Boxoffice - July 2016

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JULY 2016
The Official Magazine of the National Association of Theatre Owners

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Julien Marcel
CEO
Webedia US
n As we enjoy another summer, whether it’s at the beach or the box office, we once
again look over to Europe where our colleagues convene in Barcelona later this
month for CineEurope, UNIC’s annual convention.
We hope this issue of our magazine presents another good illustration of the latest
news and trends in the exhibition business. In our pages you’ll find particularly
interesting reports from NATO’s Kathy Conroy and Phil Contrino, highlighting
the current challenges around diversity and inclusion of women, minorities, and
young professionals; a key success factor for the future success of our industry. We
are also featuring coverage on the practical aspects of adopting immersive audio,
and an outlook on how cinema advertising rebounded following what could have
been a bumpy year in that sector.
Finally, since our industry is all about people, we are proud to be present our first ever 40 Under 40 Europe
list. The European philosopher Jean Bodin wrote in the 16th century: “Il n’est de richesse que d’homme,”
which translates to“Man(kind) is the only true source of wealth.” Here at Boxoffice, we believe it’s important
to slightly modify this famous sentence to be inclusive of both men and women, and you’ll find great examples
of that wealth in this issue’s 40 Under 40 Europe feature story. It is composed of a list put together with the
help of our friends and great experts at Celluloid Junkie (celluloidjunkie.com). The list is by no means exhaustive,
but helps us spotlight a selection of individuals who, we believe, are a good representation of the diversity
of players, companies, and countries that altogether make European cinema what it is today and, even more
importantly, what it will be tomorrow. We hope you will enjoy discovering this list as much as we enjoyed
putting it together based on the input of countless European professionals. And while we strongly believe all
the individuals on this list are there for a solid reason, we also recognize many other great professionals were
left out. It is for that very reason we’re already excited about returning to this story in the future.
Happy reading and let the summer begin!
Julien Marcel
CEO
Boxoffice Media
JULY 2016 BoxOffice ® 3

IT EVEN MOVES
TICKET SALES
New recurring revenues. Increased customer loyalty. Premium
ticket prices. Fast, easy and flexible installation. Plus, a lot
more money spent on food and drinks.* Immersive technology
doesn’t get any better than this. It’s no wonder D-BOX has
been chosen by exhibitors all over the world.
Get in on the action: call 1-888-442-3269,
email us at service@d-box.com or visit d-box.com
*Source: Metaforté Study by Maxélie Corporation, USA and Canada, July-August 2015.

JULY 2016
VOL. 152 NO. 7
COVER STORY
THE ICE AGE
64
Hello GANG RETURNS
3
Exhibition Briefs 10
NATO News
A journey toward diversity and inclusion
MPAA
The rise of the global film industry
Member News
NATO launches Young Members Commitee
Tech Talk
The practical realities of immersive audio: What to watch for
when considering the latest in sound technology
Vendor Chat
Six new audio products for you to consider
Cinema Advertising
Celebrating a Record Year: Record-breaking results follow
Justice Department ruling against merger
Q&A: A veteran in consumer marketing, Andy England, takes the helm of NCM 30
Screenvision welcomes a new leader as it prepares for the future of cinema
advertising
Cinema Showcase
The Nickelodeon Theatre, Columbia, South Carolina
The Art Theater Co-op, Champaign, Illinois 36
Social Media
Word’s Out: How Twitter tracking allows us to quantify word of mouth
37
Exhibition Management
Thunderstruck: Arts Alliance Media looks to revolutionize exhibition management
through its digital platform
Filmmaker Interview
Political Casualties: The Purge creator James DeMonaco on why politics is the
perfect direction for his horror franchise
3D Calendar
Sponsored by RealD
Boxoffice and Cellulolid Junkie identify 40 talented
and innovative executives who are part of a great
generation that is leading the European exhibition
industry
41
Event Cinema Calendar
Alternative content release calendar
On Screen
Capsule previews of upcoming wide- and limited-release films
55
Booking Guide
Booking details for over 150 upcoming releases
82
Classifieds 88
14
18
20
22
26
28
32
34
38
68
70
72
73
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SUMMER MOVIE CLUBHOUSE
RETURNS TO CINEMARK
n Cinemark Holdings has announced that its annual
Summer Movie Clubhouse will take place in over 230
participating Cinemark Theatres across the country. The
Summer Movie Clubhouse will bring some of Hollywood’s
recent G and PG favorites to theaters on selected
mornings for 10 weeks throughout the summer, at a cost
of only $1 per person. A card for the complete series
of all 10 movies is also available for $5; one card per
person.
“Families looking for an economical outing, daycares,
summer camps, and church groups have continued to
take advantage of this annual summertime series,” said
Bryan Jeffries, Cinemark’s director of marketing and
promotions. “The Summer Movie Clubhouse has been a
popular beat-the-heat option for over 15 years.”
Each participating theater will have 10 movies in its
Summer Movie Clubhouse series, with starting dates,
days, and times varying by market. A complete list of
participating theaters, their start dates and show times,
are available at www.cinemark.com. The Summer Movie
Clubhouse 10-week series card is available at theaters or
online, while supplies last. The premiere partner for the
2016 Summer Movie Clubhouse is Focus Features and
their fall 2016 release, Kubo and the Two Strings.
METROPOLITAN THEATRES
EXPANDS TEAM
n Metropolitan Theatres, owned by the Corwin
family since 1923, expanded its corporate team by
hiring Christina Mancebo as director of marketing and
communications. Based in the Los Angeles corporate
office, Mancebo is charged with developing customer
programs and promotions to foster increased attendance;
strengthen relationships with studios, festivals
and other partners; and manage digital marketing
efforts targeted to better engage with customers. She
will report to Dale Davison, Metropolitan’s senior VP,
operations and development.
Mancebo joins the company from MarVista
Entertainment, where she served as director of
marketing and communications since 2014, overseeing
marketing strategy and communications for
all parts of business: corporate, production, sales
(domestic/international), acquisitions, television,
theatrical, and VOD.
Prior to joining MarVista, Mancebo served as VP
of brand management at Magnolia Home Entertainment,
working on physical and digital distribution of
independent films, including Academy Award–winner
and nominees Man on a Wire; Food, Inc., and
Enron: The Smartest Guys in the Room. Earlier in her
career, Mancebo worked for Sony Pictures Home
Entertainment and MGM Home Entertainment.
LANDMARK CINEMAS REDUCES
ENERGY COSTS
n The Canadian circuit Landmark Cinemas Inc. has
engaged Energy Advantage Inc. to implement a variety
of strategies in the areas of energy and sustainability
(E&S).
To achieve material results in year one, Landmark
will implement improved energy procurement practices,
outsource certain routine services, and complete
testing and evaluation of promising energy savings
technologies. A toolkit will be developed to ensure
theater operations staff run the sites as efficiently as
possible.
As new and innovative technologies become available,
Energy Advantage will help Landmark to select
the best options and to complete thorough, independent
analyses to ensure that the promised results are
achieved. These initiatives are a direct result of Energy
Advantage first completing an in-depth total energy
and environmental management (or TEEM) assessment
for Landmark.
The TEEM assessment is a tool for senior management
to evaluate the performance of all key systems
and processes of the company as they relate to energy
and sustainability. The assessment helped Landmark
establish an overall E&S strategy and identified potential
savings of approximately 20 percent, with many
low-cost opportunities for immediate action.
10 BoxOffice ® JULY 2016

CMX AND LETTUCE ENTERTAIN
YOU ANNOUNCE COLLABORATION
n CMX, the VIP Cinema Experience, has announced
a partnership with Lettuce Entertain You Enterprises.
The collaboration brings together CMX’s luxury theater
environment and the well-respected restaurant operator.
Jaime Rionda, CMX’s SVP of development, said,
“Our goal from the beginning was to establish the
pinnacle of the VIP Cinema Dining experience. With
Lettuce Consulting Group, part of Lettuce Entertain
You Enterprises, we found a partner who brings 40-
plus years of experience in restaurant innovation and
management. Overall, we are excited about our two
teams collaborating to set the bar for the VIP cinema,
dine-in experience.”
The first opportunity to engage with this experience
will be this holiday season in Miami. CMX will
open its first cinema in the United States, with a 517-
seat theater featuring 10 viewing rooms with luxury
leather recliners, in the heart of Miami’s largest mixeduse
urban development: the $1.1 billion Brickell City
Centre project. The new theater will feature a carefully
curated menu with handcrafted cocktails. Other locations
are already in the works.
CINEPLEX PLANS NEW VIP
CINEMAS IN PICKERING
n Canada’s Cineplex Entertainment will build a
brand-new theater at Pickering Town Centre, scheduled
to open in late 2017, that will replace the mall’s
existing theater, Famous Players Pickering 8 Cinemas.
Construction is expected to begin in late fall 2016.
Located in the west wing of the Ontario shopping
center, the new theater will span over 46,000 square
feet and feature 12 screens, including four VIP Cinemas
auditoriums. An adults-only premium offering
exclusive to Cineplex, VIP Cinemas feature a fully
licensed lounge and auditoriums where guests can relax
in luxury loungers. They will also have the opportunity
to order from an expanded food and beverage menu
that includes a wide selection of wines, spirits, and
premium craft beers delivered right to their seats. In addition
to traditional movie fare, VIP Cinema guests can
enjoy items such as calamari, spinach-artichoke dip,
artisanal cheese and charcuterie boards, and flatbreads.
The theater’s traditional auditoriums will have
plenty to offer guests including UltraAVXTM, with
a massive wall-to-wall screen, ultra-high-definition
presentation, and a powerful Dolby Atmos sound
system. Cineplex currently operates 163 theaters across
Canada including 16 VIP Cinemas, with plans to
open several more in the coming years.
MOVIO AND VISTA GROUP
HONORED WITH AWARDS
n Movio has won the Innovative Software Product
award for its latest development, Movio Media. The
award was presented to Movio’s chief executive and
co-founder Will Palmer at the annual New Zealand
Hi-Tech Awards gala in Auckland
on May 20. The highlight of the
gala, known as the “Oscars of
NZ’s ICT industry,” was the celebration
of Vista Group as 2016
Hi-Tech Company of the Year. The NZ Hi-Tech
Awards celebrate New Zealand’s most successful
high-tech companies and individuals in a variety of
technology industries: ICT, electronics, software,
biotechnology, creative, telecommunications, and
digital media.
“Our vision is to revolutionize the way the film
industry interacts with moviegoers, increase box office
revenue, and improve the quality of content produced,”
said Palmer. “We are thrilled and honored that
our data-driven approach has been acknowledged by
the New Zealand Hi-Tech Awards.”
Movio Media aggregates data across a region to
provide film distributors and studios with market data,
audience insights, and campaign solutions. The access
to behavioral moviegoing data is opening new territory
for film studios in terms of how they interact with
their audience pre- and post-release.
The “PwC Hi-Tech Company of the Year” was
presented to Murray Holdaway, CEO of Vista Group
International. “We are so honored to be recognized as
PwC Hi-Tech Company of the Year, said Holdaway.
“At Vista Group we are intently aware that moviegoers
today are faced with a growing number of choices for
how, where, and when they watch films, which makes
us particularly proud that our software is helping the
industry better serve those customers.”
SHOWCASE CINEMA DE LUX
RANDOLPH RELAUNCHES
n Showcase Cinema de Lux Randolph has announced
the completion of a multistage, full-scale
redesign and renovation project. The enhancements
include fully customizable recliner seating, a stateof-the-art
lobby bar, a concessions stand makeover,
an IMAX theater redesign with all-new seating and
a captivating, illuminated entrance build-out, and
the addition of Showcase Cinemas’ second MX4D
theater, featuring special effects that emanate from
the patrons’ seats or from inside the theater itself.
The nuanced effects are artfully designed to enhance
JULY 2016 BoxOffice ® 11

EXHIBITION BRIEFS
the on-screen action and sound, working together
to transport the patron more deeply into the motion
picture.
These enhancements are part of a series of full-scale
renovation projects spearheaded by the theater’s parent
company, National Amusements.
“We are absolutely thrilled to unveil the MX4D
theater in Randolph [Massachusetts], just in time
for the debut of the first summer 2016 blockbuster:
X-Men: Apocalypse,” said Amber Stepper, vice
president, global marketing, National Amusements.
“Randolph is Showcase’s second theater to feature
this immersive MX4D technology and only one of
two on the East Coast.”
GOOGLE AND IMAX TO PARTNER
ON VR CAMERA
n Google and IMAX announced at Google’s annual
developer conference, Google I/O, that the companies
are working to develop a cinema-grade virtual
reality (VR) camera—the IMAX VR camera—to enable
today’s leading filmmakers and content creators
to deliver the highest-quality 3D 360-degree content
experiences to audiences worldwide.
IMAX’s team of engineers and camera specialists
will work with Google to design the new high-resolution
cameras from the ground up, leveraging
IMAX’s capture technology that has become an
integral tool for today’s biggest and most visionary
filmmakers. The camera will be built to use Jump, a
platform for creating and viewing 3D 360 video.
“For nearly 50 years, IMAX has pioneered moving
image capture to allow filmmakers to produce
the highest resolution images across 2D, 3D, film,
and digital formats,” said IMAX CEO, Richard L.
Gelfond. “Today’s partnership with Google takes us
into the next frontier of immersive experiences—virtual
reality—and we look forward to working with
them to provide our filmmaker partners and other
content creators with a level of VR capture quality
not yet seen in this space.”
IMAX will also provide Google with exclusive
access to preexisting IMAX documentary content for
conversion and use with Google’s VR technology.
NEW D-BOX SCREENS IN TEXAS &
CALIFORNIA
n Following the expansion of its innovative motion
systems in the commercial theater business in the
United States, D-BOX has announced that Texans
and Californians can now live the D-BOX immersive
cinematic experience in new locations within
their great states.
Ten additional screens in Texas and 14 screens in
California have been equipped with D-BOX immersive
motion systems. More openings are scheduled to
take place in the coming months all over the continental
United States. With these openings, D-BOX
has more than 170 screens installed and signed in
the United States.
D-BOX RETEAMS WITH VIRTUAL
REALITY COMPANY
n Following last year’s “The Martian VR Experience,”
a cinematic / virtual reality development produced by
the Virtual Reality Company for 20th Century Fox
Innovation Lab, D-BOX Technologies has announced
that it will reteam with the Virtual Reality Company
(VRC) on numerous upcoming projects including an
epic action-adventure feature cinematic / VR experience,
which will likely be set for release in 2017.
The teams will collaborate, along with The Third
Floor (TTF), a VRC affiliate / sister company and
a pioneer previsualization provider, to complete a
Previs interface for D-BOX motion system under
the Unreal Gaming engine platform. The companies
say that together they will develop VR content and
experiences that emphasize elements and senses audiences
do not usually expect.
Inspired by The Martian, the 2015 motion
picture from 20th Century Fox and executive
producer Ridley Scott, “The Martian VR
Experience” has been well received through
activations at Sundance, CES, Cannes, and the
Game Developers Conference. The project brought
to life an interactive and immersive portrayal of
space made available via Oculus Rift and the HTC
Vive. D-BOX created a unique motion track code
score aligned with the contextual elements of the
production to elevate the interactive experience via
their patented motion simulator chairs in real time.
REGAL SELECTS AAM SOFTWARE
n Arts Alliance Media (AAM) has provided Regal
Entertainment Group with its Theater Management
System (TMS), Screenwriter. AAM’s Screenwriter
software is playing a key role at Regal L.A. LIVE: A
Barco Innovation Center, the latest cinema innovation
center that represents a new vision for the
modernization of cinema complexes. The innovation
center was officially launched on April 1.
Screenwriter can manage content across screens,
automate processes that are time-consuming and
inaccurate, and use proactive monitoring alerts to
respond to potential issues before any shows are
lost. Screenwriter enables Regal and its staff to
concentrate on face-to-face customer interactions,
taking them away from the projection booth to
create more personalized and memorable audience
experiences.
“Our new Innovation Center represents a new
step in the movie theater industry for business and
technology,” said Greg Dunn, president and chief
operating officer for Regal. “As the complex hosts
over 20 movie premieres annually, we’re committed
to providing the public with the best moviegoing
experiences possible. AAM’s software unlocks a range
of benefits that support our mission of setting a new
standard in cinema quality, and the technology will
play a significant role in ensuring an exceptional
customer experience.” n
12 BoxOffice ® JULY 2016

NATO NEWS
A JOURNEY
TOWARD DIVERSITY
AND INCLUSION
by Kathy Conroy, Vice President and COO
Kathy Conroy
n I attended the second annual Bentonville Film
Festival (BFF), Championing Women and Diverse
Voices in Media, held in Arkansas the first week in
May. It featured an impressive lineup of films, panel
discussions, celebrity involvement, and community
events. Founders Geena Davis and Trevor Drinkwater
created the festival on the premise that media has the
ability to change the future, by proving that women’s
and diverse voices are not only valuable, but they lead
to commercial success as well.
That the inclusion of women and diverse voices is
a smart business imperative, and not just “the right
thing to do,” is a message that NATO has embraced,
and one that was underscored at a BFF “Reel vs. Real
Diversity” panel presentation. Jo Handelsman from
the White House Office of Science and Technology
Policy talked about the importance of diversity and
science to President Obama. She explained that there
are currently 500,000 tech jobs open in the U.S., and
not nearly enough qualified people to fill them, in part
because of how STEM careers have been presented in
film and television. Young women and minorities simply
have not seen themselves in these roles. As Geena
Davis frequently says, “If they can see it; they can be
it.” Regrettably, the inverse is also true.
Research suggests that gender balance and diversity
are directly related to good decision making. Diverse
inputs from individuals with different backgrounds
result in better outcomes. Inclusiveness is not only the
right thing to do; it truly is the smart thing to do.
The BFF aims to bring together industry leaders
and content creators, to inspire action with the goal
of ensuring that media represents the world in which
we live, which is 51 percent women and very diverse.
It is a commercially focused and research-based
festival. From the outset, rather than cast blame on a
male-dominated industry, Geena Davis’s approach at
her Institute on Gender in Media has been to gather
and present data to her peers and decision makers, and
to have fact-based discussions on why it’s important to
have accurate portrayals of girls and women in media.
This data-driven approach was evident in the programming
at the festival.
Let’s take a look at some recent data:
• In 2015, women comprised 22 percent of the
leading roles in the 110 top-grossing films and
9 percent of directors on the 250 most popular
films, according to research by the Center for the
Study of Women in Television and Film at San Diego
State University, even though women bought
half of all movie tickets. (continued on page 16)
14 BoxOffice ® JULY 2016

NATO NEWS
• The Center examined 23 prominent U.S. film festivals in 2015
and 2016 and found that women are much more likely to work
on documentaries than on narrative features. For example,
women comprised 35 percent of directors working on documentaries
versus 19 percent of directors on narrative features.
Women remain far from achieving parity with men at festivals.
The festivals in the study screened an average of five narrative
features directed by at least one woman versus an average of 18
narrative features directed exclusively by men. The 23 festivals
screened an average of eight documentaries directed by at least
one woman compared with an average of 16 directed exclusively
by men. Overall, women accounted for 25 percent of directors,
writers, producers, executive producers, editors, and cinematographers.
These numbers represent little change in women’s
employment in the industry since 2008–09 when women
accounted for 24 percent of individuals in these roles.
• According to the Geena Davis Institute’s global research, there is
a direct association between having a female director or a female
writer and seeing more girls and women on-screen. When there
is a female writer attached, the percentage of girls and women
on-screen jumps 7.5 percent. When there is a female director
attached, the number of girls and women on-screen jumps 6.8
percent.
Important steps are under way to attempt to address the imbalance.
The U.S. Equal Employment Opportunity Commission
is conducting an investigation into the industry’s hiring practices,
and reportedly began interviewing female directors to investigate
discriminatory hiring practices. The move came following a push by
the American Civil Liberties Union to examine the disparity between
male and female filmmakers.
In an industry that offers few opportunities for women and
minorities, a BFF panel presentation, “In Control of Her Destiny,”
noted that increasing numbers of talented individuals are taking control
of their own interests rather than depending on the commercial
studios. The festival showcased women who have started their own
production companies and/or made their own films, including Meg
Ryan, whose drama Ithaca was screened at BFF.
My time in Bentonville contributed significantly to my continuing
education in gender equality and diversity in film. I attended five
industry panels and viewed six great films. Thanks to Event Sponsor
AMC Independent, the top winning films receive guaranteed
theatrical distribution at AMC theaters, and festival organizers work
to secure distribution for all of its competition films. Following last
year’s inaugural BFF, the festival was able to help 87 percent of its
competition films obtain distribution.
While I was inspired and encouraged as I participated as one of
the 63,000 attendees at this year’s BFF, the discouraging reality is
that women and diverse voices remain seriously underrepresented
on-screen. This past year, though, female voices have captured the
public’s attention as they shed new light on the inequity. Jennifer
Lawrence called out Hollywood for its gender pay gap in her essay,
“Why Do I Make Less than My Co-Stars?” Tina Fey and Amy
Poehler entertained the Golden Globes audience with humor infused
with a feminist perspective. And numerous female-forward and diverse
films were recognized during the 2016 awards season including
Brooklyn, Carol, The Danish Girl, Joy, Mad Max: Fury Road, Room,
Spy, and Trainwreck.
However, as several panelists at BFF pointed out, just when it
appears that we’re at a turning point, the momentum fails to take
hold. Twenty-five years ago, Susan Sarandon and Geena Davis’s
Thelma & Louise was a box office success and received much media
attention. There was widespread belief, at that time, that the film
represented a watershed moment for women in film and that, going
forward, there’d be many more movies made with women in leading
roles. It just didn’t happen with any consistency. Similarly, the success
of A League of Their Own in 1992, prompted the media to predict,
“Now we’ll see lots of women’s sports movies.” But 10 years would
pass until the release of Bend it Like Beckham. Since that time, there
have been numerous box office successes for films with women in the
lead—Mamma Mia!, The Hunger Games, Brave, Gravity, Fifty Shades
of Grey—that belie the myth that audiences won’t support women in
starring roles. But somehow, lamented several of the festival presenters,
the momentum still has not taken hold.
Rather than get discouraged, I’d prefer to think about what exhibition
can do to positively affect change. It’s not only content creators
who have influence. Leaders in all segments of the industry can be
advocates for gender equality. Exhibitors can create and maintain
inclusive workplaces. There are very few female film buyers in the
U.S. Maybe that can change. Celebrate the women in your organizations
and industry. Don’t believe the narrative that women don’t
help women. Engage your executives and managers in mentorship
programs, especially for women and minorities.
As Julie Ann Crommett of Google stated during the BFF “Reel
vs. Real Diversity” panel, “Know your data. Be intentional about everything
you do.” Thanks to the Geena Davis Institute on Gender in
Media and other leading organizations (see sidebar), there is a wealth
of data available. Study the research findings. Think about the data
and incorporate it in your decision making. Consider gender balance
and diversity as factors in your booking decisions. Does the film
pass the Bechdel test? (Does it have at least two named women in it,
who talk to each other about something other than a man?) Choose
to show gender-balanced and diverse films on your screens. If more
exhibitors do these things, together we can advance on the journey to
a bright and inclusive future. n
RESOURCES FOR INFORMATION ON GENDER AND DIVERSITY IN MEDIA:
The Bechdel Test > Bechdeltest.com
Center for the Study of Women in Television and Film, San Diego State University > womenintvfilm.sdsu.edu
Geena Davis Institute on Gender in Media > SeeJane.org
HeForShe solidarity movement for gender equality > HeForShe.org
16 BoxOffice ® JULY 2016

MPAA
THE RISE
OF THE
GLOBAL FILM
INDUSTRY
by Chris Dodd
Chairman and CEO
Motion Picture Association of America
n Generation after generation, people all across the
globe have fallen in love with the magic of cinema.
Audiences everywhere appreciate the shared experience
of sitting in a darkened theater, escaping into the
incredible stories on the big screen, and letting the
imagination run wild. It doesn’t matter if that cinema
is in Beijing, Mumbai, Barcelona, or Boise, Idaho.
Today, more than a century after movies first
captured our collective imagination, the global
importance of the film industry continues to grow.
Regardless of where films are created, they have an
extraordinary capacity to rise above national borders
and cultural differences. Their recurring themes—of
courage, justice, humanity, and love—are universal,
and just as important and relevant today as they were
generations ago.
PHOTO: RYAN MILLER/CAPTUREIMAGING
Mario Casas and Berta Vázquez in the Warner Bros./Atresmedia Cine co-production Palm Trees in the Snow
18 BoxOffice ® JULY 2016

