Boxoffice - March 2016

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The Official Magazine of the National Association of Theatre Owners

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MARCH 2016

BATTLE OF THE

SUPER BOWL

TRAILERS

WE TRACK THE SOCIAL MEDIA

REACTION TO THE TRAILERS

THAT AIRED DURING THE

BIG GAME

Jason Bateman and

Ginnifer Goodwin

lend their voice

talents to this

month’s Disney

release, Zootopia

3D UPDATE

INTERVIEW WITH REALD’S

ANTHONY MARCOLY

LABOR PAINS

FEDERAL REGULATION

AND EXHIBITION

YOU CAN

TOO!

NATO

VOLUNTEERS

MAKE A BIG

IMPACT

LARGE SCREEN, PREMIUM EXPERIENCE

PREMIUM LARGE FORMAT CONTINUES ITS EVOLUTION IN 2016

The Official Magazine of the National Association of Theatre Owners


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Daniel Loria

Managing Editor

Boxoffice®

Just one month to go until CinemaCon—that magical time of year

when we all wish the workweek had an extra day in it. Everyone

here at Boxoffice has been working around the clock to get ready for

the industry’s biggest event, and we’ll be bringing you our special coverage

in our upcoming April issue. I spoke to Mitch Neuhauser, managing

director of CinemaCon, in late February—a busy time for him

and his staff—and I can confirm that another fantastic event is around

the corner. Eight studios are already lined up to present their slate of

new releases, and we once again have a fully sold-out trade show to look forward to.

In the meantime, please enjoy the latest edition of our magazine. We’re featuring an

in-depth look at premium large format (PLF), covering the latest developments from

exhibitors and technology providers in the ever-evolving challenge to bring the best

and brightest images to a theater near you. This is a topic ripe for discussion, and we’ll

be revisiting it next month in a piece from Mark de Quervain, one of our favorite

guest contributors. This issue also marks the first article from Alex Edghill, our social

media analyst, who’s helped us develop the tracking tools and data services on our

website, Boxoffice Pro. In his debut column, Alex tackles the social media reaction to

trailers that aired during this year’s Super Bowl.

We hope you enjoy our March issue, and our team looks forward to seeing many of

you in person next month in Las Vegas.

Daniel Loria

daniel.loria@boxoffice.com

MARCH 2016 BoxOffice ® 3


MARCH 2016 VOL. 152 NO. 3

COVER STORY

A WHOLE NEW WORLD

Animals rule the world in

Disney’s latest animated

adventure

by Daniel Loria

Hello by Daniel Loria 3

Exhibition Briefs Edited by Laura Silver 6

Law & Order Labor Pains: Federal regulation and exhibition

12

by Esther Baruh

NATO Membership NATO volunteers make a substantial impact:

You can too! by David Binet

14

Charity Spotlight A look back at recent events 18

Timecode Da-da-da-da-da-da Batman! Ka-Pow! by Kenneth James Bacon 22

Social Media Battle of the Super Bowl trailers: Boxoffice tracks the

social media reaction to the trailers that aired during the big game 24

by Alex Edghill

Vendor Chat Inside the booth: GST Manufacturing and American

Computer Optics team up to help exhibitors get the most out of the 28

projection booth Interview by Daniel Loria

Marketing A look at the Indie Marketing Coalition Interview by Daniel Loria 29

Large screen, premium experience: Premium large format

continues its evolution in 2016 by Daniel Loria

30

Screen Play The giant screen world: We speak with James Hyder,

Founder and Editor, Large Format Examiner

36

Interview by Daniel Loria

40

3D Update Interview with Anthony Marcoly: President, Worldwide

Cinema, RealD Interview by Daniel Loria

37

Cinema Showcase Cable Car Cinema & Café 38

Alternative Content Release Calendar 43

3D Release Calendar Sponsored by RealD 44

On Screen Capsule previews by Jonathan Papish 46

Booking Guide Compiled by Daniel Garris 58

Classifieds 64

ERRATA: The screen and location counts for Cinema West, Galaxy Theatres, and Neighborhood Cinema

Group (NCG) were incorrectly listed in the Giants of Exhibition ranking in our February issue. Cinema

West operates 121 screens across 12 locations; Galaxy Theatres operates 137 screens across 12 locations;

and NCG operates 186 screens across 20 locations. Boxoffice regrets the error.

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EXHIBITION BRIEFS

QSC PROMOTES

MARK MAYFIELD

n Mark Mayfield

has been promoted

to director, global

cinema marketing, at

QSC Cinema. Mayfield

joined QSC

in 2013 as cinema

marketing manager,

with responsibility

for sales and marketing

collateral, trade

shows, P.R., web,

and advertising.

MARK MAYFIELD

As director, global

cinema marketing,

Mayfield will have overall responsibility for developing and executing

marketing strategy for QSC Cinema. In addition, he will continue to

function as product manager for cinema products.

Mayfield’s background in cinema includes marketing positions

with JBL Professional and Eastern Acoustic Works. In 1997, he coauthored

a SMPTE paper with consultant John M. Eargle and David

Gray of Dolby Labs, which described loudspeaker improvements to

the Samuel Goldwyn Theater at the Academy of Motion Picture Arts

and Sciences. These improvements were the basis for the first series

of practical three-way loudspeaker systems for cinemas. Mayfield also

has experience in publishing, having served as chief editor for several

leading AV systems integration magazines.

FIRST LUXURY THEATER IN PITTSBURGH

n Golden Star Theaters will open Century Square Luxury Cinemas,

Pittsburgh’s first movie theater with all luxury seats. All 10 auditoriums

will have seats by VIP, each with full electronic reclining

capability and extra-plush cushioning.

The theater has undergone a complete multimillion dollar renovation.

The extensive changes include a sleek lobby design by TK

Architects. The new concessions stand will feature enhanced menu

items. For the over-21 customer, there will be a bar serving specialty

wines and craft beers.

Each auditorium will be equipped with all-new state-of-the-art

digital projectors from Christie Digital Systems. Two of the auditoriums

will be equipped for 3D playback. The theaters will be equipped

with JBL three-way speakers bi-amplified with Crown amplifiers and

7.1 sound systems for best surround sound.

Additional features will include enhanced customer loyalty

programs, designated seat numbers for easy online presales, and stateof-the-art

equipment for hearing impaired, descriptive narrative, and

closed-captioning systems.

Golden Star Theaters is a movie theater chain based in western

Pennsylvania, with 10 locations from Maryland to Ohio. The website

is www.goldenstartheaters.com.

6 BoxOffice ® MARCH 2016


ATOM TICKETS SECURES SERIES B ROUND OF

FINANCING

n Atom Tickets has completed a Series B round of financing from

investors that include the Walt Disney Company, 20th Century Fox,

and Lionsgate. Atom Tickets is a social, mobile-ticketing platform.

Movie fans can use the service to purchase tickets and concessions,

coordinate and invite friends without having to pay for them, and

skip the lines at the theater. The app is available in both the Apple

App Store and Google Play Store.

For consumers, Atom Tickets reimagines the most convenient way

to plan a night out. The app provides relevant reviews, trailers and

synopses information to help make a decision on what to see. Then,

with a few clicks, moviegoers can seamlessly invite friends to the same

show and order tickets and concessions to skip all the lines in the theater.

At the theater, consumers go to the usher and concessions stands

where they scan their QR codes at simple tablet scanners.

Established in 2014, Atom Tickets’ Series A funding was led by

Lionsgate. The app is currently available in select test markets, with a

full national rollout planned for later this year.

FANDANGO CREATES ULTIMATE DIGITAL NETWORK

FOR ALL THINGS MOVIES WITH ADDITION OF ICONIC

MOVIE BRANDS FLIXSTER AND ROTTEN TOMATOES

n Fandango has signed an agreement to acquire Flixster and Rotten

Tomatoes, which includes the professional movie critic rating tool,

the Tomatometer, from Warner Bros. Entertainment.

Flixster and Rotten Tomatoes, which reach 20 million unique

visitors per month, will remain consumer-facing brands. With this

acquisition, Fandango’s audience reach will grow to more than 63

million unique visitors per month (Fandango and Flixster’s combined

non-duplicated audience, according to comScore December

2015). As part of the deal, Warner Bros. Entertainment will take

a minority ownership stake in Fandango and serve as an ongoing

strategic partner. Fandango will continue to operate as a unit of

NBC Universal.

Flixster is a website and mobile app for discovering movies.

Fandango will extend its ticketing capabilities to the Flixster app in

the coming months. Together, Flixster and Fandango’s mobile app

downloads total more than 100 million. (Flixster Video, the home

entertainment and digital video redemption service, is not included

in the transaction; it will transition its users to Fandango’s video

on-demand service later this year and will sunset thereafter.)

In January, Fandango acquired M-GO, a digital distributor of

new-release and catalog movies to connected, over-the-top (OTT),

and mobile devices. With M-GO, Fandango plans to work with exhibitors

and studios to build streamlined solutions for “super tickets”

and other theatrical ticketing and home entertainment products.

M-GO will be rebranded later this year and become part of Fandango’s

digital network.

Fandango also made its first move internationally into Latin

America, acquiring Brazil’s largest online ticketer, Ingresso.com, in

November 2015.

MARCH 2016 BoxOffice ® 7


EXHIBITION BRIEFS

CINEMARK APPOINTS

PELHAM

n Cinemark has appointed

Angelia E. Pelham as the

company’s executive vice

president and chief human

resources officer. An executive

with more than 25 years of

human resources experience,

Pelham has worked in multiple

industries including consumer

packaged goods, restaurants,

and entertainment/leisure.

“We are thrilled to welcome

Angelia to the Cinemark

family,” said Mark Zoradi,

Cinemark’s chief executive officer.

“Her extensive background

in human resources, along with

a tremendous amount of leadership experience with Fortune

500 organizations across a variety of industries, makes her a

valuable addition to our worldwide leadership team.”

Before joining Cinemark, Pelham served as vice president,

head of human resources for Main Event Entertainment and

has held executive HR roles at organizations such as Walt Disney

World Company, PepsiCo, Frito Lay, and Pizza Hut.

BARDAN EXPANDS AGREEMENT WITH PHILIPS

n Bardan Cinema has expanded its exclusive master distribution

agreement with Philips Lightning to supply its digital cinema product

lines throughout Latin America and the Caribbean.

This announcement comes on the heels of Bardan’s agreement

with Barco in the fall to roll out its interactive visual communication

platform and products and cinemas, retailers, commercial

properties and live venues throughout Latin America, the Caribbean,

and southeast U.S.

Bardan will distribute Digital Cinema Xenon line, including

the new Long Life Lamps, which are officially certified and

approved for use in Barco, Christie, NEC, Sony, and IMAX

projectors.

AMC INDIAN MOUND MALL 9 TO REOPEN IN APRIL

n AMC Theatres and WP Glimcher have announced that the recently

closed Indian Mound Mall theater, located in Heath, Ohio,

will soon reopen as AMC Indian Mound Mall 9, with an entire

overhaul of the theater scheduled to take place in 2016.

The theater is scheduled to reopen in early April, with renovations

beginning this spring. The theater will remain open during

the renovations, and the full conversion should be complete by late

2016.

Upon completion of the renovations, AMC Indian Mound

Mall 9 will include plush power recliners; online ticketing,

reserved seating, and ticketless entry; all-new movie screens and

sound systems; and an expanded menu.

“AMC Theatres at Indian Mound Mall will be a welcome addi-

8 BoxOffice ® MARCH 2016


tion to the community,” said Joseph Williams,

general manager of Indian Mound

Mall. “We are excited that we will have an

updated entertainment venue, which will

complement our popular shopping and

dining options for all to enjoy.”

AMC is also exploring the possibility of

adding its MacGuffins bar concept, currently

featured at other Columbus-area AMCs and

more than 115 AMC locations around the

country.

CARMIKE CINEMAS ACQUIRES TWO

THEATERS

n Carmike Cinemas has entered into

purchase agreements to acquire two movie

theaters from a subsidiary of AMC Entertainment

Holdings for a total of $5.4

million in cash. AMC recently acquired these

theaters from Starplex Cinemas and sold

them to Carmike. Upon completion of these

two transactions, Carmike now operates 275

theaters with 2,942 screens across 41 states.

Carmike’s president and chief executive

officer David Passman said, “We are pleased

to welcome these two outstanding theaters to

the Carmike family. Both the East Windsor

Town Center 10 and the Berlin 12 Theatre

have been successful in creating a compelling

moviegoing experience for the residents of

East Windsor, New Jersey, and Berlin, Connecticut,

and incorporate the latest technology

in picture, sound quality, and seating.”

Both locations have undergone recent

renovations with new seating. Town Center

Plaza Multiplex incorporated 100 percent

digital projection and new spacious recliner

seating in 2015, while the Berlin 12 incorporated

plush-rocker luxury seating in 2014.

MOBIQUITY AND SCREENVISION

CREATE MOBILE ADVERTISING

NETWORK

n Mobiquity Networks will collaborate with

Screenvision to install mobile advertising

beacons in 300 theater complexes to form a

movie theater advertising and data network.

This deal marks one of the first wide-scale

deployments of beacons inside movie

theaters.

The initial beacon installation will

include 300 theaters and nearly 2,500

screens. The movie-theater-based beacon

networks will work both independently and

in conjunction with Mobiquity Networks’

retail-mall-based beacon network.

“We are thrilled to announce this expansion

in the entertainment sector,” said Sean

Trepeta, president of Mobiquity Networks.

“Screenvision’s strong reputation and expansive

footprint make them a perfect partner.

This collaboration will usher in an entirely

new channel for movie theater advertisers to

reach their biggest fans.”

In addition to its advertising capabilities,

the movie theater–based network can provide

data on moviegoer profiles, including

frequency of visits and use of apps within

Mobiquity’s publisher network. This data

has the potential to provide attribution for

moviegoing resulting from film campaigns

delivered via apps. Theater owners can use

the network to improve and expand the theater-visit

experience, while movie studios and

related brands will be able to use the network

to deliver location-based mobile campaigns

directly to moviegoers.

SPOTLIGHT PARTNERS WITH THE

TONE KNOWS

n Spotlight Cinema Networks has

announced a partnership with The Tone

Knows to provide advertisers the ability

to connect with cinema audiences through

MARCH 2016 BoxOffice ® 9


EXHIBITION BRIEFS

their mobile devices. This partnership, which

launched at the beginning of 2016, allows

advertisers to further extend messaging,

interaction, and engagement with moviegoers.

Under the terms of the partnership, a

“silent” tone message would be automatically

sent to moviergoers’ smartphones

when a company’s advertisement is shown

during either Spotlight’s preshow or exclusive

Trailer Pod. The message can deliver

digital coupons, videos, retail partner

graphics, links to incentives, and localized

messaging directing consumers to nearby

retail outlets such as auto dealerships

or encouraging entertainment tune‐in.

Additionally, The Tone Knows technology

allows for delayed messaging until audience

members depart the theater.

Smartphone owners in the cinema

audience can only receive the messaging

from advertisers if they have downloaded

CineLife, the Spotlight Cinema Networks

app. The app will be promoted onscreen

and in-lobby at the nearly 1,000 movie

screens included in Spotlight’s network of

theaters in key markets across the United

States.

CURT FISHER

MARK WALLACH

CRAIG OAKS

GOLD MEDAL EXPANDS EXECUTIVE TEAM

n Gold Medal has recently expanded its executive team

and has hired Curt Fisher (vice president sales, U.S. and

Canada), Mark Wallach (vice president of manufacturing),

and Craig Oaks (vice president of human resources).

Fisher joins Gold Medal with over 20 years of experience

in the sales field. His career history includes more than

13 years in leadership roles with Whirlpool and Goodman

Distribution. Most recently he served as vice president of

sales for Direct Buy, where he successfully led the corporate

sales group.

With his 24-year career as an expert in operations,

Wallach served as plant manager at Pella Corporation,

where he strengthened work-flow processes and implemented

strategies to maximize performance. As director

of continuous improvement with Sunrise Windows, he

was responsible for the direction and execution of companywide

initiatives that resulted in double-digit productivity

improvements.

Oaks has spent his career in managing human resources

for such companies as Comair Airlines, Cornerstone

Brands, and Apex Supply Chain Technologies. He has

directed strategic planning, innovated processes, and deployed

effective employee-relations programs. Oaks fills the

position of vice president of HR following the retirement of

Sally Evans-Lloyd.

10 BoxOffice ® MARCH 2016


D-BOX AND VISTA COOPERATE IN CHINA

n Vista Entertainment Solutions is now the point-of-sale software

provider for D-Box movie theaters in China. “This collaboration

represents a concrete step to put in place a system that benefits

both exhibitors and moviegoers in the second-largest cinema

market in the world,” said Claude McMaster, president and chief

executive officer of D-Box Technologies. “It enables exhibitors to

achieve new recurring revenues with D-Box’s cutting-edge technology

and gives moviegoers more choice and the ability to ‘live’ an

exciting immersive cinema experience.”

Lawrence Wang, Regional Manager, Vista China, added, “Based

on our technology and proven expertise in the international cinema

market, the success of the collaboration with D-Box demonstrates

once again Vista’s ability to not only directly respond to the needs

of exhibitors and moviegoers but to interface with other technological

innovators.”

YMAGIS GROUP ACQUIRES CINE-LOGISTICS

n Ymagis Group has acquired Berlin-based Cine-Logistics GmbH,

one of Germany’s leading distribution services for movie distribution

companies and German-speaking cinema exhibitors. Under

the terms of the agreement, Ymagis SA, through its wholly owned

subsidiary Ymagis Deutschland GmbH, becomes the sole shareholder

in Cine-Logistics GmbH.

“Through this operation, we are now able to offer German-speaking

distributors and cinema exhibitors a unique

portfolio of products and services ranging from post production,

localization, DCP mastering, and theatrical distribution services

from electronic content delivery to the storage and shipment of

physical assets such as advertising materials,” said Michael Krauth,

CEO of Ymagis Deutschland GmbH.

Krauth has been appointed co-CEO of Cine-Logistics and

will manage the company alongside Knut Güntzel. Both report to

Christophe Lacroix, senior VP, content services of Ymagis Group.

In 2015, Cine-Logistics recorded revenues of EUR 3.15 million

(+30.2% over the prior year). The company also operates a distribution

center near Berlin-Tempelhof airport. Cine-Logistics’ 20

full-time employees have now become part of the Ymagis Group

team.

INDUSTRY VETERANS JOIN KLIPSCH GROUP

n Klipsch Group, a tech-driven audio company, has announced

the addition of two consumer electronics veterans to the company

as part of an internal reorganization.

Chad Vogelsong joins Klipsch Group in a new position as

senior director of product and channel marketing for the digital,

streaming, and portable audio solutions. He will work closely with

key global accounts to launch products and drive sales at the retail

level, in stores and online. Vogelsong brings more than 20 years of

consumer electronics experience to Klipsch Group. His past sales,

marketing and channel marketing roles were served at Monster,

Harmon Karden, and JVC.

Joining Klipsch Group in a dual role is Dusty Thomas, serving

as cinema sales manager in the Americas and channel marketing

specialist for the component audio solutions business unit. He has

over 12 years’ experience in cinema technology sales and marketing,

cinema industry projection, and marketing consultation.

Thomas previously served in sales, business development, and

marketing roles at Datasat Digital Entertainment, QuVIS, Imagemakers,

and Strictly Social Media. n

MARCH 2016 BoxOffice ® 11


LAW & ORDER

AS IS COMMON IN AN OUTGOING PRESIDENTIAL ADMINISTRATION,

federal regulatory agencies have been busy drafting and completing

various new regulations. These regulations affect issues ranging from

paid sick leave for federal contractors to animals bred in captivity to

e-cigarettes. At the time of this writing, 102 different rules from 23 separate

federal entities await review by the Obama administration, and

hundreds more are being written at the agency level.

LABOR

PAINS

Federal regulation

and exhibition

by Esther Baruh

Manager, Government Relations, NATO

n Exhibitors are no doubt familiar

with the Department of Justice’s

pending rule on closed captioning

and audio description but should not

overlook other regulations that have

an impact on exhibition. Specifically,

various federal agencies have been

active on labor matters. This article

takes a look at certain pending federal

labor regulations that could affect

motion picture theater exhibitors.

New Wage and Hours Reporting on EEO-1

Surveys

Consistent with the Obama administration’s stated

priority to close the gender pay gap, the Equal Employment

Opportunity Commission (EEOC) recently

proposed new requirements for private employers to

report employee earnings broken down by gender and

race. These new requirements are incorporated into

the existing Employer Information Report (EEO-1),

a survey that private employers with 100 or more employees

are required to file annually. Currently, EEO-1

reports collect information on the number of employees

working for an individual employer broken down by

job category and by gender, race, and ethnicity. The

proposed changes, which are scheduled to start in 2017,

will expand the scope of the EEO-1 report to include

W-2 earnings and hours worked for all employees.

