 

foreclosing on her, and she uncovered massive fraud 

and led a lawsuit against most of the big banks on 

behalf of the government to the tune of $100 million 

and won it. 

I also spent a lot of time with actual real estate 

brokers—I zeroed in on one—and you know they all 

carried guns with them, which was startling to me. 

That’s when I realized I was making a thriller and not 

just a social film. 

All the scams in the film are real, and a lot of the 

evictions in the film are based on real people, and 

many of the people getting evicted in the film are 

played by real people. So when Andrew [Garfield] 

is knocking on doors he’s seeing real people and he 

actually had no idea. 

When you worked with real people who 

actually experienced foreclosures, did you 

instruct them to use the script only as a 

starting point so they could bring their own 

reality to it? 

I met a lot of people during prep for the movie, 

and I was taking notes. The people who seemed 

interesting and could add diversity to the sequence, 


I would get to know them and then I would sketch 

out an idea with enough info that they could fill in 

the blanks. 

This isn’t the first time you’ve worked with 

nonprofessional actors. What advice would 

you give to other directors who would like to 

try it but may feel intimidated? 

My first three films were with nonprofessional 

actors, and the last two I’ve had more famous actors. 

Casting is everything, but that’s the same with pros. 

You have to find people with great faces. It’s about 

utilizing the great things they have and expanding 

on those. 

Michael Shannon and Andrew Garfield are 

excellent in this. When you have two strong 

actors working at the top of their game, does 

it create a friendly competition that makes 

them both even better? 

Yes, it was amazing to watch. You have this Faustian 

story—you know, a deal with the devil—kind 

of like Training Day or Wall Street, and we worked 

with a different kind of acting style that was a little 

more loose and improvisational. All I could do was 

allow them space, and it produced great sparks. In a 

way, they were one-upping each other to get an even 

better performance, but at the same time they had a 

great respect for one another. It just worked perfectly. 

Did you ever have to tone down one of them 

and say, “I know this is an intense moment 

for you, but it should be more intense for the 

other guy”? 

Sure, you are always fine-tuning things as you go 

along, but they all have respect for each other. I always 

let them do three to four takes and do what they want, 

and only then do I come in with some notes. 

One of the strongest scenes in the film is 

the one in which we get insight into Michael 

Shannon’s character—why he is doing what 

he’s doing. Up until that point he’s seen only 

as a villain. How important to you was that 

scene? Did you allow Michael to improvise? 

I knew I wanted that speech there and I knew 

its dramatic purpose. Michael’s character is a strong 

antagonist in the film, and he’s sort of the villain, 

but not really. For me the main antagonist is the 

system that created Michael. He’s a man who knows 

his father was destroyed by the system, and he’s not 

going to let that happen to him. When we shot the 

scene it was basically as scripted, but he improvised a 

few lines and worked in the research he’d done in an 

amazing way. That’s why I consider him one of the 

five best actors in the world today. n 


FILMMAKER INTERVIEW 

PETER BEFORE 

PAN 

Pan screenwriter Jason Fuchs 

talks Neverland mythology 

Interview by Daniel Loria 


n Why did you decide to tackle the Peter Pan 

story? 

This has been my passion project for 20 years. I 

grew up with the original Disney animated film and 

loved reading the book with the original mythology. 

The genesis of this project for me was when I was nine 

years old and went on the Peter Pan ride in Disneyworld. 

We got stuck on the part of the ride where you 

fly over miniature London; we were literally suspended 

up there for around 30 minutes. I remember asking 

my dad so many questions about Peter Pan: why he 

never grew up, how he got to Neverland, how come he 

and Captain Hook didn’t get along so well. That was 

my first fascination with that part of the mythology, 

and it really stayed with me throughout the years. It 

really wasn’t until 2012, when I was trying to figure 

out what to write next, that I felt the time was right to 

explore this Peter Pan prequel idea. 

Was it an easy idea to pitch? 

No one had any interest. At the time everyone had 

their own Peter Pan project already in development, 

with the exception of Warner Bros.—whom I didn’t 

originally approach because I had no relationship with 

them. I was completely crestfallen; this was my pet 

project and no one had any interest. This project was 

always on the tip of my tongue. You could have woken 

me up in the middle of the night and I could have 

given you my 15-minute pitch and stuck the landing. 

I kept hoping it would somehow become a possibility. 

In the summer of 2013 I finally met with an executive 

at Warner Bros., Sarah Schechter, who asked me, “If 

you could write any movie, what would it 

be?” and I gave her that same pitch I 

had practiced so much by shopping 

it door to door. They were 

interested and she sent me to 

[producer] Greg Berlanti, 

and I told him what I 

wanted to do, and just like 

that they were on board. 

I wrote it in 2013 and 

had to turn in a great 

draft pretty fast because 

we were aware there was 

competition from the 

other studios. Next thing 

I know Joe Wright signs on 

to direct and Hugh Jackman 

joins the cast soon after that. It 

was sort of surreal when I realized this 

was actually going to happen, and happen 

in a far cooler way than I could have imagined. The 

thing that I don’t think people realize about this is that 

this is genuinely a writer-driven passion project; it’s 

the story I wanted to tell more than anything in the 

ROONEY MARA AS TIGER LILY 


FILMMAKER INTERVIEW > JASON FUCHS 

MOVIE MOMENT 

I love going to the movies. I don’t care 

how good home entertainment systems 

get, there’s nothing like sitting in a dark room 

full of strangers and experiencing the same 

movie with them. For me it’s the only and 

greatest high. Star Wars, Indiana Jones, Back 

to the Future—I love those movies but those 

were all movies I saw at home; I was too young 

to see them in theaters. For me, that defining 

moment at the movies came with Jurassic 

Park. I distinctly remember being very scared 

going into it; I knew it was going to be very 

loud and I was very sensitive to noises at that 

age for some reason, but I knew I wanted to 

see it and that I was going to be brave enough 

to see it. I went to the Loews Orpheum on 86th 

and Third in New York City, and the moment 

when you first see the brontosaurus—you hear 

the rustling of the branches of the leaves first, 

and they look up from the jeep to see it—and I 

thought wow, this is the most extraordinary 

moment in my entire life! 

S T A N D 

universe. This is not a studio-mandated thing. Whether 

or not anyone wanted to make it, this is the story I 

wanted to tell. So the fact that this film is being made 

at the scale it’s being made is mind-blowing for me. 

Peter Pan has already been 

covered in a variety of 

ways by different 

filmmakers; how did 

you approach your 

own version? 

For me the key factor 

in differentiating 

it is that no one had 

told the origin story. 

It wasn’t so much 

deciding on a new 

tone, since the tone 

was dictated by the new 

story we were drafting. 

Once you’re dealing with 

a young Peter who can’t fly 

and isn’t walking around in 

green tights, he’s just an orphan 

in 1940s London trying to figure out 

why his mom left him there and where she is. We have 

Captain Hook, when he still has two hands, as a roving 

Han Solo type who has a glimmer in his eyes of not 

being so good but is by no means a villain at this point. 

The tone follows that, and it follows the DNA of the 

original book as closely as possible. As a fan of Peter Pan 

and a J.M. Barrie loyalist, you want to build something 

that is both original but also very much of the world 

that Barrie created and that doesn’t feel like a diversion 

for the sake of diversion. The tone for me actually feels 

Always 

popcorn. For me it’s 

not an experience unless 

you get popcorn. Sometimes, 

I will admit, I get this little 

deep-dish pizza they offer 

C O N C E S S I O N S 

at the movie theater 

near my place. 

as close to the Barrie book as any other iteration of Peter 

Pan that I’ve ever seen. If you read that book, or the 

original play, you feel this great sense of adventure but 

also a sense of mystery and darkness. I think that Joe 

Wright really captured that in our film. 

What was your approach to the characters? 

We wanted to go back and have a very true-tothe-text 

approach to the characters, we wanted it to 

feel relevant to 2015, and we also wanted to get inside 

their heads in a way that maybe no other version 

has been able to do. A prequel gives you the opportunity 

to explore all those facets. In other versions, you 

never have the opportunity to experience the magic 

of Neverland through the eyes of Peter—you always 

see it through the eyes of someone else, whether it’s 

Wendy or a grown-up Peter Pan. We were able to 

tell that story: what was it like when Peter first saw 

Neverland. All those things very organically led us 

in a direction that felt a lot more current, a lot more 

modern. 

Did you draw from any inspirations for the 

screenplay? 

I grew up obsessed with Star Wars, Indiana Jones, 

and Back to the Future. Spielberg, Lucas, and Zemeckis 

are my creative touchstones. As I was trying to 

write something very close to the book, it was filtered 

through the lens of these filmmakers who first led me 

to a love of movies in general. This is big family filmmaking 

of really focused universal stories set in extraordinary 

worlds. I think what appeals to me and so many 

others about that brand of filmmaking is that you 

always have a very universal, grounded, and relatable 

story that’s set in a big, epic, extraordinary canvas. n 


GUEST COLUMNIST 

THE PRE-SHOW 

Revolution or Evolution? 

Part 2 of 2 

by Mark de Quervain 

Managing Director, Action Marketing Works Ltd. 

The pre-show paradigm has remained constant for as long as most 

of us can remember. This two-part article takes a look at the pre-show 

and its possibilities, given new technologies and solutions now available 

on the market. It also asks whether the current format achieves 

all it can for your business. 

In the first half of this series, we examined what we want to get 

from running the pre-show in the first place, and then looked at 

what, if anything, can be improved to achieve the goals we set out 

for it. In this month’s installment, I outline ways to drive change and 

improvements in today’s pre-show experience, including changes in 

format and content. We’ll also see how certain European companies 

have already begun implementing exciting new technologies that 

enhance the pre-show and affect how audiences interact and engage. 

THE NEXT GENERATION PRE-SHOW 

IF IT AIN’T BROKE, DON’T FIX IT! 

The pre-show as it stands is not broken, but it is certainly under 

pressure to change and improve even if only from within our industry. 

Demand from cinema-goers will probably follow once they start 

to see and experience the possibilities and benefits. 

We can’t appear to simply make it longer using the current format, 

because our customers will complain; so now is the time to take 

a hard look at what can be done. 

Cinema companies such as Vue and Odeon in Europe and Cineplex 

in Canada are among those who are already taking a serious look 

at the next generation of the pre-show and are planning to test or are 

already trying new ideas and formats. Advertising companies such as 

DCM and NCM are also very active. 

OBJECTIVES FOR CHANGE 

Possible factors that drive a decision to change the pre-show: 

Increased revenue from advertising and other content, nationally, 

regionally and locally 

Helping maintain and differentiate cinema as a premium 

advertising channel for media buyers 

Better targeting of content to audience profiles 

Better compliance and reporting 

Increased customer engagement 

Higher attendance for the pre-show 

Data capture of customers 

Measuring intent, interest 

Booking tickets to next film on seeing a trailer 

Improved knowledge of what the cinema offers (experiences 

such as Dolby ATMOS, 4K projection, IMAX, PLF, promotions, 

etc.) 

Improving the value proposition of cinema to customers 

Making a trip to the cinema more fun and distinctive 

DRIVING CHANGE 

Driving change can happen in several key ways: 

1. Changing the format 

2. Changing the content 

3. Changing the way audiences interact and engage 

in 1 or 2, above 

1. Changing the format 

Fig. 1 below is a typical format for a pre-show that we can use as a 

benchmark to reviewing any changes. 

We can change the format by simply taking what one already has 

in the pre-show and shuffling it around. 

TYPICAL EXISTING FORMAT PRE-SHOW 15–25 MIN. 

ADVERTISEMENT 

BLOCK 

TRAILER 

BLOCK 

PRIME SPOT 

GOLD SPOT 

HOUSE TRAILERS 

(Brand, Service, 

Offers, 3D, Atmos, 

Projection, etc.) 

MAIN FEATURE 

FILM 

FIG. 1 


OREO is a registered trademark of Mondeléz International group, used under license.

GUEST COLUMNIST > PRE-SHOW 

Flipping the advert slot with trailers (fig. 2): This 

in theory would increase the value of the advertising 

revenue obtainable and possibly drive earlier admissions 

to the pre-show because of the pulling power of 

the trailers. A simple, quick, and possible easy winwin. 

The possible down side is that customers will miss 

the trailers, complain about the ads, and not bother 

with the pre-show at all. 

if it requires more effort to achieve and possibly more 

upfront expense initially. The idea is that the pre-show 

is a show in its own right, one that contains interesting 

and informative content, news, etc., while being able 

to continue to include advertising and trailers. 

By changing format, it is conceivable at least that 

new revenue streams and models can be generated that 

offer increased income potential either from brands, 

FLIPPING ADS AND TRAILERS - PRE-SHOW 15–25 MIN. 

TRAILER 

BLOCK 

ADVERTISEMENT 

BLOCK 

PRIME SPOT 

GOLD SPOT 





MAIN FEATURE 

FILM 

FIG. 2 

Carving up adverts and trailers slots into 

smaller, shorter segments (fig 3): This results in a 

more dispersed mash-up of adverts and trailers. This 

might be more risky that the first alternative as it could 

result in a sort of non-pre-show with no proper flow or 

structure in the eyes of customers. It’s not as clear either 

if advertisers would prefer this versus just placing 

adverts nearer to the main feature. 

2. Changing the content 

From various conversations with exhibitors and 

from work I have done in the past, I know that the 

idea of changing content is certainly appealing, even 

partnerships, sponsors, film companies, etc. 

The challenge is deciding what the new “show” 

looks like and what it contains. It needs to be produced, 

scripted, filmed, and distributed. It also needs 

to be kept fresh with new content at least every four to 

six weeks and be presented possibly by a well-known 

figurehead. The mix of content can change depending 

how long the new “show” is planned to run (fig. 4). 

3. Exciting new technologies and content suppliers 

that enhance the pre-show, changing the 

way audiences interact and engage 

At the forefront of driving change of the pre-show 

REFORMED PRE-SHOW 15–25 MIN. 

MIX UP ADVERTS & TRAILERS (SMALLER BLOCKS) 

ADVERTS TRAILERS 

ADVERTS TRAILERS 

PRIME SPOT 

GOLD SPOT 





MAIN FEATURE 

FILM 

FIG. 3 



REFORMED PRE-SHOW 15–25 MIN. 

ADS, TRAILERS, AND SPECIAL FEATURES 

ADVERTS 

NEW SPECIAL 

FEATURE 

(AD FUNDED) 

TRAILERS 

PRIME SPOT 

GOLD SPOT 





MAIN FEATURE FILM 

FIG. 4 

there are three companies with whom I moderated 

a panel at this year’s CineEurope in Barcelona, 

TimePlay, AE, and Cinime. All share a vision about 

improving and changing the pre-show even if their 

solutions may vary. 

Another company worth mentioning is HTS, 

which should also be included in this group with their 

new product called CineCardz, which we will touch 

on later. 

These companies not only provide new innovative 

ways that drive audience participation and engagement 

but also supply content that is specially created and 

optimized with this in mind while also delivering the 

sales piece cinemas require from both advertising and 

movies. 

In effect, they enable cinemas to change the preshow 

in more dynamic ways while also facilitating 

specific requirements from the exhibitor whether 

enhancing their own bespoke content or providing a 

more diverse range of choices than 

would otherwise be the case. 

Let’s take a look at each of these 

companies in turn: 

TIMEPLAY 

Jon Hussman, CEO of TimePlay, 

has been involved with the cinema 

industry for many years, pioneering 

audience interactivity and engagement 

of content on the big screen. 

As technologies including 

smartphones have evolved, so has 

TimePlay’s ability to invest in, 

develop, and deliver something really 

different for cinema audiences in the 

pre-show and potentially at other 

times as well. In fact TimePlay was 

the first company to offer two-way 

multiplayer gaming systems in multiperson 

venues including cinema. 

They have patented technology that 

turns a mobile device such as a smartphone into a 

fully interactive gaming and communications device 

that can be used at venues with screens to create a 

completely new entertainment experience. 

There is no doubt that this new technology has 

the potential to go beyond opening up the pre-show, 

as it can be applied to whole new complete show 

experiences including gaming, which has been a 

significant challenge for the cinema industry given 

restrictions of numbers of players able to play at any 

one time via standard consuls such as PlayStation and 

X-Box. 

To emphasize how long gaming has been tried and 

tested by cinemas, CinemaxX in Germany was trailing 

pay-and-play gaming screens equipped with PCs in 

2007. 

Jon Hussman said: “There’s a smartphone in the 

pocket of just about everyone sitting in the cinema. 

TimePlay is an app that turns these smartphones into 

game controllers, allowing any number 

of moviegoers to interact with 

what’s happening on the cinema 

screen in real time. TimePlay is the 

only pre-show solution that enables 

patrons to use their phones to influence 

content on the big screen.” 

During the portion of the preshow 

allotted for TimePlay, everything 

is interactive: ads, trailers, even 

sponsored entertainment. 

Instead of passively watching a 

car commercial, audience members 

use their phones as steering wheels to 

race cars on the big screen. Instead 

of watching a conventional sports 

ad, the audience can take shots at 

the net themselves, launching soccer 

balls from their phone that sail past 

the goalie on the big screen. 

They compete to see their names 

in front of the whole audience in the 



list of winners, and to receive prizes, coupons, and other 

offers—all delivered right to their smartphones—based 

on performance and participation. Those prizes can also 

be tied to the theater’s own loyalty rewards program. 

TimePlay brings value to all stakeholders—audiences, 

cinema exhibitors, and screen advertisers. Audiences 

are entertained and engaged by the TimePlay-powered 

pre-show. They arrive early and return more frequently. 

The result is improved concessions sales and increased 

CPM’s. TimePlay’s interactive ad campaigns are more 

effective and have higher engagement and activation 

compared to traditional linear ones. 

This isn’t just theory: TimePlay has already become 

an integral part of the cinema experience in Canada, 

where it was adopted by Cineplex in 2012 and is now 

running on hundreds of screens across the country. 

Every day Twitter is flooded with comments like: 

“I only go to the movies for TimePlay”; “We came 30 

mins. early just for TimePlay”; and “#TimePlay just 

made going to the movies that much more fun.” 

With its patent-protected system, TimePlay has 

harnessed the incredible potential of interactive technology 

in order to reinvent the pre-show, connecting 

audiences to each other and the cinema screen. 

TimePlay held an impressive launch of their new 

offering at CinemaCon this year in Vegas at 

a special event involving several hundred 

delegates. 

AE (AUDIENCE 

ENTERTAINMENT LLC) 

As Adam Cassells, CMO 

for AE, told me for this article, 

“We have been developing 

pre-show solutions in cinema 

and live events since 2007, and 

now we’ve reached a point where 

there’s technology in every facet of 

our lives. 

“Technology is just now part of 

our lives, and the stories that we tell need 

to adapt to the mediums we are creating. No longer 

is it sufficient to simply be told a story. We want to 

be part of one. We’ve seen that revolution happen in 

every industry so far. In the cinema and big-screen 

environment, we’ve never been able to enable a direct 

connection, a real-time live connection with our 

audiences. We’re saying to them, don’t just consume, 

participate! Be part of this story. 

“The big-screen format is a unique one. It’s one 

where we congregate to experience the story that is 

happening and unfolding in front of us. How do you 

direct that in a group format? How do you control 

that in a way that’s meaningful, that creates a deeper, 

emotional connection? Well, you do that through 

motion, you do that through sound, you do it through 

your smartphone; you do that through the tools you 

come equipped with when you enter the environment 

so you can start to see that narrative in a way you’re 

most excited by. 

“As directors, as storytellers, as creators, we often 

consider the narrative in one direction. And we have 

presented that direction incredibly well through multiple 

formats to date. But now, through interactivity as a 

format, we’re creating a new brush for the canvas that 

lets you create and offer a more playful and reactive 

experience. And that’s why I get up in the morning, 

because what we’re able to do is blend technology and 

storytelling in a way that doesn’t isolate the audience, 

but what brings them together, that brings them deeper 

into the story to have a more meaningful connection 

with what’s happening on the screen. And that’s a 

wonderful thing to be able to bring to life. 

“All content takes time to fully take advantage of 

a new format, and so we have started with branded 

content, helping advertisers reach new success in the 

cinema environment; we have begun working with the 

studios to merge trailers and gaming, and who knows 

what will be next. 

“We see ways to enhance the entire show, from 

the lobby to the exit; as you’re buying your ticket you 

might be part of a digital campaign that immerses you, 

such as bar codes. When you enter the auditorium, 

that’s when the magic really happens and always has.” 

AE has recently announced using Wi-Fi–based 

technology to complement its preexisting sound and 

motion platform all using its iD system (interactive 

dimension) and will require no app or download to 

sign in. This new platform was debuted at CinemaCon 

in Las Vegas in partnership with Barco and is due to be 

integrated into its Escape multiscreen offering, which 

was recently rolled out in a number of territories with 

the release of The Maze Runner. 

AE pre-show systems are in 20 markets in the U.S. 

with announcements about international to be made 

in the near future. 

Recently we have seen reported TimePlay filing a 

suit against Audience Entertainment LLC, alleging 

that it has infringed a TimePlay United States registered 

patent relating to two-way multiplayer gaming 

systems deployed in multiperson venues. 



CINIME 

Cinime started life as an initiative from DCM 

(Digital Cinema Media) around five years ago and is 

now a separate company with offices in London, L.A., 

Singapore, and Beijing. 