Even in an increasingly digital world, the cinema experience
remains the backbone of the global film industry, entertaining audiences
while producing real economic benefits. Consider 2015’s record
worldwide box office that grew by 5 percent and generated $38 billion.
More than $27 billion of that total came from the growth of the
international marketplace, where Europe saw a 9.6 percent increase
in total box office receipts and China’s grew a staggering 49 percent
to reach $6.8 billion.
But even more than the box office return, it is the growth in the
number of cinemas around the world that has demonstrated their
continued dominance. In the midst of the digital revolution, the
number of cinema screens worldwide grew 8 percent last year to over
152,000. Across the European Union, audiences flocked to their local
cinemas more than one billion times. Spain, in particular, saw the
number of cinema admissions grow by 7.5 percent.
What this means is that there is audience demand for high-quality,
well-told stories able to transcend cultural and linguistic differences.
Creators and film studios are responding to this call and working
with their partners in other nations in increasing numbers to meet
that demand.
As a result, we now have multicultural casts and crews working
together on films produced jointly by American and foreign studios
and shot in locations all across the globe. We have Warner Bros.
investing in local Spanish co-productions, such as Fernando Gonzáles
Molina’s period drama Palm Trees in the Snow, and DreamWorks
Pictures joining with Germany’s Studio Babelsberg last year to make
Bridge of Spies. And, for the first time in half a century, American
actors and crew members are filming on location in Cuba.
As we celebrate this new collaborative world, however, we cannot
lose sight of the challenges our industry continues to face, such
as protecting our content from large-scale piracy. It is incumbent
upon all responsible players in the global film community and the
larger digital ecosystem to work together to ensure an environment
that continues to inspire and support creative collaboration while
protecting intellectual property and the people whose jobs depend
on it.
Doing so not only ensures that these wonderful creations continue
to be shared with global audiences, but that these industries
remain vital sources of jobs and economic development the world
over. In the United States alone, the livelihoods of nearly two million
workers are supported by the film and television industry, which generates
over $121 billion in wages every year. The impact is similar in
Europe, where the broader creative industry is responsible for roughly
seven million jobs and contributes approximately $567 billion to the
region’s economy.
The world has been transformed dramatically in the century since
audiences first experienced the wonder of film. Our industry has
changed with it, embracing technological advancements both in how
we tell stories and how we reach audiences. Filmmakers will no doubt
continue to change and adapt to create films that reflect their worlds,
so that, in the future, the experience of going to the movies remains
one cherished by audiences everywhere. n
JULY 2016 BoxOffice ® 19

MEMBER NEWS
Gene Hackman, Gwyneth Paltrow, Anjelica Huston, Ben Stiller, Luke Wilson as The Royal Tenenbaums
NATO LAUNCHES YOUNG
MEMBERS COMMITTEE
I promise we won’t bite
by Phil Contrino, Data and Research Manager, NATO
Millennial isn’t a word. It’s a sentence.
That’s meant as a reference to “Family isn’t a word. It’s a sentence,” the
brilliant tagline for writer-director Wes Anderson’s The Royal Tenenbaums,
a classic dramedy about family dysfunction. The point is simple: family is
a loaded word. It’s also frequently a form of long-term punishment. When
people say the word “millennial” these days, it doesn’t feel like just a word.
n Clichés abound when it
comes to the way millennials
are viewed. We can’t ditch our
mobile devices. We are entitled.
We don’t take criticism well. The
list goes on and on. It’s not all
bad, of course. Our generation
is viewed as highly tech-savvy
and racially diverse. Still, there
seems to be an overwhelming
emphasis on the negatives. As
a proud millennial, I don’t feel
any different than anybody else
just starting out in life who
wants to carve out their niche in
the world.
We are certainly guilty of
stereotyping as well. I’d bet good
money that if you asked 10
millennials whether boomers are
directly responsible for global
warming, 9 out of 10 would
answer with an emphatic “Yes!”
In a recent New York Times
article titled “Corporate America
Chases the Mythical Millennial,”
Google’s Laszlo Bock—the
tech giant’s head of human
resources—states a simple fact
that generational divides are
nothing new and should not be
viewed as an alarming problem
to address.
What we’ve seen is that
every single generation enters
the work force and feels like
they’re a unique generation,
and the generation that’s one or
two ahead of them looks back
and says, ‘Who are these weird,
strange kids coming into the
work force with their attitudes
of entitlement and not wanting
to fit in?’” Mr. Bock said. “It’s a
cycle that’s been repeated every
10 to 15 years for the last 50
years.
I think Bock limits his
statement by saying “for the last
50 years.” Has there ever been
a time in human history when
you couldn’t point to some kind
of generational divide? I doubt
it.
So what does this mean for
our industry? Well, hopefully,
with an open line of communication,
the generational divide
can become more of a positive
than a negative.
20 BoxOffice ® JULY 2016

Enter NATO’s launch of the Young Members Committee.
The goal of the Young Members Committee (YMC) is to encourage
young employees—defined for these purposes as being 35 years
old and under—in our industry to feel more connected through
education initiatives, social events, and surveys. The YMC will be
open to all employees at our national member theaters no matter
what positions they hold, with a goal of nurturing talented young
people who may want to pursue a long-term career in this industry.
This open membership will help promote the exhibition industry’s
diversity within various job titles. Regional chapters can opt to
assemble their own individual committees.
For organizational purposes, it will be helpful to have a leadership
board consisting of 5 to 10 members in order to help develop
useful initiatives. Dan Harkins has volunteered to serve as the Executive
Board liaison to the YMC.
When it comes to education initiatives, the goal is to have Webinars
and in-person gatherings at regional and national conventions.
With the Webinars, we will look to invite industry experts to speak
on topics such as box office grosses and technological innovation.
There will also be outreach to industry professionals outside of exhibition
in order to investigate topics that are becoming increasingly
relevant to this business such as the explosion of eSports and the
growing power of Snapchat.
From a research perspective, a Young Members Committee will
aim to provide valuable insight into what millennials expect from
the theater experience and how their views will impact what our
industry will become over the next couple of decades. Once there is
a wide enough base of members, surveys would be a very beneficial
way to allow members to make their voices heard. Surveys could also
lead to official reports released to the membership from the Young
Members Committee.
Millennials live and work in a very different industry than the
one previous generations started in. I can barely remember using
a phone book in the same way that I can barely remember seeing
a new movie projected on film in an auditorium that didn’t have
stadium seating. I’ve been working in this business for about nine
years now, and I would like to continue doing so until I retire. If
China’s box office surpasses North America’s box office in 2017 and
doesn’t look back, then 30 years or so of my career will be spent in
a world in which China is the number one market and only nine
years with North America being number one. New developments in
virtual, augmented, and mixed reality could entirely change the way
movies are projected in theaters. I took it to heart when George
Lucas said at CinemaCon 2011 that movie theaters would never go
away and cinemas would eventually be filled with holograms. (Even
if he was a bit ambitious in thinking that Episode VII would be
shot that way.)
It’s a very exciting time to be in the world of exhibition, and yet
the media and various Silicon Valley “disruptors”—I apologize on
behalf of my entire generation for overusing the word disrupter to
the point of causing nausea—are obsessed with saying the industry
sticks its head in the sand. It’s my hope that the Young Members
Committee will do what it can to fight against this misconception.
We are aiming to launch the Young Members Committee this
summer. In the meantime, I welcome any questions, suggestions,
and other feedback: prc@natodc.com. n
JULY 2016 BoxOffice ® 21

TECH TALK
THE
PRACTICAL
REALITIES OF
IMMERSIVE
AUDIO
What to watch for when
considering the latest in
sound technology
by Mark Mayfield
n In real life, our experience
of sound is omnidirectional;
it comes from
all around us. Unlike our
visual sense, we perceive
sounds that happen anywhere
within an imaginary
sphere around our
heads, whether our head
is turned in the direction
of the source or not.
Other factors—such as
the physical shape of our
ears, the time arrival of
the sound to each of our
two ears, and cognitive
processing—help determine
the actual direction
of the sound source. This is what we call “localization.”
With movies, our sense of localization is simulated
and then re-created using loudspeakers and signal
processing. In the earliest days of sound in cinema, the
front of the screen acted as the only source of sound.
Any sense of sound localization came from room
acoustics and reflections from surfaces in the room
coming in at random. There was no chance of re-creating
an acoustical environment that matched the one
seen on the screen. This all changed in the 1940s and
’50s, when loudspeakers started appearing on the walls
around the audience, in what was eventually dubbed
“surround sound.”
Surround sound, the experience of sound in
multi-dimensions with realistic localization, has made
great strides since then, but let’s face it: just as a computer
is still no match for the human brain, approximating
our natural hearing mechanism with technology
still has a long way to go before the experience feels
completely realistic. The most recent leap in this effort
is immersive audio.
WHAT IS IMMERSIVE AUDIO, REALLY?
Achieving a true immersive experience in a movie
theater is not a trivial matter. At its most basic level,
it’s a two-stage process. First, the sonic reality is
simulated and stored during the creation of the film
in the post-production process. Then that simulation
is reproduced in an acoustically neutral movie theater.
Today, there is no single standard for accomplishing
either of these stages, but one thing is certain: it takes
a lot of sound sources to simulate any single acoustic
scene, let alone the dozens of environments dictated by
many changing scenes in a typical movie.
Today’s immersive audio processes are either channel-based
(5.1, 7.1, 11.1), object-based (each sound is
a discrete digital object that is directed to one or more
loudspeakers via “metadata” stored on the DCP), or
a combination of both. All of these methods have a
significant impact on the digital cinema B-chain.
22 BoxOffice ® JULY 2016

Like any system, a cinema sound system is optimized only
when all components or subsystems are designed to
work together. To understand the B-chain
implications of immersive sound
in cinema, it’s helpful
to break the system
down to its three
main sections: signal
processing, amplification,
and loudspeakers.
For practical purposes,
let’s look at each of these
sections in reverse order.
IMPLICATIONS FOR
LOUDSPEAKERS
Since a truly immersive
experience needs to simulate the
seamless experience we hear in real
environments, it’s clear that many more
loudspeakers are needed. For now, given
the small area of a typical screen relative to
the other three walls in a movie theater, three
screen channel loudspeakers positioned at
Left, Center, and Right seem to provide an
adequate sense of localization for the action
on an average-sized screen. In some cases, five
(including Left-extra and Right-extra) or six
For most immersive formats, many more
surround loudspeakers are mounted around
the perimeter and sometimes ceiling of the
typical cinema.
(a second layer of L, C, R) are used to simulate
the sound as the filmmaker intended. For
the surround loudspeakers lining
the other three walls, the
immersive experience
requires many more
loudspeakers that are
more closely spaced,
since a sound may be
required to originate
in just one loudspeaker
or potentially all of
them simultaneously.
In some cases this may
require two to three times
the quantity of loudspeakers
compared to 5.1/7.1 systems. The
goal is to minimize any perception of sound
transitioning from one loudspeaker to the next;
only a seamless transition will sustain the sense of total
sonic immersion.
Achieving this sense of seamlessness also requires that the sound
quality is absolutely consistent from loudspeaker to loudspeaker.
This depends on manufacturing processes of
the loudspeaker itself, as well as intelligent
application of signal processing that is specific
to that loudspeaker model, as determined in a
well-controlled laboratory environment. And
JULY 2016 BoxOffice ® 23

AUDIO
• Be sure the loudspeaker enclosure itself is structurally
capable of supporting its own weight with an appropriate
safety factor. Multi-density fiber enclosures are
great for side-wall and behind-screen loudspeakers,
but overhead mounting calls for a well-built enclosure
of multiple-layer plywood.
• Always use a secondary means of support, such as
a safety cable attached to the loudspeaker and the
mounting structure.
Conventional installation practice for behind-screen
loudspeaker mounting involves placing
them on a platform. This practice works well for any
immersive sound installation, except when the format
requires a second layer of Left, Center, and Right
for “height” channels behind the screen. In this case,
consider suspending the top layer; some manufacturers
provide their most popular screen channel
loudspeaker models in versions that are purpose-built
for suspension from safe “hang points” in the ceiling.
Again, this requires the input from a structural or
mechanical engineer.
since each loudspeaker might receive a different sound
channel or object, each loudspeaker must be individually
wired.
Recognizing that we also hear sounds above
our heads in nature, some immersive systems use
loudspeakers suspended from the ceiling. While
this might raise concerns of patron safety for some
theater operators, safely suspending loudspeakers
overhead is about as complicated as suspending large
light fixtures. Some of the keys to safe overhead
mounting include:
• First, consult a mechanical or structural engineer to
determine mounting points capable of supporting
the load with an appropriate safety factor.
IMPLICATIONS FOR POWER AMPLIFIERS
AND SIGNAL PROCESSING
Immersive audio also places greater demands on
your power amplifier and signal processing decisions.
Realizing that the number of surround loudspeakers
could be double (or more) compared to traditional
5.1/7.1, and that each loudspeaker may need to deliver
a discrete full-bandwidth sound source, it’s obvious
that each loudspeaker also requires its own channel of
amplification. This means more individual power amplifiers,
which also increases the amount of “rackspace”
in an already shrinking projection booth. There may
also be increased AC mains power requirements and
cooling for these electronic devices.
Fortunately, power amplifier technology has
advanced significantly in recent years, and there are
some elegant ways of addressing these demands. Amplifier
efficiency (the amount of power from the wall
that’s actually converted into power to make sound)
has dramatically increased with new breed “class
D” power amplifiers with switching power supplies.
This translates into lower power requirements to
the building, saving energy costs and infrastructure.
Since they don’t require large power transformers,
these more efficient amplifiers can also be much
smaller (which equals less rackspace) and produce far
less heat (equals less cooling) compared to conventional
amplifiers. These new designs also allow more
channels to be packed into the physical chassis, enabling
amplifier models to be built with four or even
eight channels in a single chassis.
It’s a fact of physics: to make bass, you need to
move a lot of air. The most effective way is to use
larger loudspeakers. For behind-screen loudspeakers,
this is no problem since they can be hidden behind the
screen. But to avoid breaking the sense of “immersion”
24 BoxOffice ® JULY 2016

in the action happening on-screen, surround loudspeakers need to be
as unobtrusive as possible. Fortunately, we can use the psychoacoustics
of human hearing to our advantage; bass frequencies are naturally
less “localizable”—it’s hard to tell where they’re coming from. The
loudspeakers for bass frequencies can be physically located apart from
the main surround loudspeakers. In fact, bass frequency content from
multiple wall-mounted surround loudspeakers can be combined
and produced by a smaller number of low-frequency loudspeakers
mounted in less visually obvious locations. This is the main idea behind
bass management, which is accomplished through the system’s
signal processing.
Getting the sound source from the DCP to the listener through
an immersive system with up to 64 or more loudspeaker locations is
a complicated feat of networking. Signal routing for most immersive
formats requires sophisticated digital signal processing and significant
processing power. Remember that each sound object may be delivered
to any single loudspeaker or group of loudspeakers—or all of
them simultaneously. Since we are still in the early days of immersive
audio, there exists no single standard, and any system investment
must consider future-proofing to the extent possible with today’s
products. Make sure that your system’s signal processing supports
any currently available immersive audio format and will be capable of
supporting any future offerings.
Besides signal routing capabilities, achieving a seamless sound
field objective also requires that the system’s digital signal processing
is able to correctly shape the sound to each specific loudspeaker
model, using laboratory pre-sets. “In-situ” or automatic equalization
that attempts to correct for room acoustic anomalies is simply no
substitute for a well-designed loudspeaker that is lab-corrected for
any performance anomalies and intrinsically delivers consistent power
response into that room.
Mark Mayfield is an experienced cinema audio expert and has worked with
and consulted for many leading audio manufacturers including Bose, JBL
Professional, and Eastern Acoustic Works. He is currently director of global
marketing for Cinema at QSC, LLC.
THE FUTURE OF IMMERSIVE AUDIO IN THE THEATER
Despite all of these new considerations, immersive audio has
the potential to become the next big differentiator of the in-theater
experience. The biggest obstacles at the moment are the lack of a
commonly accepted industry-wide standard and the cost of implementation.
Technology providers are working on the cost equation,
and industry groups such as SMPTE are working to develop and promote
standards. The two issues are related and the success or failure
of any new cinema format depends on the support of filmmakers and
studios to create great content that audiences want to experience in
the movie theater. n
JULY 2016 BoxOffice ® 25

VENDOR CHAT
GDC
GDC’s SX-4000 IMB is designed
to adhere to SMPTE’s new “Digital
Sync Signal and Aux Data Transfer
Protocol” standard. The GDC XSP-
1000 is a 16-channel cinema processor
specifically designed to handle
object-based immersive audio formats
(particularly DTS:X), while still being backwards compatible with 5.1 and 7.1 surround-sound systems. It works in
conjunction with the SX-4000 Standalone IMB to playback the highest quality and most demanding audio/visual
presentations.
ULTRA STEREO LABS
Ultra Stereo Labs made new advancements on its JSD-60 Digital Cinema Processor. USL’s engineering team added
Parametric Equalization and Bass Management to the JSD-60 processor. The JSD-60, along with many of the other
innovative USL products, can be seen via the USL website at www.uslinc.com.
KLIPSCH
The KPT-Cinema Grandeur addresses the demanding
requirements of Dolby ATMOS and other immersiveaudio
environments in the largest of auditoriums.
The Klipsch KI-398-RGL is a full-range 22.5°
trapezoidal
design ideally
suited for use as a
vertical line array
in a behind-thescreen
cinema
system. The
Klipsch KPT-396
is a 15" 2-way
high performance
cinema surround
speaker designed
to address the
most demanding
of performance
requirements of
the larger venues.
MEYER SOUND
The HMS-15 high-power surround loudspeaker can be
mounted on walls or ceilings at fixed or adjustable
angles with the
optional wallmount
brackets or
U-bracket, allowing
the unit to be
deployed per the
requirements of any
surround application
or immersive cinema
format. It features
a wide frequency
range of 50 Hz to 18
kHz and a maximum
peak SP of 133 dB
at 1 meter with very
low distortion.
26 BoxOffice ® JULY 2016

SLS AUDIO /
DOLBY
The Express Series
MA390C 3-Axis
Speaker System from
SLS Audio has been
developed to reduce
the time and expense
involved with
installing overhead
speakers needed for
Dolby Atmos cinema
applications. The
MA390C also works
for side and rear
surrounds when used
with the optional
WMA-15 wall-mount
rigging kit. Utilizing
a 300W RMS, 12"″
coaxial speaker with
96dB sensitivity, the
spherical shaped
enclosure design
facilitates quick installation and easy aiming with
three axis movement capabilities.
HIGH PERFORMANCE STEREO
HPS is touting its professional balanced-differential
power amplifiers as the first ever on the market.
The company is also featuring a new midrange
compression speaker driver that it the “Stradivarius”
of midrange compression drivers due to its clarity.
The driver took ten years and over $150K to develop.
Together, the combination of these two components
deliver both sound quality and dialogue clarity in
every auditorium.
JULY 2016 BoxOffice ® 27

CINEMA ADVERTISING
Screenvision’s upfront in New
York featured elaborately
themed sets promoting
upcoming releases including
2017’s Kong: Skull Island.
n Box office may have had a record year in 2015, but
there was no guarantee that cinema advertising would
enjoy the same success. The first quarter of the year
was dominated by news of the big merger that was not
meant to be—a deal that would have seen the combination
of industry giants National Cinemedia (NCM)
and Screenvision into a single entity. Rather than going
into a tailspin, the cinema advertising industry proved
its resiliency by not only
recovering but improving
CELEBRATING
A RECORD
YEAR
Record-breaking results follow
Justice Department ruling
against merger
by Daniel Loria
its numbers in what ended
up a record year.
The Cinema Advertising
Council (CAC),
which represents the
leading companies that
account for approximately
90 percent of
U.S. screens, reported a
13.4 percent year-overyear
bump in revenue,
crossing the $700 million
milestone for the first
time in its history. Cinema advertising has now earned
more than $600 million in each of the last six years.
The 2015 figures add up to $716.4 million, up from
$631.9 million in 2014, and reaching a cumulative
total of $7.31 billion since the CAC began tracking
revenue in 2002.
The record year was achieved through key increases
in various categories. National/regional sales represented
76.83 percent of total cinema revenue, reaching
$550.4 million from 2014’s $476.2 million—a 15.6
percent surge—thanks to the addition of 215 new
brands entering the field. It was nearly double the 121
new brands that embraced cinema advertising in 2014
and a big improvement over the 93 new brands that
came on in 2013. Local growth remained steady as
well, representing 23.17 percent of all cinema revenue
with $165.9 million, a 6.6 percent improvement over
2014’s $155.6 million.
Last year’s momentum also came from gains in
new sales categories, including alcohol/spirits, colleges/
universities, cosmetics, sporting-goods stores, and
supermarkets. The industry’s top sales categories of the
year, however, were a bit more familiar: auto, banking/
finance/insurance, consumer electronics, government/
education, and media.
Those in cinema advertising attribute the pace of
growth to continued viewer erosion on television; cord
cutting and digital video continue to make an impact
on ratings. Katy Loria, who acts as Screenvision’s chief
revenue officer and president of the Cinema Advertising
Council, also credits a strong studio slate for the
industry’s record year. “I think what’s been going on
with television is the biggest driver,” she says. “But we
also have to mention the movie slate; it was a phenomenal
year. We had record-breaking movies almost every
month, and that’s great for us as an industry because
it brings in more advertisers to stick with us week-in
week-out instead of waiting for the Fourth of July or
holidays.”
Television’s decline has therefore made upfront
events an integral part of cinema advertising’s sales
strategy for its two major players. NCM and Screenvision
have equally embraced upfronts as part of their
outreach to Madison Avenue. NCM once again held its
event at AMC’s Lincoln Square location in New York,
emphasizing the cinema industry’s ongoing relevance
with the ever-elusive millennial audience. “Three hundred
and fifty-eight million tickets were sold to millennials
at our theaters last year,” touted Andy England,
NCM’s recently appointed CEO. “Put simply, we have
more millennials visiting our theaters in one year than
there are people in the United States, 36 million more.
So, why do millennials love the movies? Because this is
28 BoxOffice ® JULY 2016

the best content there is. We have this highly desirable
audience because we have the best content. Opening
weekend for movies are, by definition, culturally relevant.
Millennials want to see films as they are released
because it puts them in the know. It gives them social
currency. Having a point of view on Deadpool or the
Jungle Book, or being excited about Bad Moms, is to be
part of the narrative or to be woven into the fabric of
popular culture.”
By citing two Q1 titles, England underlined Katy
Loria’s observation about how cinema advertising has
benefitted from the industry’s adoption of a 52-week
release calendar that depends less on seasonal film
booking. NCM president Cliff Marks emphasized this
aspect in his own remarks: “Film planning has really
changed in recent years, and the studios have recognized
the need to spread out major releases throughout
the year,” said the executive. “There’s still a myth out
there that only summer and holiday movies deliver big
audiences, but NCM’s first-quarter 2016 millennial
audience was 97 percent of our fourth-quarter attendance—nearly
identical—which just goes to prove that
cinema is a year-round advertising solution for brands.”
Screenvision held its own upfront a week earlier at
New York City’s Skylight at Moynihan Station, opting
for a more immersive environment that included filmthemed
sets from upcoming releases like Kong: Skull
Island, The LEGO Batman Movie, and Guardians of the
Galaxy Vol. 2. The event also included a live demo of
TimePlay’s interactive pre-show, which will launch at
both NCM and Screenvision locations with a plan to
reach 1,000 screens by the end of the year.
Partnerships are at the heart of Screenvision’s strategy;
the company announced alliances with MovieTickets.com,
Shazam, Edison X, and Branded Entertainment
Network during their upfront—all in an effort
to better target and reach specific niches of consumers.
“One of the most significant buzzwords in the industry
is ‘Precision Targeting.’ As we collect data and get
smarter about who our audience is, we share that back
with the advertiser,” says Loria. “We’re moving beyond
simply targeting by rating or genre. So if you’re looking
to reach women 25 to 54, sure a romantic comedy
works—but they’ll also be at Finding Dory.” In fact, big
data has been a big part of cinema advertising’s appeal
to advertisers in recent years, with both companies
offering their own suite of services designed to better
locate more specific groups of moviegoers.
“Cinema is very well positioned to respond to the
increasing demand for premium video,” said Loria at
Screenvision’s upfront presentation. “As the industry’s
recent revenue reports indicated, cinema advertising is
no longer at the precipice of change—the line has been
crossed.” n
Katy Loria is Screenvision’s
chief revenue officer and
president of the Cinema
Advertising Council.
JULY 2016 BoxOffice ® 29

