Boxoffice - August 2016

$6.95
AUGUST 2016
Jack Huston as
Judah Ben-Hur in the
latest version of the
classic story
NATIONAL
ASSOCIATION OF
CONCESSIONAIRES
CONCESSIONS
STANDS
CATERING TO THE
TASTES OF A MORE
MATURE CLIENTELE
NATIONALISM
VS. GLOBALISM
WHY SHOULD
EXHIBITORS CARE?
CINESHOW 2016
OUR INTERVIEW WITH
TOMA’S TODD HALSTEAD
MOVIE MUSIC
DO HIT SONGS
MEAN HIT MOVIES?
CINEMA SHOWCASE
THE TEXAS THEATRE—DALLAS
CAA CINEMATHEQUE—SANTA FE
DIGITAL DELIVERY
A LOOK BACK AT THE
EARLY DAYS OF DCDC
MEMBER NEWS
NATO TO MERGE ANNUAL
MEETINGS AND FALL SUMMIT
FULL SPEED
AHEAD
TIMUR BEKMAMBETOV
BRINGS HIS UNIQUE
VISION TO BEN-HUR
The Official Magazine of the National Association of Theatre Owners

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Daniel Loria
Editorial Director
Boxoffice®
It’s been an action-packed summer so far—although the season’s
most unlikely plot twists have come from the political arena rather
than the silver screen. Following an arduous and contentious series of
primaries, the United States is preparing for a general election featuring
a political candidate that few would have predicted would emerge
as a frontrunner. Surprise outcomes also emerged across the pond,
with the unexpected “Brexit” decision coming only a few days following
CineEurope. As we can certainly attest from our own experience
at Boxoffice, the forecasting game is always unpredictable. There are no sure things
(well, except for Star Wars), and no matter how much time you spend looking at data,
it rarely guarantees an event’s true outcome.
Data can, however, provide a starting point for analysis and insight. And that’s precisely
what John Fithian’s column provides in this month’s issue: insight into what some of
these geopolitical trends can mean in our industry. It is a very timely read and one that
we’re sure readers will find especially relevant.
As the summer comes to a close, it’s a perfect time to savor the season with a cold beer
by the grill. That experience might not be exclusive to the outdoors in the near future,
as more and more theaters adopt alcohol sales and an expanded concessions menu.
We take a look at the design challenges that those two trends represent, talking with
various experts in the field and collecting their pragmatic take on how to incorporate
the right prep space into any theater.
Lastly, we take a look at several of the recent regional conventions held across the
country—as well as previewing upcoming conventions from the National Association
of Concessionaires and the Theatre Owners of Mid-America.
Once again, we hope you enjoy this issue and look forward to hearing from you on
any stories you’ve enjoyed or would like to see covered in the future.
Daniel Loria
Editorial Director
Boxoffice Media
daniel.loria@boxoffice.com
AUGUST 2016 BoxOffice ® 3

AUGUST 2016
VOL. 152 NO. 8
COVER STORY
FULL
SPEED
AHEAD
TIMUR BEKMAMBETOV
BRINGS HIS OWN VISION
OF BEN-HUR TO THEATERS
57 YEARS AFTER WILLIAM
WYLER AND CHARLTON
HESTON’S BIG-SCREEN
BLOCKBUSTER 32
Hello 3
Exhibition Briefs 6
Executive Suite
Nationalism vs. Globalism: Why should exhibitors care?
Member News
NATO to merge annual meetings and fall summit in Los Angeles
Charity Spotlight
A look at recent events
Regional Recaps
A look at some of this year’s regional conventions
Industry Interview
Dan Borschke, Executive Vice President, National Association of Concessionaires
Concessions Design
The concessions stand grows up: Candy, popcorn, and soda might still be movie
theater staples—but today’s concessions stands are evolving to cater to the tastes
of a more mature clientele
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Interview with Todd Halstead, Theatre Owners of Mid-America
Digital Delivery
Coming soon to a theater near you: A look back at the early days of DCDC and how
digital delivery will continue to impact theatrical exhibition for years to come
42
44
Movie Music
Top of the charts: Do hit songs mean hit movies?
Cinema Showcase
The Texas Theatre: Dallas, Texas
CCA Cinematheque: Santa Fe, New Mexico 49
Event Cinema Calendar
Alternative content release calendar
3D Calendar
Sponsored by RealD
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AUGUST 2016 BoxOffice ® 5

EXHIBITION
BRIEFS
LATIN AMERICA’S FIRST LASER
PROJECTOR COMES TO PERU
n Bardan Cinema and Peruvian exhibitor Cineplanet are collaborating
at a new 13-screen multiplex in Lima’s Mall del Sur.
“We celebrate Cineplanet’s Mall del Sur opening, and
salute the vision and commitment to innovation
Fernando Soriano and his team have shown in
building Peru’s most advanced cinema facility,”
said Vilma Benitez, Bardan’s CEO. “It has been a
great privilege to be a part of this groundbreaking
project.”
Cineplanet’s newest location, Lima’s Mall del
Sur, is the largest mall in Peru and is hoped to be
a powerful catalyst for economic growth in the area.
“We are perpetually committed to understanding
and exceeding the expectations of an increasingly
sophisticated audience,” said Fernando Soriano,
Cineplanet’s CEO. “By partnering with Bardan to
build this exciting new complex, we are bringing
the latest and most advanced cinema experience to
Peru and to our customers.”
Cineplanet has previously implemented new
industry technologies such as 3D projection and
Dolby Atmos immersive sound, including at Mall del Sur, which
sports the Barco Flagship 6P laser cinema projector. Coupled with
a giant Severtson SēVision 3D GX silver screen, this new technology
will offer patrons a premium large format (PLF) cinema
experience unique in the region.
DRIVE-IN SUCCESS AT COYOTE THEATERS
n Christie and Entertainment Supply & Technologies (ES&T) helped bring back a
modern version of an American classic entertainment venue with the recent opening
of the new four-screen Coyote Drive-In Theater in Leeds, Alabama.
Coyote Theaters
is solely dedicated
to drive-in sites and
expanding across
the southern U.S.
Beginning with a
four-screen drive-in
theater completed in
2013 in Fort Worth,
Texas, owner Glenn
Solomon saw the
potential for this
reinvigorated exhibition
business model,
and noted that it
requires an experienced team to design, install, and support a first-rate venue capable
of delivering an enjoyable experience to moviegoers, based on dependable digital
projection technology. The new Coyote Drive-In Theater and Canteen includes an
indoor restaurant, outdoor covered pavilion, and boasts excellent projection and
sound, as well as first-class food and beverage services.
“I’m very pleased with the project results from ES&T, which brought to the table
a strategic viewpoint and equipment recommendation that considered all facets
of our business, including design consultation, installation, and ongoing support.
Since opening day, our audiences have been very impressed by the clarity and color
rendered in the great outdoors by the Christie projectors and related projection
equipment,” said Solomon.
Solomon plans more venues, including a six-screen installation opening in fall
2016 in the North Dallas area.
ALLURE INKS DEAL WITH
SOUTHERN
n Allure has signed a deal with Southern Theatres to
deliver digital in-theater advertising and promotional
content through its interactive and experiential digital
displays in theater lobbies. The deal further expands
Southern Theatres’ multiyear partnership with Allure
and Christie Experiential Network (CEN) for digital
signage services.
CEN’s agreement with Southern Theatres increases
its footprint in top DMAs in the Southeast. Christie,
which won “Best Overall Retail or Mall Experience” at
the Daily DOOH 2015 Gala Awards for its installation
at the Emagine Palladium theater lobby in
Birmingham, Michigan, will work closely with Southern
Theatres to integrate its studio and institutional
ad-based network into the exhibitor’s theater lobbies.
These installations will feature interactive and 3D
content delivered on brilliant, animated digital posters
and experiential displays, ranging from stand-alone
units to award-winning Hero Walls with digital panels
arranged in an 8 x 14-foot herringbone pattern.
Allure has digital signage theater deployments
across much of the United States as well as in China
and other international markets, in addition to Christie’s
more than 50,000 installations worldwide.
TURKEY’S MARS CINEMA INSTALLS
D-BOX SYSTEM
n ECCO Cine Supply and Service has reached an
agreement with Mars Cinema Group (a Turkish cinema
circuit) to install and service D-BOX Technologies
6 BoxOffice ® AUGUST 2016

cinematic motion systems in two multiplex theaters in Istanbul.
Under the agreement, ECCO will deliver a total of 80 D-BOX
motion seats to Cinemaximum Akbati, located in the up-and-coming
North-East neighborhood of Instanbul, and Cinemaximum Akasya,
situated in the university district on the Asian side.
The order consists of two technologically innovative D-BOX
solutions: The first is the D-BOX MFX 132-EU motion seat, and
the second is the D-BOX VIP Recliner motion base, which adapts
to the recliner seat for extra comfort. The leg and back positions are
electronically adjustable.
The installation is scheduled to be completed by the end of July,
in time for the national movie premiere of Bourne. Additional locations
are scheduled to follow at the end of 2016.
“We are proud to start our first project with Mars in D-BOX and
help build on their reputation for being at the forefront of the latest
innovative developments in immersive entertainment technologies,”
said Markus Overath, international sales director at ECCO.
VUE INSTALLS SONY 4K
n Vue Entertainment has further expanded its 4K footprint,
installing Sony Digital Cinema 4K projection systems at the U.K.
operator’s 85th major multiplex opening.
The nine-screen complex is a major draw for visitors to The Oval,
a flagship retail and leisure complex in the market town of Darlington
in England’s Northeast.
In addition to supply and installation of all systems, Sony Digital
Cinema 4K is providing maintenance and technical support to Vue
under terms of the agreement.
Vue Entertainment’s relationship with Sony Digital Cinema 4K
is long-standing, with the operator already standardized on Sony
4K projection across its U.K. and Ireland estate and Germany and
Denmark.
Vue Entertainment has also played a role in stretching the creative
and technical potential of 4K Event Cinema. In 2015, the operator
confirmed its partnership with Sony Digital Cinema 4K to screen a
series of three major stage productions by National Theatre Live, captured
with Sony 4K cameras and screened at selected Vue sites. Two
years previously, selected matches of the summer’s 2014 FIFA World
Cup were screened in Sony Digital Cinema 4K at Vue’s Westfield
multiplex in London.
CINEWORLD / CINEMA CITY TO BRING
DOLBY ATMOS TO EUROPE
n Dolby and Cineworld / Cinema City have announced plans to
bring immersive and enveloping soundscapes to audiences with up
to 50 new Dolby Atmos screens, planned for installation throughout
2016 and into 2017. The planned Dolby Atmos screens will be
installed across the United Kingdom, Central and Eastern Europe
(CEE), and Israel.
Cineworld / Cinema City is one of the largest cinema operators
in Europe, having in total 218 sites and a total of 2,011 fully digital
screens, including Super Screen and VIP experience. As part of the
planned collaboration, Dolby intends to install Dolby servers and
audio processors in up to 100 screens across the group’s sites across
Europe.
Ilan Schor, VP Technical of Cineworld Group said, “Our group
AUGUST 2016 BoxOffice ® 7

EXHIBITION BRIEFS
has been cooperating with Dolby for many years already and we
are happy with the opportunity to extend the cooperation to the
immersive sound, and looking forward to many more years of fruitful
cooperation.”
To date, more than 1,800 screens worldwide have been installed
or committed to be equipped with Dolby Atmos and more than 465
Dolby Atmos titles have been announced globally.
IMAX AND AMC SIGN 25-THEATER DEAL
n IMAX Corporation and AMC Theatres have announced an expansion
of the companies’ existing full joint-revenue-sharing arrangement
with the addition of 25 IMAX at AMC Theatres. The theaters
are expected to be installed in 2016 through 2019 at both existing
and new-build AMC locations, with the majority of the IMAX at
AMC Theatres opening within the next two years. The cities include
New York, Los Angeles, and Houston as well as strategic smaller-tier
markets that AMC and IMAX believe present further growth opportunities.
The agreement brings AMC’s total IMAX commitment to
185 theaters and reinforces its position as the largest IMAX exhibitor
in North America.
“Box office returns continue to demonstrate that our guests enjoy
the premium experience our IMAX theaters offer, and we are tremendously
excited to be bringing this experience to even more guests and
new markets over the next couple of years,” said Adam Aron, AMC’s
CEO and president. “We are committed to growing IMAX at AMC
and expect to remain IMAX’s largest U.S. partner for many, many
years to come.”
LUXURY SEATING COMING TO ANN ARBOR
n Cinemark Holdings Inc. will renovate and upgrade their Ann
Arbor 20 theater by adding Luxury Lounger electric reclining seats to
the auditoriums. The new seats will follow the recent renovations that
were done to the concessions stand, lobby, and hallways in 2014 and
2015. Cinemark Luxury Loungers feature electric-powered, plush,
oversized lounge chairs with footrests and cup holders. The work and
upgrade for the theater will commence in September and be completed
by late fall 2016.
Additionally, many digital and online programs are available now
for an enhanced moviegoing experience. For instance, moviegoers
can download the Cinemark app to view show times, purchase tickets
on the go and join the app-based Connections loyalty program.
Connections rewards loyal customers with prizes including one-ofa-kind
gifts, trips, and digital downloads and games. Guests can also
use CineMode and earn rewards for being courteous during movies.
Cinemark fans can stay connected through Cinemark’s social media
channels, and customers can sign up online to receive free, weekly
show-time e-mailers that contain online coupons for discounts at the
concessions stand and other weekly special offers at Cinemark.com.
KINEPOLIS OPENS ALL-LASER CINEMA
n Kinepolis Group will soon open Europe’s first all-Barco laser multiplex
in Breda, the Netherlands. The brand-new 10-screen Kinepolis
cinema complex will feature one Barco Flagship Laser and nine Barco
phosphor laser projectors.
A long-term Barco customer, in 2014 Kinepolis Group was the
first European cinema exhibitor to introduce Barco’s Flagship Laser
technology. “We knew that our investment in Barco’s laser-illuminated
projectors would help us bring the moviegoing experience to
new levels. We’ve been proven right,” said Eddy Duquenne, CEO of
Kinepolis Group.
“With our laser phosphor projectors, the Kinepolis multiplex in
Breda is sure to enjoy superior image quality, while saving money due
to the absence of xenon lamps,” says Stijn Hendrickx, Vice President
Cinema for Barco. “Our Flagship Laser projector, for its part, will
ensure exceptional image quality at Kinepolis’s Laser Ultra theater.
More than that, surveys have confirmed that moviegoers will return
more often to the cinema theater for a movie in razor-sharp, laser
quality. Kinepolis’s choice of laser was therefore also a smart one from
a revenue—and marketing—point of view.”
DOLBY CINEMA NOW IN ASIA
n Wanda Cinema Line Corporation Ltd. and Dolby Laboratories
Inc. have announced the first theaters with Dolby Cinema in Asia at
Wanda cinemas in Dalian, Changchun, Chongqing, and Jinan.
The grand opening was held at Wanda Cinema’s Dalian Kaide
Heping Square site in June, attended by hundreds of guests, including
filmmakers, media, movie enthusiasts, and Warcraft fans. Legendary/Universal
Pictures’ Warcraft is the first Dolby Cinema movie title
released in China.
“Wanda Cinema Line, as a leader and advocate of the latest
cinema technologies in Asia and even around the world, is committed
to providing premium moviegoing experiences and services
to our audiences,” said John Zeng, president, Wanda Cinema Line.
“Dolby Cinema is a complete experience. We are glad that, as the
COSTA RICA’S BIGGEST SCREEN GETS CHRISTIE DUO
n Christie Duo projection system has been installed in Nova ONE, Costa Rica’s
biggest film screen. Nova ONE is the main screen at the Nova Cinemas multiplex,
located in the newly opened Plaza Real Alajuela shopping mall in San José, the
capital of Costa Rica. It is also the country’s first theater to use Dolby Atmos
sound and dual projection (two simultaneous 4K projectors).
The recently opened Plaza Real Alajuela shopping mall has nine screens seating
a total of 1,540, all equipped with projectors from the Christie Solaria Series.
They belong to the Nova Cinemas chain, owned by the Repretel media company.
The installation was undertaken by Vidicom, a Costa Rican company specializing
in rental, sale, and integration of sophisticated audiovisual systems.
“The Christie Duo is the closest option in xenon to 6P laser projection technology,”
said Juan Carlos Cotúa Fiorentini, managing director of Vidicom. “The quality of the
image and the efficiency of the system is really amazing. The definition, color saturation, light, and
contrast ratio are way better that what we are used to seeing in conventional film theaters.”
8 BoxOffice ® AUGUST 2016

largest exhibitor in Asia, we can be the first to bring this experience
to audiences.”
In January 2016, Wanda Cinema Line and Dolby announced an
agreement to open 100 Dolby Cinema locations in China over the
next five years. Following the opening of the first four sites, Wanda
Cinema Line plans to expand the number of operating Dolby Cinema
sites in China to 10 by December 2016. Additional cities slated
for Dolby Cinema include Beijing and Chengdu.
ODEON INSTALLS CHRISTIE
n Christie has signed an agreement with Odeon Multicines for the
Spanish cinema chain to install Christie Solaria projectors—including
Christie RGB laser cinema projectors and Christie Vive Audio
sound systems—throughout its 12-screen multiplex at the Sambil
Outlet shopping mall in Madrid.
The new complex in Sambil Outlet will seat 2,400 people, and
the screens will cover a total floor area of 4,500 square meters on the
second floor of the mall.
The operation will be carried out by Ingevideo and Equipo de
Cine, who will supply and install all the equipment together.
Luis Carlos Millán López, owner of Odeon Multicines, said,
“Our goal is to introduce the latest technological advances that will
guarantee our spectators the very best sound and image. We were
bowled over when we saw Christie laser projectors, the unmatched
brightness, quality and realism of the 3D. Now we’ve decided to
make the leap to laser in our new complex in Madrid, which will be
the most advanced in Spain thanks to the latest cinema technology
from world-leading brands like Christie and Dolby.”
VISTA APPOINTS NEW COO
n Film software company Vista Group International Limited (VGL)
has announced the appointment of Derek Forbes to the newly created
role of chief operating officer (COO). Forbes, currently president
of Vista Entertainment Solutions USA (VES USA), will continue to
be based in Los Angeles. Leon Newnham, currently VP of operations
for VES USA, will take over from Forbes as president. Both men will
report to Murray Holdaway, Vista Group chief executive.
Forbes will be tasked with growing Vista Group’s participation
and visibility in the industry, including extending the company’s
relationships with U.S.-based movie organizations beyond VES. In
addition, Forbes will communicate and demonstrate the wider capabilities
of the Vista Group of companies to the broader film sector
and assist to bring new VGL companies and products to the U.S.
market and beyond.
A New Zealander, Forbes joined
Vista Entertainment Solutions as a
software developer in 2000 when the
company was a team of just five. As
VES expanded, he was soon working
on cinema projects in locations like
Mumbai and Caracas. Forbes
moved to the U.K. in 2005,
where he established and
managed Vista’s London
office. Under his leadership,
Vista expanded into new
European territories. n
AUGUST 2016 BoxOffice ® 9