The EEOC has proposed collecting W-2 earnings

information broken down by 12 pay bands, as well

as the total number of hours worked by employees in

those pay bands. In its proposal, the EEOC writes that

it seeks employer input on how to report hours worked

for salaried employees. Comments on these changes

will be accepted by the EEOC until April 1, 2016.

THIS IS THE PROPOSED

EEO-1 FORM TO COLLECT

OMPENSATION DATE

SECTION D - EMPLOYMENT DATA

Employment at this establishment - Report all permenent full- and part-time employees including apprentices and on-the-job

trainees unless specifically excluded as set forth in the instructions. Enter the appropriate figures on all lines and in all columns.

Blank spaces will be considered as zeros.

Job

Categories

Annual Salaries in

Thousands

$18,239 and under

Number of Employees (Report employees in only one category)

Race/Ethnicity

Non/Hispanic or Latino

Hispanic or Latino

Maie

Female

Total Col

A–N

Female Male White

Black or

Native

Native

African

Hawaiian

American

or Pacific

Asian

American Two or

Black or

Native

Native

or Alaskan more races

White African

Hawaiian

Islander

Native

American

or Pacific

Asian

American Two or

or Alaskan more races

Islander

Native

A B C D E F G H I J K L M N O

$19,240–$24,439

$24,440–$30,679

$30,680–$38,999

$39,000–$49,919

Executive/Senior

Level Officials and

Managers

1.1

$49,920–$62,919

$62,920–$80,079

$80,080–$101,919

$101,920–$128,959

$128.960–$163,799

$163,800–$207,999

$208,000 and over

12 BoxOffice ® MARCH 2016


The EEOC’s new requirements stem directly from its activities as

a member of the National Equal Pay Task Force. In 2010, President

Obama established this task force, bringing together four federal

agencies: the EEOC, the Department of Labor, the Department of

Justice, and the Office of Personnel Management (an agency that

manages the federal workforce). He charged them with examining

challenges in equal-pay enforcement and with creating solutions to

address these issues. Collecting data on the private workforce was one

of the five recommendations made by the task force in order to better

understand and tackle unequal pay.

Business groups have been vocal in their criticism of the proposed

changes to the EEO-1 survey. The Retail Industry Leaders Association,

which represents major retailers such as Target, Whole Foods

Market, and Foot Locker, issued a statement decrying the new

requirements as a “tremendous” administrative burden. NATO will

continue to monitor the proposed changes.

Overtime Changes

In March 2014, President Obama directed the Department of

Labor (DOL) to rewrite overtime regulations to expand the number

of Americans eligible for overtime pay. DOL released proposed

changes to the rule in the summer of 2015. During the public

comment period following the publication of the rule making, over

290,000 comments were submitted by the business community,

labor organizations, and individuals on both the merits and the

disadvantages of DOL’s suggested modifications to the current

overtime structure.

DOL has projected that the rule will be completed by July 2016.

The changes to overtime will come over 10 years since DOL last

updated its regulations, and if the parameters of the proposed rule are

an indication of what the final changes will be, employers will see significant

increases to annual costs. While the rule cannot amend the

federal statute exempting movie theater employees from overtime, because

some states do not exempt theater employees, exhibitors should

be aware that the new federal standards may apply in those states.

In order to be exempt from overtime, an employee must meet

three criteria: be paid on a salaried basis (“salary basis test”); earn a

fixed minimum salary per week (“salary level test”); and perform a

job that primarily involves executive, administrative, or professional

duties (“duties test”). The most significant changes awaiting employers

will impact the salary basis test and the duties test. No modifications

have been proposed to the salary basis test.

DOL has proposed to raise the exempt salary threshold to $970

per week, or $50,440 annually. This would more than double the

current exempt salary threshold of $455 per week, or $23,660

annually. The rule would put in place automatic annual increases

to the salary threshold by permanently setting the level at the 40th

percentile of weekly earnings for full-time salaried workers. DOL is

also considering including nondiscretionary bonuses and incentive

payments in the salary-threshold calculation. By contrast, DOL did

not offer many specifics regarding modifications to the duties test.

Rather, the agency wrote that it was soliciting stakeholder feedback

on what changes, if any, should be made to the duties test, including

adopting the same model as the State of California.

Given that overtime changes may be final within a matter of

months, exhibitors may want to consider reviewing the overtime

statutes of the states in which they operate to determine whether the

new federal standard will affect their employees. n

MARCH 2016 BoxOffice ® 13


NATO MEMBERSHIP

NATO

VOLUNTEERS

MAKE A

SUBSTANTIAL

IMPACT

You can too!

by David Binet

Director of Membership, NATO

n Military life, for the

most part, is nothing

like civilian life (unless

you subscribe to the

Bill-Murray-in-Stripes

version of the military—

then it’s campy and

unrealistic). My friend

is a former captain in

the U.S. Army. He told

me the first piece of

advice he received in the

Army was, “Don’t ever

volunteer for anything.”

And he didn’t. Luckily

the U.S. Army—and

almost all branches of the

military—maintains a

strict chain of command.

You do exactly what the

person ranked above you

says to do, or there will

be dire consequences. It

generally works for them.

Civilian life, on the other

hand, enjoys a much

more pleasant approach

to volunteerism. In the

realm of nonprofit trade

associations, the member

volunteer is the strongest

and most valuable asset

within that organization.

The knowledge and perspective

of experienced

member volunteers can

help focus the direction

of the association. They

can also inspire others to

do the same.

The National

Association of Theatre

Owners (NATO)

effectively represents the

motion picture exhibition

industry in many different ways. Whether intersecting

with public policy makers in Washington, D.C., or

with leading movie industry executives and creative

community in Los Angeles, NATO advocates for the

collective interests of its members. But without the

dedicated and passionate service of committed volunteer

members, NATO would be a much less successful

organization. Other trade bodies in the entertainment,

service, and retail industries may have bigger budgets

and larger staff numbers, but NATO’s volunteer leadership

and grassroots base is second to none. With 566

member companies operating 32,884 screens in all

50 states and U.S. territories, and with 62 additional

member companies operating in 82 countries around

the world, NATO can call on hundreds and hundreds

of talented and passionate volunteer advocates.

According to a recent, member-driven strategic

plan for the organization, NATO’s top priorities

include:

n preservation of a robust

theatrical release window

n enactment and promulgation of

fair government policies

n development and standardization

of cinema presentation technologies

n encouragement of a broad and

diverse supply of movies appealing

to all demographics in all 12 months

of the year

n maintenance of a safe and secure

moviegoing environment

n promotion of the magical

moviegoing experience

n oversight and preservation of a

voluntary movie rating system

n protection against movie theft

(“piracy”)

With a relatively modest budget (i.e., we spread out

those holiday candy gifts for a looong time), NATO

staff members pursue these priorities from our headquarters

in Washington, D.C., and from our second

office in North Hollywood, California. In addition

to full-time professional staff, NATO also works with

consultants, attorneys, and other independent contractors

to strengthen our reach. Yet we are only as strong

as the input from our members. And here’s the beauty

of it all: any member can volunteer his or her expertise

to the association.

Three members exemplify the volunteer spirit at

NATO. Each of these leaders has made substantial

contributions to enhance an industry they truly love.

David Passman: Board Chairman

Extraordinaire

David Passman, president and CEO of Carmike

Cinemas, has served on NATO’s Executive Board

for six years, where he recently concluded two terms

as chairman. His vision and leadership won him

the respect of NATO members—major circuits and

independents alike. David’s governance acumen helped

NATO streamline its governance and strengthen the

role of committees and task forces. CinemaCon was

in its infancy when David was first elected as NATO

chairman. Throughout his terms, David was actively

engaged in convention planning, and his insights and

guidance helped CinemaCon grow and succeed. David’s

unwavering dedication, commitment, and service

(continued on page 16)

14 BoxOffice ® MARCH 2016


MEMBERSHIP NEWS

to the motion picture theater

industry are extraordinary. It is

fitting that David will receive

the exhibition industry’s top

honor, the NATO Marquee

Award, at CinemaCon 2016.

Bill Campbell: Champion

of the Independent

Theater Owner

Bill Campbell, president

and treasurer of Orpheum

Theatre Inc. in Sheridan,

Wyoming, has served as the

managing director of NATO’s

Cinema Buying Group (CBG)

since 2009. He has also

served as chair of NATO’s

Independent Theatre Owners

Committee. Bill has the typical

DNA of an independent

operator, having helped his

dad run the operation while

growing up in Wyoming. A

dedicated family man (and

ardent Denver Broncos fan, so

please excuse his swagger), Bill focuses his attention

on improving moviegoing in small towns across

America. Whether it’s leading the CBG through new

program development or advocating the needs of

small cinemas to the studios, Bill exudes an independent

spirit. As a testament to his significant contributions,

he was awarded the NATO Marquee Award at

CinemaCon 2015.

Randy Smith: Consummate Attorney and

Negotiator

Randy Smith, chief administrative office and counsel

of Regal Entertainment Group, joined Regal in

1998. Since that time, Randy has served consistently

as NATO’s most active and influential member volunteer.

As a lawyer, a lobbyist, a negotiator, a presenter,

an editor, and most importantly a counselor to staff

and fellow members, Randy has given, and continues

to give, his time and considerable talents to protect

and grow the movie exhibition business. Randy’s

leadership has moved the industry forward on such

diverse issues as access for patrons with disabilities;

appropriate movie ratings and advertising policies; the

fight to stop movie theft; proper building codes; and

the detection and prevention of security threats against

cinemas. All exhibitors, large and small, owe Randy a

debt of gratitude for his tireless work on behalf of the

industry he loves.

The three NATO members just described have

each had a lasting and highly beneficial impact on the

exhibition industry. And they have each contributed

literally thousands of hours of their busy professional

time to serve their fellow exhibitors. But any NATO

member can have an impact as a volunteer—without

spending thousands of hours doing it. Here are some

examples of how you can easily get involved:

ANY EXHIBITION COMPANY OWNER OR EXECUTIVE

CAN VOLUNTEER TO ENHANCE THE INDUSTRY AND

IMPROVE THE BOTTOM LINE. HERE ARE 10 WAYS TO

PARTICIPATE:

n Attend the annual NATO Membership Meeting and Fall

Summit. Hey, it’s free for all NATO members, and most

sessions are open to everyone.

n Become a Member of NATO’s Advisory Board of Directors.

This is the easiest and most direct way to absorb

and discuss the key issues for the association.

n Run for a seat on NATO’s Executive Board of Directors.

Thanks to the democratic spirit of NATO’s membership,

the decision-making body of the association is obtainable

for any member volunteer.

n Join a NATO committee or task force. Focus on one or

a few key topics to help guide the Advisory Board and

the Executive Board.

n Respond to NATO’s Government Relations Grass Roots

Action Alerts. Act as a voice to local policy makers on behalf

of the industry, and even come to Washington, D.C.,

to influence federal lawmakers.

n Participate in a NATO, Cinema Buying Group, or CinemaCon

Member Survey. The NATO staff craves your

feedback.

n Listen in on a NATO or Cinema Buying Group webinar.

These are always free and provide significant and immediate

return on your membership investment.

n Check out NATO’s employee training materials. The

industry’s frontline employees represent the strongest

interaction with the public.

n Display important information in your cinema on movie

ratings and movie theft. Educate patrons on the content

of movies with these free resources.

n Renew your NATO membership annually. Or, if you are

not a member, join now!

We adore our members and the daily effort they exert to provide

a fun and memorable moviegoing experience. By getting

involved in the association, any exhibition company owner or

executive can give something back to his or her industry, while

learning a great deal and making very useful contacts at the

same time. Let us know how you might want to get involved.

Contact me at db@natodc.com today! n

16 BoxOffice ® MARCH 2016


CHARITY SPOTLIGHT

A LOOK BACK AT RECENT EVENTS

Compiled by Christina Blumer, Fundraising and Event Manager, Will Rogers Motion Pictures Pioneers Foundation

Erica Lopez, Executive Director, Variety–the Children’s Charity of the United States

WILL ROGERS AT UNITED DRIVE-IN THEATRE OWNERS ASSOCIATION

(UDITOA) CONVENTION

n In early February the Will Rogers Foundation had the opportunity to attend the U.D.I.T.O.A.

annual convention in Orlando, Florida. The U.D.I.T.O.A. has supported the Will Rogers Theatrical

Fundraising Campaign for over a decade and to date has raised a lifetime total of $67,000 in support of

the Will Rogers Institute and Brave Beginnings programs. Thank you to everyone at U.D.I.T.O.A. and

to all our exhibitor partners across the country.

VARIETY OF DC’S ZOOLANDER 2 ADVANCE

SCREENING AND HAPPY HOUR TO BENEFIT

YOUNG VARIETY DC

n Guests gathered at one of the coolest venues in the District, the

Angelika Pop-Up at Union Market. The event included nibbles, cash

bar, and an exclusive jewelry trunk show from Kendra Scott with 20

percent of all proceeds donated to Young Variety.

Brady Fry

VARIETY OF TEXAS’S REIN RABAKUKK

HEART OF VARIETY FUNDING MEETING

n Variety of Texas kicked off the New Year with a Rein

Rabakukk Heart of Variety Funding meeting, approving over

$52,000 or an average of $4,000 per child. Adaptive tricycles,

ABA therapy, adaptive strollers, special-education tuition, and

van lifts are headed into the homes of some very deserving

kids across the State of Texas. Variety reviews applications for

assistance every month. If you know a child with special needs

who could benefit from financial assistance, please visit www.

varietytexas.org/apply.

VARIETY OF WISCONSIN’S CHATTER

MATTERS! FAMILY MEET UP

n Seventeen families attended a communication meet up to practice

using a communication device during fun activities. Parents learned

how to program the device and incorporate it into everyday family

activities, while the kids had fun using their communication devices

to play games and talk with friends.

VARIETY OF IOWA’S THIRD ANNUAL MOMMY &

ME: SWEETHEART DANCE

n Guests celebrated with their own little sweethearts and created

unforgettable memories. Everyone enjoyed dancing, captured the

memory with a photo, sampled from appetizers and a dessert buffet,

then got creative with a craft activity.

18 BoxOffice ® MARCH 2016


VARIETY OF DETROIT’S THIRD ANNUAL VARIETY CHILI MAC

AND PULLED-PORK COOK-OFF

n Guests enjoyed a fun-filled evening at the Townsend Hotel in Birmingham, Michigan, to

benefit Variety of Detroit’s core programs. Guests enjoyed tastings of chili, macaroni and

cheese, and pulled pork from more than one dozen of metropolitan Detroit’s finest restaurants.

Both critics’ and people’s choice awards were awarded as patrons enjoyed the fabulous

fare, beverages, and music and dancing!

VARIETY OF WISCONSIN’S

VARIETY TEEN X ART CLASS

n Variety of Wisconsin teens enjoyed creating

a fun art project geared especially for

youth with physical disabilities.

VARIETY OF TEXAS’S VARIETY

NIGHT AT NHL STARS GAME

n Through the Variety at Work program, Variety

provides free tickets to outings in the community

for families who have children living with special

needs. Variety invited 300 kids along with their

family and friends to attend a NHL Stars hockey

match in Dallas, Texas.

Everything, But the Key...

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

MARCH 2016 BoxOffice ® 19


CHARITY SPOTLIGHT

U P C O M I N G E V E N T S

VARIETY OF TEXAS’S VARIETY AT

WORK OUTINGS

Through the Variety at Work program,

Variety provides free tickets to outings

in the community for families who have

children living with special needs. March

and April are filled with free activities

for Texas kids such as basketball games

in Austin, hockey matches in Dallas,

and sensory-friendly movie screenings

across the state. For more information on

upcoming events in your area, please visit

varietytexas.org/familyevents/.

VARIETY OF IOWA’S TELETHON

March 5–6 / Community Choice Credit

Union Convention Center, 833 Fifth

Ave., Des Moines, IA 50309

Since 1975, Iowans have joined together

to contribute their time, talent, and hearts

to the annual telethon, an entertainment

showcase that serves as Variety of Iowa’s

largest fund-raiser and has raised more

than $100 million to date. Each year, a

lineup of local, national, and international

personalities performs to support the

children of Iowa. Working alongside the

telethon cast, thousands of volunteers and

Very Interested Persons (VIPs) take pledges

over the phones and solicit donations

from family and friends. Telethon also

provides Variety of Iowa the opportunity

to highlight the children and organizations

that benefit from Variety’s support.

In addition to cast performances, Variety

hosts specialized bike presentations and interviews

organizations that receive Variety

grants. Free to attend, or tune in to ABC5

from 7 p.m. to midnight on Saturday and

6 a.m. to 6 p.m. on Sunday to watch. For

more information visit varietyiowa.com/

variety-telethon/.

VARIETY OF DC’S ZOOTOPIA

SCREENING

March 6

A great family event with a private screening

of Disney’s Zootopia at the AMC

Courthouse. The event includes free

popcorn and soda for all and a yummy

dessert buffet. Tickets available at

varietydc.org/event-calendar/.

VARIETY OF BUFFALO’S

54TH ANNUAL VARIETY KIDS

TELETHON

March 6 / 7 a.m.–7 p.m.

Variety of Buffalo supports the Women

& Children’s Hospital of Buffalo, Robert

Warner M.D. Center for Children with

Special Needs, and many other kids in

western New York through its annual

telethon on WKBW-TV, broadcast live

from the Adam’s Mark Hotel in downtown

Buffalo, New York. Learn more and

meet this year’s Variety Kids Telethon

Celebrity Child Ashton Smith at varietykidstelethon.com/.

VARIETY OF DETROIT’S SHINE

FASHION SHOW

March 6 / The Somerset Collection in

Troy, MI

Variety of Detroit is proud to host its

third annual SHINE Fashion Show to

support the Variety Community Outreach

Program through specialized summer camp

programs. Twenty-five beautiful children

will have their moment to SHINE as they

walk the runway with community mentors.

Tickets available by calling 248-258-5511.

VARIETY OF DETROIT’S BIG BOWL

March 10

Emagine Star Lanes in Royal Oak, MI

Variety of Detroit will host its unique and

fun-filled Big Bowl Tournament Event

with bowling, dinner, beverages, and

entertainment to benefit Variety’s core

programs. Tickets available by calling

248-258-5511.

VARIETY OF MANITOBA’S

DONOVAN ALEXANDER HEART

BOWL

March 12 / Laverendrye Bowling Lanes,

614 Des Meurons St., Winnipeg, MB

Donovan Alexander is a Variety Heart

Centre alumnus and former Winnipeg

Blue Bomber who believes he owes his

life to Variety. Each year he hosts a bowling

day for teams and families to come

together for a great cause: our kids! This

year’s event will be better than ever with

amazing prizes and sponsors. Donovan

himself invites Variety kids to join him

on his team for the day! Please contact

Ashley Irwin at admin@varietymanitoba.

com for tickets or visit varietymanitoba.

com for more information.

VARIETY OF TEXAS’S

TRAILBLAZER DAY CAMP

March 16 and 17

Is your little camper looking for a fun activity

during spring break? Register for Variety’s

Trailblazer Day Camp! Campers of all

needs and abilities ages 6 to 12 can register

to stay overnight for $125 or attend the day

camp solely for $80. Kiddos will enjoy our

zip line, low ropes, games, arts and crafts,

culinary crafts, archery, miniature golf, and

our famous 72-stadium-seat Theater in the

Woods, complete with concessions and

arcade games. Registration is provided on a

first-come, first-served basis at varietytexas.

org/camps/.

VARIETY OF SOUTHERN

CALIFORNIA’S DAY AT THE

RACES

March 17 / 12 p.m. / Santa Anita Race

Track

Variety’s Day at the Races was started

in 1998 as a way for members and prospective

members to enjoy an afternoon

with friends and colleagues. Each year

more than 350 people meet turf-side at

the picturesque Santa Anita Park for this

exciting event. This year we are proud to

honor Kristina Warner. Kristina has been

an amazing supporter of Variety for many

years. We hope you will join us for another

exciting day with the ponies. Tickets

are available at varietysocal.org/donation/

events and include admission, parking,

lunch, and racing program.

VARIETY OF TEXAS’S KITES

FOR KIDS

March 19 / 1–4 p.m. / Variety’s Peaceable

Kingdom Retreat for Children

in Killeen, TX

Come one, come all to our free openhouse

event “Kites for Kids.” Participating

families will enjoy our paved hiking

trails, bouncy houses, crafts, candy bar,

theater, arcade games, kite flying, and

much more! For information please call

512.328.5437.