CINEMA ADVERTISING
Andy England
CEO, National Cinemedia
Q&A
A veteran in consumer
marketing, Andy England
takes the helm of NCM
What are your first impressions in taking over
this new challenge?
I think it’s great. Oftentimes what happens is that
CEOs get hired because something is wrong, and the
challenge is “fix it.” There is nothing wrong at NCM,
so let’s start there. [Former CEO] Kurt Hall did a
great job in building it, and I feel very fortunate to
have the opportunity to run this
business. The fact that the business
did so well in 2015 is indicative
of how well positioned cinema
advertising is within the broader
media space.
Interview by Daniel Loria This was the first year NCM
sponsored CinemaCon. What
did you think of the event?
Candidly, that’s a decision that was made before
I showed up. But it was a good decision and I’m
happy to endorse it. I think CinemaCon is a great
opportunity to show up and meet people, and that’s
what I did that week. I met with affiliates, investors,
bankers, some of our marketing partners, and family
circuits. It’s a great event to bring everyone together.
How much of a learning curve is there
coming into the exhibition industry from your
previous role as chief marketing officer at
MillerCoors?
There’s certainly a learning curve. But to be honest,
it’s surprisingly familiar to me. I was the chief marketing
officer and head of strategy for MillerCoors, and
both those roles I think are relevant to this one. As a
marketer, I had a budget of over $1 billion, and we
spent over $400 million of that on media, which coincidentally
is about the revenue that we do at NCM.
When you spend that kind of money on media, you
spend a lot of time thinking about and speaking about
people in the industry and getting a sense of where
things are going. I’ve spent a considerable amount of
time thinking about these topics for years before showing
up to the media business now. Thinking about the
strategic challenges and opportunities that we face feels
like a very familiar exercise. How do we take this beautiful
niche the we have and make it bigger and stronger?
It is remarkable to me how similar it is to the idea
of what was essentially a joint venture that went public
in 2007. MillerCoors was a joint venture between two
global boards. I’ve sat and presented in board meetings
where you have three competitors sitting around the
table along with independent co-directors—that’s
very familiar to me. If you look at family circuits and
affiliates, that’s very similar to the relationships Coors
had with distributors. It was interesting to me when I
showed up to our headquarters at Centennial, Colorado,
just how similar it is to the old Coors headquarters
in Golden. I don’t know when those buildings were
built, but it felt like they were from the same person in
the same year. The nature of Colorado also gives both
companies a similar culture. It’s different, obviously.
I had done business with the studios in the past, but
this is fundamentally different. Now I’m on the selling
side instead of the buying side, but fortunately I’m not
someone who damaged relationships in the past, so
I have a few situations where I was a client to people
who are now our customers.
What is it about the job that got you excited
about stepping into this role?
What we do is connect marketers with moviegoers,
and the biggest way in which we do that is
through our presentation before the movie. We are
looking at expanding that into the lobbies and digital
media. That’s a fun thing to be doing. I’m excited
to do more, and I think data is going to be the key
to that. Being smarter about who you’re targeting,
where you’re targeting them, and with what message
and how well thought out it is.
Were there any factors you kept a close eye
on when first starting the job?
When you take over a business that’s being run—
and run well—by someone else for a long period of
time, job number one is simply, don’t screw it up.
Just manage the transition. I’m very fortunate in
inheriting a terrific team.
Now that you’ve had time to get acclimated
in the job, what’s the next step for NCM?
I’ve had the opportunity to go to Knoxville, Kansas,
and Plano getting to know some of our family
circuits better. I’ve spent time with board members,
agencies, advertisers, affiliates, and other media companies.
I’ve got a good sense of what our strengths
and opportunities are. Working through our strategy
through the next quarter so we have it aligned with
our board and throughout the industry, that’s the
next part of the mission. n
30 BoxOffice ® JULY 2016

JSD-60
Digital Sound Processor
The cost-efficient JSD-60 is specially designed for digital cinema applications.
The JSD-60 includes six standard formats, plus one that is
completely configurable. A built-in bypass audio circuit ensures
that the presentation continues.
Optional AES/EBU & BLU
Link output available
181 Bonetti Drive
San Luis Obispo, CA 93401-7397 USA
(Ph) +1 805.549.0161 (Fax) +1 805.549.0163
uslinc@uslinc.com www.uslinc.com

CINEMA ADVERTISING
John Partilla
CEO, Screenvision
Q&A
Screenvision welcomes a
new leader as it prepares
for the future of cinema
advertising
What drew you to this
industry?
I’m very fortunate to have
the opportunity to work
in this unique niche, with
this immersive, large-screen
experience, distraction-free
environment. The advertising
world is very much about
serving people anywhere and
anytime, which tends to be
through a small screen that
is getting smaller. And while
there are obviously benefits
to that in terms of proximity
and personalization, I think
if you’re a brand or marketer
trying to get a message across
you know that having cinema
screens as part of your storytelling
platform is a pretty
compelling offering.
We are building upon that
great strength. Let’s not forget
the main thing, the power of
our big screen, but there is a whole customer journey
that complements the moviegoing experience. People
go online and read about these things—they read
reviews, go onto the movie ticket sites, and start to get
engaged in the moviegoing experience. It continues
when they walk into that lobby and buy concessions
before walking into the auditorium
Interview by Daniel Loria
and experiencing that wonderful
immersive environment. That’s
where our pre-show comes in, right
before the trailers, where there’s this
magical moment of anticipation.
That’s our environment, and it’s the
right environment to tell a story.
What aspects of the job were
new to you coming into this role? What was
already familiar?
First of all, what is familiar to me in this role is the
fact that I’ve sat on both sides of the table in my career.
I’ve been lucky enough to have the sort of balanced
career where I’ve spent several years in agencies and
several years on the media side. I’ve also spent a lot of
my career in digital initiatives, so those sorts of elements
are very familiar to me. I understand the process
of coming in and trying to make the best product you
can that appeals to all sides of the business. On the
other side of the fence, I’ve worked with distributors a
bit in my background but not nearly to the extent that
I am now. Our company is made up, in the simplest
terms, around the exhibitors that sign up to be our
partners and afford us the opportunity to represent
their screens within our network of advertisers. So
that is a little new for me, the experience of spending
time with exhibitors, understanding what is important
to them, where they’re going in the business, and
where their investments are, and what they’re looking
for from us as their ad network partner. It’s great to
be able to approach that challenge with something I
am very familiar with, trying to develop and improve
a great product through a media platform with the
understanding of how to sell, modify, and deliver value
for that audience.
What was it about this opportunity that
jumped out at you?
I really felt that my experiences would be
well-suited to this role. You ask yourself a lot of
questions going into this sort of role: Can you be
useful? Can you be helpful? Can you add value to a
situation? And I felt that with my media background,
my advertising background, my digital background,
those aspects would be useful to this role. The second
thing that was appealing to me was secular; I felt
that the cinema sector in the U.S., where we are
focusing the conversation on the near term, has had
a very stable audience over the years, and even in the
last couple of years had experienced some growth.
Thirdly, I felt Screenvision was in a place where it
had a decent foundation but was obviously in need
of some new energy. It needed to reboot somewhat
because of the broken merger, and when those things
happen you have to look at several important questions.
Is the sector good? Are there positive trends
there, enough to work with? Is your experience valid?
Can you be useful? Is there something that you can
build from what’s going on? Paramount to all of that
is your ability to breathe new energy, life, and focus
into a team that can be in a very difficult or sensitive
situation. There are few things more demoralizing
to an employee base than a broken merger, and you
need to be mindful of that when you come into this
sort of situation.
What’s on the agenda for the future of
Screenvision?
We are very focused on the power, the engagement,
and the impact of the big screen. We want to make
sure that we continue to reinforce the focus, attention,
and dialogue that we create around that unique canvas.
Additionally, we are looking to do all that we can to
extend the touch points along the entire moviegoing
customer journey. What we mean by that is providing
opportunities for consumers to connect in more
engaging ways with the moviegoing experience—all
the technology initiatives, content initiatives, and data
initiatives. We are creating all kinds of additional value
elements that are more rewarding for the customer.
We hope to create additional opportunities for brands
and marketers to intersect with customers along that
journey. n
32 BoxOffice ® JULY 2016

THE
NICKELODEON
THEATRE
Columbia, South Carolina
Contributor: Kristin Morris
Marketing Manager, Nickelodeon Theatre
INSIDE THE THEATER
Screens 2
Capacity 119 / 99
Projectors Christie
History
Founded in 1979 by Carl Davis and
Linda O’Connor, students at the nearby
University of South Carolina, the Nickelodeon
continues to serve as the gathering
place for lovers of film and critical dialogue
in the Columbia area. The original 77-seat
theater was located in a converted bank
across the street from the university campus.
The Nickelodeon moved to its new home in
the former Fox Theatre at 1607 Main Street
in August of 2012. In its early days, the Nick
relied on a dedicated volunteer staff who did
everything from providing audio equipment
for the theater to popping popcorn. Andy
Smith, our executive director, joined the
Nickelodeon staff in 2007 and became the
executive director in 2011.
Audience
Our audience is as diverse as our programming.
Not only do we host events for a
traditional art-house audience, but we have
special programming focusing on social justice
issues and underrepresented communities.
Programming
Our annual Indie Grits Festival is our
largest and most unique curatorial effort each
year. We just wrapped up the 10th installment
of the festival, which features edgy DIY
film and video from across the Southeast, in
addition to music, art, gaming, puppetry,
and more. Each year we offer several new
curated programs in addition to recurring
series. Some of our favorites include Burn
to Shine (which commemorated the 150th
anniversary of the burning of our city by
General Sherman through screenings of
Sherman’s March, Rebirth of a Nation, and
Gone with the Wind), A Lotta Talent and a
Little Luck (a retrospective of the work of
Columbia native Stanley Donen), and our
2015 Blaktastik festival, which provided a
glimpse into new black cinema. Our focus
on creating programs with a specific eye toward
the communities we serve certainly sets
us apart from the other theaters in the area.
Last year, Selma was our most successful
film. We also had a wonderful turnout
for Belle. Some other films that have done
particularly well for us over the years are The
Grand Budapest Hotel and 12 Years a Slave.
Concessions
We have the best popcorn in town—and
offer nutritional yeast as a topping. We also
have local/regional draft beers. One of our
most popular drinks is S.C.-made Blenheim
spicy ginger ale.
Grassroots Marketing
In 2013, we took part in a city-wide
commemoration of the 50th anniversary
of 1963, a tumultuous year for civil-rights
activities in our city. As part of this, we
launched a Civil Rights Sundays series,
which featured free screenings of civil-rights
themed films followed by talkbacks with experts
and living civil-rights leaders from the
area. The result was incredible, with packed
theaters and new audience members who
hadn’t been in our new theater. It was a great
way to begin to transform perceptions of our
new location which, for many decades, had
been a segregated theater.
Membership
We have a membership group of over
2,000 people. We’ve seen our membership
revenue double over the last few years and
it now makes up about 13 percent of our
annual budget. n
34 BoxOffice ® JULY 2016

CINEMA SHOWCASE
THE ART
THEATER
CO-OP
Champaign, Illinois
Contributor: Alicia Kozma
Assistant Manager, Art Theater Co-Op
INSIDE THE THEATER
Screens 1
Capacity 246
History
The Art Theater has been operating
continuously as a movie theater since
1913—that’s 103 years in the same building!
The building, now a historical landmark, still
retains many of the original architectural and
decorative details from the building’s inception.
Originally known as the Park Theater, it
has gone through a variety of owners over the
years. It acquired the “Art” in its title when
it became part of Louis Sher’s Art Theater
Guild in 1958. Since then, despite changes
in ownership and management, the theater
has retained the “Art” in its name. Our current
management team has been running the
theater since 2012, when the Art became the
first cooperatively owned for-profit art-house
theater in the country.
Community
We have an audience more diverse
than the typical art-house cinema, crossing
boundaries of age, race, gender, nationality,
and education. We reach that audience
through unusually innovative and broad
programming, and focusing heavily on film
programming that contributes to conversations
going on in our community around
social issues or tied into local artistic projects.
We regularly host post-show discussions and
partner with local groups. We see our business
as an educational one, one that educates
on film aesthetics and history but also sees
film as a wonderful vehicle for discussions
that help us rethink and reframe our daily
lives in our town and the theater’s place
within it.
Concessions
Every week our staff cocktail maven,
Meghan, makes a house-infused liquor
that we use in our drink specials. We make
everything from rosemary gin to jalapeño tequila
to orange and cinnamon whiskies. Our
house-made kettle corn is also a big seller.
We work hard to partner with local businesses
to offer concessions that support the
theater and the broader small business community.
Our baked goods come from a local
bakery, Hopscotch. Many of our beers come
from local breweries, our coffee from a local
roaster—even our popcorn kernels come
from a local farm! It is very important to us
that the Art, as a cultural resource, is embedded
in the broader artistic and small-business
community of Champaign-Urbana.
Programming
In the art-house world, your film program
defines your theater. At the Art, we are
somewhat limited as a single-screen in terms
of what we can program, but we stretch our
schedule as much as possible. Our program
is a balance between critically acclaimed firstrun
independent or small commercial films,
and a number of more focused programs:
Late Nights at the Art, our series of cult classics,
genre films, and other midnight flicks;
Essential Cinema, our classics series highlighting
new restoration prints; Brilliant
Corners, featuring the best in experimental
and nonfiction cinema; Women on Top, our
series highlighting women directors, and
more. We play everything from new horror
to classic animation, recently restored political
documentaries, new French dramas, and
everything else.
We have academic partners in the
area, as well as a series of businesses and
community organizations / nonprofits with
which we partner for specific screenings.
Members of the faculty and student body
at the University of Illinois have been our
most significant partners, regularly participating
in post-screening discussions and
helping spread the word about our program
to the campus. We also bring an experiential
aspect to our late-night programming:
when we played Back to the Future we had
a DeLorean for patrons to sit in and take
pictures with, for The Big Lebowski we set
up bowling in the theater, for Pee-Wee’s Big
Adventure we had a bike ride through town,
a blood-drive coupled with a screening
of Carrie—fun stuff like that. Our customers
love it.
Membership
We began an annual membership program
last year, and it has been a tremendous
help. Running a single-screen theater is
incredibly difficult in this market, so these
added methods of support are essential
to run a high-quality program. And it’s
important that your audience identifies with
the theater, which membership programs do
beautifully. n
36 BoxOffice ® JULY 2016

DAILY TWEETS
POS:NEG
Avengers:
Age of Ultron
Deadpool
The Hunger Games:
Mockingjay—Part 1
Furious 7
n Using Twitter for box office predictions has proved
to be a valuable tool for the film industry in recent
years, and that’s certainly the case with our team at
BoxofficePRO.com as well. The way the process traditionally
works involves a formula or algorithm that can
be spread over the masses of tweets worldwide about
specific films, allowing analysts to track sentiment and
sift out other similar nuggets of information ahead of
a film’s release. One often overlooked aspect of Twitter
Batman v Superman:
Dawn of Justice
analysis, however, is the ability to predict how well a
movie will perform after its release. This is especially
valuable for limited or awards-season releases, films
that expand their screen count over a course of weeks
and whose box office fortune can be drastically improved
by word of mouth.
But what about films that aren’t launched as
platform releases? This is the experiment we decided
to take up with our social media analysis this month:
looking at how Twitter performance affect a film’s box
office after its initial release. Taking advantage of the
tentpole-heavy summer season, we decided to track
recent titles on Twitter after their initial release, setting
up a simple data set that looks at the first three days of
tweets for a film and comparing that to the total box
office for said film. Our findings confirmed the power
of word of mouth, a good indicator of a film’s longterm
potential regardless the season.
Our analysis used two variables. The first was the
tweet expansion over the first three days of release:
(Friday tweets + Saturday tweets + Sunday tweets) /
Friday tweets. This gave us a quick idea of how well
word of mouth on Twitter expanded over its opening
weekend. The second variable we looked at was its box
office “legs” as calculated by the total box office for a
film / opening-weekend gross. Any early award-season
contenders that were expanding over the past couple of
months were excluded from this study.
35 34 33 32 31 30
Warcraft
X-Men: Apocalypse
TOTAL LIKES
DAILY INCREASE
Mike & Dave Need
Wedding Dates
Central Intelligence
Neighbors 2:
Sorority Rising
How to Be Single
Our data set included all wide release films for
2015 and up to the weekend of April 8, 2016, a total
of 152 films. These two data sets had a correlation of
0.40, which basically means that 40 percent of the
variation in the box office could be determined by the
tweet expansion over its first three days. That is one of
the largest single determinants of total box office we
have ever come across.
To put it in perspective a
bit, given the same list of
movies, Cinemascore has
a correlation of less than
0.05 or 5 percent; theater
count is less than 0.02 or
2 percent.
by Alex Edghill
Big performers using
this method include the blockbusters Avengers: Age of
Ultron, Deadpool, The Hunger Games: Mockingjay–Part
2, and Furious 7; they all had a near perfect prediction
of their final gross by using the tweet returns of their
first three days.
While this isn’t a perfect model, and could certainly
be improved with more complex data modeling or
adding factors such as sentiment or additional markets,
it proved to be a valuable method to quickly gauge
long-term performance. Our methodology for this
analysis, admittedly, would prove flawed if tackling
award-season holiday releases, considering the unique
release patterns associated with them, or genres like
family films, which are most frequented by demographics
who aren’t particularly active Twitter users.
Word of mouth has previously been a notoriously
difficult factor to properly analyze or quantify, until
now. Despite the limitations mentioned above, Twitter
analysis of word of mouth proved to be exceptionally
insightful when dealing with the level playing field of
wide-release films in our study. n
SOCIAL MEDIA
TER > Twitter activity perked up again on Tuesday a
t, but the sentiment ratio remains underwhelming
102 98 59 248 402 345 402
1:1 8:1 6:1 8:1 5:1 5:1 8:1
13 19 9 34 40 55 40
1:1 1:1 1:1 2:1 1:1 1:1 3:
240 476 483 382 586 612 5
2:1 2:1 2:1 4:1 4:1 4:1
277 178 563 526 628 700
20:1 11:1 8:1 47:1 12:1 12:1
98 683 747 597 334 445
7:1 12:1 12:1 8:1 14:1 14:1
453 366 457 242 579 756
6:1 7:1 4:1 21:1 2:1 2:1
238 214 166 198 103 213
42:1 58:1 41:1 88:1 28:1 28:1
50,064 50,093 50,140 50,280 51,091
27 29 47 140 811
125,676 128,459 128,954 129,181 129,702
1,624 2,783 495 227 521
1,402,673 1,408,060 1,408,328 1,408,366 1,409,29
629 5,387 268 38 924
87,889 89,302 90,921 96,020 98,2
1,099 1,413 1,619 5,099 2,2
32,477 36,635 40,242 41,134 41
7,543 4,158 3,607 892
181,256 189,809 196,671 202,606
326 8,553 6,862 5,935
31,544 31,705 31,835 31,925
125 161 130 90
59,918 59,988 59,988 60,803
103 70 0 815
Dirty Grandpa
WORD’S OUT
35 34 33 32 31
Trainwreck
Let’s Be Cops
21 Jump Street
How Twitter tracking allows us
to quantify word of mouth
JULY 2016 BoxOffice ® 37

EXHIBITION MANAGEMENT
THUNDERSTRUCK
Arts Alliance Media looks to
revolutionize exhibition management
through its digital platform
Interview with John Aalbers
Chief Executive Officer, Arts Alliance Media
How did you come to the idea behind Thunderstorm, and
what issues does the platform look to address?
In today’s connected world, exhibitors around the world are
all fighting for the same outcome: retaining and attracting regular
customers while appealing to new diverse audiences. From the box
office to the lobby and to the big screen itself, all areas must be
covered to maximize occupancy and enrich the customer experience.
Arts Alliance Media (AAM) launched Thunderstorm, a new
online marketplace, to help exhibitors reach their goals and
overcome this industry-wide issue. We’ve spent many years talking
to exhibitors about what they want, and we constantly heard that
people wanted to create new business opportunities and generate
more revenue, and they wanted to do it with the minimum hassle.
We created Thunderstorm to provide exhibitors with a portfolio of
innovative software applications and technologies, optimized for
the cinema industry, all available in one place.
Thunderstorm tackles two key issues head on: enhancing
customer engagement and creating new revenue streams for
exhibitors. While audiences enjoy capabilities such as creating
pre-show videos or taking part in live interactions via social media,
exhibitors can focus on areas such as second screen advertising and
optimizing theater management through business intelligence and
predictive analytics.
The new connected age means exhibitors now need to move
away from the traditional, simplistic tactics of driving customer
engagement, and the ability to seize alternative opportunities is
here thanks to Thunderstorm. Thunderstorm puts new technologies
at the tips of exhibitors’ fingers, allowing them to improve
the customer experience, leading to higher cinema relevance in the
entertainment market. Exhibitors can sign up for the platform for
free at www.aamthunderstorm.com.
What inspired you to approach the concept from a tech
perspective, to build a platform rather than a product?
There’s a wealth of remarkable innovation out there that is
being developed for a host of industries that the cinema industry
is unaware of. What we are able to see is the potential that
innovation can bring the cinema industry, so instead of recreating
something that’s already out there, we work with these innovators
to take their service and make it perfect for the cinema industry.
We’re very fortunate in that we sit in two camps, the cinema
market and innovative technology, so we are perfectly placed to
make it easy for exhibitors to access the best in new services from
around the world. With Thunderstorm, we wanted to curate a
collection of great technologies that help meet some key exhibitor
goals and make it simple for exhibitors to access and use.
This said, should the opportunity arise, we would certainly
bring our skills and expertise to develop technologies ourselves.
The primary goal is to make it easy for exhibitors to benefit from
best-in-class innovation that can help boost their business.
What are some of the benefits that exhibitors can expect
to find after signing up?
Thunderstorm is more than just an online marketplace. We
want to have an ongoing relationship with our Thunderstorm
members, so that means everything from being the first to find
out about new services that will be available, to working with each
exhibitor to establish which solutions best solve their problems.
We know cinema owners are busy running their cinemas, so
we wanted to remove all the hassles that come with deploying new
services. Thunderstorm makes getting on board with new technology
easy. Rather than having to deal with multiple vendors in multiple
countries and currencies, exhibitors only have to deal with one, with
Thunderstorm providing seamless billing for each service.
Exhibitors also benefit from Thunderstorm’s analytics platform.
Users can sign in to Thunderstorm and view all analytics from every
service all in one place. Thunderstorm will work on aggregating
data in order to offer unique insights that just aren’t possible with
just one stand-alone service. Being able to see these results quickly
enables exhibitors to see the impact of new services and make fast
decisions on whether the business is getting the right benefits.
All of these benefits are designed to help exhibitors get to the
main goals, increasing their revenues and improving their customer
experience, much more quickly and easily.
What are the key partnerships behind Thunderstorm?
Can you tell us more about what they offer individually?
Thunderstorm is all about creating engaging and innovative
customer experiences, which is why we are carefully selecting, and
working closely with, technology providers that will change the cinema
landscape. We’re lucky to have seven great partners on Thunderstorm
already, and we’re busy talking to several more right now.
38 BoxOffice ® JULY 2016

How do you expect Thunderstorm to influence
AAM and your current offerings, and how can
Thunderstorm revolutionize the exhibition industry
in general?
For us, Thunderstorm is about enabling exhibitors to
create great experiences for their customers. That could be
our enterprise software taking care of processes in order to
free up staff time to be with customers, or a new interactive
service that brings something fresh to the cinema
experience. As we learn more about what exhibitors want,
we can create and curate even better software. With Thunderstorm,
we’re focused on services that can be chosen and
activated more quickly than traditional enterprise software,
so cinemas can jump in and try these new services
and hopefully see them immediately contributing to the
bottom line.
We think Thunderstorm has the potential to revolutionize
the exhibition industry by doing something that’s really
never been done before. Making best-in-class innovation
available to anyone, all in one place, is democratizing
technology and we hope is only going to improve the level
of services available to audiences. We want to help people
experiment more easily and see how software can improve
every aspect of their operations, as well as their customer
experience. n
PARTNERS CURRENTLY AVAILABLE ON
THUNDERSTORM INCLUDE
CHEERFY a customer-engagement system that uses Wi-Fi
technology to recognize customers in real time, thus enabling
exhibitors to deliver personalized customer experiences.
CINECARDZ allows audiences to personalize their cinema experience
with on-screen video greeting cards during the pre-show,
ranging from birthday messages to marriage proposals.
CINEMA CONVERSATIONS bolsters audience engagement with
exhibitors’ social media strategy through shared Twitter and Instagram
experiences in the cinema lobby.
CINEMA INTELLIGENCE a predictive analytics solution that empowers
theaters with innovative tools to predict attendance and
optimize schedules, maximizing profit.
INCODE CINEMA a digital signage solution that enables exhibitors
to centrally manage their lobby displays, creating memorable
cinema lobby experiences that keep a local presence.
IPLATEIA brings second screen (mobile) promotional interactivity
to the cinema via proprietary sound recognition, a reminder for
coming movies, sending vouchers, linked advertising campaigns,
quizzes and more, directly using customers’ mobiles as a personal
promotional platform.
SMART PRICER dynamic pricing software that uses innovative
data science techniques to understand demand and optimize the
ticket price mix, increasing occupancy.
JULY 2016 BoxOffice ® 39