As with TimePlay and AE, Cinime uses smartphones 

via a specific app that enables cinema-goers to 

connect with what is playing on the big screen as well 

as content being played on the small screens in foyers. 

According to 

Joe Evea (COO 

Cinime), “We 

have built our 

technology specifically 

to enable 

mass participation. 

There is no 

infrastructure 

required, and 

anyone can participate 

once they 

have downloaded 

the application. 

Our belief is that there is a global opportunity for 

cinema to become a more ‘connected’ medium. A 

universal cinema application that makes going to the 

cinema more rewarding (via entertainment and utility) 

will help sustain the industry and ensure it remains 

relevant with the tech-savvy teen and young-adult 

audience. 

“In terms of rollout and evidence of how effective it 

has been, Cinime has run over 70 campaigns globally. 

The average engagement rate (i.e., Cinime users taking 

part in an experience on screen and then finding out 

more once they leave the cinema) is 45 percent. With 

85 percent of Cinime users saying they enjoy the onscreen 

interactive experience and a majority number 

having played more than three times in the past six 

months, we know that Cinime can add double-digit 

percentage growth to the bottom line of the annual 

advertising revenue for participating sales houses. This 

comes both from Cinime-enabled campaigns being 

charged at a premium and the halo effect of Cinime 

opening new conversations with brands.” 

Revenue generated via Cinime either with advertisers 

or direct from the consumer is shared with the exhibitor 

and/or the cinema sales house. All revenue has to 

be incremental before Cinime can take any share of it. 

CINECARDZ (HTS) 

CineCardz is a new product recently launched at 

CinemaCon in Las Vegas and also at CineEurope in 

Barcelona this year. Pioneered by Highland Technology 

Solutions in France, CineCardz provides the public 

with the unique opportunity to preorder and purchase 

a greeting card on the big screen for a family member, 

friend, colleague, or partner. Quite simply it is the 

world’s largest bespoke greeting card. 

It is mentioned in this article because the personalized 

greetings message that is booked and paid for 

to play at a specific cinema, day, time, and show will 

play during the pre-show and last up to 60 seconds. 

The company has stated that the nearer CineCardz 

are played to the main feature the better—due to the 

higher occupancy discussed in last month’s piece. 

This is a very different service than those provided 

by AE, Cinime, and TimePlay. There is not direct 

interactivity via a mobile app or Wi-Fi with the big 

screen. Sending a very special and personal message 

to someone in 

the audience, 

however, should 

create high 

engagement 

not only from 

the person(s) 

receiving it but 

also from the rest 

of the audience, 

whether it is for a 

birthday, Valentine’s 

Day, good 

luck message, 

etc., people will respond positively to it. 

The technology to enable a cinema to provide this 

offer is provided free of charge by HTS in conjunction 

with Arts Alliance Media. Revenue is split 50-50 with 

the cinema owner. All customer data is shared as the 

purchase of the CineCardz is done in conjunction 

with the exhibitor via links on their website. 

The concept is simple to understand from a public 

point of view, and according to research run by the 

company it is going to be very appealing to cinema 

audiences across many countries. 

CineCardz are purchased via a specially built 

website/app where buyers choose a fun animation and 

add their message and upload a picture. The content 

is approved by online filters and the cinema managers. 

Pricing for CineCardz will vary by market but are set 

to be highly affordable for the public according to 

recent testing. 

It is planned for one CineCardz to be played per 

show, per screen. So over a period of a year the number 

of CineCardz available to purchase and drive additional 

revenue ratchets up to a potentially significant figure 

for exhibitors. 



Adding a CineCardz, could, if the exhibitor wishes, extend the 

existing pre-show period. Otherwise, something would have to be 

removed to allow for it to run. Either way the additional incremental 

time required is probably not significant given its appeal and engagement 

potential. 

Aside from the income from selling the CineCardz, it is felt by the 

company that this new service will build a new relationship between 

the public and cinema, a more personalized experience that strengthens 

the appeal of going to the cinema, driving attendance, bigger group 

sizes, and stronger loyalty through an improved value proposition. 

Greater social media engagement and sharing is also envisioned with 

CineCardz. 

HTS is looking at extending the concept to include merchandise, 

and other memorabilia could be made available to purchase, which will 

in turn grow revenues beyond the initial booking. 

Since announcing, HTS, who is also working with Arts Alliance 

Media on this project, has reported major interest from exhibitors in 

the U.S. and Europe among other markets and expect customer-facing 

trials to begin later this year with various partners. 

CONCLUSIONS 

The availability of exciting new technologies, innovation, and content 

from the established companies mentioned in this article enables 

cinemas for the first time to easily make radical and potentially effective 

changes to their pre-shows and possibly to extend this into other 

content such as music, gaming, and sporting events where interactivity 

can really enhance the experience. 

Cinemas are also able now to maximize the benefit of investment 

made in digital projection and its infrastructure. 

Moving forward, cinemas will need to consider adding Wi-Fi in 

auditoriums, which will allow for connectivity to mobile devices for 

interaction with content shown on the big screens. This also applies 

to foyers where cinema-goers can engage with content shown on TV 

screens, whether film, retail, fun content, or promotions. 

Mobile device usage is a given and particularly so among teens 

and youth. Embracing how they are used in cinema, which has been 

traditionally an “always-off” environment in this respect, will almost 

certainly add to the appeal of a trip to the cinema for this key segment. 

Data obtained from audience engagement can also be a critical 

element as cinemas and their partners will be better placed to communicate 

in more relevant and personalized ways, all aimed at driving 

incremental revenues, loyalty, and frequency of attendance. 

Strengthening the appeal of the pre-show should drive incremental 

revenue from brands and other partners as well, as it will emphasize the 

premium nature and effectiveness of cinema as a media channel. 

There are now more choices on offer as to how cinemas can 

approach evolving their pre-shows. A lot of testing of formats and 

content will be needed before optimized solutions for exhibitors will be 

found, but that is surely a good thing. 

I would not be surprised to see many new ideas evolve over the 

next year or so as the offerings are refined and tested. This is certainly 

a space where change is happening in new and exciting ways, all of 

which will help keep cinemas up-to-date and more relevant with their 

audiences alongside other new technologies being rolled out, including 

laser projection, sound systems, and HFR among others. 

An exciting space to be involved in, to be sure. n 


CLOSER TO THE STARS

VENDOR PROFILE 

From Honduras to Miami and encompassing three generations in the exhibition 

business, the Younger family looks forward to a bright future for 

Cinema Equipment & Supplies 

by Daniel Loria 

Guillermo Younger Sr. greets me with a warm laugh 

when I call him at his office. It’s well after 6:00 p.m. on 

a Monday and, despite a long day at work, he seems 

cheerful—like he’s actually looking forward to speaking 

to a reporter for a half hour in between a full day at the 

office and the Miami rush-hour traffic. The interview 

begins with the regular pleasantries: How are things? 

How’s the weather? And so on. But before we can 

dive in to the questions, he catches me off guard: he 

doesn’t seem to be in any kind of rush. “How did you 

get involved in this business, Daniel?” Before I know it, 

I’m five minutes into telling him my life story. 

I should’ve seen it coming. When Kelly Samardak, 

marketing manager at Cinema Equipment & Supplies 

(CE+S), the company Guillermo Younger Sr. founded 

in 1982, got in touch with me to schedule the 

interview, she suggested a time block of 45 minutes 

for what I estimated would be a 15-minute call. As 

anyone who has had the pleasure of meeting him can 

attest, a business conversation with Guillermo Younger 

Sr. more closely resembles catching up with an old 

friend. The talk often digresses to anecdotes; Senior, 

as he’s affectionately called, often refers to people in 

the exhibition industry by their first names, abruptly 

pausing mid-sentence to mention their last names 

and adding, “You know him, right? Of course you do! 

Everyone knows him!” before continuing the story. 


“He’s like the godfather of the business; everyone 

seems to know him wherever we go,” confesses his 

son, Guillermo Younger Jr., or Junior, as he’s known 

around the office. Fifteen minutes into our conversation, 

I come around to delivering my first question— 

asking Senior to take me back to the beginning of the 

family business, when the Younger name first became 

associated with exhibition. “Oh my God.” He exhales. 

“This goes way back …” 

Senior’s father, Geza Younger (or Papa Younger), 

was a Hungarian immigrant with a small dentistry 

practice in Honduras. Geza ran a side business as a 

gold merchant, periodically traveling up to the United 

States. In one of his trips, as the story goes, Geza 

met another Hungarian fellow who manufactured 

Holmes projectors in Chicago. The meeting ended 

with Geza returning to Honduras with a couple of 

vintage projectors, setting up a bedsheet in a big yard, 

and screening whatever films he could get his hands 

on. Shortly thereafter, Geza abandoned his career in 

dentistry and became a full-fledged exhibitor; a couple 

of locations in smaller towns eventually led to bigger 

theaters in the capital city of Tegucigalpa, including 

the country’s first tri-screen cinema. 

Geza moved to Miami with his wife and six 

children while still managing his exhibition circuit 

in Honduras. “I was small at that time, and my dad’s 

vision was always to have us educated in the U.S.,” 

recalls Senior. “He started selling parts and equipment 

back then while operating these theaters in Honduras.” 

By the time Senior was starting high school, 

however, his father realized he needed help running 

the family business. “I was the oldest in the family, so 

he said he didn’t want me to lose my Spanish and had 

me go down to Honduras for high school, and he put 

me to work at the theaters. It was no free ride. I did it 

all, from selling tickets to running the projector, you 

name it. Sooner or later I became the general manager 

and ran the theaters in Tegucigalpa.” 

The toppling of Nicaraguan president Anastasio 

Somoza brought a period of instability to Central 

America, and by 1982 Senior had moved back to 

Miami with his own wife and children. For a brief 

moment, it looked like the Youngers’ days in the 

exhibition business had come to an end. “I graduated 

from the University of Miami as an electrical engineer, 

and my first instinct was to go to Florida Power and 

Light and ask them for a job,” says Senior. “To this 

day I’m very thankful they didn’t hire me.” Instead, 

he continued the family tradition in Miami, repairing 


projectors from his garage on weekdays and working 

as a projectionist on nights and weekends. 

“Someone asked me the other day what my first 

childhood memory was, one that I could pinpoint 

an actual date to,” recounts Guillermo Younger Jr. 

“It struck me because I remember explicitly watching 

Return of the Jedi at the movies, and that was 1983—I 

was only three years old. That’s one of my first vivid 

memories, being scared seeing the 

Death Star up on the big screen. 

My father couldn’t afford a babysitter 

and was taking me and my 

brother to the cinemas where the 

owners were cool with us running 

from auditorium to auditorium 

watching movies.” 

Business soon picked up for 

the Youngers as Guillermo’s 

wife, Carolina, took charge of 

the company’s finances and 

kept the business afloat. “It 

was real hard at the beginning, 

but it paid off in the end,” 

says Senior. “I did a lot of 

work for Wometco, which 

used to be a big chain down 

here in Miami. I managed to 

do repair work for them and sell them 

some equipment. I started befriending all the vendors 

in the industry, all the manufacturers, and I started 

to travel throughout Latin America.” It became the 

foundation for a strong used-equipment business, 

which Senior highlights as the first great period for 

his company, Cinema Equipment & Supplies. “Regal 

used to sell me a lot of used equipment, I mean a lot 

of used equipment; we’re talking trailer loads of used 

equipment. I had some good engineers and we’d fix 

everything up. I got a lot of Latin American exhibitors 

started with our used equipment.” 

As the business grew, so did the newest generation 

of Younger children. Carolina would often 

bring the kids, Alex and Guillermo Jr., into the office, 

and the two of them spent summers doing basic 

maintenance at the company. “I remember being 

put to work cleaning lenses; it was a task my father 

would always put me in charge of. It gave me a real 

roll-up-the-sleeves attitude to working,” says Junior. 

The two brothers have played a major role in helping 

Cinema Equipment & Supplies become the company 

it is today. The digital cinema boom represented 

an opportunity for many equipment dealers like 

CE+S, but the Younger brothers had the foresight to 

recognize a bigger opportunity within their grasp. 

In 2009, Alex Younger led the company in creating 

Cinevise, a remote monitoring solution that was the 

first of its kind in Latin America. A short time later, 

Guillermo Younger Jr. left a job at Unilever in New 

York City to devote himself to the family company 

full time. “I remember sitting at the dinner table 

with the family, talking about the new opportunities 

digital cinema would bring and all of the growth 

markets,” says Junior. “I came back into the business 

thinking, how can I help take what we’ve done into 

the next level? How can we achieve the full value of 

digitalization?” 

Guillermo Younger Jr. had always planned on 

returning to the family business. His application 

essays for the University of Michigan’s Ross School 


of Business detailed his plans to apply the skills of the MBA 

program to the exhibition business. Junior’s return to Cinema 

Equipment & Supplies heralded the development and deployment 

of Cielo, a cloud-based proactive monitoring and support 

solution for exhibitors. Cielo has quickly gained traction in 

the market and is poised to become the next big phase in the 

Youngers’ involvement in the exhibition business. Guillermo 

Younger Senior’s long ties to Latin American exhibitors have 

opened the door to expanding the business; CE+S has a satellite 

office in Brazil and maintains close ties with many of the region’s 

top exhibitors. “A lot of it comes from my father making those 

personal connections throughout the years. It’s a relationship 

business everywhere, but those nuances are magnified when 

dealing with Latin America. You need to be very personable,” 

explains Junior. “Fortunately, with Cielo we’ve been able to use 

a lot of those relationships to build out the product.” Cine Colombia 

was recently announced as the latest circuit to sign on to 

the Cielo platform and will be deploying the technology across 

the 280 screens in its 42 locations. Meanwhile, Cielo has also 

found great scale in North America through numerous partnerships 

with U.S. exhibitors. Earlier this summer, Marcus Theatres 

began a rollout of Cielo across 681 of its screens, and in early 

September they signed a deal with Goodrich Quality Theaters’ 

entire circuit. 

CE+S has grown from its roots as a family business. The 

company has expanded to include a leadership team that drives 

the company forward and manages and staffs an additional office 

in Brazil to better serve their Latin American clients. 

“It’s very satisfying for any parent to have their kids continue 

what you have sweated for. I’m very proud to say that my sons 

can continue this business for the next 40 years,” says Senior. 

“I’m not saying it would be impossible for me to come up with 

the innovations they’ve contributed, but it would definitely be a 

lot harder!” n 


Congratulations 

Mark Walukevich 

of National Amusements 

International Exhibitor of the Year 

From your friends and partners at Ballantyne Strong, 

Strong MDI and Strong Technical Services

HOLLYWOOD, FLORIDA / OCT. 12–15, 2015 

INTERVIEWS 

Charley Moss 

Bow Tie Cinemas 

Mark Christiansen 

Paramount Pictures 

Mark Walukevich 

National Amusements 

50 

52 

54 

PLUS 

New Products 

56

BOXOFFICE SALUTES THE SHOWEAST HONOREES 

INTERNATIONAL DISTRIBUTOR OF THE YEAR 

Pedro Rodriguez 

Chief Executive Officer, International Distribution Company 

Bingham Ray Spirit Award 

Ted Mundorff 

President and CEO, Landmark Theatres 

Show “E” Award 

Marcus Theatres 

ShowEast Hall of Fame 

Ellen Cotter 

Richie Fay 

Kurt Hall 

Ken Higgins 

Hank Lightstone 

Jack Loeks (Posthumously) 

Jimmy Spitz 

International Star of the Year 

Martha Higareda 


SALAH M. HASSANEIN HUMANITARIAN AWARD 

Charley Moss 

PARTNER, BOW TIE CINEMAS 

Bow Tie will be celebrating its 115th anniversary. What core values are at the heart of the 

company’s longevity and continued success? 

At the heart of Bow Tie Cinemas’ mission is providing the best possible service and presentation to all of our 

guests. When visiting a Bow Tie Cinema of any size, vintage, or location, our guests should expect to receive the 

same high standard of personalized service and the same top-quality presentation on every occasion. 

What sets New York City apart as such a competitive market in exhibition? 

New York City moviegoers are some of the most diverse, discerning, and avid 

film enthusiasts in the world, which creates a vibrant, exciting, and immersive 

market of which we are proud to be a part, with our brand new Chelsea 

Cinemas offering luxury reserved seating in all nine screens, brand-new 

lobbies and concessions stands, and Jack & Harry’s Gourmet Flavored 

Popcorn, made fresh daily on premises. 

You’ve bridged that gap between production and 

exhibition, one that not many people in the industry 

have been able to do. What drew you to the production 

side of the business? 

It was primarily the allure of the creative process and the 

unique opportunity to create the product that we then deliver 

in our cinemas that drew me to the production end of the 

business. 

What are your thoughts on the current state of the 

exhibition business? 

Like any business, we are constantly changing and evolving. 

Recent improvements in the physical plants of our cinemas, 

such as our top-to-bottom renovation of our Chelsea Cinemas, 

have demonstrated conclusively that the moviegoing public 

responds positively and enthusiastically every time we raise the 

bar and offer new amenities that help keep cinemas at the top of 

the list of value-oriented out-of-home entertainment venues. It’s an 

exciting time to be an exhibitor, and we look forward to a robust future 

as we enter our 116th year in the industry. 

Finally, what are you looking forward to at ShowEast 2015? 

ShowEast is a great opportunity to keep up on current industry trends, 

see upcoming films, and reconnect with friends and colleagues old and new. 

I’m looking forward to all of it. n 


AL SHAPIRO DISTINGUISHED SERVICE AWARD 

MarkChristiansen 

EXECUTIVE VP OF WORLDWIDE OPERATIONS, PARAMOUNT PICTURES 

Your father was a drive-in theater manager and you basically grew up at the movies; is there one 

memory that stands out? 

Growing up at a drive-in theater left me with many memories. We had a car speaker in our living room 

and windows that looked out at the screen. There was the occasional movie my dad would tell us not 

to watch, and of course those were the ones we watched the closest! The snack bar served lots of 

different kinds of food, and if it got really busy, my dad would call me down to make pizzas. 

That was huge fun for a six-year-old. And let’s not forget the machine that made wax skulls! 

How has the recent upswing in international box office receipts changed 

the nature of your current role? 

Dubbing, as opposed to subtitling, has become much more prevalent. It’s more 

expensive and time consuming, but the box office returns are better. The time between 

finishing a movie and foreign-language release has also shortened to nearly nothing. 

We have had to streamline our localization process to accommodate the changes. 

Overall, it has made us a much more integrated and efficient group. 

Can you tell us a bit more about your connection with the Will Rogers 

Motion Picture Pioneers Foundation and its Brave Beginnings program? 

I have been involved with WRMPP for just about as long as I have been in the 

business. The charity has a long history of assisting members of our industry with 

financial and health challenges, but it has also been a leader in breathing-related 

endeavors. The most fragile of the breathing challenged are premature infants. Many 

hospitals are not equipped with the latest technology, machines that can mean the 

difference between life and death. We are servicing as many hospitals as we can, but the 

need far outstrips our resources. It’s great to see what a difference we can make, but we 

would love to do more. 

What are your thoughts on the current state of the exhibition business, both in 

the U.S. and in international markets? 

Exhibition is making all the right moves. Big screens, bright 

images, great sound, comfortable seating, and new food and 

beverage options make moviegoing a great experience. 

There has been explosive growth in international 

markets, but domestic exhibitors have not been 

sitting idle. I am bullish on the future of our 

business. 

Finally, what are you looking 

forward to at ShowEast 2015? 

ShowEast is a great place to catch up 

with industry friends and to see what’s 

coming up. I enjoy the product presentations 

and screenings. n 

from photo by Ryan Miller/Capture Imaging 


INTERNATIONAL EXHIBITOR OF THE YEAR 

MarkWalukevich 

SENIOR VICE PRESIDENT FILM AND EVENT CINEMA, NATIONAL AMUSEMENTS 

You began your career with National Amusements in 1980 with roles in advertising and film 

booking. What are some of the lessons you took away from your early days in the business? 

Working under Sumner Redstone, I quickly learned that the devil was in the details. I also learned, 

through hard experience, that if you didn’t know the answer to a question, you didn’t speculate— 

rather, you worked diligently to find the correct solution. The first lesson helped me to achieve 

a deeper understanding of the business, while the latter set the stage for a lot of listening and 

hard work to continue to grow professionally throughout the years. 

You played an integral part in the international expansion of National 

Amusements. What did you find to be the most challenging part of that 

experience? 

Entering the U.K. over a quarter century ago was an adventure. But the language and 

the culture held more similarities than differences. However, Brazil, Russia, Argentina, 

and Chile were a different matter. Each country offered its own unique challenges. Understanding 

the many differences requires time and patience. The ability and willingness 

to take risks that are significantly outside of your comfort zone in order to maximize the 

overall business is the biggest challenge that we face. Sometimes, to steal a quote, one plus 

one actually equals three. 

You’ve become very involved in event cinema; what role do you see event 

cinema playing in the coming years? 

Alternative content has been available for many years. However, its transition into event 

cinema was an intended byproduct of the digital revolution. Whether it be operas or ballets, concerts 

or sporting events, the loyal event cinema audiences have elevated our business and 

helped to change our movie theaters into total entertainment complexes. Event 

cinema has attracted people who did not historically patronize a movie theater, 

giving us the ability to cross-market relevant studio content. Event 

cinema is yet another example of the constantly changing nature of our 

business, and we expect it to continue to grow through the coming years. 

What are your thoughts on the current state of the exhibition 

business, both here in the U.S. and abroad? 