EXECUTIVE
SUITE
n Two recent events—the vote for “Brexit” in the
United Kingdom and the rise of Donald Trump in
the Republican party of the United States—suggest
that nationalism may be gaining some ground against
globalism as a preferred economic and political
philosophy. Though these developments have been
widely debated in the public press, little has been
discussed about the potential impact on the business
of exhibition. With certain caveats, this writer strongly
believes that globalization over the past few decades has
benefitted motion picture theater operators, and that a
potential return to protective national policies could be
bad for business.
NATIONALISM
VS. GLOBALISM
Why should exhibitors care?
WHAT ARE
NATIONALISM
AND GLOBALISM
ANYWAY?
Much has been
written about the way
people identify with
their government,
economy, and culture and how that identification
shapes legal and emotional geo-political boundaries.
The driving forces of this identification matrix can be
religion, language, ethnicity, philosophy, patriotism,
xenophobia, or many other factors. Simply put, nationalism
is identification with a country and a belief in the
commonality of the values and people of that country.
Globalism, on the other hand, is identification with
international integration and shared worldviews.
At times, nationalism can manifest in resentment
toward other communities or foreign powers and can
support policies designed to protect the culture, beliefs,
jobs, and economy of its own citizens as opposed to
foreigners. Globalism fosters the international exchange
of products and ideas and the travel or migration of
people across national borders. Globalists generally
favor the “best” product, idea, or worker regardless of
national origin.
by John Fithian, President and CEO, NATO
HOW HAS GLOBALIZATION BENEFITED
EXHIBITORS?
Over the past few decades, globalization has generally
benefited the exhibition industry. Consider six
examples to support this conclusion.
Immigration can drive attendance. Globalists
believe that people should be freer to move around the
world in search of a better life for themselves and their
families. More often than not, originally disadvantaged
people improve their standard of living after migrating
to another country. With their improved standard of
living comes an ability to increase their spending habits
on leisure activities, such as buying movie tickets.
The United States offers a prime example of this
phenomenon. Hispanics have constituted the largest
source of immigration in recent years, and Hispanics
also go to the movies more than anyone else. Between
their rates of immigration and their rates of giving birth
after they have located in the United States, one-fifth of
American households are now of Hispanic origin, and
that number will grow to one-third by 2050. Given the
fact that Hispanics in the United States go to the movies
more than six times a year on average (compared to less
than four times a year for other ethnicities), these population
trends benefit American exhibition tremendously.
Immigration can improve the available workforce.
What distinguishes a hard worker from a lazy
one generally cannot be associated with being a “native”
to any nation’s workforce. Indeed, many scholars have
written that the opposite is true. That is, immigrants
often demonstrate a willingness to work harder than
nationals, because a desire to improve their lives drove
them to immigrate in the first place. Exhibitors need
many entry-level minimum-wage employees to do basic
jobs that do not require a higher education. Simply
put, recent immigrants supply a significant percentage
of exhibition staff in many countries around the world.
Free trade agreements make equipment imports
more economical. Nationalists typically promote
trade policies that favor local products and services, to
protect the jobs and culture of that nation’s citizens.
Globalists tend to favor free trade, to promote
easier exchange of goods and services across national
boundaries. This broad philosophical divide can have
real economic consequences for exhibitors. According
to an estimate from Pitney Bowes, for example, the
average movie-theater-equipment import duty around
the world is between 9 and 10 percent. Some countries
have no such duties at all, while other countries impose
duties up to 100 percent, effectively doubling the price
of imported equipment.
Consider the challenges of a new Africa-based
exhibitor with whom this writer met recently. That exhibitor
(and proud member of NATO) explained that
every piece of theater equipment he needs, with the
exception of seating, has to be imported because no
theater equipment manufacturers operate in Africa. Or
consider exhibitors in Brazil, who have confronted for
many years a national government that has imposed
both import taxation on movie theater equipment and
other supplies and local content restrictions. Free trade
agreements serve to reduce import duties and local
content restrictions.
Reductions in film and screen quotas can grow
attendance. Over the years many countries have
imposed a limit on the number of foreign movies
that can be exhibited each year and/or the number of
screens that must be dedicated to local film. With a
strong caveat about the importance of local content
and diverse movie supply (a subject that deserves a column
of its own), this author believes that these quotas
inhibit growth in ticket sales more than they promote
it. Screen quotas have been imposed over the years in
countries as diverse as the United Kingdom, France,
South Korea, Brazil, Pakistan, Italy, Greece, Spain,
10 BoxOffice ® AUGUST 2016

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and Mexico, to name but a few (many of
those quotas have since been repealed, while
some have not). A free-market philosophy
would suggest that exhibitors might want to
program the movies that can sell the most
tickets, regardless of where those movies were
produced.
As for film importation restrictions, China
serves as the classic example. Even though
foreign blockbusters can do huge business in
China, the government has traditionally limited
the number of foreign movies that can
be exhibited in a given year. That limit has
improved in recent years, but only marginally,
from 20 foreign films per year to 34 per
year (14 of which must be in 3D or IMAX).
The Chinese exhibition market is the fastest
growing in the world. It would grow even
faster with free trade.
International agreements can globalize
the protection of intellectual property.
According to a recent study from the
Carnegie Mellon University, box office
revenue in the United States would increase
by 16 percent if no movie theft (or “piracy”)
occurred. The study also demonstrated that
even if movie theft were only delayed by a
week or two from initial theatrical release,
millions of dollars more would be spent on
movie tickets for just one big movie. Yet movies
can be stolen anywhere in the world in the
modern era of global day-and-date releasing.
To reduce the effects of movie theft, laws
protecting intellectual property generally, and
prohibiting the recording of movies in cinemas
specifically, must be enacted. Through
international trade agreements driven by
countries that produce movies and other
intellectual property, those national laws are
being required and enacted.
International expansion in exhibition
can drive value and growth. In the first
75 years or so of the history of exhibition,
theater owners operated almost exclusively on
a local basis. In the past 35 years, exhibition
has become an international business
in two ways. First, some companies (e.g.,
Cinemark, Hoyts, Cinépolis and National
Amusements in Latin America; Cinépolis in
India; Warner Bros. International Theaters
in Asia; Village in Southern Europe and
elsewhere; CinemaCity in Eastern Europe;
CJ-CGV in Southeast Asia; Ster-Kinekor in
Africa; Caribbean Cinemas beyond Puerto
Rico throughout the Caribbean) helped to
develop under-screened markets by building
new cinemas in countries outside their base
nation. Second, other companies (Wanda
in the United States and Australia; CJ-CGV
in Turkey; Cinépolis in Spain; Odeon and
Vue throughout Europe; Nordic Cinemas
beyond Sweden throughout the Baltics) are
now bringing added value to exhibition by
acquiring companies in foreign territories
and gaining efficiencies and strength through
international consolidation. Only free and
open market policies can stimulate this kind
of international growth in the industry.
For these reasons and more, globalism has
been good for the theater business.
HOW CAN WE TELL THAT
NATIONALISM IS ON THE RISE?
The pollsters and the politicians confidently
predicted that the United Kingdom
would not vote to leave the European Union.
The stock markets reflected that confidence.
Even Nigel Farage, leader of the nationalist
UK Independence Party (UKIP), spoke on
election night as if his side would lose and
the U.K. would stay in Europe. They were all
wrong. The people voted for “Brexit.”
Though voters in London and Scotland
voted to stay in Europe, voters in the
heartland of England, and in Wales, voted
overwhelmingly to leave. Interviews with
voters after the fact revealed an undercurrent
of strong nationalism and anti-globalism.
Ordinary English people voted against free
trade and against immigration and against
giving authority to people in Brussels with
different values and heritage. Perhaps the only
silver lining is that young people in Britain
overwhelmingly voted to remain in Europe,
and young people are very important to the
theater business.
Meanwhile, in the United States, Donald
Trump has proposed a long list of nationalist
policies, from building a wall on the border of
Mexico to temporarily banning the immigration
of Muslims to abolishing many free trade
agreements and more. Despite (or perhaps because
of) Trump’s complete lack of experience
in government, angry voters across the United
States propelled him to the presumptive nomination
of the Republican Party. To be sure,
Trump is not the only presidential candidate
who has moved toward nationalist policies.
Democratic runner-up Bernie Sanders aggressively
attacked free trade, while Democratic
presumptive nominee Hillary Clinton has
somewhat abandoned her previous free trade
philosophy in response to Sanders.
Nationalist political parties or candidates
are growing in strength in many other countries
as well.
It is difficult to predict how wide, and
how long, this nationalist surge will be. But
in the opinion of this writer, it can’t be good
for business. n
12 BoxOffice ® AUGUST 2016

MEMBER
NEWS
NATO TO MERGE ANNUAL
MEETINGS AND FALL SUMMIT
IN LOS ANGELES
by David Binet, Director of Membership, NATO
NATO is combining its annual fall meetings, traditionally held in late September / early
October each year, with the NATO Fall Summit, introduced in 2013, and held in November
the past three years. This change was made in response to member feedback, as
the new format will allow members to combine their NATO fall travel into just one trip
to Los Angeles and thereby save on travel expenses. In recent years, NATO’s annual
meetings met alternatingly in Washington, D.C., and Los Angeles. This schedule allowed
members to lobby Congress while they were in session on Capitol Hill and meet
with studios in Hollywood in the off year. The association has switched its strategy to
lobby Congress when the need arises rather than wait every two years. That opened
the opportunity to keep the annual meetings in Los Angeles, where studio relations are
always a key priority. The event will be held September 27 to 29.
n The schedule for NATO’s annual meetings will
be packed over the two-day event. These NATO
committees, task forces, and other groups will meet
on Tuesday, September 27: NATO’s past chairmen;
the Membership Committee; Government Relations
Committee; Technology Committee; Conventions
Committee; International Committee; and the Independent
Theatre Owners Committee. That evening, all
attendees will gather for a cocktail party and dinner,
generously sponsored again this year by the Coca-Cola
Company. A dessert buffet and cordial bar will be
provided after dinner to enable members to socialize
with their industry colleagues and friends. (Sorry, no
dance floor. We’ve seen our members dance, and it’s
just better to leave it to the professionals.)
NATO TECHNOLOGY COMMITTEE
The NATO Technology Committee will meet
on Tuesday, September 27, at noon. This committee
monitors and analyzes the latest cinema technology to
ensure that they achieve the highest standards set by
the exhibition industry. Longtime NATO members
remember that the Technology Committee once addressed
such issues as digital sound systems, cyan dye
tracks, automated kiosk ticket selling, film reel lengths
and split reels, TASA sound level limits, and many
other topics. The reinvigorated Technology Committee
moves the conversation into the modern auditorium.
Led by AMC’s John McDonald and NATO consultant
Jerry Pierce, the committee gives a high priority to the
new challenges brought by digital technology. New
issues such as higher frame rates and DCP formats join
ongoing issues such as piracy detection technology and
captioning equipment for the deaf.
NATO INTERNATIONAL COMMITTEE
During CinemaCon, the NATO International
Committee voted to meet this fall during the NATO
Annual Meetings and Fall Summit. There will not be
a meeting in conjunction with the ShowEast convention.
The meeting will take place on Tuesday, September
27, at 4:00 p.m. PDT. The combination of NA-
TO’s governance meetings and Fall Summit provides
a better venue for more members to attend. Chair Jan
Bernhardsson of Nordic Cinema Group (Sweden) and
Vice Chair Valmir Fernandes of Cinemark International
will welcome exhibitors from territories around
the world, as well as some international association
leaders.
The International Committee will continue its discussions
on release windows, movie theft, and cinema
technology, and include issues such as marketing, regulatory
policies, and import issues. Many of the same
challenges confronting NATO’s domestic members
occur in our international territories as well, so the
dialogue generated by the International Committee
continues to benefit all NATO members. We encourage
all NATO members operating in territories outside
the United States to attend.
NATO INDEPENDENT THEATRE OWNERS
COMMITTEE
NATO’s Independent Theater Owners Committee
(ITOC) provides a forum for discussion and information
exchange between smaller theater owners and operators
with 75 screens or fewer. Chairman Joe Paletta
(Spotlight Theatres Inc.), along with Vice Chairman
John Vincent (Wellfleet Cinemas), presides over the
ITOC. In addition to the committee leadership, four
14 BoxOffice ® AUGUST 2016

MEMBER NEWS
elected volunteer members serve on NATO’s Executive Board of
Directors, the top decision-making body within the association.
The current elected volunteer members are Byron Berkley (Foothills
Entertainment Inc.), Gina DiSanto (Schuylkill Mall Theatres), Jeff
Logan (Logan Luxury Theatres Corp.), and Mark O’Meara (University
Mall Theatres). In tandem with Bill Campbell (Orpheum Theatre
Inc.), the managing director of NATO’s Cinema Buying Group,
these individuals spearhead dialogue and advocacy for independent
owners and operators within the exhibition industry.
The meeting of the ITOC takes place on Tuesday, September
27, at 2:00 p.m. PDT. It serves as an open discussion of key issues
affecting independent
cinemas.
ADVISORY BOARD
ELIGIBILITY
NATO’s general
membership and Advisory
Board meetings will
be held on Wednesday,
September 28, and
will cover governance
matters as well as an
overview of key issues
and opportunities affecting
exhibition. Audience
response technology
will be used, so the perspectives
of all attendees
can be expressed and
considered. Following
the Advisory Board
meeting, NATO’s Executive
Board will meet in
a private session.
The NATO Advisory
Board is composed of
member company personnel
most interested
in the issues confronting
the industry. They
play a key role in the
discussions of association
policy and future
activity. Advisory Board
membership is bestowed
upon those members
who participate in these
discussions. Any management
personnel from
a NATO member company can join the Advisory Board, and any
member can attend the meeting. The current threshold to achieve
Advisory Board eligibility is attendance at two consecutive annual
meetings. Once on the Advisory Board, those members can seek
election onto the NATO Executive Board. It remains the most direct
platform for NATO members to engage in association issues.
NATO’S FALL SUMMIT
Initially conceived as a small gathering of marketing executives
in Los Angeles, NATO’s Fall Summit has become a valuable
member benefit for over 200 attendees. The Fourth Annual Fall
Summit will kick off on Wednesday evening with a film event at
the Cinemark Playa Vista Theatre and continue with a full day of
educational programming on Thursday, September 29. NATO’s
Fall Summit is a “members only” program designed for cinema
owners, CEOs, and senior marketing and operations executives
to stay up to date on issues and innovations that affect their
businesses.
The program remains in development, but one key aspect of the
schedule is to bring in marketing executives from other industries
that face similar challenges as the exhibition industry. Potential
guest industries for this
year’s Fall Summit are
theme parks and sports
franchises, which both
provide unique experiences
for their patrons.
Another major theme
for this year will be
reaching millennials.
The team at Cinema-
Con is working closely
with NCM, which has
new research on this
demographic. They will
also follow up the success
of the past two years by
ending the educational
sessions with a live focus
group of millennials.
Social media continues
to be a constant topic
of conversation among
marketing personnel,
and the Fall Summit will
provide a deeper dive on
the use of platforms such
as Snapchat to reach
younger audiences.
Another panel involves
the emerging trend
of eSports in cinemas.
The plan is to have a
group of cinema executives
alongside an eSports
executive to discuss the
evolution and potential
of the business.
Other potential panels
and programs include
mobile ticketing innovations and a filmmaker/studio for a private
breakfast and/or lunch program. NATO will soon be announcing a
studio to host the opening evening’s presentation/screening at the
Cinemark Playa Vista Theatre.
NATO is pleased to provide all of these governance meetings,
educational events, and social events to NATO-member owners and
executives at no charge. Please plan to join us for these important
gatherings of NATO leaders. Registration materials were sent by
e-mail in May, but please contact the NATO offices for more information.
n
16 BoxOffice ® AUGUST 2016

CHARITY
SPOTLIGHT
A LOOK AT RECENT AND UPCOMING EVENTS
Compiled by Erica Lopez, Executive Director, Variety – The Children’s Charity
CAMP
GREY DOVE AT
VARIETY’S PEACEABLE
KINGDOM RETREAT FOR
CHILDREN
Variety of Texas hosted Camp Grey
Dove in conjunction with Any Baby Can
from Austin, Texas, as our first camp of
the summer! Our campers, who are the
siblings of children with cancer, were
able to find community and support
by connecting with others with
the same experience while
having a blast.
CAMP JAM AT
VARIETY’S
PEACEABLE
KINGDOM RETREAT
FOR CHILDREN
Camp JAM experienced
their first week at
Variety’s Peaceable
Kingdom in Texas in
partnership with the
Arthritis Foundation!
Campers with juvenile
arthritis traveled from
Oklahoma, New Mexico,
and within Texas to spend
a week together enjoying
the summer sun.
CAMP BLUEBONNET AT VARIETY’S
PEACEABLE KINGDOM RETREAT FOR
CHILDREN
Through the Children’s Diabetes Camp of
Central Texas’s sponsorship, we have been
able to host our week-long day camp for about
200 campers with diabetes and their siblings.
Organized chaos is the name of the game, as
campers participate in high ropes, low ropes,
archery, slip and slides, medical education, and
many more activities.
18 BoxOffice ® AUGUST 2016