VARIETY OF PHILADELPHIA’S

VEGAS AT VARIETY

April 2 / 7–11 p.m. / The Empress Room

at St. Helena’s Church, 1489 Dekalb

Pike, Blue Bell, PA 19422

Everybody’s a winner at this fun night of

gaming, food, and beverage for charity.

20 BoxOffice ® MARCH 2016


Attendees can try their luck at gaming

tables, silent auctions, and raffles for their

chances to win fabulous prizes with all

proceeds going to support children with

disabilities. Tickets available at support.

varietyphila.org/vegas_at_variety_2016.

VARIETY OF IOWA’S SAVOR

DES MOINES

April 9 / 6 p.m. / Holiday Inn Downtown,

1050 6th Ave., Des Moines, IA

Savor Des Moines is an evening sampling

of signature cocktails and appetizers from

area restaurants and bars. The evening

includes a live band and silent and live

auctions. Tickets available at varietyiowa.

com/calendar/events/event-23/.

VARIETY OF ST. LOUIS’S VARI-

ETY WEEK

April 9–16 at various locations

April 9: It starts with our annual Runway

Lights Fashion Show on April 9 at St.

Louis Union Station (a refurbished train

station dating back to the late 1800s).

This year’s show features fashions from

American designer Carmen Marc Valvo.

April 12: Help A Variety Kid Day, a calla-thon

hosted/broadcast by the local Fox

affiliate and staffed by volunteers from

Variety sponsor Edward Jones.

April 13: Imo’s for Kids Day where

Variety sponsor Imo’s Pizza contributes a

portion of all sales on that day.

April 14: Night of the Rising Stars, a

networking/entertainment event put on

by our Young Variety group of young

professionals.

April 16: It all culminates with our 50th

Dinner with the Stars on Saturday. This

formal gala takes place at the historic

Peabody Opera House in downtown St.

Louis and features a concert by an entertainment

headliner.

Visit varietystl.org/charity-events-st-louis/

variety-week for details.

WILL ROGERS PIONEER OF

THE YEAR DINNER

April 13 / CinemaCon, Las Vegas, NV

The Will Rogers Motion Picture Pioneers

Foundation invites you to join us in

honoring Donna Langley, chairman of

Universal Pictures at the Pioneer of the

Year Dinner. Visit wrpioneers.org/2016

dinner for details.

VARIETY OF DETROIT’S TABLE

TOPS LUNCHEON

April 27 / Pine Lake Country Club in

West Bloomfield, MI

Guests will enjoy a wonderful luncheon

with guest speaker Michael Berman as

they dine at 30 exquisite tables decorated

by fabulous Metropolitan Detroit

designers. Tickets available by calling

248-258-5511.

Please email daniel.loria@boxoffice.com to include recaps of previous events or

include future engagements in this section.

MARCH 2016 BoxOffice ® 21


TIMECODE

BOXOFFICE, JULY 17, 1943

Announcement of the first on-screen

appearance of Batman

DA-DA-DA-DA-DA BATMAN! KA-POW!

The Caped Crusader and the Man of Steel hit the screen this month, but they go back a long way, especially in

the pages of Boxoffice

by Kenneth James Bacon

n Surprisingly, this month’s Batman v

Superman: Dawn of Justice is the first

feature-film pairing of the two heroes,

though they first appeared together

in the comics in 1952 and have been

teamed numerous times in animated

form. Batman, of course, sprouted from

the pen of Jack Kirby and the mind of

Bill Finger in 1939. Superman, cooked

up by a couple of Canadian teens, Jerry

Siegel and Joe Shuster, appeared in

his first comic just a year earlier. Both

characters were immediate sensations on

the printed page, with Superman earning his

own radio show in 1940.

Batman was the first of the duo to hit

the big screen when Columbia released a

15-part serial in 1943. The dapper Lewis

Wilson was the first actor to don the tights

(his son, Michael, later wrote and produced

many Bond films). Robin was played, for the

only time, by an actual teen—Douglas Croft.

The comic’s Batmobile was instead a stylish

BOXOFFICE, JULY 25, 1966

Announcement of the first Batman feature film, starring the

cast of the classic television show

1939 Cadillac convertible. The series is now

viewed as a clumsy racist artifact of the wartime

era and includes this narration from the

first episode, “The Electric Brain” (describing

an empty small town): “This was the part

of a foreign land, transplanted bodily to

America and known as Little Tokyo. Since a

wise government rounded up the shifty-eyed

Japs, it has become virtually a ghost street

where only one business survives, eking out

a precarious existence on the dimes of

curiosity seekers.” The business? A wax

museum called the Japanese House of

Horrors (“1,000 shocks—10 cents plus

a penny for Uncle Sam”) and secret lair

of the film’s villain, played by J. Carrol

Naish in Fu Manchu makeup. Quaint.

The serial was popular enough to

trigger a second series in 1949 (also

touted in our pages). This time the

Dynamic Duo drove around in a 1949

Mercury. For the full Batmobile experience,

fans had to wait a decade and a

half for Adam West and Burt Ward to rocket

themselves around in the best Batmobile

ever designed—and one I got to see as a

12-year-old when it visited our local burger

place with roller-skating servers, The Big

O. They even had a giant searchlight acting

as a Bat-Signal, which the disk jockeys at

the sponsoring radio station thought would

actually work when they aimed at the clear

night sky. Holy Dimwits, Batman! n

22 BoxOffice ® MARCH 2016


SOCIAL MEDIA

The Freshman (1925)

Harold Lloyd makes a daring tackle

BOXOFFICE TRACKS THE SOCIAL MEDIA

REACTION TO THE TRAILERS THAT AIRED

DURING THE BIG GAME

by Alex Edghill

24 BoxOffice ® MARCH 2016


Super Bowl 50 saw the Denver Broncos ride their crushing defense

to the team’s third league title since 1998. The game was arguably

a snore fest, but the 63 commercials scattered throughout the broadcast

(some costing as much as $5 million per 30 seconds) provided much of

the entertainment value. As always there were winners and losers. We’ll

take a closer look at the six films that aired trailers during the game itself,

along with a brief look at the six films that went for the budget option

and aired their ads during the pregame show.

The effectiveness of airtime for commercials, especially on a major

stage like the Super Bowl, has mainly been determined by focus

groups, in-person or telephone polls, and ratings systems such as

Nielsen. The Web 2.0, however, with its rich social media platforms

like Twitter and Facebook, offers instantaneous feedback from the

commercials aired. There are caveats to consider before much of this

data can be put to use, so here is a quick cheat sheet:

Not all demographics are equally represented online. The sweet

spot for social media for films ranges from teens through 35, meaning

films appealing to very young or older audiences as their core

demographic tend to be underrepresented.

When it comes to Twitter tracking, the devil is in the search

details. If a movie title is unique (Finding Dory, for instance) then it

To get the best possible idea of the reception and effectiveness of the

Super Bowl trailers, we decided to look at three factors: Twitter tweets on

Super Bowl Sunday, Facebook likes increase from Saturday to Sunday, and

the 2016 USA Today ad meter poll (basically a huge focus group that votes

on which ad they liked best in real time). We then took an average of their

rank on all three to come up with the overall grade.

Pregame Trailers

There were six films that aired trailers during the pregame show:

Eddie the Eagle, Gods of Egypt, Alice through the Looking Glass, Captain

America: Civil War, 10 Cloverfield Lane, and Deadpool. To no

one’s surprise, Deadpool topped this list easily with 115,895 tweets on

Sunday and a net gain of just under 50K new likes. This is actually

the biggest Twitter Super Bowl daily tally we’ve ever seen, although a

few select others have seen bigger Facebook increases after the game

(including Ted 2 and Fifty Shades of Grey). It seems as though Fox

made the right choice in forgoing the bigger price tag for the game,

since it is the first time since 2010, when we started tracking Super

Bowl trailers, that a pregame spot led all films. In fairness to the other

films though, Deadpool was slated to open within a week of the big

game and had massive marketing spend that boosted its numbers

Deadpool

115,895 tweets

Captain America: Civil War

41,787 tweets

10 Cloverfield Lane

4,808 tweets

Gods of Egypt

1,365 tweets

Alice Through the Looking Glass

659 tweets

Eddie the Eagle

410 tweets

is very easy to search for all instances of “Finding Dory,” and we can

be largely confident that we have a very high percentage of relevant

tweets. When a film has a common name, however (The Lake or

Central Intelligence come to mind), the search strings used to ensure a

high percentage of relevant tweets have to be more restrictive. Other

qualifiers are required in these cases, and we end up with search

strings that look like “The Lake movie” or “Central Intelligence trailer.”

Our methodology at Boxoffice can sometimes include upward of

10 different strings for a single movie in order to ensure that false

positives are not included in our Twitter numbers.

Twitter/Facebook are not representative samples. So why are we

talking about them? The idea is that while they are not statistically

representative, by comparing movies with similar appeal, demographics,

and marketing, patterns will emerge that will help predict

demand, and indeed prospects, far in advance of release.

as well. The other strong showing in pregame was Captain America:

Civil War, which had over 41,787 tweets and 20,673 new likes. The

obvious comparison here is Captain America: The Winter Soldier,

which had a Super Bowl pregame spot back in 2014 and had 69,193

tweets and 16,899 new likes.

10 Cloverfield Lane had a very modest 4,808 tweets and 4,394 new

likes to lead the second tier of pregame trailer reactions. It’s an unusual

film to have been given a spot, so comparisons are sparse, although the

fact that last year The Divergent Series: Insurgent managed “only” 3,356

tweets and 5,049 new likes could be a strong sign. Gods of Egypt, Alice

through the Looking Glass, and Eddie the Eagle rang in with 1,365, 659,

and 410 tweets respectively. Eddie the Eagle occupied the bottom rung

for both Twitter tweets and Facebook likes with 410 tweets total (despite

a search-friendly string, “Eddie the Eagle”), and it failed to register

100 new likes between Saturday and Sunday. (continued on next page)

MARCH 2016 BoxOffice ® 25


JASON BOURNE

1 (Tie) JASON BOURNE

X-MEN: APOCALYPSE Avg. Rank: 2.33

Jason Bourne and X-Men: Apocalypse tied for the

top overall rank across Twitter, Facebook, and Ad Meter

results. The first three films in the Bourne franchise

built upon each other and culminated in the massive

success that was The Bourne Ultimatum, which earned

over $225 million in North America and $442 million

worldwide back in 2007. With Matt Damon

stepping away from the franchise, however, and

with Jeremy Renner running its first non-Ludlum

sequel, it produced a solid if unspectacular

$113 million total gross. This time around for

Jason Bourne, the fifth film in the series, both

THE BIG GAME TRAILERS

Damon and director Paul Greengrass are back, and

those at Universal are no doubt hoping for a return to

form for the dynamic duo. Bourne gained a reputation

after its initial three films as being a modern James

Bond, beating the Brit in terms of spy craft and grittiness.

Since then Bond has moved significantly forward

thanks to Daniel Craig’s performances, but don’t

be surprised if Jason Bourne goes through another

transformation to once again challenge Bond for the

coolest-spy-in-Hollywood moniker. Its performance in

the wake of its Super Bowl spot on social media and

Ad Meter points to big things, considering the film

should do very well with older crowds who are not

necessarily the biggest users of Twitter/Facebook.

X-Men: Apocalypse shared the top billing

with Bourne as it led all tweets and likes of the

Super Bowl films before falling to fifth among

the Ad Meter results to bring its average

down. The franchise is booming at present,

and with the rebooted franchise building

steam since X-Men: First Class opened back

in 2011, this should continue the upward trend

of openings in the series. By comparison, last year

Jurassic World led all Super Bowl trailers with 59,327

tweets and an Ad Meter rating of 5.62. Its Facebook

like increase was only 9,015 though, and that put it

in fifth place among the eight films that aired trailers

during the game.

X-MEN: APOCALYPSE

THE JUNGLE BOOK

SOCIAL MEDIA

3 THE JUNGLE BOOK Avg. Rank: 3.33

The Jungle Book managed to finish in the third

spot among all films despite its target audience of

young kids and families, traditionally a demographic

that gives a poor showing online. For instance, last

year Minions finished fifth of eight in Super Bowl

films and went on to be the sixth-highest-grossing

film of the year and third highest among

those that aired trailers during the game. The

film is a live-action remake of the classic Disney

movie from 1967, so it is very familiar to

a wide demographic, if not appealing. The spot

hints at a successful box office run.

26 BoxOffice ® MARCH 2016


THE SECRET LIFE OF PETS

4 THE SECRET LIFE OF PETS

Avg. Rating: 3.67

The Secret Life of Pets had a very positive Ad

Meter result, leading all films there handily. This

was the largest Ad Meter score since Rango had

6.83 back in 2011. In addition it was the only one

of the six film trailers to air during the fourth quarter,

which generally has the lowest viewership and also

gave it less time for tweets and likes to come in before

the end of the day. Regardless, for a nonsequel animated

film it performed well, and in light of the Minions

marker it looks to be a contender for one of the biggest

films of the summer. Also, despite its having the poorest

Twitter numbers, its Facebook like total was just

~10 percent away from top spot, as less than 2,000

new likes separated fourth and first place.

5 TEENAGE MUTANT NINJA TURTLES:

OUT OF THE SHADOWS

Avg. Rating: 4.33

The heroes in a half shell failed to make it into the

top half for any of the three tracked metrics, and it

received the lowest possible Ad Meter grade of the six

films. The first film in the franchise performed very

well, way better than many pundits expected, but

these results introduce questions about whether it

can build on that momentum. The silver lining here

is its Facebook number—the second highest—and

there is still time until its June release to build

awareness and buzz. By comparison, Transformers:

Age of Extinction had 48,001 tweets, 16,136 new likes,

and an Ad Meter score of 4.61.

6 INDEPENDENCE DAY: RESURGENCE

Avg. Rating: 5.00

A sequel to the 1996 film Independence Day, this

film is looking to pick up right where its predecessor

left off and be a tentpole for Fox this summer. The

first film was a launching point for both Will Smith’s

and Roland Emmerich’s careers and still remains the

highest-grossing film for both. It was also one of Fox’s

biggest cash cows ever, taking home the crown for

top-grossing film of 1996 ($306 million domestically),

beating No. 2 Twister ($241 million) by almost 25

percent. This time out, though, they have decided

against having Smith aboard, and one has to

wonder if that hasn’t affected its drawing potential,

as evidenced by its returns from the Super Bowl

spot. n

TMNT: OUT OF THE SHADOWS

INDEPENDENCE DAY: RESURGENCE

OVERALL STATS

Film Tweets Likes Ad Meter Average

Jason Bourne 15,256 12,702 5.10 2.33

X-Men: Apocalypse 49,207 12,846 4.59 2.33

The Jungle Book 13,397 6,761 5.19 3.33

The Secret Life of Pets 3,215 11,142 5.91 3.67

Teenage Mutant Ninja Turtles:

Out of the Shadows

7,853 12,292 3.80 4.33

Independence Day: Resurgence 7,205 6,177 4.74 5.00

MARCH 2016 BoxOffice ® 27


VENDOR CHAT

Tell us a bit about your partnership and your

work behind the booth for the exhibition

industry.

American Computer Optics and GST Manufacturing

Ltd. are pleased to have the input of every major

player in the industry using our projection ports.

Dolby has tested our GST Projection Ports with the

OptiClear glass extensively. We received news that the

light loss for recent testing by two major labs was less

than 1 percent. This

INSIDE THE

BOOTH

GST Manufacturing and American

Computer Optics team up to help

exhibitors get the most out of the

projection booth

Interview with Sam Kerbel

VP Sales, GST Manufacturing

advantage gives the

opportunity to save

on energy because the

projectors do not have

to be at full power

to attain the correct

product and light at

the screen. We produce

projection ports

for Cinemark, IMAX,

Regal, AMC, Century

RAVE, Movie Tavern,

Showbiz, CinemaXX

Asia, Christie Digital, Marcus, Frank, many other

independents, and we build and provide custom ports

for many cinema dealer technical professionals such as

Moving Image Technologies.

The other positive is the sound attenuation

performance for these projection port designs. The

importance of the sound in a lab is critical to the final

product. The double- and triple-glazing designs have

contributed to the excellent containment of sound

transference, especially in the new laser applications.

How have you been able to help exhibitors

get the most out of bigger screens and new

projectors?

We make custom-sized projection ports with

single, double, and triple glazing for all applications.

Some of the applications have been boothless. The

projection port in this case has a hinged projection

glass so that the projector can be rolled out onto a

drawer slide with a support for easy access to the

projector for service. The projector from time to time

will slide out of the back of a boothless cavity or out

of the left or right of a boothless cavity. Many of these

applications require electrical service into the port

module. Many others require that the port cavity have

an exhaust system to be able to keep heat out of the

port cavity. Some of the testing for the new laser projectors

requires clear path testing to assure correct light

levels at the screen. The designs for these applications

require that the glass be out of the path for testing.

To recap, we tout the ease of installation as well as the

opportunity to clean all panes of glass with innovative

ways to get to all surfaces. The OptiClear glass is the

very best quality, with proven clarity in all venues and

applications.

3D brightness level has been a consistent concern

for audience members. Laser projection

can certainly tackle that issue, but what other

steps can exhibitors take to ensure they

can achieve the maximum brightness levels

of their equipment?

We have been asked to make designs where the

OptiClear glass modules are either hinged or easily

removed for cleaning and light testing. We have

provided a clear path testing opportunity, which

requires unique designs for removal of the glass

modules. Many times exhibitors will want to check

light at the screen without any interference from

the glass. This gives us the opportunity to sound

check, focus and test light lumens at the screen. If

there is low light at the screen, that means there is a

problem with the projector output, low voltage, or

myriad other possibilities. GST Manufacturing and

American Computer Optics have teamed together

now for 16 years to address these challenging

brightness levels. We have had input from numerous

professionals in the field and work closely with

them to achieve their goals and product on the

screen. The OptiClear hydrophobic coating is also

a huge factor in keeping the glass free of dirt and

other contaminants to assure the best product on

the screen. GST and ACO send specific cleaning

instructions along with cleaning product with each

port that leaves the plant. The ease of cleaning the

glass is very important with the final product on

the screen.

New builds versus retrofits: do these two

categories pose any specific challenges to

your work? What elements specific to each

should exhibitors keep in mind?

The designs for new builds are decided early in

the process and give both companies time to plan

for the production and manufacturing challenges.

Large-format venues are challenging due to the

size of the clear view glass openings required. The

path required for large-format screens gets larger

due to dual projector formats either side by side or

stacked for 3D and 4D showings. We do have quite

a bit of growth in the lab area where the clarity

of the glass and the sound transference is critical.

With the backing from Dolby and others, we have

made huge strides to accommodate a lot of unusual

sizes required to get the product to the screen in

existing buildings. Retrofit auditoriums have been a

challenge in the past couple of years with boothless

situations in old buildings. We have the same

challenges with older buildings that want to have

an 80-foot silver or white screen. The throw of the

projectors side by side dictate that the size of port

will be bigger in height as well as width. GST and

ACO pride themselves on custom designs for these

applications. n

28 BoxOffice ® MARCH 2016


MARKETING

How did the Indie Marketing Coalition (IMC)

come about?

Independent theaters, when combined, can represent

up to 17 percent market share at the box office.

That makes an impact. The Indie Marketing Coalition

was developed to help the independent theater owners

optimize that power to studios and filmmakers by

joining them together. There is power in these theaters

working together, and when presented to the studio as

the IMC we can generate the kind of attention from

the studios these theaters deserve. This opportunity

resonated with NATO and the Cinema Buying Group

(CBG), who helped get it off the ground. We are very

pleased to now be able to offer this program to all

CBG members.

The Cinema Buying Group helped a lot of

independent cinemas stay in business. How

does the Indie Marketing Coalition continue

that grassroots approach to helping smaller

theaters overcome big obstacles?

The Indie Marketing Coalition focuses completely

on marketing. Some of these independent theaters

won’t know until Monday what film is opening on

Friday. Working with the coalition, we hope to drive

more awareness for films coming to these independent

theaters further out—provide digital assets for use on

websites, through social media, Facebook, Twitter, and

the like. The coalition can also provide another avenue

for sweepstakes, where individually they could not

provide the same exposure.

What goals are at the head of the Indie

Marketing Coalition’s agenda?

We would like to have most if not all of the studios

choose to work with us to reach this group. Many studios

do not have the resources to reach the more than

135 owners the coalition represents, and the coalition

provides a one-stop shop to promote and market their

films to these theaters.

While some of the goals address challenges

from a big-picture perspective, what are

some of the quickest or simpler benefits that

members of the IMC can enjoy?

