Boxoffice - October 2016

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OCTOBER
2016
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SUMMER & SMOKE
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IT TURNS OUT THE
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Daniel Loria
Editorial Director
Boxoffice®
It has been a very busy fall season for us here at Boxoffice. You might have caught us
at Lake Geneva, where we took full advantage of our role as the Geneva Convention’s
official media partner and participated in two days of panels. Not long afterward, our
CEO, Julien Marcel, flew to St. Petersburg to speak at the Big Kino Expo. Days later, I
reunited with Julien in Deauville, France, for the annual convention of the Federation
Nationale des Cinemas Française (FNCF). It was my first time in Deauville, and, thanks
to Sony, the first time I ever enjoyed a champagne open bar with the Smurfs and someone
wearing a 6-foot-tall sausage costume. Even though the double entendre might
have gotten lost in translation, I have to give it to the French: they really do know how
to throw a good Sausage Party.
There are still a number of stops left on the agenda, as October brings a Latin American vibe to the
convention calendar. Having spent my teenage years in Miami, which in turn made me a loyal Miami Heat
fan, it was great to hear that ShowEast would be taking its talents to South Beach for this 2016 edition. Our
team will be accompanied by our colleagues at SensaCine (part of our larger Webedia family) as they prepare
to launch their Spanish-language movie-fan website in Latin America. Not to forget about our Brazilian
friends, of course, as Webedia will continue its presence at ExpoCine in São Paulo through another one of
our sister companies, AdoroCinema. The LatAm cycle concludes with Argentina’s Vista event, making it a
very interesting six weeks for those of you lucky enough to attend all these upcoming conventions.
In this issue you’ll find our report from Geneva, where the topics of millennials and digital ticketing took
center stage. NATO’s David Binet returns to our pages, sharing some ideas from French exhibitor UGC,
who is pushing to include a wider array of titles in its programming. We also check in with the world of
cinema advertising, talking to several national and regional players on the state of the business and its future.
And our very own Jesse Rifkin tackles the election from a box office perspective, looking at how political
titles have fared on the big screen in recent years.
Once again, we hope you find the information in the following pages of value. Please reach out with any
comments—we’d love to hear your thoughts.
Daniel Loria
Editorial Director
Boxoffice Media
OCTOBER 2016 BoxOffice ® 3

COVER STORY
TAKING ON THE TROLLS
INTERVIEW WITH TROLLS DIRECTOR MIKE MITCHELL
OCTOBER 2016
VOL. 152 NO. 10
AND CO-DIRECTOR WALT DOHRN by Jesse Rifkin 84
Hello by Daniel Loria 3
Exhibition Briefs edited by Laura Silver 8
NATO Communiqué
Summer and Smoke and Mirrors: It turns out the box office was on fire
16
by Patrick Corcoran
NATO News
Unlimited Options: France’s UGC helps pioneer a new program to strengthen the 20
diversity of programming at the movies by David Binet
Charity Spotlight
A look at recent events
22
Convention Preview
ExpoCine 2016: Interview with Marcelo Lima, CEO, Tonks by Daniel Loria
26
Tech Talk
The Big Picture: Barco Escape delivers on its promise of a unique and thrilling 28
cinema experience by Kenneth James Bacon
Guest Column
Showbiz Speak: A glossary by Jeff Logan
32
At the Box Office
Box Office and the Ballot Box: Do election-themed films perform
36
at the multiplex? by Jesse Rifkin
SHOWEAST AWARD WINNERS
Al Shapiro Distinguished Service Award: Robert Bagby 42
Career Achievemnet Award: Licnio Manay 44
International Distributor of the Year: Marcio Fraccaroli 46
Bingham Ray Spirit Award: James Schamus 48
Dan Fellman Show “E” Award: Spencer Klein 52
Salah M. Hassanein Humanitarian Award: Tim Warner 54
New Products
A dozen vendors unveil their latest tools of the trade
57
Cinema Advertising
As the pre-show business grows and evolves, Boxoffice catches up with several 66
players in cinema advertising by Daniel Loria
Cinema Showcase
Coral Gables Art Center / Miami, Florida
74
Convention Recap
A New Way of Doing Business: Millennials, digital ticketing were this year’s trending 76
topics at the Geneva Convention by Daniel Loria
3D Calendar
Sponsored by RealD
82
On Screen
Capsule previews of upcoming wide- and limited-release films by Kenneth James Bacon
88
Event Cinema Calendar
Alternative content release calendar
91
Booking Guide
Booking details for over 150 upcoming releases
102
Classifieds 112
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OCTOBER 2016 BoxOffice ® 5

EXHIBITION
BRIEFS
WE KILL DEATH TO BE FIRST IMMERSIVE FEATURE
n We Kill Death from producers Alex A. Ginzburg and Tony Lee of Let It Play will be
the first feature film produced specifically for immersive cinema technology formats
4DX and ScreenX. We Kill Death focuses on YouTube stars Mustang Wanted, Oleg
Cricket, and the duo of Vitaliy Raskalov and Vadim Makhorov, best known for their
imaginative and death-defying stunts and adventures.
“4DX and ScreenX take the amazing and vast appeal these daredevils have achieved
on social media and amplify its intensity, power and visual impact for the cinematic
audience,” Ginzburg said. “In 4DX and ScreenX theaters, audiences will be able to feel
as if they are alongside the daredevils on screen.”
Ginzburg and Lee have also produced Ordinary World from Universal starring
Green Day front man Billy Joe Armstrong, Selma Blair, and Judy Greer, and the
upcoming Holding Patterns, starring Freddie Highmore, Odeya Rush, and Haley Joel
Osment.
PHOTO COURTESY OF LET IT PLAY
8 BoxOffice ® OCTOBER 2016

NATIONAL AMUSEMENTS
PARTNERS WITH BARCO
n National Amusements will install Barco’s
Flagship Laser projectors in all of its premium
large-format Showcase XPlus auditoriums
beginning with six of its top theater
sites in the Massachusetts, New York, and
New Jersey areas. In the future, all XPlus auditoriums
will feature Barco’s Flagship Laser
projection technology.
“We always have our eye on the latest and
greatest technologies in cinema and work to
be first in the market to deliver the most excellent
and unique experiences to our patrons,”
said Duncan Short, a senior vice president at
the company. “National Amusements is proud
to partner with Barco in this new launch.
Barco is a dedicated partner who has mastered
the laser projection technology.”
With close to 150 units deployed internationally,
Barco’s Flagship Laser projector
allows exhibitors to drive down maintenance
and operational costs. The top-of-the-line
model, DP4K-60L, consumes 40 percent less
power than xenon projectors with the same
brightness. And its laser light source offers a
lifetime of 30,000 hours or more.
DEHMEL TO LEAD GLOBAL
DISTRIBUTION FOR IMAX
n Craig Dehmel (right) has been appointed
executive vice president, head of global
distribution, IMAX Entertainment, and
senior vice president, IMAX Corporation.
He will report directly to Greg Foster, CEO
of IMAX Entertainment and senior executive
vice president of IMAX Corporation.
Dehmel will lead the film distribution
function for IMAX DMR titles and original
content for IMAX, whose global network
currently comprises more than 1,110 theaters
in over 70 countries.
Dehmel succeeds Phil Groves, who has left
IMAX to produce his documentary, IMAX’s
Asteroid Impact, which will be financed
through the IMAX Original Film Fund.
Groves will continue as an IMAX consultant.
Dehmel joins IMAX from 20th Century
Fox Filmed Entertainment where he served
as the company’s executive vice president
of international distribution. At Fox, he
managed the theatrical release planning and
execution of Fox-distributed titles in over
100 markets worldwide, including Avatar,
in 2009, and Ice Age, the animated franchise
encompassing five films from 2002 to 2016.
In 2014, Dehmel received the CinemaCon
Passepartout Award in recognition of his
dedication and commitment to the international
film marketplace, and he was recently
inducted into the Academy of Motion
Picture Arts and Sciences.
OCTOBER 2016 BoxOffice ® 9

EXHIBITION BRIEFS
LANDMARK ANNOUNCES FLORIDA OPENING
n Landmark Theatres is to open its first property in Florida at the Village
at Merrick Park in Coral Gables. It will feature stone and wood finishes
along with a full bar menu in the venue’s sophisticated lounge area.
Each of the seven auditoriums at The Landmark at Merrick
Park will feature luxury leather seats in stadium settings, with large
screens, laser projection, and Dolby 7.1 surround sound. The theater
will offer reserved seating, allowing guests to pre-purchase individual
seats online or make selections using an automated ticketing kiosk in
the lobby.
“We are excited to enter the Coral Gables market,” said Ted Mundorff,
CEO Landmark Theatres. “Our theater will enhance Coral
Gables’ well-earned reputation as an arts and cultural destination.”
10 BoxOffice ® OCTOBER 2016

NEW TEXAS LOCATION FOR
CINERGY
n Cinergy Entertainment Group gears up
for the opening of their newest location in
Odessa, Texas, in late October. The 90,000-
foot cinema entertainment center will
feature bowling, multilevel laser tag, ropes
course, fully loaded game floor, 10 cinemas,
premium food offerings, a full-service bar,
multiple event rooms, reserved ticketing,
luxury recliner seating, and a Cinergy EPIC
auditorium
“We are thrilled to open our second
Cinergy location in West Texas,” said Jamie
Benson, Cinergy’s co-founder and executive
vice president. “It will be our first ‘green,’
building as this location features a solar panel
array on the roof that will supply 10 percent
of the building’s electrical power. The Odessa
location will also provide over 300 jobs to
the area.”
With the new complex, Cinergy will
showcase Order Commander, a new seat-side
ordering system in its EPIC auditorium. It
allows guests to place and pay for their orders
from a touch-screen device mounted at every
seat. Food and beverages are then discretely delivered.
Guests can also order in the lobby, at
game room tables, and on their bowling lane
all from tablet-size Order Commander devices.
Said Jeffrey Benson, Cinergy’s CEO, “This is
the future of the moviegoing experience.”
CINEPLEX ACQUIRES
TRICORP AMUSEMENTS
n Cineplex Entertainment is acquiring
Tricorp Amusements Inc. The New Jersey–
based Tricorp will become part of Cineplex
Starburst Inc., a subsidiary of Cineplex
Entertainment.
Tricorp is a provider of interactive video,
redemption, and amusement gaming services.
Its client portfolio focuses on theatrical
exhibition as well as entertainment destinations
such as bowling centers, amusement
and water parks, indoor mini-golf and
laser tag facilities, as well as casinos and
restaurants. It also specializes in entertainment-center
design and has over 35 years
of experience in delivering entertainment
programing and attraction selection.
“Combining our two organizations
creates a powerful, strong, and diverse
amusement company that can now provide
amusement services to a much broader and
expanded market across North America,”
said Charles T. Peitz, founder and CEO of
Tricorp Amusements.
Toronto-based CSI has 16 offices across
Canada and the United States operating as
Cineplex Starburst, Brady Starburst, Premier
Amusements, and Playdium. The acquisition
adds nearly 100 Tricorp employees in more
than 20 states from five regional distribution
centers across the Eastern Seaboard. The
Tricorp corporate offices will remain in New
Jersey, and the executive management team
will continue to be led by industry veterans
Charles “Chuck” Peitz and Joe Ingui.
RECORD MEMBERSHIP FOR
AMC STUBS
n Approximately two months after enhancing
its paid membership tier and adding
a free tier to its rewards program, AMC
Theatres has hit an all-time high of 4 million
active member households. The program,
AMC Stubs, added more than 1.2 million
new active family memberships in the last
few weeks of the summer season. New members
are enrolling in the program at a rate
OCTOBER 2016 BoxOffice ® 11

EXHIBITION BRIEFS
more than 11 times the number of enrollments
during the same period last year.
In early July, AMC launched AMC
Insider, a free tier that rewards AMC guests
for simply coming to the movies. The
company’s paid tier, AMC Premiere, also
saw a refresh that included the addition of
new guest benefits. Membership benefits
for both tiers include concessions and
ticket discounts, a birthday gift, and reward
points. Every AMC Stubs member receives
access to exclusive offers, screenings, and
more.
“The expansive growth of AMC Stubs
provides AMC with a much larger database
of identified moviegoers, and a better
insight into their movie preferences,” said
Stephen Colanero, executive vice president
and chief marketing officer, AMC. “This enables
AMC to have both a larger and a more
focused marketing capability to support the
movies of our Hollywood studio partners.”
MALINOWSKI IS NEW
SCREENVISION HR CHIEF
n Screenvision Media has hired Kathie Malinowski
as chief human resources officer.
Within her role, she will lead the recruiting
and development of new and existing talent
at Screenvision. Her addition to the company
comes at a time of robust cinema-advertising
growth, for which the company
is eager to optimize its talent acquisition
practices.
Prior to joining Screenvision, Malinowski
was the senior vice president of
human resources at Everyday Health Inc.,
a digital media company, where she led
and managed the human resources business
operations function for three years. Her
previous experience includes positions at
MyPublisher (acquired by Shutterfly), The
Weinstein Company, and Primedia Inc.
“Kathie brings to Screenvision Media
unique human resources and businesssolutions
experience and a passion
for talent acquisition, retention and
development,” said Kevin Neary, CFO,
Screenvision Media. “As the company
continues to evolve into a more complete
media company during a time of incredible
growth, we’re really excited to have Kathie
lead the charge in meeting our human
resources needs.”
CINEMARK TO UPGRADE
TEXAS THEATERS
n Cinemark Holdings will renovate and
upgrade their Allen 16 & XD theater in Allen,
Texas. The first phase of the renovations
and improvements will include installing
electric Luxury Lounger recliners in all 16
auditoriums, including the XD auditorium,
and the addition of a new lobby bar. The
second phase will involve expanding the
building to provide additional recreation
and entertainment options as well as enhanced
concessions offerings. The upgrades
for the first phase of the theater remodel
will be completed in time for the holiday
blockbuster season.
“Since we opened our doors back in
2006, the Allen 16 & XD has been a
preferred destination for our guests located
in the Allen, McKinney, Plano, and Frisco
areas of the DFW Metroplex,” said Mark
Zoradi, Cinemark’s CEO. “We continue
to develop and enhance our customer-facing
initiatives by providing an improved
entertainment experience with the addition
of our extremely popular Luxury Lounger
recliners to all auditoriums.”
NATIONAL AMUSEMENTS PROMOTES TWO GLOBAL LEADERS
n National
Amusements
has announced
that Duncan
Short and Bill
LeClair have
been promoted
to senior vice
president of
operations and
senior vice president
of food
and beverage,
respectively.
Short, who
began his career
with National
Amusements
in 1987,
opened the
DUNCAN SHORT
first Showcase
Cinemas U.K.
and quickly rose through management. In 1998, he relocated to
the United States as director of international operations, continuing
operational oversight which extended through the acquisition
of UCI cinemas in Brazil in 2005. Last year, Short was appointed
full operational leadership for National Amusements’ U.S. and
international estate.
LeClair
joined National
Amusements as
an usher almost
40 years ago
and performed
various roles
in operations
before moving
to the rapidly
expanding food
and beverage
department in
1997, where he
helped develop
and open the
company’s food
court concepts.
He currently
BILL LECLAIR
oversees the
food and beverage
operations
in four countries representing more than 925 screens.
“Both Duncan and Bill have been instrumental to our global
operations and food and beverage programs,” said Shari Redstone,
president of National Amusements. “We are very pleased to
announce the well-deserved promotions of these two individuals
who both carry a rich history with the company.”
12 BoxOffice ® OCTOBER 2016