VARIETY OF
TEXAS
VARIETY AT WORK
Variety of Texas has been
busy this summer as the Variety
at Work program is in full swing.
Kids with special needs from across
the state have filled their summer
with baseball games, trips to the
museums and aquarium, outings
to the movies, and jumping
around at trampoline
parks.
VARIETY KOVAN GOLF
CLASSIC
Variety of Detroit hosted its
27th annual Variety Kovan
Golf Classic on June 13, 2016,
at Birmingham Country Club
in Birmingham, Michigan.
The annual Variety/Kovan
Golf Classic included 18
holes of golf with golf
cart and door prize, as
well as breakfast, lunch,
hors d’oeuvres, cocktails,
strolling dinner, and a silent
auction to raise funds for
Variety’s core programs
for children. The Variety
Presidential Citation Award
was presented to the family
of Dr. Thomas Kovan for
his exceptional dedication
to Variety for nearly three
decades. The event was
chaired by Dr. Eric Kovan.
AUGUST 2016 BoxOffice ® 19

CHARITY SPOTLIGHT
VARIETY OF
MANITOBA
COME ONE
COME ALL GOLD
HEART GALA
Guests had a great
time celebrating
Variety’s kids
at Variety of
Manitoba’s circusthemed
big-top
event, Come One
Come All Gold
Heart Gala at
the Club Regent
Event Centre in
Winnipeg! With
its amazing live
auction, raffle, and
sponsors, Variety
of Manitoba’s gala
raised more than
$425,000 net for
Manitoba’s kids.
YOUNG VARIETY OF IOWA
Current Young Variety of Iowa members met to network with
Variety of Iowa’s state board at Django restaurant in Des Moines.
The two-hour event provided YV members access to some of the
top executives in Des Moines and was an opportunity for members
to learn about what is happening at a state board level.
MOTION PICTURE CLUB & VARIETY
OF NEW YORK
YOU’VE GOTTA HAVE HEART
Variety of New York’s 6th Annual
You’ve Gotta Have Heart at the Highline
Ballroom, in partnership with the Motion
Picture Club, was attended by 300-plus
leaders from a cross section of industries
that include film, entertainment, real
estate, marketing, and finance. The
evening consisted of a cocktail reception
and a brief program highlighted by the
presentation of the “You’ve Gotta Have
Heart” award to our honorees Steve &
Lisa Bunnell.
VARIETY OF BRITISH COLUMBIA
SUNSHINE FAMILY VAN CAMPAIGN
In celebration of its 50th anniversary, Variety of British Columbia
launched the Sunshine Family Van Campaign and is fund-raising to
provide new wheelchair-accessible vans to families across British
Columbia with children who have mobility challenges.
VARIETY OF IOWA
PRINCIPAL CHARITY CLASSIC GOLF
TOURNAMENT
Variety of Iowa presented 10 specialized
bikes to children with special needs during
the Principal Charity Classic golf tournament,
which ran May 31 to June 5 at the historic
Wakonda Club. “Variety is proud to be one
of the Principal Charity Classic’s ‘FORE Our
Kids’ tournament charity partners,” said Sheri
McMichael, Variety of Iowa’s executive director.
“Each year we look forward to the Principal
Charity Classic and presenting specialized
bikes to children while raising awareness for
our Bikes for Kids program.” During this year’s
tournament, several PGA tour champions
players and their families participated in bike
donations, including: John Daly; Miguel Ángel
Jiménez; Brian Henninger; Skip Kendall; Brenda
Calcavecchia, wife of 2015 Principal Charity
Classic champion Mark Calcavecchia; and Scott
McCarron, the 2016 Principal Charity Classic
champion. n
20 BoxOffice ® AUGUST 2016

CHARITY SPOTLIGHT
VARIETY OF ST. LOUIS
ADVENTURE CAMP
At Variety of St. Louis’s Adventure Camp,
all activities focus on kids’ strengths and
abilities so they can develop social skills
and camaraderie in a fun camp setting.
From climbing a rock wall to cooking a
meal and from riding a horse to petting a
snake, this camp rocks! Open to children
ages 4 to 16 with physical and intellectual
disabilities, Variety Adventure Camp
includes four week-long sessions in the
summer—all free of charge! Teen Track is
available for campers ages 13 to 16. Teen
campers enjoy unique opportunities, such
as cooking lessons, horseback riding,
and other age-appropriate activities.
Our teens enjoy spending time with their
peers while experiencing new adventures!
UPCOMING EVENTS
Variety of New York’s Inspire. Collaborate. Create.
Thursday, July 21
Variety of New York at 55 Broad St., 18th Fl.
New York, NY 10004
varietyny.org/icc2016
Inspire. Collaborate. Create. is an exciting art auction fund-raiser benefitting Variety of New York,
whose mission is to “transform the lives of children through the arts.” In collaboration with notable
artists, ICC seeks to build a platform for the voices of New York City’s most underserved youth to be
heard. Inspired by the artwork from Variety’s grantees, New York–based street artists will create original
pieces to be auctioned off. For every youth piece sold, 100 percent of the proceeds go back to the young
artist; proceeds from the street artists’ pieces will benefit Variety and the thousands of youth Variety
helps! Admission: $20 advanced purchase / $25 at the door. Includes open beer/wine bar and light hors
d’oeuvres.
Variety of Wisconsin’s Ben Marcus Memorial Variety Golf Classic
Monday, July 25
Grand Geneva Resort & Spa
7036 Grand Geneva Way, Lake Geneva, WI 53147
www.benmarcusvarietygolf.com
Over the past 38 years, this event has raised more than $1.7 million for children with disabilities. Your
support at this event allows us to help children in need throughout Wisconsin by providing durable
medical equipment such as wheelchairs, walkers, adaptive bicycles, ramps, vehicle modifications, and
more. We hope that you will participate in our signature fund-raiser in some way by either golfing,
coming to dinner, providing an auction item or donation, volunteering, or sponsoring the event.
Variety of Iowa’s 28th Annual Leinenkugel Golf Invitational
Presented by Hy-Vee
Tuesday, August 16
Elmcrest Country Club at 1 Zach Johnson Drive N.E., Cedar Rapids, IA 52402
varietyiowa.com/calendar/events/event-32/
Join us for a great day of golf to support the children of eastern Iowa! Morning and afternoon tee times
are available. Shotgun start at 7:30 a.m. or 1:00 p.m. You will enjoy a best shot Invitational with 4 red
tees and 4 mulligans per group, light breakfast, lunch, and dinner. The day also features a silent auction
and specialized bike presentations.
Variety of Texas’s 80th Anniversary at the 69th Annual Texan of the Year Gala
and Golf Tournament
Gala: Wednesday, August 31
Westin Dallas Park Central at 12720 Merit Dr.
Dallas, TX 75251
Golf: Thursday, September 1
Brookhaven Country Club
3333 Golfing Green Dr.
Dallas, TX 75235
varietytexas.org/gala
Variety of Texas is partnering with Theatre Owners of Mid-America’s 18th Annual CinéShow for the
three-day event, with a special honor to Steve D. Zuehlke of Cinemark Theatres at Wednesday’s gala
followed by a fun day of golf on Thursday.
Variety Stag
Thursday, September 8
Powder River Ranch in Cumming, Iowa
varietyiowa.com/calendar/events/event-33/
Join us for Variety of Iowa’s 9th annual, one-of-a-kind men’s event. This casual event will be hosted
in the indoor riding arena at Powder River Ranch in Cumming. The evening includes cocktails, steak
dinner, and a raffle. Each guest will receive a gift bag.
Variety of Northern California Gold Heart Classic Golf Tournament
Thursday, September 15
Peacock Gap Golf Club
333 Biscayne Dr.
San Rafael, CA 94901
varietync.org/news/archives/1158
Join us for a round on the links to benefit Variety kids. The event will offer golfers the chance to play at
a beautiful course in Northern California just 15 minutes north of the Golden Gate Bridge. We have
some special offerings for our participants; with live scoring from their carts, personalized gifts and
some fun contests, golfers will enjoy breakfast & lunch, a round of golf, and raffles & silent auction, all
to raise the much needed funds for our FREEDOM mobility program, helping children increase their
independence with equipment and services.
Variety of Manitoba’s Drive Fore the Kids Golf Classic & Charity Auction
Tuesday, August 30
Glendale Golf & Country Club
400 Augier Ave., Winnipeg, MB R3K 1S4, Canada
varietymanitoba.com/join-us-varietys-drive-fore-kids-golf-classic/
Join us for a great day of golf, good food, fun and fund-raising all FORE Variety’s kids. Enter a team
into our tournament or sponsor the event as an organization. We look forward to supporting more kids
in Manitoba each year.
Ladies of Variety Shooting Event
Friday, September 23
The Highlands Sportsmen’s Club
W. A, N3041 County Rd. F
Cascade, WI 53011
Join the Ladies of Variety for a fun and adventurous day at the Highland’s Sportsmen’s Club. There
will be shooting, wine, jewelry, and more. Contact Variety of Wisconsin at 262-777-2090 or e-mail
contact@varietywi.org for more details.
TO INCLUDE YOUR EVENT LISTINGS IN FUTURE EDITIONS OF THIS STORY, PLEASE CONTACT NUMBERS@BOXOFFICE.COM
22 BoxOffice ® AUGUST 2016

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REGIONAL
RECAP
A LOOK AT SOME OF THIS YEAR'S REGIONAL CONVENTIONS
CONVENTIONEERS AT THE 1968 MID-ATLANTIC NATO CONVENTION
MID-ATLANTIC NATO CINEMA SHOW & TELL
May 10 at the Waterford in Springfield, Va., and the Regal Kingstowne
Stadium in Alexandria, Va.
400 attendees each year. Most of the theater delegates are managers
from both large and regional circuits, but many are independent
theater owners as well.
Contributor: Doug Murdoch, Executive Director, Mid-Atlantic
NATO
ABOUT
Mid-Atlantic NATO’s Cinema Show & Tell provides education
and information for all. Our convention gives theater owners and
managers a chance to network with studio and vendor representatives
in an intimate setting where they can focus on what is new,
what is working or not, and what they can learn from each other.
Mid-Atlantic NATO holds its event in a small setting without a lot
of bells and whistles to distract attendees. While we certainly have
a fun and friendly group, if someone is attending the convention,
they are here to focus on business. Many conversations started at
CinemaCon are closed when theater owners and vendor reps meet
again on the local level. Mid-Atlantic
NATO’s regional event
is also offered at price point to
provide smaller operators and
nonprofit managers access to learn
about products that they may not
otherwise hear about. We can also
focus on local legislative issues
that may not get attention at the
national and international level.
ATTENDEES
Including the vendor and studio
reps, we have been averaging about
NATO'S PHIL CONTRINO AND JOHN FITHIAN ADDRESS THE ATTENDEES
HISTORY
As a partnership of NATO groups in Maryland, Virginia, and D.C.,
Mid-Atlantic NATO starting having conventions in the ’50s and
’60s, then joined with others NATO groups in the Northeast to
eventually found the original ShowEast Conventions held in Atlantic
City during the ’90s. Once its convention was moved out of the
region, Mid-Atlantic NATO began holding an annual managers
seminar in lieu of its convention. In 2010, we expanded our one-day
seminar program into a two-day regional convention known today as
Cinema Show & Tell.
Mid-Atlantic NATO’s scholarship program, started in 1985, was
the vision of the late Jerry Gordon. Since then, almost 400 employees
of Mid-Atlantic NATO member theaters have been awarded
a total of about $600,000 in scholarships. In 2010 we started to
invite the scholarship-award
recipients and their families to
attend our conventions dinner,
and almost all have attended this
festive celebration. Variety of the
National Capital Region held
its inaugural events last year in
coordination with Mid-Atlantic
NATO’s successful annual
convention and plans to continue
that tradition going forward.
Mid-Atlantic NATO is proud to
support such a worthwhile cause.
(continued on page 26)
24 BoxOffice ® AUGUST 2016

The Official Convention of
Follow Us
CinemaCon.com

REGIONAL RECAP
THEATRE OWNERS OF NEW ENGLAND (TONE)
CONVENTION
May 4 at the Showcase Cinema De Lux at Patriot Place in Foxboro,
Mass.
Contributor: Daniel Vieira, Executive Director, TONE
ABOUT
Our annual conference and trade show is hosted by National
Amusements. Every year, National Amusements provides TONE
with a tremendous amount of support, which allows us to hold
this conference for our members. This event could not happen
without the hard work and generosity of National Amusements.
This year’s event included interesting guest speakers, presentations
from seven studios, and a
trade show of about 26 vendors.
It provides all of our local
members with an opportunity
to get an industry update
from studios and vendors, as
well as learn about legislation
that impacts our industry.
We had two representatives
from NATO who were guest
speakers at this year’s event.
Belinda Judson, NATO’s State
Government and Regional
Liaison, provided the group
with a summary of all of the
legislative challenges we face
at both the state and federal
levels. David Binet, NATO’s
Director of Membership, provided
the group with industry
statistics for the past year,
as well as an update on the
Cinema Buying Group.
ATTENDANCE
Three hundred attendees made
up of the managers, regional
managers, and home-office
personnel from all of our New
England member companies.
HISTORY
This is the fourth year that we
have held a full conference
and trade show. Our trade show has sold out every year to capacity.
It provides a venue for many local managers and home-office personnel
who were not able to attend CinemaCon. We try to provide
a condensed version of CinemaCon where the local members can
get a flavor of what is happening in the industry. This year’s event
was highlighted by a presentation from Joan Fox, a nationally
known results-driven performance expert. Her presentation was
titled “Forget Customer Satisfaction,” the five things you must do
to keep your customers. The fact that it is a single-day event and
that it is free for members allows more managers to participate who
otherwise may not have had an opportunity to attend an industry
convention.
NORTH CENTRAL NATO CONVENTION
May 17 & 18 at the Sheraton Minneapolis West in Minnetonka, Minn.
Contributor: Dale Haider, Director of Operations,
Muller Family Theatres
ATTENDANCE
Theater Owners: 171
Vendors: 52
Trade Show Booths: 49
HISTORY
We just completed our 17th year. The first two years were just a half
day that concluded with a noon lunch; we added the trade show in our
third year. That year attendance
was 94 manager/owners and 17
booths, but none of the studio
marketing reps attended. As the
years went on the studio reps
started attending, we added
educational seminars, and attendance
continued to grow each
year. Our scholarship program
started in 2005 when we gave
away four scholarships, three for
$500 and one for $1,000. This
year we gave out five $1,000
scholarships and one $1,500
award. Pepsi has sponsored one
of the scholarships each year.
All together we have awarded
54 scholarships for a total of
$51,000.
REGIONAL FOCUS
I think our convention is similar
to other regional conventions.
What sets us apart from
CinemaCon is the size; being
smaller gives the attendees
and vendors more time to
talk about issues they may be
having. Our cocktail hour and
after-dinner party gives attendees
the chance to talk with
everybody. Around 85 to 90
percent of our attendees do not
attend CinemaCon because of
cost; some of our small-town theater owners cannot afford the cost or
time to attend CinemaCon. All of our attendees drive to Minneapolis,
most spending less than five hours in the car. Our convention cost
is only $120 for North Central NATO members. Each year NATO
sends two representatives who update our attendees on industry issues
they are working on that will affect all theater operators. NATO
also monitors legislative sessions in all states to track what new laws
may affect the theater industry. They also report on those issues for
the five states we represent. 2016 was the first year we worked with
Variety. During the convention they donated two specially equipped
bikes to special-need kids. Next year we are going to work on incorporating
a golf tournament with the convention. n
26 BoxOffice ® AUGUST 2016

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INDUSTRY
INTERVIEW
BEYOND POPCORN, CANDY, AND SODAS
NAC prepares its 2016 convention for July 19–22 in the Twin Cities
by Daniel Loria
Interview with Dan Borschke, Executive Vice President, National Association of Concessionaires
What are the major trends you’re
currently seeing in the concessions
world?
From our vantage point, the biggest new
trends involve dine-in theaters and alcohol,
even though they’ve been around for a few
years now. What we’re really emphasizing
in this year’s program at our convention,
however, is not the food or beverage as much
as the service. We’ve come to the conclusion
that, frankly, customer service is paramount,
because if you want people to pay premium
prices, which obviously we do, then you’re
going to give them impeccable service as
well. This year’s keynote speaker, Dennis
Snow, will be specifically touching on
customer service. He comes to us from Walt
Disney World, where he’s spent about 20
years, so he’ll talk quite thoroughly when it
comes to the importance of customer service.
On the other hand, we believe that our
members also need to think about the people
who work for them. So we’re doing another
panel right after the keynote called “People
Are Our Most Valuable Asset,” which will
include a labor attorney and an individual
whose life has been spent
in retail merchandising—Kim
Moss, who’s
a friend of mine and has
been around for a long
time and, frankly, she
knows how to deal with
people and get products
on the shelves.
We are also going
to have Robert Perkins,
a theater owner who is
very hands-on and really
knows how to deal with
people. And then finally
Ken Whitey, a member
who does catering in
Santa Monica. We are
going to be addressing
a number of issues, including
everything from
overtime and minimum
wage to how to deal with
millennials to making
your interaction with the
customer more efficient
or effective.
DAN BORSCHKE
What are some of
the topics you’ll
be exploring at the
educational sessions?
On that Wednesday
we’ll be having a panel
discussion on government-relations
issues,
regulatory and legislative
issues that will be
impacting the theater
owners now and in the future. We’ll be
talking about the sugar tax that was passed
in Philadelphia, which will raise the price
of a soda by a penny and a half per ounce
throughout the city of Philadelphia, whether
it’s sugar or diet soda, which obviously has
great ramifications. But we’ll be talking
about sugar and GMOs, and of course the
whole menu-labeling act, which eventually
will come into place if not later this year,
early next year. We’ll also be talking about
nutrition facts, which the FDA just changed
after 25 years on all the products. So we’re
excited about that because we’ll be having
representatives from the American Beverage
Association, from Coca-Cola, from Hershey,
from the national Confectioners Association.
They’ll be talking about what it takes in
today’s world, both locally and federally, to
deal with some of these new regulations and
legislative issues.
On Thursday we have two educational
programs. We start with a session on
entrepreneurialism and how entrepreneurs
are mostly successful because of their mindset.
Simon T. Bailey, who is a spectacular
motivational speaker, will be starting out the
presentation. He’ll be interviewed by Larry
Lynch, who is an employee of the National
Restaurant Association. They have a business
relationship that goes back many years, and
it should be more of a conversation than a
presentation.
Finally, on Thursday we will be having
what we call the NAC town hall, which is
basically an opportunity for members, from
the operator as well as the supplier side, to
address specific issues that they never talk
about together; whether it’s on the theater
side, food service side, convention centers,
music parks, aquariums, stadiums, arenas,
and so on. There are many issues that are
quite similar in scope for them.
For instance, the Mercedes Benz stadium
in Atlanta just had a big announcement a
few weeks ago saying that they’re going to
have low-priced concessions to attract more
people—of course, they’re not addressing the
issue of high-priced tickets when you go to
a football game, but that’s another issue—
they’ll be offering $2 hot dogs and $2 or $3
sodas. We want to talk about how that busi-
28 BoxOffice ® AUGUST 2016