First, we want to provide these theaters with

increased knowledge of studio marketing strategies and

provide information and collateral further in advance

to increase awareness, interest, and box office dollars.

Second, we would like to launch a sweepstakes or two

this year, previously reserved for only the largest exhibitors,

and provide easy access to correct digital assets.

Down the line, we may offer concessions promotions

and other expanded marketing programs. We also

want to hear what our members want to get from the

studios, so we can approach the studios to generate

programs and opportunities the IMC has identified as

important.

A LOOK AT

THE INDIE

MARKETING

COALITION

Interview with Nancy Klueter

Principal, 2656 Marketing

Can you share with us some initial results of

your membership drive?

Presently the coalition represents about 135 owners

and close to 8 percent box office market share. We

need every eligible member to join the IMC. This is a

program that has no cost to join, only benefits to reap.

And when we are at full membership with 17 percent

market share, we will be in an amazing position with

the studios. n

VISION To form a coalition of regional and independent theater owners

enabling the larger group to garner attention and resources from filmmakers

and studios. Indie Marketing Coalition (IMC) will act as a liaison to studios to

provide coalition members with timely film information & assets and develop

tools & programs to support your theaters.

GOALS—STAGE 1: Increase knowledge of studio marketing strategies and

provide information & collateral further in advance to increase awareness,

interest and box office dollars • Participate in Studio Sweepstakes—until now,

reserved only for the largest exhibitors • Provide easy access to digital assets

for websites and e-mails.

STAGE 2: Concessions Promotions—generate revenue and/or reduce costs

through concession advertising on collateral such as popcorn bags and drink

cups • Marketing Materials—work with studios to provide additional materials

suitable for your theater lobbies • Leverage “circuit-specific” marketing initiatives

by studios for the Coalition.

MARCH 2016 BoxOffice ® 29


SCREEN PLAY

LARGE SCREEN, PREMIUM EXPERIENCE

Premium large format continues its evolution in 2016

by Daniel Loria

n If 2014 proved that exhibitors around

the world are betting big on the big screen,

2015 was a testament to the continued

proliferation of premium large format (PLF)

auditoriums. According to research firm

IHS, the number of PLF screens around

the world increased by 15.8 percent in the

first six months of 2015—from a total of

1,401 screens at the end of 2014 to 1,623

screens by June. That increase stems from

continued investment from exhibitors in

their own branded PLF formats, as well as

a larger competitive landscape that is seeing

companies such as Dolby, Barco, and RealD

battle for a share of a market that has been

dominated by IMAX.

The surge in screen count from the first

half of 2015 was followed by a bold decision

from a couple of studios to see how a limited

opening in PLF formats could impact a film’s

theatrical run. It was a strategy that had

already been employed in 2011 with Paramount’s

Mission: Impossible – Ghost Protocol,

giving PLF auditoriums the first crack at a

big studio release. The experiment paid off

for the Tom Cruise vehicle, generating an

opening frame of $13.6 million. Universal’s

Everest didn’t hit the same heights when it

opened in September, grossing $7.6 million

from 545 screens in North America. Sony’s

The Walk, however, started off on the wrong

foot with a paltry $1.6 million bow from

448 PLF screens in October. Exhibitors’ interest

in the big screen experience has hardly

floundered despite last year’s lackluster results

from an exclusive PLF debut run. North

America continues to be the largest market

for exhibitor-branded PLF auditoriums, a

concept that is being adopted by circuits

nationwide regardless of size.

Cinergy Cinemas is a Texas-based exhibitor

that operates two locations—with a third

scheduled to open in the coming months.

Cinergy might not have the screen count

or geographic reach of its competitors, but

it nevertheless sees PLF as a central factor

in retaining a competitive edge in today’s

exhibition market. “It literally seemed like

a no-brainer to develop our own brand,”

explains Jeffery P. Benson, founder and CEO

of Cinergy Cinemas, when describing his

company’s decision to develop EPIC, their

in-house PLF brand. Cinergy uses Dolphin

Seating’s Rio Grande seats and VIP Cinema

Seating’s Norwood recliners in its EPIC locations,

along with Dolby Atmos immersive

audio, Volfoni 3D, and Christie Digital 4K

projection. “We plan to have at least one

EPIC screen in each new complex. Given

the fact that there is almost always a tentpole

release out in our theaters, for the biggest

movie fans, a PLF screen offers the ultimate

viewing experience and there are plenty of

people willing to pay the modest up-charge

for the higher-end experience.”

Kevin Mitchell, president and CEO

of Showbiz Cinemas, another Texas-based

exhibitor, operating 96 screens in six locations,

also sees PLF as an integral part of an

30 BoxOffice ® MARCH 2016


exhibitor’s growth strategy. Showbiz currently

has three of its SDX PLF auditoriums

open to the public, with plans of opening

an additional two to three per year. “It’s not

about any one particular thing, it’s about the

whole package,” cites Mitchell as the secret

to success with an exhibitor-branded PLF

offering. “I think the environment is getting

so competitive with home theaters that you

really need to give people a reason to leave

their homes. And it’s not just about the

equipment—it’s about doing it in an affordable

environment and a clean atmosphere.”

Mitchell’s observations hit the mark,

which is exactly why these auditoriums are

about so much more than the bigger screen.

Luxury seating, immersive audio, and topof-the-line

projection are commonplace

approaches to the concept. They can also

allow exhibitors to test out new features, as

occurred when Goodrich Quality Theatres

adopted reserved seating in its Saginaw,

Michigan, GDX location. The positive consumer

reaction to reserved seats influenced

the company’s decision to offer the service

at additional sites and has already helped

establish the popularity of GDX among its

audience. Goodrich entered 2016 with seven

GDX screens in Michigan and Indiana and

plans to add another four auditoriums in

Indiana, Illinois, and Florida this year.

B&B Theatres, an early adopter of

exhibitor-branded PLF, unveiled its first

B&B Grand Screen location in a suburb

of St. Louis back in 2010. They went back

to that same auditorium in 2014 to install

recliner seating. “We were excited about the

reaction from customers, but we also learned

a lot about screen size, ratios, viewing angles

and ideas on how to improve and enhance

the PLF experience,” recalls Brock Bagby,

director of programming and business

development. “Customers’ reactions have

been extremely positive. They seek out our

B&B Grand Screens especially on event

titles. We are even finding in some cases

customers prefer to only see movies on our

B&B Grand Screens, which is why we try to

show as much variety as possible. Depending

on the movie, we are seeing 40 to 60 percent

of the gross coming out of our B&B Grand

Screens. In some cases we’ve opened a movie

on six screens, and even in those instances we

still find 40-plus percent of the gross coming

out of the B&B Grand Screen. Due to the

demand we recently opened a theater with

two Grand Screens.”

One of the biggest perks of developing

a PLF concept is the ability not only to

create additional price points for patrons

MARCH 2016 BoxOffice ® 31


SCREEN PLAY

but to keep a greater share of that premium

in house. Goodrich, for example, offers a

variable surcharge ranging from $1.50 to $2

for 2D films and up to $2.50 for 3D releases.

“From a business perspective, we want to

have multiple levels of theaters so that we

can price discriminate,” says Cinergy’s Benson.

“Some people have a higher willingness

to spend money and thus don’t mind paying

a couple of dollars extra for the premium

experience, whereas others are more money

conscious and prefer the normal or traditional

screens. Thus a PLF screen, in our

judgment, is smart to offer to the market.”

Marcus Theatres finished 2015 with a

strong push in the PLF space, opening 17

newly renovated auditoriums at 11 locations

by mid-December—increasing its total PLF

count to 42 screens at more than 61 percent

of its locations. Rolando B. Rodriguez,

CEO of Marcus Theatres, calls PLF’s role

in upcoming renovations “a top priority,”

and it’s easy to understand why: having the

2015 renovations ready by mid-December

coincided with the premiere of Star Wars: The

Force Awakens, which netted 40 percent of

advanced sales at the circuit’s PLF-equipped

locations. When factoring in premium pricing

at DLX locations—an average of $3.50

for UltraScreen DLX auditoriums and $2.50

for SuperScreen DLX auditoriums—the

midwestern circuit’s bet on the big screens

speaks for itself.

Some exhibitors, as is the case with

Showbiz Cinemas, have emphasized their

commitment to their in-house PLF brand by

deciding not to carry IMAX screens in their

locations. This hasn’t been the case across

the board, especially when it comes to larger

circuits. Regal, for example, showed a nearly

even split between its two brands, boasting

87 IMAX screens and 89 of their own

RPX auditoriums as of late 2015. Similarly,

Carmike Cinemas operates a total of 54

PLF auditoriums across its 275 locations

nationwide: 31 under its proprietary BigD

brand, 21 through IMAX, and 2 MuviXL

screens. In a call with investors, Carmike’s

CFO, Richard B. Hare, said it was a “market-by-market

decision” when determining

between a new IMAX location or their own

BigD screen. “We sit down, look at it internally,

and then we talk to IMAX as well to

see if it makes sense and if an IMAX screen is

actually available in that market or not.” Carmike

featured either BigD auditoriums or

IMAX screens in 14 of last year’s new builds

according to a 2015 investor presentation.

The advantage of IMAX in this field goes

well beyond its tech specs; brand recognition

for the format remains high among audiences,

known to specifically seek out screenings

when purchasing tickets. “IMAX has played

such a big role in making the larger screens

in multiplexes popular and bringing back the

notion of having a really giant screen to play

your films on. That has also led to the whole

PLF experience,” says James Hyder, editor

and publisher of Large Format Examiner, a

monthly publication focused on the giant

screen market. Even though titles like Everest

and The Walk couldn’t benefit from the PLF

label, IMAX still saw positive numbers come

through with other high-profile releases,

most notably Star Wars: The Force Awakens,

which grossed more than $200 million

worldwide from IMAX alone. International

growth for IMAX remains compelling for

investors; by mid-February, shares of IMAX

China were up 27 percent since the subsidiary’s

IPO, an impressive feat considering

the recent downturn of the Chinese stock

market.

Cinemark is another exhibitor that’s

expanded its own proprietary PLF brand

while keeping its IMAX screens. With over

200 XD auditoriums across its circuit,

Cinemark has grown its PLF brand into the

No. 1 private label premium large format in

the world. Cinemark charges a $3 premium

for 2D titles and $5 for 3D titles in its XD

auditoriums, which represent about 3.5

percent of its circuit and are responsible for

about 6.5 percent of its 2015 Q3 box office

according to a recent call with investors. “It’s

been a very, very good investment,” Mark

Zoradi, the chain’s recently installed CEO,

is quoted as saying in a transcript from the

Wedbush California Dreaming Consumer

Management Access Brokers Conference this

32 BoxOffice ® MARCH 2016


past December. “As we look at it and we look

at what’s coming down the road in terms

of studio product lineup, we think the XD

brand will only get more and more important.

We’re going to continue to push that

envelope along the way, and we think it will

be another pillar in terms of our growth.”

Cinemark’s investment in PLF isn’t finished

once an XD screen goes up. Last April,

Cinemark announced it would be equipping

20 of its XD auditoriums with RealD’s new

GS Cinema System. RealD GS is a projection

technology designed to work with either

new laser projectors and single or dual Xenon

lamp–based digital projectors, delivering

high brightness 4K images on screens that

may surpass 100 feet in width with a throw

ratio of 0.8–1.0.

AMC’s partnership with Dolby shares

top billing for the circuit’s own PLF brand,

Dolby Cinema at AMC Prime. The circuit

already offers Prime auditoriums at more

than a dozen locations in the U.S., with six

more sites planned in the coming months.

Dolby Cinema worked well enough in the

U.S. for AMC’s parent company, Wanda

Group, to announce its deployment at 100

of its Wanda Cinema Line locations in China.

China’s giant screen market has also been

a source of growth for RealD and its recently

launched RealD LUXE concept. LUXE is

slated to debut across three Cinema Palace

locations in China this year, complementing

its existing presence across various sites in

Russia.

The international market has given

multinational exhibitors an opportunity to

further develop their PLF concepts before

launching them in North America. National

Amusements’ Showcase Cinemas introduced

its Showcase XPlus auditoriums in late 2013,

following their rollout in Brazil earlier that

year. National Amusements now operates six

Showcase Plus auditoriums in the U.S., with

an additional eight in Brazil and nine in the

U.K. Reading International’s PLF concept,

Titan XC, has a bigger presence in Australia

and New Zealand but is now available in

Hawaii—its first U.S. location, soon to be

followed by additional screens in California.

John Sittig, director of projection and sound

at Reading Cinemas, notes that the circuit’s

PLF auditoriums have been over-performing

against screens of a similar capacity at

the same sites. “Most of our locations have

another auditorium of equal capacity, usually

around 500 seats, but it is the Titan screen

that leads the way in ticket sales on the same

film.”

Immersive large screen formats from CJ

CGV and Barco have also begun to pick up

traction outside the United States. Barco’s

Escape format, three screens that link together

to form a triptych inside an auditorium,

closed 2015 with more than 20 theaters in

the U.S., Europe, Mexico, and China. Barco

expects to boost that number in 2016 with

plans to reach more than 150 screens by year

end. ScreenX, a similar take on the concept,

offering a 270-degree viewing environment,

launched in 2012 at CGV locations in South

Korea. ScreenX has since grown its footprint

in Asia, tallying 75 screens at 44 sites, and

welcoming its first U.S. location in Los Angeles

earlier this year.

Escape and ScreenX are visibly different

than any other large screen format on the

market, which might translate into a slower

expansion in North America as exhibitors

and consumers alike get used to the offering.

“It’s always the trouble, and the people in

MARCH 2016 BoxOffice ® 33


SCREEN PLAY

the giant screen

world know this,

to start up a new

kind of exhibition

system. It’s the old

chicken-or-theegg

problem; you

build a new kind of

theater—whether

it’s Cinerama in the

’50s or IMAX in the

’70s, or ScreenX or

Escape now—and

you get into the

problem where

people won’t make

films unless there’s

a theater to show it

in, but no one will make theaters if there are no movies to show in

them,” explains Large Format Examiner’s Hyder.

Hyder’s point applies beyond Barco and CJ CGV’s immersive

screens. The support of the creative community can be crucial for

the success of any new format, especially those that come with

premium ticket prices. IMAX and 3D releases have been able to

market film releases from directors who embrace those formats,

and there have already been examples of major films—The Maze

Runner for Escape and Korean film The Himalayas for ScreenX—

that have embraced the creative potential of an immersive screen.

The push to a fully immersive cinema experience is going

beyond screen and sound formats like Dolby Atmos and Barco

Auro, thanks to seating providers like D-Box, MediaMation,

and 4DX. As with many other innovations, international

audiences are better acquainted with these

immersive seating formats, but there has been

a recent surge in interest from North America.

D-Box increased its screen count by more than

25 percent in the last quarter of 2015, going

from 420 screens in September to 528 by the

end of the year. An agreement with Cinemark is

responsible for a chunk of the new business, with

a commitment to install D-Box seats in at least 80

new screens in 40 theaters in the coming

24 months. “The best reference you

can have with any technology on

the market is if people come back

and buy tickets, and right now

what we’re seeing is that it’s

becoming a bit of a customer-loyalty

factor. That’s why

Cinemark is adding so many of

our seats right now. It doesn’t

need to be in downtown New

York; we’ve had great success

in Pharr, Texas, suburbs of

Washington, D.C., and

Redwood City—right in the

middle of San Jose and San

Francisco, in the outskirts of

L.A.,” says Michel Paquette,

vice president of marketing

at D-Box. “And

that’s only in the

U.S.—in Canada,

Cineplex is adding

even more.”

In fact, D-Box

is one of several

premium movie experiences

offered by

Cineplex, a list that

also includes their

own PLF concept,

UltraAVX. Premium

experiences account

for nearly 40 percent

of the leading

Canadian circuit’s

annual box office

revenue, an element that D-Box’s Paquette cites as his company’s

go-to-market strategy. “Originally, back in 2009, the message was

that immersive seating was going to help bring the customer back.

In hindsight we can’t really say that’s our key go-to-market element.

Our message today is that if people are already coming in, they’ll

be happy to pay a premium, and our research is showing that it also

helps concessions sales.” UltraAVX is a big part of Cineplex’s focus

on premium experience. The Canadian circuit finished the year with

80 of its own PLF auditoriums and plans to increase that figure in

2016. “Our strategy is to continue adding UltraAVX auditoriums

to new and existing Cineplex theaters in large and mid-size markets

across [Canada], bringing this incredible moviegoing experience to

our guests coast to coast,” says Sarah Van Lange, director of communications

at Cineplex Entertainment.

Immersive screens and seats rank among the more notable

elements in the continuing evolution of PLF auditoriums,

but Texas-based Santikos Theatres decided to take a different

route to updating their AVX auditoriums, their PLF

offering that was launched in 2012. “The next evolution

of our growth is to upgrade from Barco 4K Projection to

Barco Digital Laser Projection in our AVX auditoriums,”

says David Holmes, CEO of Santikos Enterprises “This will

keep us aligned with the Santikos spirit of innovation when

we open the Santikos Casablanca, the world’s first

all-digital laser projection theater, which

will include two auditoriums that will

showcase the opulence of AVX.”

Whereas the consumer attention

of premium large format auditoriums

might focus more on the “large”

aspects of the big screen, today’s exhibition

market confirms that the

“premium” part of the equation is

equally important. 2015 brought

more screens in more locations—a

reflection of exhibitors’

faith in the concept. Whatever

becomes the next big evolution

for premium large format theaters,

the next big thing is likely

to come close on its heels. n

(more on page 36)

DAVID HOLMES, SANTIKOS ENTERPRISES

34 BoxOffice ® MARCH 2016


SCREEN PLAY

THE GIANT

SCREEN

WORLD

We speak with James

Hyder, Founder and Editor,

Large Format Examiner

Interview by Daniel Loria

What would you say is the big story of

the moment for large format theaters?

The real big story in the giant screen

world is lasers. IMAX rolled out its first

laser system in late 2014 in Toronto and

has since installed more than a dozen of

them. In 2015 we began to see from IMAX

and other manufacturers in the giant screen

world. I cover the giant screen theaters in

the museums mostly; I do cover multiplexes,

but I mostly cover the screens in institutional

places, and that industry is very interested

in the lasers because they have the biggest

screens and need the brightest pictures. The

general consensus is that 4K digital is going

to be good enough; when 4K came out a

couple of years ago people were thinking we

might need 6K or 8K to really match the

quality of 70-millimeter film, but people

generally accept that 4K on a laser system is

really good. A lot of people are very happy

with the IMAX laser system, but others are

also looking at the somewhat less expensive

systems from other manufacturers, including

Christie and Barco, that are becoming

available now. So we’re seeing a number of

theaters make that switch. The image quality

available from laser, the brightness, the

contrast is all pretty spectacular. For a long

time in our business the exhibitors, and the

filmmakers to a certain extent, were saying,

“Maybe we can hold out with film—digital

is probably not going to be good for a very

long time,” and everyone was saying it was 5

to 10 years away for 15 to 20 years. Today,

pretty much the entire industry sees that

we’re switching to digital. Film projectors

are certainly going to be going away within

the next five years; there will probably be

very few of them left five years from now.

Film still holds a lot of advantages for

shooting, but digital cameras are getting

better. Our world of documentaries and

giant screens in museums is now seeing that

they can’t keep their heads in the sand for

much longer, they’re going to be switching

to digital, and most of them are looking for

what system to put into

their theater.

Were lasers also

the big takeaway

from the Giant

Screen Cinema

Association’s 2015

conference?

Yes, that was the first

time for a lot of folks to

see lasers, and they were

pretty impressed with

the IMAX laser system.

IMAX did great to

install its laser system in

JAMES HYDER

the Metreon Theatre in

San Francisco. They still had a film projector

in that theater, so in some cases we were able

to see the same film being shown in 15/70

film and on IMAX’s 4K laser system. A lot

of people were convinced that it looked just

as good and were very impressed. That was

the big takeaway—the folks who hadn’t seen

lasers before were convinced. There are some

people who still just prefer film, but even

they see the writing on the wall.

What has been the reaction of more

immersive giant screen offerings, such

as Barco Escape or ScreenX?

While I’ve been reporting on all the

systems you’ve mentioned, from the point of

view of my industry—museums and institutions—I

don’t think there are a lot of people

who have seen it. I saw them both at CinemaCon

in past years and reported on them,

and even though they are more immersive

than a giant flat screen, perhaps not as immersive

as a dome screen, our industry is not

seeing seriously in that direction. Right now

museums are looking at the price for switching

to laser. Some of them are choosing to

stick with IMAX because of its image quality

and brand reputation, and others are looking

at the possibility of switching out of IMAX

to a less expensive fee—IMAX doesn’t sell its

systems outright, it leases them, so you have

to pay a lease fee, a royalty, and a required

annual maintenance contract.