EXHIBITION BRIEFS
REGAL WELCOMES
TOM CRUISE TO KNOXVILLE
n Tom Cruise is scheduled to attend an exclusive benefit
screening for Paramount Pictures and Skydance’s
upcoming film Jack Reacher: Never Go Back. Regal
Cinemas Pinnacle 18 IMAX & RPX in Knoxville, Tennessee,
will host the event on Monday, October 17, with
proceeds benefiting Variety – The Children’s Charity of
Eastern Tennessee.
“Regal is truly honored to roll out the red carpet for
Tom Cruise and welcome him to East Tennessee. From
his illustrious film career to his philanthropic efforts,
Tom is the epitome of a true Hollywood star,” said
Greg Dunn, president and chief operating officer of
Regal Entertainment Group. “We also extend our sincerest
gratitude to our friends at Paramount Pictures
and Skydance for making this screening possible and
helping raise funds for Variety’s special needs children.
Variety – The Children’s Charity is a philanthropic
organization that spans the globe with 43 chapters in
13 countries, improving the lives of children through
creative fund-raising efforts, well-placed donations
with exceptional children’s charities, and through its
own charitable programs. The local chapter of Variety
was founded in Knoxville by Regal Cinemas in 2001
and since then has generated more than $9 million to
assist children in East Tennessee. n
JACK REACHER: NEVER GO BACK,
STARRING TOM CRUISE AND COBIE
SMULDERS, OPENS NATIONWIDE OCT 21
14 BoxOffice ® OCTOBER 2016

NATO
COMMUNIQUÉ
SUMMER AND
SMOKE AND
MIRRORS
It turns out the
box office was on fire
n Summer 2016 was terrible except when it wasn’t.
And it wasn’t terrible most of the time, but as is
so often the case, a few high-profile underperforming
movies had the trade press dumping shovelsful of dirt
on the summer before it was
scarcely under way. A headline
by Patrick Corcoran
Vice President &
Chief Communications Officer, NATO
in the Hollywood Reporter on
June 13 moaned, “Summer
Box-Office Slump: Revenue
Down a Steep 22 Percent.”
While on the surface the
comparison was for a similar
period of time—the first day
of summer in 2015 and 2016
through the current equivalent
weekend—the 2015 summer
season had started five days
sooner and accounted for
$292.6 million. Now, you can’t make that money disappear,
but what you can do is not measure two very
different things and call them the same.
Are there better ways to compare? There are certainly
different ways to compare. The Reporter article
went on to include the last weekend in April and the
first week of May 2016 in its comparison and found
SUMMER BOX OFFICE COMPARISON
Summer 2015 Grosses Summer 2016 Grosses % Change
5/1/15 292,640,478 4/29/16 0 —
5/8/15 168,727,412 5/6/16 302,628,059 179.36%
5/15/15 243,586,694 5/13/16 169,268,655 69.49%
5/22/15 231,768,983 5/20/16 181,154,859 78.16%
5/29/15 198,313,697 5/27/16 247,439,455 124.77%
6/5/15 188,291,344 6/3/16 190,061,877 100.94%
6/12/15 393,713,737 6/10/16 218,382,032 55.47%
6/19/15 359,473,644 6/17/15 361,164,197 100.47%
6/26/15 309,439,308 6/24/16 290,896,374 94.01%
7/3/15 221,244,854 7/1/16 310,564,753 140.37%
7/10/15 317,612,738 7/8/16 323,715,213 101.92%
7/17/15 286,979,960 7/15/16 246,401,967 85.86%
7/24/15 235,547,360 7/22/16 295,834,880 125.59%
7/31/15 228,861,504 7/29/16 283,552,333 123.90%
8/7/15 197,132,912 8/5/16 329,488,720 167.14%
8/14/15 217,648,599 8/12/16 253,976,486 116.69%
8/21/15 151,661,156 8/19/16 187,148,355 123.40%
8/28/15 123,741,389 8/26/16 163,873,888 132.43%
9/4/15 117,372,016 9/2/16 128,401,492 109.40%
TOTAL $4,483,757,785 TOTAL $4,483,953,595 100%
SOURCE: COMSCORE
2016 still lagging by 14 percent, which isn’t surprising,
because that week didn’t include the first big debut of
summer. Another way to look at the summer to date
might have been to compare the first week of summer
’15 and the first week of summer ’16, which would
have yielded that previously mentioned $292.6 million
for 2015, and—wait for it—$302.6 million for 2016.
Up 3.4 percent. Or you could compare the first week
of summer ’15 to the nonexistent equivalent week, and
2015 comes out ahead by infinity percent.
The point here is not that comparisons shouldn’t
be made, but to understand what it is that you are
comparing, or better still to recognize that the sample
size is too small to draw any useful conclusions. This
is the problem with comparing any weekend to a corresponding
weekend in an earlier year. Not only is the
sample size too small to draw useful conclusions, but
the premise that the movies opening on this particular
weekend have anything in common, or should gross
the same or better than the movies that opened a year
before, is difficult to sustain. It is even more spurious
that the health of an industry should be judged based
on those shaky comparisons.
The parade of bad headlines continued. Variety
weighed in with, “Box Office Meltdown: Hollywood
Races to Win Back Summer Crowds,” noting
that “Ticket sales are down roughly 10 percent this
summer, but the slide is more precipitous than those
numbers suggest.” While also failing to mention that
summer 2015 included an extra week, the entertainment
bible brought on perennial doomsayer Hal Vogel
to intone, “The theater business has weaker prospects
going forward than at any time in the last 30 years. It’s
encountering visible strain this summer. It’s a superhero,
mega-blockbuster, tentpole strategy run amuck.
There’s too much of it, and it’s not working.”
Note that a month after the Hollywood Reporter
sounded the alarm about a 22 percent decrease year
over year (caused, remember, by an extra week of 2015
summer box office), that deficit is now 10 percent.
The rush to find a trend in limited data is not new,
nor is the compulsion to peg a movie’s underperformance
relative to its budget symptomatic of flagging
moviegoer desire, but this summer may have hit a new
mark in industry analysts ignoring what is happening
right under their noses.
In mid-June, when the Hollywood Reporter piece
came out, there had been six head-to-head summer
weeks or weekends. Three of them were up compared
to 2015 and three were down. As the story noted, the
weekend just past was down 44 percent. It did not
note that the first head-to-head week of summer was
up 79 percent in 2016. Nor did it note that year-todate,
2016 was ahead of 2015.
The disconnection was even starker by the time
Variety made the summer stand in for an industry in
crisis. Aside from YTD box office being up 2 percent
(which they did note) and the summer deficit having
16 BoxOffice ® OCTOBER 2016

NATO COMMUNIQUÉ
been cut more than half—suggesting a different trajectory than the
one they were outlining—they also didn’t note that seven of the
previous twelve head-to-head weeks were up in 2016.
Just before summer’s end, an unbroken string of “up” weeks (starting
the week of the Variety story) prompted Cinema Blend to realize
in headline form, “Apparently 2016’s Summer Box Office Wasn’t as
Horrific as We Thought, Get the Details.” That string continued to the
end of the summer, leaving behind a record August (up 32 percent)
and summer box office that was essentially even with 2015, despite
being a week shorter. The trade press responded with surprise at the
strong summer numbers that should have been evident all along.
While summer is still important as the season when potential
moviegoers seem most available, it is not always as important relative
to the rest of the year. Summer box office has been routinely topping
$4 billion since 2007, but its percentage of yearly box office has
fluctuated. From a low in 2014 of 39 percent—in a year in which
box office was down overall—to a high of 44 percent in 2013 when
overall box office was up and set a record of $10.92 billion, it might
appear as if a robust summer drives the year’s box office performance.
Yet, in 2011, the summer accounted for 43 percent of box office, and
yearly box office fell 3.7 percent.
Indeed, summer box office in absolute numbers often does not
prove predictive of the year. In 2012, summer box office counted for
40 percent of the year’s box office but fell in absolute terms from the
year before by 2.7 percent. Annual box office was up 6 percent and
set another record. Last year, summer box office was up in absolute
terms by 10.3 percent, while the record-setting yearly total was up
6.9 percent to $11.12 billion.
What seems clear is that the summer box office haul varies with
the movies that are being released, much as the rest of the year does.
The key difference this year is that the studio tentpole strategy and
a crowded summer is almost inadvertently providing theater owners
with something they have been asking for a very long time: a 52-
week movie slate.
Consider this year in comparison to last year—a record year at
the box office. Q1 2015 was up 3.19 percent; Q1 2016 was up 12.77
percent over that period. Q2 2015 was up 9.54 percent; Q2 2016
was down a similar amount. Q3 2015 was up 5.97 percent; Q3 2016
so far is up 15.2 percent. Summer 2015 was up 10.4 percent; summer
2016 held even with that period, despite being a week shorter
(without that extra week, 2016 would be up 6.96 percent head to
head). Q4 2015 was up 10.69 percent.
In absolute terms, 2016 is remarkably balanced. Q1 brought in
$2.78 billion, Q2 $2.8 billion, and Q3, with three weeks remaining,
has brought in $2.64 billion—equal to all of Q3 2015. If Q3 brings in
the same revenue in the remaining days of the quarter as in 2015, it will
be nudging up against $3 billion. Q4 2015 brought in $2.91 billion.
Year to date, 2016 leads 2015 by 4.78 percent (roughly $350
million).
The intense focus on weekly year-over-year comparisons, absent
context, obscures more than it illuminates. The expressions of shock
around the industry when final numbers showed that this summer
was really pretty good—and in the case of the third quarter and
August in particular, extraordinary—reveals a remarkable ignorance
of how this industry works. Even more remarkable, it reveals an
ignorance of how facts work. n
M X - 4 D . C O M / M E D I A M A T I O N . C O M
®
2016 PARTNERS & ROLLOUTS
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18 BoxOffice ® OCTOBER 2016

NATO
NEWS
Alain Sussfeld
co-CEO of UGC
n Ideally situated on the Avenue
Champs-Élysées in Paris, just west
of the iconic Arc de Triomphe, sit
the business offices for UGC, one
of France’s leading exhibition and
distribution companies. The view
from the top floor, suffice to say,
is remarkable. A glance from one
office window reveals a mesmerizing
panorama from the Eiffel Tower to
the aforementioned arch at Place de
l’Étoile. It’s old Paris in its imposing
majesty. The view from the opposite
office window faces La Défense, a
modern business district full of glass
high-rises and steel skyscrapers. It’s
new Paris in its shimmering glory.
This visual dichotomy epitomizes
UGC’s focus on maintaining tradition while also
looking toward the future. And that variety manifests
itself at the multiplex.
It only takes a casual glance at the show times
in Paris to notice the array of options available for
moviegoers in the French capital. With 206 million
tickets sold in 2015, France is the largest moviegoing
market in Europe in terms of admissions and a
close second to the U.K.
in terms of box office.
UNLIMITED
OPTIONS
France's UGC helps pioneer
a new program to strengthen
the diversity of programming
at the movies
by David Binet, Director of Membership, NATO
What makes this moviegoing
figure intriguing
is that it is nearly 80
percent higher than it
was 25 years ago, when
France bottomed out
by hitting a historically
low level of admissions.
The market’s rebound
has been achieved, in
part, by collaboration
among the film industry’s segments in establishing
admissions-driving policies. Another such example
occurred this May, when trade bodies representing
production, distribution, and exhibition signed
an agreement with production and distribution
companies to help strengthen the market by putting
in place best practices to support wider diversity in
programming.
For Alain Sussfeld, co-CEO of UGC, the right
mix to optimize moviegoing in France should ideally
be 50 percent of the box office coming from U.S.
movies, 40 percent from French movies, and the
remaining 10 percent from other European and
non-European productions. “This is hard to create,”
Sussfeld said in an interview with Boxoffice Media
CEO Julien Marcel. “Even harder to maintain, but
this is essential to offer the type of quality and diversity
our audience expects.”
According to Sussfeld, one should not consider
diversity to be a threat to the success of Hollywood or
domestic blockbusters. All movies benefit from a good
market. Rather than representing conflicting interests,
Sussfeld calls it an “addition of interests.”
“The goal of movie theaters should be to make sure
that, at any point in time, all types of audiences can
be offered a movie that matches their interests, tastes,
or simply their mood of the day. Let’s not be obsessed
with blockbusters targeting the teenagers. Let’s focus
on the complete range of moviegoers from 5 to 75.”
The agreement signed in May between the industry’s
trade bodies suggests that UGC’s philosophy on
diversity is shared by others in the industry. The two
principal dimensions to the agreement that affect
exhibition aim to optimize screen counts and show
times for all films on the market. Firstly, all stakeholders
agreed to limit the number of screens dedicated to
any given film on any given day. The underlying idea
is that it is not good to overexpose a movie in a short
period of time. “Cinema cannot be summarized as
‘Take the money and run,’” said Sussfeld. “A movie
needs time in theater; it is part of its value. Putting
a blockbuster in too many screens and then getting
rid of it two weeks later is not good for anyone.”
Additionally, exhibitors take a commitment to offer a
predefined number of show times for limited-release
movies that would otherwise have a hard time making
it to the big screen. The strategy seeks to limit the
overexposure of blockbusters and applies equally to
French and U.S. movies.
Behind this approach is the idea that a solid theatrical
market requires a long-term strategy that includes
diversity of content rather than the maximization of
box office week after week. According to Sussfeld,
there is no successful diversity strategy without a
consistent commercial policy. In UGC’s case, this
policy is based on a strong loyalty program and an
unlimited subscription pass that aims to help viewers
discover new films. UGC’s unlimited pass is particularly
designed to reinforce the likelihood that moviegoers
will try different types of movies and adopt an attitude
of discovery in future cinema visits. As a result, UGC
is able to retain its fair share of blockbuster admissions
while over-performing on limited-release movies,
helping them balance low-attendance periods.
Sussfeld says his main concern is that this model
hasn’t yet been adopted outside France, making
it fragile by definition. With the support of other
markets, Sussfeld believes there would be a better
understanding of the specificities of moviegoing in
each market. Leave it to the French to teach us a thing
or two about maintaining a cultural commodity.
Ultimately, however, the model’s long-term
sustainability cannot exist without a solid slate of
releases. Year-to-date admissions in France, up 4.1
percent at the end of August, suggest the market
hasn’t encountered any difficulty adopting this new
model. The question for the near future now becomes,
will any other markets venture to attempt something
similar? n
20 BoxOffice ® OCTOBER 2016