BOXOFFICE AND CELLULOLID
JUNKIE CELEBRATE EUROPEAN
EXHIBITIONS’ BRIGHTEST
EMERGING TALENTS
by Phil Clapp
Chief Executive Officer, UK Cinema Association
President, UNIC
It should be self-evident that the future success
of any industry depends on the quality of talent it
is able to attract to drive it forward, develop, and
innovate.
On that basis, the range of young executive talent
identified by Boxoffice and Cellulolid Junkie’s “40
Under 40: Europe” should give the European cinema
industry huge reassurance that its future will be
exceptionally bright.
With a much longer history than many sectors, and
without the media spotlight attracted (and more
often sought) by more recent digital technology–
based industries, European cinema has perhaps not
done enough to highlight the continual innovation at
its core, something that has ensured it has remained
ahead of the game when it comes to the customer
experience over a number of decades, never more
so than now.
The 40 talented executives identified by Boxoffice and Cellulolid Junkie are
part of a great generation that carries on that proud tradition.
The cinema industry—as any—will only succeed to its maximum
potential if it is able to benefit from the widest possible array of
talent and not limit itself, whether in terms of gender, nationality,
or any other factor.
In many respects the European cinema sector has work to do
here. So it is particularly pleasing to see that over a third of the
40 chosen by Boxoffice and Cellulolid Junkie are women,
and that the executives represented here are based not just in
the traditional core of northern and western Europe but also in
southern, central, and eastern territories. I look forward to those
numbers continuing to grow in the coming years.
And reflecting the closely connected nature of our business, talent
is rightly recognized across not just cinema exhibition and film
distribution but the many technology suppliers and service partners
who are vital to the cinema ecology.
I congratulate each of those identified by Boxoffice and Cellulolid
Junkie for their success to date and look forward to even greater
achievements as they make their way in our industry. But I also
want to thank Boxoffice and Cellulolid Junkie for seeing
the value in identifying the future (and indeed in
many respects, current) leaders of our industry—
individuals who deserve our recognition and
support as they take our industry to new heights.
JULY 2016 BoxOffice ® 41

SIMON BOBBIN
StudioCanal
VP, International Distribution
It makes perfect sense that an
animated film like An American
Tail was Simon Bobbin’s first
cinema memory, at the age of
five. After all, Bobbin oversaw the
international release of Paddington, the highestgrossing
non-U.S. studio family title ever. As
for An American Tail, “I was captivated by the
storytelling and great characters,” he says. “It may
seem dated now, but at the time it really stayed with
me.”
Bobbin spent his first decade at Paramount and Sony Pictures
and was fortunate to have had mentors at both companies. “Leslie
Pound was my first boss in the film industry and was my great mentor.
He was a true gentleman, an outstanding executive, and one of the nicest
people you will ever meet. Mark Braddel was also a strong guiding hand
during my time there,” he says, before going on to cite Anna Marsh and
Rodolphe Buet as his key influencers at Studiocanal.
Given consumers’ wealth of entertainment
options, Bobbin says “we have a
responsibility as film producers and
distributors to create movies that can
connect with audiences on a visceral
level, whether through high emotion or
great spectacle.” He also believes the
industry should get around the table to
“thrash out a unified stance” on issues
such as the Screening Room, “especially
when its implications are so huge across our
business.”
As for his future, Bobbin is keeping an open mind.
“If you had told me three years ago that in 2016 I would
be head of international distribution for Studiocanal, living and working
in Paris, I would have said you were crazy. You just never know what’s
around the corner, let alone 10 years from now!”
IAN CARTWRIGHT / DAVID KAPUR
OurScreen
Co-CEOs, Co-Founders
CHALLENGES: Cartwright:
Keeping the chance to
see content on the big
screen relevant in a modern
entertainment landscape. This
can be achieved by focusing
on the experience and embracing
technology to connect with audiences.
Delivering boxes with screens that rely
on scarcity of content does not have a
future.
Kapur: Keeping film and cinema
relevant with reducing attention spans.
Celebrating a perpetual evolution of film
and cinema to match furious innovation
and investment in competing sectors.
We can be too introverted sometimes
and resistant to change. Amazing
things are happening in gaming, sport,
and music, which we
should be sharing
and discussing
more.
BOBBIE ANDREWS
RealD
Marketing Director, EMEA
MOVIEGOING MEMORY:
Watching Lady and the
Tramp with my mum at the
local independent. It wasn’t
the best cinema, but I instantly
fell in love.
MENTORS: There have been a huge
amount of people, but the most
influential for my career would have to
be Steve Wiener and Paul Higginson.
They both taught me valuable lessons
which I use to help make decisions
every day. I spent five years working
for Steve, and he showed more faith in
me than I could have ever hoped for.
Without him, I don’t think I’d still be
working in the industry.
IVO ANDRLE
Kino Aero, Bio OKO & Aerofilm
Programmer / CEO
CHALLENGES: If we want
to have cinemas in the core
of the industry, then the
cinemas must make sure that
their most powerful weapon
is working. It is not the programming
(much of it can be found online
anytime), it is not the comfort and
quality (found in home cinemas and
other developed high-tech viewing
technologies for households). The main
weapon and advantage of cinemas is
the social experience. That must always
be something worth the ticket price.
10 YEARS FROM NOW: I hope that
we’ll still be able to enjoy our work
in such a friendly atmosphere, keep
our independence, flexibility, and
excitement for new challenges.
KARINA AGADZHANOVA Cinema Star CEO, Co-Founder
Agadzhanova has led the expansion of Cinema Star to 17 locations across Russia
and Armenia, growing and innovating the circuit following its rebranding in 2012.
AYSIL (ASARLI) ÖZMEN Chantier Films Marketing Manager
Özmen manages the marketing department of Chantier Films, a Turkish film distributor that
spearheads the release of both Hollywood and local titles.
42 BoxOffice ® JULY 2016

CONGRATULATIONS
David King
WE WOULD ALSO LIKE TO CELEBRATE:
RENANA TEPERBERG
NATHALIE CIEUTAT
JAN RUNGE
ALEXANDRE HELLMAN
FERNANDO EVOLE
AND ALL THE OTHER 40 UNDER 40 NOMINESS
THANK YOU FOR SHARING YOUR PASSION WITH US
From your friends at
IMAX® is a registered trademark of IMAX Corporation.

FERNANDO EVOLE
Cinepolis Yelmo
Spain GM
Evole says that he was
born and raised in
a movie theater. “I
remember watching
movies again and again
and coming into the booth to
see through the projectionist’s
window.” As CEO of Yelmo cinema
for the past 12 years, he has helped
to grow this family business (he cites
his father, Ricardo Evole, as his most
important mentor), including merging
it into the growing global footprint of
Cinépolis in 2014.
“Making sure my team is aligned, giving
them guidance, the tools, and the advice
to make everyone’s work easier and happier
while we achieve our goals and excel in our
relationship with our customers,” is how he
describes his day job. But he’s also found time to be
vice president of FECE, Federación de Cines de España,
for last decade.
MARIA BEZENKOVA Nevafilm JSC Head of Distribution
In terms of where he sees the
industry, he observes that “until
a few years ago, we opened the
theaters and customers just
showed up and we took care
of them. Now it’s all about the
relationship with them and
how to generate a completely
unique experience every
time they choose us.” Today,
“everything has to do with
improving the relationship
with our customers. I believe
there is great room for
improvement in this area.”
Evole, who will be at CineEurope,
can’t see himself in any other
business but cinema. “I am very
fortunate to work in an industry I
am passionate for. I love movies, I love
going to the movies, and I love moving and
touching people with great stories.”
Bezenkova heads the distribution department for Nevafilm’s EMOTION division, covering event-cinema
broadcasts in Russia. She also acts as the program director for the Zabaikalsky International Film
Festival.
ARTURO GUILLEN
comScore
Vice President, EMEA
“Nonstop crying, watching
Bambi in a small cinema
of an Andalusian
village,” is Arturo
Guillén’s first cinema
memory, but as vice president for
EMEA of comScore and Rentrak he
doesn’t see the cinema industry as
an endangered little deer.
“Cinema’s big screen will always be
the king of out-of-home entertainment.
There are many challenges ahead, but
that is what makes it worth the ride,”
he says. “We are all content creators and
broadbanders, and that will change our
industry forever,” Guillén predicts. “The smaller
screens are the ones experiencing an explosion
of content.” And he claims to be “obsessed” by the
infinite number of devices and VOD platforms.
In terms of mentors, Guillén says he tries to “to learn
something from every customer, partner, vendor, colleague,
employee, and boss that I’ve dealt
with.” His library does its own part
in his development, as he also
credits “great mentoring from
books,” as another important
source of knowledge.
Traveling takes up most
of his time. “I’m extremely
fortunate to meet people from
different sides of the industry
on different continents. It´s
great to learn from them the
different ways of overcoming
common challenges,” he says.
Guillén says he’s always wanted
to start his own company and
hopes to do so before he turns
50. But he prefers to focus on the
present—he’ll be at CineEurope “all
week,” he says. “As I get easily distracted, it
is the only way to keep me here and now.”
44 BoxOffice ® JULY 2016

NATHANAEL KARMITZ
MK2
CEO
Son of legendary film director,
producer, and businessman Marin
Karmitz, to whom he says he
owes “everything I am,” Nathanaël
Karmitz is practically cinema
royalty, continuing the family tradition of film
production, distribution, and exhibition in the
high-end MK2 cinemas.
Karmitz cites his filmmaking mentors as Krzysztof
Kieslowski, Claude Chabrol, and Abbas Kiarostami,
with whom he is no doubt on a first-name basis, given
the prominence their films have had in his cinemas. His
leadership has helped the art-house chain grow into a global
player in the exhibition industry.
Highly influenced by the wonder of watching a cinema classic like
1933’s King Kong on the big screen, Karmitz says that he is driven by
the need to “keep the collective experience in the heart of the young
generation and for this purpose invent the
cinema theater of the 21st century.” To
this end he surprised the industry with
the acquisition of the Spanish cinema
chain Cinesur in 2014. This year MK2 is
looking to expand into Canada’s Frenchspeaking
Quebec. He is, however, far
from an analog nostalgic, saying that
“new services in theaters and virtual
reality” are the trends in cinema that excite
him the most. Although he won’t be at
CineEurope this year, his French and Spanish
programming teams will be representing him
and MK2.
Asked where he sees himself in 10 years, he says with a
laugh, “All around the world.” Perhaps not surprising for a man who
describes his day job as “traveling to search for new opportunities in
exhibition and production,” as he expands his art-house empire.
CLAIRE BESWICK
Curzon Cinemas
Head of Programming
MOVIEGOING MEMORY:
Disney. It was always Disney.
I remember Fantasia with
my family (and wondering
why there wasn’t more Mickey
Mouse in it) and sobbing at the
end of The Little Mermaid at a friend’s
birthday party. Having a birthday party
at the cinema was the thing to do.
TRENDS: Trends don’t excite me. This
business isn’t built on a formula, and the
magic is when something truly original
speaks to audiences and they react
to it. It’s my job to understand what
audiences want. Trends and analysis will
tell me there might be ‘X’ releases that
catch fire each year, but it’s up to me to
identify it.
KINGA
DOLEGA-LESINKA
KinAds & Moje Kino
ALEXANDRE
HELLMANN
Le Grand Rex
Chief Executive Officer
Dolega-Lesinska founded
KinAds in Poland in 2006
and has since become one
of the region’s leaders in
cinema advertising.
Chief Executive Officer
Hellmann heads Le Grand
Rex, the iconic French
cinema that has served as a
top destination for many film
premieres over the years.
FRANZ BLECHSCHMIDT
CHRISTIAN KLUGE
Smart Pricer
CCO & CEO, Co-Founders
TRENDS: We are fascinated
with digitization and the
opportunity to understand
customer behavior through
data. We have, for instance, applied
data science to develop an algorithm
that predicts each show’s demand,
which is crucial to achieve the right
price mix. Currently, we are looking
into a new feature that will forecast
the willingness to pay per show. By
understanding the willingness to pay,
we can ensure that cinemas generate
more revenue from every customer.
The customer gets the incredible
experience, and the exhibitors increase
their revenue. It’s a win-win.
JEROME HILAL Gaumont Head of Distribution
Hilal directed theatrical distribution for Gaumont in September 2015, following a year-long stint as
head of theatrical marketing at Studiocanal.
46 BoxOffice ® JULY 2016

EMMA KEITH
NT Live
Head of Broadcast, Producer
Emma Keith’s first cinema
memory was “watching
Who Framed Roger
Rabbit as a very small
child in a Roger Rabbit–
themed outfit,” but these days she
wears many different hats in her
role at NT Live, the world’s most
successful event cinema stage play
company.
Keith says that event cinema is “such
a new part of the industry that it’s
difficult to predict where it may end up,
but I think it has huge potential to grow
further and to continue evolving. The benefit
of being in a new and emerging part of the
industry is that you’re able to approach things in
an unconventional way and work out new ways of
doing things.” As well as her work for NT Live, Keith is
involved with National Theatre’s digital-learning work and
its recently launched On Demand in School platform.
NT Live has been working with Sony on a 4K partnership for the last
KATIE KHAN Paramount Pictures UK Head of Digital Marketing
year. “For me this a really exciting
trend, the quality of picture is really
phenomenal, and we’ve used this
technology on some of our most
high-profile productions,” Keith
says. “It feels like a genuine
technological development
which we’ve been able to be
involved with at the early stage.”
Keith is looking forward to
continuing to work within the
cultural sector 10 years from
now, even if it isn’t directly
involved with event cinema. “I
love seeing audiences engage
with something that I’ve been
involved with creating and hope
that will continue.”
Though Keith won’t be at this year’s
CineEurope, NT Live will be represented
by its distribution manager Claire Lester on
Wednesday and Thursday.
Paramount’s social media presence in the U.K. and Ireland has benefitted from Khan’s expertise since
she joined the studio in 2013.
MISCHA KAY
Vista
Managing Director, EMEA
“Big data is all the rage,
and for good reason,”
says Vista’s European
MD, Mischa Kay. “How
we as technology-driven
businesses can harness data to
better serve the cinema-goer
and provide better value to our
customers is incredibly exciting.” Kay
and Vista are at the forefront of this
revolution, which he thinks will play a
central role for cinema in three to five
years’ time.
Kay cites as his mentor Vista Group CEO
Murray Holdaway, who “plucked me out of
university many years ago,” and more recently
Vista’s chairman Kirk Senior, but acknowledges
that he is “part of an incredible organization filled
with supportive and enthusiastic individuals that
make up an exceptional team.
“All of us in this industry rely heavily,
if not entirely, on the ‘experience
economy’ that forms the basis of
the visit to the cinema. If buying
tickets is difficult or too expensive
or the queue for popcorn is too
long, the experience economy
suffers,” Kay says. “The industry
needs to encourage repeat
visitation through experiences
that cannot be replicated at
home.” He says that ensuring
his 40-plus staff in the London
office “are properly guided and
encouraged is time consuming,
but I believe the biggest
investment we can make is in our
people.”
48 BoxOffice ® JULY 2016

IN THE
COMPANY OF
EUROPE’S
BEST
BoxOffice has named the European
‘40 Under 40’ film industry honorees.
Huge congratulations to Mischa, Sarah
and all who are nominated.
MISCHA KAY
Managing Director
Vista Entertainment Solutions
EMEA
SARAH LEWTHWAITE
Strategic Partnerships Director
Movio
EMEA
VGL2377

ADAM MACDONALD
MasterImage
Eur. Sales Dir. - Digital Cinema
Adam MacDonald began
his career in advertising,
but he quickly
transitioned into cinema
through Carlton Screen
Service and 20th Century
Fox. He occupied senior sales
roles at Datasat and Panavision
before taking on his current role
as European sales director for
MasterImage 3D.
MacDonald’s former colleague
Matt Liszt credits him not only for
MasterImage’s strong growth in Europe
but also says that “he is not one to sit
back and watch. He has an entrepreneurial
passion to push things forward and innovate.”
Like more than one person on our list, MacDonald
cites E.T. as his first cinema memory. “Before the days
of pre-booking, we had to get there really early to get a
place in line and try and get a good seat—it felt like such a long
time until the movie started but was all part of the excitement.” Adam
cites his MasterImage colleague Sean
Lohan as a mentor.
Stressing the need to better
understand what drives people
to go to the cinema, MacDonald
is adamant about the push
for quality: “I think quality
seating, concessions, and
the whole ‘experience’ needs
to be something people
will value and want to do
time and time again.” High
brightness 3D will be part of
this, in his view, and he points
to Avatar and The Jungle Book
as examples of great films for
the 3D medium.
“I’d like to think that in 10 years’ time
I could still be making a difference
in this industry and helping the next
generation to keep it moving forward. Maybe
taking part in your 50 Under 50 feature?”
CHRIS MASSEY Universal Pictures International Senior Vice President Digital Marketing
Massey worked up to his current position at Universal Pictures International since joining its digital
department in 2008. He was named SVP of digital marketing in 2015.
RICHARD MITCHELL
Harkness Screens
VP Global Marketing & Commercial
Development
“I have no idea what the
movie was, but I remember
my mum taking me and it
being at the old ABC Cinema
in my hometown in Enfield,
North London,” Richard Mitchell says
when asked about his first moviegoing
memory. “The cinema was closed down
about 20 years ago and then demolished to
make way for a grocery-store car park.”
In his current role as VP of global marketing
and commercial development at Harkness Screens
he helps exhibitors stay on the cutting edge. “The
constant stream of technology heading towards our
industry fascinates and excites me,” says Mitchell. “I’m
particularly excited to see how and if immersive technologies
such as augmented reality and virtual reality develop into a cinema
offering.”
This might seem unexpected for a company that is responsible for
the silver screen of cinema itself, but Harkness has been pushing
innovations such as its app platform,
which is one of the “radical projects”
Mitchell credits to former CEO
Andrew Robinson, who supported
and encouraged its development to
help transform Harkness’s business.
Not one to rest for long, Mitchell is
busy “looking at new commercial
opportunities for Harkness, like our
new reality-capture service.”
In his view, “The biggest challenge
is to continue to differentiate the
cinema-going experience from the
experience of watching a movie at home
and to make the consumer feel like they’ve
had a good return on their time and money.”
Mitchell will be at CineEurope all week and admits,
“I truly have no idea what the next 10 years will bring, but hopefully
I’ll still be doing what I enjoy somewhere in the industry.” Perhaps
involving a Harkness virtual screen.
50 BoxOffice ® JULY 2016

JAN RUNGE
UNIC
Chief Executive Officer
Jan Runge’s first cinema
memory is seeing E.T.
at the local cinema,
the Burgtheater in
Ravensburg, Germany.
“I must have been around five
years old. I was definitely too
young for some of it but loved
the experience.” Fast forward four
decades and Runge finds himself, in
his own words, “Working the political
corridors in Brussels to explain to
policy makers how the wider industry
works and that it depends on a thriving
cinema exhibition sector.”
As head of UNIC, Runge has been the
collective voice of the European cinema industry
for the past five years. In addition to lobbying
Brussels on issues such as the digital single market, he
has also been instrumental in shaping CineEurope since
its move to Barcelona, as well as flying the flag for UNIC at
events such as CinemaCon.
“I’m pretty passionate about that
cause, and it concerns me that it
is not talked about as much as
it should be: some consumers
spend €500 on a smartphone and
€50 on a monthly broadband
connection but are unwilling to
pay for a music subscription
or a cinema ticket. This ‘value
gap’ in content creation has to
be addressed.”
He lists UNIC’s president Phil
Clapp as a major influence,
mentor, and friend. “And while
I of course learn from all our
members and ​UNIC colleagues,
there are a few people that have
provided extra guidance over
the years: Jan Bernhardsson, Eddy
Duquenne, Edna Epelbaum, Peter
Fornstam, Jaime Tarrazon, Marc Olivier
Sebbag, David Hancock, Kim Pedersen, and
Corinne Thibaut, to name but a few.”
NATHALIE CIEUTAT
Gaumont Pathé
Director of Programming
CHALLENGES: As a movie
theater chain, we have a
major competitor as far
as young audiences are
concerned: mobile devices.
They’re also a source of
creativity and a way to spread and
broadcast movies. We have to make
sure the smaller screens don’t kill the
big ones and that people still want
to experience movies together in the
future. I’m confident audiences will
continue to respond positively to all
the work we are doing to improve
our theaters: bigger screens, higher
definition, better sound, shorter lines,
booked seats, and so on. This is our
challenge for the future: continue to
drive audiences to theaters.
JULIEN NOBLE
20th Century Fox Int'l
SVP, Int'l Digital Marketing
Noble's career path took him from a
marketing assistant in France to SVP
of International Marketing
in less than 10 years.
Disney took him from
France to the U.K., with
Fox transitioning him into
a U.S.-based global role—
proving that Europeans under 40 can
make a big impact in Hollywood.
FABIEN RIGGALL
Founder, Chief Executive Officer
Secret Cinema
Secret Cinema, an
immersive pop-up cinema
screening experience, has
become one of the biggest
success stories of European
exhibition. The company’s
latest themed event based on Back
to the Future drew 84,000 people.
TANYA EASTERMAN
Cinema First
Senior Relationship Manager
MOVIEGOING MEMORY: I
know that my first visits to
the cinema were to see some
of the classic Disney films
like Beauty and the Beast.
One of my strongest memories
of going to the cinema, however, was to
see Titanic with a group of girlfriends.
I think this was the first time that I
fully understood how storytelling on
the big screen could have such a huge
emotional impact. The whole theater
was crying in unison by the end of the
film. I have been in love with film and
the cinematic experience ever since.
JULY 2016 BoxOffice ® 51

JOLYON SPURLING
Showtime Analytics
Chief Data Officer
Jolyon Spurling was born with
cinema in his blood. His earliest
cinema memory was “the magic
of the projection room, the sound
and lights coming from the darkness
during a film showing, Dad teaching me to
splice the films arriving by train on a Friday, and
knowing you were the only kid in school with VIP
access to the actual movies!”
In 2014 he co-founded Showtime Analytics, bringing
big data insights to the cinema business. “The industry as
a whole needs to work together in a more collaborative way
to confront outside threats such as video on demand, TV, Netflix,
and new ideas like the Screening Room,” he says. “These competing
mediums offer a rich, granular, and highly frequent data set, which is
used in a very innovative way to grow their respective markets. In the
past 12 months we’ve seen our customers are starting to address this and
starting to close this gap.”
Spurling continues to be excited about
the work he does. “As I lead our product
design in Showtime, I spend most
of my time listening to customers,
understanding their requirements,
identifying the product gaps in the
marketplace. This then leads to the
constant task of bringing together teams
to build the next generation of kick-ass
Showtime products!”
“There are so many great stories of companies
starting small and growing into major industry
players,” Spurling says. “I would hope that in the next 10
years that we have built a reputation as strong as these major industry
brands, and be synonymous with all things data technology in the
industry.”
STIJN HENDERICKX
Barco
Head of Digital Cinema
TRENDS: Several major
trends are impacting the
cinema industry today: the
major step up in television
experience over the last
years, the abundance of video
content, and new over-the-top
content schemes. These trends can
be seen as a threat or as a catalyst for
change. Many exhibitors and industry
players are focusing on the latter. The
increased emphasis on the total cinema
experience for the moviegoer is the
best proof that cinema exhibition is
reinventing itself and will continue to
be a key entertainment industry in the
coming decades, albeit maybe in a
different shape or form.
MARYNIA GIERAT
Kino Pod Baranami
Owner
MENTORS: I grew up in a
cinema run by my parents,
so when I started helping
them run the business, my
parents clearly became my
mentors. I learned from them and have
been inspired by their work till today.
My parents, Bozena and Krzysztof
Gierat, were the innovators of the
cinema industry in Poland in the ’80s
and ’90s when Communism fell. There
were special events every week in
their cinema for film premieres. The
repertoire was diverse; the cinema was
among the first in Poland to get into the
Europa Cinemas network. They were
paving the way to the cinema business
of the new era.
PIERRE FLAMANT
Ymagis
Chief Financial Officer
MENTORS: Bernard Collard,
EVS Digital Cinema, XDC /
Xpand: we worked together
from 2003 to 2008 when
the digitization in Europe
was at really early stages with big
technological and business-model
questions. Serge Plasch, former CEO
of DCinex: we rolled out the VPF
model for about 3,500 VPF screens in
Europe thanks to our credit and leasing
financing structure. Jean Mizrahi,
Ymagis Founder and CEO: working
together on the post VPF by developing
our content and exhibitors’ services
portfolio and network in Europe.
10 YEARS FROM NOW: Owning a
cinema. I hear it might be a nice,
profitable business when it is correctly
managed.
DARIO SUTER DCM Chief Executive Officer
Suter is the CEO and founder of DCM, a distribution company and startup
incubator that takes risks in bringing new films to the market with innovative
promotional campaigns.
RENANA TEPERBERG Cineworld Chief Commercial Officer
Teperberg first joined the company as a cinema cashier while she was still a student in 1997,
progressing to management and executive roles in the ensuing years. She now acts as the CCO for
Cineworld’s operations in the U.K. and Europe.
52 BoxOffice ® JULY 2016