Are we having a resurgence of 70

millimeter, with major directors like

Quentin Tarantino, Christopher Nolan,

and P.T. Anderson all coming out

with films in the format over the last

couple of years?

I, and a lot of folks who’ve grown up with

70 millimeter and think it’s really a spectacular

format when it’s well done, would love

to see film come back.

Speaking practically, I

think that’s relatively

unlikely. I think it’s impressive

that Christopher

Nolan and Quentin

Tarantino have been

able to get the studios

and theaters to support

them in getting as many

film prints as they do,

but I think it’s just going

to be too difficult and

expensive for most places

to bring back film in a

consistent way.

Some audiences weren’t too happy

with 70-millimeter screenings of The

Hateful Eight.

That’s inevitable when you talk about

older equipment that had to be brought

back into service and hadn’t been run or

maintained regularly for a long time, and

projectionists who haven’t had their hands in

these machines for ten years or more. These

kinds of things are inevitable, and inevitably

digital will almost always be more reliable

and less prone to problems than film.

You primarily cover museums and

other institutional screening spaces.

What large screen formats or offerings

have found success in your sector?

One thing that our world focuses on a lot

that multiplexes don’t, and that people from

our side have been talking about and thinking

should happen, is the full immersion of

dome screens. Domes are still a big problem

in terms of making projection work, and

the dome systems that are out there now—

mostly in planetariums—use multiple digital

projectors. They’ve moved up to what they

call 8K, using multiple 4K projectors to fill

a dome, and you get a picture that is much

more sharp than the film systems in dome

ever were, because that was just expanding

the film image beyond what it could ever do.

The current technology in terms of stitching

the digital images together has pretty much

been perfected now; it makes the dome

experience very compelling with the most

modern systems. The problem is that they

are expensive, they are not standardized, are

not DCI compatible, so there’s a problem

there for Hollywood movies. That’s one area

that I don’t think Hollywood has looked

at; it’s expensive of course to build a dome

theater, but it’s a completely different and

novel experience. n

36 BoxOffice ® MARCH 2016


3D UPDATE

We had a great year at the box office in 2015.

How was it overall for 3D titles?

I think it was a fantastic year at the box office. One

of the big takeaways, and it probably started back with

Avengers: Age of Ultron, was that the focus got put back

on just how impactful 3D can be for movies. We had

a very strong summer for 3D when you look at Mad

Max, San Andreas, Jurassic World. 3D was contributing

from the low to the high 40 percent of the total box

office for these big event movies. That took people

a little bit by surprise, and I’ve been in the industry

for 30-plus years. That was one of the key things that

happened over the summer, the resurgence of 3D, and

people seeing the role it’s playing in these blockbusters.

Star Wars: The Force Awakens was such a big

success story. How did it perform in 3D?

That was the movie that everybody was talking

about for 2015—how big is Star Wars going to be? It

didn’t disappoint anybody. I don’t think anyone expected

the film could do $900 million in the U.S. We

knew that it had a shot at the Avatar record, but to get

to $900 was a phenomenal feat. And again, 47 percent

of the opening weekend came from 3D ticket sales.

What is your outlook on 3D in 2016?

There are more movies in 3D coming out this year

than we had last year. There are 8 to 10 more movies

than we had in 2015. When I look through the slate

and what my crystal ball tells me, I’m not sure that

2016 has the same mega-blockbusters that we had in

2016. To me, a mega-blockbuster is one that makes

over $1 billion worldwide, and in 2015 we had five of

those movies, which is unprecedented. When I look

to 2016, I’m not sure I see one movie that’s over $1

billion, but I see a lot of them that are above $750

million. There are a lot of movies we can call blockbusters,

but we might be missing the mega-blockbusters

from 2015.

Outside of the U.S., what markets are the ones

to watch in terms of growth in this sector?

China is certainly the standout. I’d say that at least

90 percent of the Hollywood imports are 3D movies.

They have a huge appetite for 3D. When a movie runs

in 3D, it can do 90-plus percent of its business in

the format—the Chinese audiences really embrace it.

That’s the standout territory when we look at growth

around the world. They’re still building a ton of

theaters, something like almost 20 screens a day in the

country. A lot of the indigenous product is in 3D as

well. Last year their big animated domestic blockbuster,

Monster Hunt, was in 3D.

And apart from China?

Russia is a very strong 3D market; Brazil and

Germany are as well. And when I say strong, I’m

talking about take rates of 60 percent and north of

that. When we talk about 40 percent plus here in

North America, we’re talking about 60 percent plus in

those markets.

In your opinion has 3D reached a level of

maturity in the North American market?

It’s been 10 years since Chicken Little came out in

2005 and RealD has little more than 15,000 systems

in this country, so I think we’re reaching a mature

level. I think what’s happening now is that the studios

and exhibition are really learning how to exploit 3D

better. And this is something we do as a company at

RealD—we work really closely with all of our exhibitors

and talk about programming, we work with them

in terms of how to program properly, and we work

very closely with studios

INTERVIEW

WITH ANTHONY

MARCOLY

PRESIDENT, WORLDWIDE

CINEMA, REALD

in marketing the films,

in determining how to

message 3D. So I think

what has changed now

is that exhibition has

learned how to program

3D better and distribution

has learned how to

promote it better. I think we’re going to see a national

uptick in 3D just because we’ve all learned how to do

it right.

What are some of the latest projects that

RealD is working on?

We have a screen technology coming out that we

call the Ultimate Screen. Screens have been made

for more than a hundred years, and wherever you

go today, whether it’s a white screen or silver screen,

they’re all made of vinyl. We’ve come up with a new

screen technology that is a bit harder, more a unique

plastic-rubber mesh material. And since we’re able

to engineer the screen now, we’re able to get higher

brightness on the screen, higher contrast ratio, better

stereo contrast, which means the 3D looks even

deeper and broader, and that’s something we’ll be

talking about at CinemaCon. We’re looking forward

to introducing the screen to the industry, and I’m sure

they’ll be fascinated by what this newly engineered

screen can do for light levels, uniformity, and 3D

stereo contrast.

We’re also going to put on a program at Cinema-

Con called “Demystifying 3D,” where we’re going

to get some people

involved in the actual

3D moviemaking industry

to talk about

3D conversion versus

native shooting. It’s

going to be sort of

a symposium panel

on what makes 3D

work. n

MARCH 2016 BoxOffice ® 37


CINEMA SHOWCASE

CableCarCinema&Cafe

P R O V I D E N C E , R . I .

The Cable Car was incorporated in 1976 by the Bilodeau brothers, who owned and operated

several other movie theaters throughout Rhode Island. The story goes that when the

Bilodeaus looked at the garage building, there was an old cable car that had been left behind,

thus inspiring the name of the cinema. Emily Steffian and I bought the business

from Albert Bilodeau in 2008 and renovated the space in 2010.

In 2013 we launched a Kickstarter campaign and

had over 750 donations to install a

new DCP projector.

38 BoxOffice ® MARCH 2016


Concessions

Almost since its inception, the Cable Car has had a

café associated with the theater. Unlike other theaters,

we open our doors at 8 a.m. and serve bagels, breakfast

sandwiches, smoothies, and our own label of “Metropolis

coffee” and “Touch of Evil espresso.” We are known

for our great paninis, diverse chocolate selection, wine

and beer offerings, and best popcorn around.

Programming

We have sought to focus our programming

on the wide spectrum of independent films that

are made but not seen in our area. We have great

support in our community for documentary film as

well as more challenging fare and genres, due to the

Submitted by Daniel Kamil, Owner

SCREENS 1

DIGITAL

INSTALLATION

PROJECTION

SERVER

TOP PERFORMING

TITLES

New England Theater

Service

NEC

GDC

2015 Oscar-Nominated

Shorts Films

(ShortsHD)

Trumbo (Bleecker Street)

Ex Machina (A24)

What We Do in the Shadows

(Paladin)

The Last Unicorn

(1982)

diverse population and educational institutions in

Providence—specifically, Brown University and the

Rhode Island School of Design. We run the Magic

Lantern Screening Series (founded by former Cable

Car employee and filmmaker Ben Russell), which

highlights avant-garde work. Most films are shown

in 16 millimeter and focus on particular themes each

month. The Providence French Film Festival is also

in its 20th year. The Providence Art and Design Film

Festival focuses on the diverse disciplines within art

and design. The mission of the festival is to highlight

artists and designers from around the world while entertaining,

educating, and reflecting on the influence

art and design have on community, politics, personal

expression, and our contemporary landscape. The

Providence Art and Design Film Festival had its

debut in the fall of 2015. It opened with Peggy Guggenheim:

Art Addict, and filmmaker Lisa Immordino

Vreeland was in attendance discussing it with the

director of the RISD museum, John Smith.

Showmanship

The Cable Car cinema culture can be described as

fully committed to creativity and the creative impulse.

It imbues all we do. We are fortunate to live in a city

with tremendous talent, and we have collaborated with

artists and designers to enhance our physical space,

design our website and physical collateral, and to create

original bumpers that introduce our features. We

produced a video that was instrumental in ensuring

the success of our Kickstarter campaign. We regularly

commission artists to reenvision classic movie posters

that we sell at the cinema. n

Always a good time.

Great films and

better movie snacks

than you’ll find at

the cineplex. And

couches. —Jason T.

Small independent

café and theater

offers alternative

films. Nice are the

coffee and food

opposed to soda and

sweets. A treasure

of Providence. Dress

cozy. —Anonymous

My favorite place

to see a movie.

So comfy! Get a

sandwich or refillable

popcorn and sit

in comfort. Staff

changes, but we’ve

been going regularly

and the staff has been

wonderful. —Elana L.

MARCH 2016 BoxOffice ® 39


COVER STORY

A WHOLE NEW WORLD

Animals rule the world in Disney’s latest animated adventure

by Daniel Loria

Dumbo, Bambi, Baloo—take your pick. If you grew up watching movies, chances are there’s

a talking cartoon animal that lives in your fondest memories. Indeed, anthropomorphic

animals are a mainstay of, if not synonymous with, Walt Disney Animation Studios. John

Lasseter, chief creative officer of Disney and Pixar Animation Studios decided to tweak that

winning and beloved legacy with this spring’s Zootopia. His challenge to his filmmakers:

Imagine an entire city built and inhabited by animals. What would it look like? How would it suit

mice and elephants? What if humans didn’t exist at all? As the title makes clear, Zootopia scraps

the notion of an animal kingdom dominated by humans in favor of a modern society built and

populated exclusively by animals.

n “John got very excited about us doing it and totally supported us,

but he made it very clear that we had to do something different. We

couldn’t just rely on what had come before,” says Byron Howard, who

shared directing duties with Rich Moore on Zootopia. As Moore puts

it, “There have been films about animals in an animal word, animals in

a human world, but not animals in a modern world.”

That’s precisely the charm of a film like Zootopia, which imagines

different animal neighborhoods to accommodate different cultures and

climates. Sahara Square provides a warm, dry home for desert animals,

while Tundratown keeps the temperature cool for snow-loving

mammals. Bunnyburrow is a bit like an outer-ring

suburb and not nearly as diverse a part of town as

the humid Rain Forest District. Little Rodentia,

described by Byron Howard as a “two-foothigh

Greenwich Village” provides a home

for city-smart mice, but the most urban

setting is Savanna Central—a meeting

point for animals from every district.

The concept set off an 18-month

research phase, including several

fact-finding missions to get an upclose

look at the animated characters’ real-world

counterparts. “We went to the Animal Kingdom

Lodge down in Florida, to Wild Animal Park in San

Diego,” says art director Cory Loftis. “We got to see

some cheetahs run. We got really close to the animals, a lot

closer than a Google image search or a book, but you’re still

seeing animals in a zoo setting.” To remedy that situation, the

production sent team members to Kenya for two weeks in order to get

a better feel for animals’ movements in the wild. “That trip changed a

lot of what I thought the movie should be,” says Renato dos

Anjos, head of animation. “Just being around animals

Ginnifer Goodwin

(Something Borrowed) voices

Officer Judy Hopps, a rabbit from

Bunnyburrow who is a newly appointed

member of the Zootopia Police Department.

Jason Bateman (The Gift) voices Nick Wilde,

a red fox who is a small-time con artist. Disney

animator Raymond S. Persi voices Flash, the

"fastest" three-toed sloth in the DMV.

in their own space, doing their own thing, and

interacting with each other and different

species—it’s absolutely amazing.”

“We really got to see how they interact

with each other, little quirks in their

behavior. All the departments took

something away from it—animation,

lighting, environments,” says Loftis.

That attention to detail made it back

(continued on page 42)

40 BoxOffice ® MARCH 2016


BYRON HOWARD

AT THE MOVIES

"I was nine years old when

I saw Star Wars for the first

time in a tiny little theater,

and I went bonkers when

that Star Destroyer went

over my head. I somehow

convinced my dad to take

me to the next showing and

ruined the movie for the man

sitting in front of us because

I was so excited that I talked

through the whole first act.

He yelled at me, and that’s

where I learned not to talk in

the theater."

Oscar winner

J.K. Simmons

(Whiplash) voices

Leodore Lionheart, a

noble lion who is the

mayor of Zootopia.

RICH MOORE

AT THE MOVIES

"I remember seeing [Star

Wars] at the Avco cinema

in Westwood when I was 12.

I’m not sure if that theater is

still standing, but I can still

remember how the popcorn

smelled that day. To this day

there are times when I smell

popcorn and think, “That

smells like Star Wars!” But

the earliest memory that

stands out for me is the time

I went to see The Jungle

Book. I was four or five, and

it might have been the first

movie I saw in a theater—it

was at the Carriage Square

Theatres in Oxnard, where I

grew up. It was scary at first,

a big place with curtains and

full of people, but when the

lights went down I fell in

love. I was the youngest of

four kids, and we didn’t do

too many things where the

whole family was present,

but for some reason my

parents, siblings, and maybe

even my grandmother came

along. I remember loving the

movie and riding back home

in the car thinking, “I want

more of that! How can I get

more of that?”

MARCH 2016 BoxOffice ® 41


COVER STORY > ZOOTOPIA

to the studio; features like shadows or the way trees sway in

the wind might be merely background to anyone but the

most eagle-eyed viewers, but compounded they enhance

the film’s overall atmosphere. Viewers might not

notice it, but they’ll certain feel it. That’s

crucial for a film that hopes to create a fully

immersive, functioning society inhabited by

animals.

“The premise is only funny if you believe

in it,” says Matthias Lechner, the art director

of environments on Zootopia. That’s why, while

many of the film’s most charming visual cues are

taken from the wild, designers also incorporated

references to cities around the world—to make

the setting relatable to the human audience. “We

looked at Dubai for Sahara Square and incorporated

some Las Vegas into it, but we never wanted

anything to feel too much like one specific place,”

explains screenwriter and co-director Jared Bush.

In other words, Zootopia is meant to evoke

the real world rather than mimic it. It

also opens the door for hidden gags

throughout the film, like newsstands

that carry publications such as

Gnusweek, Ellephant, and Vanity Fur.

For those gags to work, however, the

production team had to solve a surprisingly

complicated problem. “We quickly found

that scale was going to be an issue in the

world of Zootopia,” says Dave Komorowski,

head of characters and tech animation. “Our

smallest critter is a mouse and our tallest

animal is a giraffe. It would take at least 97

mice to reach the top of a giraffe’s head. We

needed to create a world that would work

for both of them. We needed to come up

with cars that would work for mice as well

as giraffes.” Directors Howard and Moore

decided to approach the problem as pragmatically

as they could, consulting with

designers familiar with ADA regulations to

help conceive how the logistics of scale would

work in a place like Zootopia. In the end they were so

successful that they had too many environments for the

final cut, and some—Outback Islands, Meadowlands (the

home of the sheep), and a nocturnal district for bats and

their nighttime friends—had to go.

Setting alone doesn’t make a movie. Anchoring the

film are the characters of Judy Hopps (voiced by Ginnifer

Goodwyn), a rookie cop and the first bunny in the history

of the Zootopia Police Department. Like our modern

society, Zootopia’s animal world is full of stereotypes—an

elephant’s memory is infallible and foxes can’t be trusted—

but Judy’s not the sort of bunny to succumb to bigotry.

Judy meets her match in Nick Wilde (voiced by Jason

Bateman), a smooth-talking fox with all the traits of an

experienced con artist. “In Nick’s mind, you are who you

are: he’s a fox and everyone is going to look at him as

sort of a sneaky guy, and no one is ever going to change

their perception of that, so why try? Judy believes anyone

can be anything at all,” says Bush. Despite

their mismatch, a series of events brings Judy

and Nick together in an unlikely partnership that

will take them through Zootopia’s many neighborhoods

in search of justice. “Zootopia sprang from the film’s two main

characters, and from the desire to have a predator-and-prey buddy

movie,” says Howard. “What is the world that is going

to support these two teaming up? Every decision

that’s made in the film branches out from that

relationship,”

“When we really try to think about what’s memorable

about Disney characters, it’s not the character design but the strong

personality those animal characters have,” says Loftis. “You remember

what a faithful friend Baloo was, what a heroic father figure Mufasa

was, what a sweet child Dumbo was. I wanted to make sure we could

get those same memorable characters from Zootopia. I personally

always like having them recognizable as Disney. I like having

that legacy all the way back to Snow White, that history of

Disney characters. I didn’t want them to lose all of that, but

at the same time we wanted to have fun creating something

new—you don’t want to spend time making something that

has already been done. So that personality from the old Disney

characters always creeps in, but we tried to invent new shapes,

new body types, new ways of moving and acting.”

Judy and Nick are joined by a quirky ensemble that

includes the tough Buffalo head of police, Chief Bogo (Idris

Elba), the loquacious Mayor Leodore Lionheart (J.K. Simmons),

and the socially conscious pop superstar Gazelle

(Shakira). Although these denizens of Zootopia share a

lineage with Donald Duck, they have one burden that

older Disney animals haven’t had to worry about. “In

Zootopia they have to wear pants,”

says Loftis. “These are characters

that get up every morning, get a coffee,

and ride the bus to work. It’s a

real world, so our characters need to look

convincing in those pants. That led to our first tough

design choice. Clothes need to feel natural.”

That’s easier said than done when you’re animating

a quadruped that’s evolved into an upright walking,

talking, smartphone-staring citizen of Zootopia. The production

team embraced that challenge, however, even excluding

apes in the film since they share so many traits with

humans. Other human qualities, perhaps not

Shakira

voices Gazelle,

a gazelle from

Sahara Square who

is a famous pop

star.

our best, do creep up in scenes throughout the

film—heady issues like stereotypes and prejudice.