Charlie Neary
2016 NAC
Mickey Warner
Award Honoree
Adam Gottlieb
La Reese-Gaule
Membership
Award 2015
FROM YOUR FRIENDS AT
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INDUSTRY INTERVIEW > DAN BORSCHKE
ness model is going to work for them or how
it won’t. Another example is the brand-new
basketball arena going up for the Sacramento
Kings, with employees that are going to be
taken from the inner cities of Sacramento.
They are going to be trained, hired, and will
be working within the facility as employees
educated in the arts of food and beverage. So
it’s a great opportunity to create jobs, and to
bring people in who, unfortunately, would
not have had that opportunity in the past.
These are some of the questions that are going
to be brought up at that session as well.
Finally, we have two days of what we call
our “Business Marketplace.” We have 92
vendors this year on the trade show floor,
some spectacularly new items. Packaging
and trade companies are certainly coming
to the plate and addressing a growing need
for dine-in theaters: how do you handle
all these foods in the dark? There are some
companies that are going to come out with
trays, multipurpose plate-and-cup-in-one
configurations.
We have two beer companies that are going
to be there. We’ll be addressing the whole
idea that beer is another way for stadiums
and arenas, as well as theaters, to make more
money and improve their per cap. Of course
during “People Are Our Most Valuable
Asset” we’ll also be addressing selling liquor.
This raises other issues, such as liability: you
can’t hire a 16-year-old to sell liquor.
Will attendees be visiting any venues
during the convention?
Yes, we’re actually visiting more venues
than I think we’ve done in many years. We
are going to be going to the Guthrie Theater
in Minneapolis for dinner and a tour for our
board and sponsors. We’ll be going to the
TCF Bank Stadium, which is on the University
of Minnesota campus, where the University
of Minnesota football team plays and
where the Minnesota Vikings played until
their recent move to a new stadium. We’ll be
visiting their football, basketball, and hockey
arenas all in one evening. We’ll be visiting
with the food service director of the new
U.S. Bank stadium in Minneapolis, which is
the new Minnesota Vikings stadium.
We’ll also be taking venue tours of Target
Field, which is a baseball stadium, and the
Xcel Energy Center, a hockey arena in St.
Paul, Minnesota. Then we’ll be visiting the
Oakdale Market Cinemas, a Marcus Theatres
location and a very interesting facility. It’s
about 15 years old, just outside of Minneapolis–St.
Paul, and has a very interesting
concept. It has an IMAX theater, about a half
dozen dine-in auditoriums, and then it also
has regular auditoriums. In the lobby, there
is a huge self-serve concessions stand. There
is a full-service bar and restaurant. And then,
off to the side, there is an Italian pizzeria.
What is unique about this, and Marcus
Theatres has done a great job, is they actually
bought a pizza company and are using their
recipe in some of their facilities around the
Midwest. And as you’re leaving the theater,
it’s one thing to get the smell of popcorn, but
a whole other thing when you’re getting the
smell of pizza—and they have the opportunity
for you to walk out of the theater with
frozen pizza. It’s a unique marketing tool that
I haven’t seen in any other theater that I’m
aware of.
Out of all the new developments in
the concessions world—local food,
craft beer, healthy snacks—what, in
your view, has had the biggest impact
for cinemas?
Dine-in theaters have been a big change,
but that’s a separate topic since they’re
certainly a different business format that
doesn’t work for everyone or every geographic
location. It might be acceptable in some
markets more than others. Now, if you’re
looking at anything that has happened in
the last few years, it has to be alcohol, for a
lot of reasons. It’s bringing back adults into
the movie theater; it’s a true date night. I
think what’s exciting about it is that you
can have a terrific cocktail, or a beer from a
local craft beer company, and you don’t have
to go to a restaurant—you can have it right
there. What we’re trying to advocate for our
members is, frankly, people come to your
theater, let them eat, drink—some places
even have babysitting. You get them before
the theater and after the theater. Let them
stay there and spend their money under
one roof. I think in many ways alcohol does
indeed enhance that opportunity. Of course
as I mentioned earlier, it’s not free of issues,
and I think you need to come into selling
alcohol with a true business plan and make
sure that you’re working closely with your
local municipality. Because lord knows every
municipality and state has their own laws
and regulations, and thankfully some of
that is being liberalized. But there are still
a lot of places in this country that won’t
allow drinking on Sundays, or that require
segregated auditoriums for liquor. There are
many different ways of getting alcohol into
your theater, but it takes a lot of work and,
frankly, a lot of money—so you better be
prepared for that.
What’s next? You mentioned low-cost
concessions at some sports venues,
but I wouldn’t be surprised to start
seeing tasting menus show up at highend
theaters.
If there’s anything that runs circles
around any other trend, it would be quality.
The demands we’re getting from millennials,
who usually grew up on decent upscale food,
are quality and variety. People are expecting
to pay a higher price in entertainment
venues, and they want products that not
only taste good but that can be good for you,
as well as a quality product. There’s a great
variety of products out there: Mexican, sushi,
Asian, the fusion of all of those products
together is just amazing. I think everyone
is getting used to the fact that it’s no longer
just a hot dog-and-hamburger menu, not to
say anything negative about those products
because there are people who just want
that. You need to be all things to all people,
or they’re going to go somewhere else. So
in reality, I see quality and variety as the
turning point for a lot of these companies.
And that is why you’re seeing spectacularly
upscale hot dogs with different tastes: with
jalapeños, cheese, and great bakery buns, and
all different condiments to put on hot dogs
or brats, or sausages of every kind. The sky
is the limit when it comes to those sorts of
items, but this of course also leads to other
issues, because the more items you have on
the menu, the more inventory you have, and
the greater the cost is on that inventory, the
greater the loss can be on that inventory if it
doesn’t sell.
It’s been fascinating seeing how
food from different cultures has
been genuinely embraced in the
United States over the last couple of
decades; today, you can find sushi
at airport terminals, and Thai and
Indian cuisine are significantly less
exotic than they once were. Is this a
shift we should expect to see at the
concessions stand soon as well?
Without a doubt. It’s not just in the
U.S., it’s happening around the world. Who
would’ve thought that the number one
concession food item in the UAE would be
nacho chips? That’s because Ricos got there
first. In the U.S., the fusion that has come
together among Asian, Indian, and Mexican
food is absolutely amazing. You’re seeing
some very imaginative and creative things.
The price points obviously are the most important
for this, but the millennials that were
born in the ’90s and 2000s are demanding
30 BoxOffice ® AUGUST 2016

different kinds of food and great quality, so
we better give it to them.
Do you see this as a revolutionary
shift for the concessions industry?
Every time we see a change, we also see
the same old, same old. Nothing will ever
replace popcorn; nothing will ever replace sodas
as the number one and two items sold at
concessions stands in the movie theater. It’s
the biggest possible demand. Whenever we
hear the fact that we need to have healthier
products available, a lot of those healthier
products die on the vine and get thrown
away. The average consumer doesn’t go out
to the movie theaters on a weekly basis;
we’d love it if they did, but that’s not going
to happen. So in many ways, people are
demanding different kinds of food, different
healthier foods, but the sales results just aren’t
there yet. I think the trends are certainly
there, especially with millennials, who as
they age will become more extravagant with
their spending. While craft beers and local
food appeal to those audiences, we have to
be concerned that we don’t get in front of the
trend. People go to the movies for entertainment,
for excitement, for a communal and
experiential reason. And they want to enjoy
themselves with a popcorn and a soda, even
though you’re seeing a dramatic shift when
it comes to beverages, from sugar products,
such as regular Coke, Sprite, and Pepsi, to
bottled water. However, it’s going to take
another 10 years, if not longer, to make bottled
water or sparkling water the number one
drink item in the movie theaters. Obviously
our society is changing; Coke and Pepsi will
be the first ones to tell you that their trends
for sodas are certainly collapsing 5 or 6 percent
every year. On the other hand, they’re
still great sellers, and I don’t think Coke or
Pepsi are running out of the movie business
any time soon.
You mentioned Marcus Theatres as
being particularly innovative with
their strategy on pizza; are there any
other examples of theaters doing
something that has really stood out
for you recently?
Just last month AMC Theatres announced
a great new idea for their Stubs
card users. When you buy your ticket on the
AMC website at one of the test theaters—
there are about 30 around the country—you
can buy your ticket and also order your
concessions food online. There are two ways
that they’re going to handle it now. For the
theaters that have assigned seats, you put
in your assigned seat and the food and the
time you’re going to be there, and the food
will be waiting for you. For those theaters
that don’t have assigned seating, it will be
waiting for you in a bag under a heated lamp
at the concessions stand, and it’s already been
paid for. You just pick it up and off you go.
The service idea is remarkable. First of all,
as we all know, the longer people have to
wait at the concessions stand, the less likely
they are to buy products. So what AMC is
doing is certainly moving that line faster. If
that works well, I think you’re going to be
seeing a whole lot of other opportunities.
It makes sense, and it’s already working at
Levi’s Stadium in Santa Clara, where the San
Francisco 49ers play. You can literally order
your food on an app on your phone. You just
pay for it by credit card, and it’s delivered
to your seat. It’s basically the same premise:
the faster the service, the better. I think if
it works in a football stadium with 80,000
seats, it can work in the movie theater with
20 auditoriums. n
AUGUST 2016 BoxOffice ® 31

COVER
STORY
TOBY KEBBELL AS MESSALA
LEADS JACK HUSTON'S BEN-HUR
IN THE ICONIC CHARIOT RACE.
FULL SPEED AHEAD
TIMUR BEKMAMBETOV BRINGS HIS OWN VISION OF BEN-HUR TO THEATERS
57 YEARS AFTER WILLIAM WYLER AND CHARLTON HESTON’S BIG-SCREEN
BLOCKBUSTER
by Daniel Loria
Growing up in the U.S.S.R., Timur Bekmambetov might have found it hard to fathom
the idea that he would one day helm a new take on one of Hollywood’s most
iconic films. But his engaging, grounded approach to visual spectacle has cemented
Bekmambetov’s Hollywood career and is sure to come in handy as he brings
Ben-Hur back to the big screen. Like William Wyler before him, Bekmambetov shot
his Ben-Hur in Rome’s historic Cinecittà studios, but that’s as far as the comparisons
go. Bekmambetov ties his vision of Ben-Hur to the nineteenth-century novel
by Lew Wallace and promises audiences a thrilling experience, particularly when it
comes to the film’s chariot race sequence. (continued on page 34)
32 BoxOffice ® AUGUST 2016

COVER STORY > BEN-HUR
First things first—this isn’t a remake. You’re approaching
this film as a different take on the source material. That
said, has the legacy of the 1959 film been a distraction?
It was an issue at first, in the beginning before I read the script.
But the script was so impactful and different that it didn’t become an
issue for me personally. If you read it, the script is more in the tone of
the original book. For me it was not an option to think of the previous
film, because as soon as you’re in production, you don’t have time
to think about these kinds of topics. You are dealing with everyday
strategy and production questions, and there’s no time to look back.
How did that screenplay find its way to your office?
Sean Daniel called me. He’s a very good and experienced
producer and he called me about three years ago and asked me if I
wanted to make this movie, Ben-Hur. I was not enthusiastic about
it. I had something exactly like your reaction, thinking, how are we
going to catch this monument? He asked me to just read the script
and that we would talk afterward. Reading the script, I understood
just how important this movie is today, how unique this material is.
It’s very difficult in today’s world to find a script of this quality. It’s a
story with a message, with a big idea in it. I read the script and met
with MGM’s people and they were interested. That’s when I made
a pre-visualization of the chariot race, which proved to be a key
element of the whole process because the producers were so excited
about the new take once they saw the new version of the chariot
race. My goal was to present something that was more contemporary,
grounded, and real instead of theatrical.
What were some of the thematic elements that drew you
into this project?
First of all, the original book was written right after the Civil War,
by a general who probably took responsibility for many people’s lives.
This book is full of very deep and emotional characters. I think in
today’s world it’s very relatable and important. We live in a Roman
Empire: globalization, ego, a cult of power, and competition are the
only ways people can develop this world. This book suggests a different
approach that is less concerned about competition and embraces
collaboration. It’s not about power, it’s about forgiveness. It’s a very
challenging movie, and that’s why I was so interested in making this
movie. It goes against all the stereotypes of the world we still live in.
The film was shot in Cinecittà, the historic Italian studio. Was
this your first time shooting there? And what did you think
of shooting in Rome, a city so steeped in tangible history?
It was the only way to make it. The spirit of this brand, this story,
is in Rome. We had a very enthusiastic and professional crew. Their
ancestors, their fathers, were part of the crew of the previous Ben-Hur
film. For example, our makeup artist’s father was the makeup artist
on the 1959 movie. The guy who was in charge of consulting on the
chariots, his grandfather was one of the members of that crew as well.
Even the stunt guy who was whipping Judah on the galley in our
movie, his father whipped Charlton Heston in the ’50s. Every time
you are driving through the gates of Cinecittà, on the left side you see
the huge sculpture from the set of the circus of the 1959 movie. It’s
still there, they kept it. We built the real circus, the real arena, a few
miles away from Rome. We had almost 100 horses trained for the
race. We spent three months, maybe more, training those horses. By
the way, the most surprising part of the production was that Cinecittà
gave me Federico Fellini’s office, and I was able to spend nine months
sitting in his chair. It was a dream. (continued on page 36)
34 BoxOffice ® AUGUST 2016

COVER STORY > BEN-HUR
line with the character, because Judah Ben-Hur is a spoiled Jewish
prince, but he wants to be Roman. He wants to be strong and powerful,
like a Roman hero. Jack’s envisioning of himself as a Roman
orphan, is what happens with his character. I believe I didn’t make
a mistake; he is unique. We tested the movie and the audience loves
him.
JACK HUSTON AS JUDAH BEN-HUR WITH MORGAN FREEMAN AS SHEIK ILDERIM
Fantastic. And your leading man, Jack Huston, has a
Hollywood pedigree. Tell me a little bit about casting Jack
and why you thought he was the right person to be in the
film.
He’s a prince. If you talk with him you’ll immediately understand
and recognize him as a prince. It’s in his veins. Ironically, in casting
he came to read for Messala [Ben-Hur’s enemy]. When I met him I
immediately understood he is Judah Ben-Hur. The rhythm, because
he read for Messala and he thinks that he’s Messala, is very much in
The chariot race has to be something that every film
director dreams of tackling. How did you approach that
challenge? Were there any other films, sequences, or
elements from popular culture that you drew from for your
vision?
Our race is very different and contemporary, maybe because I
didn’t use references from other movies or paintings. Instead, I used
YouTube videos as a reference for the race—NASCAR, Formula 1, or
motorbikes, along with crowd reactions from soccer matches—to get
the sort of response I was looking for. YouTube was mainly a source
for me to find an inspiration, but the entire sequence is more focused
on the characters, the reactions, and the camera work. It’s about how
smooth and elegant the camera is. We wanted a more impressionist
aesthetic, as if you were there with a GoPro camera in the chariot.
You can recognize immediately the style of the camera work from
NASCAR racing: a long lens like a sniper or cameras on the track
with this bullet passing you in half a second so you cannot even pan.
All these are very recognizable, contemporary impressions of such
a fast, intense sport like NASCAR or Formula 1 racing. This was
different. It’s not about how much you see—it’s about how much you
miss that makes it impressive. n
36 BoxOffice ® AUGUST 2016

TIMUR
BEKMAMBETOV
AT THE MOVIES
Favorite Movie
I grew up in the Soviet
Union, behind the Iron
Curtain, and the first
American movie I remember
seeing was Mackenna’s
Gold. But in terms
of my favorite movies,
they’re a bit more recognizable,
movies like Terminator
2: Judgment Day.
At the Concessions
Stand
My favorite snack at
the movies is sunflower
seeds. Growing up,
leaving the theater would
be scary because after a
good movie you struggled
walking out because
the floor was full of
seeds!
BEN-HUR DIRECTOR TIMUR BEKMAMBETOV ON THE SET OF 2008'S WANTED
AUGUST 2016 BoxOffice ® 37