CHARITY
SPOTLIGHT
Compiled by Erica Lope
Executive Director, Variety – the Children’s Charity of the United States
VARIETY OF TEXAS
Texan of the Year
Gala and Golf
Tournament
The event in Dallas raised
$422,175 as guests celebrated
80 years of empowering
children with special needs
across Texas and honored “Texan
of the Year” Steve Zuehlke (left) of
Cinemark Holdings Inc.
IMAGE: MIRACLE LEAGUE BASEBALL FIELD, MILWAUKEE, WIS.
Variety of Wisconsin
Annual Family Picnic
Variety kids and families had a splashing good time at Variety of Wisconsin’s Annual
Family Picnic! More than 100 Variety kids and family members got together to
enjoy a day filled with lots of fun summertime activities, which included adaptive
baseball at the Miracle League Baseball Field, swimming in a zero-depth-entry
pool, and playground games.
Variety of Wisconsin
Grease Dinner & Chick Flick
n The event, held at the Marcus South Shore Cinema,
was a fun-filled night for those who attended. Beauty
School Dropouts from Nordstrom were there to do
cat-eye makeup, pouty lips, and fragrance layering
for all the guests. The Pink Ladies came dolled up in
their Grease-inspired attire and ’50s best. Prizes were
awarded to the best dressed, while carnival-inspired
fare was available for dinner, along with prom punch
and cookies during the movie.
22 BoxOffice ® OCTOBER 2016

CHARITY SPOTLIGHT
©Disney
VARIETY OF ST. LOUIS
Beauty and the Beast
October 21–23
Touhill Performing Arts Center
St. Louis, Mo.
website: bit.ly/2bchwgd
n Variety of St. Louis’s Variety Children’s Theater is an inclusive
theater program for children with and without disabilities,
ages 8 through 21, to learn onstage and backstage theater craft
from experienced performing arts professionals. Directors,
designers, and actors teach children all aspects of theater arts
while preparing for a classic musical theater performance.
Annual Bikes for Kids
November 19
n Two hundred adaptive and regular bikes will be presented to
children who have a disability or are disadvantaged in the St.
Louis region.
VARIETY OF WISCONSIN
Big Halloween Gig
October 29
Tripoli Shrine Center
3000 West Wisconsin Ave.
Milwaukee, Wisc.
website: bit.ly/2d5reCU
n Join Variety of Wisconsin for the best Halloween party in
Milwaukee. No need to chance the weather at an outdoor
block party or wait in lines and fight the crowded bars when
you can celebrate Halloween in an awesome, heated, and
historic venue, all the while feeling good about raising money
for children in need.
Day for the Kids
November 16
The Pfister Hotel
424 E. Wisconsin Ave.
Milwaukee, Wisc.
n Join us in celebrating Variety of Wisconsin’s kids. Hear
from families that Variety has helped, and be a part of these
inspirational and moving stories. Witness the change that takes
place at Variety every day! There is no cost to attend this event.
Guests will have the opportunity to make a donation to create
lasting change and improvement in the lives of children with
physical disabilities.
TO INCLUDE YOUR EVENT LISTINGS IN FUTURE EDITIONS OF THIS STORY, PLEASE CONTACT NUMBERS@BOXOFFICE.COM
24 BoxOffice ® OCTOBER 2016

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CONVENTION
PREVIEW
alternatives to those formats. For now everyone is
trying to modify their cinemas in order to stand out,
since they can’t add any more screens until shopping
malls start being built again.
Is there a correlation between this trend and
the sort of businesses you’re seeing book
booths at the Expocine trade show?
We’ve noticed projector companies have decreased
the size of their booths, even though we’ve seen an
increase in the number and size of booths. Seating
companies, lighting, flooring, architecture—we are
seeing an increased presence from the sort of businesses
that you hire when you’re looking to upgrade your
cinema.
EXPOCINE
2016
Interview with Marcelo Lima,
CEO, Tonks
by Daniel Loria
I remember speaking
shortly after Dilma
Rousseff’s reelection
in 2014, you told
me you suspected
there would be even
more instability and
that big changes
would happen.
Something big did happen, very big in fact. S
has already been impeached and has vacated
the presidency as Brazil is suffering from an
economic recession. How have these factors
affected the Brazilian market?
In cinema, nothing. It hasn’t affected us at all. We
are still breaking records each month. We are selling a
lot of tickets. I believe this first semester was 12 percent
bigger than the first semester of last year. We are
having some problems with shopping malls, however,
since we are dependent on them to add screens in the
country. Our pace of growth in terms of screens is
therefore a little slow right now; some new shopping
malls were postponed or cancelled because of the
economic problems. That being said, since existing
cinemas continue to sell a lot of tickets, we’re seeing
a lot of refurbishings and modifications in present
locations for small, medium, and major circuits. We’re
seeing a lot of traction in premium large format. For
example, Cinemark just opened a four-screen theater
that has three VIP screens and one XD auditorium.
Dolby Atmos and 4K are popular, and so are in-house
In light of this, do you see an increased M&A
activity and greater consolidation in Brazil in
the coming years?
It wouldn’t surprise me. I have heard about discussions
being had—circuits looking to buy someone,
or someone getting bought by someone. I can’t share
those names, but there appears to be movement
around that. There is one local company, Cinesystem,
that was acquired by a company called Stratus and is
looking to increase its size. They are focused on Brazil,
but they could potentially expand outside the country.
How has domestic production been
performing this year?
Distribution is doing well, especially Paris Filmes,
which continues to produce good domestic movies.
We’ve had a number of domestic films that have
performed well this year, I’d say around one each
month. We saw a huge success this year with Os Dez
Mandamentos; it broke TV records last year, and
they followed up that success with a sequel that was
released theatrically this January. It was huge, grossing
nearly $30 million. The two biggest domestic hits of
the year came from TV.
Expocine will celebrate its third edition this
year. I know you’re in the middle of putting
everything together, but what can you tell us
about the event?
Expocine isn’t just a Brazilian show; it’s a Latin
American event. We have had more than 500 registrations
in less than two weeks, with representatives
attending from 10 countries so far. We have all the
major studios attending, with some of them having
screenings during the event. We’re looking forward to
welcoming everyone here. n
26 BoxOffice ® OCTOBER 2016

TECH
TALK
THE BIG PICTURE
BARCO ESCAPE EXCEEDS EXPECTATIONS WITH ITS UNIQUE AND
THRILLING CINEMA EXPERIENCE
by Kenneth James Bacon
The upcoming Wesley Snipes
sci-fi/horror/action film The
Recall will be released in
the Barco Escape format in
addition to the Josh Hartnett
adventure tale 6 Below and
24 Hours to Live with Ethan
Hawke.
n In 1963, Seattle’s Cinerama theater opened with the
promise of exhibiting films shot in a new ultra-wide
screen, three-camera format. Sadly, only a handful of
films were ever made in the Cinerama process and
even today there are only two other theaters in the
world that can present these films in their original
three-projector configuration. Multibillionaire
Paul Allen, a Seattle native and owner of the most
dominating football team in the NFL—my mighty
Seahawks!—purchased the fading Seattle landmark 20
years ago and refurbished every inch of it, including
installing a huge curved louvered Cinerama screen
behind the standard screen for the sole purpose of occasionally
presenting How the West Was Won and other
super-wide-screen classics. When I saw a screening of
that film a few years ago, the theater actually tracked
down the projectionists who had manned the original
tri-projector setup 50 ago. It was a 798-seat sellout.
All this is to say I am a rabid fan of wide-aspect-ratio
films. My all-time favorite movie is Stanley Kramer’s
1963 Ultra Panavision 70 comedy It’s Mad, Mad, Mad,
Mad World. With its 2.76:1 aspect ratio, the movie was
originally marketed as “single-camera Cinerama.” But
those wide-screen days are mostly gone, though last
year’s Tarantino western The Hateful Eight was shot in
70 millimeter using the exact same lens as Kramer’s
comedy classic.
But there is good news. Super-wide screen is back
now thanks to Barco. When I first learned that Star
Trek Beyond would be released in the format, I made
it my sacred mission to track down a Barco Escape–
equipped theater. A trip to Fandango revealed that
one such theater was just 15 miles from my home at
the Cinemark Lincoln Square Cinemas in Bellevue,
Washington. The next closest installation was in Texas.
I am, if anything, a lucky man.
On opening day, I, along with my daughter and
our friend and his first-time date, Ubered to the theater.
Among the capacity first-day crowd was Hall of
Fame NBA star Bill Russell, apparently a Trek fan.
The first thing you’ll notice when seated (and we
were up close to get as much immersion as possible) is
that the auditorium is retrofitted to accommodate the
two side screens (as seen above). When I had first read
about Escape—in the pages of this very magazine—
my initial impression was that an exhibitor would be
making quite the gamble to set aside one auditorium
for a such a new and unproven system à la Cinerama.
However, as Barco reps later explained, “Barco Escape
theaters today are retrofitted into existing auditori-
28 BoxOffice ® OCTOBER 2016

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TECH TALK > BARCO ESCAPE
ums. The approach allows exhibitors to
use the auditorium flexibly—showing
standard 2D and 3D movies and Barco
Escape releases in the same auditorium—all
by simply switching the system
on as needed.” Nifty and thrifty.
For the pre-show, the theater
presented a snowboarding short that
showed off Escape in spectacular fashion,
with Barco’s Auro sound equally
Star Trek Beyond was the perfect fit for the Escape experience
Since my Star Trek Beyond adventure,
I have learned a few more details
about Barco Escape. As to retrofitting
theater space, Barco’s team works with
theater operators to select the appropriate
auditorium where the rake of
the room, dimensions of the space,
seat count, and viewing angles are all
carefully evaluated.
Barco works with a number of
immersive. Our seats were perfectly situated with the side screens just
inside our peripheral vision—no side-to-side head turning to take it
all in. It was all quite startling.
Star Trek Beyond was a good film to initiate my Barco Escape
experience. Grand, action-packed, with a powerful soundscape of
phasers, starships, and Idris Elba’s villainous basso profundo, the
movie showed off Escape’s promise of being truly immersive.
It’s important to note that the entire film was not presented in
the three-screen format. Quiet, introspective moments between
characters, expositional Sorkin-style walk-and-talks are limited to
the central screen, making the sudden expansion to the triple-screen
setup during action beats all the more thrilling. I kept an eye on the
vertical seams between the screens, wondering if the break would
be distracting. Seamless. My daughter, a production assistant for
Boxoffice, was enraptured—she’s an anime-convention-going, cosplay-dressing
nerd. Had this film been Warcraft, her head would have
exploded. My pal, a guy with thousands of dollars of PC gaming gear
in his flat, was very impressed, as was his like-minded date.
screen vendors to select the correct solution for its cinema partners.
It’s an end-to-end, turnkey setup—the additional screens retract to
the walls and are covered with curtains when theaters are projecting
more standard fare—no need to wonder what Bridget Jones’s Baby
would be like in Escape.
One of the challenges I see in Barco Escape’s widespread adoption
is patron awareness. I work for this magazine, so of course I had read
about it. But my gaming pal had not; I showed him the special Escape
Star Trek Beyond trailer and he was all in. The theater, in a prime
downtown location, had standees promoting the film, and there was
a big crowd at the screening. Barco has had success with its social
media efforts: local press outreach, digital ads (which is how I learned
of the enhanced Star Trek release), contests, and giveaways.
As audience members, we were transported. Star Trek Beyond was
the perfect film to use this new widescreen technology. Kudos to
Paramount, Barco, Cinemark, and the brain trust that concocted this
return to widescreen nirvana. Now how about that Barco Escape It’s a
Mad, Mad, Mad, Mad World remake. Get on that. n
ace
ace EQUIPMENT
30 BoxOffice ® OCTOBER 2016

y Jeff Logan, President, Logan Theatres
Don’t you love it when a customer
calls and asks what time
tonight’s matinee starts? Or if
you’re giving a customer a tour
of the projection booth and they
say, “Wow, that’s a big camera!”
Admittedly, show business has a
language of its own. The origins
of some of those terms are as
interesting as the terms themselves.
There’s a lot for industry
professionals to learn. No wonder
the public gets confused! Here’s a
list of some of the most misused
and misunderstood terms, along
with their correct definitions.
MATINEE is an afternoon (or morning) showing. Many studios and theater chains set different
cutoffs, but traditionally a matinee is any showing starting before 6 p.m. Since most theaters started
promoting bargain matinees, many customers now mistakenly think a matinee refers to a showing
with a discount price. Hence questions like, “Is tonight’s show a matinee?” That would be a no.
VAUDEVILLE was a variety show performed live onstage. It
usually consisted of eight acts of singers, comedians, jugglers,
magicians, acrobats, etc. Vaudeville started in the 1880s and was
popular until the increasing attractiveness and lower cost of movies
put it out of business in the 1920s. Many old, large downtown
single-screen theaters started as vaudeville theaters. There were
vaudeville theaters in towns with populations as small as 2,000.
Vaudeville struggled on as many leading big city theaters ran combined
silent movie and vaudeville programs until sound movies
came along in 1927, and the Depression made the cost of putting
on live shows too expensive. Many of the great comedians like Jack
Benny, Bob Hope (left), and Morey Amsterdam (Buddy Sorrell on
The Dick Van Dyke Show) were already famous vaudeville stars before
switching to radio, movies, and TV. Today’s America’s Got Talent is basically an amateur vaudeville
show. Cool movies to watch about that era are Yankee Doodle Dandy, Seven Little Foys, and Gypsy.
SNEAK PREVIEW is an advance showing of a new movie from a day to a week or two before its
announced opening date. These showings are used to build awareness and positive word of mouth
about a new movie. Sometimes, in the old days, the title wasn’t advertised. The studio would pick a
similar picture and advertise a sneak preview of “a major new motion picture” along with the regular
feature. The public got to see two movies for the price of one and be the first to see a major new hit.
Sneak Previews have always been common in Hollywood and in major cities. Nowadays studios
encourage all theaters to run Sneak Previews of major films on the Thursday night before a Friday
opening. But if you advertise a Thursday showing as a Sneak Preview, small town locals will ask, “Do we
get to see the whole movie or just the preview?” Yeah, like we’re going to charge you full price to watch
a two-and-a-half-minute preview. To avoid this confusion, my company advertises a Thursday night
showing as a “Special Advance Showing.” Other theaters just refer to the Thursday night showing as a
32 BoxOffice ® OCTOBER 2016