“In some ways, at least in these types

of movies, I’m writing for my kids,” says

Phil Johnston, who shares a screenwriting

credit on the film. “But if I’m going to sit

through a movie with my kids, I’d like to be

entertained myself. I don’t believe in talking

down to kids; we don’t give them enough credit

for understanding deeper themes.” It’s what makes

the Judy and Nick pairing in the film so captivating for a family

film, their ability to accept their differences and look past them as

they work together for a mutual goal. Rich Moore encapsulates

that theme when describing the film’s central message: “You define

you. The world has an opinion of who you are, but you define

yourself—not the world.” n

42 BoxOffice ® MARCH 2016


ALTERNATIVE CONTENT CALENDAR

FATHOM EVENTS fathomevents.com • 855-473-4612

IMAGINE DRAGONS IN CONCERT: SMOKE + MIRRORS Wed, 3/2/16 Concert

THE MET: LIVE IN HD - MANON LESCAUT Sat, 3/5/16 & Wed, 3/9/16 Opera

QUEEN: A NIGHT IN BOHEMIA Tue, 3/8/16 Concert/Documentary

THE PHOENIX INCIDENT Thu, 3/10/16 Documentary/Thriller

BOLSHOI BALLET: SPARTACUS Sun, 3/13/16 Ballet

NATALIE GRANT & CHARLOTTE GAMBILL PRESENT: DARE TO BE Wed, 3/16/16 Faith-Conference

BERLIN PHILHARMONIC: THE BEETHOVEN PROJECT Sat, 3/19/16 Concert

TCM BIG SCREEN CLASSICS: THE TEN COMMANDMENTS Sun, 3/20/16 & Wed, 3/23/16 Drama

EASTER MYSTERIES Tue, 3/22/16 Musical Theater

IN THEIR OWN WORDS: THE TUSKEGEE AIRMEN - THE 75TH

ANNIVERSARY

Tue, 3/22/16

Documentary

ART & ARCHITECTURE: LEONARDO DA VINCI: THE GENIUS IN MILAN Thurs, 3/31/16 Art Exhibition

THE MET: LIVE IN HD - MADAMA BUTTERFLY Sat, 4/2/16 & Wed, 4/6/16 Opera

BOLSHOI BALLET: DON QUIXOTE Sun, 4/10/16 Ballet

BILL Mon, 4/11/16 Comedy

THE MET: LIVE IN HD - ROBERTO DEVEREUX Sat, 4/16/16 & Wed, 4/20/16 Opera

THIS IS WINTER JAM Tues, 4/19/16 Concert

ART & ARCHITECTURE: RENOIR: REVERED AND REVILED Thurs, 4/21/16 Art Exhibition

TCM BIG SCREEN CLASSICS: ON THE WATERFRONT Sun, 4/24/16 & Wed, 4/27/16 Drama

THE MET: LIVE IN HD - ELEKTRA Sat, 4/30/16 & Wed, 5/4/16 Opera

ART & ARCHITECTURE: PAINTING THE MODERN GARDEN: MONET TO MATISSE Thurs, 5/12/16 Art Exhibition

TCM BIG SCREEN CLASSICS: FERRIS BUELLER'S DAY OFF Sun, 5/15/16 & Wed, 5/18/16 Comedy

ART & ARCHITECTURE: TEATRO ALLA SCALA: THE TEMPLE OF WONDERS Thurs, 6/17/16 Art Exhibition

TCM BIG SCREEN CLASSICS: WILLY WONKA & THE CHOCOLATE FACTORY Sun, 6/26/16 & Wed, 6/29/16 Family

ART & ARCHITECTURE: ST. PETER’S AND THE PAPAL BASILICAS OF ROME Thurs, 7/14/16 Art Exhibition

TCM BIG SCREEN CLASSICS: PLANET OF THE APES Sun, 7/24/16 & Wed, 7/27/16 Sci-Fi

TCM BIG SCREEN CLASSICS: THE KING & I 60TH ANNIVERSARY Sun, 8/28/16 & Wed, 8/31/16 Musical

TCM BIG SCREEN CLASSICS: DR. STRANGELOVE Sun, 9/18/16 & Wed, 9/21/16 Comedy

TCM BIG SCREEN CLASSICS: THE SHINING Sun, 10/23/16 & Wed, 10/26/16 Horror

NATIONAL THEATRE LIVE ntlive.nationaltheatre.org.uk • info@byexperience.net

HANGMEN Thu, 3/3/16 Theater

ROYAL OPERA HOUSE roh.org.uk/cinemas • cinema@roh.org.uk

BORIS GODUNOV Mon, 3/21/16 Opera

GISELLE Wed, 4/6/16 Ballet

LUCIA DI LAMMERMOOR Mon, 4/25/16 Opera

FRANKENSTEIN Wed, 5/18/16 Ballet

WERTHER Mon, 6/27/16 Opera

MARCH 2016 BoxOffice ® 43


COMING SOON IN 3D

ZOOTOPIA

MAR. 4 · DISNEY

CAST Jason Bateman, Ginnifer Goodwin

DIR Byron Howard, Rich Moore

GENRE Ani/Adv/Fam

SPECS 3D/Dolby Dig

THE LITTLE PRINCE

MAR. 18 · PARAMOUNT

CAST Jeff Bridges, Mackenzie Foy

DIR Mark Osborne

GENRE Ani/Fan/Fam

SPECS 3D/Dolby Dig

BATMAN V SUPERMAN: DAWN OF JUSTICE

MAR. 25 · WARNER BROS.

CAST Henry Cavill, Ben Affleck

DIR Zack Snyder

GENRE Act/Adv

SPECS 3D/IMAX/Dolby Atmos

THE JUNGLE BOOK

APR. 15 · DISNEY

CAST Neel Sethi, Bill Murray

DIR Jon Favreau

GENRE Adv/Fan/Ani

SPECS 3D/IMAX/Dolby Atmos

A BEAUTIFUL PLANET

APR. 29 · DISNEY/IMAX

DIR Toni Myers

GENRE Doc

SPECS 3D/IMAX

CAPTAIN AMERICA: CIVIL WAR

MAY 6 · DISNEY

CAST Chris Evans, Robert Downey Jr.

DIR Anthony Russo, Joe Russo

GENRE Act/Adv

SPECS 3D/IMAX/Dolby Atmos

THE ANGRY BIRDS MOVIE

MAY 20 · SONY/COLUMBIA

CAST Jason Sudeikis, Josh Gad

DIR Clay Kaytis, Fergal Reilly

GENRE Ani/Com/Fam

SPECS 3D/Dolby Dig

ALICE THROUGH THE LOOKING GLASS

MAY 27 · DISNEY

CAST Johnny Depp, Mia Wasikowska

DIR James Bobin

GENRE Adv/Fan

SPECS 3D/IMAX/Dolby Dig

X-MEN: APOCALYPSE

MAY 27 · FOX

CAST James McAvoy, Michael Fassbender

DIR Bryan Singer

GENRE Act/Adv

SPECS 3D/Dolby Atmos

44 BoxOffice ® MARCH 2016


ALSO UPCOMING IN 3D

2016

JUN 3

PARAMOUNT

TEENAGE MUTANT NINJA TURTLES:

OUT OF THE SHADOWS

JUN 10 UNIVERSAL WARCRAFT

JUN 17 DISNEY FINDING DORY

JUN 24 FOX INDEPENDENCE DAY RESURGENCE

JUL 1 DISNEY/DREAMWORKS THE BFG

JUL 1 WARNER BROS. THE LEGEND OF TARZAN

JUL 8 UNIVERSAL THE SECRET LIFE OF PETS

JUL 15 SONY/COLUMBIA GHOSTBUSTERS

JUL 22 FOX ICE AGE: COLLISION COURSE

JUL 22 PARAMOUNT STAR TREK BEYOND

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

DEC 16 DISNEY ROGUE ONE: A STAR WARS STORY

2017

JAN 13 WARNER BROS. GEOSTORM

JAN 13 PARAMOUNT MONSTER TRUCKS

JAN 27 SONY/SCREEN GEMS RESIDENT EVIL: THE FINAL CHAPTER

FEB 10 WARNER BROS. THE LEGO BATMAN MOVIE

FEB 17 UNIVERSAL THE GREAT WALL

MAR 10 FOX/DREAMWORKS ANIMATION THE BOSS BABY

MAR 10 WARNER BROS. KONG: SKULL ISLAND

MAR 17 DISNEY BEAUTY AND THE BEAST

MAR 24 WARNER BROS. KING ARTHUR

MAR 31 DISNEY/DREAMWORKS GHOST IN THE SHELL

MAR 31 SONY/COLUMBIA SMURFS: THE LOST VILLAGE

APR 7 FOX FERDINAND

MAY 5 DISNEY GUARDIANS OF THE GALAXY VOL. 2

MAY 26

DISNEY

PIRATES OF THE CARIBBEAN:

DEAD MEN TELL NO TALES

JUN 16 DISNEY CARS 3

JUL 28 SONY/COLUMBIA SPIDER-MAN

AUG 11 SONY/COLUMBIA THE EMOJI MOVIE

SEP 22 WARNER BROS. THE LEGO NINJAGO MOVIE

OCT 6 WARNER BROS. THE JUNGLE BOOK: ORIGINS

NOV. 3 DISNEY THOR: RAGNAROK

NOV 22 DISNEY COCO

DEC 8 SONY/COLUMBIA THE LAMB

DEC 15 DISNEY STAR WARS: EPISODE VIII

DEC 22 FOX/DREAMWORKS ANIMATION THE CROODS 2

2018

FEB 9 WARNER BROS. UNTITLED WARNER ANIMATION PROJECT

FEB 16 DISNEY BLACK PANTHER

FEB 16 FOX/DREAMWORKS ANIMATION LARRIKINS

MAR 9 DISNEY GIGANTIC

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 TOY STORY 4

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

JUL 6 DISNEY ANT-MAN AND THE WASP

JUL 7 SONY/COLUMBIA SPIDER-MAN

SEP 21 SONY/COLUMBIA HOTEL TRANSYLVANIA 3

NOV 21 DISNEY UNTITLED DISNEY ANIMATION FILM 1

DEC 21 SONY/COLUMBIA UNTITLED ANIMATED SPIDER-MAN FILM

2019

MAR 8 DISNEY CAPTAIN MARVEL

MAY 3 DISNEY AVENGERS: INFINITY WAR PART II

JUN 21 DISNEY THE INCREDIBLES 2

JUL 12 DISNEY INHUMANS

NOV 27 DISNEY UNTITLED DISNEY ANIMATION FILM 2

2020

MAR 13 DISNEY UNTITLED PIXAR ANIMATION FILM 1

JUN 19 DISNEY UNTITLED PIXAR ANIMATION FILM 2

NOV 25 DISNEY UNTITLED DISNEY ANIMATION FILM 3

MARCH 2016 BoxOffice ® 45


FILM CAPSULES

BY JONATHAN PAPISH

MARCH 4 · 3D n

In the mammal metropolis

of Zootopia, when rookie bunny

cop Judy Hopps teams up with fugitive

fox con artist Nick Wilde to solve the case of

a missing otter, they unwittingly uncover a shocking

conspiracy. Director Byron Howard wanted to create

an anthropomorphic animal film similar to Disney’s

adaptation of Robin Hood but instead envisioned the

city of Zootopia as a metropolis designed by animals

themselves. Research took place in Disney’s Animal

Kingdom as well as Kenya.

DISTRIBUTOR WALT DISNEY STUDIOS CAST IDRIS

ELBA, GINNIFER GOODWIN, JASON BATEMAN,

ALAN TUDYK, J.K. SIMMONS, JENNY SLATE,

OCTAVIA SPENCER, BONNIE HUNT, JOHN

DIMAGGIO, MAURICE LAMARCHE DIRECTORS

BYRON HOWARD, RICH MOORE, JARED

BUSH GENRE ANIMATION / ACTION /

ADVENTURE RATING PG FOR SOME

THEMATIC ELEMENTS, RUDE HUMOR,

AND ACTION RUNNING TIME 108 MIN.

46 BoxOffice ® MARCH 2016


MARCH 4 n Stuck in a rut, New York City cable news reporter

Kim Barker (Tina Fey) travels to Afghanistan and Pakistan as a war

correspondent where she strikes up a relationship with a Scottish

journalist (Martin Freeman) and fends off the advances of a local

official (Alfred Molina). The film is based on Barker’s 2011 memoir,

The Taliban Shuffle: Strange Days in Afghanistan and Pakistan. The

deserts of Santa Fe, New Mexico, stand in for the dunes of the

Middle East.

DISTRIBUTOR PARAMOUNT PICTURES CAST TINA FEY, MARGOT

ROBBIE, MARTIN FREEMAN, CHRISTOPHER ABBOTT, BILLY BOB

THORNTON, ALFRED MOLINA, SHEILA VAND, NICHOLAS BRAUN

DIRECTORS GLEN FICARRA, JOHN REQUA GENRE COMEDY / WAR

RATING TBD RUNNING TIME 100 MIN.

MARCH 4 n After the mysterious death of the British prime minister,

world leaders gather in London for his burial, when terrorists strike and

destroy the city. The surviving U.S. president (Eckhart) and his formidable

secret service agent (Butler) try to put a stop to the terror that has

put other world cities on the brink of disaster.

DISTRIBUTOR GRAMERCY PICTURES CAST GERARD BUTLER,

AARON ECKHART, MORGAN FREEMAN, ALON MONI ABOUTBOUL,

ANGELA BASSETT, ROBERT FORSTER, MELISSA LEO, RADHA

MITCHELL DIRECTOR BABAK NAJAFI GENRE ACTION / CRIME /

THRILLER RATING TBD RUNNING TIME 100 MIN.

MARCH 2016 BoxOffice ® 47


ON SCREEN > WIDE RELEASES

MARCH 11 · IMAX n A “blood relative” to the 2008 monster hit

Cloverfield, this sci-fi thriller stars Mary Elizabeth Winstead as a

young woman who wakes up in an underground bunker after a car

crash. Her “saviors” insist she must stay indoors because a chemical

attack has left the outside world uninhabitable but, doubtful of

their intentions, she decides to escape no matter what dangers may

await her on the other side of the door.

DISTRIBUTOR PARAMOUNT PICTURES CAST MARY ELIZABETH

WINSTEAD, JOHN GOODMAN, JOHN GALLAGHER JR. DIRECTOR

DAN TRACHTENBERG GENRE DRAMA / MYSTERY / SCI-FI RATING

TBD RUNNING TIME 105 MIN.

MARCH 11 n The Young Messiah is based on the 2005 Anne Rice

novel Christ the Lord: Out of Egypt and fictionally interprets the

life of seven-year-old Jesus, who returns home to Nazareth with

his family from Egypt to discover the truth about his life. Principal

photography took place in Matera, Italy, where The Passion of the

Christ was shot.

DISTRIBUTOR FOCUS FEATURES CAST ADAM GREAVES-NEAL,

SEAN BEAN, DAVID BRADLEY, LEE BOARDMAN, JONATHAN

BAILEY, DAVID BURKE DIRECTOR CYRUS NOWRASTEH GENRE

DRAMA RATING PG-13 FOR SOME VIOLENCE AND THEMATIC

ELEMENTS RUNNING TIME TBD

48 BoxOffice ® MARCH 2016


MARCH 11 n Two estranged brothers—

one an elite special ops assassin and the

other an idiotic football hooligan—team

up on a new assignment. Sacha Baron

Cohen—the comedian behind wigger

poser Ali G and Kazakh reporter Borat—

wrote the screenplay for The Brothers

Grimsby and stars alongside Mark Strong

(The Imitation Game).

DISTRIBUTOR COLUMBIA PICTURES

CAST SACHA BARON COHEN, MARK

STRONG, REBEL WILSON, PENÉLOPE

CRUZ, ISLA FISHER, GABOUREY SIDIBE

DIRECTOR LOUIS LETERRIER GENRE

COMEDY RATING R FOR STRONG CRUDE

SEXUAL CONTENT, GRAPHIC NUDITY,

VIOLENCE, LANGUAGE, AND SOME

DRUG USE RUNNING TIME TBD

MARCH 2016 BoxOffice ® 49


ON SCREEN > WIDE RELEASES

MARCH 16 n A young girl suffering from a rare digestive disorder

is miraculously cured of her disease after a near-death fall from a

tree. Miracles from Heaven is based on a true story written by the

mother of the girl, Christy Beam.

DISTRIBUTOR COLUMBIA PICTURES CAST JENNIFER GARNER,

KYLIE ROGERS, MARTIN HENDERSON, JOHN CARROLL LYNCH,

EUGENIO DERBEZ, QUEEN LATIFAH DIRECTOR PATRICIA RIGGEN

GENRE DRAMA RATING PG FOR THEMATIC MATERIAL, INCLUDING

ACCIDENT AND MEDICAL IMAGES RUNNING TIME TBD

MARCH 18 n The first of two movies based on the final book

in the young-adult trilogy Divergent, Allegiant has Tris and Four

venturing outside Chicago to seek a peaceful solution for their embattled

city. But beyond the fence, they are taken into custody by

a mysterious agency known as the Bureau of Genetic Welfare. The

first two films grossed a combined $585.7 million worldwide.

DISTRIBUTOR SUMMIT ENTERTAINMENT CAST SHAILENE

WOODLEY, THEO JAMES, JEFF DANIELS. OCTAVIA SPENCER,

RAY STEVENSON, ZOË KRAVITZ, MILES TELLER, ANSEL ELGORT,

MAGGIE Q, BILL SKARSGÅRD, NAOMI WATTS DIRECTOR ROBERT

SCHWENTKE GENRE ACTION / ADVENTURE / SCI-FI RATING PG-13

FOR INTENSE VIOLENCE AND ACTION, THEMATIC ELEMENTS, AND

SOME PARTIAL NUDITY RUNNING TIME 110 MIN.

50 BoxOffice ® MARCH 2016


MARCH 25 n Actress/writer Nia Vardalos revisits the hilarious

Greek-American dysfunction that made My Big Fat Greek Wedding

the highest-grossing romantic comedy of all time in 2002. Toula

and Ian, now with their own rebellious teenage daughter, try to fix

their crumbling marriage while also contending with yet another

Greek wedding.

DISTRIBUTOR UNIVERSAL PICTURES CAST NIA VARDALOS, JOHN

CORBETT, LAINIE KAZAN, MICHAEL CONSTANTINE, ANDREA

MARTIN, IAN GOMEZ, ELENA KAMPOURIS DIRECTOR KIRK JONES

GENRE COMEDY RATING PG-13 FOR SOME SUGGESTIVE MATERIAL

RUNNING TIME TBD

MARCH 25 n Looking for a fresh start, a young married couple

and their five-year-old son move into a beautiful old rural home,

but when they unlock a mysterious secret room within the attic,

unimaginable horrors are unleashed that reveal the house’s past is

tied to their own. Actor Wentworth Miller—known for his role on

Fox’s Prison Break—penned the script.

DISTRIBUTOR RELATIVITY MEDIA CAST KATE BECKINSALE, LUCAS

TILL, MEL RAIDO, GERALD MCRANEY, MICHAELA CONLIN, DUNCAN

JOINER DIRECTOR D.J. CARUSO GENRE DRAMA / THRILLER /

HORROR RATING TBD RUNNING TIME TBD

MARCH 2016 BoxOffice ® 51


ON SCREEN > WIDE RELEASES

MARCH 25 · IMAX · IMAX 3D n Warner Bros. has a lot riding

on this estimated $200 million tentpole that they intend will

kick off a cinematic universe to rival Disney’s successful Marvel

franchise. Dawn of Justice follows 2013’s Man of Steel and features

Ben Affleck and Henry Cavill as the titular strongmen while introducing

viewers to Wonder Woman, Aquaman, The Flash, and

Cyborg—all members of the Justice League, who will get their

own film in 2017.

DISTRIBUTOR WARNER BROS. CAST BEN AFFLECK, HENRY

CAVILL, AMY ADAMS, JESSE EISENBERG, DIANE LANE, LAURENCE

FISHBURNE, JEREMY IRONS, HOLLY HUNTER, GAL GADOT

DIRECTOR ZACK SNYDER GENRE ACTION / ADVENTURE /

FANTASY RATING PG-13 FOR INTENSE SEQUENCES OF VIOLENCE

AND ACTION THROUGHOUT, AND SOME SENSUALITY RUNNING

TIME 151 MIN.

52 BoxOffice ® MARCH 2016


CEMETERY OF SPLENDOUR

March 4 (New York City)

March 11 (Los Angeles)

Indie Thai director Apichatpong Weerasethakul—or

“Joe,” as he’s conveniently adopted

in the West—returns to the screen after

his 2010 Palme d’Or–winning Uncle Boonmee

Who Can Recall His Past Lives with this dreamy

drama that takes place in a school-turned-military-hospital

for soldiers afflicted with a mysterious

sleeping disorder. The film screened at

Cannes in 2015 and in Toronto and New York

to critical acclaim.

DISTRIBUTOR STRAND RELEASING CAST

BANLOP LOMNOI, JENJIRA PONGPAS DIRECTOR

APICHATPONG WEERASETHAKUL GENRE

DRAMA RATING TBD RUNNING TIME 122 MIN.

KNIGHT OF CUPS

March 4

A successful Hollywood screenwriter (Bale)

tries to fill the void in his life with women,

drugs, and booze in this self-indulgent indie

from American auteur Terrence Malick. This is

Malick’s third directorial feature in four years

since his three seminal films from 1978 to

2005, and he might want to think about slowing

down again; Knight of Cups was universally

panned after its premiere at the 2015 Berlin

Film Festival.

DISTRIBUTOR BROAD GREEN PICTURES CAST

CHRISTIAN BALE, CATE BLANCHETT, NATALIE

PORTMAN, ANTONIO BANDERAS, BRIAN

DENNEHY, FREIDA PINTO, IMOGEN POOTS,

ISABEL LUCAS, TERESA PALMER, WES BENTLEY

DIRECTOR TERRENCE MALICK GENRE DRAMA /

ROMANCE RATING R FOR SOME NUDITY,

SEXUALITY, AND LANGUAGE RUNNING TIME

118 MIN.

THE OTHER SIDE

OF THE DOOR

March 4 (Moderate)

During an ancient ritual she hopes will allow

her to say a final good-bye to her departed son,

a grieving mother inadvertently opens a mysterious

portal between the worlds of the living

and dead and unleashes a terrifying specter

upon her family.