THOMAS JULLIENNE
Webedia
Global Product Manager
MOVIEGOING MEMORY: Having grown up in a house on the same street as a
cinema, my first moviegoing memory is that theater’s atmosphere, Le Select
Granville in Granville, Normandy, France. My dad worked at home, so quite often
he would take me to this movie theater 10 meters away from the house and buy
me a ticket before going back to work. I watched a lot of movies this way.
10 YEARS FROM NOW: Jullienne is well known to French exhibitors as an expert of cinema
ticketing and digital marketing platforms. Instrumental in the business partnership between
Côté Ciné Group and Vista, he will move to the U.S. this summer to helm Webedia's B2B
platforms for the cinema industry.
DAVID KING
IMAX
VP Distribution & Film Development
CHALLENGES: Luring people away from their home cinemas and the many
other leisure and entertainment activities these days continues to be a
challenge for the cinema industry. Giving them an experience that can’t be
replicated is something I strongly believe in. It’s also something we do at
IMAX, in everything from the cinemas we build to the movies we release in
our format. Technology and innovation in entertainment are obviously exciting
and can add to the cinema experience, but the same level of development in home
entertainment, gaming, and VR is also something we will need to contend with.
SARAH LEWTHWAITE
Movio
Strategic Partnerships Director
TRENDS: I am very excited by the potential for data to help transform all
aspects of our industry. I believe that cinema chains and film studios alike are
finally starting to tap into customer data in meaningful ways and realizing
that by better understanding our customers we can work together to improve
the product and experience. Data is finally starting to be used outside of the
marketing departments to start to inform everything from on-screen programming, show
time scheduling, and even cinema design. I think this is a great step forward.
ELLEN TEJLE
Bio Rio Cinema
Director
Director of one of
Scandinavia’s most important
art-house destinations, Tejle
helped institute a “Bechdel
test” ratings system in select
Swedish cinemas—a grade scale that
measures films by the presence and
depth of female characters.
ELISABETH TROCHET
UGC
Digital and Loyalty
Trochet joined UGC in
2001 following a two-year
stint as a consultant for
PricewaterhouseCoopers.
She now heads the digital
and loyalty programs for the French
exhibition circuit. Trochet helms the
UGC Illimité program, a subscription
model that has proven to be
revolutionary for the French industry.
MIRIAM WRIGHT
Dolby
Senior Marketing Manager, EMEA
Wright joined Dolby in 2012
and now acts as one of its
senior marketing managers
in EMEA. Her previous
experience in the industry
includes stints at eOne Momentum and
Switzerland’s Elite Film AG.
JULY 2016 BoxOffice ® 53

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COMSCORE EUROPEAN BOX OFFICE ACHIEVEMENT AWARD
STAR WARS: THE FORCE AWAKENS
CINEEUROPE INDEPENDENT FILM AWARD
NORDISK FILM
2016 INTERNATIONAL UNION OF CINEMAS ACHIEVEMENT AWARD
NICO SIMON UTOPOLIS CINEMA GROUP
INTERNATIONAL DISTRIBUTOR OF THE YEAR
RODOLPHE BUET STUDIOCANAL
INTERNATIONAL EXHIBITOR OF THE YEAR
CHRISTIAN LANGHAMMER CINEPLEXX INTERNATIONAL
VARIETY INTERNATIONAL CHILDREN’S FUND HUMANITARIAN AWARD
SCOTT NEESON CAMBODIAN CHILDREN’S FUND
56
56
58
59
60
62
JULY 2016 BoxOffice ® 55

CINEEUROPE AWARDS
COMSCORE EUROPEAN BOX OFFICE
ACHIEVEMENT AWARD
STAR WARS:
THE FORCE AWAKENS
n This year’s Comscore European Box
Office Achievement Award goes to Walt
Disney Studios Motion Pictures International
for Star Wars: The Force Awakens and its
record-smashing global run.
The Force was indeed strong with this
latest installment in the Star Wars canon as
it grossed $936 million in North America
alone and $1.13 billion at the international
box office. It also joined Avatar and Titanic
in the exclusive $2 billion worldwide club,
becoming the third-highest-grossing film in
the history of movies.
Remarkably, The Force Awakens topped
$100 million in two European markets—the
U.K. ($183.9M) and Germany
($110.8M)—and stands as the highest-grossing
film of all time in the U.K. and the
third-biggest film behind Avatar and Titanic
in Germany. Other top European territories
were France ($82.5M), Spain ($36.0M), Italy
($27.8M), Sweden ($21.3M), and Poland
($16.3M).
The incredible box office achievement for
The Force Awakens paves the way for Walt
Disney Studios’ next Star Wars saga, the
stand-alone Rogue One: A Star Wars Story, set
for release in December 2016, as well as into
the future with episodes XIII and IX planned
for release in 2017 and 2019. n
CINEEUROPE INDEPENDENT
FILM AWARD
NORDISK FILM
n The CineEurope Independent Film Award for 2016 is awarded to
the Danish film company Nordisk Film for its outstanding commitment
to Nordic independent cinema.
Founded over a century ago, Nordisk Film is one of the oldest
continuously active integrated film companies in the world and has remained
committed to producing successful Nordic movies, incubating
local talent, and entertaining audiences in Scandinavia, Europe, and
overseas markets with original content throughout its storied history.
Nordisk was behind Denmark’s first Academy Award nominee for Best
Foreign Language Film in 1957 with director Erik Balling’s Qivitoq and
returned to this year’s ceremony with Tobias Lindholm’s A War (right). n
56 BoxOffice ® JULY 2016

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CINEEUROPE AWARDS
2016 INTERNATIONAL UNION OF
CINEMAS ACHIEVEMENT AWARD
Interview by Daniel Loria
NICO SIMON
President, Europa Cinemas
Co-Founder, Utopolis Cinemas Group
What was your first job in the industry?
I began as a teacher, French and English, and was a big film buff.
We had a film club here in Luxembourg, where I was very much
involved, and we created the first art-house cinema in Luxembourg
around the 1970s and ’80s. That was kind of a success, so we decided
later on in the ’80s and early ’90s that if no real exhibitor was going
to be competing with us that we would be our own competition and
program mainstream cinema as well. After creating the first art-plex,
let’s go ahead and call it that, a five-screen, state-of-the-art art-house
cinema, we decided to open a multiplex in Luxembourg. There were
a lot of us in the group, but it was decided that I should be the one
to do it. And very soon after becoming a success, we had opportunities
to expand to other countries. To Belgium, to the Netherlands,
to France, and we did that. So we became this Utopia group and our
idea was to have a circuit run by cinema lovers.
Of course we started programming “art-house” films, but I don’t
really like that word. There are good films and bad films. There are
as many bad art-house films as there are bad mainstream popcorn
movies. John Ford, Howard Hawks, Raoul Walsh, François Truffaut,
Jean Renoir—they were all cinema guys. There were no “art-house
cinemas” back in those days—they were just cinemas. We still believe
in that, in promoting good cinema with a state-of-the-art moviegoing
experience. The people who love auteur films should have the
opportunity to see those films in the best possible environment. When
we started this company some 20 years ago, the most important thing
was to get the customer the best possible experience in comfort and
technology.
That’s a very interesting shift in European film history, how
local film clubs took the role that, say, the Cinematheque
had in propelling the French New Wave. It seems as if the
film clubs of the ’70s and ’80s helped forge the path for a
new generation of European filmmakers.
Yes, absolutely. The influence of auteur cinema helped Hollywood
recover from a crisis in the early ’70s; Spielberg, Lucas, and Scorsese
were very much influenced by European cinema. The type of films
that Hollywood values today came from that period. I’m not talking
about Michael Bay films, that’s good for the industry, but it is not
good for creativity. I have nothing against Michael Bay, he is doing a
great job, but he’s not a John Ford; he’s not a Howard Hawks.
When we talk about auteurism, we tend to do it in the
context of movements within countries. Local films
still have a great relevance in European exhibition,
but everything seems to point to a more globalized,
transnational world. It’s something that Krzysztof
Kieslowski attempted with his Three Colors trilogy in
the mid-’90s, making films with a European identity that
transcend local markets. Is the concept of a pan-European
cinema still relevant?
I think that there is no pan-European cinema. I think the strength
of Europe is diversity. It’s important that different countries have films
that represent a culture of their own. The challenge in European exhibition
is having audiences outside of Denmark watch a Danish film.
How do you get people in Finland to watch an Italian film?
One of the things I committed to when I joined Europa Cinemas
in 1991 was to keep that diversity. I do not believe in a pan-European
cinema. I believe in cinema that represents different identities of Europe.
American independent cinema does a good job in representing
the different beliefs and cultures in America that mainstream cinema
is just not representing. Don’t get me wrong, I’m not in the Taliban!
I like mainstream films, but in the long term, I believe those films
won’t be as interesting. The so-called Hollywood blockbusters are not
very successful in Europe anymore, but they are very popular in Asia,
Russia, and India.
What are the new challenges exhibition is facing today?
I think that an exhibitor’s mission is to ensure that the customer
has the best possible experience. You have to make sure your customer
has a good chair, the right view of the screen, and experiences great
sound. Filmmakers want us to see the films in the best possible conditions,
and that’s our challenge. A paying customer has to have the
same good experience watching a Michael Bay movie as watching a
Ken Loach movie. That has become easier with digital cinema. It was
horrible before—there were cinemas where you couldn’t go and watch
a movie, and that isn’t the case
anymore. I’m a big fan
of digital cinema, but
that doesn’t mean
every film has to
be shot digitally; it
all depends on the
creative process of
the director. But we
need to deliver the
best experience possible
as exhibitors. Whether
we are art-house or
mainstream cinemas,
there is no difference. n
58 BoxOffice ® JULY 2016

RODOLPHE BUET
President of Distribution and
Marketing, StudioCanal
INTERNATIONAL DISTRIBUTOR
OF THE YEAR
Interview by Daniel Loria
You transitioned to cinema from
music in 2005. Was it a difficult
transition or were there more
similarities between the two
businesses than you expected?
It’s certainly easier to transition to
cinema from the entertainment space
than from a traditional industry! In both
cases, you’re working with people and
talent, which comes with its own rewards
and challenges in dealing with different
sensibilities.
But cinema is much more complex.
For a music producer, an album requires
creating content around one artist, or
one band, for a cost in the tens of thousands. Producing
a film requires setting up complex financing and bringing
together the right cast, director, and technical team with
the goal of getting the chemistry just right. We’re looking
at production figures that can be in the tens of millions,
and dealing with years of lead time—meaning we need to
anticipate exhibitor and audience tastes that much earlier.
And releases are less forgiving: an album has an opportunity
for success with each new single released. A film only
has one shot.
How has StudioCanal evolved in the last 10 years
to its current standing in the industry?
A decade ago, StudioCanal was a French company producing
French films. Today, we are a European company
with a presence in the top three European markets—and
a connection to the opposite side of the world with our
activities in Australia and New Zealand. With the addition
of a TV series division on top of our film business, we are
active across the whole scope of audiovisual production
and distribution. Beyond Europe, we’ve worked to build
our understanding of the worldwide market. Our reach
now extends globally from our L.A. team to our Beijing
office, and this has affected our company culture. At our
Paris headquarters, we have team members from 15 different
countries including the U.S, China, and Mexico, with
English as our work language.
StudioCanal seems to have international
ambitions, which is apparent by simply looking
at the profiles of releases in the last decade. How
does this affect your marketing and distribution
strategy?
StudioCanal truly operates simultaneously at a local
and a global level, with an emphasis on strong European
content. In territories where we distribute directly, our
local teams operate with clear autonomy on local productions,
even providing the key input for the international
distribution of these titles, as the German
team did for Heidi and the French team
for From the Land of the Moon. When it
comes to international films, the importance
of individual territories remains
clear. In fact, we greenlight our international
films on the condition that one of
our territories will drive our international
distribution strategy, which is why many
of our international films are U.K. based,
like Paddington, Legend, or our upcoming
James Marsh film. Then, our international
marketing department, based in both Paris
and London, and run by Jane Carter, an
Englishwoman living in France, takes the
lead. But they continue to work very closely with local
marketing teams, whether it’s our own local teams or those
of our partners. For Bridget Jones’s Baby, a film co-financed
by Universal, Miramax, and StudioCanal, they’re in constant
contact with Universal and producer Tim Bevan to
set up our global strategy.
What would you say makes the German market
stand apart from any other?
Local specificities in audience tastes in Germany
underscore the importance of having a local approach to
marketing and distribution of our films. More so than
abroad, German audiences, especially younger ones, are
receptive to U.S. blockbusters, local comedies like Fack Ju
Goehte, and 3D offerings. The many local family-entertainment
productions such as Heidi or the Fünf Freunde
franchise also perform very well. The TV offer is very good
and diverse, which means that distributors and exhibitors
need to be very creative and distinctive in the ways the
approach the cinema audience. Considering on top that
Germany is much less centralized than France or the U.K.,
we need to address very different audiences from Munich
to Stuttgart to Frankfurt, and smart trade marketing in
each of the main regions is key to success.
Why is CineEurope such an important event for
the industry?
CineEurope is a unique opportunity for European,
U.S. studios, and even local distributors to meet with
exhibitors from all of Europe. It is a chance for us to share
our projects with distributors in one of the core regions
of the industry and present our titles to diverse cultures
and expectations. By learning from the many exhibitors’
reactions, we can better understand the expectations of our
various audiences in Europe. This serves us farther abroad
as well: building our multicultural DNA here makes us
better armed to tackle distribution in other parts of the
world. n
JULY 2016 BoxOffice ® 59

CINEEUROPE AWARDS
INTERNATIONAL EXHIBITOR
OF THE YEAR
Interview by Daniel Loria
CHRISTIAN
LANGHAMMER
Founder, Cineplexx International
of 25 cinemas. In the early 1990s
we started to develop the Cineplexx
cinema chain, partly replacing old and
traditional cinemas, especially in cities
outside of Vienna, in the countryside.
There we developed multiplex and
multiscreen cinemas under the brand
name Cineplexx.
How did you first enter the industry?
It was in Austria in 1967, when I was still a little
boy, when my father decided to acquire a single-screen
cinema in the heart of Vienna. The motivation here
was related to our distribution business; we tried to
find a cinema as a distribution partner. This motivation
was the cornerstone for the cinema chain back in
1967, and the cinema was called Kreitz Kino.
What was the exhibition market like in
Austria in the 1970s, when you began
building your first chain across the country?
In the 1970s and 1980s the exhibition market
was more distributed. There was one big exhibitor,
Kiba, where the city of Vienna owned cinemas with
a strong focus in Vienna and eastern Austria. In the
other cities of the country there were many smaller
family-owned cinemas and more than 250 different
cinema owners in the market. The Constantine Film
Group of companies built up a connected cinema
chain as a circuit; this was actually the only connected
competition to the Kiba cinemas owned by the
city of Vienna.
In the 1980s we increased the number of our
locations in Austria, all across the country, to a total
Cineplexx was founded in
1995, an interesting time in the
concept of multiplexes and
bringing modern cinemas to
Europe. What was your early
strategy in launching Cineplexx?
Was a European presence always
part of the plan, or did that
opportunity reveal itself over
time?
In 1995, the strategy of course
was to adopt the cinema exhibition
business in Constantine Film Group
of Companies to the state-of-the-art
standards of cinema operation. It was
necessary to transform the market
from traditional Austrian cinemas to
international-style multiplex cinemas. It was our clear
target to have a country-wide cinema chain covering
all the key cities, of course starting in Vienna, but
then going to the capital cities of the small federal
states of Austria. In the later stage it was clear that a
midsize concept of multiplexes had to be developed
to go further down to second- and third-tier cities
in the small market of Austria. At that time in 1995
there was no strategy for operations abroad. It was
not clear at the time how southern and eastern European
countries would develop and how the economic
situation would be. This strategy was developed at
the later stage in the middle of the first decade of the
new millennium.
What were some of the early obstacles and
lessons you learned in expanding Cineplexx
internationally?
We had the target and the vision to bring our
concept of cinema operations to new markets, and it
was clear everything had to follow a red line in terms
of design and concept of the cinemas. It is not easy
to establish the existing success for a home-market
circuit across 10 different countries. There aren’t only
legal and cultural differences; it is also a question of
60 BoxOffice ® JULY 2016

common understanding,
a question of language, a
question of organization.
Of course, organizational
tasks have to be different
in other kinds of countries
than in the home country.
They have to be adapted
to local legal standards, to
local accounting standards,
and so on. It is all more
complicated than expected—from
teaching and
training staff, to finding
the right people, it takes
more time than you wish
it would. This is the major
obstacle of developing a
successful cinema chain.
In order to understand
local cultures and markets,
you have to find experts,
partners, and staff who
are fully committed to the
Austrian home base but
are also sensitive to their
local market.
You were a strong proponent of the digital transition
from the outset. Do you believe that was an important
turning point in the history of the industry?
Digitization was one of the most important innovations in the
last couple of decades for both the film industry and film technology
in general. It boosted the cinema business to new levels.
First of all, it was the innovation necessary to compete in terms of
protection quality with film-entertainment devices. It also opened
the world to other new sources of business—alternative content,
new 3D standards—and it was the basis for justifying ticket-price
increases. The technology boosts once again made the cinema the
best destination for state-of-the-art projection.
What are some of the current trends and innovations in
the exhibition business that you find most captivating?
The current trends and innovations in the exhibition business
that stand out the most for me are in the PLF sector, premium
large format. This includes high-quality brands like IMAX and the
new Dolby Cinema system with exceptional laser projection, which
for me is very important as well. It drives admissions, increases
excitement about moviegoing, and represents the peak of current
technology in the cinema. Besides technology, it’s also important to
look at a customer’s comfort. Premium seating is very specific and
can be different from market to market, but the focus on comfort
in general, with better seating, extra space, and [recliners] increases
the comfort of the moviegoing experience. Finally, communicating
with customers and maintaining contact with them via mobile
apps and web ticketing is also very important. These are the three
main fields where we’re seeing very exciting innovation and that can
complement the core standards of our business. n
JULY 2016 BoxOffice ® 61

CINEEUROPE AWARDS
VARIETY INTERNATIONAL CHILDREN’S
FUND HUMANITARIAN AWARD
SCOTT NEESON
Founder, Cambodian Children’s Fund
The only way
to provide
lasting, generational
change, is to ensure
that whole families are
lifted from poverty.
CCF provides not only
for the health and
well-being of children,
but for their
families and
community.
How did you first get involved in the film
industry?
I was educated in Australia and was not an
especially adept student. I left before finishing high
school. The federal government job scheme found a
job for me working as a projectionist at the drive-in
movie theaters and during the day as an assistant in
their home office. I worked up from there.
Had the thought of transitioning your career
to social service, as you have now, ever
crossed your mind before your visiting
Phnom Penh in 2003, when you decided to
focus your energy on helping Cambodia?
Absolutely not. I loved my time in the film
business. It was not just the great lifestyle and the
Hollywood glamor, but I had some really good,
close friends, and I loved working in such a dynamic
industry. The decision to start the charity was
based on my experience in this one particular area
of Cambodia; otherwise I would still be happily
working in the film business.
Was it always part of the plan
to transition to Cambodia full
time? Or was there a specific
moment when you realized you
needed to devote all your time
to the endeavor?
When I left Cambodia it was
with some regret. I felt like I had
found my mission and I was enormously
driven by the potential
to make an impact amongst this
community. My original plan was
to keep my Hollywood position and
send as much money as possible to
Cambodia to fund the operations here.
I was very conscious that there
was a tipping point where the value of my being
based in Cambodia was greater than the value of
the money I could send across every month. I also
had a great issue with the emotional reconciliation
of being amongst a very wealthy and infamously
indulgent Hollywood community one day and,
quite literally, on a garbage dump where children
are living and dying the next. I was 45 at that time
and very conscious of not having a high-profile and
classic midlife crisis, and so I promised myself I
would wait 12 months before making any decision
about where I would be based. At the end of the 12
months it was clear that my heart was in Cambodia.
What lessons from your time at major
studios did you bring in building and
developing an important mission-based
organization like the Cambodian Children’s
Fund?
I believe one of the reasons that Cambodian
Children’s Fund is such a success—whether in terms
of the measurable impacts of education, maternal
care, community standards, or whether measured
by our financial management and transparency—is
largely a factor of my corporate life. Corporate
America has very high standards in terms of compliance,
policy, and profitability, and these are assets
that don’t normally apply to the nonprofit world.
I have been accused of running CCF “more like a
business,” which I thought was a compliment, but I
found out later they were insulting me!
What are some of the initiatives you’re
currently developing at the Cambodian
Children’s Fund?
The Cambodian Children’s Fund provides not
just help for these impoverished children but also
ensures that their families and siblings are also cared
for. A child cannot have a consistent and sustainable
education if the parents are unable to pay rent that
day or if the child’s siblings are going hungry. Over
time we developed services that ensured that the
children could study free from the burden of having
to provide for their own families. I found that
lifting the responsibility of caring for family, sick
grandparents, younger siblings, rent, and food from
their shoulders was likely the greatest gift to give a
child. They were free to be children again, and their
biggest ambition was to get into school.
The model has matured and, like Variety – the
Children’s Charity, we now provide a series of programs
that encompasses all the needs of the children.
We are at capacity in terms of students and we are now
looking at both the quality of programs and ways to
62 BoxOffice ® JULY 2016

etter deliver to the community. I firmly believe that
the future of a charitable organization isn’t in building
to a national capacity. A worldwide solution works
well if it is treating an illness, for example elimination
of smallpox, or a research-based initiative. However,
when looking at social ills, community-based problems,
lack of access to education, gender inequality,
then the solution has to be done at a community level.
I believe that replicating at a community level is far
more effective then attempting to scale up a good idea
but at the cost of adding in bureaucracy, dependence,
and without an exit plan.
One of the things we are very proud of is that
of our initial students, 130 are now in university
and they are taking on responsibility for a lot of the
community issues. We combine high-level education
with community leadership. The world has a
surplus of highly educated people who aren’t giving
back and are very much focused on simply succeeding
in business or careers. If we are to change
the world significantly, then we have to focus on
not just education but on community responsibility,
giving back, the fundamentals of wisdom, and
family structure.
Do you still keep up with the trades and the
latest news from the film industry?
I try and keep up with the trades and what is
going on in the film industry. I maintain a few close
relationships with friends in Hollywood who keep
me updated. I think the Hollywood attraction is
a universal thing, and even if you are not in the
business it still has that magnetism. n
The moment I
stepped there
it was the single most
impactful moment in
my life. I was standing
there facing
into the
abyss.
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JULY 2016 BoxOffice ® 63