SHOWBIZ SPEAK > A GLOSSARY
BURLESQUE
Vaudeville was clean,
family-friendly entertainment.
Burlesque shows
were also variety shows,
but for adults. Strippers
were often headliners,
and the comedians did
blue material. Gypsy
Rose Lee was the most
famous burlesque entertainer.
PICTURED: NATALIE WOOD
AS GYPSY ROSE LEE IN
1962'S GYPSY.
Thursday opening, but that isn’t really true as the studio
won’t allow matinees (now we know what they are) or
showings earlier than a specified evening time.
BREAK A LEG is the recognized way to say “good
luck” to an actor. According to showbiz tradition,
saying the words “good luck” is regarded as bad luck.
Most people think that it’s just a matter of reverse
psychology—say a bad thing to make a good thing
happen. But not in this case. This is another tradition
that goes back to vaudeville days.
In a live stage theater, a “leg” is one of the side
curtains that frame the stage. There are usually three
or four legs running parallel to the stage opening, one
behind the other, on each side of the stage. They allow
the performers to walk onstage between the legs but
block the view of the audience into the “wings,” the
areas on each side of the stage that lead backstage. In
vaudeville days, a theater manager might cancel an act
anytime right up to the last minute before it went on.
Saying “break a leg” meant you hoped the entertainer
broke through the legs and made it onstage to perform
his or her act and get paid.
ONE SHEET refers to the standard size theatrical
poster, which today is 27 by 40 inches. Twenty years
ago they were 41 inches high but were eventually
shortened by an inch. The term actually goes back to
vaudeville days. At the turn of the century, the largest
sheet of paper that any printing press in America could
handle was 27 by 41 inches. The basic theatrical poster
was called a one sheet. Posters measuring 22 by 28
were referred to as “half sheets.” Larger posters were
made by printing the poster in sections. The sections
were then pasted on a board to form the larger poster.
Theaters routinely used three sheets and six sheets. The
technique was also used by other advertisers. Even today,
the basic billboard is still referred to as a 24 sheet,
even though today’s presses can handle larger sheets
of paper. Modern giant billboards use plastic covers
stretched over a frame.
MARQUEE and MARQUIS are often mistakenly
interchanged by the public and even many writers. A
marquee is the large canopy sign on the front of a theater
or hotel. Theater marquees usually have changeable
letters (nowadays sometimes digital reader boards)
used to advertise the current attractions. According to
Webster’s dictionary, a marquis is a title of honor in
some European countries. A marquis ranks below an
earl but above a count or a duke. Let’s not hang a royal
European dude from the front of the building.
PROJECTOR and CAMERA are very different
pieces of equipment. Projectors show pictures by
projecting them onto a screen. Cameras take pictures.
They aren’t the same thing. ’Nuff said.
We’ll leave you with GHOST LIGHT, a term from
live theater. It was considered bad luck to turn out
all the lights in a theater when leaving for the night.
One lightbulb on a portable stand was left on in the
middle of the stage, presumably to ward off the ghosts
in the theater. In reality, it was probably a good safety
measure so the poor janitor didn’t trip over cables or
scenery when he walked in the next morning.
Just remember—it's important to be kind and patient
with your customers, even when they say stupid
things. After all, they’re the ones paying our salaries. So
put up your new one sheets, change your marquee for
tomorrow’s matinee, turn off the projector, leave your
ghost light shining—and break a leg.
This story originally appeared in the summer
2016 edition of The Trailer, the North Central
NATO newsletter.
34 BoxOffice ® OCTOBER 2016

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Kelsey Grammer as
Republican President
Andrew Boone in 2008's
Swing Vote (Dennis
Hopper played his
Democratic challenger).
Kevin Costner's Bud
Johnson, an apolitical
single father, has to cast
the deciding ballot with
New Mexico's five tiebreaking
electoral votes
on the line. Spolier alert:
He casts the deciding
vote, but the winner is
never revealed. The film
performed poorly at the
box office, generating
just $16 million
domestically and almost
nothing in international
markets.
BOX OFFICE
AND THE
BALLOT BOX
DO ELECTION-THEMED FILMS
PERFORM AT THE MULTIPLEX?
MOVIEGOERS CAST THEIR VOTE.
by Jesse Rifkin
36 BoxOffice ® OCTOBER 2016

A recent Gallup poll showed 75 percent of voters are paying “a lot” of attention to the Donald Trump vs. Hillary Clinton
presidential election, an unprecedented level of public interest. Presidential debates consistently notch 50 million
viewers or more, and the presidential debates in September and October were expected to break viewership records.
Films about elections, whether based on real or fictional races, are a Hollywood staple and include such acclaimed
pictures as All the President’s Men and Mr. Smith Goes to Washington. Yet films about political elections have rarely made
much money at the box office in recent years. They have varied in genres from dramas to comedies to “dramadies” and
have been released during various points in the year. Yet a Boxoffice analysis of such films made since the year 2000
finds that none has made more than $100 million. To be fair, many were produced on mid-range budgets, indicating
that perhaps studios did not always expect them to earn buckets of cash. Still, there are mid-budget or even low-budget
films that make more than $100 million every year—yet these didn’t.
Why not? What could Hollywood do to better tap into the American public’s high level of interest in actual presidential
elections?
THREE ELECTION FILMS THAT EARNED BELOW $50 MILLION, ADJUSTED FOR INFLATION
SWING VOTE
Kevin Costner starred in the comedy about a New Mexico man who, thanks to a technical snafu at his
polling place on Election Day, gets to break New Mexico’s popular-vote tie. He thus effectively gets to choose
the next president, forcing the two candidates to make personal appeals to Bud Johnson instead of the entire
country. Despite the clever premise, Costner was well past his prime by August 2008, and the film received very
weak reviews, ultimately grossing a poor $16.2 million and opening in sixth place at the weekend box office.
The timing, intended to coincide with the run-up to the 2008 election, may have actually inadvertently hurt the
film, as Obama’s groundbreaking candidacy and John McCain’s VP choice, Sarah Palin, caused reality to surpass
entertainment that year. Though the film’s plot was clearly meant to call to mind Florida’s razor-thin election
margin in 2000, New Mexico—considered a swing state early in 2008 after having voted Republican in 2004
but Democratic in 2000—subsequently voted Democratic by double-digit margins in both 2008 and 2012 and
is now considered reliably blue.
WELCOME TO MOOSEPORT
The February 2004 comedy starred Gene Hackman as a popular retiring two-term president who moves to
a small town and decides to run for mayor against a lifelong resident and local hardware store owner played by
Ray Romano. The premise was original and engaging: who should the town’s residents vote for, the greatly beloved
former president or the man they’d grown up with and who knew their concerns firsthand? With horrible
reviews, including an abysmal 13 percent from Rotten Tomatoes today, the film made only $14.4 million. Its
offbeat title probably didn’t do it any favors either—offbeat movies can do well, but usually they have more runof-the-mill
titles. Romano was one of the most popular television stars at the time with his hit show Everybody
Loves Raymond, but his relatable personality wasn’t able to translate into movie stardom. (Although others such as
Kevin James have made a similar jump.)
THE IDES OF MARCH
This drama directed by and starring George Clooney and Ryan Gosling focused on a presidential front-runner
and his young campaign staffer who discovers the candidate is having an affair. Despite receiving good
reviews, the October 2011 film ended up with $40.9 million, a fair if middling total. It also opened in 2,199
theaters, low for a nationwide release, which hampered its box office potential—Clooney hadn’t had a wide
release in so few theaters since Syriana back in 2005. Clooney and Gosling are two of this decade’s A-list actors
who often choose projects with low revenue potential. Unlike the other films on this list, Ides was considered
more of a prestige film and awards contender than box office dynamite, so its results weren’t necessarily seen as a
disappointment.
OCTOBER 2016 BoxOffice ® 37

ELECTION-THEMED MOVIES
THREE ELECTION FILMS THAT EARNED $50–$99 MILLION, ADJUSTED FOR INFLATION
MAN OF THE YEAR
Robin Williams starred as the host of a late-night political satire show who runs for president, but the film
suffered from poor word of mouth, ranking only 21 percent on Rotten Tomatoes today. It earned only $37.3
million after its October 2006 release, and although it was intended to be timed shortly before the midterm
elections, it was also the furthest point from both the preceding and subsequent presidential elections. Williams
was a decade past his peak as a box office draw. The lead character was modeled on figures such as Jon Stewart,
Stephen Colbert, and Bill Maher—the former two in particular being arguably at the height of their popularity
around 2006, shortly after Entertainment Weekly named Stewart and his cast (including Colbert) as their Entertainer
of the Year in 2004. But it’s important to remember that such shows, beloved as they were by the media
and other opinion leaders, were actually consistently near the bottom among late night shows by viewership. The
film also took a bizarre and disjointed turn into a half-thriller, half-romance in its second half, which put many
people off.
THE CAMPAIGN
Will Ferrell and Zach Galifianakis played two men vying for a North Carolina congressional seat in this August
2012 comedy. The film was likely hurt by its poor reviews as well as its story line, which revolved around the
U.S. House of Representatives. The other films analyzed here all deal with a presidential election, but according
to a 2013 Washington Post article, only 35 percent of people can name their own member of Congress. Ferrell
and Galifianakis, both Obama supporters, deliberately projected a more nonpartisan image during the run-up
to and marketing for the film—Ferrell appeared in an Obama campaign ad only after the movie’s theatrical run
had ended, while Galifiankis’s legendary Between Two Ferns interview with Obama wasn’t until 2014—though
it’s difficult to ascertain whether that resulted in a more bipartisan audience. The film’s $86.9 million total was
decent but lower than that of some the stars’ comedies from the previous few years, including The Other Guys and
Step Brothers for Ferrell and The Hangover Part II and Due Date for Galifianakis.
(continued on page 40)
38 BoxOffice ® OCTOBER 2016

ELECTION-THEMED MOVIES
HEAD OF STATE
The comedy directed by and starring Chris Rock (left) at the peak of his popularity wasn’t considered a great
movie then, but it holds up especially poorly now given the premise. The movie was about an African American
man who runs for and wins the presidency despite punctuating his campaign speeches with vernacular like “That
ain’t right” and dancing to rap music at state dinners. Debuting the year before the rise of Barack Obama and
five years prior to his ascension to the presidency, the film’s primary source of humor relied on the presumed
long shot that a largely white country would unite behind a black presidential nominee, especially one familiar
with street slang or rap—yet that’s precisely what happened shortly thereafter. But without the foreknowledge
of Obama, the film still made $38.1 million after its March 2003 release. At the time, before this decade’s surge
of March blockbusters like The Hunger Games, Alice in Wonderland, and Batman v. Superman: Dawn of Justice,
March was often considered a dumping ground for bad movies. In addition, the film arguably wasn’t as “political”
as most other films on this list, instead relying more on race and sex jokes—often a winning formula for
Hollywood comedies, but perhaps not for a political movie.
POLITICAL DOCUMENTARIES
What about political documentaries? Political documentaries, considering their low budgets, can make a
profit even with a middling gross. The high mark in the genre was Fahrenheit 9/11 (left) back in 2004, when
it earned an astonishing $166.2 million. The most successful political documentaries in the mid-2000s were
left-leaning in nature, such as Al Gore’s climate-crisis warning An Inconvenient Truth.
Since then, the ideological tide has turned. The most financially successful political documentaries in the
past few years have either been conservative—such as Dinesh D’Souza’s 2016: Obama’s America and Hillary’s
America—or at least not left-leaning, such as Citizenfour about Edward Snowden, which was critical of the mass
surveillance undertaken and supported by both major parties. In other words, the best way to make money as
a political documentary is apparently to be the party that doesn’t currently occupy the White House. If Trump
wins, perhaps we can expect a resurgence of successful and politically progressive documentaries once again.
WHICH FILMS ABOUT POLITICS DO BEST AT THE BOX OFFICE?
THE ONES NOT ABOUT ELECTIONS.
Interestingly, the highest-grossing films since 2000 that were primarily about politics were those about a
president in office rather than one campaigning for the position. This seems to contradict the oft-repeated truism
that Americans usually pay more attention to the “horse race” of political campaigns than to politicians’ actions
once actually in office. But films such as The Butler (left) and Lincoln both made more than $100 million while
focusing on real Oval Office drama, whether during the Cold War and civil rights eras for the former or the Civil
War for the latter.
That being said, both of those films received rave reviews from critics and audiences alike. Other films about
presidents in office, whether real or fictional, haven’t always fared as well, such as W. about the George W. Bush
administration. Even recent action films—traditionally the highest-grossing genre—about fictional presidents
in office haven’t always done that well relative to pre-release expectations from box office analysts, such as White
House Down and Vantage Point, which were considered fine but not great by audiences.
So what’s the takeaway? The biggest correlation to success for political films does not appear to be release date
or genre or star power but perceived quality. The political movies that earned the most were the ones actually
considered to be excellent films by critics and audiences, like Lincoln (left), The Butler, and Fahrenheit 9/11.
Moreover, those films actually dealt intelligently with politics and governance versus the horse race of the campaign.
And they were about real issues faced by the president—not merely comedies, thrillers, or action movies
about a president or candidate.
Let this provide a glimmer of hope to those who worry that Hollywood no longer produces enough material
of quality or that audiences won’t flock to anything too intellectual or substantive. Far from being death blows to
a film’s box office chances, those traits may indeed be a political film’s best hope for box office success. n
ROTTEN TOMATOES SCORE
100
75
50
25
0
$50 $100 $150 $200
MILLIONS OF DOLLARS
Election- and politicalthemed
films: Better
audience reviews on
RottenTomatoes.com
correlates with higher box
office (inflation-adjusted)
RottenTomatoes.com is a website that allows
any user to rate a film from 0 to 100 percent,
allowing for an aggregate number reflective
of public opinion. A Boxoffice Pro analysis
finds that for the election- or politicalthemed
films mentioned in this article,
there was a strong correlation between
the average Rotten Tomatoes score and
inflation-adjusted box office.
40 BoxOffice ® OCTOBER 2016