DISTRIBUTOR 20TH CENTURY FOX CAST

SARAH WAYNE CALLIES, JEREMY SISTO,

LOGAN CRERAN, SOFIA ROSINSKY DIRECTOR

JOHANNES ROBERTS GENRE HORROR RATING

R FOR SOME BLOODY VIOLENCE RUNNING TIME

96 MIN.

MARCH 2016 BoxOffice ® 53


ON SCREEN > LIMITED RELEASES

CITY OF GOLD

March 11

In this documentary about the power of food

to transform how we experience where we live,

Los Angeles food critic Jonathan Gold takes

viewers on a culinary journey through the City

of Angels’ vibrant and multicultural food scene.

The Pulitzer Prize–winning Gold is known for

seeking out hole-in-the-wall ethnic restaurants

that other critics might ignore.

DISTRIBUTOR IFC FILMS / SUNDANCE

SELECTS CAST JONATHAN GOLD, ALLEN

SALKIN DIRECTOR LAURA GABBERT GENRE

DOCUMENTARY / BIOGRAPHY RATING R FOR

SOME LANGUAGE RUNNING TIME 96 MIN.

EYE IN THE SKY

March 11 (NY/LA)

April 1 (Wide)

Helen Mirren stars as Colonel Katherine Powell,

a British military officer charged with a secret

drone mission to capture terrorists in Nairobi,

Kenya. She decides to destroy the safe house after

discovering her targets planning an imminent

suicide attack, but when drone pilot Steve

Watts (Aaron Paul) reports a nine-year-old girl

hula-hooping in the kill zone, it sets off an international

dispute that reaches the highest levels of

government. Strike or abort—what will she do?

DISTRIBUTOR BLEECKER STREET CAST HELEN

MIRREN, AARON PAUL, ALAN RICKMAN,

BARKHAD ABDI DIRECTOR GAVIN HOOD GENRE

DRAMA / THRILLER / WAR RATING R FOR SOME

VIOLENT IMAGES AND LANGUAGE RUNNING

TIME 102 MIN.

HELLO, MY NAME IS DORIS

March 11

Sally Field received universal critical acclaim for

her role as Doris Miller, a sixty-something office

drone who falls for a young hipster colleague.

Miller begins to win over his cool Brooklyn

friends, but this new life creates an awkward rift

between old friends and family who believe she

is making a fool of herself for a guy half her age.

Michael Showalter (Wet Hot American Summer)

writes and directs.

DISTRIBUTOR ROADSIDE ATTRACTIONS

CAST SALLY FIELD, MAX GREENFIELD, BETH

BEHRS, WENDI MCLENDON-COVEY, STEPHEN

ROOT, ELIZABETH REASER, ISABELLA ACRES,

NATASHA LYONNE, TYNE DALY, PETER

GALLAGHER DIRECTOR MICHAEL SHOWALTER

GENRE COMEDY / DRAMA RATING R FOR

LANGUAGE RUNNING TIME 95 MIN.

54 BoxOffice ® MARCH 2016


THE BRONZE

March 18

We open up on Hope Ann Gregory (Melissa Rauch),

former member of the U.S. Olympics gymnastics

team, pleasuring herself while watching a video of

her 2004 bronze medal–winning performance. That

should give you an idea of the raunch fest you’re

in for with this comedy, produced by the Duplass

brothers, which premiered at last year’s Sundance

Film Festival. Strapped for cash, Hope decides to

train young and talented Maggie (Haley Lu Richardson)

but can’t let go of her ego so easily.

DISTRIBUTOR SONY PICTURES CLASSICS

CAST MELISSA RAUCH, GARY COLE, THOMAS

MIDDLEDITCH, SEBASTIAN STAN, CECILY STRONG,

HALEY LU RICHARDSON, DALE RAOUL DIRECTOR

BRYAN BUCKLEY GENRE COMEDY / DRAMA RATING

R FOR STRONG SEXUAL CONTENT, GRAPHIC

NUDITY, AND LANGUAGE THROUGHOUT RUNNING

TIME 108 MIN.

KRISHA

March 18

A woman shows up unannounced at her sister’s

Texas home on Thanksgiving morning to reconcile

with her estranged family, but long-buried secrets

and resentments bubble to the surface. The film,

by first-time director Trey Edward Shults, won the

Grand Jury Award and Audience Award at the 2015

South by Southwest Film Festival. Shults shot the

film in nine days at his parents house, and much of

the cast are his relatives.

DISTRIBUTOR A24 CAST KRISHA FAIRCHILD, ROBYN

FAIRCHILD, BILL WISE, TREY EDWARD SHULTS,

CHRIS DOUBEK, OLIVIA GRACE APPLEGATE, ALEX

DOBRENKO, CHASE JOLIET DIRECTOR TREY

EDWARD SHULTS GENRE COMEDY / DRAMA RATING

R FOR LANGUAGE, SUBSTANCE ABUSE, AND SOME

SEXUAL CONTENT RUNNING TIME 83 MIN.

KTOWN COWBOYS

March 18

“A f%!$d-up coming-of-age story,” Ktown Cowboys

takes place in the soju-soaked karaoke clubs of L.A.’s

Korea Town and follows a group of hard-partying

Korean Americans struggling with their evolution

into adulthood. Ktown is based on the successful

web series of the same name and is produced by Ken

Jeong (The Hangover, Community).

DISTRIBUTOR FREESTYLE RELEASING CAST DANNY

CHO, PETER CHAE, KEN JEONG, DANIEL DAE KIM,

GREG JOUNG PAIK DIRECTOR DANIEL PARK GENRE

COMEDY / DRAMA RATING R FOR LANGUAGE

THROUGHOUT, SEXUAL CONTENT, AND BRIEF

GRAPHIC NUDITY RUNNING TIME 81 MIN.

MARCH 2016 BoxOffice ® 55


ON SCREEN > LIMITED RELEASES

THE LITTLE PRINCE

March 18 (3D)

This is the first animated feature-film adaptation

of the beloved French book. The Little Prince uses

stop-motion animation and weaves together elements

from the original novel with a new story

about a young girl who befriends the now elderly

aviator narrator. North America is the film’s final

stop, and it has already had successful runs in

France, China, and Brazil.

DISTRIBUTOR PARAMOUNT PICTURES CAST

JEFF BRIDGES, RACHEL MCADAMS, PAUL RUDD,

BUD CORT, MARION COTILLARD, BENICIO DEL

TORO, JAMES FRANCO, RICKY GERVAIS, PAUL

GIAMATTI, RILEY OSBORNE, ALBERT BROOKS,

MACKENZIE FOY DIRECTOR MARK OSBORNE

GENRE ANIMATION / FANTASY RATING PG FOR

MILD THEMATIC ELEMENTS RUNNING TIME 108

MIN.

MIDNIGHT SPECIAL

March 18

American writer-director Jeff Nichols follows up

his acclaimed films Mud and Take Shelter with his

first studio effort, Midnight Special. A father must

protect his uniquely gifted 8-year-old son while

being hunted by an extreme religious sect and

a government task force. Midnight Special will

compete for the Golden Bear in February’s Berlin

International Film Festival.

DISTRIBUTOR WARNER BROS. CAST MICHAEL

SHANNON, JOEL EDGERTON, KIRSTEN DUNST,

ADAM DRIVER, SAM SHEPARD DIRECTOR JEFF

NICHOLS GENRE ADVENTURE / DRAMA / SCI-FI

RATING PG-13 FOR SOME VIOLENCE AND ACTION

RUNNING TIME 111 MIN.

MY GOLDEN DAYS

March 18

My Golden Days is told in a series of flashbacks

from the perspective of anthropologist Paul Dédalus.

He remembers his childhood in France, a trip

to the USSR where he lost his virginity, his mother’s

madness, and the love of his life. The film is a

prequel to the 1996 film My Sex Life … or How I

Got into an Argument, which won a Cesar Award

for Mathieu Amalric as Most Promising Actor.

He returns to play the same character.

DISTRIBUTOR MAGNOLIA PICTURES CAST

QUENTIN DOLMAIRE, LOU ROY-LECOLLINET,

MATHIEU AMALRIC, FRANÇOISE LEBRUN

DIRECTOR ARNAUD DESPLECHIN GENRE DRAMA

RATING R FOR SOME STRONG SEXUAL CONTENT,

GRAPHIC NUDITY, AND LANGUAGE RUNNING

TIME 123 MIN.

56 BoxOffice ® MARCH 2016


I SAW THE LIGHT

March 25 (Limited)

April 1 (Wide)

A biopic of prolific country music singer

Hank Williams, who died from alcoholism

and prescription drug abuse at age

29. I Saw the Light seems destined to

end up more like Cole Porter’s De-Lovely

than Johnny Cash’s Walk the Line in

Hollywood’s ever expanding musical

biopic collection—the film received

overwhelmingly negative reviews after

premiering in Toronto, and Williams’s

grandson came forward to criticize Hiddleston’s

vocal chops and said the film

lacked “justice and real foundation.”

DISTRIBUTOR SONY PICTURES CLASSICS

CAST TOM HIDDLESTON, ELIZABETH

OLSEN, WRENN SCHMIDT, MADDIE

HASSON DIRECTOR MARK ABRAHAM

GENRE BIOGRAPHY / DRAMA / MUSIC

RATING R FOR SOME LANGUAGE AND

BRIEF SEXUALITY/NUDITY RUNNING

TIME 123 MIN.

MIA MADRE

March 25

Margherita is a director shooting a film

with the famous American actor Barry

Huggins, who can’t seem to remember

his lines. Away from the shoot, Margherita

tries to hold her life together,

despite her mother’s illness and a

strained relationship with her adolescent

daughter.

DISTRIBUTOR ALCHEMY CAST

MARGHERITA BUY, JOHN TURTURRO,

BEATRICE MANCINI, GIULIA LAZZARINI,

NANNI MORETTI DIRECTOR NANNI

MORETTI GENRE DRAMA RATING R FOR

LANGUAGE RUNNING TIME 107 MIN.

VALLEY OF LOVE

April 1 (LA)

Two famous actors, estranged for

years, reunite after their son’s suicide.

Michael, a photographer, sent them a

mysterious letter before his death asking

them to visit five places in Death Valley,

California.

DiSTRIBUTOR STRAND RELEASING

CAST GÉRARD DEPARDIEU, ISABELLE

HUPPERT DIRECTOR GUILLAUME

NICLOUX GENRE DRAMA RATING R FOR

LANGUAGE RUNNING TIME 91 MIN.

MARCH 2016 BoxOffice ® 57


BOOKING GUIDE

Compiled by Daniel Garris

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

DISNEY 818-560-1000 / Ask for Distribution

ZOOTOPIA

Fri, 3/4/16 WIDE

Jason Bateman, Ginnifer

Goodwin

Byron Howard, Rich

Moore

PG Ani/Adv/Fam 3D/Dolby Atmos

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

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 PG Adv/Fan 3D/IMAX/Dolby Dig

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 3D/Dolby Dig

PETE’S DRAGON

THE LIGHT BETWEEN OCEANS

DOCTOR STRANGE

Fri, 8/12/16 WIDE

Fri, 9/2/16 WIDE

Fri, 11/4/16 WIDE

Oakes Fegley, Bryce Dallas

Howard

Michael Fassbender, Alicia

Vikander

Benedict Cumberbatch, Chiwetel

Ejiofor

MOANA Wed, 11/23/16 WIDE Auli’i Cravalho, Dwayne Johnson

ROGUE ONE:

A STAR WARS STORY

David Lowery PG Fan/Fam/Ani 3D

Derek Cianfrance NR Dra

Scott Derrickson NR Act/Adv 3D/IMAX

Ron Clements, John

Musker

NR Ani/Mus/Fam 3D

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

BEAUTY AND THE BEAST Fri, 3/17/17 WIDE Emma Watson, Dan Stevens Bill Condon NR Mus/Rom/Fan 3D

GUARDIANS OF THE GALAXY

VOL. 2

PIRATES OF THE CARIBBEAN:

DEAD MEN TELL NO TALES

Fri, 5/5/17 WIDE Chris Pratt, Zoe Saldana James Gunn NR Act/Adv/SF

Fri, 5/26/17 WIDE

Johnny Depp, Orlando Bloom

Joachim Rønning, Espen

Sandberg

NR

Act/Adv

3D/IMAX/Dolby

Atmos

3D/IMAX/Dolby

Atmos

CARS 3 Fri, 6/16/17 WIDE NR Ani/Adv/Fam 3D

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

SHUT IN Fri, 6/17/16 WIDE Naomi Watts, Oliver Platt Farren Blackburn NR Thr

THE LAKE Fri, 7/15/16 WIDE Sullivan Stapleton, J.K. Simmons Steven Quale NR Act/Thr

NINE LIVES Fri, 8/5/16 WIDE Kevin Spacey, Jennifer Garner Barry Sonnenfeld PG Com/Fam

VALERIAN Fri, 7/21/17 WIDE Dane DeHaan, Cara Delevingne Luc Besson NR Act/Adv/SF

FOCUS FEATURES 424-214-6360

LONDON HAS FALLEN Fri, 3/4/16 WIDE Gerard Butler, Aaron Eckhart Babak Najafi NR Act/Thr Dolby Dig

THE YOUNG MESSIAH Fri, 3/11/16 WIDE Adam Greaves-Neal, Sara Lazzaro Cyrus Nowrasteh PG-13 Dra Dolby Dig

RATCHET & CLANK Fri, 4/29/16 WIDE James Arnold Taylor, David Kaye

Jericca Cleland, Kevin

Munroe

PG Ani/SF/Adv Dolby Dig

KUBO AND THE TWO

STRINGS

Fri, 8/19/16 WIDE

Art Parkinson, 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 OTHER SIDE

OF THE DOOR

Fri, 3/4/16 MOD. Sarah Wayne Callies, Jeremy Sisto Johannes Roberts R Hor

X-MEN: APOCALYPSE

Fri, 5/27/16 WIDE

James McAvoy, Michael

Fassbender

Bryan Singer NR Act/Adv 3D/Dolby Atmos

INDEPENDENCE DAY:

RESURGENCE

MIKE & DAVE NEED

WEDDING DATES

Fri, 6/24/16 WIDE Liam Hemsworth, Jeff Goldblum Roland Emmerich NR Act/Adv/SF 3D/IMAX/Dolby Dig

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/Dolby Dig

A CURE FOR WELLNESS Fri, 9/23/16 WIDE Dane DeHaan, Mia Goth Gore Verbinski NR Hor/Thr Dolby Dig

58 BoxOffice ® MARCH 2016


TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

GAMBIT Fri, 10/7/16 WIDE Channing Tatum, Lea Seydoux Doug Liman NR Act/Adv

TROLLS Fri, 11/4/16 WIDE Anna Kendrick, Justin Timberlake Mike Mitchell NR Ani/Com/Fam 3D

WHY HIM? Fri, 11/11/16 WIDE Bryan Cranston, James Franco John Hamburg NR Com

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

HIDDEN FIGURES Fri, 1/13/17 WIDE Ted Melfi NR Dra

THE MOUNTAIN BETWEEN US Fri, 2/10/17 WIDE Rosamund Pike, Charlie Hunnam Hany Abu-Assad NR Dra/Rom

MAZE RUNNER:

THE DEATH CURE

Fri, 2/17/17 WIDE Dylan O’Brien, Kaya Scodelario Wes Ball NR SF/Thr IMAX

WOLVERINE Fri, 3/3/17 WIDE Hugh Jackman James Mangold NR Act/Adv IMAX

THE BOSS BABY Fri, 3/10/17 WIDE Alec Baldwin, Kevin Spacey Tom McGrath NR Ani/Com/Fam 3D

FERDINAND Fri, 4/7/17 WIDE Carlos Saldanha NR Ani/Fam 3D

MOTHER/DAUGHTER Fri, 5/12/17 WIDE Amy Schumer Jonathan Levine NR Com

KINGSMAN 2 Fri, 6/16/17 WIDE Taron Egerton NR Act/Thr

WAR FOR THE PLANET OF

THE APES

UNTITLED FOX 2017

ANIMATED FILM

Fri, 7/14/17 WIDE Andy Serkis, Woody Harrelson Matt Reeves NR Act/SF

Fri, 7/21/17 WIDE NR Ani

FOX SEARCHLIGHT 212-556-2400

DEMOLITION Fri, 4/8/16 LTD. Jake Gyllenhaal, Naomi Watts Jean-Marc Vallée R Dra/Rom Dolby Dig

A BIGGER SPLASH Wed, 5/4/16 LTD. Ralph Fiennes, Dakota Johnson Luca Guadagnino R Dra/Thr

LIONSGATE 310-309-8400

THE PERFECT MATCH Fri, 3/11/16 WIDE Terrence J, Cassie Ventura Bille Woodruff NR Rom/Com

THE DIVERGENT SERIES:

ALLEGIANT

Fri, 3/18/16 WIDE Shailene Woodley, Theo James Robert Schwentke PG-13 Act/Adv/SF IMAX/Dolby Atmos

CRIMINAL Fri, 4/15/16 WIDE Kevin Costner, Gary Oldman Ariel Vromen NR Act/Cri/Thr

COMPADRES Fri, 4/22/16 MOD. Omar Chaparro, Joey Morgan Enrique Begne NR Act/Com

NOW YOU SEE ME 2 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 Dolby Dig

MECHANIC: RESURRECTION Fri, 8/26/16 WIDE Jason Statham, Jessica Alba Dennis Gansel NR Act/Thr Dolby Dig

NO MANCHES FRIDA Fri, 9/2/16 MOD. Omar Chaparro, Martha Higareda Nacho G. Velilla NR Com

DEEPWATER HORIZON Fri, 9/30/16 WIDE Mark Wahlberg, Kurt Russell Peter Berg NR Dra/Act/Thr IMAX

MIDDLE SCHOOL: THE WORST

YEARS OF MY LIFE

Fri, 10/7/16 WIDE Griffin Gluck, Lauren Graham Steve Carr NR Com/Fam

BOO! A MADEA HALLOWEEN Fri, 10/21/16 WIDE Tyler Perry, Bella Thorne Tyler Perry NR Com/Hor

UNTITLED LIONSGATE

HORROR FILM

THE SHACK

POWER RANGERS

THE DIVERGENT SERIES:

ASCENDANT

Fri, 10/28/16 WIDE NR Hor

Fri, 11/18/16 WIDE

Fri, 3/24/17 WIDE

Sam Worthington, Octavia

Spencer

Elizabeth Banks, Dacre

Montgomery

Stuart Hazeldine NR Dra

Dean Israelite NR Act/Adv/Fam

Fri, 6/9/17 WIDE Shailene Woodley, Theo James NR Act/Adv/SF

OPEN ROAD FILMS 310-696-7504

COLLIDE Fri, 4/1/16 WIDE Nicholas Hoult, Felicity Jones Eran Creevy PG-13 Act/Cri/Thr

MOTHER’S DAY Fri, 4/29/16 WIDE Julia Roberts, Jennifer Aniston Garry Marshall PG-13 Rom/Com

SNOWDEN

Fri, 5/13/16 WIDE

Joseph Gordon-Levitt, Shailene

Woodley

Oliver Stone NR Dra/Thr Dolby Dig

MAX STEEL Fri, 8/26/16 WIDE Ben Winchell, Josh Brener Stewart Hendler NR Act/Adv/SF

BLAZING SAMURAI Fri, 8/4/17 WIDE Samuel L. Jackson, Michael Cera

Chris Bailey, Mark

Koetsier

NR

Ani/Adv/Fam

MARCH 2016 BoxOffice ® 59


BOOKING GUIDE

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

PARAMOUNT 323-956-5000

WHISKEY TANGO FOXTROT Fri, 3/4/16 WIDE Tina Fey, Margot Robbie

10 CLOVERFIELD LANE Fri, 3/11/16 WIDE

Mary Elizabeth Winstead, John

Goodman

Glenn Ficarra, John

Requa

NR Com/War Dolby Dig

Dan Trachtenberg NR Thr IMAX

THE LITTLE PRINCE Fri, 3/18/16 LTD. Jeff Bridges, Mackenzie Foy Mark Osborne PG Ani/Fan/Fam 3D/Dolby Dig

RINGS Fri, 4/1/16 WIDE Matilda Lutz, Alex Roe F. Javier Gutiérrez NR Hor

EVERYBODY WANTS SOME Fri, 4/15/16 WIDE Will Brittain, Zoey Deutch Richard Linklater R Com/Sport Dolby Dig

SAME KIND OF

DIFFERENT AS ME

TEENAGE MUTANT NINJA

TURTLES: OUT OF THE

SHADOWS

Fri, 4/29/16 WIDE Djimon Hounsou, Greg Kinnear Michael Carney NR Dra

Fri, 6/3/16 WIDE Megan Fox, Stephen Amell Dave Green NR Act/Adv 3D

STAR TREK BEYOND Fri, 7/22/16 WIDE Chris Pine, Zachary Quinto Justin Lin NR Act/Adv/SF