CONCESSIONS
STAND
THE CONCESSIONS
STAND GROWS UP
Candy, popcorn, and soda might still be movie theater staples—but today’s concessions
stands are evolving to cater to the tastes of a more mature clientele.
by Daniel Loria
“Do you know what the funniest thing about Europe is? It’s the little differences,”
says John Travolta’s character in Pulp Fiction, beginning an
amusing monologue on what sets the Old World apart from the United
States. “You can walk into a movie theater in Amsterdam and buy a
beer—and I don’t mean no paper cup, I’m talking about a glass of
beer.” Audiences in 1994 chuckled at Quentin Tarantino’s dialogue,
which illustrated aspects of European life that didn’t quite translate
to the U.S. Two decades later, having a beer at a movie theater
isn’t as foreign as it once seemed.
n While alcoholic
offerings
have been a staple
of some circuits in
the United States for a
number of years, Vivian
Company, which specializes
in designing bar spaces for venues, reports
to have seen a notable uptick in the current decade. “There has been
interest for years, but I would say that the biggest push came within
the last three, as some chains took innovative approaches to adding
alcohol to their offerings,” says Vivian president Dennis Fanger. The
biggest obstacle for a faster adoption rate of the concept according to
Fanger concerns the multiple regulatory issues around alcohol sales,
including laws that change significantly from state to state and county
by county. Exhibitors were also faced with operational challenges,
such as requirements that concessions workers be of legal age in order
to sell alcohol. Companies began to rely on regulatory experts to
research ways to incorporate alcoholic beverages, and, according to
Fanger, the results of those endeavors began to pay off in recent years
as alcohol sales became more prevalent in movie theaters across the
country.
Even though incorporating alcohol comes at a cost and can turn
into a lengthy process, Barney Bailey, CEO of Entertainment Supply
& Technologies, describes its appeal succinctly: margins. “The trend
of selling alcoholic beverages alone has allowed cinema owners to
benefit from higher profit margins and per capita increases without
a huge capital investment in equipment, training, and labor,” he
explains. That doesn’t mean that exhibitors considering alcohol need
to start stocking up on inventory or begin rebranding their staff as
mixologists.
“Since beverage sales are where the money is on the food service
side, we’ve seen several clients begin with a small menu of beer and
wine, and reap benefits very early on.”
Christina Woodlief, a culinary consultant for Entertainment
Supply & Technologies, views incorporating alcohol sales as a savvy
first step into developing an enhanced concessions menu. “Beverage
profits, and the bottom line security they provide, can then allow an
owner to more securely expand their menus and survive the time it
takes to refine a new food service operation into a well-oiled machine
that contributes to their margins in a consistent, positive way,” she
says, before adding that an enhanced menu also requires an enhanced
prep area for employees. “This of course involves upgrading their
food service equipment and concessions space to include ingredient
prep areas, Turbo Chef ovens, and skilled employees.”
An expanded prep area for concessions is only one of several
notable changes in the industry. Bruce Proctor, president of Proctor
Companies, distinguishes the shifts in cinemas’ concessions areas into
three main categories. “The first is space,” he says. “Refrigerators,
freezers, walk-in coolers, ovens, prep tables, and even corridors are
now larger to enable greater food and beverage storage and output.”
Proctor suggests converting the auditorium nearest a concessions
stand area as a solution to accommodate the logistics involved for an
enhanced menu. Proctor Companies recently applied that strategy in
a renovation for the Angelika Film Center in San Diego. “When you
run the numbers, renovation almost always yields a higher return on
investment—not only because it requires less capital, but also because
spiffing up an existing location reasserts a theater owner’s market
position and protects his business against potential competitors who
may be thinking about moving into his film zone.”
Concessions areas also have to be modified to accommodate
larger utilities, such as larger ovens and refrigeration units, according
to Proctor. Greater ventilation capacity comes into play, as does
increased service for utilities like gas and electricity. Finally, the third
main difference that Proctor has seen at the concessions stand—perhaps
the most complicated and unpredictable of them all—comes
down to staffing. “New theater designs require employees like bartenders,
chefs, waiters, and waitresses,” he explains. “Job descriptions
that are new to our industry. At Proctor Companies, we encourage
owners to plan for both a higher head count and the inevitable
increases in management and training that will be required to ensure
their success.”
Staffing is crucial in order to match an expanded concessions
menu with the proper level of service, both in terms of quality and
38 BoxOffice ® AUGUST 2016

speed, says Entertainment Supply & Technologies’
Christina Woodlief. “Below par food
on any given night can be forgiven if accompanied
by great service, but it usually doesn’t
work the other way around,” she says, citing
an adage from the restaurant industry. Service
has been a particular focus for cinema-dining
operators, who have adapted their operations
around a variety of models with different levels
of interruption to a moviegoers’ experience.
Vendors are catching up to the trend, with call
button services that allow patrons to order from
their seats to POS software that can handle food
orders within the confines of a movie theater.
Not all innovations in concessions area
design come with the need for additional staff,
however. Similar to newsstands you might find
at an airport, grab-n-go and self-serve concessions
stands have become increasingly popular
in recent years by allowing customers to quickly
pick up and pay for snacks on their way to their
seats. “These designs increase impulse purchases
and require no additional staffing,” says Proctor.
“It’s a fairly simple change, but it can make a
huge impact on the bottom line.” n
"NEW THEATER DESIGNS REQUIRE EMPLOYEES LIKE BARTENDERS, CHEFS, WAITERS … JOB DESCRIPTIONS THAT
ARE NEW TO OUR INDUSTRY" —BRUCE PROCTOR. PICTURED ARE BARTENDERS AND SERVERS PLYING THEIR TRADE
AT DENVER'S CINEBARRE.
AUGUST 2016 BoxOffice ® 39

Congratulations to
David Passman
and all the honorees at ShowSouth and CineShow 2016
David Boles, CCSI
CineShow Vendor of the Year
Mark Gaines, Universal
ShowSouth & Variety of Georgia
Mac McAfee Big Heart Award
Shane Morrison, Celebrity Theatres
CineShow TOMA Action Award
Steve Zuehlke, Cinemark
CineShow & Variety of Texas Texan of the Year

Proctor Companies: The Force
Behind the Alamo Drafthouse.
The Alamo Drafthouse’s Star Wars themed box office.
Proctor Companies supplied design services,
casework, food and beverage equipment,
and a full commercial kitchen for the
beautiful, new Alamo Drafthouse in
La Vista, Nebraska.
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CONFERENCE
PREVIEW
TOMA exhibitors will meet for their 2016 convention
in Dallas, August 29–31
Interview with Todd Halstead, Theatre Owners of Mid-America (TOMA)
by Daniel Loria
How has 2016 been for TOMA exhibitors?
TOMA’s members are experiencing a great year of growth and expansion.
The region’s exhibitors have long been industry trendsetters
who recognize the need to provide more choices for an increasingly
diverse moviegoing public to enjoy.
Are there any particular trends that have flourished
throughout the region?
Everyone sees the same movie when the lights go out, so exhibitors
are creating a total brand experience that attracts loyal guests. Exhibitors
operating in the region have led the way in transforming the
industry by creating premium experiences, ranging from in-theater
dining and luxury seating to state-of-the-art audio and projection
technologies.
And theaters in the region are supplementing the traditional
moviegoing experience with one-stop cinema entertainment centers
that feature arcades, bowling lanes, billiards, laser tag, and other
interactive games.
What are some of the main topics you’ll be tackling at the
CinéShow seminars this year?
CinéShow is in its 18th year and will convene in Dallas this
August. I’m excited to say that it’s shaping up to be a great convention—both
in terms of attendees and the trade show. CinéShow has
transformed into a truly regional convention with exhibitors from
each of the six states represented by TOMA attending. The trade
show will feature more than 55 booths and will be a great mixture of
long-time supporters of the convention and new suppliers displaying
their wares.
As with last year, the Tuesday Luncheon will highlight the robust
42 BoxOffice ® AUGUST 2016

and diverse slate of programs Brad Wardlow has developed as head of a
revitalized Cinema Buying Group. And industry experts will discuss how to
achieve greater growth through loyalty programs, understanding the millennial
market, and delivering premium moviegoing experiences in medium
and small auditoriums.
The success of CinéShow is thanks to the hard work of volunteers,
like TOMA president Byron Berkley, and the support from studios and
sponsors. Additionally, CinéShow is a great time to recognize the outstanding
contributions of the region’s industry leaders. This year, David Boles
of CCSI will receive the Vendor of the Year Award in recognition of his
dedication to the convention and industry. Shane Morrison of Celebrity
Theatres will receive the inaugural TOMA Action Award for his work going
above and beyond to advocate on behalf of the industry to defeat onerous
legislation. And our valued partners at Variety of Texas will celebrate the
charity’s 80th anniversary this year by honoring Cinemark’s Steve Zuehlke
as Texan of the Year.
What would you say are the main concerns for TOMA members?
The foremost concern and primary mission for TOMA is addressing
bad legislation that will impact the important role movie theaters play
as the cultural and economic anchors that unite communities and drive
retail traffic across the region. Our members give first-time workers the
opportunity to build essential leadership and work skills they can apply
to advancing in this or any industry. Using this great story to tell, TOMA
endeavors to advance the exhibition industry and support the cinemas
that operate in our region through education and advocacy at the state
and local levels of government. n
TODD HALSTEAD
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AUGUST 2016 BoxOffice ® 43

DIGITAL
DELIVERY
COMING SOON TO A
THEATER NEAR YOU
A LOOK BACK AT THE EARLY DAYS OF DCDC AND HOW DIGITAL DELIVERY WILL
CONTINUE TO IMPACT THEATRICAL EXHIBITION FOR YEARS TO COME
by Daniel Loria
INTERVIEW WITH
RANDY BLOTKY,
CHIEF EXECUTIVE
OFFICER,
DIGITAL CINEMA
DISTRIBUTION
COALITION LLC
(DCDC)
What do you remember about the early days of
DCDC?
It started with a simple question asked by a couple
of key executives at Warner Bros. once digital projection
came about. If everybody is going to be going to digital
projection and other forms of storage inside of the theaters,
does it continue to make sense to deliver content
by physical digital media rather than electronically?
No, we should be doing it electronically. They started
trying to figure out the methodologies to do that, how
to engage the right industry partners, in order to make
it an industry initiative, which was always something we
sought as opposed to it being the project of a particular
studio or exhibitor chain. They really understood the
importance of engaging across the chasms between
studios, and between studios and exhibitors. They put
together this group consisting of Warner Bros. and
Universal on the studio side and AMC, Regal, and
Cinemark on the exhibitor side to further the aims of
creating electronic distribution as a standard.
Then, in the middle of all of this, the markets
fell apart and it became impossible to get
financing. 2009 was basically dead time
because the markets were still not coming
back and nobody wanted to finance anything.
They couldn’t figure out how to
do it. It wasn’t until the beginning of
2010 that the market started to come
back and J.P. Morgan put together
a $660 million line of credit for the
exhibition community to begin
rolling out digital cinema. They
needed a payback mechanism that
was otherwise unaffordable for the
exhibitors at the time; so that’s where
you’ve got the now infamous "virtual
print deals” coming into play so that
the financiers would have an ongoing
stream of money out of which
they could be repaid
RANDY BLOTKY
the amounts they would lend to finance the rollout of
digital cinemas.
When did you first get involved with DCDC?
My involvement began in March of 2010. I was
hired as a consultant by Warner Bros. to figure out how
best to start up a business based upon the precepts they
wanted to follow, which was the industry initiative, a
low-cost alternative for everybody. The idea was to have
all content providers and exhibitors treated exactly the
same contractually, so there is no worry about the big
exhibitors or Warner Bros. or Universal getting a better
deal as customers of DCDC than anyone else just because
of their size or their having put up the initial capital.
We figured out the business model that we thought
would work, and we had to do that with attention to
the technology that was going to be involved.
You were appointed CEO in 2013 and DCDC
has since gone on to make great strides. Today
you provide delivery to most screens in North
America.
I think the numbers are over 26,000 screens now; it
pretty much goes up every day. We have an outstanding
queue for exhibitors that have signed up; there’s
almost an additional 500 that are standing in line to be
installed. Once all of those 130 exhibition chains have
signed up, once they are installed, we’ll have somewhere
around 2,500 to 2,600 sites and a bit over 29,000
screens. It’s happened a lot faster than I think anybody
thought it would. We keep our costs low, and we keep
our pricing as low as we can get it. Also, once the partners
have been repaid all of their capital investments,
then we will start rebating money to the users of the
system in proportion to how much revenue they’ve been
responsible for over the years. And the effective cost of
distribution will then lower substantially over time.
Did you have a set time frame in mind when
you embarked on this process, or have you just
taken it year by year, refining the pitch every
time?
You have to stay malleable when running a business
like this; you’ve got to go with the marketplace and be
guided by the customers. I hope we can start paying
back substantial sums to our exhibitor and content provider
partners and get that done within three years so
we can move on to giving rebates to all our customers.
My board is made up of representatives of each of these
44 BoxOffice ® AUGUST 2016

major companies, and they may decide that
it’s more important to accelerate even further
and even deeper into the exhibition community
than for them to be repaid as quickly as
possible. There are just a lot of variables to
think through; we’ll just have to see. That’s my
best guess, and it really is a guess because the
operating environment changes all the time;
even the type of content that we’re sending
changes all the time.
Talking about how that content has
evolved, we need to bring event
cinema into the conversation. It has
grown substantially here in North
America over the past couple of
years; what do you think the potential
of event cinema could be in North
America as digital delivery facilitates
its distribution?
We’ve invested quite a bit in the ability to
put really high-quality images on exhibitors’
screens, from live streaming events and other
pre-produced content in that category. Alternative
content, in general, takes so many
forms today. For example, those who are
into gaming or other sorts of e-sports, where
you have maybe 50,000 people at an arena
watching gamers play against one another—
who would’ve thought that was ever going
to be something that was really cool? I was
a gamer myself, so it’s a gratifying feeling
seeing that starting to happen. I think the
exhibition community is starting to figure
out how best to do that. It’s made a lot of
strides in that area.
DCDC is a great example of what
can happen when exhibition and
distribution work together to benefit
the entire ecosystem. Having been
involved in this project, do you think
this sort of model of collaboration
could work industry wide, tackling
other hot-button issues in our industry?
I think so, but I’m an optimist. My
optimism is only guarded by the fact that it’s
been hard work to make this all happen. From
the very beginning, just gaining the trust and
confidence of your clients, maintaining the
trust and confidence of your partners, and
melding those together is something that takes
time and a lot of energy, and the right set of
precepts that are sometimes unavailable for a
different community of users. It takes awhile
to do that, but I think it can be done. One
area that can benefit from more collaboration
is the whole area of cyber security. This subject
is very important, obviously, for the entire
industry, and for the world for that matter. It’s
something that I think there should be a lot
more collaboration on than there currently is.
On the other hand, since will take collaboration
to succeed—maybe that’s going on
quietly, I don’t know, but my sense is that it
isn’t. I think something like DCDC would
be a really good vehicle to have those types of
discussions.
What’s next for DCDC?
We’re just going to keep going. You’ll
see many more kinds of alternative content
coming down the pipe and a lot more content
from the studios that tie in with movie releases.
It’s already been a pretty exciting year for
us and I’m looking forward to the rest of it.
One thing everyone can count on is that we
will stay true to our basic precepts. We’re not
going to vary from the inherent fairness that
we’ve come to represent, because we take it as
a very serious responsibility. n
AUGUST 2016 BoxOffice ® 45

MOVIE
MUSIC
TOP OF THE CHARTS: DO HIT SONGS MEAN HIT MOVIES?
by Jesse Rifkin
n Two of the top 10 songs on this year’s Billboard
Hot 100 are from film soundtracks:
“Just Like Fire” by Pink, from Alice through
the Looking Glass, and “Can’t Stop the Feeling!”
by Justin Timberlake, from the upcoming
release Trolls. Yet Alice has underwhelmed
at the box office, and the current outlook
for Trolls isn't much better. This raises the
question: do hit songs actually correlate with
box office success for their source films?
According to a BoxofficePro.com analysis
of hit songs from both recent years and historically,
the answer mostly appears to be yes.
So far this decade alone, every soundtrack
song that has charted top 10 on Billboard
came from a movie that made at least $100
million, if not much more. If Alice continues
at its current lackluster pace, “Just like Fire”
will be the first top-10 song from a film that
earned less than $100 million since “The
Climb” by Miley Cyrus from 2009’s Hannah
Montana: The Movie. Since then, top-10
songs came from such blockbusters as:
“See You Again”
Furious 7
“Love Me Like You Do”
Fifty Shades of Grey
“Earned It”
Fifty Shades of Grey
“Boom Clap”
The Fault in Our Stars
“Let It Go”
Frozen
“Happy”
Despicable Me 2
“Skyfall”
Skyfall
“Cups (When I’m Gone)”
Pitch Perfect
“It Will Rain”
The Twilight Saga: Breaking Dawn – Part 1
“Today Was a Fairytale”
Valentine’s Day
But did the success of those songs help
meaningfully contribute to the sizable hauls
of their respective films? Or was it primarily
vice versa, that the films’ success led to the
songs selling well? The “correlation versus
causation” paradox is of course impossible to
ascertain or precisely quantify.
Yet while factors such as trailers, marketing
campaigns, star power, reviews, and word
of mouth doubtless matter most to revenue,
hits songs surely play at least a small role in
increasing awareness of films. And sometimes
they play a large role. The “See You Again”
music video prominently features Furious
7 clips and has become the second-mostviewed
video in YouTube history (behind
only “Gangnam Style”) after barely more
than a year since its original upload, with
more than 1.8 billion views. The “Love Me
Like You Do” music video similarly featured
clips from its source film and is currently the
19th-most-viewed YouTube video of all time,
with more than 1.1 billion views.
In fact, there has almost never been a
hit song from a poorly grossing movie, but
there have often been hit songs from poorly
reviewed movies. Top-five charting songs
including “Kiss From a Rose” by Seal from
1995’s Batman and Robin, “Wild Wild West”
by Will Smith from 1999’s film of the same
name, “Bring Me To Life” by Evanescence
from 2003’s Daredevil, and “Doesn’t Really
Matter” by Janet Jackson from 2000’s The
Nutty Professor II: The Klumps are all from
films that grossed at least $140 million when
adjusted for ticket-price inflation, despite their
bad reviews from both critics and audiences.
Some of the most famous popular songs
have come from movies, starting with
the first “talkie,” 1927’s The Jazz Singer,
which featured several songs performed by
vaudeville star Al Jolson. The movie musical
era’s heyday, from the 1930s through 1950s,
produced classic tunes like those from The
Wizard of Oz and Singin’ in the Rain. Then
came the pop and rock-’n’-roll musicals of
the 1950s and 1960s, notably the more than
two dozen films of Elvis Presley.
Then came the rise of single-artist
soundtracks in the 1960s, like the Beatles’
A Hard Day’s Night in 1964 and Simon &
Garfunkel’s The Graduate in 1967, which
produced the number-one hits “Can’t Buy
Me Love” and “Mrs. Robinson” respectively.
Producer Jon Peters engineered several top-10
songs for Barbra Streisand and others for his
1976 soundtrack to A Star Is Born, including
the number-one “Evergreen.” This helped kick
off an era of soundtrack albums producing
several top-10 songs apiece, such as 1977’s
Saturday Night Fever with “Stayin’ Alive” by
the Bee Gees, 1978’s Grease with “You’re the
One That I Want” by John Travolta and Olivia
Newton-John, and 1984’s Footloose with “Let’s
Hear It for the Boy” by Deniece Williams.
Since then, some of the most massive hit
songs have come from movies. Among the
number-one songs from films ranked in the
100 highest-grossing films domestically after
adjusting for inflation are:
"My Heart Will Go On"
Titanic
"Can You Feel the Love Tonight"
The Lion King
“Mrs. Robinson"
The Graduate
“Grease”
Grease
"Ghostbusters"
Ghostbusters
“Raindrops Keep Fallin’ on My Head”
Butch Cassidy and the Sundance Kid
“The Power of Love”
Back to the Future
“The Morning After”
The Poseidon Adventure
“A Whole New World”
Aladdin
And that’s only the number-one
songs—there are numerous top-10 or other
instantly recognizable songs from among the
highest-grossing films of all time including
The Sound of Music, Mary Poppins, West Side
Story, and The Rocky Horror Picture Show.
Here are five other insights gleaned
from analyzing the chart performance of
soundtrack songs:
46 BoxOffice ® AUGUST 2016