SHOWEAST
AWARDS
AL SHAPIRO DISTINGUISHED SERVICE AWARD
ROBERT BAGBY
President & CEO
B&B Theatres
You are the third generation in
the family business. What are your
memories of growing up at the
movies? Do you remember your first
job in the theaters?
We were living in a one-bedroom apartment
above the Park Drive-in in western
Kansas. Our apartment was above the snack
bar, and I remember as a kid that all my
friends wanted to come over because back
in those days we had a playground. Friends
would come over, hang out with me, watch a
movie, and play in the playground. We had
a big window in the apartment that looked
out to the screen, and we had a speaker built
in so you could watch the movies from the
apartment. That’s probably one of my first
memories as a kid; being able to watch movies
from the apartment.
My first memory working at our theaters
is from when I was about five years old.
Dad built me a little stool that I could
stand on to hand out boxes of popcorn at
the drive-in. A couple of years later I started
picking up trash. I must have been in first
or second grade and would come back from
school to clean up the auditorium of our
indoor theater. I remember always being
excited because every once in a while I
would find a quarter between the seats or
on the floor. Year later, my dad told me he
would plant those quarters there to keep me
motivated.
Did you always have the intention of
returning to the family business after
going to college, or did you have
other plans in mind?
When I first went to college I thought
I was going to do something completely
different and go into music. I played in a
band and took music courses, but after my
first summer tour with a band I realized that
wasn’t the life for me, and I started thinking
again about the business. I took my first
accounting course and thought, I get this.
I understand this. Pretty shortly after that
I got the bug—in this business, when you
get the movie bug, it’s hard to get out of
your system—so I took it from there. I had
actually managed a couple of theaters for
my dad when I was in high school; I did the
payroll, the scheduling, the ordering—everything.
These weren’t huge complexes; we’re
talking about a single-screen in a small town,
and they were running another theater down
the road. That taught me a lot. Our family
worked; I did everything from running
the projectors, putting the film together,
ordering supples—they taught me from very
young. My kids worked in the theater from a
very young age as well; I think it’s important
for them to know the company from the
bottom up.
How has that upbringing helped shape
the culture at B&B?
Most of the people at the corporate
office, not all but most, started out working
at theaters. It’s really easy for corporate and
operations to be at odds with each other. So
many people here have worked at theaters;
they know what the theater managers are
going through, they know the stress they’re
under, they’ve been there and done that. I
think that’s what has really helped build our
company morale. There’s a real understanding
from the corporate side on what the
front office is going through.
When you came on as CEO, B&B
was a 17-screen circuit. Today, B&B
has more than 400 screens. Was
there always this ambition to grow
to be one of the top circuits in North
America?
I never imagined this kind of growth.
We had a few theaters in the region, and I
thought from time to time that we’d pick
something up. In 1982 we had the opportunity
to double our size by buying another
small circuit, and that was a huge step for us.
We had a couple of challenging years, but we
turned that around and found ourselves in a
good place when other opportunities came
up. In those early days we were operating a
lot of old, classic downtown theaters. We remodeled
a lot of them when I first came on,
removing the balconies of these single-screen
theaters and adding more screens. The next
big phase was going out to the edge of towns
and building big multiplexes. We had many
situations where we donated the old theaters
to local historical societies and things of
that nature. It’s been gradual. We doubled
our size in 1982 and were adding one or
two locations per year, slow and steady, and
continued to grow the company as opportunities
came up. And then a couple of years
ago we did it again—we doubled our size by
acquiring another circuit.
How important is it, especially for a
family business, to keep innovating
and pushing forward with that
momentum?
What has always helped us is having that
younger generation to help push the older
generation to the newest and brightest thing.
My kids have pushed me, and we were one
of the circuits to have their own branded premium
large format, the B&B Grand Screen.
My son talked me into building our first one,
and it was hugely successful. Everywhere we
build a theater we’re adding one of those. I
remember pushing my parents to expand to
the outskirts of town to build multiplexes
and leave behind the idea of having old,
single-screen theaters downtown. I think
that has kept us pushing forward. The most
exciting thing going on in our business right
now has to do with luxury and reserve seating,
food and beverages, adding bars—we’re
getting comments from people who hadn’t
come out for years and are now visiting us
two or three times a month because of their
experience. It’s revolutionizing our industry,
and I’m very excited to see that happen.
Digital was revolutionary for us, but it didn’t
really move the needle for the customer like
this. The last time we saw that needle move
was when stadium seating came in and people
flocked to those theaters. I don’t know
what’s coming next, but hopefully I’ll be
around to do it; my kids are all involved in
the business, they’re the fourth generation, so
that’s pretty good for a family business. n
42 BoxOffice ® OCTOBER 2016

SHOWEAST
AWARDS
CAREER ACHIEVEMENT AWARD
LICNIO MANAY
General Director
Manfer Films
You began working in the film
industry in Peru in the 1960s. What
was your job like back then? Do the
same keys to success in this industry
apply today?
I began as a theater manager and sales
assistant, but cinema has changed significantly
since that time: multiplexes, special
effects, the digital conversion, and day-anddate
releases with the U.S. This has all given
us new insights into our business, helping
us drive more attendance to our theaters.
Today’s market is more organized than
it used to be. Multiplexes have radically
changed exhibition and helped us in the
way we market movies.
You entered the Bolivian market
during a challenging time. What were
the biggest obstacles you found upon
arriving? How big was the transition
from Peru to Bolivia when you arrived
in the 1970s?
Bolivia represented about 15 percent
of the Peruvian market. There were many
independent cinemas and they were all
located very close to one another. There was
a lot of product but very few important auditoriums,
and there were moments where
a glut of movies would accumulate without
the proper chance to premiere them. This
made programming a difficult job and made
our business very competitive. Television
broke through at the end of the decade and
began to compete with exhibition as soon
as there were multiple color TV channels
available. Later on, cable TV and piracy left
their mark by doing their part to close more
than 85 percent of our theaters.
The sociopolitical moment affected
exhibition dearly, since we had to
suspend screenings by the day or
even by the week. People started
coming less often, in fear of the
social protests taking the streets
and the general uncertainty of the
times. Bolivia suffered the second
highest inflation rate in the
world; the local currency was
constantly losing value, making
it impossible for us to come
up with consistent budgets
from one day to another.
There was a currency control
in place, which made it impossible for
producers to receive their money. We had
censorship issues that didn’t observe the
international parameters of film ratings. It
wasn’t until 1985 that we began seeing a
political and economic stability return to
the country.
What do you consider to be the most
revolutionary change in this industry
for Latin American exhibitors?
Multiplexes, which gave consumers
the option to see various movies,
more accessible show times,
and increased screenings
for certain titles—
without forgetting
the impact of
the concessions
stand. The digital
transition
decreased import
costs for us
and improved
the projection
quality. These
were key developments
that
improved theater
management.
Special effects
also did their part,
impressing audiences
and helping drive attendance
for important
films.
You went on to
found the exhibitor
and distributor
association. What led to its founding
and what has been its impact in the
industry?
There was a conflict between distributors
and exhibitors, and the municipality wanted
to step in and regulate ticket prices. We
formed the association in order to discuss
these problems in an orderly fashion, rather
than trying to solve the problem on an
individual basis that would have altered the
rules of the game for everyone. This helped
us organize the market and mollified the
relationship between distribution
and exhibition. n
44 BoxOffice ® OCTOBER 2016

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SHOWEAST
AWARDS
INTERNATIONAL DISTRIBUTOR OF THE YEAR
MARCIO FRACCAROLI
CEO
Paris Filmes (Brazil)
What were your responsibilities when you first joined Paris Filmes at the beginning
of your career?
My first responsibilities at Paris Filmes began when I was 19 years old, in the marketing department.
I provided support to exhibitors for films from The Cannon Group—Freddy Krueger
and Van Damme sort of fare.
What motivated you to return to Paris Filmes as the major stakeholder and head of
the company?
My motivation in returning was emotional [Fraccaroli began his career at Paris Filmes],
with the additional challenge of rebuilding a company that had been very important in
the past. I saw a big opportunity for the future with Paris Filmes.
Paris has stood out as a great supporter of domestic cinema and owns
a big part of that market share. Is there a formula or philosophy for that
success?
A big part of why we have so much of the market share of Brazil’s domestic
cinema is because we understood that we needed to work directly with the producers
to develop the scripts and stories and to finance the projects. Our success
came because we bet on the comedies. There’s no formula, only the sensibility
to choose the films that we believe will work best in the Brazilian market. In a
certain way it’s my job to make that determination when I acquire those films at
the international festivals.
Have Brazilian audiences always been loyal to domestic films, or was
that something that needed to be developed?
The Brazilian audience loves domestic films and are very loyal to the comedies and
biopics. We have to develop those subjects and bring in famous comedians from the
stage and television to tell these stories.
The last five years have seen a great economic boom and a difficult
recession for Brazil. What has been the effect, if any, on
Brazil's cinema industry?
The Brazilian cinema was favored by the
growth of classes C and D [terms that refer to
Brazil’s rising middle classes]. The screens went
to the most populous areas, and domestic
production took advantage of this. Now
that we have a recession, we have to be
more selective in the choices we make. The
public won’t have the budget to attend
all the films being released. We need to
overcome that issue and bring in better
national titles, find stories that the audience
will want to see in the cinemas. I
don’t believe that we will decrease our
contribution to domestic production
in the coming years; we have many
public resources and a built-in structure.
Our challenge is simply to do
things better. n
46 BoxOffice ® OCTOBER 2016

SHOWEAST
AWARDS
BINGHAM RAY SPIRIT AWARD
Logan Lerman stars in James Schamus's acclaimed
adaptation of the Philip Roth novel Indignation
James Schamus and director
Ang Lee on the set of 2009's
Taking Woodstock
JAMES
SCHAMUS
Filmmaker
You and Bingham
Ray are two people
synonymous with
the independent
film industry in this
generation. What do
you remember about
Bingham Ray as you prepare to receive this
award at ShowEast?
Bingham was definitely a role model for me. I
remember having lunch with him and going over the
business, and he had so many great ways of looking
at how our business worked and so much passion,
and he told me he was methodically making his way
through the entire oeuvre of John Ford. The rest of
that meal we spent talking about John Ford. That
to me is a sign of a person who is in this business
because they know and love movies, as opposed to
being in this business for any other reason. It makes
a big difference.
Is there a particular film you two worked on
that stands out as a favorite? Or one that was
tougher to release?
I can’t answer a question that asks me which I’m
the most proud of; it’s like asking a parent to pick
a favorite child. The toughest film I can remember
working on was a movie called Happiness from Todd
Solondz. When we completed the movie, the powers
that be at that point decided the film was a moral and
ethical liability.
That can happen with Todd Solondz movies
sometimes, can’t it?
Yeah, so we had to negotiate to get the film back.
That was a real tough time for Bingham, because everything
he stood for was being insulted. At the same
time, he had to be supportive of the filmmaker—and
he was. He always was. For Bingham, the filmmaker
always came first.
You’re a longtime screenwriter and producer,
and you recently directed your first feature,
Indignation, which was released earlier this
year. How long had you been wanting to direct?
It wasn’t as if I had a life-long urge to find myself in
a director’s chair. It was an opportunity inspired by being
unemployed, having grown children who had left
the house, and a great script in my hands that a few of
my favorite directors were too busy to consider directing.
At that point, it worked out as a great chance to
try something new. It was an absolute pleasure from
beginning to end. We just had a blast doing it, and it’s
been great seeing it go through its cycle of release in
the United States. I have no complaints.
(continued on page 50)
48 BoxOffice ® OCTOBER 2016

SHOWEAST AWARDS > JAMES SCHAMUS
Schamus was nominated for
Best Adapted Screenplay
Oscar for his work on 2000's
international hit Crouching
Tiger, Hidden Dragon.
Schamus was nominated
again in 2006 as a producer
of Brokeback Mountain.
That sort of film isn’t finding the financing as
before. Is this a gap that distributors can fill
with acquisitions? Or is this lack of financing a
detriment to film culture?
I think the premise of your question, with the
exception of a number of years from the mid-eighties
to the mid-nineties, is the presumption of every
single question asked about independent film every
year. It’s always been rough and it always will be
rough. Sure, sometimes there will be a point where
it’s a little easier. The prestige picture, on the other
hand, and our continuous foreboding of its disappearance,
seem to be a structural part of American
film culture. And yet every year, when you tune into
the various award shows, and people open envelopes
and say things like Spotlight, The Revenant, or Birdman,
I go, “Wait, I thought this wasn’t supposed to
be happening this year.” So yes, while it is true that
we’re probably in a bit of a down cycle, it’s also true
that new players are entering the field and they seem
to have no problem either acquiring or financing
specialized fare for adults. It doesn’t look all that
different to me than how it was before, and in some
ways you can hear the opposite complaint—that we
are suffering from a surplus of micro-release, specialized
cinema. I don’t subscribe to that theory myself,
but I do hear that argument a lot.
Don’t you think that might be because of the
glut of prestige fare that’s packed into awards
season? One of the lessons from this year’s
box office is that the summer blockbuster is
no longer confined to the summer; it’s been
that way for a couple of years now actually.
You have tentpoles being released in February
and March. Is there an overreliance on the
marketing push that awards season brings to
independent cinema? Or do you think there
can be a year-round release schedule for arthouse
fare?
It’s part of the snowballing of awards season, which
by the way is now a season that lasts seven to eight
months. You have to look back to when the independents,
the Liongates and the New Lines, when
they entered into the awards game. To the rise of the
screener culture in the eighties and nineties. It is true
that the collective suicidal bloodbath that is known as
awards season is unfortunate and provides a continuous
self-fulfilling prophecy along the lines of, “Well,
you don’t think my movie is a serious awards contender
if you don’t release it in the fall.” But then again,
I happened to be in the room when I saw somebody
open an envelope and read out the name of a film by
the ex-wife of a guy who was up for Best Picture with
Avatar. They picked up the award for The Hurt Locker,
which was released in June. I happened to have been
there on the night Jack Nicholson opened an envelope
and read out the word Crash, a movie that was released
in May. My point being that it’s inaccurate to say that
the only way to win an Oscar is to release a film during
the “Oscar season.” The only reason you can point to
anything supporting that assertion is because not too
many people have the cojones to release those films at
other times of the year. n
JAMES SCHAMUS AT THE MOVIES
MOVIEGOING MEMORY
I have so many, being one of those oddball kids who didn’t have any
friends and therefore spent so much of his time in a dark room watching
movies. A great deal of what passed for my childhood was actually moviegoing.
I grew up in Los Angeles and went to Hollywood High School, and
I remember when I was growing up, going to the local movie theater and
catching a triple feature. Back then they didn’t publish the show times. You
just showed up. You walked in on the middle of a movie and waited for it to
start over again, leaving halfway through at the point when you first walked
in. It’s quite a different kind of viewing experience.
I do recall a friend of mine giving me a ticket to the Pantages Theatre on
Hollywood Boulevard to see The Last Picture Show. They had forgotten to
check what the rating was, and at a certain point early on in the movie, while
Cybill Shepherd (left) is on the screen, I felt a hand on the back of my neck
lifting me up out of my seat and removing me from the theater. It was many
decades later that I actually finished watching that film.
I’m one of those people who love going to movie theaters. In this business
one does tend to get invited to a lot of screenings, and I regularly pass on
those invitations, not because I’m antisocial but because I actually like going
to the theater and sitting through the pre-show roll, watching the trailers, and
enjoying the movie with others. It keeps me very much aware of how people
see movies, and how they go to the movies, as opposed to exclusively attending
films through a cordoned-off experience.
50 BoxOffice ® OCTOBER 2016