BEN-HUR Fri, 8/12/16 WIDE Jack Huston, Toby Kebbell Timur Bekmambetov NR Dra

JACK REACHER:

NEVER GO BACK

UNTITLED PITT / COTILLARD

WWII FILM

3D/IMAX/Dolby

Atmos

Fri, 10/21/16 WIDE Tom Cruise, Cobie Smulders Edward Zwick NR Act/Cri/Thr Dolby Dig

Wed, 11/23/16 WIDE Brad Pitt, Marion Cotillard Robert Zemeckis NR Dra/Rom/Thr

FRIDAY THE 13TH Fri, 1/13/17 WIDE NR Hor

MONSTER TRUCKS Fri, 1/13/17 WIDE Jane Levy, Lucas Till Chris Wedge NR Ani/Adv/Fam 3D/Dolby Atmos

GHOST IN THE SHELL Fri, 3/31/17 WIDE Scarlett Johansson, Pilou Asbæk Rupert Sanders NR Act/Thr/SF 3D

BAYWATCH Fri, 5/19/17 WIDE Dwayne Johnson, Zac Efron Seth Gordon NR Act/Com

WORLD WAR Z 2 Fri, 6/9/17 WIDE Brad Pitt NR Act/Hor

RELATIVITY STUDIOS 310-724-7700 / Ask for Distribution

THE DISAPPOINTMENTS

Fri, 3/25/16 WIDE Kate Beckinsale, Lucas Till D.J. Caruso NR Hor/Thr

ROOM

BEFORE I WAKE Fri, 4/8/16 WIDE Kate Bosworth, Thomas Jane Mike Flanagan PG-13 Hor/Thr

KIDNAP Fri, 5/13/16 WIDE Halle Berry, Lew Temple Luis Prieto NR Act/Thr

SOLACE

Fri, 9/2/16 WIDE

Anthony Hopkins, Jeffrey Dean

Morgan

Afonso Poyart R Thr Dolby Dig

MASTERMINDS Fri, 9/30/16 WIDE Zach Galifianakis, Owen Wilson Jared Hess PG-13 Com/Cri

STRANGERS 2 Fri, 12/2/16 WIDE Marcel Langenegger NR Hor/Thr

SONY 212-833-8500

THE BROTHERS GRIMSBY Fri, 3/11/16 WIDE Sacha Baron Cohen, Mark Strong Louis Leterrier NR Com

MIRACLES FROM HEAVEN Wed, 3/16/16 WIDE Jennifer Garner, Kylie Rogers Patricia Riggen PG Dra

MONEY MONSTER Fri, 5/13/16 WIDE George Clooney, Jack O’Connell Jodie Foster NR Dra/Thr Dolby Dig

THE ANGRY BIRDS MOVIE Fri, 5/20/16 WIDE Jason Sudeikis, Josh Gad Clay Kaytis, Fergal Reilly NR Ani/Com/Fam 3D/Dolby Dig

THE SHALLOWS Fri, 6/24/16 WIDE Blake Lively, Óscar Jaenada Jaume Collet-Serra NR Thr

GHOSTBUSTERS Fri, 7/15/16 WIDE Melissa McCarthy, Kristen Wiig Paul Feig NR Com/Hor 3D/Dolby Dig

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, Jane Levy 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 Wes/Act

UNDERWORLD 5 Fri, 10/14/16 WIDE Kate Beckinsale, Theo James Anna Foerster NR Act/Hor

INFERNO Fri, 10/28/16 WIDE Tom Hanks, Felicity Jones Ron Howard NR Thr

60 BoxOffice ® MARCH 2016


TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

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/Adv/Rom

THE DARK TOWER Fri, 1/13/17 WIDE Nikolaj Arcel NR Wes/Act/Fan

RESIDENT EVIL: THE FINAL

CHAPTER

Fri, 1/27/17 WIDE Milla Jovovich, Ali Larter Paul W.S. Anderson NR Act/Hor 3D

BAD BOYS 3 Fri, 2/17/17 WIDE NR Act/Thr

BABY DRIVER Fri, 3/17/17 WIDE Ansel Elgort, Lily James Edgar Wright NR Act/Com/Cri

GET SMURFY Fri, 3/31/17 WIDE Demi Lovato, Mandy Patinkin Kelly Asbury NR Ani/Com/Fam 3D

BARBIE Fri, 6/2/17 WIDE NR Com

UNCHARTED Fri, 6/30/17 WIDE NR Act/Adv

SPIDER-MAN Fri, 7/7/17 WIDE Tom Holland, Marisa Tomei Jon Watts NR Act/Adv 3D/IMAX

JUMANJI Fri, 7/28/17 WIDE Jake Kasdan NR Adv/Fan/Fam

THE EMOJI MOVIE Fri, 8/11/17 WIDE NR Ani 3D

SONY PICTURES CLASSICS Tom Prassis / 212-833-4981

THE BRONZE Fri, 3/18/16 EXCL NY/LA Melissa Rauch, Gary Cole Bryan Buckley R Com

I SAW THE LIGHT Fri, 3/25/16 LTD. Tom Hiddleston, Elizabeth Olsen Marc Abraham R Dra

MILES AHEAD

Fri, 4/1/16 EXCL NY/LA

Don Cheadle, Emayatzy

Corinealdi

Don Cheadle R Dra

THE MEDDLER Fri, 4/22/16 EXCL NY/LA Susan Sarandon, Rose Byrne Lorene Scafaria PG-13 Com/Dra

DARK HORSE Fri, 5/6/16 EXCL NY/LA Louise Osmond PG Doc/Sport

MAGGIE’S PLAN Fri, 5/20/16 EXCL NY/LA Greta Gerwig, Julianne Moore Rebecca Miller R Rom/Com

STX ENTERTAINMENT 310-742-2300

DESIERTO

Fri, 3/4/16 WIDE

Gael García Bernal, Jeffrey Dean

Morgan

Jonás Cuarón R Dra/Act/Thr

HARDCORE HENRY Fri, 4/8/16 WIDE Sharlto Copley, Danila Kozlovsky Ilya Naishuller NR Act/SF

FREE STATE OF JONES

Fri, 5/13/16 WIDE

Matthew McConaughey, Gugu

Mbatha-Raw

Gary Ross NR Act/Dra Dolby Dig

THE SPACE BETWEEN US Fri, 7/29/16 WIDE Asa Butterfield, Britt Robertson Peter Chelsom NR Adv/SF/Rom

UNTITLED LUCAS & MOORE

COMEDY

UNTITLED CRAIG/BROOKS/

STEINFELD FILM

Fri, 8/19/16 WIDE Mila Kunis, Christina Applegate Jon Lucas, Scott Moore NR Com

Fri, 9/30/16 WIDE

Hailee Steinfeld, Haley Lu

Richardson

Kelly Fremon Craig NR Com/Dra

THE BYE BYE MAN Fri, 10/14/16 WIDE Douglas Smith, Cressida Bonas Stacy Title NR Hor/Thr

UNIVERSAL 818-777-1000

MY BIG FAT GREEK WEDDING 2 Fri, 3/25/16 WIDE Nia Vardalos, John Corbett Kirk Jones PG-13 Rom/Com Dolby Dig

THE BOSS Fri, 4/8/16 WIDE Melissa McCarthy, Kristen Bell Ben Falcone R Com Dolby Dig

THE HUNTSMAN:

WINTER’S WAR

Fri, 4/22/16 WIDE Chris Hemsworth, Charlize Theron Cedric Nicolas-Troyan NR Act/Adv/Fan Dolby Dig

NEIGHBORS 2:

SORORITY RISING

Fri, 5/20/16 WIDE Seth Rogen, Zac Efron Nicholas Stoller NR Com Dolby Dig

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 Travis Fimmel, Paula Patton Duncan Jones PG-13 Act/Adv/Fan

THE PURGE 3 Fri, 7/1/16 WIDE Frank Grillo, Elizabeth Mitchell James DeMonaco NR Hor/Thr/SF

NR

Com

3D/IMAX/Dolby

Atmos

THE SECRET LIFE OF PETS Fri, 7/8/16 WIDE Louis C.K., Eric Stonestreet Chris Renaud NR Ani/Com/Fam 3D/Dolby Dig

JASON BOURNE Fri, 7/29/16 WIDE Matt Damon, Alicia Vikander Paul Greengrass NR Act/Adv/Thr

SPECTRAL Fri, 8/12/16 WIDE James Badge Dale, Emily Mortimer Nic Mathieu NR Act/Thr 3D

BRIDGET JONES’S BABY Fri, 9/16/16 WIDE Renée Zellweger, Colin Firth Sharon Maguire NR Rom/Com

THE GIRL ON THE TRAIN Fri, 10/7/16 WIDE Emily Blunt, Rebecca Ferguson Tate Taylor NR Thr

KEVIN HART: WHAT NOW? Fri, 10/14/16 WIDE Kevin Hart Leslie Small NR Com/Con/Doc

MARCH 2016 BoxOffice ® 61


BOOKING GUIDE

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

OUIJA 2 Fri, 10/21/16 WIDE Annalise Basso, Henry Thomas Mike Flanagan NR Hor/Thr

A MEYERS CHRISTMAS Fri, 11/11/16 WIDE Gabrielle Union, Kimberly Elise David E. Talbert NR Com

LET IT SNOW Fri, 12/9/16 WIDE NR Rom/Com/Dra

SING

Wed, 12/21/16 WIDE

Matthew McConaughey, Reese

Witherspoon

Garth Jennings NR Ani/Com/Fam

MENA Fri, 1/6/17 WIDE Tom Cruise, Domhnall Gleeson Doug Liman NR Cri/Thr

SPLIT Fri, 1/20/17 WIDE James McAvoy, Anya Taylor-Joy M. Night Shyamalan NR Hor/Thr

A DOG’S PURPOSE Fri, 1/27/17 WIDE Dennis Quaid, Britt Robertson Lasse Hallström NR Com/Dra/Fam

FIFTY SHADES DARKER Fri, 2/10/17 WIDE Dakota Johnson, Jamie Dornan James Foley NR Dra/Rom

THE GREAT WALL Fri, 2/17/17 WIDE Matt Damon, Andy Lau Zhang Yimou NR Act/Adv/Thr 3D

FAST 8 Fri, 4/14/17 WIDE Vin Diesel, Dwayne Johnson F. Gary Gray NR Act/Cri IMAX

THE MUMMY Fri, 6/9/17 WIDE Tom Cruise, Sofia Boutella Alex Kurtzman NR Act/Adv

DESPICABLE ME 3 Fri, 6/30/17 WIDE NR Ani/Com/Fam

PITCH PERFECT 3 Fri, 8/4/17 WIDE Anna Kendrick, Rebel Wilson Elizabeth Banks NR Com/Mus

WARNER BROS. 818-977-1850

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 PG-13 Act/Adv

BARBERSHOP: THE NEXT CUT Fri, 4/15/16 WIDE Ice Cube, Cedric the Entertainer Malcolm D. Lee PG-13 Com

KEANU Fri, 4/29/16 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/Cri

3D/IMAX/Dolby

Atmos

THE NICE GUYS Fri, 5/20/16 WIDE Russell Crowe, Ryan Gosling Shane Black R Cri/Thr Dolby Dig

ME BEFORE YOU Fri, 6/3/16 WIDE Emilia Clarke, Sam Claflin Thea Sharrock PG-13 Dra/Rom

THE CONJURING 2 Fri, 6/10/16 WIDE Vera Farmiga, Patrick Wilson James Wan NR Hor/Thr

CENTRAL INTELLIGENCE Fri, 6/17/16 WIDE Dwayne Johnson, Kevin Hart

Rawson Marshall

Thurber

NR Act/Com Dolby Dig

THE LEGEND OF TARZAN

Fri, 7/1/16 WIDE

Alexander Skarsgård, Margot

Robbie

David Yates NR Act/Adv 3D/IMAX/Dolby Dig

LIGHTS OUT Fri, 7/22/16 WIDE Teresa Palmer, Gabriel Bateman David F. Sandberg PG-13 Hor

SUICIDE SQUAD Fri, 8/5/16 WIDE Will Smith, Margot Robbie David Ayer NR Act/Adv

ARMS & THE DUDES Fri, 8/19/16 WIDE Miles Teller, Jonah Hill Todd Phillips R Com/Dra

SULLY Fri, 9/9/16 WIDE Tom Hanks, Laura Linney Clint Eastwood NR Dra

STORKS Fri, 9/23/16 WIDE Andy Samberg, Kelsey Grammer

Nicholas Stoller, Doug

Sweetland

THE ACCOUNTANT Fri, 10/7/16 WIDE Ben Affleck, Anna Kendrick Gavin O’Connor R Act/Thr

BASTARDS Fri, 11/4/16 WIDE Ed Helms, Owen Wilson Lawrence Sher NR Com

FANTASTIC BEASTS AND

WHERE TO FIND THEM

Fri, 11/18/16 WIDE

Eddie Redmayne, Katherine

Waterston

3D/IMAX/Dolby

Atmos

NR Ani/Com/Fam 3D/Dolby Dig

David Yates NR Adv/Fan 3D/IMAX/Dolby Dig

COLLATERAL BEAUTY Fri, 12/16/16 WIDE Will Smith, Helen Mirren David Frankel NR Dra

GEOSTORM Fri, 1/13/17 WIDE Gerard Butler, Abbie Cornish Dean Devlin NR Act/Thr/SF 3D/IMAX

THE LEGO BATMAN MOVIE Fri, 2/10/17 WIDE Will Arnett, Zach Galifianakis Chris McKay NR Ani/Adv/Fam 3D/IMAX

KONG: SKULL ISLAND Fri, 3/10/17 WIDE Tom Hiddleston, Brie Larson Jordan Vogt-Roberts NR Act/Adv 3D/IMAX/Dolby Dig

KING ARTHUR

Fri, 3/24/17 WIDE

Charlie Hunnam, Astrid Bergès-

Frisbey

Guy Ritchie NR Act/Adv 3D/IMAX

THE HOUSE Fri, 6/2/17 WIDE Will Ferrell, Amy Poehler Andrew J. Cohen NR Com

WONDER WOMAN Fri, 6/23/17 WIDE Gal Gadot, Chris Pine Patty Jenkins NR Act/Adv

DUNKIRK Fri, 7/21/17 WIDE Tom Hardy, Kenneth Branagh Christopher Nolan NR Act/Thr/War IMAX

WEINSTEIN CO./DIMENSION 646-862-3400

AMITYVILLE: THE

Fri, 4/15/16 WIDE Bella Thorne, Jennifer Jason Leigh Franck Khalfoun R Hor/Thr

AWAKENING

THE FOUNDER Fri, 11/25/16 LTD. Michael Keaton, Laura Dern John Lee Hancock NR Dra Dolby Dig

62 BoxOffice ® MARCH 2016


we’ll see you at the show!

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Back Cover

CARDINAL SOUND & MOTION

PICTURE SYSTEMS

6330 Howard Ln.

Elkridge, MD 21075

www.cardinalsound.com

PG 64

CHRISTIE DIGITAL SYSTEMS

10550 Camden Dr.

Cypress, CA 90630

www.christiedigital.com

Inside Front

DOLPHIN SEATING

313 Remuda St.

Clovis, NM 88101

www.dolphinseating.com

Inside Back

EC CINEMA SUPPLY

1520 Country Road 5045

Salem, MO 65560

www.eccinemasupply.biz

PG 6

ENPAR AUDIO

www@enparaudio.com

PG 19

ENTERTAINMENT SUPPLY &

TECHNOLOGIES

3820 Northdale Blvd.

Tampa, FL 33624

www.ensutec.com

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Unit A, Norton Road

Stevenage, Herts

SG1 2BB UK

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1611 116th Ave. NE, Ste. 112

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100 East Wisconsin Ave., Ste. 1900

Milwaukee, Wisconsin 53202

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44 Montgomery St., 17th Fl.

San Francisco, CA 94104

www.mocins.com

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17760 Newhope St.

Fountain, Valley, CA 92708

www.movingimagetech.com

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MTI PRODUCTS

10 Forbes Rd.

Northborough, MA 01532

www.mtiproducts.com

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NATIONAL ASSOCIATION OF

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1705 N St.

NW Washington, DC 20036

www.natoonline.com

PG 17

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40 Pointe Dr.

Brea, CA 92821

www.popntop.com

PG 8

READY THEATRE SYSTEMS

4 Hartford Blvd.

Hartford, MI 49057

www.rts-solutions.com.com

PG 10

REALD

100 North Crescent Dr.,

Ste. 200

Beverly Hills, CA 90210

www.reald.com

PG 44–45

RETRIEVER SOFTWARE

7040 Avenida Encinas

Ste. 104-363

Carlsbad, CA 92011

www.retrieversoftware.com

PG 33

SENSIBLE CINEMA SOFTWARE

7216 Sutton Pl.

Fairview, TN 37062

www.sensiblecinema.com

PG 64

SLS AUDIO

1650 W Jackson St.

Ozark, MO 65721

www.slsaudio.com

PG 11

SONIC EQUIPMENT COMPANY

900 W Miller Rd.

Iola,KS 66749

www.sonicequipment.com

PG 23

USHIO AMERICA, INC.

5440 Cerritos Ave.

Cypress, CA 90630

www.ushio.com

PG 13

WILL ROGERS MOTION PICTURE

PIONEERS FOUNDATION

10045 Riverside Dr., Third Fl.

Toluca Lake, CA 91602

www.wrpioneers.com

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CORPORATE

BoxOffice Media

60 Broad St., Ste. 3502

New York, NY 10004

corporate@boxoffice.com

MARCH 2016 BoxOffice ® 63


Passive Polarization

for 3D Digital Cinema

Fast, Bright, Reliable...

Quality you can Trust.

Over 1,950

locations worldwide.

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 & AU-

DIO. We offer the best pricing on good

used projection and sound equipment.

Large quantities available. Please visit

our website, www.asterseating.com, or

call 888-409-1414.

AMERICAN ENTERTAINMENT PROD-

UCTS LLC is buying projectors, processors,

amplifiers, speakers, seating,

platters. If you are closing, remodeling

or have excess equipment in your warehouse

and want to turn equipment into

cash, please call 866-653-2834 or email

aep30@comcast.net. Need to move

quickly to close a location and dismantle

equipment? We come to you with trucks,

crew and equipment, no job too small

or too large. Call today for a quotation:

866-653-2834. Vintage equipment wanted

also! Old speakers like Western Electric

and Altec, horns, cabinets, woofers,

etc., and any tube audio equipment. Call

or email: aep30@comcast.net.

www.depthq3d.com

COLLECTOR WANTS TO BUY: We pay

top money for any 1920-1980 theater

equipment. We’ll buy all theater-related

equipment, working or dead. We remove

and pick up anywhere in the U.S. or Canada.

Amplifiers, speakers, horns, drivers,

woofers, tubes, transformers; Western

Electric, RCA, Altec, JBL, Jensen, Simplex

and more. We’ll remove installed

equipment if it’s in a closing location.

We buy projection and equipment too.

Call today: 773-339-9035; cinema-tech.

com; email ILG821@aol.com.

FOR SALE

CLASSIC CINEMAS is looking to sell 616

slightly used electric 1st edition Bliss

Loungers to replace with the new Bliss

Zero Lounger. They are selling 22” wide

electric reclining loveseats in excellent

condition with lit aisle and seat tags. If

interested, please call Jeremy Chupp at

770-823-1330.

USED DIGITAL PROJECTORS, (5) complete

booths including sound equipment.

Three years old. Contact seller at

moviescope1000@gmail.com.

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 AUTOMAT-

ED PROJECTION SYSTEM (comes with

Projector, Console, Automation Unit and

Platter) comprising of 10 sets of Christie

and 8 sets of Strong 35mm system

available on ‘as is where is’ basis in Sin-

gapore. 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.

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

POSITIONS AVAILABLE

Paragon Theaters has THEATER MAN-

AGEMENT 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

XENON 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.

64 BoxOffice ® MARCH 2016


Supersize their

cinema experience

The magic of the cinema doesn’t just

happen on-screen. A truly special film

experience involves every aspect of

your theatre. It’s what creates memories,

differentiates you from the competition

and keeps your customers coming back for

more.

You know the experiences your filmgoers want.

What you need is the time to create them. And that’s

where we come in.

Arts Alliance Media’s full suite of cinema solutions

won’t just keep your films running flawlessly. Just

as importantly, we’ll give you the extra time to make

your cinema experience stand out.

Contact us to find out more about our software –

and how our solutions can get your team back to

doing what they do best: creating special movie

experiences.

CinemaCon Booth #2715A

www.artsalliancemedia.com

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