1. Remixes can help. “Cups (When I’m Gone)” by Anna Kendrick
from 2011’s Pitch Perfect and “The Hanging Tree” by Jennifer Lawrence
from 2014’s The Hunger Games: Mockingjay — Part 1 were both done a
cappella in the films themselves, but both charted high (the latter reaching
number 12) after remixes with backbeats were released for radio
airplay. Even 1977’s “Star Wars” theme reached number one through its
now largely forgotten disco remix by Meco and not through the iconic
John Williams orchestral version from the movie’s opening scene.
2. These days, have lyrics. Instrumentals from films used to
reach number-one on the Billboard charts, such as 1960’s “A Summer
Place” by Percy Faith, 1969’s “Theme from Romeo and Juliet” by
Henry Mancini, 1971’s mostly instrumental “Shaft” by Isaac Hayes,
1977’s “Gonna Fly Now” by Bill Conti from Rocky, and 1982’s
“Chariots of Fire” by Vangelis. Such a feat is impossible to imagine
today in the era of the lyrics-focused song, where only one instrumental
song (“Harlem Shake” by Baauer) has topped the Billboard
chart in the past three decades (and it wasn’t from a film).
3. A hit song attempt won’t always yield fruit. Even with a
blockbuster film earning hundreds of millions of dollars and an A-list
music act providing your main song, sometimes for whatever reason
that song just won’t catch on. Examples of such songs that failed to
even chart in the top 100 during the past few years include “I See
You” by Leona Lewis from 2009’s Avatar, even though it was shortly
after Lewis’s number-one hit “Bleeding Love”; “I See Fire” by Ed
Sheeran from 2013’s The Hobbit: The Desolation of Smaug; or any of
the several Rihanna songs from 2015’s Home, even though Rihanna
has notched more top-10 songs than any other act in the past decade.
4. Sometimes you don’t even have to try. Take the Batman franchise,
for example. 1989’s Batman produced the number-one song
“Batdance” by Prince, 1995’s Batman Forever produced the number-one
song “Kiss From a Rose” by Seal, and 1997’s Batman and
Robin produced the number-two song “Foolish Games” by Jewel. Yet
more recent installments The Dark Knight, The Dark Knight Rises, and
Batman v. Superman: Dawn of Justice all made tons of money without
even attempting a radio single.
5. There isn’t always a correlation. Famously, almost every
installment in the James Bond franchise has featured an original
theme song by an A-list music act. Yet the three highest-charting
themes—1985’s “A View to a Kill” by Duran Duran, 1973’s “Live
and Let Die” by Paul McCartney and Wings, and 1977’s “Nobody
Does It Better” by Carly Simon from The Spy Who Loved Me—are all
from films that rank in the bottom half among all 25 Bond films by
inflation-adjusted box office revenue.
So what’s the takeaway? Ultimately, from a studio’s perspective,
trying for a hit song may be a smart bet. The numbers indicate that
most soundtrack songs that chart highly do so attached to films that
earn more than $100 million, both recently and historically, when
adjusted for inflation. At the same time, it is not a requirement for
box office success. In fact, none of the four highest-grossing films so
far in 2016—Captain America: Civil War, Deadpool, The Jungle Book,
Zootopia—have produced a hit song. Actually, the recent blockbuster
soundtrack with the most hit songs may likely have been 2014’s
Guardians of the Galaxy—except that all those songs were from the
1970s and 1980s. n
AUGUST 2016 BoxOffice ® 47

CINEMA
SHOWCASE
THE TEXAS THEATRE
Dallas, Texas
Contributor: Mary Katherine McElroy, Operations Manager
INSIDE THE THEATER
Screens: 1
Capacity: 646
Seating: American Seating Bodiforms
from 1953 (we’ve reupholstered a few
times since then)
Projection: Christie’s twin 35-millimeter
SLC40s with PG35 consoles and a 4220
DCP unit
History
Our theater was built as the crown
jewel of the Oak Cliff Amusement
Company, a local sub-circuit of the
Robb and Rowley chain. It was the
first theater in the area built for
talking pictures, the third-largest picture
house in the city, and the first to
boast air-conditioning. It was continuously
operated, ending up as part of
United Artists, until 1989. The theater
went through several operators over
the next decade—and an exterior renovation
to play itself in JFK. The Oak
Cliff Foundation bought the building
in 2001 and gave it some much-needed
TLC over the next few years. Aviation
Cinemas leased it in 2010. Our
name comes from the acquisition of
Robb and Rowley by Hughes-Franklin
in early 1931; H-F returned the theaters
to R&R less than a year later, but it
got Texas some great press right before
opening.
Community
We have a core audience of film
geeks, including a good cross section
of the film-production folks in the
area and many of our neighbors.
That said, we really have audiences,
plural. The folks that turn out for
horror films will mostly not appear
for the new restoration of On the
Waterfront. We constantly marvel at
the diversity of the people who come
through the door depending on
which films are playing.
Concessions
Popcorn! And pizza. We source
our baked-in-house pizzas from a
local Italian restaurant. All it takes is one
person ordering one and the scent convinces
the rest of the room they need one too. At
our bar, local brews do particularly well.
Programming
We’ve found our niche with repertory
and art-house fare. We do run the occasional
first-run film—see The Force Awakens. Our
favorite thing is to go beyond just screening a
film and to really create a more multifaceted
experience. That can involve special themed
drinks at the bar, an intro or Q&A, a shortfilm
pairing, a costume contest, a DJ in the
lobby, and/or a band performing behind the
screen after the show.
We have a number of organizations
we partner with for programming,
including our next-door
neighbors, the Oak Cliff Cultural
Center, who sponsor a family-friendly
repertory series every summer,
and a group called CineWilde, with
whom we have a monthly 35-millimeter,
repertory, LGBTQ-friendly
series that kicked off with The
Fifth Element and involves annual
showings of Paris Is Burning. Our
greatest feat of grass-roots marketing
is undoubtedly our bumpers. We
create custom “Sweded” trailers for
some screenings.
Membership
We have a membership program, which
involves both discounts and a point system
for earning rewards. This is popular among
our regulars. The folks who come out to see
films of a particular genre, time period, or
artist tend not to be drawn to it. We’re starting
to offer series tickets to address this gap. n
48 BoxOffice ® AUGUST 2016

CCA CINEMATHEQUE
Santa Fe, New Mexico
Contributor: Jason Silverman, Cinematheque Director
INSIDE THE THEATER
Screens: 2
Capacity: 167
Installation: Moving Image Technologies
Seating: Mobilario and Irwin Seating
Company
About the Theater
The CCA Cinematheque is a program of
the Center for Contemporary Arts, Santa Fe,
which is an arts campus in downtown Santa
Fe that’s been serving the local community
since 1979. We opened our first screen (now
115 seats) in 1982 and our second screen (52
seats) in 2012.
History
We began as one of the first small-market
repertory theaters in 1982, with the mission
of bringing anything and everything delightful
in cinema to our curious, adventurous
audience. The great curator Brent Kliewer,
who preceded me, brought in all kinds of
wonders: a Jackie Chan retrospective in the
early ’90s; animation from Eastern Europe;
an annual series of ethnographic films.
He brought filmmakers in person from
around the world. Slowly but surely, Santa
Fe became one of the most film-literate
communities I’ve experienced. I was a loyal
fan and very conscious of the importance of
that legacy when I took over the program in
2004.
The CCA had the art-house marketplace
to ourselves for about 15 years, until United
Artists (and now Regal) began playing
specialty titles at their DeVargas six-plex.
I’ve seen many incredible films at that
theater. The wonderful art house The Screen
opened 15 years ago, and it continues to play
eye-opening films from around the world.
George R.R. Martin, best known as the
author of Game of Thrones, relaunched the
Jean Cocteau Theater, which does inventive
programming and has a bar and bookstore.
And in 2015, Bill Banofsky’s Violet Crown
opened 11 screens in a beautiful new facility
with a restaurant and liquor license, and
it dedicates four or five screens to specialty titles.
Our city also has numerous film festivals
and special screenings throughout the year.
One would think that with all of this
competition, the individual theaters would
suffer. But as it turns out, each time more
theaters arrive, and the number of screens
proliferates, our attendance climbs. It
seems clear that Santa Fe is now known as
a cinema town. Our locals seem to really
love watching movies in movie theaters and,
AUGUST 2016 BoxOffice ® 49

CINEMA SHOWCASE
increasingly, tourists
include movies on
their to-do list in
our busy little city.
Community
Our audience
is very diverse. We
have a strong core
audience for what
we call our premiere
titles—the new films
from around the
world. That’s a group
of 300 to 500 people
who will come out
once or twice or four
times a month. These are all-star art-house fans
who take chances on films that haven’t received
any TV advertising or had their actors featured
on the late-night TV shows. We are on a firstname
basis with most of them.
I’ve also moved the theater toward
serving the function of what I call “Santa Fe’s
living room,” encouraging local organizations,
schools, and individuals to partner
with us to bring people together around
programming that matters to them. In this
era of social fragmentation, connecting
people is a valuable, and sometimes radical,
act. To that end, we now provide on average
100 special screenings per year. Our special
programs draw in community members
from across the demographic spectrum. We
provide programs for students during the
school day, and we supply buses and pizzas
and special guests with whom they can talk
about the films. We work with environmental
organizations, the military museum and
veterans groups, immigration organizations,
the homeless shelters, our local museums,
the Santa Fe Opera, the farmers market,
scientific think tanks, local brew pubs, horse
lovers, bird lovers, indigenous-rights organizations,
poetry clubs—pretty much everyone
in town. I can’t imagine there are many
people left in our city who haven’t come to
the theater at least once or twice.
LAST YEAR, ACTOR/DIRECTOR AL PACINO PRESENTED HIS FILM WILDE SALOMÉ AND PARTICIPATED IN A Q&A.
Concessions
For years we had a fantastic partnership
with Whole Foods, which provided healthy
bulk snacks and drinks, with a focus on
non-GMO, no-artificial-flavor-or-color
products, and organic when possible. While
that partnership sadly ended, we have maintained
the formula, because our audience
enjoys higher-quality snacks, and because we
like supporting the smaller companies that
provide them, along with the reduced environmental
footprint. Plus, as an independent
theater playing largely independent films,
our philosophy is to embrace independence
in its many forms. If we can buy our chocolate
from an independent company instead
of Nestlé, we’ll do it. Yes, it takes much more
work—there are many more places to buy
Coca-Cola than artisanal ginger ale—but
we are all on the same team. We believe the
world is a better place when there is more
diversity—of thought and of products— and
when small businesses thrive.
Programming
Curation is the game for us. It is crucial
that we know our audience and program
for them, and that we stay laser focused on
achieving our mission, which is to celebrate
the movies in their many forms, deepen
appreciation for the art of cinema, and
provide a safe, thought-provoking gathering
place for our community. There are moments
when I look at our calendar and get a bit
dizzy from how busy it is, and daydream,
just for a moment, about plugging Spotlight
or The Revenant or Grandma in and letting
it run full schedule for three months. But
the chain theaters have strengthened their
grip on those films, and, besides, we are here
to share the whole diversity of cinema, past
and present, from near and from far. Our
programming philosophy demands that we
work harder to find the right films for Santa
Fe and to ensure that audiences come. But
that’s what we need to do, and love to do.
Showmanship
We focus on the day-to-day, blockand-tackle
elements of marketing: weekly
print ads in our local newspaper, consistent
publicity efforts, fliers around town,
constant communication with our many
friends in the community, continuous work
at social media. We
supplement these
ongoing efforts with
marketing around
the occasional
high-profile event.
Al Pacino came to
our tiny theater to
show his absolutely
wonderful Salomé
adaptation and
documentary, and
it was the subject of
national press. For
years we produced
an annual festival
with the Smithsonian,
which received considerable attention.
In terms of showmanship, we set the goal
of making each of our 2,800 screenings each
year run with precision, professionalism, and
love. I have 25 years of film-festival experience,
including building complex productions.
I know that the presentation makes a
huge difference. Our technical manager, Chris
Bredenberg, is a tech chief for several festivals,
and we agree that even the 12:15 p.m. Tuesday
matinee, with six patrons, deserves the
same love and attention as a sold-out weekend
show. We talk about ourselves as a museum,
or a temple, not a corporate marketplace.
We create an atmosphere in which art can be
properly appreciated.
And, after 30-plus years of that level of
dedication, our patrons have come to expect
that level of quality. We don’t have the
fanciest seats, or the most expensive sound
system. We don’t do 3D. But we are recognized
as a theater that truly respects the art
of cinema. We refuse to subject our audience
to commercials prior to the show. We don’t
play mediocre films to appeal to the lowest
common denominator and make a few
bucks. We are the only not-for-profit cinema
in the region, and I like to say we show films
for love, not money. We don’t pander. We do
our best to honor our audience’s intelligence
and tastes. Our projectionists and box office
staff—who are filmmakers and cinephiles—
usually see the films we are showing and can
talk about them with our patrons. There
is always a conversation happening about
cinema at our theaters. The love of cinema is
evident and contagious.
Membership
Our organization has a membership program,
which has been important for us. Our
members are part of the CCA family, and
many sign up year after year after year. n
50 BoxOffice ® AUGUST 2016

EVENT CINEMA
CALENDAR
ABRAMORAMA abramorama.com • tom@abramorama.com
ALL'OPERA - LA FANCIULLA DEL WEST Tues, 8/9/16 Opera
FATHOM EVENTS fathomevents.com • 855-473-4612
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
RIFFTRAX LIVE: MOTHRA Thurs, 8/18/16 & Tue 8/23/16 Comedy
TCM BIG SCREEN CLASSICS: THE KING & I Sun, 8/28/16 & Wed, 8/31/16 Musical
THE INSANITY OF GOD WITH DAVID PLATT Tues. 8/30/16 Documentary
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
TO JOEY, WITH LOVE Thurs, 9/20/16 Documentary
VANISHED: LEFT BEHIND NEXT GENERATION Wed, 9/28/16 Drama
THE MET LIVE IN HD: TRISTANE UND ISOLDE Sat, 10/8/16 & Wed, 10/12/16 Opera
BOLSHOI BALLET: THE GOLDEN AGE Sun, 10/16/16 Ballet
THE MET LIVE IN HD: DON GIOVANNI Sat, 10/22/16 & Wed, 10/26/16 Opera
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
BOLSHOI BALLET: THE BRIGHT STREAM Sun, 11/6/16 Ballet
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
THE MET LIVE IN HD: L’AMOUR DE LOIN Sat, 12/10/16 & Wed, 12/21/16 Opera
BOLSHOI BALLET: THE NUTCRACKER Sun, 12/11/16 Ballet
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 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
STAGE RUSSIA - EUGENE ONEGIN Thurs, 9/15/16 Theatre
STAGE RUSSIA - THE CHERRY ORCHARD Thurs, 10/27/16 Theatre
AUGUST 2016 BoxOffice ® 51

COMING SOON IN 3D
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
KUBO AND THE TWO STRINGS
AUGUST 19 · FOCUS FEATURES
voice cast Art Parkinson, Matthew McConaughey
DIR Travis Knight
GENRE Ani/Adv/Fam
SPECS 3D/Dolby Atmos
THE WILD LIFE
SEPTEMBER 9 · LIONSGATE/SUMMIT
VOICE CAST Yuri Lowenthal, David Howard
DIR Vincent Kesteloot, Ben Stassen
GENRE Ani/Adv/Fam
SPECS 3D
STORKS
SEPTEMBER 23 · WARNER BROS.
voice cAST Andy Samberg, Kelsey Grammer
DIR Nicholas Stoller, Doug Sweetland
GENRE Ani/Com/Fam
SPECS 3D/Dolby Digital
DOCTOR STRANGE
NOVEMBER 4 · DISNEY
CAST Benedict Cumberbatch, Chiwetel Ejiofor
DIR Scott Derrickson
GENRE Act/Adv
SPECS 3D/IMAX
TROLLS
NOVEMBER 4 · FOX/DREAMWORKS ANIMATION
VOICE CAST Anna Kendrick, Justin Timberlake
DIR Mike Mitchell
GENRE Ani/Com/Fam
SPECS 3D/Dolby Digital
BILLY LYNN’S LONG HALFTIME WALK
NOVEMBER 11 · SONY/TRISTAR
CAST Joe Alwyn, Garrett Hedlund
DIR Ang Lee
GENRE Com/Dra/War
SPECS 3D/Dolby Atmos
52 BoxOffice ® AUGUST 2016