SHOWEAST
AWARDS
DAN FELLMAN SHOW “E” AWARD
SPENCER KLEIN
Executive Vice President
& General Sales Manager
Twentieth Century Fox
Interview by Daniel Loria
How did you first get your start in
the industry?
When I was an undergrad, I landed
an internship at Barwood Films, Barbra
Streisand’s production and development
company. Through connections there
I was able to get another internship at
New Yorker Films and ended up working
at both places simultaneously for a while.
After I graduated college, I was hired at
New Line in their distribution department.
It wasn’t too long before you made
your first transition to exhibition.
How did that come about?
When I worked at New Line I
remember picking up checks at Loews Theatres
on Fifth Avenue and being in awe, as I
was there to pick up a $2 million check. It
was a little intimidating and really exciting,
which confirmed I was on the right career
path. I had met Steve Bunnell after he gave
a guest lecture at Bill Thompson’s film-business
class at NYU and bumped into him at
an industry luncheon. At the time he was
one of the film buyers at Loews, and I knew
they were looking for another film buyer so
I gave him my résumé and was hired.
Being a film buyer was a daunting job
for me but I was eager to learn and excited
to be there.
Who would you name as your mentors
in your career?
Loews is where I cut my teeth and
learned so much from Steve [Bunnell], Travis
[Reid] and Bob Lenihan—particularly
Steve. We’ve worked at the same company
twice, first at Loews and then at The
Weinstein Company, where we both learned
distribution together. I had started out at
New Line so I had a background in it, but
we came in at The Weinstein Company at
a much higher level and had to step up our
game. Steve and I did that together, which
was a lot of fun. I also have to mention
Charley and Ben Moss from my time at
Bow Tie, who were a great influence.
On the distribution side, it should go
without saying: Chris Aronson. His bringing
me into Fox just over four years ago and
teaching me the studio ropes, this level of
the job, and analyzing the release schedule,
he’s been a great mentor for me and we have
a great partnership.
How has working on both sides of
the business helped the way you
approach your job?
It has made it easier because I’ve gone
back and forth between the two several
times. Having an understanding and
perspective of what the other side is looking
for in order to achieve a mutually beneficial
outcome is valuable in any industry. Having
done both jobs makes it easier to put myself
in the other side’s shoes during negotiations.
What aspect of both sides of the
business, exhibition and distribution,
do you like the most?
What I’ve always loved about the distribution
side is that it’s a cradle-to-grave
experience. You read a script, attend test
screenings, release marketing materials,
and then release the movie for the world
to decide its fate. It’s great to be part of
something that you get to see from its birth
through its lifecycle. On the exhibition
side, what I love is that you get to be part
of every movie that is released. You play a
small role in everything, from the smaller
movies to the blockbusters, working with
every studio. Fortunately, every exhibition
company I’ve ever worked for has played
both commercial and art-house fare.
Exhibition is much more of a normal
business in the sense that you get to deal
with customers on a one-to-one level,
and I like that a lot as well, making sure
customers have everything they need.
On the studio side, it’s a very different
ecosystem.
Is there anything on Fox’s upcoming
slate that you’re particularly looking
forward to?
On Thanksgiving we’ve got Rules
Don’t Apply, which is the first movie from
Warren Beatty in 20 years. Personally a
dream come true for me to get to work
with him on a title. For Christmas we
have a really special movie called Hidden
Figures that is going wide in January. It’s
emotional, it’s empowering, and sends a
great message about women in the workplace—I
think that movie is going to
make a real impact. 2017 is going to be
a very big for us, and we’re looking forward
to it with big titles such as a new Wolverine
movie, DWA’s Boss Baby, Kingsman: The
Golden Circle, War for the Planet of the Apes,
and Alien: Covenant. Summer 2017 will be
very big for us.
What do you think the future holds for
our industry?
I have a very positive outlook for our
business. There has been a lot of talk about
attendance and the various platforms fighting
for consumer attention, and I truly believe
that we need to focus on our business
as a growth opportunity. We have all these
seats in movie theaters, well a little less than
we used to, throughout the country. We
have movie theaters that are investing more
in providing a phenomenal product. We
still have to produce great movies. When
I look at the future, I see it in terms of
thinking how can we fill these auditoriums
again and how we can get attendance back
up to the height of 2002. We need to start
looking at that as an opportunity instead
of a fait accompli that our attendance is
shrinking.
I saved the tough question for last—if
exhibition and distribution faced off in
a softball game, who would you have
your money on?
I’ve got to go with the home team,
distribution! n
52 BoxOffice ® OCTOBER 2016

SHOWEAST
AWARDS
SALAH M. HASSANEIN HUMANITARIAN AWARD
PHOTO: RYAN MILLER / CAPTURE IMAGING
TIM WARNER
Former CEO
Cinemark
Congratulations on receiving this award.
Thank you. I’m honored to receive this award, and I actually
knew Salah. I first met him when I was 25 years old. He was a terrific
individual and this award takes me back a long time. I do see
it as a recognition of a team, however, and I feel the need to honor
everyone who has been part of helping these charities.
When did you first get involved in the industry’s
philanthropic efforts?
With my background in the industry, first as a small exhibitor in
the Montana area. We were first engaged with all of it from the periphery.
I got more involved, both from a business and philanthropic
standpoint, when I became the chairman and CEO of NATO of
California and the general chairman of ShoWest. That’s probably
when I became more involved, back in 1989.
Which charities are your personal favorites?
My favorite charities are the ones we have in the industry, and
they’re all extremely important. The Will Rogers Motion Picture
Pioneers Foundation is one of them, because it is specifically
designed to help industry members who have fallen on hard times.
I’ve been close to them since my time with the trade association
and throughout my career with Cinemark. I think it’s terrific that
you have a charity to go to when you find yourself in a difficult
situation in our industry. They have done great work with people in
our industry, and Todd Vradenburg has done a magnificent job in
leading the Will Rogers Motion Picture Pioneers Foundation. On a
personal basis, that’s probably my favorite industry charity. And of
course, the Variety Children’s Charity groups around the country
and throughout the world, and all the work they do on behalf of
children, has been a very big focus of mine and also for Cinemark.
Both those charities are the two that we focused on as a company to
try to support in a big measure. I see this award as a keen recognition
of what an outstanding company Cinemark was, in their
efforts on behalf of these charities.
Cinemark has also organized its own charity golf
tournament.
What I’ve always really loved about Cinemark is that it’s a
company that feels a responsibility to give back. It started with our
founders; Leroy Mitchell had that philosophy and communicated
it with the entire company. Through our golf tournament we’ve
focused more on a charity that is outside the industry, the Peaceable
Kingdom here in Texas. It’s a charity that helps children with debilitating
health issues, giving them a summer camp experience along
with their families. We’ve also worked with food banks throughout
the country and a variety of individual charities.
When we speak about Cinemark, we have to speak about
Latin America. Did this philosophy also trickle down to
your locations in the region?
We tried to bring the same philosophy to each country, that they
try to support causes in each of their communities. In Central America
there’s a great group that we work with that helps develop libraries and
schools. Each country had different charities and worked with more
localized efforts. As a company, we’ve always tried to respond to efforts
in the wake of natural disasters, such as earthquakes or floods—addressing
the needs of those communities. n
54 BoxOffice ® OCTOBER 2016

2016 SHOWEAST AWARD WINNERS
Al Shapiro Distinguished Service Award
Bob Bagby, B&B Theatres
Salah M. Hassanein Humanitarian Award
Tim Warner, Cinemark
Dan Fellman Show “E” Award
Spencer Klein, 20th Century Fox

58 ADAPTIVE TECH GROUP
60 ALCONS
60 CHRISTIE
60 ENTERTAINMENT SUPPLY & TECHNOLOGY
61 ENGENIUS TECH
61 GDC TECHNOLOGY
62 GOVINO
64 OMNITERM
64 QSC
64 SEVERTSON SCREENS
64 SONIC EQUIPMENT
65 YMAGIS
OCTOBER 2016 BoxOffice ® 57

NEW PRODUCTS
ADAPTIVE TECH GROUP
CINEMA PROJECTOR-LIFTS
Adaptive’s family of cinema projector-lifts complements the needs of emerging boothless cinema auditoriums. The designs
mean quieter running and a smoother, safer, and more efficient operation. The low-profile two-piece vertical framework is a
bolt-in, sound-isolated structure that secures to the auditorium’s rear wall, installing quickly, safely, and easily. Its spacious
projector enclosure is also acoustically treated to reduce noise, and it assembles on-site, thus assuring its transportability
through narrow hallways. Ventilation is achieved by way of a docking-style interface between the enclosure and the ceiling;
and, inside the ventilated enclosure is an internal projector rack, a 110V accessory power supply, and an optimally located
optical glass lens. Its redundant emergency braking system, low-voltage lockable controller, protective side-guards, and
manual override might make it one of the industry’s most functional and safest projector-lift system yet.
58 BoxOffice ® OCTOBER 2016

NEW PRODUCTS
ALCONS
CRMSC-SRHOR LOUDSPEAKER
Alcons expands its CRMS family of reference immersive sound systems
with this 2-way passive-filtered full range loudspeaker, designed to meet
all requirements of immersive cinema surround-sound formats. Featuring
the multiple-patented Alcons pro-ribbon driver technology,
the CRMSC-SRHOR monitor combines clarity
and intelligibility with a high dynamic range,
offering a realistic sound reproduction.
The CRMSC-SRHOR is designed as matching
surround system for the CRMSC Cinema Reference
Monitoring system, or in any small-tomedium-sized
immersive surround system: By
utilizing identical MHF components, in a horizontal
arrangement, a perfect voicing matching
between screen and surround system is realized,
resulting in an exceptionally wide and uniform
sound stage throughout the entire listening area.
The CRMSC-SRHOR can also be used as main screen system
in smaller applications, with low-frequency support.
Typical applications include surround sound system for small premium
commercial cinemas, high-end screening rooms, quality-conscious mix
and post-production facilities, and dubbing stages. As a result of Alcons’
tight manufacturing standards, all system cabinets are within “matched
pair” tolerance.
CHRISTIE
CHRISTIE VIVE AUDIO LS SERIES
Christie® is now shipping the Christie Vive Audio LS Series 4-way
screen channel and 2-way surround loudspeakers in volume. Featuring
planar ribbon driver technology with its low distortion and superior transient
response characteristics, the LS Series is ideal for distributed audio
applications in small to mid-sized auditoriums. With its single-enclosure
designs—perfect for most 5.1 and 7.1 distributed sound applications—
the six models in the LS Series provide unparalleled timbre matching
between screen and surround channels and overall a cost-effective entry
into superior cinema sound.
ENTERTAINMENT SUPPLY & TECHNOLOGY
DPS MODEL CINEMA PROJECTOR LIFT
The DPS Model Cinema Projector Lift is the first boothless concept
brought to market by engineering experts in the lift industry, which
includes 25 years of experience in precision lifting and displacement
equipment such as luxury yachts. This product was meticulously designed
for the cinema space with auditoriums and aesthetics in mind,
offering precision functionality and travel for cinema operations.
Key components include a large platform design, rated 1000+ lbs.,
that can accommodate all projectors. Engineered for safety with key
switch, disc brake, and UL Approved. Equipped with optical sensors
and state-of-the-art screw drive. It allows degree access to projector
without manual intervention and an optional one-size-fits-all kit for
projection pod.
60 BoxOffice ® OCTOBER 2016

GDC TECHNOLOGY
NEXT-GENERATION GDC IMMER-
SIVE
SOUND SOLUTION (SX-4000
STANDALONE IMB® AND XSP-1000
CINEMA PROCESSOR)
The SX-4000 stand-alone integrated
media block is fully DCI compliant with a built-in decoder
for real-time DTS:X rendering in full 16-channels and two additional
channels to support standardized transmission and
synchronization of narrative audio, motion data, and other
downstream processors. Additionally, it unbinds
traditional surround sound with capability to
upmix 5.1 and 7.1 when combined with the
XSP-1000 cinema processor for pre-show and
alternative content to create a distinctively
immersive experience.
The advanced 16-channel XSP-1000 cinema processor
supports multiple object-based immersive
sound formats including the latest DTS:X format.
This new solution provides audiences with a truly
unique immersive sound experience while offering
cinema owners a future-proof affordable solution.
For more information, please contact marketing@
gdc-tech.com.
A D V E R T I S E M E N T
ENGENIUS TECH
DURAFON
On-site communications between theater personnel is critical
for efficient operations, but how does a manager reach
security personnel when someone is spotted sneaking in
through a back door? How do you handle missing-children
reports or inventory needs at the snack bar? The bigger the
venue, the more challenging communication can become.
Engenius Tech provides a solution for this problem with its
DuraFon system, which offers a cost-effective, long-range,
and reliable communications system. For more information
visit www.engeniustech.com/solutions/durafon-series.html.
OCTOBER 2016 BoxOffice ® 61

NEW PRODUCTS
62 BoxOffice ® OCTOBER 2016

A D V E R T I S E M E N T
GOVINO
CUSTOMIZABLE DRINKWARE
Customizing GOVINO® drinkware with your logo makes
for an elegant and long-lasting impression. Whether
you’re promoting your theater or the next big box
office hit, GOVINO® takes your brand where breakable
glass can’t go, while creating a memorable guest experience.
Entertain your moviegoers and theater-lovers
with the performance of a lifetime, over and over again,
with their new reusable drinkware. After the curtains
have fallen and the show has come to an end, send the
audience home with an unforgettable encore, the gift
of your brand. GOVINO is BPA & BPS free, shatterproof,
recyclable, and made in the USA. For more information,
visit GOVINO.com.
OCTOBER 2016 BoxOffice ® 63