Working both internationally and domestically has provided me with 

an atypical perspective. In the U.S., the business is mature, and business 

practices have been firmly established. On the international side, the 

business continues to evolve, with each country offering its own unique 

cultural and business challenges. Applying lessons from one part of the 

business to the other can provide great benefit, but you must constantly 

be aware of the differences of the two sectors. 

Years ago, both distribution and exhibition recognized that the international 

markets represented the future growth of the industry. Many of 

the individual trailblazers in international went on to become significant 

global leaders on both sides of the business. 

Finally, what are you looking forward to at ShowEast 2015? 

I love the energy that ShowEast creates and the opportunity to spend 

time with colleagues who are also your friends. This year, in particular, 

having my family with me to accept and enjoy the award will make it a 

wonderful and memorable week. n 


© 2015 BY PARAMOUNT PICTURES. ALL RIGHTS RESERVED.

C. CRETORS & COMPANY 

The Double Feature, a combination popcorn popper and caramel coater in one unit 

(patent pending) can save money and space by buying just one machine to produce 

excellent caramel corn. The Double Feature has a 12-ounce capacity that 

produces up to 12.5 pounds of coated popcorn per hour. Users simply pop 

a batch of popcorn, dump it from the kettle, cook a caramel mixture in the 

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

coating. The unit plugs into a standard electrical outlet and the kettle is made 

of stainless steel for easy cleaning. The Double Feature is an excellent entry-level 

machine that can produce caramel corn nearly anywhere. 

CADDY 

The new Caddy Concession 

Table III is an affordable and 

portable concession-table solution. 

It features an effective swivel 

that works with luxury recliner 

seating and includes a 

built-in cell phone holder. 

That table’s deep side walls 

help secure food concessions 

and containers. The table is 

available in five riser heights (2, 3, 4, 

5,″and 6 inches) and offers custom inserts 

to securely fit various recliner cup holders, available in any color. 

CINEMA EQUIPMENT & SUPPLIES 

Cielo, a Cinema Equipment and Supplies product, streamlines theater operations and reduces lost 

revenue by monitoring cinema equipment and delivering proactive alerts to the exhibitor’s mobile 

device. Cielo reveals additional potential revenue streams and savings opportunities via instant 

reports on content play (trailers, advertisements, pre-show time) and operations. With Cielo and 

Cielo Technical Support, exhibitors are able to focus less on the status of their equipment and 

more on delivering an exceptional customer experience. Get Cielo for your cinema at ShowEast 

booth 600 (cielocinema.com). 


CINEMECCANICA 

Cinecloud Lux is a laser light source adaptable to any DLP digital projector, new or already installed. 

From 19.000 up to 57.500 lumens per single projector and up to 110.000 lumens with dual 

projectors, it is compatible with screens up to 50 meters (164 feet) wide. Offering 3D projection at 

full 14fL brightness, it also offers a reduction of power consumption up to 50 percent and elimination 

of running costs (maintenance and lamp replacement). It is fully controlled by touch screen 

and remotely over Internet. 

CINETRANSFORMER 

Cinetransformer owns and operates a fleet of 26 (and growing) Cinetransformer units (above) 

worldwide, responsible for experiential mobile marketing tours for many of the world’s most 

famous brands. The company’s clients recognize Cinetransformer to be an affordable, 

exciting, and highly effective marketing solution—recognition reflected in a history 

of successful campaigns and engaged audiences around the world. 

D-BOX TECHNOLOGIES 

D-BOX announces its new D-BOX Cinema Luxury Recliner. 

This incredibly comfortable motion-enabled chair 

offers the trendy reclining feature. Exhibitors who 

want to raise their customer’s moviegoing experience 

to new heights and/or create an added-value 

V.I.P. section can now offer the benefits of a 

reclining cinema chair and the award-winning 

D-BOX experience. Get more information on the 

D-BOX Cinema Luxury Recliner at info@d-box. 

com and change your customer’s movie-watching 

experience forever. 


Accessibility Solutions 

for the Hearing and Visually Impaired 

CCR-100 

CCH-100 

IRC-28C 

CCH-100 

Power supply 

IRH-280 

USL, Inc. provides a unified solution to meeting all your 

accessibility requirements with an Infrared system 

designed to fill a lifetime void... intelligible, clear sound. 

The Closed Captioning System is designed to transmit hearing 

impaired (HI) audio, visually impaired narrative (VI-N), and closed 

captions into an auditorium using standard infrared (IR) technology. 

Two types of display units are available for the hearing impaired: The 

“Seat Mount” display that fits in the armrest or the “Eyewear/glasses”. 

Innovative Cinema Solutions 

181 Bonetti Drive, San Luis Obispo, CA 93401-7397 USA - (Ph) +1 805.549.0161 - (Fax) +1 805.549.0163 - www.uslinc.com

DOLBY 

DOLBY INTEGRATED MEDIA SERVER IMS2000 

The Dolby Integrated Media Server IMS2000 (above) is a single-board solution that delivers 

faster ingest speeds, simplifying operations to save you time and money. Combining Dolby and 

Doremi technologies, the IMS2000 offers cost-effective reliability proven on over 80,000 screens 

worldwide, plus the flexibility you need for today’s cinemas. The IMS2000 is the next-generation 

offering in Dolby’s Integrated Media Server line of products. It continues the trend of providing onboard 

RAID storage, server control, and a DCI-compliant media block in a compact form enabling 

it to fit in a DLP Series 2 projector. User control is via web-based UI, allowing access from anywhere 

on the theater network, with full compatibility with Dolby’s TMS and any third-party TMS 

that supports Dolby products. 

DOLBY ATMOS CINEMA PROCESSOR CP850 PRODUCT LINE 

The Dolby Atmos Cinema Processor CP850 product line offers you a choice of advanced digital 

cinema audio solutions to fit your business model. Whether you’re ready to equip your cinema for 

an immersive Dolby Atmos audio experience now or prefer a flexible processor that you can upgrade 

in the future to deliver a full Dolby Atmos 

experience, we have a Dolby CP850 processor 

that’s ideal for your needs. The CP850 Base will 

play back traditional Dolby Surround 7.1 and 5.1 

formats, as well as render select Dolby Atmos 

titles to a Dolby Surround 7.1 configuration. The 

CP850 Base includes the same advanced equalization and other audio features as the full Dolby 

Atmos Cinema Processor CP850. The CP850 Base does not require Dolby Commissioning Service. 

Dolby Atmos marketing support is exclusive to theaters with the full Dolby Atmos Cinema Processor 

CP850. 

DOLBY THEATRE MANAGEMENT SYSTEM 

The Dolby Theatre Management System 

(TMS) combines features from both Dolby’s 

and Doremi’s previous TMS versions to offer a 

versatile and robust solution. The Dolby TMS is 

a software solution that provides a comprehensive 

and intuitive user interface for the management 

of content for any multiplex configuration 

from one to 32 screens. The Dolby TMS also 

features an open gateway for ticketing/point of 

sale (POS) and connection to electronic delivery 

of media through industry partners. 


DOLPHIN SEATING 

Only Dolphin Seating has the patented Easy Clean steel frame recliner 

footrest mechanism to make cleaning under recliners 

truly easier. It’s available on electric and manual models, along 

with an optional rubber footrest to help avoid damage to the 

footrest by high-heel shoes. Dolphin Seating recliners not only 

have the best price and best factory warranty, but they are 

built to be a comfortable, good-looking commercial cinema 

application recliner. See their full line of seating and contact info 

at www.dolphinseating.com. 

IRWIN SEATING COMPANY 

Irwin Seating Company introduces the 

ever-evolving Spectrum Recliner Series. 

Spectrum features a full line of interchangeable 

components that allow 

clients to specify a premium recliner 

chair that fits their specific design 

criteria. The Spectrum Recliner is designed 

intelligently for easy cleaning 

and maintenance and with the durability 

that you’ve come to expect 

from Irwin Seating. Stop by booth 515 

at ShowEast for additional information 

or call (866) 464-7946. 

J&J SNACK FOODS 

OREO Churros are now available in a convenient “grab and go” format. J&J Snack Foods adds two 

new creme-filled OREO Churros varieties, appealing to both “dippers” and “grippers.” The new 

line extensions include a 10-inch regular creme-filled 

OREO Churro and creme-filled OREO Churro 

Bites, both made from real OREO Cookie 

pieces with creme filling inside. The 

original OREO Churros, introduced in 

November 2014 and made for dipping 

into individual OREO creme 

dip cups, continue to be available 

in three varieties: Traditional Churros, 

Double-Twisted, and Bites. 


CONGRATULATIONS 

ShowEast Award Winners 2015 

RENTRAK’S LATIN AMERICAN BOX OFFICE 

ACHIEVEMENT AWARD 

Universal Pictures International for “FURIOUS 7” 

INTERNATIONAL EXHIBITOR OF THE YEAR 

Mark Walukevich, National Amusements 

INTERNATIONAL DISTRIBUTOR OF THE YEAR 

Pedro Rodriguez, President & CEO, IDC 

(International Distribution Company, LLC) 

INTERNATIONAL STAR OF THE YEAR 

Martha Higareda 

BINGHAM RAY SPIRIT AWARD 

Ted Mundorff, Landmark Theatres 

AL SHAPIRO DISTINGUISHED SERVICE AWARD 

Mark Christiansen, Paramount Pictures 

SALAH M. HASSANEIN HUMANITARIAN AWARD 

Charley Moss, Bow Tie Cinemas 

SHOW “E” AWARD 

Marcus Theatres 

Accepted by Greg Marcus 

SHOWEAST 2015 HALL OF FAME 

Jack Loeks* Hank Lightstone 

Ken Higgins Ellen Cotter 

Richie Fay Kurt Hall 

Jimmy Spitz *posthumously 

WE ALSO CONGRATULATE THE 

WOMEN IN EXHIBITION & DISTRIBUTION 

Felicia Cashin, Vice President, USL, Inc. 

Allison Jernigan, Director of Business Development, Cinemark 

Tish Hardric, National Sales Manager - Theatre Division, Great Western 

Barbara Twist, Managing Director, Art House Convergence 

Kristin Tedesco, Cinema Marketing Manager, Dolby Labs 

Kelly Nash, Marketing & Creative Director, Goodrich Quality Theaters 

Carole Malek, VP Theatre Support Services, Regal Entertainment Group 

Alice Rogers, VP Operations Excellence, AMC Theatres 

Juliet Conroy, Director Materials Logistics, Paramount Pictures 

Crystal Trawick, Marketing Project Manager at Carmike Cinemas 

800-767-1724 | Fax 515-243-6664 

300 Walnut Street, Suite 200 | Des Moines, IA 50309-2262 

www.reynolds-reynolds.com | s.w.reynolds@reynolds-reynolds.com

MTI PRODUCTS 

The new AutoFilter oil filtration system is and easyto-use 

and effective solution: simply place AutoFilter 

in your oil pot and press Start. Because AutoFilter 

works within your oil pots, you no longer have to 

transfer oil to an external filtering unit, saving you time 

and reducing potential for kitchen accidents. AutoFilter 

automatically filters fry oil through a 96-layer fine 

paper microfilter, removing any suspended sediment 

and oil contaminants including carbon, the main factors 

in food discoloration, bad-tasting food, and 

the breakdown of oil. By removing them each day 

you can double the life of your frying oil, saving 

you money, time, and waste. On average, users see 

35–50% longer oil life with AutoFilter. 

NEC 

NC900C 

Designed for theaters with small screens, NEC’s NC900C DLP 

cinema projector delivers an enhanced theater experience with pristine images. 

With its S2K chip set from Texas Instruments, the NC900C is the most compact 2K DCI-certified 

digital cinema projector on the market. 

NC1100L 

NEC’s NC1100L DLP cinema projector was the first DCI-certified 

projector with the laser-light source built in. Unsurpassed 

reliability, maintenance-free operation, and approximately 

20,000 hours of lifetime result in an overall lower total cost of 

ownership. 

NC1201L 

Designed for theaters with screens up to 39.4 feet, NEC’s NC1201L DLP laser 

cinema projector delivers an enhanced theater experience while offering the reliability of a laser 

light engine. The Integrated Media Server (IMS) NP-90MS02 offers a trouble-free one-stop solution 

with a 2TB RAID5 storage system, HFR capabilities, and USB 3.0 for faster upload times. 

OMNITERM 

Omniterm is releasing the latest version of its PA-DSS Payment Server application, which 

includes support for the US EMV card-processing requirement. Omniterm’s 

Payment Server product is its primary application related to 

the acceptance of debit and credit cards and provides users with a secure 

“out-of-scope” solution. Omniterm offers years of experience, having 

implemented EMV environments across Canada and throughout the 

U.K. Partnering with Datacap Systems and Verifone’s VX 805 PinPad, 

the EMV-ready solution will offer the benefits of out-of-scope environment 

plus NFC technology, which will enable contactless payments for 

a quicker throughput. 


ROYAL PAPER 

QSC 

The new SB-2180 subwoofer from QSC 

is a dual 18-inch loudspeaker intended 

for all cinema applications. Each 

18-inch driver is loaded into its own 

internal chamber. An ingenious folded 

port design minimizes cabinet depth 

yet still provides full port volume. 

This port design also acts as internal 

bracing, creating a stiffer, less resonant 

cabinet. All of this allows the enclosure 

to be at least 20 percent thinner than 

any other 2x18 subwoofer you can buy, 

which increases shipping efficiency 

and reduces freight costs. Visit QSC at 

booth 419 at ShowEast. 

The Dragnet Auditorium Broom (right) is a specifically designed 

broom to efficiently sweep auditorium floors. 

Carefully measured and curved to prevent any 

trash from escaping its path. 

Everything, But the Key... 

New & Used Digital Projectors 

Turn Key Packages To Get Your Theater Started 

Guaranteed Lowest Prices 

100% Customer Satisfaction Guarantee 

Stetson Snell 

stetsonsnell@enparaudio.com 

Office: 505-615-2913 

Fax: 575-578-4820 

“Quality is to a product, what character is to a man.” - Steve Lentz 


SCA 

The Tork Foodservice 

Wet Wipe System offers 

an easy clean within 

reach. Arm your staff 

with the Tork Foodservice 

Wet Wipe System 

to clean and sanitize 

counters on-the-go. For 

a free trial visit torkusa. 

com/CleanwithinReach. 

SENSIBLE CINEMA SOFTWARE 

Sensible Cinema Software releases its 4.1 version on September 28, 2015, to 

include DataCap integrated PCI-DSS 3.0 compliant dsiEMVUS “out of scope” 

credit card processing through its relationship with Mercury Payment Systems. 

Payments are 100 percent end-to-end encrypted via swipe, EMV chip read, 

keyed or contactless, including support for ApplePay and Google Wallet. Get 

peace of mind through the latest technologies and secure devices available at 

sensiblecinema.com. 


SLS AUDIO 

The SLS Audio CS6600 Cinema Series Ribbon Line Array 

(right) provides superior dynamic range, ultra-clean 

high frequency response, and even SPL throughout 

the entire venue. Because of its modular design the 

CS6600 array can be tailored for any stadium-seating 

design making it the perfect choice for premium rooms 

where articulation and detail are of pinnacle importance. 

TELESCOPIC SEATING SYSTEMS 

Telescopic Seating Systems introduces its Clean 

Sweep System, seeking to revolutionize movie theater 

recliner seating cleaning. The Clean Sweep System is 

designed to cut down cleaning time and cost for luxury 

powered recliner seating by keeping the seats’ recliner 

mechanisms off the floor. This eliminates the nooks and 

crannies that trap and hold decaying food. TSS’ Clean 

Sweep System allows all recliners to be opened and 

closed simultaneously with the push of a button. 

Theatre Architects & Engineers 

ParadigmAE.com | 616•785•5656 


Felicia Cashin 

Juliet Conroy 

Barbara Dretzke 

Stacey Goldstein 

Tish Hardric 

Allison Jernlgan 

Carole Malek 

Kelly Nash 

Alice Rogers 

Kristin Tedesco 

Crystal Trawick 

Barbara Twist 

74 

74 

76 

78 

80 

82 

82 

83 

84 

85 

86 

87 



Felicia Cashin 

Favorite movie? 

Oh dear, nothing innovative 

or cutting edge: 

Pretty Woman. 

Favorite snack? 

What else, popcorn, with 

real butter of course, 

and containers that don’t 

leak! 

FELICIA 

CASHIN 

Vice President 

USL 

What was your first 

job in the exhibition 

business? 

It was actually when 

I started working with 

Jack [Cashin, president] 

at USL, which was then 

called Ultra*Stereo 

Labs., Inc., although 

during my college years 

I worked for a capacitor 

company that had a very 

interesting view. The male owner of the company 

wanted women trained to be customer 

service representatives. I do mean trained. I 

knew a capacitor backwards and forwards. I 

could talk the talk. He felt that the purchasing 

agents talked to men all the time and 

they would enjoy conversing with a woman 

who knew what she was talking about. I 

guess you would call that a sexist attitude, but 

it worked. Although I had been raised in West 

Hollywood and went to Hollywood High, I never 

wanted to be an actress or work in Hollywood. 

What does your current role at USL involve? 

I’m vice president and oversee all of the administrative 

duties. We are a small company, so I need 

to be involved with every area. I have an excellent 

human resources lady who also oversees accounting 

and customer service. She has picked up most all of 

the duties I have done through the years. Like me, 

she jumps into every situation with both feet, ready 

to learn. 

Jack’s world is the R&D area. He does not want 

to be involved with the day-to-day activities but, if 

needed, his knowledge of this industry is amazing. 

ICTA Manufacturer of the Year Teddy Awards. I’m 

as proud of each one as if it was the first. Another 

proud moment was when we completed the move of 

our facilities from the Los Angeles area to San Luis 

Obispo. As people were getting settled into their new 

work environment, I walked around in awe that we 

had moved to such a large and lovely building. I’m 

proud of our staff and have been since I started here. 

We are like a big family in that we share each other’s 

joys and sadness. 

What are some of the most important traits 

needed to succeed in your current role? 

For me, today is different than when I started. 

When I started going to the trade shows and ITEA 

meetings, there were very few woman in the management 

or sales ranks. You needed to prove your competence 

as a woman along with fitting in with the guys. I 

believe it is easier as a woman today, since there are so 

many more women in business and engineering. However, 

bottom line, it is still a “man’s world,” and you 

need to work a little harder to get the respect you want. 

Once achieved, it is great to feel part of the family. 

JULIET CONROY 

Director, Materials Logistics 

In-Theater Marketing, 

Domestic Distribution 


Would you share with us one 

(or more) of your proudest 

professional achievements 

in the industry? 

My background before 

USL was customer service, 

and when I started 

working for Jack I could 

see we were in desperate 

need of CS. My proudest 

moment was when USL 

was awarded its first ICTA 

Teddy Award. It came as a 

complete surprise to me, and 

knowing that our peers voted 

for us made it very special. We 

have gone on to win a total of six 

Juliet Conroy 


My all-time feel-good 

movie is The Sound 

of Music, which I have 

watched more times than 

I can count. I loved it as 

a child, and now my kids 

love it as well. 


Nicely salted popcorn, no 

butter, and a Diet Coke. 

The sweetness of the Diet 

Coke quenching the salty 

popcorn is the best! 

What was your first job in 

the exhibition business? 

My first job out of 

college was as an executive 

assistant at MGM/UA 

Distribution Company 

working for Mark 

Christiansen, this year’s Al 

Shapiro Distinguished Service 

Award Honoree. There, 

I received a great overview 

of the studio environment and 

how the operations area of the 

distribution business unit functions. 



BarbaraDretzke 


When I was at film school 

in New York, I was one of 

maybe 10 women there. 

I may be exaggerating 

a little, but my running 

joke was that all the guys 

were there because of 

Star Wars and I was there 

because of Yentl. Truth 

was, I was there because 

of all movies; however I 

was particularly inspired 

by Spielberg—Close Encounters, 

Raiders of the 

Lost Ark, and especially 

E.T. It was the first movie 

that made me shed a 

tear in the theater and 

wonder about our place 

in the universe. While I’ve 

had other favorites along 

the way—Ferris Bueller, 

Sixteen Candles (and, yes 

even Dune, Mars Attacks, 

and Joe Dirt!), I keep 

going back to E.T.—that 

one special film that first 

inspired me to make the 

film business my career. 


I’ll admit it: popcorn with 

butter. Growing up I used 

to make (excuse me, ask 

politely) the concessions 

staff to fill the bag 

halfway with popcorn, 

then add butter, then fill 

it up all the way, then 

add more butter on top. 

I’m not quite as addicted 

these days, but I still 

have my fix when I can. 

So, please … no buttershaming, 

people! 

The job also exposed me to in-theater marketing, determining 

the direction in which I wanted to pursue 

my career. 

What does your current role at Paramount 

involve? 

I manage the budgets and logistics for domestic 

in-theater marketing materials, which includes print, 

A/V, and specialty projects. Once a movie creative 

is locked and finished, I work closely with various 

internal marketing groups and our vendors to get 

the end product such as trailers, special content, 

standees, or collector giveaways into theaters. I am 

fortunate to be involved in a wide array of marketing 

initiatives and to work closely with so many other 

departments, exhibitor partners, and creative and 

technology leaders in our business. 



Being attentive and responsive to the ever-changing 

marketing landscape and having a customer-service-oriented 

approach. In-theater marketing today 

is more competitive than ever, so being innovative, 

ahead of the curve, and able to change direction is 

also important. 