ALSO UPCOMING IN 3D
2016
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 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 EMOJIMOVIE: EXPRESS YOURSELF
SEP 22 WARNER BROS. THE LEGO NINJAGO MOVIE
OCT 20 WARNER BROS. GEOSTORM
NOV. 3 DISNEY THOR: RAGNAROK
NOV 22 DISNEY COCO
DEC 8 SONY/COLUMBIA THE STAR
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 WRECK-IT RALPH SEQUEL
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
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 9 UNIVERSAL DR. SEUSS’ HOW THE GRINCH STOLE CHRISTMAS
NOV 21 DISNEY GIGANTIC
DEC 21 SONY/COLUMBIA UNTITLED ANIMATED SPIDER-MAN FILM
2019
FEB 8 WARNER BROS. THE LEGO MOVIE SEQUEL
MAR 8 DISNEY CAPTAIN MARVEL
MAY 3 DISNEY AVENGERS: INFINITY WAR PART II
JUN 21 DISNEY THE INCREDIBLES 2
JUL 26 SONY SPA ANIMATED FRANCHISE 1
NOV 27 DISNEY UNTITLED DISNEY ANIMATION FILM 2
DEC 25 SONY SPA ANIMATED FRANCHISE 2
2020
MAR 13 DISNEY UNTITLED PIXAR ANIMATION FILM 1
APR 3 SONY SPA ANIMATED FRANCHISE 3
JUN 19 DISNEY UNTITLED PIXAR ANIMATION FILM 2
SEP 25 SONY SPA ANIMATED FRANCHISE 4
NOV 25 DISNEY UNTITLED DISNEY ANIMATION FILM 3
DEC 11 SONY SPA ANIMATED ORIGINAL
AUGUST 2016 BoxOffice ® 53

FILM CAPSULES
BY KENNETH JAMES BACON
THE WEINSTEIN COMPANY / AUG. 5
n Michael Keaton has been enjoying a career renaissance of late. He has starred in
the last two Best Picture winners (and was nominated himself for Birdman) and has
joined the Marvel family, where he will appear next year as the villainous Vulture in
Spider-Man: Homecoming. The Founder refers to Ray Kroc, the milkshake-machine
salesman who engineered a takeover of the original Golden Arches from the Mc-
Donald brothers in the 1950s. Unlike the infamous Mac & Me, the 1988 sci-fi film
overloaded with McDonald’s product placement, The Founder was made without
the cooperation of the fast food titan.
CAST MICHAEL KEATON, LAURA DERN, NICK OFFERMAN, JOHN CARROLL LYNCH,
PATRICK WILSON, B.J. NOVAK DIRECTOR JOHN LEE HANCOCK GENRE BIOGRAPHY,
DRAMA, HISTORY RATING PG-13 FOR BRIEF STRONG LANGUAGE RUNNING TIME 115 MIN.
MICHAEL KEATON PLAYS
MCDONALDS CHIEFTAN RAY KROC
AUGUST 2016 BoxOffice ® 55

ON SCREEN > WIDE RELEASES
NINE LIVES
EUROPACORP FILMS / AUG. 5
n It is a well-known scientific fact
that Christopher Walken improves
every movie he is in. Exhibit A is Barry
Levinson’s otherwise awful 2004 comedy
Envy, in which Walken plays hipster The
J Man (“Don’t hassle me about crumbs
man, because I am on the edge of the
edge.”) Here, Walken plays pet store
owner Felix Grant, who sells a cat to
harried business tycoon Kevin Spacey.
Presto change-o, Spacey finds himself
transformed into Mr. Fuzzypants
and has a week to atone for his poor
family-man behavior or stay a cat for
eternity.
CAST KEVIN SPACEY, JENNIFER
GARNER, ROBBIE AMELL, CHERYL HINES,
MARK CONSUELOS DIRECTOR BARRY
SONNENFELD GENRE COMEDY, FAMILY,
FANTASY RATING PG FOR THEMATIC
ELEMENTS, LANGUAGE, AND SOME
RUDE HUMOR RUNNING TIME 87 MIN.
JENNUFER GARNER CUDDLES WITH
"MR. FUZZYPANTS," AKA KEVIN SPACEY
56 BoxOffice ® AUGUST 2016

MARGO ROBBIE AND WILL SMITH HEAD
THE GOONS OF THE SUICIDE SQUAD.
SUICIDE
SQUAD
WARNER BROS. / AUG. 5
n Heath Ledger’s Oscar-winning turn as The Joker in The Dark Knight is a hard act to
follow, but fellow Oscar winner Jared Leto slathers on the face paint as the Clown Prince
of Crime in this DC Comics–based summer tentpole, which takes place in the same universe
as this year’s Batman v Superman: Dawn of Justice.
CAST WILL SMITH, JARED LETO, MARGOT ROBBIE DIRECTOR DAVID AYER GENRE ACTION,
CRIME, FANTASY RATING PG-13 FOR SEQUENCES OF VIOLENCE AND ACTION THROUGHOUT,
DISTURBING BEHAVIOR, SUGGESTIVE CONTENT, AND LANGUAGE RUNNING TIME 130 MIN.
MERYL STREEP AS THE WORST SINGER IN THE WORLD
WITH HUGH GRANT AS HER LONG-SUFFERING HUSBAND
PARAMOUNT / JULY 12
n One wonders what Simon Cowell would
have made of Florence Foster Jenkins had he
been a judge on a 1915 version of America’s
Got Talent. Mrs. Jenkins was a self-styled
operatic soprano who performed in concert
halls to the amazement and amusement of
New York elites. She has been described as
the worst professional singer of all time and
you can make your own judgement by taking
a trip to YouTube. She is, in fact, wonderfully
awful. Meryl Streep (who can sing) is receiving
high marks for this biopic that celebrates
a unique talent.
VOICE CAST MERYL STREEP, HUGH GRANT,
SIMON HELBERG, NINA ARIANDA DIRECTOR
STEPHEN FREARS GENRE BIOGRAPHY,
COMEDY, DRAMA RATING TBD RUNNING
TIME 110 MIN.
FLORENCE
FOSTER
JENKINS
AUGUST 2016 BoxOffice ® 57

ON SCREEN > WIDE RELEASES
DISNEY / AUG. 12
n Disney has been very successful revisiting
their classic animated features, and next year’s
live action Beauty and the Beast will answer
the question: can Emma Watson sing? Like
Kenneth Branagh’s wonderful Cinderella, this
version of 1977’s Pete’s Dragon drops the songs
and dances (and the cel-animated Elliott the
dragon) in favor of a more straightforward
telling of the tale of an orphaned boy whose
best bud is an invisible dragon. The film, which
takes place in the Pacific Northwest, was filmed
in the South Pacific Southeast—New Zealand—with
the CGI Elliott rendered by Peter
Jackson’s team at Stone Street Studios.
OONA LAURENCE AND OAKES FEGLEY STAR IN THE NON-MUSICAL
REMAKE OF THE DISNEY CLASSIC, FILMED IN NEW ZEALAND.
CAST BRYCE DALLAS HOWARD, OAKES
FEGLEY, WES BENTLEY, KARL URBAN, OONA
LAURENCE, ROBERT REDFORD DIRECTOR
DAVID LOWERY GENRE ADVENTURE, FAMILY,
FANTASY RATING PG FOR ACTION, PERIL, AND
BRIEF LANGUAGE RUNNING TIME TBD
SONY / AUG. 12
n The world’s first R-rated
CGI animated film, this
comedy with a double-meaning
title assembles a voice
cast that’s a who’s who of
comedy all-stars. The premise
is simple: what happens to
groceries when they realize
being plucked from safety of
a grocery store shelf is the beginning
of the end for them.
KRISTEN WIIG, SETH ROGEN, AND EDWARD NORTON
LEND THEIR VOICES TO THE FIRST R-RATED CG COMEDY.
VOICE CAST SETH ROGEN,
KRISTEN WIIG, JONAH HILL,
BILL HADER DIRECTORS
GREG TIERNAN, CONRAD
VERNON GENRE ANIMATION,
ADVENTURE, COMEDY
RATING R FOR STRONG
CRUDE SEXUAL CONTENT,
PERVASIVE LANGUAGE, AND
DRUG USE RUNNING TIME
83 MIN.
58 BoxOffice ® AUGUST 2016

TOBY KEBBELL AND JACK HUSTON
CLASH DURING THE CHARIOT RACE.
PARAMOUNT / AUG. 19
n This is the third adaptation of Gen. Lew Wallace’s 1880 novel Ben-Hur: A Tale
of the Christ. John Huston’s grandson Jack Huston (memorable as the doomed
Richard Harrow in Boardwalk Empire) stars as the slave turned charioteer.
CAST JACK HUSTON, TOBY KEBBELL, RODRIGO SANTORO, NAZANIN BONIADI
DIRECTOR TIMUR BEKMAMBETOV GENRE ADVENTURE, DRAMA, HISTORY RATING
TBD RUNNING TIME TBD
YOUNG IRISH ACTOR ART PARKINSON VOICES KUBO IN
THIS STOP-MOTION FILM FROM CORALINE STUDIO LAIKA.
FOCUS FEATURES / AUG. 19
n Billionaire Nike co-founder Phil
Knight’s other business is Laika, the animation
studio in Portland that began as Will
Vinton Studios, famous for the California
Raisins commercials. This is the studio’s
fourth feature, with each of the previous
three being nominated for Oscars. Knight’s
son Travis Knight directs this story set in
ancient Japan, where a young boy, Kubo,
is on a search for a magic suit of armor
once worn by his samurai father and must
contend with the gods and monsters who
stand in his way.
VOICE CAST CHARLIZE THERON, ART
PARKINSON, RALPH FIENNES, ROONEY MARA
GEORGE TAKEI DIRECTOR TRAVIS KNIGHT
GENRE ANIMATION, ADVENTURE, FAMILY
RATING PG FOR THEMATIC ELEMENTS,
SCARY IMAGES, ACTION, AND PERIL
RUNNING TIME TBD
AUGUST 2016 BoxOffice ® 59

ON SCREEN > WIDE RELEASES
MILES TELLER (WHIPLASH) AND JONAH HILL (THE WOLF OF
WALL STREET) STAR AS NOVICE ARMS DEALERS IN WAR DOGS.
WARNER BROS. / AUG. 19
n Originally titled Arms and the Dudes after the Rolling Stone article
on which the film is based, War Dogs follows two twenty-somethings
who win contracts to supply the U.S. military with millions of dollars’
worth of arms. Jonah Hill plays Efraim Diveroli, who started selling
arms when he was a Florida teenager and became a millionaire before
he was 19. Miles Teller plays Diveroli’s slightly older partner, David
Packouz, and the two outbid major players like Lockheed from the
confines of Diveroli’s one-bedroom apartment.
CAST JONAH HILL, MILES TELLER, ANA DE ARMAS, J.B. BLANC
DIRECTOR TODD PHILLIPS GENRE COMEDY, DRAMA, WAR RATING
R FOR LANGUAGE THROUGHOUT, DRUG USE, AND SOME SEXUAL
REFERENCES RUNNING TIME TBD
60 BoxOffice ® AUGUST 2016

STX ENTERTAINMENT / AUG. 19
n In The Martian, Matt Damon played an
astronaut who becomes stranded on Mars.
In The Space Between Us, Asa Butterfield
plays a real Martian—that is, he is the first
person born and raised on the red planet.
As a teen, he travels to Earth for the first
time, where he is challenged by Earth’s
significantly more powerful gravity and the
newness of young love, after meeting a girl
he’s first seen via interplanetary video chat.
CAST GARY OLDMAN, ASA BUTTERFIELD,
CARLA GUGINO, BRITT ROBERTSON
DIRECTOR PETER CHELSOM GENRE
ADVENTURE, DRAMA, ROMANCE RATING
PG-13 FOR BRIEF SENSUALITY AND
LANGUAGE RUNNING TIME TBD
STARS BRITT ROBERTSON
AND ASA BUTTERFIELD
DYLAN MINNETTE (GOOSEBUMPS) HOLDS HIS BREATH TRYING TO
AVOID BLIND SERIAL KILLER PLAYED BY AVATAR'S STEPHEN LANG.
WARNER BROS. / AUG. 5
SONY · TRISTAR / AUG. 26
n Universal has done and very negotiated nicely with a its sweet two deal Despicable to helm Me the films, successful so they’ve 2013 assembled Evil Dead
n Imagine this: you and your accomplice decide the to rob same a local team to show reboot. us what Stephen our pets Lang, do when the villainous we’re not Col. around. Miles I know Quaritch what in mine Avatar,
to cause plays trouble the unnamed for happily blind owned man. pets.
blind man after you hear there may be a safe in his abandoned basement. pets After ready
your ill-advised home invasion you learn that your victim is a serial
killer. Your task? Escape before the blind killer, with VOICE his CAST heightened LOUIS C.K., CAST ERIC JANE STONESTREET, LEVY, DYLAN KEVIN MINNETTE, HART, STEVE DANIEL COOGAN, ZOVATTO, ELLIE STEPHEN KEMPER
auditory senses, finds you. Uruguayan writer/director DIRECTORS Fede Alvarez CHRIS RENAUD, YARROW CHENEY GENRE ANIMATION, COMEDY, FAMILY
caught Hollywood’s eye with the YouTube short RATING Ataque de PG Pánico! FOR ACTION TBD AND RUNNING SOME RUDE TIME HUMOR 88 MIN. RUNNING TIME TBD
LANG DIRECTOR FEDE ALVAREZ GENRE HORROR, THRILLER RATING
AUGUST 2016 BoxOffice ® 61

ON SCREEN > WIDE RELEASES
JASON STATHAM AND JESSICA ALBA STAR IN THIS SEQUEL TO
THE 2011 REMAKE OF THE CHARLES BRONSON CLASSIC.
WARNER BROS. / AUG. 5
n Jason Statham, hilarious in Paul Feig’s Spy, returns to his
badass roots in this sequel to his 2011 modest hit. Having lost
his partner, played by Ben Foster, in the previous film, Statham’s
Arthur Bishop has retired from contract killing—and the business
of making things look like accidents—until he is pulled back in to
save the love of his life (Jessica Alba), who has been kidnapped by
bad dudes. A goateed Tommy Lee Jones is along for the ride in this
continent-jumping action thriller.
CAST JASON STATHAM, TOMMY LEE JONES, JESSICA ALBA
MICHELLE YEOH, SAM HAZELDINE DIRECTOR DENNIS GANSEL GENRE
ACTION, CRIME, THRILLER RATING R FOR VIOLENCE THROUGHOUT
AND LANGUAGE RUNNING TIME TBD
62 BoxOffice ® AUGUST 2016

OPEN ROAD / AUG. 26
n For the uninitiated, Max Steel is a line
of action figures from Mattel that was
introduced 20 years ago, along with a
comic series and television show. Twilight’s
Taylor Lautner was originally set to star but
bailed to take on another action figure role
(Stretch Armstrong), so Disney television’s
Ben Winchell stars as Maxwell “Max” Mc-
Grath, who joins with his alien pal, Steel,
to form the super-powered Max Steel of
the title. This is being touted as an origin
story, which means Open Road is looking
to establish the film as the first in a hoped
for franchise. Andy Garcia co-stars as Dr.
Miles Edwards, a scientist whose origins are
a mystery.
CAST BEN WINCHELL, ANA VILLAFAÑE,
ANDY GARCÍA, MARIA BELLO DIRECTOR
STEWART HENDLER GENRE ACTION,
ADVENTURE, SCI-FI RATING TBD RUNNING
TIME TBD
ANDY GARCÍA AND BEN WINCHELL STAR IN THE
ORIGIN STORY BASED ON THE MATTEL ACTION FIGURE.
ÉDGAR RAMÍREZ PLAYS ROBERTO DURÁN WITH
ROBERT DE NIRO AS FAMED TRAINER RAY ARCEL
THE WEINSTEIN COMPANY
AUG. 26
n “Float like a butterfly, sting like a bee,”
may be the most famous phrase uttered by
a boxer—and there is no need to remind
you who said it—but the second most
famous phrase may well be “No más.”
Hands of Stone is the story of Panamanian
boxer Roberto Durán, who held five titles
during his career. Venezuelan star Édgar
Ramírez portrays the boxer, with Robert
De Niro appearing as his trainer. Recording
star Usher plays Sugar Ray Leonard, whose
second fight with Durán produced that
famous phrase.
CAST ÉDGAR RAMÍREZ, ROBERT DE NIRO
USHER, ELLEN BARKIN, ANA DE ARMAS
DIRECTOR JONATHAN JAKUBOWICZ GENRE
ACTION, BIOGRAPHY, DRAMA RATING TBD
RUNNING TIME 105 MIN.
HANDS
OF STONE
AUGUST 2016 BoxOffice ® 63