NEW PRODUCTS
OMNITERM
FILM SETTLEMENT AND
DISTRIBUTOR REMIT-
TANCE APPLICATION
Omniterm is adding to its
existing Theatre Management
software platform with
an add-on set to automate
and streamline the management, calculation, and submission
responsibilities to film distributors. The Film Settlement and
Distributor Remittance Application supports both single
theater configurations as well as Omniterm’s “Enterprise
Head Office” multi-theater circuits. The application has been
designed as a stand-alone program that can be provided
to film booking personnel while limiting access to other
nonrelated business information. Multiple configurations
easily accommodate changing royalty percentages on a perweek,
per-theater basis. The Distributor Remittance portion
provides management with an intuitive interface registering
payments by film, theater, and/or global payments by
distributor. Omniterm will be showcasing the application at
ShowEast in booth number 507.
QSC
DPM SERIES PROCESSOR/MONITOR
DPM is a powerful
audio signal
processing
solution for today’s
D-Cinema
audio systems.
The DPM builds on the legacy of QSC’s DCM and DCP
products to provide all signal processing and monitoring
functions for digital cinema in a single integrated
system. Designed to be used with QSC’s Digital
Cinema Amplifiers (DCA) and featuring advanced Intrinsic
Correction settings for QSC’s Digital Cinema
Speakers (DCS), the DPM optimizes QSC loudspeaker
and amplifier performance while simplifying cinema
sound-system wiring and configuration.
The DPM is configurable for passive or bi-amp operation
for 5.1 or 7.1 systems. Two models are available:
DPM 100 and DPM 100H (with HDMI in/out and Dolby®
Digital Plus and DTS®-HD decoding) for non-sync and
alternative content sources.
SEVERTSON SCREENS
SAT-4K ACOUSTICALLY TRANSPARENT PROJEC-
TION CINEMA SCREENS
Made in the USA, the SAT-4K screen can be folded
for international distribution with no loss in structural
integrity at significantly lower shipping rates. Providing
true fidelity of the original soundtrack and reference-quality
video reproduction, the SAT-4K features
acoustically woven
screen material, a gain
of 1.18, maximum height
of 16 feet, and a viewing
angle of 160 degrees
while being flame and
mildew resistant.
“Like perforated
screens, the sound
stage can be placed directly
behind the screen
at the same horizontal
axis, allowing the vocals
and the special effects to be completely in sync with
the brilliant images on display. Due to almost no
audio frequency loss, the SAT-4K screen allows for a
completely immersive cinema experience,” said Toby
Severtson, president and CEO of Severtson Corp.
The SAT-4K was featured in Russia’s Kino Expo this
past month and is now shipping. Severtson expects
to offer the product with an expanded height availability
later this year.
SONIC EQUIPMENT
SMARTENDER AUTOMATIC BEVERAGE SYSTEM
Sonic Equipment has partnered with Smarbar USA to
bring the Smartender Automated Beverage System
to a theater near you. The Smartender is an automatic
cocktail pouring machine that pours mixed drinks,
shots, martinis, sodas, and juices all at the touch of
a button. Guaranteeing consistent and exact pours,
regulating usage, generating reports, and much more,
the Smartender syncs directly with a location’s pointof-sale
software and begins positively impacting the
bottom line the moment it is plugged in. The Smartender
comes in both a portable and a built-in modular
model.
Kansas-based Sonic Equipment has built a unique
program that provides multiple business platforms
with solutions from a broad
selection of equipment from top
manufacturers, installation by
certified technicians, and a
custom preventative-maintenance
program. Trained
Sonic technicians are
ready to begin working
with organizations
to install these exciting
and efficient machines
in theaters, restaurants,
sporting arenas, casinos,
event venues, hotels, and
other enterprises looking
to optimize alcohol sales.
64 BoxOffice ® OCTOBER 2016

YMAGIS
ECLAIRCOLOR
CinemaNext and Eclair have teamed up to present
EclairColor, a digital color solution that combines
post-production processes (color grading and
color science) and the optimization of select projection-system
technologies already available from
CinemaNext.
The technology was recently presented at the
Fédération Nationale des Cinémas Français (FNCF) in
Deauville, France.
Belle & Sébastien 2:
The Adventure Continues
Produced by Gaumont, Epithète Films /
Radar Films • Directed by Christian Duguay
Standard Process
“With EclairColor, cinema exhibitors will be able to
considerably improve the quality of the image projection
in their cinemas. It is a marvelous opportunity,”
said Olivier Douet, CinemaNext France sales director.
“The fact that we have rendered this process compatible
with a range of existing projection systems allows
for virtually immediate access to this new technology.
This is a premium offer at very competitive prices.”
The technology is compatible with all types of cinemas,
regardless of screen size, to project films mastered
using EclairColor technology. The equipment
can then be used to project EclairColor mastered
content as well as standard content.
EclairColor Process
A D V E R T I S E M E N T
OCTOBER 2016 BoxOffice ® 65

VENDOR
CHAT
1 BETTER
JOHN ENGEL
President
AS THE PRE-SHOW BUSINESS GROWS AND EVOLVES, BOXOFFICE
CATCHES UP WITH SEVERAL PLAYERS IN CINEMA ADVERTISING
BEFORETHEMOVIE
COREY TOCCHINI
Chief Executive Officer
CATCHING UP
We are well into our 13th year of existence and we’ve just
had our best total theater payout year ever (because it was also
our best sales year ever). 2016 is running ahead of that!
THEATER PROFILE
Any theater that has a strong relationship with its movie
patrons and business community is a great fit for our preshow.
We are all about what’s happening in the geographic
area surrounding the theater. Often we work with the theater
owners or community leaders to help promote local events,
high school accomplishments, nonprofit programs, and so
on. We are located in 27 states—as far north as Alaska, south
to Texas, east to North Carolina, and west to Oregon. Our
strength lies in the Midwestern states, since that is where we
got our start.
STANDING OUT
We cater to the local advertiser more than other on-screen
ad companies. Not only do we personally visit with them at
the time of sale, we also make a return visit to shoot a full
motion commercial, much like a TV station would. This is
not typical today, as most other companies work on the advertising
from a distance, utilizing photos or other static media
provided by their clients. Many of those same companies try
to sell their advertising service online or by phone from an
office located many miles away. Working with the advertising
contact person at their place of business also allows our
videographers to help produce professional-quality commercials
that business owners are proud of. They can involve their
employees, townspeople, and family members into the final
commercial, which also makes it more fun for the theater
patrons to watch. They know that getting their business
showcased prior to a blockbuster Hollywood movie is quite an
impressive way to advertise.
ADVERTISING SECTORS
Colleges, banks, restaurants, churches, PSAs, public-health
ads, and most notably, ads for business owners that aren’t
necessarily moviegoers.
EVOLUTION
It is getting tougher and tougher for theater owners to remain
profitable and our on-screen advertising program offers
a way to help them offset that. Since the advertising for both
national and local businesses are now in high definition and
run through the same projection system, the days of low-resolution,
amateur-looking local ads are over. We offer a shared
revenue program on both local and national advertising and
work out the ratio on a theater-by-theater basis to make sure
the most profitable pre-show plan is in place. We also offer
free trivia and comp ads for the theater owners. We appreciate
the long-standing partnerships we’ve developed with them
over the last 12 years, and our number one goal is to keep the
owners happy so the partnerships continue.
Corey and Keyo Tocchini
CATCHING UP
BeforeTheMovie had a great 2015 as we hit a few milestones.
First, we hit the Inc. magazine list for the third straight year—which
is no small accomplishment. Inc.’s 5,000 list is an exclusive hierarchy
of the nation’s fastest-growing private companies and represents
the most comprehensive look at the country’s vital market segment
of independent entrepreneurs. Companies such as Yelp, Pandora,
Timberland, Dell, Domino’s Pizza, Microsoft, LinkedIn, Zillow, and
many other well-known brands garnered early exposure as members
of this elite group honored by Inc. The methodology utilized by Inc.
is to track a new company’s revenue growth over a four-year period.
BeforeTheMovie was tracked starting in 2010 and hit the list in
2014 with an impressive 375.5 percent growth. 2011 to 2015 we
hit the list with a growth rate of 238 percent and this past four-year
growth rate was 116 percent. Needless to say, we are very proud of
this achievement! In August we surpassed 1,000 screens, and there is
no sign of us slowing as we are currently represent 1,050 of the finest
independent theater screens in America.
THEATER PROFILE
I would say that the independent theater owner, the person that
owns from 1 to 15 locations, is in our wheelhouse. We do custom
pre-shows and brand the show to that specific location or circuit.
We can adjust and deliver a show that fits all needs (shorter,
longer, etc.). BeforeTheMovie has a show for commercial theaters,
upscale, discount, and we now have a show specifically designed
for art houses. We are all over the U.S. and currently do business
in 31 states. (continued on page 68)
66 BoxOffice ® OCTOBER 2016

VENDOR CHAT > CINEMA ADVERTISING
STANDING OUT
I believe we offer a very balanced show. We have a great local
presence in most of our markets and I believe that is important. An
all-national show could alienate a small or midsize market so we
focus on getting good local representation in each market we serve.
People that own these small businesses really light up when they say,
“People come up to me all of the time and tell me that they saw me
on the big screen.” It means something to them. They feel like they
are speaking to people in their community, and they are! Including
local merchants in the show is important for the theater, too, as it
increases revenue and cements them within that community. It does
not matter if it is a luxury, discount, or a commercial theater. What
is important is that the theater is part of the community and we like
highlighting that.
ADVERTISERS
Since we are still a growing medium and have barely hit our stride
as an industry, it is still evolving. In terms of local advertising, it varies
by market but it is all over the board: everything from restaurants
to real estate, from hospitals to ice cream and yogurt shops, from
water agencies to libraries—it is really all over the board. National
is a bit different; companies like Chevrolet, Mercedes Benz, Revlon,
BMW, Apple—you name it. As they begin to realize the power of
cinema, they begin coming out in droves. We are looking forward to
another record-breaking year, and next year is already looking like a
blockbuster.
EVOLUTION
Theaters are changing in many ways. You might say the industry
is growing and becoming a bit more fragmented. Digital is
here and the vast majority of theaters have made the conversion.
Many of my circuits are now installing the “fat” seats, and some
are including food and beverage service. It seems like the focus is
right where it should be, on the theater guest. A well balanced preshow
that plays to that particular audience and not above or below
them is the goal. We employ a vast amount of technology on our
end including high-tech delivery systems that make it easier for the
theaters to get our show on screen, contact management software
to enroll, and keep small businesses in tune with BeforeTheMovie
and their local theater. All in all, I think technology will continue
to evolve, and BeforeTheMovie will continue to invest. Like the
theater owner, it is important to know who your customer is, and
if you want to be successful you need to find out what they want
and give it to them.
MOVIO
Matthew Liebmann
Senior Vice President,
North America
ENTERING THE BUSINESS
We first became involved about one year ago.
This was driven by the same needs as Movio’s
exhibition and studio clients: to be able to better
segment cinema audiences in a rich and multifaceted way in
order to target them with relevant communications and then
quantitatively calculate the financial impact of those communications.
Matthew Liebmann
RECENT PARTNERSHIPS
NCM is one of the leading industry players with access to the
Movio Media Research console. This console provides studios, distributors
and screen advertisers with comprehensive
data on over 14 million active U.S. moviegoers aged
14-plus, making it the richest source of demographics
(age, gender, ethnicity), behaviors (recentness,
frequency, spend, attendance patterns, film/actor/
director preferences) and film-viewership history.
EVOLUTION
Technology can capture a wealth of cinema
guest data—transactional, demographic, behavioral—and data
analytics can make ready sense of it in a way that allows screen
advertisers to make an emotional connection with moviegoers by
communicating with them in a relevant way. At the upcoming
SAWA Convention, I will highlight how a data-driven strategy
enables screen advertisers to better understand moviegoing audiences,
create targeted media plans for brands, and demonstrate the
value of cinema advertising with attribution.
NCM
Cliff Marks
President
Cliff Marks
CATCHING UP
This year, our focus in the advertising marketplace has been all about millennials,
content, and data. Everyone is looking to reach millennials, and for good
reason—over 80 million strong, they are the largest generational group in U.S.
history, edging out the baby boomer generation by more than 3 million. Millennials
are definitely changing the media landscape, but the good news for us is that the
one media-consumption habit they do share with past generations is that they love
to go to the movies. Millennials are 50 percent more likely than the general population
to say that movies are a passion of theirs, and our vision at NCM is to be the
connector between brands and these young, passionate movie audiences. And data
actually plays a huge role in that. NCM is embracing “big data,” and we’re looking
at everything from box office data to proprietary studies conducted with the top
research companies in the industry to genre targeting to beaconing and geo-fencing
68 BoxOffice ® OCTOBER 2016

SHOWEAST AWARD WINNERS
comScore’s Latin American Box Office Achievement Award
Captain America: Civil War
Anti-Piracy Latin American Government Leadership Award
Federal Agents of Brazil
International Exhibitor of the Year
Habib Osman, CEO, Royal Films, Colombia
International Distributor of the Year
Marcio Fraccaroli, General Director, Paris Filmes
Career Achievment Award
Licnio Manay, General Director, Manfer Films
Star of the Year
Manolo Cardona
Bingham Ray Spirit Award
James Schamus
Al Shapiro Distinguished Service Award
Robert Bagby
Salah M. Hassanein Humanitarian Award
Tim Warner
Dan Fellman Show “E” Award
Spencer Klein
ShowEast 2016 Hall of Fame Inductees
Rusty Gautier · Wanda Holst · Stefanie Miller · Paul Silk · Scott Calder
The Official Magazine of the National Association of Theatre Owners