BARBARA DRETZKE 

Vice President, Exhibitor Relations 

The Weinstein Company 

What was your first job in the exhibition 

business? 

I have to start with the job that was actually 

“exhibition adjacent,” for this led to 

everything else for me. I was a project 

manager at an Internet design company 

that was building an intranet 

system for Warner Bros. Distribution 

at the time. After two 

years on that project, I went 

on to work for a number of 

other design houses, but I 

still kept in touch with my 

team back at WB. Years later, 

they asked me to return, 

and I ended up working for 

the exhibitor-services 

team for almost 10 

years. The experience 

I gained 

there has been 

invaluable, 

and the 

people I 

worked 

with are 

some of 

the best 

in the business. They gave me my start and helped 

propel me to where I am today. 

What does your current role at TWC involve? 

As head of The Weinstein Company’s exhibitor-relations 

team, it is apparent to me that one of 

the many strengths of our company is the ability 

of each of us to wear many hats. Everyone knows 

that primarily this job is about negotiating trailer 

placement and handling in-theater marketing. However, 

I’ve had the opportunity to be so much more 

hands-on with our marketing, publicity and creative 

teams, enabling me to have direct input on many 

social media and promotional campaigns for our 

films while in this role. This is a place where good 

ideas are encouraged to be vocalized and are allowed 

to flourish. Supported by Jen Brown, and directed by 

Erik Lomis and Laurent Ouaknine, I continue to be 

challenged to be my very best. 

Could you share with us one (or more) of 

your proudest professional achievements in 

our industry? 

Besides being thrilled to be hired at TWC, some 

of my proudest moments have been speaking at our 

many industry conventions. As some of you reading 

this may know, I love to sing. And being on stage (like 

at one of Variety’s karaoke charity mixers!) may seem 

like it comes easy to me now. But a long time ago I 

had to battle stage fright just like “another” famous 

Barbra has had to do. Being able to parlay that skill 

into public speaking is something that makes me 

proud and exhilarated at the same time. I love this 

business we’re in, and getting the opportunity to speak 

to a crowd that shares the same enthusiasm is a great 

way to connect and communicate the excitement you 

have for the films you are presenting. 


to have in order to succeed in this role? 

Integrity, respect for others, and being a good 

listener are key in this business, and, as we all know, 

in life as well. I see my job as a delicate dance 

between setting expectations and getting what you 

expect. I’ve learned that knowing when to stand 

firm and when to pick your battles goes a long way. 

A wise woman once joked that negotiating trailer 

placement is like being in Groundhog Day. While it 

may feel like we’re doing the same thing week after 

week, at the heart of it all it’s about the relationships 

you create along the way. I like to say that I was 

born with a telephone cord, not an umbilical cord! 

On a good day it’s like working with family that 

you care about, and on a bad day it can be as petty 

as high school. But no matter what, I think we can 

all agree it’s all about the people and the many wonderful 

connections we develop over the years. And 

while we may not be curing any diseases, it makes 

me happy to know that we all play an important 

role in bringing the magic of movies to the world. 



STACEY 

GOLDSTEIN 

Vice President, In-Theatre Marketing 


What was your first job in the exhibition business? 

More than 15 years ago, I started as an intern in the exhibitor-services department 

at Paramount Pictures. I applied for an intern position with the finance 

department but serendipitously received a call from Mark Mulcahy. Mark, the 

consummate salesman, pitched the summer internship to me as the ultimate 

summer job. With no prior knowledge about 

the exhibition business, I took a leap of 

faith and haven’t looked back. 

What does your current 

role at Paramount 

involve? 

I am fortunate to be in 

a role that gives me a lot of 

flexibility to get involved 

with so many aspects of our 

department. I work closely 

with Patricia Gonzalez on 

national and partner-specific 

promotions and the entire 

team on custom-circuit promotions. 

I also have the privilege to 

work with a variety of groups within 

StaceyGoldstein 


It’s hard to pick one favorite 

movie, but I love a great 

chick flick, particularly My Best 

Friend’s Wedding, Sweet Home 

Alabama, The Devil Wears Prada, 

and Notting Hill. 

Favorite Snack? 

Popcorn! Even though I never 

officially worked in a movie theater, 

I have become an honorary 

popper, and I’ve learned how to 

make a mean batch of corn. 

thank you, 

alice 

You help make our 

theatres amazing for 

our guests! 

guest guru 

©2015 AMC 



Paramount, from creative marketing and publicity to 

home entertainment and the finance department. 

Would you share with us one (or more) of 


the industry? 

I have been lucky to work with some of the most 

talented professionals in our industry, and as a result I 

have been involved in the most innovative and creative 

marketing initiatives. Several of my most memorable 

achievements have been our interactive ShoWest and 

ShowEast booths: the SpongeBob SquarePants carnival 

that featured games and a live fish tank, the Nacho 

Libre wrestling ring, and the Transformers Sector 7 

mobile truck, which we took on the road for a 

cross-country theater tour. We were also one of 

the first studios to launch a SuperTicket and 

test specialized events. Additionally, it’s fun to 

work with our exhibition partners on creating 

new promotions such as our recent SMS 

scavenger hunt that launched in various cities 

across the country. 

What are some of the most important 

traits needed to succeed in your current 

role? 

I believe that hard work, tenacity, and the 

ability to multitask are vital to success. 

TISH HARDRIC 

National Sales Manager, Theater Division 

Great Western Co. 

What was your first job in the 


I started in the industry in 2002 as a 

customer service representative at Great 

Western Products. 

What does your current role at 

Great Western involve? 

Currently I am the national 

sales manager, theater division, at 

Great Western Products. My role 

involves establishing programs 

through distribution channels 

to maximize profits for thousands 

of screens nationwide, 

providing leadership and 

support for GW’s theater 

sales team, increasing 

company sales for 

the theater division 

of GWP, extending 

programs for theaters 

nationwide that 

embrace the products 

® 

stay calm. it’s not real 

tiger not included * 

the next evolution in 

IMM ERSIVE 

4 D C I N E M A 

MOTION • AIR BLAST • WATER BLAST • BACK POKER • SEAT POPPERS • SEAT RUMBLERS • LEG TICKLERS • NECK TICKLERS • FOG • STROBES • WIND • SCENT 

M X 4 D . C O M M E D I A M A T I O N . C O M 


NATO UPCOMING EVENTS 

2015 

Oct. 7–8 / NATO General Membership and Board Meetings / Washington, DC 

Oct. 12–15 / ShowEast 2015 / Hollywood, FL 

Oct. 20–21 / TOI/Heartland NATO / Noblesville, IN 

Nov. 4–5 / NATO’s 3rd Annual Fall Summit / Los Angeles, CA 

2016 

Jan. 13 / NATO of CA/NV Board of Directors Meeting East / Los Angeles, CA 

Apr. 11–14 / CinemaCon 2016 / Las Vegas, NV 

May 10–11 / Mid-Atlantic NATO “Cinema Show & Tell” 2016 / Springfield, VA 

July 19–22 / The National Association of Concessionaires / Minneapolis, MN 

Sept. 14–16 / Geneva Convention 2016 / Lake Geneva, WI 

Sept. 27–29 / NATO General Membership and Board Meetings, and NATO 

Fall Summit / Los Angeles, CA 

2017 

Mar 27–30 / CinemaCon 2017 / Las Vegas, NV 

May 30–June 1 / ShowCanada 2017 / Banff, AB, Canada 

July 11–14 / National Association of Concessionaires / Scottsdale, AZ 


Sept. 26–28 / NATO General Membership and Board Meetings and NATO Fall 

Summit / Los Angeles, CA 

2018 



2019 


2020 

Mar. 30–Apr. 2 / CinemaCon 2020 / Las Vegas, NV 

2021 




TishHardric 


My favorite movie is the 

1994 American drama 

The Shawshank Redemption. 


My favorite snack from 

the concessions stand is 

popcorn. Extra butter! 

and services of GWP, increasing sales through 

distribution partners, and nationwide travel in 

support of increasing theater sales. 

Would you share with us one (or 

more) of your proudest professional 

achievements in our industry? 

My proudest professional achievement 

in our industry is receiving the Krystal 

LaReese-Gaule award in 2014 and 2015 and 

being one of only seven individuals and the first 

woman to receive the prestigious double diamond 

pin from the National Association of Concessionaires 

(NAC). 


needed to succeed in this role? 

Patience and perseverance. 

outdo themselves with diverse and brilliant content. 

I am extremely proud to work in the entertainment 

industry! 



Flexibility, integrity, confidence, humility, organization, 

positive outlook, vision, poise. 

CAROLE MALEK 

Vice President, Theater Support Systems 

Regal Entertainment Group 

ALLISON JERNIGAN 

Director, Business Development 

Cinemark 

What was your first 

job in the exhibition 

business? 

I was first hired as 

administrative assistant 

to the VP of marketing 

at Cinemark right out of 

college, 16 years ago. 

AllisonJernigan 


American Sniper, Sixteen 

Candles, Dirty Dancing, 

Urban Cowboy. 


Sno-Caps mixed in with my 

popcorn! 

What does your 

current role at 

Cinemark involve? 

I oversee the business 

development team within 

our marketing department. 

We are responsible 

for ancillary revenue 

programs including 

gift cards, bulk tickets, 

meetings, screenings, private 

events, Cinemark’s 

Theatre Church program, 

in-theater advertising, 

e-commerce, and customer 

relations. 

Would you share with us one 

(or more) of your proudest 

professional achievements in our 

industry? 

Over my 16-plus years here at 

Cinemark, it has been exciting to 

witness the digital and technological 

advancements and the evolution of our 

business. Movies are a great escape, and 

our friends at the film studios continue to 

What was 

your first 

job in the 

exhibition 

business? 

My career 

started behind the 

concessions stand at 

United Artists Theatres. That 

Carole Malek 


Top Gun. 


Peanut M&Ms. 

experience sparked my interest in the movie exhibition 

business. 

What does your current role at Regal involve? 

As vice president of IT theater support services, I 

am responsible for several areas including our support 

center, applications specialists, and activities related 

to data collection. I am fortunate to have a great staff 

who work well together. Our support center is a 24/7 

operation and serves as a single point of contact for 


our theaters. Our support center team works closely 

with others to ensure systems run smoothly, from 

ticketing to promotions to the largest loyalty program 

in our industry. 



our industry? 

Looking back, I am proud of many things. 

Contributing to the opening of new theaters is always 

memorable, as was preparing for tentpole movie releases. 

I am very proud to be part of providing a memorable 

experience for moviegoers. 

More recently, implementing a new point-of-sale 

platform was both challenging and rewarding. An 

undertaking such as replacing POS systems isn’t easy, 

but the Regal team tackled it. 



Having an open mind and being curious about the 

entire operation and its processes has been important. 

A strong understanding of all facets of our business 

enables effective communication. That said, a focus 

on the customer has been a constant throughout my 

career. Customer service was key when I was pouring 

soda and serving popcorn. Emphasis on customer 

service is in my DNA. 

KELLY NASH 

Marketing/Creative Director 

Goodrich Quality Theaters 



My first job in exhibition started 

21 years ago with a summer job 

behind the concessions stand at the 

United Artists West Main theater 

in Kalamazoo, Michigan. Movies 

like Speed and Forrest Gump kept 

me busy popping popcorn and 

selling tickets. I thought it was just 

going to be a temporary summer 

and part-time job. I worked there 

for a year and then decided to work 

at a different theater just across the 

street, General Cinema Maple Hill 

3. I loved working at the cinema 

and eventually worked my way up 

to management, working there for 

a few years while pursuing my B.A. 

degree at Western Michigan University. 

In 1998, the small threescreen 

cinema eventually closed 

its doors because a small theater 

chain I hadn’t heard of, Goodrich 

simply 

Leak-Proof 

PCI's EcoSelect popcorn bags are 100% 

biodegradable and guaranteed leak-proof. 

Your guests will appreciate our exclusive heat 

sealed bottom bags that will prevent leaks on 

their clothes. You will appreciate not having 

to pay for dry cleaning bills. 

Can others guarantee that? 

Greener, Cleaner Packaging Concepts 

To find out more simply call 314-329-9700 

or email info@packagingconceptsinc.com 

www.packagingconceptsinc.com 



Kelly Nash 


American Beauty, The Jerk, and Grease. 


A movie isn’t complete without popcorn. I like 

it with butter through the middle and on the 

top with white cheddar seasoning. The funny 

thing is I never liked popcorn until I started 

working at a theater (it’s usually the opposite, 

right?). You think you would get sick of the 

smell, but I learned to love it, probably because 

I would experiment with butter and seasonings. 

I remember working for United Artists in the 

mid-1990s and they had a Lawry Seasonings 

promotion. I would sprinkle that throughout the 

popcorn for a little kick! 

Alice Rogers 


Indiana Jones and the Temple of 

Doom. It’s a great film and a positive 

emotional connection to me that represents 

a time and place, which was 

working as a theater staff member in 

the summer of 1984. 


Hard to pick just one given our AMC 

Dine-In Theatres and expanded food 

menu. I love the grilled chicken quinoa 

bowl and the salty caramel milkshake. 

Quality Theaters, opened a brandnew 

10-screen theater, Kalamazoo 

10, in the next parking lot over 

from Maple Hill cinema. 

Little did I know I would 

work for Goodrich some 

day; I was so saddened 

we had to close! Since I 

loved working at a theater 

so much, I tried getting 

a management job at 

Kalamazoo 10, but they 

already had a complete 

management team. But, 

my Goodrich career started 

in 1998 when I was offered a 

management position at West 

Columbia 7, our Battle Creek, 

Michigan, theater about 20 miles away 

from Kalamazoo. 

What does your current role at Goodrich 

involve? 

I have been so lucky to have my hands in a few 

different roles here at Goodrich. I moved to Grand 

Rapids, Michigan, in 2002 to work at the head office 

as a film booker in the film department. I then made 

the transition to making graphic still ads and animated 

and video ads for our on-screen advertising clients 

until about 2008. From that time I was promoted to 

my current role and oversee all planning and implementation 

of marketing and promotions of movies, 

concessions, and company programs. I manage our 

team of four to ensure we get our messaging across to 

all channels that include in-theater promotion, website, 

e-newsletters, social media, Frequent Moviegoer Club 

(loyalty), on-screen, radio, and soon-to-be mobile 

app. Most recently I have been heavily focused on 

our loyalty club. I work 

collaboratively with 

other departments to present the best loyalty rewards 

and promotions to benefit our customers to ultimately 

increase attendance and revenue. Based on members’ 

past transactions at our theater, we can send highly 

targeted e-mail campaigns of movies and concessions 

offers that interest a specific member, enticing them to 

visit us or spend more at the concessions stand. 



our industry? 

Aside from the honor of being one of BoxOffice’s 

key Women in Exhibition and Distribution this year, I 

am extremely proud of running a marketing department 

for a movie theater chain. Never in a million years 

did I think when I started working a summer job at a 

movie theater it would escalate into such a wonderful 

career. I absolutely love my “job” and the people that 

work here; we truly are a little family here at Goodrich. 



Being a team player and providing clear communication 

across multiple departments is an important trait, 

especially for marketing. I am always talking with the 

concessions department about ideas and then have to 

connect with IT and operations to make sure the plan 

will work technically with our point of sale or in the field. 

Another important trait needed is to have a creative 

eye and know how to communicate an idea or 

promotion across a multitude of channels. This has to 

happen in the planning stages right away and, with social 

media being a huge medium of how we advertise, 

the concept has to work well in a status text, a short 

sentence, or even a hashtag, and then we can play off 

that for additional creative. 

ALICE ROGERS 

VP Operations Excellence 

AMC Theatres 



When I started college, I was looking 

for a part-time job that would allow me the 

flexibility to attend school in the day and 

work at night. I applied at the AMC Puente 

6 in Southern California as a concessionist. 

At that time this was one of the coolest places 

to work, so I was thrilled when I got the job. 

What I didn’t realize until after I started 

was, given that I was 18 years old 

and didn’t need a work permit, 

I was scheduled to work the 

midnight shows every Friday 

and Saturday night. I’ve 

seen enough of the Rocky 

Horror Picture Show to 

last two lifetimes! 


What does your current role at AMC involve? 

I oversee three different areas within operations excellence. 

First and foremost, we measure guest satisfaction. We use 

top box office methodology to rate the overall guest 

experience. We also use this data to provide the 

company with key guest insights regarding company 

strategic initiatives. In addition, I oversee all 

the guest feedback channels, which allows us to 

analyze all guest feedback and look for areas 

of opportunity to improve the experience. 

Second, I oversee all field communications. 

In this function, field communications is the 

sole gatekeeper of all operational communications 

sent to the theaters. 

Field comm thoroughly 

vets all content, tone, 

and efficacy of each 

department message 

and oversees the 

timely release of 

information to 

ensure the theaters 

can effectively plan 

their business week. 

Lastly, I oversee our 

third-party advertising 

relationship with NCM 

and ScreenVision. 

Kristin Tedesco 


Office Space, Amélie, The 

Big Lebowski. 


Popcorn and Coke, every 

time! 

Would you share with us one (or more) of your proudest 

professional achievements in our industry? 

Gosh, AMC has been at the forefront of a lot of industry 

firsts. When I oversaw marketing, I introduced the industry’s 

first reloadable gift card. I also introduced the company’s 

first guest-satisfaction index. 

What are some of the most important skills 


In all decisions, I always keep the guest top 

of mind. Ultimately, every decision we makes 

affects the guest either directly or indirectly. 

KRISTIN TEDESCO 

Cinema Marketing Manager 

Dolby Laboratories 



Actually, this is my first job 

in exhibition! Dolby was bold 

enough to hire me four years 

ago directly out of the biotech 

industry. I had previously 

worked in the other “exhibition” 

industry—trade show 

marketing—and prior to 



Crystal 

Trawick 


As I mentioned earlier, 

I’ve been a passionate fan 

of movies most of my life. 

When I think of all the 

great films throughout a 

lifetime of moviegoing, 

it’s so difficult to give 

credit to just one. However, 

one film that seems 

to remain in my top five 

is The Usual Suspects for 

its incredible unpredictability. 

The Godfather I 

& II would also be in my 

top five. 


Our fresh popcorn and a 

cold Coke, of course! 

that, software. The top three things I love most about 

this industry are: (1) the longevity of the people 

involved, many working with theaters since high 

school; (2) the joy I get out of working work with 

something that everyone loves and can relate to; and 

(3) the blissful union of art and technology to tell a 

great story. 

What does your current role at Dolby involve? 

I handle the marketing relationships for North, 

Central, and South America. I work directly with the 

corporate marketing staff at our partner cinemas, as well 

as theater managers, to help them increase their revenue 

by promoting Dolby technologies at their locations and 

as part of the movies they exhibit. With the help of my 

wonderful colleagues and partners, I develop, execute, 

and measure promotional campaigns, create and 

distribute in-theater materials, conduct market research, 

provide sales support, and plan and attend events. 



our industry? 

When we first launched Dolby Atmos in 2012, 

I arranged a Dolby Ambassador program for our 

partners. We sent Dolby staff out to the theaters 

for the opening weekend of Brave and other Dolby 

Atmos–mixed movies to perform live pre-show 

introductions to the technology. The ambassadors 

met and trained theater staff, delivered marketing 

materials, conducted moviegoer interviews, aided 

with market research, took photos, and reported 

back to us. We used these reports to help shape our 

future marketing plans. People had a lot of fun with 

it—theaters enjoyed the extra support, and moviegoers 

loved the introductions. Audiences would often 

clap and holler for the presenters and the Dolby 

Atmos trailers that followed. It provided Dolby staff 

an opportunity to get out in the field to represent 

the company and speak to end users. This was an 

exciting way for them to demonstrate their pride and 

passion for the Dolby brand. 



You must enjoy socializing, working with a variety 

of people, and traveling. Creativity, attention to detail, 

and the ability to execute projects on a short time 

frame are key. We also do a fair amount of market research 

and measurement, so analytics and presentation 

skills are also helpful. 

CRYSTAL TRAWICK 

Marketing Project Manager 

Carmike Cinemas 

What was your first job in the exhibition 

business? 

My career with Carmike Cinemas began in 

1998 when I accepted a summer opportunity at the 

Hollywood Connection, our family entertainment 

facility located in Columbus, Georgia. With my 

passion for movies and an abundance of curiosity 

about the business, it wasn’t long before I was in the 

projection-booth building, threading and breaking 

down film. 

What does your current role at Carmike 

involve? 

After 10 years in the operations side of our business 

followed by four years in film buying, I was presented 

at the end of 2012 with a unique opportunity to 

manage initiatives for our marketing department. I 

currently serve as a leader to our marketing team, who 

understands and is passionate in their efforts to impact 

the ever-evolving customer experience through focused 

programming and communications. 

Within my department we contribute marketing 

communications that impact our consumers, our 


managing directors, and our media relationships. In addition to 

communications, I manage program development and strategic 

planning for our digital platforms, consumer-information databases, 

special events, gift-card programs, Carmike Rewards, 

philanthropic outreach, and new-location media planning. 

Would you share with us one (or more) of your 

proudest professional achievements in our 

industry? 

This is difficult, because I’m unable to recall any 

accomplishment that that did not rest on the shoulders 

of my team members. If I had to mention anything that 

I’m most proud of, it would be the insight to select 

and develop strong team members who aid and 

lift me up to accomplish the great successes we 

celebrate. 