COVER STORY
IMAGE: BLUE SKY STUDIOS
SUMMER COOL
EMBRACED BY AUDIENCES WORLDWIDE, THE ICE AGE GANG
RETURNS FOR THE FIFTH ENTRY OF THE FRANCHISE
by Daniel Loria
n Lori Forte and Mike Thurmeier have been involved with the Ice Age franchise since the very start. As producer,
Forte has overseen the production of all five films, including this summer’s Ice Age: Collision Course. Thurmeier
began his collaboration on the series as a lead animator for the first Ice Age before being called up to direct the
third film in the series, Ice Age: Dawn of the Dinosaurs, in 2009. Thurmeier has since returned as co-director on each
subsequent film in the series. Boxoffice caught up with the duo to talk about the upcoming film and how the family
atmosphere at Blue Sky Studios has influenced the style and feel of the Ice Age franchise.
You’ve both been involved in this franchise since the
beginning. What has it been like to shepherd a series
from the first installment into the global blockbuster it’s
known as today?
Lori Forte: I was looking through projects to produce, and
looking at the landscape at that time, around 1998 or so, I noticed
that there weren’t any movies out there that took place during
the ice age, particularly animated ones. I felt it was a really good
opportunity. I brought in the writer who created the characters,
and it was just a wonderful project right from the beginning. We
fell in love with the characters, we fell in love with the world, and
it offered a lot of opportunities for storytelling. To be involved with
the first one and to have it do so well [at the box office] and have
audiences embrace it and love the characters is the biggest honor
64 BoxOffice ® JULY 2016

shot. I can’t say enough good things about it; I think
the strength of the series is in the characters.
MIKE THURMEIER
PHOTO: DUSTIN HUNTINGTON
and a big treat. Being involved in every step
of the way thereafter, through all five films,
brings a protectiveness and love of the franchise.
It’s a passion of ours to want to tell the
right story for the characters, and we want to
watch them grow, evolve, develop, and have
a lot of fun doing it. We’re amazed and very
proud of where the franchise is today.
Mike Thurmeier: Ice Age was my first
animated feature. At the time that this
project came in, we had never taken on
anything this big at Blue Sky Studios. It was
really special to start with that one because
everyone was learning at the same time; the
characters were designed well and looked
different than what had been done before.
As an animator, it was a fun project to tackle.
Being included in supervising the animation
for the second film just continued that
growth, and I was really lucky that Lori and
Carlos [Saldanha] asked me to co-direct the
third one. That was a huge change, but it felt
very similar to animating in that it involved
creating and sculpting a story instead of just
a character’s performance in a particular
Does it feel like a big family reunion every
time you guys come back for another
installment?
MT: It does! Many of the same people have been
involved on all the installments from the beginning.
There’s always a spirit of coming back and getting
reacquainted with these characters, and we obviously
keep on coming back to them because we’re in love
with them. It really is a family atmosphere, and
even though we share some similarities
across different projects, like Rio or
Peanuts, there is a distinct identity
to Ice Age, so when we come
back together for another
installment it’s like you’re
going back to the home
base of creativity within
the studio.
LF: We always have a
couple of years between
Ice Age movies where
parts of the team leave
to work on other
films. When Ice Age is
ready to go back into
pre-production and
production, like Mike
said, it’s like a homecoming.
It’s like seeing old
friends again.
Ice Age is a great example
of how the international
marketplace has grown
to embrace certain film
franchises. What factors
do you think make this
particular series so beloved
by global audiences?
LF: We never expected to be
able to go on to a second, let
alone a third, fourth, or fifth
movie while making the first one.
I think people around the world
have embraced it because it has
a lot of positives. First of all,
it has these very funny, loving,
and endearing characters. The
theme of family is at the heart
of each movie; the idea that you
don’t have to be related by blood
to be part of a family. It is about
loyalty, support, and all the great
values in life for kids, adults, and
seniors. I don’t see our films as
being overly preachy. I think they
just embody core family values.
JULY 2016 BoxOffice ® 65

IMAGE: BLUE SKY STUDIOS
AT THE MOVIES
Lori Forte (left): I was very into
stories and storytelling, and my
parents would always take us to
the movies. We would go as a family;
my brother was very much into
movies and movie making. I also
come from Canada—Montreal—and
I love going into the theater and
escaping everything. I was mesmerized
by the characters and the stories. I think we spent a
good part of our lives growing up in a movie theater.
Mike Thurmeier: I grew up in the prairies of Canada and
at the time some of the theaters were still pretty old
school. I remember going to the Star Trek movies with
my dad, and that was a huge influence, seeing those
films on the big screen.
AT THE CONCESSIONS STAND
Mike Thurmeier: I always go for the Reese’s Pieces.
Lori Forte: I always go for the popcorn.
We always have a big idea, a big story, a big pending disaster, or
in this movie, a cosmic event. I think that engaging these big ideas
is what keeps the series so fresh and exciting. At the same time, we
work out the characters’ personal issues throughout the storytelling.
We try to keep our characters growing and changing from film
to film, so it’s not the same thing repeated again and again. At the
very beginning we had three disparate characters, Manny, Sid, and
Diego, coming together as outcasts. They formed this family that
should probably never have existed, but they formed it through
friendship and loyalty and wound up returning a human baby to
its father. The humans and the animals were not really on the same
page and shouldn’t have been together either, but that’s a bond that
formed. Starting from there and tackling each adventure thereafter
was like growing that family: Manny meeting Ellie in the second
movie, and in the third movie Ellie and Manny having their baby
only to be separated and having to find each other again in the
fourth movie. Now, in our latest film, Manny and Ellie’s baby,
Peaches, is growing up and they’re looking at an empty-nest situation.
The family in these films keeps on growing and changing, and
that’s what people seem to be responding to.
MT: The films don’t have a cynicism or North American sense
of humor to them. I think it’s succeeded globally because there’s a
lot of physical comedy that plays well abroad. The look of the film
also contributes since it doesn’t feel it’s taking place in any specific
place in the world. It’s a world that has an inclusive feel to it. I
think people living in Europe, Asia, or Latin America can feel like it
could be part of their world.
What was it about this specific installment that got you
guys excited about going back to work on Ice Age again?
MF: For me it was when my co-director, Galen, and I met
with Lori to talk about the idea. It was surprising because I don’t
think anyone expects a cosmic element in an Ice Age film. That was
intriguing because with Ice Age we’ve spent a lot of time on stone
and ice, and there’s a dominant color palette. This space element
became something to latch on to and think of different moments
and colors that we could bring in. That was really appealing. You
want something fresh and interesting every time you go to a movie,
and each Ice Age has had that.
LF: Some people might think it’s a little extreme to take it to
outer space, but if you think about it, we had Manny and Diego
walking through this ice museum in the first Ice Age, where they
come across a prehistoric fish, a dinosaur encased in ice, and then
a space ship that’s also encased in ice. We never came back to that;
it was sort of like a little wink—how that would have gotten there?
We knew one day that we would come back to this idea and this
story, and that’s what piqued my interest for this installment. We
had already laid the groundwork for this flying saucer to be there,
and we thought it would be fun if Scrat, somehow in pursuit of his
nut, accidentally falls into the spaceship and sets it off. So it feels
like it’s connected to the first movie in a way. We did a short called
“No Time for Nuts.” Mike co-directed it with Chris Renaud, and
in the film Scrat finds a time machine and pursues his nut through
time and space. So the character has already dabbled with technology,
although not successfully. That short had a lot of laughter, a lot
of fun, and a lot of potential. We wanted to go back and capture
some of those moments and expand it into a bigger canvas. Now
Scrat goes up and has this adventure in the cosmos, but his actions
have consequences for our characters down on Earth. n
66 BoxOffice ® JULY 2016

FILMMKAER INTERVIEW
THE PURGE CREATOR JAMES DEMONACO ON WHY POLITICS IS
THE PERFECT DIRECTION FOR HIS HORROR FRANCHISE
by Jesse Rifkin
James DeMonaco’s directing career took off with his 2013 surprise hit, The Purge. The film
was made on a modest budget and went on to gross nearly $90 million in North America,
not bad for a relatively new name on the scene. DeMonaco has since worked tirelessly in
writing and directing the following two installments in his Purge series, 2014’s The Purge:
Anarchy and this summer’s The Purge: Election Year. Boxoffice spoke with DeMonaco to
get a closer look at the latest film in the series and his take on how the current, real world
election cycle is reflected in his work.
You wrote The Purge: Election Year
in 2014. Hillary Clinton was the
Democratic frontrunner at that time,
but current presumptive Republican
nominee Donald Trump was nowhere
in the realm of the realistic. Did
Trump’s rise affect your screenwriting
or filmmaking process for this movie
in any way?
The truthful answer is I don’t know.
I think, as writers, you’re hearing stuff, it
works its way into your head, into your pen,
into the typewriter. I think Trump worked
his way in. I think of the landscape back
then [in 2014], with Rubio and Cruz.
2014, they were saying it was going
to be a Jeb Bush versus Scott Walker
race.
That’s very true, Ted coming into it later
on informed my rewrites. I think when
people see the movie, they’ll see the character
The Minister has a definite Ted-like quality.
And I think the New Founding Fathers of
America [the group in the film series which
creates the titular Purge, an annual tradition
where all laws are abandoned for 12 hours]
in the rewrites was definitely influenced later
on by the Trump emergence, their entire
attitude. They created The Purge, they have
a Trump-like attitude. Bits and pieces of all
the players that we saw over the last year, I
infused them. When we were making the
film, just saying, ‘Well, let’s do this, this will
feel like something we just read about that
Trump did.’ I think it slowly just bled into
the process.
The first draft, Hillary was definitely in
my head. But I can’t say that the others were.
68 BoxOffice ® JULY 2016

Maybe Jeb Bush was? I’m not sure. I know I had an overall picture of the NFFA and
their candidates, what I wanted that to represent, which was this far right kind of mentality.
Listen, both sides have gone wrong, but in different ways. As a writer, influences
from the real world bleed into everything you do.
Your film has a television and internet ad campaign which features zero
horror components, instead parodying bright and optimistic political
campaign ads. Were you involved in those commercials? Many people
seem to think they’re brilliant, but do you worry anybody might go to the
film not realizing it’s a horror movie?
I do! But Universal’s marketing team is one of the best. They had the greatest year
ever last year, with Straight Outta Compton, Jurassic World, they did Furious 7 too.
They’re an amazing team, very smart. I think they broke every box office record last year.
We talked. They called me saying, ‘This is our idea.’ They were very excited about the
election angle that was in the script. Then they just took it and ran. They pitched me
all this stuff. I had written for Purge 1 all this online content that never got produced,
it was too expensive. It had kind of similar campaign kind of things. We were always
talking about going this campaign way at some point. It’s always been a back-and-forth:
I don’t question them, they let me make the movie, I let them do the marketing. We do
our different crafts.
If that happens here [people attending not realizing it’s a film], I think there’s enough
in the movie [to satisfy everyone]. I was on the fence about making the third one. I
wanted to complete the trilogy in my own way, and if Universal didn’t see that, then let
bygones be bygones. But they let me tell this political story. I think there’s enough in
there that even if you’re not a horror fan there’s a lot of fun stuff that would hold your
attention, with the battling of the candidates and the political component. If you’re
going in for some politics, for some horror, for some action, hopefully it will appeal to
many different audiences.
Your movie is about a world where for 12 hours all laws, including bans
against murder, are suspended. What would you personally do in a world
where there were 12 hours with no laws?
Move to Canada! I’d just get the hell out of here. Otherwise, I’d probably literally
lock myself up. I’d be a scaredy-cat. That’s why I hired Frank Grillo, because Frank’s like
my cool alter ego. He’s truly tough and would probably go out and fight for justice on
that night, as he does in this movie. But I’d hide in the greatest steel bunker that I could
find. Alone, too. That’s what I’ve learned from writing the Purge films: there’s no one to
trust. You have to be alone on Purge night, because it can go wrong by even your best
friend or your wife.
What do you think Hillary Clinton and Donald Trump—or the runner-up
candidates Bernie Sanders and Ted Cruz—would do if there were 12 hours
with no laws?
That’s a really good question. I’m going to put my foot in my mouth here! I think
Hillary would do what the candidate in my film would do, which is lock down. She
would not engage in the evening. Trump, from some of the things he said, might have
an alternate agenda. I think that, with the bullying mentality that he has, he would
use the night for his own purposes – as a certain character in the movie does, The
Minister. So I think they would have completely opposing agendas, based on what
I’ve read about them and heard them say. It seems like Donald has a different way of
looking at the world, who he wants in this country and who he wants out. He might
use the night to move his agenda along. Since it’s lawless, he can do whatever the hell
he wants.
Bernie I think would be very similar to Hillary. Probably he would oppose the
night. He might be more vocal in his opposition. Maybe he’d actually be outside
fighting against certain people. Create a safe space for people who are underprivileged,
which also happens in this movie. I think Bernie would actually do something
a little more like that, be a little more proactive in helping people who are victims of
the night. Ted? That’s a tough one. Ted’s religion might hold him back a little from
engaging. n
JAMES DEMONACO
AT THE MOVIES
I was a movie-obsessed kid. There
was a multiplex that opened on Staten
Island, it was the first multiplex I
had ever seen in my life. It was very
shocking to see a theater that had
12 screens—small compared to what
they have now, which is like 18 or 20.
As a promotion for the theater, they
had a day of free movie watching. On
every screen was either Platoon or
Aliens. They did it for two days. I think
I spent almost 48 hours in there. I slept
only four hours, literally running between
Platoon and Alien for 48 hours
straight. Just in awe that this was
occurring in my life that I could watch
these films on the big screen over and
over again. It was a great two days.
Before that, it was probably seeing
Jaws in Brooklyn at the Rialto. I saw
it six days in a row with my mom, I
forced her to take me six days in a
row. It freaked me out so much but I
loved it, I loved everything about it.
I must have been six or seven at the
time. I would literally came home, we
had a pool in Staten Island when we
moved from Brooklyn, I would sit at
my kitchen window which was on the
second floor of our home and I would
stare at the pool searching for sharks.
That’s how freaked out I was by Jaws.
My dad took me to see Dog Day
Afternoon at the theater when I was
seven. He took me to Raging Bull
when I was 10. I went to Apocalypse
Now, that was the life-changing experience
of my life. I had never seen the
emotions at the age of nine that I felt
during Apocalypse Now. I felt like I
was watching someone’s dream. That
was the film that made me want to
become a filmmaker.
AT THE
CONCESSION STAND
Butterfingers, I go right to Butterfingers
anywhere I go. Otherwise it’s
Sno Caps in the popcorn, that would
be second. Try this. Get a box of Sno
Cops and get some buttered popcorn,
hot, dump the Sno Caps in and they
kind of melt into the popcorn. My
sister came up with it when we were
kids, we’d go to the movies all the
time and I got it from her.
JULY 2016 BoxOffice ® 69

COMING SOON IN 3D
THE BFG
JULY 1 · DISNEY/DREAMWORKS
CAST Mark Rylance, Ruby Barnhill
DIR Steven Spielberg
GENRE Adv/Fan/Fam
SPECS 3D/Dolby Dig
THE LEGEND OF TARZAN
JULY 1 · WARNER BROS.
CAST Alexander Skarsgård, Margot Robbie
DIR David Yates
GENRE Act/Adv
SPECS 3D/IMAX/Dolby Atmos
THE SECRET LIFE OF PETS
JULY 8 · UNIVERSAL
VOICE CAST Louis C.K., Eric Stonestreet
DIR Chris Renaud
GENRE Ani/Com/Fam
SPECS 3D/Dolby Atmos
GHOSTBUSTERS
JULY 15 · SONY
CAST Melissa McCarthy, Kristen Wiig
DIR Paul Feig
GENRE Com/Hor
SPECS 3D/IMAX/Dolby Atmos
ICE AGE: COLLISON COURSE
JULY 22 · FOX
VOICE CAST Ray Romano, John Leguizamo
DIR Mike Thurmeier
GENRE Ani/Com/Fam
SPECS 3D/Dolby Atmos
STAR TREK BEYOND
JULY 22 · PARAMOUNT
CAST Chris Pine, Zachary Quinto
DIR Justin Lin
GENRE Act/Adv/SF
SPECS 3D/IMAX/Dolby Atmos
SUICIDE SQUAD
AUGUST 5 · WARNER BROS.
CAST Will Smith, Jared Leto
DIR David Ayer
GENRE Act/Adv
SPECS 3D/IMAX/Dolby Atmos
PETE’S DRAGON
AUGUST 12 · DISNEY
CAST Bryce Dallas Howard, Oakes Fegley
DIR David Lowery
GENRE Ani/Com/Fam
SPECS 3D/Dolby Dig
BEN-HUR
AUGUST 19 · PARAMOUNT
CAST Jack Huston, Toby Kebbell
DIR Timur Bekmambetov
GENRE Act/Dra
SPECS 3D
70 BoxOffice ® JULY 2016

ALSO UPCOMING IN 3D
2016
AUG 19 FOCUS FEATURES KUBO AND THE TWO STRINGS
SEP 9 LIONSGATE/SUMMIT THE WILD LIFE
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
DEC 21 SONY/COLUMBIA PASSENGERS
DEC 21 UNIVERSAL SING
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 PARAMOUNT/DREAMWORKS GHOST IN THE SHELL
APR 7 SONY/COLUMBIA SMURFS: THE LOST VILLAGE
MAY 5 DISNEY GUARDIANS OF THE GALAXY VOL. 2
MAY 19 OPEN ROAD THE NUT JOB 2
MAY 26
DISNEY
PIRATES OF THE CARIBBEAN:
DEAD MEN TELL NO TALES
JUN 2 FOX/DREAMWORKS ANIMATION CAPTAIN UNDERPANTS
JUN 16 DISNEY CARS 3
JUL 7 SONY/COLUMBIA SPIDER-MAN: HOMECOMING
JUL 21 FOX FERDINAND
AUG 11 SONY/COLUMBIA THE EMOJI MOVIE
SEP 22 WARNER BROS. THE LEGO NINJAGO MOVIE
NOV. 3 DISNEY THOR: RAGNAROK
NOV 10 UNIVERSAL DR. SEUSS’ HOW THE GRINCH STOLE CHRISTMAS
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
SEP 21 SONY/COLUMBIA HOTEL TRANSYLVANIA 3
SEP 21 WARNER BROS. S.C.O.O.B.
OCT 19 WARNER BROS. JUNGLE BOOK
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
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
JULY 2016 BoxOffice ® 71

EVENT CINEMA CALENDAR
ABRAMORAMA abramorama.com • tom@abramorama.com
ALL'OPERA - LA FAVORITA Tues, 7/12/16 Opera
ALL'OPERA - LA FANCIULLA DEL WEST Tues, 8/9/16 Opera
FATHOM EVENTS fathomevents.com • 855-473-4612
BRANAGH THEATRE LIVE: ROMEO AND JULIET Thurs. 7/7/16 Theatre
RIFFTRAX LIVE: MST3K REUNION SHOW ENCORE Tues, 7/12/16 Comedy
THE MET: LIVE IN HD 2016 SUMMER ENCORES - LA BOHÈME Wed, 7/13/16 Opera
ART & ARCHITECTURE: ST. PETER’S AND THE PAPAL BASILICAS OF ROME Thurs, 7/14/16 Art Exhibition
NT LIVE ENCORE SERIES 2016: THE AUDIENCE Tues, 7/19/16 Theatre
THE MET: LIVE IN HD 2016 SUMMER ENCORES - COSÌ FAN TUTTE Wed, 7/20/16 Opera
BATMAN: THE KILLING JOKE Mon, 7/25/16 Action
TCM BIG SCREEN CLASSICS: PLANET OF THE APES Sun, 7/24/16 & Wed, 7/27/16 Sci-Fi
LINCOLN CENTER AT THE MOVIES: ALVIN AILEY AMERICAN DANCE THEATER Tues, 7/26/16 Dance
LINCOLN CENTER AT THE MOVIES: BALLET HISPANICO Tues, 8/2/16 Dance
LINCOLN CENTER AT THE MOVIES: SAN FRANCISCO BALLET Tues, 8/9/16 Dance
DCI 2016: BIG, LOUD & LIVE 13 Thurs, 8/11/16 Sports
TCM BIG SCREEN CLASSICS: NATIONAL LAMPOON’S ANIMAL HOUSE Sun, 8/14/16 & Wed, 8/17/16 Comedy
TCM BIG SCREEN CLASSICS: THE KING & I Sun, 8/28/16 & Wed, 8/31/16 Musical
LABYRINTH 30TH ANNIVERSARY Sun, 9/11/16 & Wed, 9/14/16 Fantasy
TCM BIG SCREEN CLASSICS: DR. STRANGELOVE Sun, 9/18/16 & Wed, 9/21/16 Comedy
VANISHED: LEFT BEHIND NEXT GENERATION Wed, 9/28/16 Drama
TCM BIG SCREEN CLASSICS: THE SHINING Sun, 10/23/16 & Wed, 10/26/16 Horror
NT LIVE ENCORE SERIES 2016: FRANKENSTEIN Tues, 10/25/16 Theatre
NT LIVE ENCORE SERIES 2016: HAMLET Tues, 11/15/16 Theatre
TCM BIG SCREEN CLASSICS: BREAKFAST AT TIFFANY’S Sun, 11/27/16 & Wed, 11/30/16 Comedy
TCM BIG SCREEN CLASSICS: FROM HERE TO ETERNITY Sun, 12/11/16 & Wed, 12/14/16 Drama
ROYAL OPERA HOUSE roh.org.uk/cinemas • cinema@roh.org.uk
NORMA Mon, 9/26/16 Opera
COSÌ FAN TUTTE Mon, 10/17/16 Opera
ANASTASIA Wed, 11/2/16 Ballet
LES CONTES D’HOFFMANN Tues, 11/15/16 Opera
THE NUTCRACKER Thurs, 12/8/16 Ballet
SPECTICAST specticast.com • 866-996-2842
SAINT PETER’S AND THE PAPAL BASILICAS OF ROME Thurs, 7/14/16 & Sun., 8/28/16 Film/3D
STRATFORD FESTIVAL HD - ANTONY AND CLEOPATRA Sun, 9/4/16 Theatre
STRATFORD FESTIVAL HD - CAESAR & CLEOPATRA Sun, 9/4/16 Theatre
STRATFORD FESTIVAL HD - KING JOHN Sun, 9/4/16 Theatre
STRATFORD FESTIVAL HD - KING LEAR Sun, 9/4/16 Theatre
STRATFORD FESTIVAL HD - THE TEMPEST Sun, 9/4/16 Theatre
72 BoxOffice ® JULY 2016

WARNER BROS. / JULY 1
n David Yates, known for small British television dramas,
was surprisingly given the reins to the Harry Potter franchise
with the fifth film after bigger names demurred. He subsequently
directed the final three in the series and is currently
in post-production on J.K. Rowling’s Fantastic Beasts and
Where to Find Them. In between he fit in this big-budget and
umpteenth retelling of the story of the King of the Jungle.
CAST ALEXANDER SKARSGÅRD, SAMUEL L.
JACKSON, MARGOT ROBBIE, DJIMON
HOUNSOU, JIM BROADBENT,
CHRISTOPH WALTZ DIRECTOR
DAVID YATES GENRE ACTION,
ADVENTURE RATING PG-13
FOR SEQUENCES OF
ACTION AND VIOLENCE,
SOME SENSUALITY, AND
BRIEF RUDE DIALOGUE
RUNNING TIME TBD
TRUE BLOOD'S ALEXANDER
SKARSGÅRD AS JOHN CLAYTON
III, LORD GREYSTOKE, AKA
TARZAN
FILM CAPSULES
BY KENNETH JAMES BACON
JULY 2016 BoxOffice ® 73

ON SCREEN > WIDE RELEASES
THE BFG
DISNEY · DREAMWORKS / JULY 1
n When Steven Spielberg likes an actor, he
likes an actor. He’s made three films with
Richard Dreyfus, four with Tom Hanks, and
after The Kidnapping of Edgardo Mortara
in 2018 it will be four with Mark Rylance
(Ready Player One is next for the duo).
Rylance is the only actor to win an Oscar in
a Spielberg movie (Bridge of Spies).
The BFG, based on the Roald Dahl book,
stands for Big Friendly Giant, and as you can
see at left not only does the BFG look just
like the famed Quentin Blake book illustrations,
he also looks like Rylance.
The film was screened at Cannes earlier
this year and has been well-received by critics.
It is no doubt headed for solid summer
business.
MARK RYLANCE WORE A MOTION
CAPTURE SUIT TO PLAY THE BFG
CAST MARK RYLANCE, RUBY BARNHILL,
PENELOPE WILTON, JEMAINE CLEMENT,
REBECCA HALL DIRECTOR STEVEN
SPIELBERG GENRE ADVENTURE, FAMILY,
FANTASY RATING PG FOR ACTION/PERIL,
SOME SCARY MOMENTS, AND BRIEF RUDE
HUMOR RUNNING TIME 115 MIN.
UNIVERSAL / JULY 1
n As counter programming to the family
film above, Universal delivers the third entry
in its Purge series with Frank Grillo returning
from the second film.
It’s 2025 and the annual Purge is under
siege by presidential candidate played by Elizabeth
Mitchell. How that works is perhaps the
biggest mystery here as there is no presidential
election in 2025 (or 2026 or 2027). But there’s
one this year, hence the timely title!
The first two films in the franchise each
grossed several multiples of their production
budgets with the second, Anarchy, making
more than the first. Boxoffice forecasts a
$21 million opening weekend.
12 HOURS OF LAWLESSNESS PER YEAR IS
CHALLENGED BY A ROGUE SENATOR
CAST FRANK GRILLO, ELIZABETH MITCHELL,
MYKELTI WILLIAMSON, BETTY GABRIEL
DIRECTOR JAMES DEMONACO GENRE
ACTION, HORROR, SCI-FI RATING R FOR
DISTURBING BLOODY VIOLENCE AND
STRONG LANGUAGE RUNNING TIME TBD
THE PURGE:
ELECTION YEAR
74 BoxOffice ® JULY 2016