HELL OR HIGH WATER
CBS FILMS · LIONSGATE / AUG. 12
n Ben Foster and Chris Pine play brothers who plan and execute a
series of bank heists in order to save their family homestead.
CAST JEFF BRIDGES, CHRIS PINE, BEN FOSTER, GIL BIRMINGHAM
DIRECTOR DAVID MACKENZIE GENRE CRIME, DRAMA RATING R
FOR SOME STRONG VIOLENCE, LANGUAGE THROUGHOUT, AND
BRIEF SEXUALITY RUNNING TIME 102 MIN.
MY BEST FRIEND'S WEDDING
SONY / AUG. 12
n A remake of the 1997 Julia Roberts/Dermot Mulroney romantic
comedy, this Chinese-language film was shot in London, Italy, and
Beijing and stars singer Victoria Song of the popular girl group f(x).
CAST SHU QI, FENG SHAOFENG, VICTORIA SONG, YE QING
DIRECTOR CHEN FEIHONG GENRE COMEDY, ROMANCE RATING
TBD RUNNING TIME TBD
ANTHROPOID
BLEECKER STREET / AUG. 12
n Operation Anthropoid, a complex plot to assassinate Hitler’s
third-in-command, was attempted by Czechoslovakian exiles.
CAST CILLIAN MURPHY, JAMIE DORNAN, ANA GEISLEROVÁ, TOBY
JONES DIRECTOR SEAN ELLIS GENRE BIOGRAPHY, HISTORY,
THRILLER RATING R FOR VIOLENCE AND SOME DISTURBING
IMAGES RUNNING TIME 124 MIN.
GHOST TEAM
THE ORCHARD / AUG. 12
n This modestly budgeted Ghostbusters stars Napoleon Dynamite’s
Jon Heder as a paranormal investigator.
CAST JON HEDER, DAVID KRUMHOLTZ, MELONIE DIAZ, PAUL W.
DOWNS DIRECTOR OLIVER IRVING GENRE COMEDY RATING PG-13
FOR LANGUAGE INCLUDING SOME SEXUAL REFERENCES, AND
DRUG MATERIAL RUNNING TIME 83 MIN.
THE PEOPLE VS. FRITZ BAUER
COHEN MEDIA GROUP / AUG. 19
n This drama is based on the hunt and capture of Nazi war criminal
Adolf Eichmann.
CAST RÜDIGER KLINK, BURGHART KLAUSSNER, RONALD
ZEHRFELD DIRECTOR LARS KRAUME GENRE BIOGRAPHY, DRAMA
RATING R FOR SOME SEXUAL CONTENT RUNNING TIME 105 MIN.
64 BoxOffice ® AUGUST 2016

MORRIS FROM AMERICA
A24 / AUG. 19
n A coming-of-age story about Morris, an African American teen
living a fish-out-of-water life in Heidelberg with his widowed
father. Fancying himself a hip-hop artist in the making, Morris
meets a local girl who helps him navigate German culture.
CAST CRAIG ROBINSON, MARKEES CHRISTMAS, CARLA JURI, LINA
KELLER DIRECTOR CHAD HARTIGAN GENRE COMEDY, DRAMA,
ROMANCE RATING R FOR TEEN DRUG USE AND PARTYING,
SEXUAL MATERIAL, BRIEF NUDITY, AND LANGUAGE THROUGHOUT
RUNNING TIME 91 MIN.
THE HOLLARS
SONY PICTURES CLASSICS / AUG. 26
n The Office’s John Krasinski directs this slice-of-life story about
a man who returns to his hometown to care for his ill mother and
deal with an old rival while preparing to become a father with his
girlfriend, played by Pitch Perfect’s Anna Kendrick. This is Krasinski’s
second film behind the camera.
CAST JOHN KRASINSKI, ANNA KENDRICK, MARY ELIZABETH
WINSTEAD, SHARLTO COPLEY DIRECTOR JOHN KRASINSKI GENRE
COMEDY, DRAMA, FAMILY RATING PG-13 FOR BRIEF LANGUAGE
AND SOME THEMATIC MATERIAL RUNNING TIME 105 MIN.
COMPLETE UNKNOWN
IFC FILMS · AMAZON / AUG. 26
n Just as a man is contemplating a move to a new state with his
wife for her graduate program, an old flame—a woman who’s
taken on a completely new identity—reenters his life at a birthday
dinner party. Though writer/director Joshua Marston (Maria
Full of Grace) is from Los Angeles, Complete Unknown is his first
English-language film.
CAST RACHEL WEISZ, MICHAEL SHANNON, KATHY BATES, DANNY
GLOVER DIRECTOR JOSHUA MARSTON GENRE DRAMA, MYSTERY,
THRILLER RATING R FOR SOME LANGUAGE RUNNING TIME 90 MIN.
SOUTHSIDE WITH YOU
ROADSIDE ATTRACTIONS · MIRAMAX / AUG. 26
n What makes this film about a first date unusual is that the couple
in question are Michelle and Barack Obama. Southside with
You premiered at the Sundance Film Festival to a warm reception
and currently holds a very high score on Rotten Tomatoes.
CAST PARKER SAWYERS, TIKA SUMPTER, VANESSA BELL
CALLOWAY DIRECTOR RICHARD TANNE GENRE BIOGRAPHY,
DRAMA, ROMANCE RATING PG-13 FOR BRIEF STRONG LANGUAGE,
SMOKING, A VIOLENT IMAGE, AND A DRUG REFERENCE RUNNING
TIME 81 MIN.
AUGUST 2016 BoxOffice ® 65

BOOKING
GUIDE
Compiled by Diogo Busato
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
A24 646-568-6015
MORRIS FROM AMERICA
Fri, 8/19/16 LTD.
Craig Robinson, Markees
Christmas
Chad Hartigan NR Com/Dra
AMERICAN HONEY Fri, 9/30/16 NY/LA Sasha Lane, Shia LaBeouf Andrea Arnold R Dra/Adv
DISNEY 818-560-1000 / Ask for Distribution
PETE’S DRAGON
THE LIGHT BETWEEN OCEANS
Fri, 8/12/16 WIDE
Fri, 9/2/16 WIDE
Bryce Dallas Howard, Oakes
Fegley
Michael Fassbender, Alicia
Vikander
David Lowery PG Fan/Fam/Ani 3D/Dolby Dig
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
MOANA Wed, 11/23/16 WIDE Auli’i Cravalho, Dwayne Johnson
ROGUE ONE: A STAR WARS
STORY
Scott Derrickson PG-13 Act/Adv 3D/IMAX
Ron Clements, John
Musker
NR Ani/Mus/Fam 3D/Dolby Dig
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
PIRATES OF THE CARIBBEAN:
DEAD MEN TELL NO TALES
Fri, 5/5/17 WIDE Chris Pratt, Zoe Saldana James Gunn NR Act/Adv/SF 3D/IMAX/Dolby Dig
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
UNTITLED DISNEY LIVE ACTION
FAIRY TALE 1
THOR: RAGNAROK
COCO
STAR WARS: EPISODE VII
Fri, 7/28/17 WIDE Rob Marshall NR Fan
Fri, 11/3/17 WIDE
Fri, 11/22/17 WIDE
Fri, 12/15/17 WIDE
Tom Hiddleston, Chris Hemsworth,
Idris Elba
Daisy Ridley, John Boyega, Oscar
Isaac
Taika Waititi
Lee Unkrich, Adrian
Molina
NR
NR
Rian Johnson NR Act/Adv/SF 3D/IMAX/Dolby Dig
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
KICKS
Fri, 8/19/16 WIDE
Fri, 9/9/16 LTD.
Art Parkinson, Matthew
McConaughey
Jahking Guillory, Christopher
Jordan Wallace
Travis Knight PG Ani/Adv/Fam 3D/Dolby Atmos
Ani
Justin Tipping R Adv
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
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 PG-13 Com
TROLLS Fri, 11/4/16 WIDE Anna Kendrick, Justin Timberlake Mike Mitchell NR Ani/Com/Fam 3D/Dolby Dig
66 BoxOffice ® AUGUST 2016

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
RULES DON’T APPLY
ASSASSIN’S CREED
Fri, 11/11/16 WIDE
Wed, 12/21/16 WIDE
Warren Betty, Alec Baldwin, Lily
Collins
Michael Fassbender, Marion
Cotillard
Warren Betty NR Rom/Com/Dra
Justin Kurzel NR Act/Adv Dolby Dig
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, 3/31/17 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
UNTITLED FOX / MARVEL FILM Fri, 10/6/17 WIDE NR
RED SPARROW Fri, 11/10/17 WIDE NR
MURDER ON THE ORIENT
EXPRESS
Fri, 11/22/17 WIDE
THE CROODS 2 Fri, 12/22/17 WIDE NR Ani/Fam
THE GREATEST SHOWMAN ON
EARTH
Mon, 12/25/17 WIDE Hugh Jackman Michael Gracey
FOX SEARCHLIGHT 212-556-2400
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
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
NR
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
HACKSAW RIDGE
Fri, 10/28/16 WIDE NR Hor
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
WONDER Fri, 4/7/17 WIDE Julia Roberts, Jacob Tremblay Stephen Chbosky NR Dra
THE DIVERGENT SERIES:
ASCENDANT
Fri, 6/9/17 WIDE Shailene Woodley, Theo James Lee Toland Krieger NR Act/Adv/SF
AUGUST 2016 BoxOffice ® 67

BOOKING GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
GRANITE MOUNTAIN Fri, 9/22/17 WIDE Jennifer Connelly, Miles Teller Joseph Kosinski NR Dra
MY LITTLE PONY Fri, 10/6/17 WIDE Tara Strong, Emily Blunt Jayson Thiessen NR Ani/Fan/Fam
OPEN ROAD FILMS 310-696-7504
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
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 PG_13 Act/Dra 3D
GOAT Fri, 9/23/16 LTD. Ben Schnetzer, Nick Jonas Andrew Neel NR Dra
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
ARRIVAL Fri, 11/11/16 WIDE NR
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
KIDNAP
SONY 212-833-8500
Fri, 11/18/16 WIDE
Fri, 12/2/16 WIDE
Kate Beckinsale, Lucas Till, Gerald
McRaney
Halle Berry, Dana Gourrier,
Christopher Berry
SAUSAGE PARTY Fri, 8/12/16 WIDE Seth Rogen, Kristen Wiig
D.J. Caruso
Luis Prieto
Greg Tiernan, Conrad
Vernon
NR
NR
R
Ani/Com
MY BEST FRIENDS WEDDING Fri, 8/12/16 LTD. Qi Shu, Shaofeng Feng Alexi Tan NR Rom/Com
DON’T BREATHE Fri, 8/26/16 WIDE Jane Levy, Dylan Minnette Fede Alvarez R 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
INFERNO Fri, 10/28/16 WIDE Tom Hanks, Felicity Jones Ron Howard PG-13 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
68 BoxOffice ® AUGUST 2016

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
PASSENGERS Wed, 12/21/16 WIDE Chris Pratt, Jennifer Lawrence Morten Tyldum NR SF/Adv/Rom 3D/Dolby Atmos
UNDERWORLD: BLOOD WARS Fri, 1/6/17 WIDE Kate Beckinsale, Theo James Anna Foerster NR Act/Hor
RESIDENT EVIL: THE FINAL
CHAPTER
Fri, 1/27/17 WIDE Milla Jovovich, Ali Larter Paul W.S. Anderson NR Act/Hor 3D
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
ROCK THAT BODY Fri, 6/23/17 WIDE Scarlett Johanson, Kate McKinnon Lucia Aniello NR Com/Dra
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
JUMANJI Fri, 7/28/17 WIDE Dwayne Johnson, Jack Black Jake Kasdan NR Adv/Fan/Fam
EMOJIMOVIE: EXPRESS
YOURSELF
3D/IMAX/Dolby
Atmos
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
THE STAR Fri, 12/22/17 WIDE NR Ani
SONY PICTURES CLASSICS Tom Prassis / 212-833-4981
THE HOLLARS Fri, 8/26/16 EXCL NY/LA John Krasinski, Anna Kendrick John Krasinski PG-13 Com/Dra
THE EAGLE HUNTRESS Fri, 9/16/16 EXCL NY/LA Daisy Ridley Otto Bell G Doc/Fam
ELLE
Fri, 11/11/16 EXCL
NY/LA
Isabelle Huppert, Laurent Lafitte Paul Verhoeven NR For/Dra/Thr
STX ENTERTAINMENT 310-742-2300
THE EDGE OF SEVENTEEN
Fri, 9/30/16 WIDE
Hailee Steinfeld, Haley Lu
Richardson
Kelly Fremon Craig NR Com/Dra
DESIERTO
Fri, 10/14/16 LTD.
Gael García Bernal, Jeffrey Dean
Morgan
Jonás Cuarón NR Dra/Thr
THE BYE BYE MAN Fri, 12/9/16 WIDE Douglas Smith, Cressida Bonas Stacy Title R Hor/Thr
THE SPACE BETWEEN US Fri, 12/21/16 WIDE Asa Butterfield, Britt Robertson Peter Chelsom PG-13 Adv/SF/Rom
UNIVERSAL 818-777-1000
SPECTRAL Fri, 8/12/16 WIDE James Badge Dale, Emily Mortimer Nic Mathieu PG-13 Act/Thr
BRIDGET JONES’S BABY Fri, 9/16/16 WIDE Renée Zellweger, Colin Firth Sharon Maguire R 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
AUGUST 2016 BoxOffice ® 69

BOOKING GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
UNTITLED 2017 BLUMHOUSE
HORROR PROJECT 2
UNTITLED GALIFIANAKIS/HADER/
ROGEN R-RATED COMEDY
Fri, 4/28/17 WIDE NR Hor
Fri, 5/26/17 WIDE Zach Galifianakis, Seth Rogen Rodney Rothman NR Com/SF
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
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 Lin Shaye Adam Robitel NR Hor/Thr
LET IT SNOW Fri, 11/22/17 WIDE NR
PITCH PERFECT 3 Fri, 12/22/17 WIDE Anna Kendrick, Rebel Wilson Elizabeth Banks NR Com/Mus
WARNER BROS. 818-977-1850
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 PG-13 Dra IMAX
STORKS Fri, 9/23/16 WIDE Andy Samberg, Kelsey Grammer
Nicholas Stoller, Doug
Sweetland
PG 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
COLLATERAL BEAUTY Fri, 12/16/16 WIDE Will Smith, Keira Knightley David Frankel NR Dra
LIVE BY NIGHT Fri, 1/13/17 WIDE Ben Affleck, Sienna Miller Ben Affleck NR Cri/Dra
THE LEGO BATMAN MOVIE Fri, 2/10/17 WIDE Will Arnett, Zach Galifianakis Chris McKay NR Ani/Adv/Fam
FIST FIGHT Fri, 2/17/17 WIDE Ice Cube, Charlie Day Richie Keen NR Com
3D/IMAX/Dolby
Atmos
3D/IMAX/Dolby
Atmos
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
GEOSTORM Fri, 10/20/17 WIDE Gerard Butler, Abbie Cornish Dean Devlin NR Act/Thr/SF 3D/IMAX
JUSTICE LEAGUE PART ONE Fri, 11/17/17 WIDE Ben Affleck, Gal Gadot Zack Snyder Act/Adv
UNTITLED WARNER BROS. PG-13
COMEDY
Fri, 12/22/17 WIDE PG-13 Com
WEINSTEIN CO./DIMENSION 646-862-3400
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
70 BoxOffice ® AUGUST 2016

CEO
Julien Marcel
VP CREATIVE SERVICES
Kenneth James Bacon
VP CONTENT STRATEGY
Daniel Loria
BOXOFFICE ®
AUTOFRY
PG 12
CARDINAL SOUND
PG 72
CHRISTIE
Inside front cover
C. CRETORS & COMPANY
PG 27
CY YOUNG INDUSTRIES
PG 72
DEPTHQ STEREOSCOPIC
PG 72
DOLPHIN SEATING
PG 54
ENPAR AUDIO
PG 43
ENTERTAINMENT SUPPLY &
TECHNOLOGIES
PG 4
FANDANGO
PG 1
GENEVA CONVENTION
PG 13
GOLD MEDAL PRODUCTS
PG 31
GREAT WESTERN PRODUCTS
PG 39
HARKNESS SCREENS
PG 7, 9
J&J SNACK FOODS
PG 2
KERNEL SEASON’S
PG 42
MOBILIARIO
PG 33
MOC INSURANCE SERVICES
PG 5
NATO
PG 25
NCM
back cover
ODELL’S
PG 16
AD INDEX
OMNITERM
PG 37
PALLISER
PG 23
PCI
PG 26
PROCTOR COMPANY
PG 41
PROMOTION IN MOTION
PG 17, 29
QSC AUDIO
PG 11
READY THEATER SYSTEMS
PG 47
REALD
PG 52–53
RETRIEVER SOFTWARE
PG 45
SCREENVISION
PG 35
SENSIBLE CINEMA
PG 72
SONIC EQUIPMENT
PG 21
SPOTLIGHT CINEMA NETWORKS
PG 15
USHIO
PG 34
WHITE CASTLE
PG 36
WILL ROGERS MOTION PICTURE
PIONEERS FOUNDATION
inside back cover
BOXOFFICE ® (ISSN 0006-8527), Volume 152, Number 8, August 2016. BOXOFFICE ® is published monthly by BoxOffice Media,
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AUGUST 2016 BoxOffice ® 71

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.
HELP WANTED
www.depthq3d.com
Bright Star Systems is looking for Digital
Cinema Field Service Technicians to
be part of its expanded Service Group.
We offer a unique opportunity. Here’s
your chance to work in a team-based,
collaborative atmosphere with individuals
who love working in the theater
business. Our service offering is innovative
and unique—it requires responsible
self-starters willing to take responsibility
for their own work.
We offer an Industry leading compensation
plan, full benefits, and the opportunity
to grow and experience the full
rewards of this creative and technically
challenging career.
If you’re interested, send your resume’
and full particulars to Dan Eittreim at
dane@bsscinema.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 CINEMA PROJECTORS. NEC
NC1200 slightly used with GDC servers. Screens,
Poster cases, concession equipment, and POS
System Call Stetson 505-615-2913 or stetsonsnell@enparaudio.com
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.
Serious inquiries only. For equipment list
email contact@digitalequipmenttechnologies.
com or call 801-548-0108 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
REFLECTORS! Ultraflat repolishes and recoats
xenon reflectors. Many reflectors available for
immediate exchange. (ORC, Strong, Christie,
Xetron, others!) Ultraflat, 20306 Sherman Way,
Winnetka, CA 91306; 818-884-0184.
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.
72 BoxOffice ® AUGUST 2016