What are some of the most important 

traits needed to succeed in your current 

role? 

Working in an incredibly fast-paced industry, 

I think it’s extremely important in my role 

to cultivate an environment for vision, continued 

growth in leadership, and transparency 

through clear communications. However, at a 

very young age, I had a mentor who taught 

me that trust is irreplaceable. Therefore, in 

any role, my hardwired trait is honesty. 

BARBARA TWIST 

Managing Director 

Art House Convergence 



My first job in exhibition was 

working for the Art House Convergence! 

I was at a meeting at the 

Michigan Theater (home base for the 

Art House Convergence), and my 

boss, Russ Collins, asked if anyone 

there was going to be around 

town in Ann Arbor for the 

summer. I was the only one 

to raise my hand, and he 

asked if I wanted a job. 

Now, three years later, I 

have transitioned from 

assisting with our annual 

conference to managing 

our year-round organization, 

which includes 

the conference, regional 

seminars, and other 

professional development 

and industry resources. 

A great twist of fate. 



Barbara Twist 


My favorite film currently 

is Imperial Dreams. It is an 

incredibly powerful film by 

Malik Vitthal and played the 

2014 Sundance Film Festival. It 

has not yet been released, so 

I encourage everyone to keep 

an eye on it and check it out 

when it comes to your local 

independent theater. 


I love mixing Buncha Crunch 

with popcorn—the sweet and 

salty mix is a definite winner. 

What do your current roles at 

the Michigan Theater and AHC 

involve? 

I am the managing director of 

the Art House Convergence, and 

I am involved with special events 

for the Michigan Theater. For the 

Convergence, I work with Russ 

Collins and an amazing team 

of volunteers and part-time staff 

to keep the art-house movement 

moving forward. I coordinate the 

annual conference, the regional 

seminars, and our year-round resources, 

like our online forum, our annual surveys 

and data analysis, and our various programs, 

like our Sundance Institute Art House Project and 

our Art House Visiting Members program. I also work 

hard to discover new independent exhibitors and reach 

out to independent exhibitors we have not met to make 

sure they know of the great resources we offer. At the 

Michigan Theater, I am currently focused on our Young 

Filmmakers Camp program and on talent and programming 

for the Cinetopia International Film Festival. 



our industry? 

Being a young woman in the industry makes me exceptionally 

aware of the persistent absence of women on 

screen, such that I have to remind myself that women 

make up 51 percent of the world’s population. When I 

joined the Art House Convergence and discovered the 

world of independent exhibition, I was blown away by 

the multitude of strong women I found in independent 

theaters all across the country who worked in every 

role from the concessions stand to the role of executive 

director. My proudest professional achievement is being 

able to work with these women and also to provide 

resources through the art-house community to support 

them as they make bold and daring moves in the exhibition 

scene. 

What are some of the most important skills 

needed to succeed in your current roles? 

Passion for watching films is vital to both my roles; 

exhibition is the most visible part of a film’s life, and 

our film-watching passion ensures that exhibitors like 

us provide the best home for each and every film that 

comes into our theaters. Listening to others is also an 

incredibly important skill. Much like filmmaking is a 

collaborative process, so too is exhibition. Our art-house 

community is dynamic because everyone listens to each 

other and allows all voices to be heard, from the microcinema 

to the multiscreen cinema. Our movement gains 

the most by listening to and supporting one another. n 

ODELL’S 

COMING IN DECEMBER 

FOCUS ON 

LUXURY SEATING 

INCLUDING IMMERSIVE AND 

INTERACTIVE SEATING 

UPDATE ON 

THE ASIAN 

MARKET 

BONUS DISTRIBUTION 

CineAsia DEC. 8–10, 2015 

CALL TO BOOK SPACE TODAY 

SUSAN UHRLASS / SUSAN@BOXOFFICE.COM 

310-876-9090 

RESERVE BY NOV. 13 MATERIALS BY NOV. 16 


COMING IN 

NOVEMBER 

Daniel Craig 

returns as 007 

in Spectre, 

opening Nov. 6 

FOCUS ON 

LATIN 

AMERICA 

SPECIAL REPORT 

ALTERNATIVE 

CONTENT 

BONUS DISTRIBUTION 

ExpoCine NOV. 17–19, 2015 

ON SALE OCTOBER 28

RIDLEY SCOTT TALKS SCI-FI, 3D, AND THE 

DEMANDS OF ART AND COMMERCE 

Interview by Phil Contrino 

At the age of 78, Ridley Scott makes filmmakers half 

his age look downright lazy. Scott has directed a 

movie a year since 2012, and they haven’t been 

small or easy. He’s jumped from sci-fi (Prometheus) 

to a drug-trade thriller (The Counselor) to a biblical 

epic (Exodus: Gods and Kings—pictured below on set). With The 

Martian, Scott challenges himself once again in a genre that he’s already 

conquered with two major classics: Alien and Blade Runner. 

BoxOffice spoke with Scott the morning after The Martian 

premiered at the Toronto International Film Festival. 

interview begins on page XX 


Matt Damon plays astronaut Mark 

Watney, who becomes stranded on 

the red planet after being mistakenly 

left behind by his crewmates in 

Ridley Scott’s The Martian. 


FILMMAKER INTERVIEW > RIDLEY SCOTT 

The cast and crew 

journeyed to the Valley 

of the Moon in Jordan to 

shoot the exteriors that 

would stand in for the 

Martian surface. Interior 

sets were built at Korda 

Filmstúdió in Budapest. 

Congrats on the great reaction to the film. 

Was this the first time you saw it with 

a big audience, or did you sit in on test 

screenings? 

I have to sit in on the test screenings. It’s part of the 

process. We did five, actually. In the five screenings we 

had, we rated in the 90s, which is almost unheard of. 

That usually happens with riotously funny comedies, 

but we’re a drama with some amusing stuff. It was an 

indication that we were in good shape. 

How did you first become interested in The 

Martian? 

I learned years ago that a great script ain’t gonna 

land on your desk. When I’m not working I’m also 

constantly developing material. But this came to me in 

one of those rare occurrences. I’ve been with Fox more 

than 12 years now, and there’s a first-look deal. They 

came to me and said, “Look, we’ve got this script and 

you might want to look at it.” I read it and was highly 

entertained and also impressed that it covered all four 

quadrants of emotion. 

It’s far more uplifting than your other sci-fi 

films. Was it a relief to do something less 

dark? 

I’m a Brit, so positive/negative is about tonality. 

It becomes academic. It’s a very American trait—and 

I’m not being negative here—to have a fun, uplifting 

ending. It makes sense because it helps put bums on 

seats and that’s what we’re all about. We are here to 

entertain, and if you don’t put bums on seats then you 

don’t have a business. 

Do you feel, then, that filmmakers today are 

not as concerned as they should be with the 

commercial aspect? Are there too many who 

are just going to make what they make and 

not worry about recouping the money? 

I’d say the opposite. This is probably going to be 

unpopular, but I think there are too many [who are 

overly concerned with the commercial aspect]. People 

come up with a marketing plan, and that’s why we’re 

seeing a lot of mediocre movies that are sometimes 

blatantly there for commercial reasons, and when you 

do it, too often they fail. 

There’s this notion that directors can’t always 

have art and commerce, but I look at you or 

someone like Stanley Kubrick—who cared a 

great deal about commercial success—and 

it’s obvious that you can have both. Do you 

agree? 

I do. You try to hit that bar. To certain people 

it’s all about art, and sometimes they fly. It’s perfect 

if something is agreeable and raises the bar artistically 

but also works commercially. It doesn’t happen 

very often. 


Did making the movie in 3D change your 

approach as a director? 

Not at all. I’m blessed with a great eye, and I always 

have been. It even got in my way because I used to be 

criticized for being too visual. I would say, “Well, hold 

on. I’m not making a bloody radio play! I’m making 

a movie.” What I have is an advantage, and I’m 

constantly looking for a way of evolving and avoiding 

what I’ve done before. 

What are your thoughts on the current state of 

3D filmmaking? 

The truth is that technology is moving so quickly 

that the high-end 2D [high-dynamic range] nearly 

makes 3D redundant. We shot and edited The Martian 

on 3D and it was pretty straightforward if you’ve got 

the right team, and [cinematographer] Dariusz Wolski 

is great. From my point of view, I can just have fun 

making 3D pictures. But now with 2D becoming so 

great, you really have to ask yourself if you need it. 

Matt Damon is secluded for a big part of the 

film. Was there any method acting coming 

into play? Did you try to separate him from 

the rest of the crew? 

Not at all; I never do that. I think it’s very much a 

choice of the individual actor as to how they want to 

get the work done. Do they want to be miserable for 

16 weeks or do they want to have fun? 

Did Matt nail some of the film’s big emotional 

scenes quickly or did he need a lot of takes to 

get to the heart of it? 

He got it quick. I cast carefully. If I cast very well, 

the actors are going to help me on the day we shoot 

and I’m going to help them. It becomes a partnership. 

I don’t do days and weeks of rehearsal. What I tend to 

do is when we walk on the floor, I literally shoot the 

first rehearsal and rehearse on camera. Because then 

you get the energy of coming in prepared but not rehearsed, 

and then you get a reality. If you over-rehearse 

it goes dead when you shoot, and you spend time 

getting back to what you found in rehearsals. I’m not 

unusual that way. Clint Eastwood does it, and so does 

Martin Scorsese. 

It’s a workmanlike approach. It’s making sure 

you get things done as efficiently as possible. 

Yes, and more actors like it than they care to admit. 

If it’s well written, you don’t have to rehearse. In this 

case we had a great script from a great book. 

As a director you’re not one to shy away from 

releasing directors’ cuts. Did this version come 

out exactly the way you wanted it to? 

Definitely. I never do the long versions for theaters. 

The one that goes out is the one I like. 

The Martian opens wide on October 2. 

The NASA team 

attempting to solve 

the problem of a lone 

astronaut 140 million 

miles from home 

includes Kristen Wiig 

(Bridesmaids) as the 

NASA PR director and 

Chiwetel Ejiofor (12 Years 

a Slave) as the director of 

the Mars mission. 


COMING SOON IN 3D 

THE MARTIAN 

OCT. 2 · FOX 

CAST Matt Damon, Jessica Chastain 

DIR Ridley Scott 

GENRE SF/Adv 

SPECS 3D/Dolby Dig 

PAN 

OCT. 9 · WARNER BROS. 

CAST Hugh Jackman, Levi Miller 

DIR Joe Wright 

GENRE Adv/Fan/Fam 

SPECS 3D/Dolby Atmos 

PARANORMAL ACTIVITY: THE GHOST DIMENSION 

OCT. 23 · PARAMOUNT 

CAST Chris j. Murray, Brit Shaw 

DIR Gregory Plotkin 

GENRE Hor 

SPECS 3D 

THE PEANUTS MOVIE 

NOV. 6 · FOX 

CAST Noah Schnapp, Hadley Belle Miller 

DIR Steve Marino 

GENRE Ani/Com/Fam 


THE HUNGER GAMES: MOCKINGJAY—PART 2 

NOV. 20 · LIONSGATE 

CAST Jennifer Lawrence, Josh Hutcherson 

DIR Francis Lawrence 

GENRE Act/Adv/SF 

SPECS 3D/IMAX/Dolby Atmos 

THE GOOD DINOSAUR 

NOV. 25 · DISNEY 

CAST Raymond Ochoa, Jeffrey Wright 

DIR Peter Sohn 


SPECS 3D/Quad 

STAR WARS: THE FORCE AWAKENS 

DEC. 18 · DISNEY 

CAST Daisy Ridley, John Boyega 

DIR J.J. Abrams 

GENRE Act/Adv/SF 

SPECS 3D/IMAX/Dolby Atmos 

POINT BREAK 

DEC. 25 · WARNER BROS. 

CAST Édgar Ramírez, Luke Bracey 

DIR Ericson Core 

GENRE Act/Thr 


NORM OF THE NORTH 

JAN. 15 · LIONSGATE 

CAST Rob Schneider, Ken Jeong 

DIR Trevor Wall 


SPECS 3D 


ALSO UPCOMING IN 3D 

2016 

JAN 29 FOX/DREAMWORKS ANIMATION KUNG FU PANDA 3 

JAN 29 DISNEY THE FINEST HOURS 

MAR 4 DISNEY ZOOTOPIA 

APR 15 DISNEY THE JUNGLE BOOK 

APR 29 DISNEY/IMAX A BEAUTIFUL PLANET 

APR 29 FOCUS / GRAMERCY RATCHET & CLANK 

MAY 6 DISNEY CAPTAIN AMERICA: CIVIL WAR 

MAY 20 SONY/COLUMBIA THE ANGRY BIRDS MOVIE 

MAY 27 DISNEY ALICE THROUGH THE LOOKING GLASS 

JUN 10 UNIVERSAL WARCRAFT 

JUN 17 DISNEY FINDING DORY 

JUN 24 FOX INDEPENDENCE DAY RESURGENCE 

JUL 1 WARNER BROS. TARZAN 

JUL 8 UNIVERSAL THE SECRET LIFE OF PETS 

JUL 22 FOX ICE AGE: COLLISION COURSE 

JUL 22 WARNER BROS. KING ARTHUR 

AUG 5 WARNER BROS. SUICIDE SQUAD 

AUG 12 DISNEY PETE’S DRAGON 

AUG 12 UNIVERSAL SPECTRAL 

AUG 19 FOCUS FEATURES KUBO AND THE TWO STRINGS 

SEP 23 WARNER BROS. STORKS 

NOV 4 DISNEY DOCTOR STRANGE 

NOV 4 FOX/DREAMWORKS ANIMATION TROLLS 

NOV 11 SONY/TRISTAR BILLY LYNN’S LONG HALFTIME WALK 

NOV 18 WARNER BROS. FANTASTIC BEASTS AND WHERE TO FIND THEM 

NOV 23 DISNEY MOANA 

NOV 23 UNIVERSAL THE GREAT WALL 

DEC 16 DISNEY ROGUE ONE: A STAR WARS STORY 

2017 

JAN 13 WARNER BROS. GEOSTORM 

FEB 10 WARNER BROS. THE LEGO BATMAN MOVIE 

MAR 10 FOX/DREAMWORKS ANIMATION BOSS BABY 

MAR 10 UNIVERSAL KONG: SKULL ISLAND 

MAR 17 DISNEY BEAUTY AND THE BEAST 

MAR 31 DISNEY/DREAMWORKS GHOST IN THE SHELL 

MAR 31 SONY/COLUMBIA GET SMURFY 

APR 7 FOX FERDINAND 

MAY 5 DISNEY GUARDIANS OF THE GALAXY 2 

MAY 26 DISNEY STAR WARS: EPISODE VIII 

JUN 16 DISNEY TOY STORY 4 

JUL 7 

DISNEY 

PIRATES OF THE CARIBBEAN: 

DEAD MEN TELL NO TALES 

JUL 28 SONY/COLUMBIA UNTITLED SPIDER-MAN FILM 

SEP 22 WARNER BROS. THE LEGO NINJAGO MOVIE 

OCT 6 WARNER BROS. JUNGLE BOOK: ORIGINS 

NOV. 3 DISNEY THOR: RAGNAROK 

NOV 22 DISNEY COCO 

DEC 22 FOX/DREAMWORKS ANIMATION THE CROODS 2 

2018 

FEB 9 WARNER BROS. UNTITLED WARNER ANIMATION PROJECT 

FEB 16 FOX/DREAMWORKS ANIMATION LARRIKINS 

MAR 9 DISNEY UNTITLED DISNEY ANIMATION FILM 1 

MAR 23 FOX ANUBIS 

MAY 4 DISNEY AVENGERS: INFINITY WAR PART I 

MAY 18 WARNER BROS. THE LEGO MOVIE SEQUEL 

MAY 25 DISNEY UNTITLED HAN SOLO PROJECT 

JUN 15 DISNEY UNTITLED PIXAR ANIMATION FILM 1 

JUN 29 FOX/DREAMWORKS ANIMATION HOW TO TRAIN YOUR DRAGON 3 

JUL 6 DISNEY BLACK PANTHER 

NOV 2 DISNEY CAPTAIN MARVEL 

NOV 21 DISNEY UNTITLED DISNEY ANIMATION FILM 2 

2019 

MAY 3 DISNEY AVENGERS: INFINITY WAR PART II 

JUL 12 DISNEY INHUMANS 

NOV 27 DISNEY UNTITLED DISNEY ANIMATION FILM 3 


FILM CAPSULES BY JONATHAN PAPISH 

THE MARTIAN 

October 2 (3D) 

n In this sci-fi action film from Ridley Scott, 

astronaut Mark Watney (Matt Damon) is 

presumed dead and abandoned on Mars by his 

fellow crew members. After signaling NASA that 

he has indeed survived, Watney must draw upon 

his ingenuity, wit, and spirit to subsist on the 

hostile planet while waiting for an improbable 

rescue mission to reach him. Drew Goddard’s 

script is adapted from Andy Weir’s 2011 novel 

of the same name. 

DISTRIBUTOR 20th Century Fox CAST Matt 

Damon, Jessica Chastain, Kristen Wiig, 

Jeff Daniels, Michael Peña, Kate Mara, 

Sean Bean, Sebastian Stan, Aksel Hennie, 

Donald Glover, Mackenzie Davis, and 

Chiwetel Ejiofor WRITER Drew Goddard 

DIRECTOR Ridley Scott GENRE Action / 

Adventure RATING PG-13 for some strong 

language, injury images, and brief nudity 

RUNNING TIME 130 min. 

FREEHELD 

October 2 (Limited) / October 16 (Wide) 

n Freeheld is the riveting and emotionally powerful true 

story of a New Jersey woman’s fight for workplace equality. 

Laurel Hester (Julianne Moore), an undercover police 

officer, is diagnosed with terminal cancer and must appeal to 

her county’s board of freeholders in order to ensure that her 

domestic partner, Stacie (Ellen Page), receives access to her 

pension benefits. Michael Shannon plays Hester’s conservative 

yet supportive police partner, and Steve Carrell is the 

founder of an LGBT rights advocacy group who takes up 

the case. 

DISTRIBUTOR Lionsgate / Summit Entertainment CAST 

Julianne Moore, Ellen Page, Michael Shannon WRITER 

Ron Nyswaner DIRECTOR Peter Sollett GENRE Biography 

/ Drama / Romance RATING PG-13 for some 

thematic elements, language, and sexuality RUNNING 

TIME 103 min. 

STEVE JOBS 

October 9 (Limited) / October 23 (Wide) 

Adapted from Walter Isaacson’s best-selling biography of the late, great Apple 

CEO, Steve Jobs takes viewers behind the stage at three iconic Apple product 

launches to paint an intimate portrait of a man few knew beyond the careful 

public persona he meticulously crafted. Director Danny Boyle teams up with 

the “master of the monologue” Aaron Sorkin. Steve Jobs had its premiere at 

September’s Telluride Film Festival. 

DISTRIBUTOR Universal Pictures CAST Michael Fassbender, Kate 

Winslet, Seth Rogen, Jeff Daniels WRITER Aaron Sorkin DIRECTOR 

Danny Boyle GENRE Drama RATING R for language RUNNING TIME 

122 min. 


PAN 


n Very little is known about the plot of Pan except that it is an 

origin story. Newcomer Levi Miller will play Pan opposite Hugh 

Jackman as Blackbeard. The Australian child actor won a drama 

award for his portrayal of Peter Pan in the stage play when he was 

just five years old. The film was set to be released in July 2015 but 

was pushed back to October for unknown reasons and could be a 

good piece of family counter-programming. 

DISTRIBUTOR Warner Bros. Pictures CAST Hugh Jackman, 

Garrett Hedlund, Rooney Mara, Cara Delevingne, Amanda 

Seyfried, Levi Miller, Adeel Akhtar, Jack Charles, Leni 

Zieglmeier WRITER Jason Fuchs DIRECTOR Joe Wright 

GENRE Adventure / Family / Fantasy RATING PG for fantasy 

action violence, language, and some thematic material 


CRIMSON PEAK 

October 16 (IMAX) 

Young author Edith Cushing (Mia Wasikowska) is 

swept off her feet by Sir Thomas Sharpe (Tom Hiddleston), 

but when she moves into her new husband’s 

crumbling mansion atop a mountain, she discovers he 

isn’t the charming man he appeared to be. A gothic 

romantic ghost story, Crimson Peak is Guillermo Del 

Toro’s attempt to honor the classics of the haunted 

house genre such as The Haunting and Kubrick’s The 

Shining. 

DISTRIBUTOR Universal Pictures CAST Mia Wasikowska, 

Jessica Chastain, Tom Hiddleston, 

Charlie Hunnam, Jim Beaver WRITERS Guillermo 

Del Toro, Matthew Robbins DIRECTOR Guillermo 

Del Toro GENRE Drama / Fantasy / Horror RAT- 

ING R for bloody violence, some sexual content, 

and brief strong language RUNNING TIME TBD 

BRIDGE OF SPIES 

October 16 

Tom Hanks plays Brooklyn lawyer James B. Donovan, who is thrown into the 

middle of escalating tensions between the U.S. and Russia during the Cold War 

when he’s recruited by the CIA to negotiate the release of a downed American pilot. 

Based on the true story of the 1960 U-2 incident, Bridge of Spies is Spielberg’s first 

directing effort since 2012’s Lincoln. The film will have its premiere at the New York 

Film Festival this month. 