MIKE & DAVE NEED WEDDING DATES
FOX / JULY 8
n Zac Efron’s abs star alongside Efron
himself in this comedy about … well,
look at the title. Adam DeVine, very
funny in the Pitch Perfect movies and the
current Allstate commercials, plays Efron’s
party-boy brother, and the two of them are
commanded by their parents to get respectable
dates to rein them in at their sister’s
upcoming wedding. A recruitment video
they craft and post goes viral, and soon
they appear on the The Wendy Williams
Show—as one does—to recruit said dates.
Blowsy and boozy Anna Kendrick and Aubrey
Plaza engineer being picked because,
you know, Free Hawaiian Trip!
Solid comedy support is provided by
Coen Brothers regular Stephen Root and
Sam Richardson, the MVP on this season
of HBO’s Veep, as the groom.
CAST ZAC EFRON, ADAM DEVINE, ANNA
KENDRICK, AUBREY PLAZA DIRECTOR JAKE
SZYMANSKI GENRE COMEDY RATING R
FOR CRUDE SEXUAL CONTENT, LANGUAGE
THROUGHOUT, DRUG USE, AND SOME
GRAPHIC NUDITY RUNNING TIME TBD
R-RATED ADAM, AUBREY,
ANNA, AND ZAC PARTY ON
LOUIS C.K. BRINGS HIS SARDONIC
DELIVERY TO THE PUT-UPON TERRIER, MAX
UNIVERSAL / JULY 8
n Universal has done very nicely with
its two Despicable Me films, so they’ve
assembled the same team to show us what
our pets do when we’re not around. I know
what mine does: nothing. Get a job.
The voice cast is led by Louis C.K. as
Max, a Jack Russell terrier who becomes
jealous when his owner (Ellie Kemper)
brings home a rescue dog, a slobbering
Newfoundland voiced by Modern Family’s
Eric Stonestreet. Kevin Hart shows up as
Snowball, leader of a gang of abandoned
pets ready to cause trouble for happily
owned pets.
VOICE CAST LOUIS C.K., ERIC STONESTREET,
KEVIN HART, STEVE COOGAN, ELLIE KEMPER
DIRECTORS CHRIS RENAUD, YARROW
CHENEY GENRE ANIMATION, COMEDY,
FAMILY RATING PG FOR ACTION AND SOME
RUDE HUMOR RUNNING TIME TBD
THE SECRET
LIFE OF PETS
JULY 2016 BoxOffice ® 75

ON SCREEN > WIDE RELEASES
THE INFILTRATOR
BROAD GREEN PICTURES
JULY 13
n Who knew? Bryan Cranston, former
dentist to Jerry Seinfeld (“you’re an anti-dentite!”)
and frantic father to Malcolm
(in the Middle) is now a big-time movie
star. After breaking out in Breaking Bad,
he slid into the role of LBJ in the Broadway
play All the Way. His eerily accurate
portrayal of the former president brought
great acclaim and a Tony. He then garnered
an Oscar nomination as black-listed writer
Dalton Trumbo. HBO brought his LBJ to
cable in May. An Emmy is a certainty. Now
here he is—name above the title—playing
real-life customs agent Robert Mazur, who
infiltrated the drug cartels and helped
in uncovering the money-laundering
operation of Colombian drug lord Pablo
Escobar. Director Brad Furman previously
directed The Lincolm Lawyer—which really
should be a TV show. Get on that, cable
networks.
BRYAN CRANSTON ROCKIN’
THE 1980s ’STACHE
CAST BRYAN CRANSTON, DIANE KRUGER,
BENJAMIN BRATT, JOHN LEGUIZAMO, AMY
RYAN DIRECTOR BRAD FURMAN GENRE
BIOGRAPHY, CRIME, DRAMA RATING TBD
RUNNING TIME TBD
SONY · COLUMBIA / JULY 15
n Who you gonna call? If you’re going to
recast and remake a beloved comedy with
an all-female crew you can’t do better than
ring up Paul Feig. The Bridesmaids, Spy, and
The Heat director has a rock-solid record of
box office returns with his female-centric
films. Why this remake is garnering so much
fanboy rage is frankly a mystery. Sony is
pulling out all the stops after stumbling with
an ill-conceived launch trailer. Since then,
the marketing has improved and the international
trailer is solid. Original cast members
Bill Murray, Dan Ackroyd (who co-wrote the
original), and Sigourney Weaver make brief
cameo appearances, but not as their original
characters, while Chris Hemsworth surprises
as a dimwitted and very un-Thor-like Aussie
hunk.
CAST MELISSA MCCARTHY, KRISTEN WIIG,
KATE MCKINNON, LESLIE JONES, CHRIS
HEMSWORTH DIRECTOR PAUL FEIG GENRE
ACTION, COMEDY, FANTASY RATING TBD
RUNNING TIME TBD
TWO OF THESE GHOSTBUSTERS HAVE OSCAR
NOMINATIONS. SAME AS THE OTHER GANG.
GHOSTBUSTERS
76 BoxOffice ® JULY 2016

ICE AGE: COLLISION COURSE
FOX / JULY 22
n If you’ve seen The Incredibles—and you
have—you’ll remember the Edith Headlike
character Edna Mode. Mode was delightfully
voiced by the film’s director, Brad
Bird. The Ice Age franchise’s most recognizable
character, Scrat, also has a filmmaker
bringing him to screechy-scratchy life.
Ice Age director Chris Wedge, one of the
founders of Blue Sky Studios, has voiced
the saber-toothed squirrel since 2002’s
Oscar-nominated short Gone Nutty. The Ice
Age characters have appeared on multiple
platforms including as a live arena ice show
and in the upcoming attractions set for
Malaysia’s 20th Century Fox World opening
next year. Ice Age in Malaysia—a place
where it has never snowed. And yes, Scrat
is still trying to crack open that acorn.
VOICE CAST RAY ROMANO, JOHN
LEGUIZAMO, DENIS LEARY, QUEEN
LATIFAH, JENNIFER LOPEZ DIRECTORS
MIKE THURMEIER, GALEN T. CHU GENRE
ANIMATION, ADVENTURE, COMEDY RATING
TBD RUNNING TIME TBD
JOHN LEGUIZAMO VOICES SID,
THE LAZY SIBILANT SLOTH
PARAMOUNT / JULY 22
n Fast & Furious veteran Justin Lin takes
over for reboot director J.J. Abrams for
this third adventure of the new crew of the
Starship Enterprise, who, judging from the
trailer, blow this one up. At some point the
Federation needs to stop giving these people
the keys to the car.
Everybody’s favorite future possible James
Bond, Idris Elba, sits in the makeup chair for
six hours to guest star as the bad guy, Krall.
Why he is a bad guy is unknown as of press
time, but it is hoped he rises to the level of
the best Trek baddie of all time—Ricardo
Montalbán’s Khan Noonien Singh.
The plot is being kept under wraps at the
moment, but the trailer reveals little trekking
but a lot of Lin-style high-speed chases.
SOFIA BOUTELLA AS JAYLAH AND CO-WRITER
SIMON PEGG AS MONTGOMERY SCOTT
CAST JOHN CHO, SIMON PEGG, CHRIS
PINE, ZACHARY QUINTO, ZOE SALDANA,
KARL URBAN DIRECTOR JUSTIN LIN GENRE
ACTION, ADVENTURE, SCI-FI RATING TBD
RUNNING TIME TBD
STAR TREK BEYOND
JULY 2016 BoxOffice ® 77

ON SCREEN > WIDE RELEASES
AUSSIE ACTOR TERESA PALMER
LEARNS THE HARD WAY THAT
KEEPING THE LIGHTS ON IS
REALLY THE THING TO DO
LIGHTS OUT
PARAMOUNT / JULY 22
n There’s a nifty little short online titled
Lights Out that you ought to seek out. It’s
scary, even if you watch it on your phone.
It features Swedish actor Lotta Losten
(whose husband directed the piece) in the
briefest of roles: a woman is about to go
to bed when things go bump in the night.
James Wan, of Saw fame, viewed the short
and imagined it would make a great feature
film. To expand the simple creepy-crawly
scene into a full-length movie, Wan
brought in the writer of such scare fests
as Final Fantasy 5 and 2011’s The Thing.
The sleek premise: What if your childhood
friend returns when your childhood ends?
The $5 million production is sure to scare
up a nice return. Watch the short here:
vimeo.com/dauid/lightsout.
CAST TERESA PALMER, GABRIEL BATEMAN,
MARIA BELLO DIRECTOR DAVID F.
SANDBERG GENRE HORROR RATING PG-13
FOR TERROR THROUGHOUT, VIOLENCE
INCLUDING DISTURBING IMAGES, SOME
THEMATIC MATERIAL, AND BRIEF DRUG
CONTENT RUNNING TIME TBD
LIONSGATE / JULY 27
n Henry Joost and Ariel Schulman, the creators
of MTV’s Catfish, continue to explore
their fascination with the perils of social
media with Nerve. Nerve refers to an online
game in the spirit of Truth or Dare with the
accent on dare. The rules of the game are
this: There are Watchers and Players. Players
can win money and prizes by performing a
series of escalating dares while the Watchers
… well, watch. Emma Roberts and Dave
Franco meet when Roberts is dared to kiss
a stranger for $100. Soon the anonymous
Watchers demand increasingly scary activities
while becoming more famous with each
completed dare. But once in the game, can
you get out? How do you win and what
happens if you lose? And what if your only
option is to simply try to survive?
EMMA ROBERTS HAS THE
POTENTIALLY DANGEROUS GAME
EXPLAINED TO HER
CAST EMMA ROBERTS, DAVE FRANCO, EMILY
MEADE, KIMIKO GLENN DIRECTORS HENRY
JOOST, ARIEL SCHULMAN GENRE CRIME,
MYSTERY, THRILLER RATING TBD RUNNING
TIME TBD
NERVE
78 BoxOffice ® JULY 2016

BAD MOMS
STX ENTERTAINMENT / JULY 29
n It’s unclear at press time how much
raunch the writers of The Hangover will
bring to this Moms Go Wild comedy. The
Hangover is the highest-grossing R-rated
comedy of all time, and Bridesmaids, also
rated R, pulled down over $160 million
domestically. STX Entertainment has never
grossed more than $65 million for any of
the four films they have distributed, though
each of them grossed more than its modest
budget.
Bad Moms, like Horrible Bosses, Bad
Santa, and Bad Teacher, reveals its plot
in its title, to wit, three overworked and
stressed mothers leave decorum and parental
obligation behind to embark on a hedonistic
binge of irresponsibility. Christina
Applegate is the perfect and perfectly awful
PTA mom who stands in their way.
CAST MILA KUNIS, KRISTEN BELL, KATHRYN
HAHN, ANNIE MUMOLO DIRECTORS JON
LUCAS, SCOTT MOORE GENRE COMEDY
RATING TBD RUNNING TIME TBD
KRISTIN BELL, MILA KUNIS, AND
KATHRYN HAHN GET THEIR
DRINK ON BEFORE EMBARKING
ON THEIR BAD MOM REVELRY
MATT DAMON PREPARES TO
INFLICT DAMAGE AS THE NO
LONGER MEMORY CHALLENGED
JASON BOURNE
UNIVERSAL / JULY 29
n Matt Damon straps on his serious face for
a fourth go-around as the amnesiac super
spy Jason Bourne. Alicia Vikander, who is
apparently appearing in all the movies being
released this year, joins the cast in an as-yet
unspecified role.
The Bourne franchise, now five films
strong (Jeremy Renner headlined The Bourne
Legacy), has been quite the cash cow for
Universal, who has struggled to establish
long-running franchises with the exception
of Fast & Furious. With $1.2 billion in
worldwide receipts, it’s likely the audiences
will come out big time for Damon’s return in
his signature role. The pros at BoxofficePro.
com forecast a $65 million opening and a
$195 million domestic haul.
CAST MATT DAMON, JULIA STILES, ALICIA
VIKANDER DIRECTOR PAUL GREENGRASS
GENRE ACTION, THRILLER RATING PG-13 FOR
INTENSE SEQUENCES OF VIOLENCE AND
ACTION, AND BRIEF STRONG LANGUAGE
RUNNING TIME TBD
JASON BOURNE
JULY 2016 BoxOffice ® 79

EQUALS
A24 / JULY 15
n There are two ways to end violence within society. Have one
day a year when you can commit any crime you can imagine (The
Purge). Or, as here, genetically eliminate all emotion (or move to
Vulcan—okay, three ways). Kristen Stewart stars as a member of
The Collective who is slowly drawn to another emotionless denizen.
KRISTEN STEWART PLAYS THE EMOTIONLESS NIA
CAST NICHOLAS HOULT, KRISTEN STEWART DIRECTOR DRAKE
DOREMUS GENRE DRAMA, ROMANCE, SCI-FI RATING PG-13
FOR THEMATIC CONTENT, SENSUALITY, PARTIAL NUDITY, AND
DISTURBING IMAGES RUNNING TIME 101 MIN.
PHANTOM BOY
GKIDS / JULY 15
n It was a huge surprise when the little-seen Une Vie de Chat made
the final five for the 2011 Best Animated Feature Oscar (Rango
won). The French makers of that retro noir story, about a cat
burglar’s cat, return with this fantasy about a boy who can leave his
body and float around the city and help a wheelchair-bound New
York cop hunt down a villainous gangster bent on destruction.
A GHOSTLY LEO SWOOPS AND SAILS OVER NEW YORK
CAST EDOUARD BAER, JEAN-PIERRE MARIELLE, AUDREY TAUTOU
DIRECTORS JEAN-LOUP FELICIOLI, ALAIN GAGNOL GENRE
ANIMATION, FANTASY RATING TBD RUNNING TIME 84 MIN.
TULIP FEVER
THE WEINSTEIN COMPANY / JULY 15
n Recently crowned Best Supporting Actress, Alicia Vikander—
who won for the wrong movie, btw—leads an impressive cast
in this period drama set in 17th-century Amsterdam. DiCaprio
clone Dane DeHaan portrays an artist hired to paint a portrait of
an older man’s young wife, who one hopes whispers, “Jan, I want
you to draw me like one of your Dutch girls.”
CHRISTOPH WALTZ AND ALICIA VIKANDER STRIKE A POSE
CAST ALICIA VIKANDER, DANE DEHAAN, ZACH GALIFIANAKIS,
JUDI DENCH DIRECTOR JUSTIN CHADWICK GENRE DRAMA,
ROMANCE RATING TBD RUNNING TIME 107 MIN.
ABSOLUTELY FABULOUS:
THE MOVIE
FOX SEARCHLIGHT / JULY 22
n Britcom icons Edina and Patsy finally hit the big screen after more
than two decades on the telly. “Quick shower, quick shower … Wash
and go. Sandpaper, exfoliant, cellulite breakdown, tone and perm,
auto-bronzer and birch twigs! Shall I have soap? No, no soap.”
JENNIFER SAUNDERS AND JOANNA LUMLEY HIT THE BIG SCREEN
CAST JENNIFER SAUNDERS, JOANNA LUMLEY, JULIA SAWALHA,
JUNE WHITFIELD DIRECTOR MANDIE FLETCHER GENRE COMEDY
RATING R FOR LANGUAGE INCLUDING SEXUAL REFERENCES, AND
SOME DRUG USE RUNNING TIME TBD
80 BoxOffice ® JULY 2016

EQUITY
SONY PICTURES CLASSICS / JULY 29
n To date, Wall Street movies have been a billionaires’ boys club.
In Equity, Breaking Bad’s Anna Gunn plays an New York investment
banker embroiled in scandal and corruption. Actor/Producer
Alysia Reiner (The nasty “Fig” Figueroa in Orange is the New Black)
founded Broad Street Pictures with the specific intent of bringing
more female-driven stories by female writers to the big screen.
CAST ANNA GUNN, JAMES PUREFOY, SARAH MEGAN THOMAS,
ALYSIA REINER DIRECTOR MEERA MENON GENRE DRAMA RATING
R FOR LANGUAGE THROUGHOUT RUNNING TIME 100 MIN.
ANNA GUNN ENTANGLED IN THE WORLD OF HIGH FINANCE
GLEASON
OPEN ROAD · AMAZON / JULY 29
n Outside the Mercedes-Benz Superdome in Louisiana there stands
a nine-foot bronze statue honoring an NFL player and, no, it’s
not Archie Manning, the famed Saints quarterback with Superbowl-winning
sons. It is a statue of a … punt blocker. The subject
of this documentary, Steve Gleason, became a local hero with that
post-Katrina block and was later forced into retirement by ALS.
CAST STEVE GLEASON, MICHEL VARISCO, BLAIR CASEY DIRECTOR
J. CLAY TWEEL GENRE DOCUMENTARY RATING TBD RUNNING
TIME 111 MIN.
FORMER NEW ORLEANS SAINT PLAYER STEVE GLEASON
INDIGNATION
ROADSIDE ATTRACTIONS · SUMMIT / JULY 29
n Screenwriter (Crouching Tiger, Hidden Dragon) and former
chief of Focus Features tries his hand behind the camera with this
adaption of the Philip Roth novel set during the Korean War.
Logan Lerman (Fury) plays Marcus Messner, an eastern college
student in Middle America challenged by the unpredictability and
responsibilities of adulthood.
CAST LOGAN LERMAN, SARAH GADON, PICO ALEXANDER
DIRECTOR JAMES SCHAMUS GENRE DRAMA RATING R FOR
SEXUAL CONTENT AND SOME LANGUAGE RUNNING TIME 111 MIN.
LOGAN LERMAN AS THE SON OF A BUTCHER FINDING HIS WAY
INTO THE FOREST
A24 / JULY 29
n Two young women—sisters—fight to survive in the wilds of
a future Pacific Northwest when a power blackout hits the entire
continent. Distributor A24 is on a hot streak with their 2015
release Room grabbing an Oscar for star Brie Larson.
CAST ELLEN PAGE, EVAN RACHEL WOOD, MAX MINGHELLA,
CALLUM KEITH RENNIE DIRECTOR PATRICIA ROZEMA GENRE
DRAMA, SCI-FI RATING R FOR A SCENE OF VIOLENCE INVOLVING
RAPE, LANGUAGE, AND SOME SEXUALITY/NUDITY RUNNING TIME
101 MIN.
ELLEN PAGE AND EVAN RACHEL WOOD BRAVE A BLACKOUT
JULY 2016 BoxOffice ® 81

BOOKING GUIDE
Compiled by Diogo Busato
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
A24 646-568-6015
EQUALS Fri, 7/15/16 LTD. Kristen Stewart, Nicholas Hoult Drake Doremus PG-13 Dra/Rom/SF
INTO THE FOREST Fri, 7/29/16 LTD. Ellen Page, Evan Rachel Wood Patricia Rozema R Dra/SF
MORRIS FROM AMERICA Fri, 8/19/16 LTD. Craig Robinson, Markees Christmas Chad Hartigan NR Com/Dra
DISNEY 818-560-1000 / Ask for Distribution
THE BFG Fri, 7/1/16 WIDE Mark Rylance, Ruby Barnhill Steven Spielberg PG Adv/Fan/Fam 3D/Dolby Dig
PETE’S DRAGON Fri, 8/12/16 WIDE Bryce Dallas Howard, Oakes Fegley David Lowery PG Fan/Fam/Ani 3D/Dolby Dig
THE LIGHT BETWEEN OCEANS Fri, 9/2/16 WIDE Michael Fassbender, Alicia Vikander Derek Cianfrance PG-13 Dra Dolby Dig
THE QUEEN OF KATWE Fri, 9/23/16 LTD. Lupita Nyong’o, David Oyelowo Mira Nair PG Dra
DOCTOR STRANGE
Fri, 11/4/16 WIDE
Benedict Cumberbatch, Chiwetel
Ejiofor
Scott Derrickson PG-13 Act/Adv 3D/IMAX
MOANA Wed, 11/23/16 WIDE Auli’i Cravalho, Dwayne Johnson
Ron Clements, John
Musker
NR Ani/Mus/Fam 3D/Dolby Dig
ROGUE ONE: A STAR WARS STORY Fri, 12/16/16 WIDE Felicity Jones, Diego Luna Gareth Edwards NR Act/Adv/SF 3D/IMAX/Dolby Dig
BEAUTY AND THE BEAST Fri, 3/17/17 WIDE Emma Watson, Dan Stevens Bill Condon PG-13 Mus/Rom/Fan 3D
BORN IN CHINA Fri, 4/21/17 WIDE Jo Frost Chuan Lu NR Doc
GUARDIANS OF THE GALAXY
VOL. 2
Fri, 5/5/17 WIDE Chris Pratt, Zoe Saldana James Gunn NR Act/Adv/SF 3D/IMAX/Dolby Dig
PIRATES OF THE CARIBBEAN: DEAD
MEN TELL NO TALES
Fri, 5/26/17 WIDE
Johnny Depp, Orlando Bloom
Joachim Rønning, Espen
Sandberg
NR Act/Adv 3D/IMAX/Dolby Dig
CARS 3 Fri, 6/16/17 WIDE NR Ani/Adv/Fam 3D
THOR: RAGNAROK
Fri, 11/3/17 WIDE
Tom Hiddleston, Chris Hemsworth,
Idris Elba
Taika Waititi NR
COCO Fri, 11/22/17 WIDE NR Ani
MARY POPPINS RETURNS Fri, 12/15/18 WIDE Emily Blunt, Lin-Manuel Miranda Rob Marshall NR Fan
EUROPACORP FILMS, USA 310-205-0255 / Ask for Distribution
NINE LIVES Fri, 8/5/16 WIDE Kevin Spacey, Jennifer Garner Barry Sonnenfeld PG Com/Fam
SHUT IN Fri, 11/11/16 WIDE Naomi Watts, Oliver Platt Farren Blackburn NR Thr
THE LAKE Fri, 1/27/17 WIDE Sullivan Stapleton, J.K. Simmons Steven Quale NR Act/Thr
VALERIAN AND THE CITY OF A
THOUSAND PLANETS
Fri, 7/21/17 WIDE Dane DeHaan, Cara Delevingne Luc Besson NR Act/Adv/SF
FOCUS FEATURES 424-214-6360
KUBO AND THE TWO STRINGS
Fri, 8/19/16 WIDE
Art Parkinson, Matthew
McConaughey
Travis Knight NR Ani/Adv/Fam 3D/Dolby Atmos
A MONSTER CALLS Fri, 10/14/16 WIDE Lewis MacDougall, Liam Neeson J.A. Bayona PG-13 Dra/Fan
LOVING Fri, 11/4/16 EXCL NY/LA Joel Edgerton, Ruth Negga Jeff Nichols PG-13 Dra
NOCTURNAL ANIMALS Fri, 11/18/16 EXCL NY/LA Aaron Taylor-Johnson, Isla Fisher Tom Ford NR Dra/Thr
FOX 310-369-1000 / 212-556-2400
MIKE & DAVE NEED WEDDING
DATES
Fri, 7/8/16 WIDE Zac Efron, Adam DeVine Jake Szymanski R Com
ICE AGE: COLLISION COURSE Fri, 7/22/16 WIDE Ray Romano, John Leguizamo Mike Thurmeier NR Ani/Com/Fam 3D/Dolby Atmos
MORGAN Fri, 9/2/16 WIDE Kate Mara, Anya Taylor-Joy Luke Scott R SF/Thr
MISS PEREGRINE’S HOME FOR
PECULIAR CHILDREN
Fri, 9/30/16 WIDE Eva Green, Asa Butterfield Tim Burton NR Adv/Fan Dolby Atmos
KEEPING UP WITH THE JONESES Fri, 10/21/16 Wide Gal Gadot, Isla Fisher Greg Mottola Com
TROLLS Fri, 11/4/16 WIDE Anna Kendrick, Justin Timberlake Mike Mitchell NR Ani/Com/Fam 3D/Dolby Dig
RULES DON’T APPLY
Fri, 11/11/16 WIDE
Warren Betty, Alec Baldwin, Lily
Collins
Warren Betty NR Rom/Com/Dra
ASSASSIN’S CREED
Wed, 12/21/16 WIDE
Michael Fassbender, Marion
Cotillard
Justin Kurzel NR Act/Adv Dolby Dig
82 BoxOffice ® JULY 2016