DISTRIBUTOR Walt Disney Studios CAST Tom Hanks, Mark Rylance, Amy 

Ryan, Alan Alda WRITERS Matt Charman, Ethan Coen, Joel Coen DIRECTOR 

Steven Spielberg GENRE Drama / Thriller RATING PG-13 for some violence 

and brief strong language RUNNING TIME TBD 


ON SCREEN > OCTOBER 

BURNT 


Rock-star chef Adam Jones (Bradley Cooper) figuratively burnt his first 

two-star Michelin-rated Paris restaurant to the ground with drugs and 

erratic behavior. Now he’s cleaned up his act and has moved to London to 

rebuild a once hopeful career and to mend broken relationships, but he’ll 

need the best of the best at his side in order to gain that elusive third star. 

DISTRIBUTOR The Weinstein Company CAST Bradley Cooper, 

Sienna Miller, Omar Sy, Daniel Brühl, Matthew Rhys, Alicia 

Vikander, Uma Thurman, Emma Thompson WRITER Steven 

Knight DIRECTOR John Wells GENRE Comedy / Drama RATING 

TBD RUNNING TIME TBD 

GOOSEBUMPS 


Amazingly the first big-screen adaptation of the popular 

book series every 30-something grew up reading, Goosebumps 

isn’t based directly on any one of R.L. Stein’s 181 

short stories but is rather a fake biographical film in which 

Stein (Jack Black, above) pens a horror story and his creations 

come to life. Stein’s daughter Hannah (Odeya Rush) 

and next-door neighbor Zach (Dylan Minnette) team up 

with the writer in order to recapture the monsters before 

they destroy their small town. 

DISTRIBUTOR Sony Pictures / Columbia Pictures CAST 

Jack Black, Dylan Minnette, Odeya Rush, Amy Ryan, 

Ryan Lee, Jillian Bell WRITER Darren Lemke DIRECTOR 

Rob Letterman GENRE Action / Adventure / Comedy 

RATING PG for scary and intense creature action and 

images and for some rude humor RUNNING TIME TBD 

JEM AND THE HOLOGRAMS 


Small-town singer Jerrica Benton (Aubrey Peeples), her younger sister, and two 

friends go from YouTube viral sensations to bona fide global superstars in this 

musical fantasy film based on the 1980s animated television program of the 

same name. As the band hurtles toward the big time and threatens to 

disintegrate along the way, Jem turns to an old friend to learn the 

true meaning of family and friendship. 

DISTRIBUTOR Universal Pictures CAST Aubrey Peeples, 

Stefanie Scott, Hayley Kiyoko, Aurora Perrineau, 

Juliette Lewis, Ryan Guzman WRITER Ryan Landels 

DIRECTOR Jon M. Chu GENRE Adventure / Drama / 

Fantasy RATING PG for thematic material including 

reckless behavior, brief suggestive content, and 

some language RUNNING TIME TBD 


THE LAST WITCH HUNTER 


According to the story line in The Last Witch Hunter, witches 

unleashed Black Death upon the world for centuries until armies 

of witch hunters battled the supernatural creatures. One hunter, 

Kaulder (Vin Diesel, left), managed to take out the queen witch 

and decimate her legions of followers. Before she died, however, 

the queen witch cursed Kaulder with immortality, and he has 

spent his days hunting down rogue witches, forever separated 

from his loved ones who passed away centuries ago. 

DISTRIBUTOR Lionsgate-Summit Entertainment CAST Vin 

Diesel, Rose Leslie, Elijah Wood, Michael Caine WRITERS 

Cory Goodman, D.W. Harper, Melisa Wallack DIRECTOR 

Breck Eisner GENRE Adventure / Drama / Fantasy RATING 

Rated PG-13 for sequences of fantasy violence and frightening 

images RUNNING TIME TBD 

PARANORMAL ACTIVITY: 

THE GHOST DIMENSION 


Ghost Dimension is the sixth and final installment in the 

found-footage horror series. This time the story centers on a 

new family, the Fleeges, who move into their Palo Alto home 

and discover a video camera and a box of tapes in the garage. 

When they begin to film their surroundings, they start to notice 

the paranormal activity around them. Producer Jason Blum has 

promised fans that all their remaining questions will be answered 

in The Ghost Dimension. Something tells me they still won’t rest 

easy at night. 

DISTRIBUTOR Paramount Pictures CAST Chris J. 

Murray, Brit Shaw, Ivy George, Katie Featherston 

WRITERS Jason Pagan, Andrew Deutschman, Adam 

Robitel, Gavin Heffernan DIRECTOR Gregory Plotkin 

GENRE Horror RATING TBD RUNNING TIME 95 min. 

ROCK THE KASBAH 


Richie Lanz (Bill Murray, left), a music manager who’s 

seen better days, takes the only offer he can 

get and ends up with his last remaining 

client (Zooey Deschanel) on a USO tour 

in Afghanistan. While there he discovers a 

young Afghan girl with an extraordinary 

voice and decides to manage her through 

Afghan Star, Afghanistan’s version of 

American Idol. Bruce Willis plays an 

American private operative tasked with 

protecting Lanz. 

DISTRIBUTOR Open Road Films 

CAST Bill Murray, Bruce Willis, 

Kate Hudson, Zooey Deschanel, 

Danny McBride WRITER Mitch 

Glazer DIRECTOR Barry Levinson 

GENRE Comedy / Music RATING 

TBD RUNNING TIME TBD 



OUR BRAND IS CRISIS 


Our Brand Is Crisis is a fictionalized account of the 2005 documentary of the same name about an American 

consulting firm hired to run the campaign strategies for two Bolivian presidential candidates. Sandra 

Bullock plays Jane Bodine, chief strategist from a top political consulting film, and Billy Bob Thornton 

plays Pat Candy, her nemesis leading the opposition’s campaign. Prolific director David Gordon Green (All 

the Real Girls, Pineapple Express) directs from a script penned by Peter Straughan (Tinker Tailor Soldier Spy). 

DISTRIBUTOR Warner Bros. Pictures CAST Sandra Bullock, Billy Bob Thornton, Anthony Mackie, 

Joaquim de Almeida, Ann Dowd, Scoot McNairy, Zoe Kazan WRITER Peter Straughan DIRECTOR 

David Gordon Green GENRE Comedy / Drama RATING TBD RUNNING TIME 108 min. 

SCOUTS GUIDE TO THE ZOMBIE APOCALYPSE 


Just in time for Halloween, three nerdy boy scouts team up with the town hottie to battle a zombie apocalypse 

in this comedy from Christopher B. Landon, who got his horror chops directing the last Paranormal 

Activity chapter. The screenplay was featured in 2010’s black list, a list of the best unmade scripts of the year. 

DISTRIBUTOR Paramount Pictures CAST Tye Sheridan, Logan Miller, Joey Morgan, Sarah Dumont, 

David Koechner, Halston Sage, Patrick Schwarzenegger, Cloris Leachman WRITERS 

Carrie Evans, Emi Mochizuki, Christopher B. Landon DIRECTOR Christopher B. Landon GENRE 

Comedy / Horror RATING R for zombie violence and gore, sexual material, graphic nudity, and 

language throughout RUNNING TIME 93 min. 

L I M I T E D R E L E A S E S 

HELL AND BACK 


Two mortals search the depths of hell for their best friend after he’s 

accidentally sent to be sacrificed in this stop-motion adult animated 

comedy. Along their journey they receive “help” from a slew of misfit 

demons. Nick Swardson (Grandma’s Boy), T.J. Miller (Silicon Valley) 

and Rob Riggle (The Hangover) voice the trio of slacker buddies. This 

is animation studio ShadowMachine’s first foray into feature-length 

films, and fans of their irreverent Robot Chicken will know exactly 

what to expect. 

DISTRIBUTOR Freestyle Releasing CAST Nick Swardson, Mila 

Kunis, Bob Odenkirk, T.J. Miller, Rob Riggle, Susan Sarandon, 

Danny McBride WRITERS Tom Gianas, Hugh Sterbakov, Zeb 

Wells DIRECTORS Tom Gianas, Ross Shuman GENRE Animation / 

Adventure / Comedy RATING R for pervasive strong, crude and 

sexual content, language, and some drug use RUNNING TIME TBD 


HE NAMED ME MALALA 


Fifteen-year-old Pakistani Malala 

Yousafzai was shot in the head by the 

Taliban for speaking her mind and advocating 

girls’ education in the repressive 

nation. Malala miraculously survived 

and started a campaign to support girls’ 

education worldwide, for which she was 

later awarded the Nobel Peace Prize. 

This documentary directed by David 

Guggenheim (An Inconvenient Truth) 

gives viewers an inside glimpse into this 

extraordinary young girl’s life, from her 

relationship with her father to her impassioned 

speeches at the United Nations. 

DISTRIBUTOR Fox Searchlight 

Pictures CAST Malala Yousafzai 

DIRECTOR David Guggenheim GENRE 

Documentary RATING PG-13 for thematic 

elements involving disturbing 

images and threats RUNNING TIME 

87 min. 

JAFAR PANAHI’S TAXI 


Iranian New Wave filmmaker Jafar Panahi has been banned from making politically 

subversive films in his country since 2010. His previous two films, This Is 

Not a Film and Closed Curtain, were filmed secretly in his Tehran apartment and 

smuggled out to festival directors in Europe. In Taxi Panahi ventures out into the 

vibrant streets of the Iranian capital, attaching his camera to the dashboard of his 

taxicab to capture a spirited slice of Iranian society through the candid observations 

of passengers. 

DISTRIBUTOR Kino Lorber WRITER Jafar Panahi DIRECTOR Jafar Panahi 

GENRE Documentary RATING TBD RUNNING TIME 82 min. 

LEGEND 


Mob boss Whitey Bulger of South Boston is getting the biopic treatment in Black 

Mass this fall, so why not Reggie and Ronnie Kray, two of London’s most 

notorious criminals? Brian Helgeland writes and directs based on 

the book The Profession of Violence: The Rise and Fall of the Kray 

Twins, which follows the exploits of the identical twins and East 

Enders (both played by Mad Max’s Tom Hardy). The film 

opened to mixed reviews across the pond where it premiered 

September 9 and grossed $9 million on its opening weekend. 

> note: Legend has now moved to November 20. 

DISTRIBUTOR Universal Pictures CAST Tom Hardy, 

Emily Browning, David Thewlis, Christopher Eccleston, 

Chazz Palminteri, Tara Fitzgerald, Taron 

Egerton WRITER Brian Helgeland DIRECTOR Brian 

Helgeland GENRE Biography / Crime / Thriller 

RATING R for strong violence, language throughout, 

some sexual and drug material RUNNING 

TIME 131 min. 



SHANGHAI 


American Naval Agent Paul Soames (John Cusack) travels to 

Shanghai in the months before Pearl Harbor to investigate the 

suspicious killing of a friend. As he unravels the mysteries of the 

death, he falls in love with a local and stumbles upon a much 

larger secret. Shanghai opened in China more than five years ago 

where it made $6.8 million. 

DISTRIBUTOR The Weinstein Company CAST John Cusack, 

Gong Li, Chow Yun-fat, Jeffrey Dean Morgan, David 

Morse, Ken Watanabe WRITER Hossein Amini DIRECTOR Mikael 

Håfström GENRE Drama / Mystery / Romance RATING 

R for strong violence, some drug use, and brief language 


SHOUT GLADI GLADI 


More than two million women and girls in Africa suffer from obstetric fistula, 

mainly due to inadequate maternal care. Patients not only suffer from the pain 

of constant incontinence, kidney disorders, or even death if left untreated, but 

also from the associated social stigma. This documentary directed by Adam 

Friedman and Iain Kennedy follows Ann Gloag, a philanthropist and former 

nurse who drives the movement to save and empower these vulnerable women. 

DISTRIBUTOR International Film Circuit CAST Meryl Streep WRITERS Adam 

Friedman, Iain Kennedy DIRECTORS Adam Friedman, Iain Kennedy GENRE 

Documentary RATING TBD RUNNING TIME 79 min. 

BIG STONE GAP 


The story of a small town with a big heart, Big Stone 

Gap was shot on location near the titular town in 

the rolling hills of Virginia and tells the story of the 

town’s self-declared spinster, Ave Maria Mulligan 

(Ashley Judd). Ave Maria leads a quiet and content 

single life working at the local pharmacy until she 

discovers a long-buried family secret. Adriana Trigiani 

writes and directs based on her best-selling novel of 

the same name. 

DISTRIBUTOR Picturehouse CAST Ashley Judd, 

Patrick Wilson, Jenna Elfman, Whoopi Goldberg, 

John Benjamin Hickey, Anthony LaPaglia, 

Jane Krakowski, Jasmine Guy WRITER Adriana 

Trigiani DIRECTOR Adriana Trigiani GENRE Comedy 

/ Drama RATING PG-13 for brief suggestive 

material RUNNING TIME 93 min. 


ROOM 

October 16 (Limited) / November 6 (Wide) 

Joy Newsome (Brie Larson) and her five-year-old son, Jack, are 

being held captive in a 10-by-10-foot garden shed. Seven years 

earlier, Newsome had been kidnapped and brought to “Room,” 

and she and her son haven’t been outside since. Pushed to the 

brink, she does what any mother would do for her son and 

hatches a plan for him to escape into the world he’s never 

experienced. Room premiered to rave reviews at September’s 

Telluride Film Festival. 

DISTRIBUTOR A24 CAST Brie Larson, Jacob Tremblay, 

Joan Allen, Sean Bridgers, William H. Macy WRITER 

Emma Donoghue DIRECTOR Lenny Abrahamson GENRE 

Drama RATING R for language RUNNING TIME 118 min. 

WOODLAWN 


Faith-based distributor Pure Flix brings audiences Woodlawn, the story of African-American 

star football player Tony Nathan and the spiritual awakening of the 

entire Woodlawn High School football team amid racial tensions in 1973 Birmingham, 

Alabama. Jon Voight plays legendary University of Alabama coach Bear 

Bryant, who recruited Nathan to play college ball for the Crimson Tide. 

DISTRIBUTOR Pure Flix CAST Caleb Castille, Sean Astin, C. Thomas Howell, 

Jon Voight WRITERS Jon Erwin, Quinton Peeples DIRECTORS Andrew Erwin, 

John Erwin GENRE Drama RATING PG for thematic elements including 

some racial tension/violence RUNNING TIME TBD 

TRUTH 


An account of the Killian documents controversy 

in which purportedly forged documents critical of 

George W. Bush’s Air National Guard service were 

used by CBS News in a 60 Minutes story ahead of the 

2004 presidential election. Robert Redford plays news 

correspondent Dan Rather, whose career was ruined 

after the scandal was exposed, and Cate Blanchett 

takes on the role of news producer Mary Mapes, whose 

book Truth and Duty was adapted for this newsroom 

drama by first-time writer-director James Vanderbilt. 

DISTRIBUTOR Sony Pictures Classics CAST Cate 

Blanchett, Robert Redford, Topher Grace, 

Elisabeth Moss, Dennis Quaid WRITER James 

Vanderbilt DIRECTOR James Vanderbilt GENRE 

Drama RATING R for language and a brief nude 

photo TBD RUNNING TIME 121 min. 



SUFFRAGETTE 


Carey Mulligan leads the charge as Maud, a 

working wife and mother whose life is changed 

when she joins the suffragette movement in 

early 20th-century Britain. Together with her 

dedicated sisters in the cause, Maud is forced 

underground and engages in a dangerous game 

of cat-and-mouse with an aggressive police 

force. Maud’s character is a fictional creation, 

but the events surrounding her are inspired by 

true events. The movie premiered at September’s 

Telluride Film Festival to mixed reviews. 

DISTRIBUTOR Focus Features CAST Carey 

Mulligan, Helena Bonham Carter, Brendan 

Gleeson, Anne-Marie Duff, Ben Whishaw, 

Meryl Streep WRITER Abi Morgan DIRECTOR 

Sarah Gavron GENRE Drama RATING PG-13 

for some intense violence, thematic elements, 

brief strong language, and partial 

nudity RUNNING TIME 106 min. 


I SMILE BACK 


Comedian Sarah Silverman gets all dramatic in this 

moody film that premiered at this year’s Sundance 

Film Festival. Silverman plays Laney, a housewife addicted 

to drugs and prone to compulsive, self-destructive 

behavior. Josh Charles plays her husband, Bruce, 

supportive to a fault until Laney’s antics put the whole 

family in danger and they’re both forced to confront 

her issues head-on. The film received mixed reviews at 

Sundance with Silverman’s performance the only real 

standout in an otherwise typical indie drama. 

DISTRIBUTOR Broad Green Pictures CAST Sarah 

Silverman, Josh Charles, Thomas Sadoski, Mia 

Barron, Skylar Gaertner WRITERS Paige Dylan, 

Amy Koppelman DIRECTOR Adam Salky GENRE 

Drama RATING R for strong sexual content, 

substance abuse/disturbing behavior, and language 


THE WONDERS 


A powerful coming of age story, The Wonders centers on a family 

of Italian beekeepers living in isolation in central Italy. The family’s 

way of life hasn’t changed for generations, and despite her talent, 

eldest daughter Gelsomina isn’t sure she wants to take the reins of the 

family business. The simultaneous intrusion of a young farmhand 

and a production crew for a local reality show throws this seemingly 

tight-knit family into disarray as the strict rules that once held them 

together begin to break. The Wonders won the second place Grand 

Prix Award at the 2014 Cannes Film Festival. 

DISTRIBUTOR Oscilloscope CAST Alba Rohrwacher, André 

Hennicke, Monica Bellucci WRITER Alice Rohrwacher DIREC- 

TOR Alice Rohrwacher GENRE Drama RATING TBD RUNNING 

TIME 110 min. 


BOOKING GUIDE 

Compiled by Daniel Garris 

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS 

DISNEY 818-560-1000 Ask for Distribution 

BRIDGE OF SPIES Fri, 10/16/15 WIDE Tom Hanks, Mark Rylance Steven Spielberg PG-13 Dra/Thr Dolby Dig 

THE GOOD DINOSAUR Wed, 11/25/15 WIDE Raymond Ochoa, Jack Bright Peter Sohn NR Ani/Com/Fam 3D/Quad 

STAR WARS: 

THE FORCE AWAKENS 

Fri, 12/18/15 WIDE Daisy Ridley, John Boyega J.J. Abrams NR Act/Adv/SF 

3D/IMAX/Dolby 

Atmos 

THE FINEST HOURS Fri, 1/29/16 WIDE Chris Pine, Casey Affleck Craig Gillespie NR Dra/Thr 3D/IMAX/Dolby Dig 

ZOOTOPIA 

Fri, 3/4/16 WIDE 

Jason Bateman, Ginnifer 

Goodwin 

Byron Howard, Rich 

Moore 

NR Ani/Adv/Fam 3D/Dolby Dig 

THE JUNGLE BOOK Fri, 4/15/16 WIDE Neel Sethi, Bill Murray Jon Favreau NR Ani/Adv 

3D/IMAX/Dolby 

Atmos 

A BEAUTIFUL PLANET Fri, 4/29/16 LTD. Toni Myers NR Doc 3D/IMAX 

CAPTAIN AMERICA: 

CIVIL WAR 

ALICE THROUGH THE 

LOOKING GLASS 

Fri, 5/6/16 WIDE Chris Evans, Robert Downey Jr. 