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
WHY HIM? Sun, 12/25/16 WIDE Bryan Cranston, James Franco John Hamburg NR Com
HIDDEN FIGURES Fri, 1/13/17 WIDE Taraji P. Henson, Octavia Spencer Ted Melfi NR Dra
A CURE FOR WELLNESS Fri, 2/17/17 WIDE Dane DeHaan, Mia Goth Gore Verbinski NR Hor/Thr Dolby Dig
WOLVERINE Fri, 3/3/17 WIDE Hugh Jackman, Boyd Holbrook 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/Dolby Dig
MOTHER/DAUGHTER Fri, 5/12/17 WIDE Amy Schumer, Goldie Hawn Jonathan Levine NR Com
CAPTAIN UNDERPANTS Fri, 6/2/17 WIDE Ed Helms, Kevin Hart David Soren NR Ani/Com/Fam 3D
KINGSMAN: THE GOLDEN CIRCLE Fri, 6/16/17 WIDE Taron Egerton, Julianne Moore Matthew Vaughn NR Act/Thr
WAR FOR THE PLANET OF THE
APES
Fri, 7/14/17 WIDE Andy Serkis, Woody Harrelson Matt Reeves NR Act/SF
FERDINAND Fri, 7/21/17 WIDE Carlos Saldanha NR Ani/Fam 3D
ALIEN: COVENANT
Fri, 8/4/17 WIDE
Michael Fassbender, Katherine
Waterston
Ridley Scott NR SF/Thr
MURDER ON THE ORIENT EXPRESS Fri, 11/22/17 WIDE NR
RED SPARROW Fri, 11/10/17 WIDE NR
FOX SEARCHLIGHT 212-556-2400
ABSOLUTELY FABULOUS: THE
MOVIE
Fri, 7/22/16 LTD. Jennifer Saunders, Joanna Lumley Mandie Fletcher R Com
THE BIRTH OF A NATION Fri, 10/7/16 WIDE Nate Parker, Armie Hammer Nate Parker R Dra
TABLE 19 Fri, 1/20/17 WIDE Anna Kendrick, Craig Robinson Jeffrey Blitz PG-13 Com/Dra
LIONSGATE 310-309-8400
CAFÉ SOCIETY Fri, 7/15/16 LTD. Jesse Eisenberg, Kristen Stewart Woody Allen PG-13 Rom/Com/Dra
NERVE Wed, 7/27/16 WIDE Emma Roberts, Dave Franco
Henry Joost, Ariel
Schulman
NR Thr
HELL OR HIGH WATER Fri, 8/12/16 LTD. Jeff Bridges, Chris Pine David Mackenzie R Cri/Thr
MECHANIC: RESURRECTION Fri, 8/26/16 WIDE Jason Statham, Jessica Alba Dennis Gansel R Act/Thr Dolby Dig
NO MANCHES FRIDA Fri, 9/2/16 MOD. Omar Chaparro, Martha Higareda Nacho G. Velilla NR Com
THE WILD LIFE Fri, 9/9/16 WIDE Yuri Lowenthal, David Howard
Vincent Kesteloot, Ben
Stassen
NR Ani/Adv/Fam 3D
THE WOODS
Fri, 9/16/16 WIDE
James Allen McCune, Callie
Hernandez
Adam Wingard NR Hor/Thr
DEEPWATER HORIZON Fri, 9/30/16 WIDE Mark Wahlberg, Kurt Russell Peter Berg NR Act/Dra/Thr IMAX
MIDDLE SCHOOL: THE WORST
YEARS OF MY LIFE
Fri, 10/7/16 WIDE Griffin Gluck, Lauren Graham Steve Carr NR Com/Fam
AMERICAN PASTORAL Fri, 10/21/16 LTD. Ewan McGregor, Jennifer Connelly Ewan McGregor NR Dra
BOO! A MADEA HALLOWEEN Fri, 10/21/16 WIDE Tyler Perry, Bella Thorne Tyler Perry NR Com/Hor
UNTITLED LIONSGATE HORROR
FILM
Fri, 10/28/16 WIDE NR Hor
HACKSAW RIDGE Fri, 11/4/16 WIDE Andrew Garfield, Sam Worthington Mel Gibson NR Act/Dra/War
LA LA LAND Fri, 12/2/16 LTD. Ryan Gosling, Emma Stone Damien Chazelle NR Mus/Rom Dolby Dig
PATRIOTS DAY Wed, 12/21/16 LTD. Mark Wahlberg, J.K. Simmons Peter Berg NR Dra/Thr
JOHN WICK: CHAPTER 2 Fri, 2/10/17 WIDE Keanu Reeves, Common Chad Stahelski NR Act/Thr
THE SHACK Fri, 3/3/17 WIDE Sam Worthington, Octavia Spencer Stuart Hazeldine NR Dra
POWER RANGERS Fri, 3/24/17 WIDE Elizabeth Banks, Dacre Montgomery Dean Israelite NR Act/Adv/Fam
THE DIVERGENT SERIES:
ASCENDANT
Fri, 6/9/17 WIDE Shailene Woodley, Theo James Lee Toland Krieger NR Act/Adv/SF
MY LITTLE PONY Fri, 10/6/17 WIDE Tara Strong, Emily Blunt Jayson Thiessen NR Ani/Fan/Fam
OPEN ROAD FILMS 310-696-7504
GLEASON Fri, 7/29/16 LTD. Steve Gleason J. Clay Tweel NR Doc
MAX STEEL Fri, 8/26/16 WIDE Ben Winchell, Josh Brener Stewart Hendler NR Act/Adv/SF
JULY 2016 BoxOffice ® 83

BOOKING GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
SNOWDEN
Fri, 9/16/16 WIDE
Joseph Gordon-Levitt, Shailene
Woodley
Oliver Stone NR Dra/Thr Dolby Dig
BLEED FOR THIS Fri, 11/4/16 LTD. Miles Teller, Aaron Eckhart Ben Younger NR Dra/Sport
SLEEPLESS Fri, 2/24/17 WIDE Jamie Foxx, Michelle Monaghan Baran bo Odar NR Act/Cri/Thr
THE NUT JOB 2 Fri, 5/19/17 WIDE Will Arnett, Katherine Heigl Cal Brunker NR Ani/Com/Fam 3D
BLAZING SAMURAI Fri, 8/4/17 WIDE Samuel L. Jackson, Michael Cera
Chris Bailey, Mark
Koetsier
NR
Ani/Adv/Fam
SHOW DOGS Fri, 11/10/17 WIDE Raja Gosnell NR Com/Fam
PARAMOUNT 323-956-5000
STAR TREK BEYOND Fri, 7/22/16 WIDE Chris Pine, Zachary Quinto Justin Lin NR Act/Adv/SF 3D/IMAX/Dolby Atmos
FLORENCE FOSTER JENKINS Fri, 8/12/16 WIDE Meryl Streep, Hugh Grant Stephen Frears NR Com/Dra Dolby Dig
BEN-HUR Fri, 8/19/16 WIDE Jack Huston, Toby Kebbell Timur Bekmambetov NR Act/Dra 3D
JACK REACHER: NEVER GO BACK Fri, 10/21/16 WIDE Tom Cruise, Cobie Smulders Edward Zwick NR Act/Cri/Thr Dolby Atmos
RINGS Fri, 10/28/16 WIDE Matilda Lutz, Alex Roe F. Javier Gutiérrez NR Hor
ALLIED Wed, 11/23/16 WIDE Brad Pitt, Marion Cotillard Robert Zemeckis NR Dra/Rom/Thr
OFFICE CHRISTMAS PARTY Fri, 12/9/16 WIDE Jennifer Aniston, Jason Bateman Josh Gordon, Will Speck NR Com
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
XXX 3: THE RETURN OF XANDER
CAGE
Fri, 1/20/17 WIDE Vin Diesel, Samuel L. Jackson D.J. Caruso NR Act/Adv/Thr
SAME KIND OF DIFFERENT AS ME Fri, 2/3/17 WIDE Djimon Hounsou, Greg Kinnear Michael Carney NR Dra
GOD PARTICLE Fri, 2/24/17 WIDE David Oyelowo, Gugu Mbatha-Raw Julius Onah NR SF/Thr
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
TRANSFORMERS: THE LAST
KNIGHT
Fri, 6/23/17 WIDE Mark Wahlberg, Isabela Moner Michael Bay NR Act/Adv/SF
RELATIVITY STUDIOS 310-724-7700 / Ask for Distribution
SOLACE Fri, 9/2/16 WIDE Anthony Hopkins, Colin Farrell Afonso Poyart R Thr Dolby Dig
BEFORE I WAKE
Fri, 9/9/16 WIDE
Jacob Tremblay, Kate Bosworth,
Thomas Jane
Mike Flanagan NR
MASTERMINDS Fri, 9/30/16 WIDE Zach Galifianakis, Owen Wilson Jared Hess PG-13 Com/Cri
THE DISAPOINTMENTS ROOM
Fri, 11/18/16 WIDE
Kate Beckinsale, Lucas Till, Gerald
McRaney
D.J. Caruso NR
KIDNAP
Fri, 12/2/16 WIDE
Halle Berry, Dana Gourrier,
Christopher Berry
Luis Prieto NR
SONY 212-833-8500
GHOSTBUSTERS Fri, 7/15/16 WIDE Melissa McCarthy, Kristen Wiig Paul Feig NR Com/Hor 3D/IMAX/Dolby Atmos
SAUSAGE PARTY Fri, 8/12/16 WIDE Seth Rogen, Kristen Wiig
Greg Tiernan, Conrad
Vernon
R Ani/Com
DON’T BREATHE Fri, 8/26/16 WIDE Jane Levy, Dylan Minnette Fede Alvarez NR Hor/Thr
WHEN THE BOUGH BREAKS Fri, 9/9/16 WIDE Morris Chestnut, Regina Hall Jon Cassar PG-13 Dra/Thr
THE MAGNIFICENT SEVEN Fri, 9/23/16 WIDE Denzel Washington, Chris Pratt Antoine Fuqua PG-13 Wes/Act IMAX
UNDERWORLD: BLOOD WARS 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 Dolby Atmos
BILLY LYNN’S LONG HALFTIME
WALK
Fri, 11/11/16 WIDE Joe Alwyn, Garrett Hedlund Ang Lee NR Com/Dra/War 3D/Dolby Atmos
PASSENGERS Wed, 12/21/16 WIDE Chris Pratt, Jennifer Lawrence Morten Tyldum NR SF/Adv/Rom 3D/Dolby Atmos
RESIDENT EVIL: THE FINAL
CHAPTER
Fri, 1/27/17 WIDE Milla Jovovich, Ali Larter Paul W.S. Anderson NR Act/Hor 3D
84 BoxOffice ® JULY 2016

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
T2: TRAINSPOTTING Fri, 2/3/17 WIDE
Ewan McGregor, Robert Carlyle,
Jonny Lee Miller
Danny Boyle NR Dra
THE DARK TOWER Fri, 2/17/17 WIDE Idris Elba, Matthew McConaughey Nikolaj Arcel NR Wes/Act/Fan
BABY DRIVER Fri, 3/17/17 WIDE Ansel Elgort, Lily James Edgar Wright NR Act/Com/Cri Dolby Atmos
LIFE Fri, 3/24/17 WIDE Ryan Reynolds, Jake Gyllenhaal Daniel Espinosa NR SF/Thr
SMURFS: THE LOST VILLAGE Fri, 4/7/17 WIDE Demi Lovato, Mandy Patinkin Kelly Asbury NR Ani/Com/Fam 3D
BARBIE Fri, 5/12/17 WIDE NR Com
BAD BOYS 3 Fri, 6/2/17 WIDE Will Smith, Martin Lawrence Joe Carnahan NR Act/Thr
UNCHARTED Fri, 6/30/17 WIDE NR Act/Adv
SPIDER-MAN: HOMECOMING Fri, 7/7/17 WIDE Tom Holland, Marisa Tomei Jon Watts NR Act/Adv 3D/IMAX/Dolby Atmos
JUMANJI Fri, 7/28/17 WIDE Dwayne Johnson, Jack Black Jake Kasdan NR Adv/Fan/Fam
THE EMOJI MOVIE Fri, 8/11/17 WIDE Tony Leondis NR Ani 3D
UNTITLED SONY EVENT FILM Fri, 9/15/17 WIDE NR
THE EQUALIZER 2 Fri, 9/29/17 WIDE Denzel Washington NR Act/Thr
SONY PICTURES CLASSICS Tom Prassis / 212-833-4981
OUR LITTLE SISTER Fri, 7/8/16 EXCL NY/LA Haruka Ayase, Masami Nagasawa Hirokazu Koreeda PG Dra Dolby Dig
EQUITY Fri, 7/29/16 EXCL NY/LA Anna Gunn, James Purefoy Meera Menon R Dra/Thr
THE HOLLARS Fri, 8/26/16 EXCL NY/LA John Krasinski, Anna Kendrick John Krasinski PG-13 Com/Dra
ELLE Fri, 11/11/16 EXCL NY/LA Isabelle Huppert, Laurent Lafitte Paul Verhoeven NR For/Dra/Thr
STX ENTERTAINMENT 310-742-2300
BAD MOMS Fri, 7/29/16 WIDE Mila Kunis, Christina Applegate Jon Lucas, Scott Moore NR Com
THE SPACE BETWEEN US Fri, 8/19/16 WIDE Asa Butterfield, Britt Robertson Peter Chelsom PG-13 Adv/SF/Rom
THE EDGE OF SEVENTEEN
Fri, 9/30/16 WIDE
Hailee Steinfeld, Haley Lu
Richardson
Kelly Fremon Craig NR Com/Dra
THE BYE BYE MAN Fri, 12/9/16 WIDE Douglas Smith, Cressida Bonas Stacy Title R Hor/Thr
UNIVERSAL 818-777-1000
THE PURGE: ELECTION YEAR Fri, 7/1/16 WIDE Frank Grillo, Elizabeth Mitchell James DeMonaco R Hor/Thr/SF Dolby Dig
THE SECRET LIFE OF PETS Fri, 7/8/16 WIDE Louis C.K., Eric Stonestreet Chris Renaud PG Ani/Com/Fam 3D/Dolby Atmos
JASON BOURNE Fri, 7/29/16 WIDE Matt Damon, Alicia Vikander Paul Greengrass PG-13 Act/Adv/Thr
SPECTRAL Fri, 8/12/16 WIDE James Badge Dale, Emily Mortimer Nic Mathieu NR Act/Thr
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 R Thr
KEVIN HART: WHAT NOW? Fri, 10/14/16 WIDE Kevin Hart Leslie Small R Com/Con/Doc
OUIJA: ORIGIN OF EVIL Fri, 10/21/16 WIDE Annalise Basso, Henry Thomas Mike Flanagan NR Hor/Thr
ALMOST CHRISTMAS Fri, 11/11/16 WIDE Kimberly Elise, Mo’Nique David E. Talbert PG-13 Com
SING
Wed, 12/21/16 WIDE
Matthew McConaughey, Reese
Witherspoon
Garth Jennings NR Ani/Com/Fam 3D/Dolby Dig
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
UNTITLED 2017 BLUMHOUSE
HORROR PROJECT 1
Fri, 2/24/17 WIDE NR Hor
FAST 8 Fri, 4/14/17 WIDE Vin Diesel, Dwayne Johnson F. Gary Gray NR Act/Cri IMAX
UNTITLED 2017 BLUMHOUSE
HORROR PROJECT 2
Fri, 4/28/17 WIDE NR Hor
UNTITLED GALIFIANAKIS/HADER/
ROGEN R-RATED COMEDY
Fri, 5/26/17 WIDE Zach Galifianakis, Seth Rogen Rodney Rothman NR Com/SF
JULY 2016 BoxOffice ® 85

BOOKING GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
THE MUMMY Fri, 6/9/17 WIDE Tom Cruise, Sofia Boutella Alex Kurtzman NR Act/Adv
DESPICABLE ME 3 Fri, 6/30/17 WIDE Steve Carell NR Ani/Com/Fam
PITCH PERFECT 3 Fri, 7/21/17 WIDE Anna Kendrick, Rebel Wilson Elizabeth Banks NR Com/Mus
GIRL TRIP Fri, 8/11/17 WIDE Regina Hall Malcolm D. Lee NR Com
THE SNOWMAN
Fri, 10/13/17 WIDE
Michael Fassbender, Rebecca
Ferguson
Tomas Alfredson NR Cri/Thr
INSIDIOUS: CHAPTER 4 Fri, 10/20/17 WIDE Adam Robitel NR Hor/Thr
LET IT SNOW Fri, 11/22/17 WIDE NR
DR. SEUSS’ HOW THE GRINCH
STOLE CHRISTMAS
Fri, 11/9/18 WIDE
NR
WARNER BROS. 818-977-1850
THE LEGEND OF TARZAN
Fri, 7/1/16 WIDE
Alexander Skarsgård, Margot
Robbie
David Yates PG-13 Act/Adv 3D/IMAX/Dolby Atmos
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, Jared Leto David Ayer PG-13 Act/Adv 3D/IMAX/Dolby Atmos
WAR DOGS Fri, 8/19/16 WIDE Jonah Hill, Miles Teller Todd Phillips R Com/Dra
SULLY Fri, 9/9/16 WIDE Tom Hanks, Laura Linney Clint Eastwood NR Dra IMAX
STORKS Fri, 9/23/16 WIDE Andy Samberg, Kelsey Grammer
Nicholas Stoller, Doug
Sweetland
NR Ani/Com/Fam 3D/Dolby Dig
THE ACCOUNTANT Fri, 10/14/16 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
David Yates NR Adv/Fan 3D/IMAX/Dolby Atmos
COLLATERAL BEAUTY Fri, 12/16/16 WIDE Will Smith, Keira Knightley 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/Dolby Atmos
FIST FIGHT Fri, 2/17/17 WIDE Ice Cube, Charlie Day Richie Keen NR Com
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
GOING IN STYLE Fri, 4/7/17 WIDE Morgan Freeman, Michael Caine Zach Braff PG-13 Com/Cri
ANNABELLE 2 Fri, 5/19/17 WIDE David F. Sandberg NR Hor/Thr
WONDER WOMAN Fri, 6/2/17 WIDE Gal Gadot, Chris Pine Patty Jenkins NR Act/Adv Dolby Atmos
THE HOUSE Fri, 6/30/17 WIDE Will Ferrell, Amy Poehler Andrew J. Cohen NR Com
DUNKIRK Fri, 7/21/17 WIDE Tom Hardy, Kenneth Branagh Christopher Nolan NR Act/Thr/War IMAX
CHIPS Fri, 8/11/17 WIDE Michael Peña, Dax Shepard Dax Shepard NR Act/Com
IT Fri, 9/8/17 WIDE Andrés Muschietti NR Hor/Thr
THE LEGO NINJAGO MOVIE Fri, 9/22/17 WIDE Charlie Bean NR Ani/Adv/Fam 3D/IMAX
UNTITLED BLADE RUNNER SEQUEL Fri, 10/6/17 WIDE Ryan Gosling, Harrison Ford Denis Villeneuve NR SF/Thr
LIVE BY NIGHT Fri, 10/20/17 WIDE Ben Affleck, Sienna Miller Ben Affleck NR Cri/Dra
JUSTICE LEAGUE PART ONE Fri, 11/17/17 WIDE Henry Cavil, Ben Affleck Zack Snyder NR SF/Act
WEINSTEIN CO./DIMENSION 646-862-3400
TULIP FEVER Fri, 7/15/16 LTD. Alicia Vikander, Dane DeHaan Justin Chadwick NR Dra/Rom
THE FOUNDER Fri, 8/5/16 WIDE Michael Keaton, Laura Dern John Lee Hancock PG-13 Dra Dolby Dig
HANDS OF STONE Fri, 8/26/16 WIDE Edgar Ramirez, Robert De Niro Jonathan Jakubowicz NR Dra/Sport Dolby Atmos
LION Fri, 11/25/16 LTD. Dev Patel, Rooney Mara Garth Davis NR Dra
AMITYVILLE: THE AWAKENING Fri, 1/6/17 WIDE Jennifer Jason Leigh, Bella Thorne Franck Khalfoun PG-13 Hor/Thr
86 BoxOffice ® JULY 2016

MICHAEL KEATON STARS AS
MCDONALDS FOUNDER RAY KROC IN
THE FOUNDER.
OPENS AUGUST 5
20TH CENTURY FOX
Front Cover
ALLIANCE ARTS MEDIA
BACK COVER
BALLANTYNE STRONG
PG 54
CARDINAL SOUND & MOTION PICTURE SYSTEMS
PG 88
CHRISTIE DIGITAL SYSTEMS
Inside Front Cover
CINEMACON 2017
PG 57
CINEOPOLIS
PG 47
CY YOUNG INDUSTRIES
PG 88
D-BOX TECHNOLOGIES
PG 4–5
DOLPHIN SEATING
PG 67
ENPAR
PG 63
GDC TECHNOLOGY
PG 15
GENEVA CONVENTION
PG 17
GREAT WESTERN PRODUCTS
PG 39
HARKNESS SCREENS
PG 19, 21
IMAX CORPORATION
PG 43
LIGHTSPEED DESIGN
PG 88
MAROEVICH, O’SHEA & COUGHLAN
PG 9
IN THE AUGUST ISSUE:
n Concessions
n Concession Area Design
n Spotlight on NAC
n spotlight on CineShow
n Spotlight on ShowSouth
CALL OR
EMAIL TO BOOK SPACE
TODAY!
SUSAN UHRLASS
SUSAN@BOXOFFICE.COM
310-876-9090
YOUR AD ON THE SHOW FLOOR:
Concession & Hospitality Expo / July 19–22
CineShow / Aug. 9–10
ShowSouth / Aug. 23–24
MASTERIMAGE 3D
PG 35
METROPOLITAN THEATRES
PG 88
MOVING IMAGE TECHNOLOGIES
PG 2, 13
QSC AUDIO PRODUCTS
PG 8
READY THEATRE SYSTEMS
PG 23
REALD
PG 68–69
RETRIEVER SOFTWARE
PG 29
SENSIBLE CINEMA
PG 88
SERIES SEATING
PG 6–7
SLS AUDIO
PG 27
SONIC EQUIPMENT COMPANY
PG 1
USHIO AMERICA, INC.
PG 25
UNIC
PG 40
USL
PG 31
VISTA GROUP
PG 49
WEBEDIA
PG 33
WILL ROGERS MOTION PICTURE PIONEERS FOUNDATION
Inside Back Cover
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Julien Marcel
VP CREATIVE SERVICES
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Daniel Loria
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BOXOFFICE ® (ISSN 0006-8527), Volume 152, Number 7, July 2016. BOXOFFICE ® is published monthly by BoxOffice Media, LLC, 60 Broad St,
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JULY 2016 BoxOffice ® 87

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 & AUDIO. We
offer the best pricing on good used projection
and sound equipment. Large quantities available.
Please visit our website, www.asterseating.com,
or call 888-409-1414.
AMERICAN ENTERTAINMENT PRODUCTS LLC is
buying projectors, processors, amplifiers, speakers,
seating, platters. If you are closing, remodeling or
have excess equipment in your warehouse and
want to turn equipment into cash, please call 866-
653-2834 or email aep30@comcast.net. Need to
move quickly to close a location and dismantle
equipment? We come to you with trucks, crew
and equipment, no job too small or too large. Call
today for a quotation: 866-653-2834. Vintage
equipment wanted also! Old speakers like Western
Electric and Altec, horns, cabinets, woofers,
etc., and any tube audio equipment. Call or email:
aep30@comcast.net.
www.depthq3d.com
DIRECTOR OF MARKETING
Metropolitan Theatres, Los Angeles based with
17 locations and family owned since 1923, seeks
self-motivated candidates to develop and execute
marketing programs including loyalty and
social/digital outreach to build guest engagement,
acquisition and retention.
Candidates must have a proven record of marketing
success and ability to unlock customer
value in all areas, have 7+ years of progressively
responsible marketing experience across a broad
range of marketing/sales functions, and possess a
solid understanding of social/digital communication
practices and programs.
Please send your resume with salary requirements
to jobs@metrotheatres.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 AVAILABLE. Barco
dcp2000 and others slightly used. Don’t close
your theater conversion is cheaper than you think.
Call Stetson Snell 505-615-2913
18 SETS OF USED 35MM AUTOMATED PROJEC-
TION SYSTEM (comes with Projector, Console,
Automation Unit and Platter) comprising of 10
sets of Christie and 8 sets of Strong 35mm system
available on ‘as is where is’ basis in Singapore.
Contact seller at engthye_lim@cathay.com.sg
APPROXIMATELY 2,000 SEATS FOR SALE.
MOBILIARIO high-back rockers with cup holders.
Located in Connecticut. Contact (203)758-2148.
6 PLEX EQUIPMENT PACKAGE. 6 Complete
booths digital projectors/sound, 72 speakers,
seats, screens/frames, concession equipment,
computers, led signs/marquees, safe/misc equipment,
all surplus equipment. $250,000. Serious
inquiries only. Email contact@digitalequipmenttechnologies.com
or fax 801-281-0482.
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 AVAIL-
ABLE 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 MANAGEMENT
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 RE-
FLECTORS! 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.
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.
88 BoxOffice ® JULY 2016