Anthony Russo, Joe 

Russo 

NR 

Act/Adv 

3D/IMAX/Dolby 

Atmos 

Fri, 5/27/16 WIDE Johnny Depp, Mia Wasikowska James Bobin NR Adv/Fan 3D/IMAX 

FINDING DORY Fri, 6/17/16 WIDE Ellen DeGeneres, Albert Brooks Andrew Stanton NR Ani/Adv/Fam 3D/IMAX/Dolby Dig 

THE BFG Fri, 7/1/16 WIDE Mark Rylance, Ruby Barnhill Steven Spielberg NR Adv/Fan/Fam Dolby Dig 

PETE’S DRAGON 

Oakes Fegley, Bryce Dallas 

Fri, 8/12/16 WIDE 

Howard 

David Lowery NR Ani/Fan/Fam 3D 

DOCTOR STRANGE 

Benedict Cumberbatch, 

Fri, 11/4/16 WIDE 

Chiwetel Ejiofor 

Scott Derrickson NR Act/Adv 3D/IMAX 

MOANA 

Wed, 11/23/16 WIDE Dwayne Johnson 

Ron Clements, John 

Musker 

NR Ani/Mus/Fam 3D 

ROGUE ONE: 

A STAR WARS STORY 

Fri, 12/16/16 WIDE Felicity Jones, Diego Luna Gareth Edwards NR Act/Adv/SF 3D/IMAX/Dolby Dig 

EUROPACORP FILMS, USA 310-205-0255 Ask for Distribution 

SHUT IN Fri, 2/19/16 WIDE Naomi Watts, Oliver Platt Farren Blackburn NR Thr 

NINE LIVES Fri, 4/29/16 WIDE Kevin Spacey, Jennifer Garner Barry Sonnenfeld NR Com 

THE LAKE Fri, 7/15/16 WIDE Sullivan Stapleton, J.K. Simmons Steven Quale NR Act/Thr 

FOCUS FEATURES 424-214-6360 

SUFFRAGETTE Fri, 10/23/15 EXCL NY/LA Carey Mulligan, Meryl Streep Sarah Gavron PG-13 Dra Dolby Dig 

THE DANISH GIRL Fri, 11/27/15 EXCL NY/LA Eddie Redmayne, Alicia Vikander Tom Hooper NR Dra Dolby Dig 

THE FOREST Fri, 1/8/16 WIDE Natalie Dormer, Taylor Kinney Jason Zada NR Hor/Thr 

RACE Fri, 2/19/16 WIDE Stephan James, Jeremy Irons Stephen Hopkins NR Dra/Sport 

LONDON HAS FALLEN Fri, 3/4/16 WIDE Gerard Butler, Aaron Eckhart Babak Najafi NR Act/Thr Dolby Dig 

THE YOUNG MESSIAH 

Adam Greaves-Neal, 

Fri, 3/11/16 WIDE 

Sara Lazzaro 

Cyrus Nowrasteh NR Dra 

RATCHET & CLANK 

James Arnold Taylor, 

Jericca Cleland, Kevin 

Fri, 4/29/16 WIDE 

David Kaye 

Munroe 

NR Ani/SF/Adv 3D 

KUBO AND 

THE TWO STRINGS 

Art Parkinson, 

Fri, 8/19/16 WIDE 

Matthew McConaughey 

Travis Knight NR Ani/Adv/Fam 3D 

A MONSTER CALLS Fri, 10/14/16 WIDE Lewis MacDougall, Liam Neeson J.A. Bayona NR Dra/Fan 

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

THE MARTIAN Fri, 10/2/15 WIDE Matt Damon, Jessica Chastain Ridley Scott PG-13 SF/Adv 3D/Dolby Atmos 

THE PEANUTS MOVIE 

Noah Schnapp, 

Fri, 11/6/15 WIDE 

Hadley Belle Miller 

Steve Martino G Ani/Com/Fam 3D/Dolby Atmos 

VICTOR FRANKENSTEIN Wed, 11/25/15 WIDE Daniel Radcliffe, James McAvoy Paul McGuigan PG-13 Hor/SF Dolby Dig 

ALVIN AND THE CHIPMUNKS: 

THE ROAD CHIP 

Wed, 12/23/15 WIDE Jason Lee, Justin Long Walt Becker NR Ani/Com/Fam Dolby Dig 

JOY 

Jennifer Lawrence, 

Fri, 12/25/15 WIDE 

Robert De Niro 

David O. Russell NR Com/Dra 

THE REVENANT Fri, 12/25/15 LTD. Leonardo DiCaprio, Tom Hardy Alejandro G. Iñárritu NR Adv/Dra Dolby Dig 

KUNG FU PANDA 3 

Fri, 1/29/16 WIDE Jack Black, Angelina Jolie 

Jennifer Yuh, Alessandro 

Carloni 

NR Ani/Com/Fam 3D/Dolby Dig 

DEADPOOL Fri, 2/12/16 WIDE Ryan Reynolds, Morena Baccarin Tim Miller NR Act/Adv Dolby Dig 



KEEPING UP WITH 

THE JONESES 

Fri, 4/1/16 WIDE Zach Galifianakis, Jon Hamm Greg Mottola NR Com 

EDDIE THE EAGLE Fri, 4/29/16 WIDE Taron Egerton, Hugh Jackman Dexter Fletcher NR 

X-MEN: APOCALYPSE 

INDEPENDENCE DAY 

RESURGENCE 

MIKE & DAVE NEED 

WEDDING DATES 

Fri, 5/27/16 WIDE 

James McAvoy, 

Michael Fassbender 

Com/Dra/ 

Sport 

Bryan Singer NR Act/Adv 

Fri, 6/24/16 WIDE Liam Hemsworth, Jeff Goldblum Roland Emmerich NR Act/Adv/SF 3D 

Fri, 7/8/16 WIDE Zac Efron, Adam DeVine Jake Szymanski NR Com 

ICE AGE: COLLISION COURSE Fri, 7/22/16 WIDE Ray Romano, John Leguizamo Mike Thurmeier NR Ani/Com/Fam 3D 

A CURE FOR WELLNESS Fri, 9/23/16 WIDE Dane DeHaan, Mia Goth Gore Verbinski NR Hor/Thr Dolby Dig 

GAMBIT Fri, 10/7/16 WIDE Channing Tatum, Lea Seydoux NR Act/Adv 

TROLLS Fri, 11/4/16 WIDE Anna Kendrick Mike Mitchell NR Ani/Com/Fam 3D 

ASSASSIN’S CREED 

MISS PEREGRINE’S HOME 

FOR PECULIAR CHILDREN 

Wed, 12/21/16 WIDE 

Michael Fassbender, 

Marion Cotillard 

Justin Kurzel NR Act/Adv Dolby Dig 

Sun, 12/25/16 WIDE Eva Green, Asa Butterfield Tim Burton NR Adv/Fan 

FOX SEARCHLIGHT 212-556-2400 

HE NAMED ME MALALA Fri, 10/2/15 LTD. Malala Yousafzai Davis Guggenheim PG-13 Doc 

BROOKLYN 

Saoirse Ronan, 

Wed, 11/4/15 LTD. 

Domhnall Gleeson 

John Crowley PG-13 Rom/Dra 

YOUTH Fri, 12/4/15 LTD. Michael Caine, Harvey Keitel Paolo Sorrentino R Dra 

DEMOLITION Fri, 4/8/16 LTD. Jake Gyllenhaal, Naomi Watts Jean-Marc Vallée R Dra/Rom 

A BIGGER SPLASH Fri, 5/13/16 LTD. Ralph Fiennes, Tilda Swinton Luca Guadagnino NR Dra/Thr 

LIONSGATE 310-309-8400 

FREEHELD Fri, 10/2/15 LTD. Julianne Moore, Ellen Page Peter Sollett PG-13 Dra/Rom 

SICARIO Fri, 10/2/15 WIDE Emily Blunt, Benicio del Toro Denis Villeneuve R Act/Cri/Dra Dolby Atmos 

THE LAST WITCH HUNTER Fri, 10/23/15 WIDE Vin Diesel, Rose Leslie Breck Eisner PG-13 Act/Fan 

LOVE THE COOPERS Fri, 11/13/15 WIDE John Goodman, Diane Keaton Jessie Nelson NR Com/Dra 

THE HUNGER GAMES: 

MOCKINGJAY - PART 2 

Fri, 11/20/15 WIDE 

Jennifer Lawrence, 

Josh Hutcherson 

Francis Lawrence PG-13 Act/Adv/SF 

3D/IMAX/Dolby 

Atmos 

NORM OF THE NORTH Fri, 1/15/16 WIDE Rob Schneider, Ken Jeong Trevor Wall NR Ani/Com/Fam 3D 

DIRTY GRANDPA Fri, 1/22/16 WIDE Zac Efron, Robert De Niro Dan Mazer NR Com 

THE CHOICE Fri, 2/5/16 WIDE Teresa Palmer, Benjamin Walker Ross Katz PG-13 Dra/Rom 

THE DIVERGENT SERIES: 

ALLEGIANT 

Fri, 3/18/16 WIDE Shailene Woodley, Theo James Robert Schwentke NR Act/Adv/SF 

GODS OF EGYPT Fri, 4/8/16 WIDE Gerard Butler, Brenton Thwaites Alex Proyas NR Act/Adv/Fan 

CRIMINAL Fri, 4/15/16 WIDE Kevin Costner, Ryan Reynolds Ariel Vromen NR Act/Cri/Thr 

NOW YOU SEE ME: THE 

SECOND ACT 

Fri, 6/10/16 WIDE Mark Ruffalo, Jesse Eisenberg Jon M. Chu NR Cri/Thr 

LA LA LAND Fri, 7/15/16 WIDE Ryan Gosling, Emma Stone Damien Chazelle NR Mus/Rom Quad 

THE SHACK 

Fri, 8/12/16 WIDE 

Sam Worthington, 

Octavia Spencer 

Stuart Hazeldine NR Dra 

MECHANIC: RESURRECTION Fri, 8/26/16 WIDE Jason Statham, Jessica Alba Dennis Gansel NR Act/Thr Dolby Dig 

DEEPWATER HORIZON Fri, 9/30/16 WIDE Mark Wahlberg, Gina Rodriguez Peter Berg NR Act/Dra 

OPEN ROAD FILMS 310-696-7504 

ROCK THE KASBAH Fri, 10/23/15 WIDE Bill Murray, Bruce Willis Barry Levinson NR Com 

SPOTLIGHT Fri, 11/6/15 LTD. Mark Ruffalo, Michael Keaton Thomas McCarthy R Dra Dolby Dig 

FIFTY SHADES OF BLACK Fri, 1/29/16 WIDE Marlon Wayans, Kali Hawk Michael Tiddes NR Com 

TRIPLE NINE Fri, 3/4/16 WIDE Chiwetel Ejiofor, Casey Affleck John Hillcoat NR Cri/Thr 

MOTHER’S DAY Fri, 4/29/16 WIDE Julia Roberts, Jennifer Aniston Garry Marshall NR Rom/Com 


BOOKING GUIDE 


PARAMOUNT 323-956-5000 

PARANORMAL ACTIVITY: 

THE GHOST DIMENSION 

Fri, 10/23/15 WIDE Chris J. Murray, Brit Shaw Gregory Plotkin NR Hor 3D 

SCOUTS GUIDE TO THE 

ZOMBIE APOCALYPSE 

Fri, 10/30/15 WIDE Tye Sheridan, Logan Miller Christopher Landon R Com/Hor Dolby Dig 

RINGS Fri, 11/13/15 WIDE Matilda Lutz, Alex Roe F. Javier Gutiérrez NR Hor 

DADDY’S HOME 

Fri, 12/25/15 WIDE Will Ferrell, Mark Wahlberg 

Sean Anders, John 

Morris 

NR Com 

13 HOURS: THE SECRET 

SOLDIERS OF BENGHAZI 

Fri, 1/15/16 WIDE 

James Badge Dale, 

John Krasinski 

Michael Bay NR Act/Thr/War Dolby Dig 

ZOOLANDER 2 Fri, 2/12/16 WIDE Ben Stiller, Owen Wilson Ben Stiller NR Com 

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

UNTITLED BAD ROBOT FILM Fri, 3/11/16 WIDE NR Thr 

MONSTER TRUCKS Fri, 3/18/16 WIDE Jane Levy, Lucas Till Chris Wedge NR Ani/Adv/Fam Dolby Atmos 

EVERYBODY WANTS SOME Fri, 4/15/16 WIDE Blake Jenner, Tyler Hoechlin Richard Linklater NR Com/Sport 

SAME KIND OF DIFFERENT 

AS ME 

Fri, 4/29/16 WIDE Djimon Hounsou, Greg Kinnear Michael Carney NR Dra 

FRIDAY THE 13TH Fri, 5/13/16 WIDE David Bruckner NR Hor 

TEENAGE MUTANT NINJA 

TURTLES 2 

Fri, 6/3/16 WIDE Megan Fox, Stephen Amell Dave Green NR Act/Adv 

STAR TREK BEYOND Fri, 7/22/16 WIDE Chris Pine, Zachary Quinto Justin Lin NR Act/Adv/SF Dolby Atmos 

JACK REACHER 2 Fri, 10/21/16 WIDE Tom Cruise Edward Zwick NR Act/Cri/Thr 

RELATIVITY STUDIOS 310-724-7700 Ask for Distribution 

KIDNAP Fri, 2/26/16 WIDE Halle Berry, Lew Temple Luis Prieto NR Act/Thr 

SONY 212-833-8500 

THE WALK 

Joseph Gordon-Levitt, 

Fri, 10/9/15 WIDE 

Ben Kingsley 

Robert Zemeckis PG Adv/Dra/Thr 3D/IMAX/Quad 

GOOSEBUMPS Fri, 10/16/15 WIDE Jack Black, Dylan Minnette Rob Letterman PG Adv/Com/Hor Quad 

SPECTRE Fri, 11/6/15 WIDE Daniel Craig, Christoph Waltz Sam Mendes PG-13 Act/Adv/Thr 

IMAX/Dolby Atmos/ 

Quad 

THE NIGHT BEFORE 

Seth Rogen, 

Wed, 11/25/15 WIDE 

Joseph Gordon-Levitt 

Jonathan Levine NR Com Quad 

CONCUSSION Fri, 12/25/15 WIDE Will Smith, Alec Baldwin Peter Landesman PG-13 Dra/Sport Quad 

THE 5TH WAVE 

Chloë Grace Moretz, 

Fri, 1/15/16 WIDE 

Nick Robinson 

J Blakeson NR Act/Adv/SF 

RISEN Fri, 1/22/16 WIDE Joseph Fiennes, Tom Felton Kevin Reynolds NR Act/Dra 

PRIDE AND PREJUDICE AND 

ZOMBIES 

Fri, 2/5/16 WIDE Lily James, Sam Riley Burr Steers NR Hor/Com/Rom 

GRIMSBY 

Sacha Baron Cohen, 


Mark Strong 

Louis Leterrier NR Com 

MIRACLES FROM HEAVEN Fri, 3/18/16 WIDE Jennifer Garner, Kylie Rogers Patricia Riggen NR Dra 

MONEY MONSTER Fri, 4/8/16 WIDE George Clooney, Julia Roberts Jodie Foster NR Dra/Thr 

THE ANGRY BIRDS MOVIE 

Fri, 5/20/16 WIDE Jason Sudeikis, Josh Gad 

Clay Kaytis, Fergal 

Reilly 

NR Ani/Com/Fam 3D 

THE SHALLOWS Fri, 6/24/16 WIDE Blake Lively Jaume Collet-Serra NR Thr 

GHOSTBUSTERS Fri, 7/15/16 WIDE Melissa McCarthy, Kristen Wiig Paul Feig NR Com/Hor 

SAUSAGE PARTY 

Fri, 8/12/16 WIDE Seth Rogen, Jonah Hill 

Greg Tiernan, Conrad 

Vernon 

NR Ani/Com 

UNTITLED ALVAREZ / RAIMI 

HORROR FILM 

Fri, 8/26/16 WIDE Dylan Minnette, Daniel Zovatto Fede Alvarez NR Hor/Thr 

PATIENT ZERO Fri, 9/2/16 WIDE Matt Smith, Natalie Dormer Stefan Ruzowitzky NR Hor/Thr 

WHEN THE BOUGH BREAKS Fri, 9/16/16 WIDE Morris Chestnut, Regina Hall Jon Cassar NR Dra/Thr 

THE MAGNIFICENT SEVEN Fri, 9/23/16 WIDE Denzel Washington, Chris Pratt Antoine Fuqua NR Act/Wes 

INFERNO Fri, 10/14/16 WIDE Tom Hanks, Felicity Jones Ron Howard NR Thr 

UNDERWORLD 5 Fri, 10/21/16 WIDE Kate Beckinsale, Theo James Anna Foerster NR Act/Hor 

BILLY LYNN’S LONG 

HALFTIME WALK 

Fri, 11/11/16 WIDE Joe Alwyn, Garrett Hedlund Ang Lee NR Com/Dra/War 3D 



PASSENGERS Wed, 12/21/16 WIDE Chris Pratt, Jennifer Lawrence Morten Tyldum NR SF/Act/Rom 

JUMANJI Sun, 12/25/16 WIDE Zach Helm NR Adv/Fan/Fam 

SONY PICTURES CLASSICS Tom Prassis 212-833-4981 

TRUTH Fri, 10/16/15 EXCL NY/LA Robert Redford, Cate Blanchett James Vanderbilt R Dra 

I SAW THE LIGHT Fri, 11/27/15 EXCL NY/LA Tom Hiddleston, Elizabeth Olsen Marc Abraham NR Dra 

SON OF SAUL Fri, 12/18/15 EXCL NY/LA Géza Röhrig, Levente Molnár László Nemes R Dra Dolby Dig 

STX ENTERTAINMENT 310-742-2300 

SECRET IN THEIR EYES Fri, 11/20/15 WIDE Chiwetel Ejiofor, Nicole Kidman Billy Ray PG-13 Thr Dolby Dig 

THE BOY Fri, 1/22/16 WIDE Lauren Cohan, Rupert Evans William Brent Bell PG-13 Hor/Thr Dolby Dig 

THE FREE STATE OF JONES 

Matthew McConaughey, 

Fri, 3/11/16 WIDE 

Gugu Mbatha-Raw 

Gary Ross NR Act/Dra Dolby Dig 

UNIVERSAL 818-777-1000 

STEVE JOBS 


Fri, 10/9/15 EXCL NY/LA 

Kate Winslet 

Danny Boyle R Dra Quad 

CRIMSON PEAK 

Mia Wasikowska, 

Fri, 10/16/15 WIDE 

Jessica Chastain 

Guillermo del Toro R Hor IMAX/Quad 

JEM AND THE HOLOGRAMS Fri, 10/23/15 WIDE Aubrey Peeples, Stefanie Scott Jon M. Chu PG Mus/Adv Quad 

BY THE SEA Fri, 11/13/15 WIDE Brad Pitt, Angelina Jolie Pitt Angelina Jolie Pitt R Dra/Rom Quad 

LEGEND Fri, 11/20/15 LTD. Tom Hardy, Emily Browning Brian Helgeland R Cri/Thr Quad 

KRAMPUS Fri, 12/4/15 WIDE Adam Scott, Toni Collette Michael Dougherty NR Com/Hor Quad 

SISTERS Fri, 12/18/15 WIDE Tina Fey, Amy Poehler Jason Moore R Com Quad 

UNTITLED BLUMHOUSE 

HORROR FILM 1 

Fri, 1/8/16 WIDE NR Hor 

RIDE ALONG 2 Fri, 1/15/16 WIDE Ice Cube, Kevin Hart Tim Story PG-13 Act/Com Quad 

HAIL, CAESAR! Fri, 2/5/16 WIDE Josh Brolin, George Clooney Joel Coen, Ethan Coen NR Com Dolby Dig 

MY BIG FAT GREEK 

WEDDING 2 

Fri, 3/25/16 WIDE Nia Vardalos, John Corbett Kirk Jones NR Rom/Com 

THE BOSS Fri, 4/8/16 WIDE Melissa McCarthy, Kristen Bell Ben Falcone NR Com 

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

THE HUNTSMAN 

Chris Hemsworth, 

Fri, 4/22/16 WIDE 

Charlize Theron 

Cedric Nicolas-Troyan NR Adv/Fan 

NEIGHBORS 2 Fri, 5/20/16 WIDE Seth Rogen, Zac Efron Nicholas Stoller NR Com 

TOP SECRET UNTITLED 

LONELY ISLAND MOVIE 

Fri, 6/3/16 WIDE Andy Samberg, Akiva Schaffer 

Akiva Schaffer, Jorma 

Taccone 

WARCRAFT Fri, 6/10/16 WIDE Ben Foster, Travis Fimmel Duncan Jones NR Act/Adv/Fan 

3D/IMAX/Dolby 

Atmos 

THE PURGE 3 Fri, 7/1/16 WIDE Frank Grillo, Elizabeth Mitchell James DeMonaco NR Hor/Thr/SF 

THE SECRET LIFE OF PETS Fri, 7/8/16 WIDE Louis C.K., Eric Stonestreet Chris Renaud NR Ani/Com/Fam 3D/Quad 

UNTITLED NEXT BOURNE 

CHAPTER 

Fri, 7/29/16 WIDE Matt Damon, Alicia Vikander Paul Greengrass NR Act/Adv/Thr 

SPECTRAL 

James Badge Dale, 

Fri, 8/12/16 WIDE 

Emily Mortimer 

Nic Mathieu NR Act/Thr 3D 

MONSTER HIGH Fri, 10/7/16 WIDE NR Com/Hor 

KEVIN HART: WHAT NOW? Fri, 10/14/16 WIDE Kevin Hart NR Com/Con/Doc 

OUIJA 2 Fri, 10/21/16 WIDE Annalise Basso Mike Flanagan NR Hor/Thr 

A MEYERS CHRISTMAS Fri, 11/11/16 WIDE David E. Talbert NR Com 

THE GREAT WALL Wed, 11/23/16 WIDE Matt Damon, Andy Lau Zhang Yimou NR Act/Adv/Thr 3D 

LET IT SNOW Fri, 12/9/16 WIDE NR Dra/Rom 

UNTITLED ILLUMINATION 

ENTERTAINMENT 2016 

Wed, 12/21/16 WIDE Matthew McConaughey Garth Jennings NR Ani/Com 

PROJECT 

WARNER BROS. 818-977-1850 

PAN Fri, 10/9/15 WIDE Hugh Jackman, Levi Miller Joe Wright PG Adv/Fan/Fam 3D/Dolby Atmos 

OUR BRAND IS CRISIS 

Sandra Bullock, 

Fri, 10/30/15 WIDE 

Billy Bob Thornton 

David Gordon Green NR Com/Dra Dolby Dig 

NR 

Com 


BOOKING GUIDE 


THE 33 

Antonio Banderas, 

Fri, 11/13/15 WIDE 

Rodrigo Santoro 

Patricia Riggen PG-13 Dra Dolby Atmos 

CREED 

IN THE HEART OF THE SEA 

Wed, 11/25/15 WIDE 

Fri, 12/11/15 WIDE 

Michael B. Jordan, 

Sylvester Stallone 

Chris Hemsworth, 

Benjamin Walker 

Ryan Coogler NR Dra/Sport Dolby Dig 

Ron Howard PG-13 Adv/Dra IMAX/Dolby Atmos 

POINT BREAK Fri, 12/25/15 WIDE Édgar Ramírez, Luke Bracey Ericson Core NR Act/Thr 3D/Dolby Dig 

UNTITLED NEW LINE 

HORROR FILM 1 


HOW TO BE SINGLE Fri, 2/12/16 WIDE Dakota Johnson, Nicholas Braun Christian Ditter NR Rom/Com 

ARMS & THE DUDES Fri, 3/11/16 WIDE Miles Teller, Jonah Hill Todd Phillips NR Com/Dra 

MIDNIGHT SPECIAL Fri, 3/18/16 LTD. Michael Shannon, Joel Edgerton Jeff Nichols PG-13 SF/Thr 

BATMAN V SUPERMAN: 

DAWN OF JUSTICE 

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

BARBERSHOP 3 Fri, 4/15/16 WIDE Ice Cube, Cedric the Entertainer Malcolm D. Lee NR Com 

KEANU 

Fri, 4/22/16 WIDE 

Keegan-Michael Key, 

Jordan Peele 

Peter Atencio NR Com 

GOING IN STYLE Fri, 5/6/16 WIDE Morgan Freeman, Michael Caine Zach Braff NR Com 

THE NICE GUYS Fri, 5/20/16 WIDE Ryan Gosling, Russell Crowe Shane Black NR Cri/Thr 

ME BEFORE YOU Fri, 6/3/16 WIDE Emilia Clarke, Sam Claflin Thea Sharrock NR Dra/Rom 

THE CONJURING 2 Fri, 6/10/16 WIDE Vera Farmiga, Patrick Wilson James Wan NR Hor/Thr 

CENTRAL INTELLIGENCE 

TARZAN 

KING ARTHUR 

Fri, 6/17/16 WIDE Dwayne Johnson, Kevin Hart 


Fri, 7/22/16 WIDE 

Alexander Skarsgård, 

Margot Robbie 

Charlie Hunnam, Astrid 

Bergès-Frisbey 

Rawson Marshall 

Thurber 

NR 

Act/Com 

David Yates NR Act/Adv 3D/IMAX 

Guy Ritchie NR Act/Adv 3D/IMAX 

SUICIDE SQUAD Fri, 8/5/16 WIDE Will Smith, Margot Robbie David Ayer NR Act/Adv 3D/IMAX 

PROJECT XX Fri, 8/19/16 WIDE NR Com 

UNTITLED NEW LINE 

HORROR FILM 2 

STORKS 


Fri, 9/23/16 WIDE Andy Samberg, Kelsey Grammer 

Nicholas Stoller, Doug 

Sweetland 

NR Ani/Com/Fam 3D 

THE ACCOUNTANT Fri, 10/7/16 WIDE Ben Affleck, Anna Kendrick Gavin O’Connor R Act/Thr 

FANTASTIC BEASTS AND 

WHERE TO FIND THEM 

Fri, 11/18/16 WIDE 

Eddie Redmayne, 

Katherine Waterston 

David Yates NR Adv/Fan 3D/IMAX 

CHICKEN SOUP 

FOR THE SOUL 

Fri, 12/16/16 WIDE NR Dra 

WEINSTEIN CO./DIMENSION 646-862-3400 

SHANGHAI Fri, 10/2/15 LTD. John Cusack, Gong Li Mikael Håfström R Dra/Thr Dolby Dig 

BURNT Fri, 10/23/15 WIDE Bradley Cooper, Sienna Miller John Wells NR Com/Dra Dolby Dig 

CAROL Fri, 11/20/15 LTD. Cate Blanchett, Rooney Mara Todd Haynes R Dra/Rom Dolby Dig 

MACBETH 


Fri, 12/4/15 LTD. 

Marion Cotillard 

Justin Kurzel NR Dra Dolby Dig 

THE HATEFUL EIGHT Fri, 12/25/15 LTD. Samuel L. Jackson, Kurt Russell Quentin Tarantino NR Wes/Act 

VIRAL 

AMITYVILLE: 

THE AWAKENING 

Fri, 2/19/16 WIDE 

Fri, 4/15/16 WIDE 

Sofia Black-D’Elia, Analeigh 

Tipton 

Bella Thorne, 

Jennifer Jason Leigh 

Ariel Schulman, Henry 

Joost 

NR 

Hor/Thr 

Franck Khalfoun R Hor/Thr 

THE FOUNDER Fri, 11/25/16 LTD. Michael Keaton, Laura Dern John Lee Hancock NR Dra Dolby Digital 

BOXOFFICE ® PRO (ISSN 0006-8527), Volume 151, Number 10, October 2015. BOXOFFICE ® PRO is published monthly by BoxOffice Media, LLC, 11911 San Vicente 

Blvd., Ste. 355, Los Angeles, CA 90049, USA. corporate@boxoffice.com. www.boxoffice.com. Basic annual subscription rate is $59.95. Periodicals postage paid 

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to BOXOFFICE PRO, P.O. Box 16015, North Hollywood, CA 91615-6015. © Copyright 2015. BoxOffice Media, LLC. All rights reserved. SUBSCRIPTION CUSTOMER 

SERVICE: BOXOFFICE PRO, P.O. Box 16015, North Hollywood, CA 91615-6015, USA, Phone (818) 286-3108, Fax (800) 869-0040, bxpcs@magserv.com, www. 

boxoffice.com. BoxOffice ® is a registered trademark of BoxOffice Media LLC. 


AMC ENTERTAINMENT 

P.O. Box 725489 

Atlanta, GA 31139 

www.amctheatres.com 

PG 78 

AMERICAN CINEMA 

EQUIPMENT 

1927 N Argyle St. 

Portland, OR 97217 

www.cinequip.com 

PG 8 

ARTS ALLIANCE 

1st Floor, 75 Wells St. 

London W1T 3QH 

www.artalliance.com 

PG 11 

AMERICAN COMPUTER 

OPTICS 

240 Goddard 

Irvine, CA 92618 

www.portwindowglass.com 

PG 19 

BALLANTYNE STRONG 

13710 FNB Pkwy., Ste. 400 

Omaha, Nebraska 68154 

www.ballantynestrong.com 

PG 46, 49 

BEFORE THE MOVIE 

1499 Oliver Rd. 

Fairfield, CA 94534 

www.beforethemovie.com 

PG 81 

CARDINAL SOUND & 

MOTION PICTURE SYSTEMS 

6330 Howard Ln. 

Elkridge, MD 21075 

www.cardinalsound.com 

PG 112 

CARMIKE CINEMAS 

1301 First Ave. 

Columbus, GA 31901 

www.carmike.com 

PG 72 

CHRISTIE DIGITAL SYSTEMS 

10550 Camden Dr. 

Cypress, CA 90630 

www.christiedigital.com 

INSIDE COVER 

C. CRETORS & COMPANY 

12457 SW 130th St. 

Miami, FL 33186 

www.cretors.com 

INSIDE BACK COVER 

DOLPHIN SEATING 

313 Remuda St. 

Clovis, NM 88101 

www.dolphinseating.com 

PG 79 

ENPAR AUDIO 

www@enparaudio.com 

PG 66 

ENTERTAINMENT SUPPLY & 

TECNOLOGIES 

3820 Northdale Blvd. 

Tampa, FL 33624 

www.ensutec.com 

PG 17 

FANDANGO 

12200 W Olympic Blvd #400 

Los Angeles, CA 90064 

www.fandango.com 

PG 67 

GOLD MEDAL PRODUCTS 

10700 Medallion Dr. 

Cincinnati, Ohio 45241 

www.gmpopcorn.com 

PG 27 

GOODRICH QUALITY 

THEATERS 

4417 Broadmoor SE 

Grand Rapids, MI 49512 

www.goodrichqualitytheaters.com 

PG 68 

HARKNESS SCREENS 

Unit A, Norton Road 

Stevenage, Herts 

SG1 2BB UK 

www.harkness-screens.com 

PG 14, 16 

IRWIN SEATING COMPANY 

3251 Fruit Ridge NW 


www.irwinseating.com 

PG 37 

JBL HARMAN 

400 Atlantic St., 15th Fl. 

Stamford, CT 06901 

www.jbl.com 

PG 35 

J&J SNACK FOODS 

6000 Central Hwy. 

Pennsauken, NJ 08109 

www.jjsnack.com 

PG 31 

KLIPSCH 

3700 Hwy 32 N 

Hope, AR 71801 

www.klipsch.com 

PG 29 

MAGNA TECH 

ELECTRONIC CO. 

1998 NE 150th St. 

North Miami, FL 33181 

www.myiceco.com 

PG 71 

MEDIAMATION 

387 Maple Ave. 

Torrance, CA 90503 

www.mediamation.com 

PG 80 

MOBILIARIO 

Calle del Sol # 3 

Col. San Rafael Chamapa 

Naucalpan, Estado de México 

México. CP. 53660 

www.mobiliaroseating.com 

PG 41 

MAROEVICH, O’SHEA & 

COUGHLAN 

44 Montgomery St., 17th Fl. 

San Francisco, CA 94104 

www.mocins.com 

PG 5 

MOVING IMAGE 

TECHNOLOGIES 

17760 Newhope St. 

Fountain, Valley, CA 92708 

www.movingimagetech.com 

PG 2, 15 

NATIONAL ASSOCIATION OF 

THEATRE OWNERS 

1705 N St. NW 

Washington, DC 20036 

www.natoonline.org 

PG 39 

NATIONAL CINEMEDIA 

9110 East Nichols Ave., Ste. 200 

Centennial, CO 80112 

www.ncm.com 

PG 9, 40, 41 

NEC DISPLAY SOLUTIONS 

500 Park Blvd., Ste. 1100 

Itasca, IL 60143 

www.necdisplay.com 

PG 10 

ODELL’S 

8543 White Fir St., #D1 

Reno, NV 89523 

www.popntop.com 

PG 88 

PACKAGING CONCEPTS INC. 

9832 Evergreen Industrial Dr. 

St. Louis, MO 63123 

www.packagingconceptsinc.com 

PG 83 

PARADIGM DESIGN 

550 3 Mile Rd., Ste. B 


www.paradigmae.com 

PG 70 

PARAMOUNT PICTURES 

5555 Melrose Ave. 

Los Angeles, CA, 90038 

www.paramount.com 

PG 55 

QSC AUDIO PRODUCTS 

1675 MacArthur Blvd. 

Costa Mesa, CA 92626 

www.qsc.com 

PG 4 

READY THEATRE SYSTEMS 

4 Hartford Blvd. 

Hartford, MI 49057 

www.rts-solutions.com.com 

PG 85 

REALD 

100 North Crescent Dr., 

Ste. 200 

Beverly Hills, CA 90210 

www.reald.com 

PG 94–95 

REGAL ENTERTAINMENT 

GROUP 

7132 Regal Ln. 

Knoxville, TN 37918 

www.regmovies.com 

PG 33 

RETRIEVER SOFTWARE 

7040 Avenida Encinas 

Ste. 104-363 

Carlsbad, CA 92011 

www.retrieversoftware.com 

PG 87 

REYNOLDS & REYNOLDS 

300 Walnut St., Ste. 200 

Des Moines, IA 50309 

www.reynolds-reynolds.com 

PG 63 

SCREENVISION CINEMA 

NETWORK 

1411 Broadway, Fl 33 

New York, NY, 10018 

www.screenvision.com 

PG 1, 53 

SEATING CONCEPTS 

4229 Ponderosa Av. B 

San Diego CA 92123 USA 

www.seatingconcepts.com 

PG 23 

SENSIBLE CINEMA 

SOFTWARE 

7216 Sutton Pl. 

Fairview, TN 37062 

www.sensiblecinema.com 

PG 112 

SONIC EQUIPMENT 

COMPANY 

900 W Miller Rd. 

Iola,KS 66749 

www.sonicequipment.com 

BACK COVER 

SPOTLIGHT CINEMA 

NETWORKS 

www.spotlightcinemanetworks.com 

PG 61, 65 

STADIUM SAVERS 

550 3 Mile Rd. NW 


www.stadiumsavers.com 

PG 12 

TELESCOPIC SEATING 

SYSTEMS 

4417 Broadmoor Ave. SE 

Kentwood, MI, 49512 

www.telescopicseatingsystems.com 

PG 57 

TIVOLI LIGHTING 

15602 Mosher Ave. 

Tustin, CA 92780 

www.tivolilighting.com 

PG 13 

UNCLE JOHN’S BURGER 

DOGS 

www.unclejohnsburgerdogs.com 

PG 69 

USHIO AMERICA, INC. 

5440 Cerritos Ave. 

Cypress, CA 90630 

www.ushio.com 

PG 45 

USL, INC. 

181 Bonetti Dr. 

San Luis Obispo, CA 93401 

www.uslinc.com 

PG 59 

VARIETY—THE CHILDREN’S 

CHARITY OF WISCONSIN 

12425 Knoll Rd., Ste. 110 

Elm Grove, WI 53122 

www.varietywi.org 

PG 77 

VIP CINEMA SEATING 

101 Industrial Dr. 

New Albany, MS 38652 

www.vipcinemaseating.com 

PG 6–7 

WHITE CASTLE 

555 West Goodale St. 

Columbus, OH 43215 

www.whitecastle.com 

PG 25 

WILL ROGERS MOTION 

PICTURE PIONEERS 

FOUNDATION 

10045 Riverside Dr., Third Fl. 

Toluca Lake, CA 91602 

www.wrpioneers.com 

PG 75 

BOXOFFICE ® MEDIA 

CHAIRMAN 

Peter Cane 

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Julien Marcel 

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MANAGING EDITOR 

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WE CLEAN THEATERS 

EXCLUSIVELY! 

From coast to coast for 35 YEARS. 

Let us give you our references. 

www.maintenancecooperative.com 

or call 770-503-1102 

BUYING & SELLING 

MARQUEE LETTERS. Buying and selling. 

New and Used marquee letters all types. 

We buy old. We sell new. All styles. Trade 

in your old letters and get new letters. Turn 

those old letters into cash. Your source for 

new Pronto, Zip-Change, Snap Lok, Slotted. 

mike@pilut.com 800-545-8956 

LOOKING TO PURCHASE 3-8 screen venue 

in California or south western United States. 

Contact: Atul Desai 949-291-5700 

DRIVE-IN CONSTRUCTION 

DRIVE-IN SCREEN TOWERS since 1945. 

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

OH 44286. Phone: 330-659-6631. 

EQUIPMENT WANTED 

ASTER AUDITORIUM SEATING & AUDIO. 

We offer the best pricing on good used projection 

and sound equipment. Large quantities 

available. Please visit our website, www. 

asterseating.com, or call 888-409-1414. 

AMERICAN ENTERTAINMENT PRODUCTS 

LLC is buying projectors, processors, amplifiers, 

speakers, seating, platters. If you 

are closing, remodeling or have excess 

equipment in your warehouse and want to 

turn equipment into cash, please call 866- 

653-2834 or email aep30@comcast.net. 

Need to move quickly to close a location 

and dismantle equipment? We come to you 

with trucks, crew and equipment, no job too 

small or too large. Call today for a quotation: 

866-653-2834. Vintage equipment wanted 

also! Old speakers like Western Electric 

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

and any tube audio equipment. Call or email: 

aep30@comcast.net. 

COLLECTOR WANTS TO BUY: We pay top 

money for any 1920-1980 theater equipment. 

We’ll buy all theater-related equipment, 

working or dead. We remove and pick 

THEATRE MANAGERS WANTED 

Metropolitan Theatres, family owned and operated 

since 1923 with locations in Santa Barbara, 

CA., Colorado, Utah & Idaho is actively seeking 

experienced & motivated applicants with the desire 

to join our successful theatre management 

team at two Colorado locations. 

Candidates must have two or more years in theatre 

management, possess excellent verbal and 

written communication skills, be team players 

and have strong leadership qualities. 

Competitive compensation including a bonus 

program, as well as 401K and medical benefits 

plan is available. 

Please send your resume with salary requirements 

to: jobs@metrotheatres.com 

up anywhere in the U.S. or Canada. Amplifiers, 

speakers, horns, drivers, woofers, tubes, 

transformers; Western Electric, RCA, Altec, 

JBL, Jensen, Simplex and more. We’ll remove 

installed equipment if it’s in a closing 

location. We buy projection and equipment 

too. Call today: 773-339-9035; cinema-tech. 

com; email ILG821@aol.com. 

FOR SALE 

2 BRAND NEW 3000 watts Christie Xenon 

lamps for 35mm projectors. Contact: Atul 

Desai 949-291-5700. 

BARCO 3D/DIGITAL EQUIPMENT FOR 

SALE: Purchase for $55K. Equipment list 

provided upon request. Contact seller at 

mschwartz@pennprolaw.com. 

PREFERRED SEATING COMPANY, your 

source for new, used and refurbished theater 

and stadium seating. Buying and selling 

used seating is our specialty. Call toll-free 

866-922-0226 or visit our website www. 

preferred-seating.com. 

USED DIGITAL PROJECTORS AVAIL- 

ABLE. Barco dcp2000 and others slightly 

used. Don’t close your theater conversion 

is cheaper than you think. Call Stetson Snell 

505-615-2913 

18 SETS OF USED 35MM AUTOMATED 

PROJECTION SYSTEM (comes with Projector, 

Console, Automation Unit and Platter) 

comprising of 10 sets of Christie and 8 sets 

of Strong 35mm system available on ‘as is 

where is’ basis in Singapore. Contact seller 

at engthye_lim@cathay.com.sg 

APPROXIMATELY 2,000 SEATS FOR 

SALE. MOBILIARIO high-back rockers with 

cup holders. Located in Connecticut. Contact 

(203)758-2148. 

MOVIE THEATRES FOR SALE Established 

boutique movie theater chain in major midwest 

market. Long term leases in A plus 

locations.All digital projection and liquor 

licenses. Consistently nets over $500k a 

year. Outstanding opportunity for energetic 

entrepreneurs, expanding chain or foreign 

investor. Send inquiries to :movietheatersforsale@gmail.com. 

Principal only. 

HELP WANTED 

TRI STATE THEATRE SUPPLY in Memphis, 

TN has openings for experienced Digital 

Cinema Techs nationwide. Please send your 

resume to include qualifications, certifications 

and salary requirements to fred@tristatetheatre.com 

THEATRE MANAGEMENT POSITIONS 

AVAILABLE Pacific Northwest Theatre 

Company. Previous management experience 

required. Work weekends, evenings 

and holidays. Send resume and salary history 

to movietheatrejobs@gmail.com 

THEATRE MANAGEMENT POSITION 

AVAILABLE. Xscape Theatres is forecasting 

rapid expansion adding 2 to 4 sites per year. 

To qualify for possible immediate placement 

previous theatre management experience 

is required. Must be able to work evenings, 

weekends, and holidays. Send resumes and 

references to sbagwell@alianceent.com or 

mail to Aliance Management Co. LLC 825 

Northgate Blvd. Suite # 203 New Albany, IN 

47150. Compensation based on experience. 

POSITIONS AVAILABLE 

Paragon Theaters has THEATER MANAGE- 

MENT POSITIONS available at multiple locations. 

If you have previous management 

experience, please send your resume to robert.fronckoski@paragontheaters.com.. 

SERVICES 

DULL FLAT PICTURE? RESTORE YOUR XE- 

NON REFLECTORS! Ultraflat repolishes and 

recoats xenon reflectors. Many reflectors 

available for immediate exchange. (ORC, 

Strong, Christie, Xetron, others!) Ultraflat, 

20306 Sherman Way, Winnetka, CA 91306; 

818-884-0184. 

CONSOLIDATED THEATRE SERVICES, LLC 

has a wide variety of theatre sound equipment 

available at competitive prices. Our 

extensive inventory includes amplifiers, 

processors, speakers and sound racks from 

makers such as JBL, Dolby, Ashly, Klipsch, 

Crown and more. You are welcome to call 

us at 305-908-1613 for further information. 

THEATER SPACE FOR LEASE 

AN 8,400 SQ. FT. SPACE containing two 

movie theaters is available for lease in 

Frankfort, KY, at a very reasonable lease 

rate. It would be perfect for the new concept 

of eating in the theater. The theaters 

are located in the middle of a major shopping 

center. The center owners would prefer 

an operating movie theater rather than 

convert the space into retail use. Contact 

Alexa at 859-221-9921 or email her at alexarkelley@gmail.com 

for more information. 


WHATEVER YOUR NEED 

WE CAN BUILD IT 

Any Size Crowd, Every Taste… 

Make popcorn for a crowd of 10 or more than 500 with a wide range of kettle sizes. Please everyone with 

popcorn that’s salted or sweet. ALL THE OPTIONS Select a stainless-steel or nickel plated all-steel kettle, 

a popper kettle that is suspended in a cabinet, or a pedestal kettle that mounts to the deck of the popper or 

table. STORAGE AND SAFETY Maximize your popcorn storage with one of our cabinets. Select a built-in ventless 

hood to expand your foodservice capabilities in areas with limited space. Add industry-leading fire prevention 

like ANSUL or an automatic kettle-heat shut-off. AROUND THE WORLD Our American-made machines provide 

delicious popcorn and concessions around the world. We offer 12 different domestic and international voltages. 

…and that’s just popcorn! 

Ask us about our exclusive Cornditioner cabinets, toppers and dispensers, cotton candy machines, hot dog 

grills, bun warmers, ice shavers, and our new pizza oven and warmer combination. 

WHEN IT COMES TO CONCESSIONS 

IT COMES FROM CRETORS 

Contact Shelly Olesen at 847.616.6901 or visit www.cretors.com

Boxoffice - October 2015

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