VENDOR CHAT > CINEMA ADVERTISING
to get the bigger picture of moviegoers and
give advertisers a clear analysis of who our
movie audiences are and why they are so
valuable. We’re also expanding our Strategic
Insights and Analytics Group to have a team
exclusively focusing on ROI—making sure
that brands know and understand how cinema
works to achieve their specific marketing
goals. And all of that data can also really
benefit our affiliate partners and help them
better understand their audiences as well.
In fact, our relationships with our
exhibitors will be a key renewed focus of our
business going forward. With new executive
management, Andy England, our new CEO,
and myself as president, we’ve challenged
our organization to consider what NCM
does well and what we can do better, and we
want to do a much better job of being
more communicative, streamlined,
thoughtful, and consultative
in our relationships with our
network of over 40 great
affiliates. To that end, we’re
creating a brand-new affiliate
partnerships team led by
veteran NCM executive Stacie
Tursi (who will take over from
the retiring Bob Brouillette) as
our new SVP of affiliate partnerships.
Stacie will report directly to me, and for the
first time in my career, I will take a more
active role working with our NCM affiliate
partners. We want to be the first choice for
affiliates, and I’m excited to be working
more closely with them to ensure that they
get the most out of our cinema-advertising
programs.
On the advertising and creative side,
we’ve also done some rather groundbreaking
ad partnerships and campaigns in recent
months, including bringing AT&T, AMC
Theatres and Regal Entertainment Group,
and Movietickets.com together to launch
the new Ticket Twosdays program, which
rewards customers with a free movie ticket
when they buy one at full price through
AT&T THANKS. As the AT&T Ticket
Twosdays program continues to grow, we
plan for other leading national and regional
movie theater circuits across the country to
join the list of participating theaters, so it is
a great opportunity for our NCM affiliate
partners as well.
In June, Airbnb’s “Double Feature”
campaign launched in NCM theaters in
the U.S., as well as theaters in the U.K.
and Australia, using the first-of-its-kind 3D
technology to show two different travel experiences
on the same screen simultaneously.
An onscreen message prompted the movie
audience to put on their special 3D glasses
provided by Airbnb, and instructed them to
simply tilt their heads up or down to change
experiences. The unique Airbnb spot creative
allowed moviegoers to experience different
versions of the same vacation being shown
on the screen depending on their personal
perspective and whether they looked through
the top or bottom of their glasses. It was a
big hit and a groundbreaking example of
how we can collaborate with an agency and a
client to help them tell their story in cinema
in a way that simply can’t be done anywhere
else.
NO POLITICS, PLEASE
I think our decision to stay out of the
political fray was the right one for
our exhibitor partners, our
audiences, and our advertising
clients. We respect the
fact that people go to the
theater to enjoy themselves
and escape into the magic
of the movies, and it is very
important to honor this
entertainment experience.
People are bombarded with
politics in every other medium,
especially this election season, and I don’t
know a single person who isn’t overwhelmed
by it. NCM’s FirstLook is an oasis, not only
for audiences but for brands who don’t want
their messages to be running alongside all
of that clutter and negativity. While we
compete aggressively for all other ad dollars
in the video sphere, making the decision to
walk away from political spending really set
NCM apart, and both brands and audiences
have thanked us for it.
2017 OUTLOOK
We’re looking forward to 2017, especially
as we launch our new Data Management
Platform (DMP) into the marketplace to
help us better compete on the data front
with digital companies like Facebook and
Twitter. Data is king in the ad world, and
brands expect detailed metrics on audience
targeting and ROI. Our NCM “big data”
initiative will be tremendously helpful in securing
deals and helping brands make more
and better use of cinema advertising.
As I mentioned earlier, we will also be
really focused on adding new affiliates to our
national network in 2017, and we plan to be
much more proactive in working with new
exhibitors to come on board with the number-one
theater network in the country.
EVOLUTION
Cinema advertising needs to keep pace
with the digital revolution, and NCM is
evolving to become more focused on things
like data, audience targeting, beaconing, and
interactivity on the big screen. Our millennial
movie audiences are driving the conversation,
and they are changing the way the world enjoys
entertainment content. We are investing
significantly to make sure we continue to be a
part of their passion for movies.
We believe that anyone seeking an 18
to 34 or 18 to 49 demo will use cinema
for its broad national reach, but with our
new DMP, we are now really able to target
specific audiences in cinema in a way that’s
never been done before. We’re breaking
new ground with financial and investment
companies, CPGs, and other industries that
are not traditional spenders in our medium,
because we are able to better target their key
demos through our NCM network, and
that’s an exciting change and growth opportunity
for our business.
PARROT FILM
Shane Adams
Director
THEATER PROFILE
We specialize in the independent theaters
in smaller markets. We love the local theaters
that have one to five screens, and most of the
theaters we work with are in towns that have
less than 15,000 people. In fact, we even have
a few theaters in towns of under 3,000 people,
although we also have theaters in towns such
as Indianapolis and Minneapolis, so we do
service independent theaters in larger cities as
well, and we couldn’t be happier to have all
of them as part of the Parrot family. We have
theaters all over the country from New York
to California, and as long as it’s an independent
theater we are more than happy to work
with them no matter where they are located.
STANDING OUT
We are a family-owned-and-operated
company that my grandfather originally
worked for and my father eventually bought,
and since we work with smaller markets
we have to have an emphasis on customer
service. While our product is top notch, it’s
our everyone-is-family attitude that puts us
apart from the big guys.
ADVERTISING SECTORS
Health care in general seems to be really
making a push, from long-term-care facilities
70 BoxOffice ® OCTOBER 2016

You. The theatre owner.
Your local advertisers.
Your theatre patrons.
WWW.1BETTER.NET • 1.877.723.8837
CONTACT US FOR MORE INFORMATION

VENDOR CHAT > CINEMA ADVERTISING
to urgent care, and now we are starting to see some of the government-assisted
programs spending more dollars in theater advertising
for public-service messages.
EVOLUTION
Cinema advertising doesn’t stop evolving—it is a constant battle
to stay ahead of the game, so you have to constantly be investing
in new technology and training. It’s hard to predict what will come
next, so you just have to stay prepared for anything.
SCREENVISION
Darryl Schaffer
Executive Vice President
Operations and Exhibitor Relations
CATCHING UP
Momentum and enthusiasm continue from the advertising community
around the unrivaled stable scale of moviegoing attendance
vis-a-vis other mediums, as well as buzz surrounding premier content
of the film slate. This, combined with strong secular tailwinds, has
created a very favorable environment for cinema advertising.
In regard to our exhibitor partners, our network has never been
stronger. Year-to-date, we’ve signed more than 2,000 screens. These
deals bolster the company’s existing exhibitor network, providing nine
years of term remaining across the network overall. The new agreements
also improve the inventory base with extra minutes, expanding
Logan Lerman stars in James Schamus's acclaimed
adaptation of the Philip Roth novel, Indignation
the inventory available to advertisers—especially the most valuable
spots closest to the trailers. Collectively, theaters included have a significant
presence in New York, Chicago, Boston, and Dallas.
On top of that, since our upfront in May 2016, where we reinforced
our positioning within premium video, and highlighted how
Screenvision Media is creating
impact like no other for our
exhibitor partners and advertisers,
we have been
very busy executing
that message.
We have invested
more in our
Front + Center
pre-show, including
programming
and design, to
create more consistent,
relevant,
and entertaining
content
throughout. For example, we recently announced a new lifestyle
feature called Reel Food with celebrity chef Chadwick Boyd. This,
and other programming initiatives, will elevate entertainment for
moviegoers, as well as create more compelling content for our local
and regional advertisers to sell around. We are very excited about this
initiative, and there is plenty more to come.
We are very pleased with the potential we see from early results
of our Connected Cinema platform as we look to engage moviegoers
before, during, and after the movies. Technology, such as geo-fences,
beacons, interactivity, and enhanced lobby displays, can create a lot
of value for our exhibitor partners and advertisers, including better
targeting off screen and data.
Overall, the market is very robust, and we are very fortunate to
have such a collaborative network of exhibitor partners to work with
us to continue to unlock more and more value for advertisers.
2016 has been an incredible year for Screenvision Media—we’re
having one of our best years ever. As noted above, we really feel that
this is cinema advertising’s time, and the marketplace is very responsive
to the value of the large-scale steady audience delivery of moviegoers—and
when coupled with an immersive, captive experience on
a 40-foot screen, we feel our medium is primed to grow faster than
the marketplace. Cinema advertising should be on pace with last
year’s 15 percent growth, and we are definitely doing what we can
to fan the flames. Last year, it may have been easy to attribute the
growth to Star Wars, but we very much see that it may have triggered
an “awakening” in the market, but we are very much selling through
the slate throughout the year.
RECENT PARTNERSHIPS
We are very interested in learning more about automated buying
platforms, such as Videology and Rubicon (a recent announcement
as well), as they have the potential to open access to cinema advertising
to potential brands and agencies who currently do not buy cinema.
So that is a good thing. That said, we are taking a very measured,
strategic approach in deploying areas of the country and our show
where we see the most upside, as well as continuing to test and learn.
2017 OUTLOOK
The interest in cinema advertising, and in particular Screenvision
Media, is very robust. As mentioned, we are entering 2017 with over
2,000 newly signed screens, and our exhibitor network has never
been stronger. Our exhibitor partners are heavily investing in both
new and existing theaters, and we are heavily investing in how we can
better serve them. Combined, these factors make our overall network
stronger and more valuable for everyone as we enter the new year. In
addition, the marketplace is excited about the 2017 slate, our most
coveted moviegoing audience, and how we can help create deeper
engagement, all leading us to feel optimistic about a strong 2017.
Now it also doesn’t hurt that there is another Star Wars … .
Darryl Schaffer
EVOLUTION
Cinema advertising will continue to move from a line item on a
media plan to an essential component of premium video media investments.
This is happening now, and the acceleration will continue
bringing a greater number of advertisers to the screen. In addition,
we view ourselves as a media company, not just a cinema-advertising
company, and our efforts around connected cinema, technology,
and data are right on point with marketplace demands. We will
continue to invest resources to enhance and elevate our “show before
the show”—our Front + Center pre-show—evangelize the power of
72 BoxOffice ® OCTOBER 2016

cinema and our audiences to brands and agencies (national, regional
and local), and build scale around our connected cinema ecosystem.
The rapid pace of innovation continues to open more opportunities
in bigger categories, as well as new categories. In particular, where
there is a disruption around streaming video entertainment, where
influential moviegoers can significantly impact brands—we definitely
see that as being one area of opportunity. In addition, categories like
autos continue to see the big screen as an ongoing complement to
their TV strategy. Lastly, there may be rising tide growth across many
categories, as we are seeing some corrections in the over-shifting of
dollars to digital. Overall, we see growth from a variety of categories.
SPOTLIGHT
CINEMA NETWORKS
Michael Sakin
President
CATCHING UP
It’s been another strong year for Spotlight Cinema Networks. We
continue to bolster our position as the leading cinema-advertising
company 100 percent dedicated to serving top U.S. luxury exhibitors
and iconic art-house theaters. Only Spotlight offers a unique advertising
program tailored to an upscale and influential 25 to 54 audience via
premier theaters that screen independent and “smart” Hollywood films.
That’s why in 2016 our advertising revenue increased significantly, and
we’ve grown to more than 900 screens with our exhibitor partners.
In 2016, Spotlight Cinema Networks unveiled an exciting partnership
with Vimeo, allowing select screens in our network to showcase
one to three short films each month during our valuable pre-show. This
initiative demonstrates our ongoing commitment to the entertainment
value of our pre-show by offering our audiences sophisticated content
that has been curated specifically for their tastes.
CINELIFE
CineLife has been available to discerning filmgoers for the
past year and a half. It’s the first app serving the art-house market.
also allows users to purchase tickets directly from an iPhone or
Android device from any theater that uses major online ticketing
services.
CineLife offers many benefits for exhibitors. When movie enthusiasts
conduct a search in the app, CineLife affiliates show up first in
the results, even ahead of other theaters that are geographically closer.
CineLife also offers theaters the ability to put their RSS and Twitter
feeds through CineLife.
CineLife is also in the process of building the nation’s most robust
calendar for independent-focused movies and welcomes organizations
to submit their scheduled events for inclusion.
RECENT CAMPAIGNS
First of all, on-screen advertising continues to be the main focus
of Spotlight Cinema Networks. Clients are coming to us because we
give them a powerful showcase to feature unique content beyond
30- and 60-second spots. In 2016, we’ve seen an increase in certain
categories including alcohol and tune-in. Both featured experiential
events—tastings and screenings—that were tied to the on-screen
advertising.
Automotive, alcohol, tune-in, and luxury goods continue to be
revenue pillars for Spotlight Cinema Networks. In 2016, we’ve seen
significant increases in the electronics, financial, and travel categories.
Spotlight Cinema Networks is the industry leader in reaching
a unique audience of affluent, educated, influential adults between
the ages of 25 and 54 within a sophisticated cinema environment.
We cater to an audience demographic that is highly sought-after by
upscale marketers. n
EVOLUTION
In the coming years, major cinema advertisers will be looking for
more targeted demographic solutions to their marketing challenges.
Because we’ve focused on a very specialized audience since our
inception, Spotlight Cinema Networks is not only prepared for this
shift, we have been well ahead of the curve for this trend. Spotlight
Cinema Networks has always catered exclusively to sophisticated and
well-educated audiences in the nation’s major cities. Looking ahead,
experiential marketing will play a bigger role for some cinema advertisers.
We are already executing experiential marketing campaigns on
behalf of several clients, and we foresee growth in this area.
CineLife deepens the relationship between sophisticated audiences,
the films they love, and the theaters where they see these films.
CineLife has many distinct characteristics. In addition to location-based
technology and information on show times and films,
CineLife provides up-to-date information on special theater events
for film enthusiasts who wish to attend Q&As with producers and
directors, special screenings, film series, and film festivals. CineLife
OCTOBER 2016 BoxOffice ® 73

CINEMA
SHOWCASE
CORAL GABLES ART CINEMA
MIAMI, FLORIDA
Contributor: Ben Delgado, Associate Director, Coral Gables Art Cinema
SCREENS: 1 CAPACITY: 141
PROJECTION: Barco DP4K-32B (Digital, 4K);
Century JJ 35/70mm (Analog)
SCREEN: Harkness Screens
FRONT ENDS: Kenny Drapery
POS & TICKETING: Agile Ticket Solutions
SOUND: Dolby 7.1 surround with a Dolby CP-
500 processor
SEATING: Mobilario
ACOUSTICAL TREATMENTS: Eomac
CONCESSIONS STAND: Nick Malone & Son
DIGITAL IMAGING: Continental Film & Digital Labs
PROGRAMMING
This past year, like a lot of other art houses, we had
huge success with Woody Allen’s latest, Cafe Society.
We were actually No. 6 in the country for the opening
weekend. We pride ourselves on putting on original
programming as well, and have had two Japanese
anime film festivals in June for the past two years that
have drawn large, engaged crowds. For our late-night
series, After Hours, we have consistently oversold the
house and even had patrons sitting on the floor in
front of the screen for older films like Eternal Sunshine
of the Spotless Mind, Daisies, Monty Python and the Holy
Grail, and Metropolis.
We take great pride in our programming and
careful curation with a blend of mostly first-run
titles and a heavy dose of repertory programming,
along with special engagements of alternative programming
such as the National Theatre Live plays.
Along with those core basics, we have successfully
played week-long retrospectives of anime films, had
U.S. premieres of films including the Palme D’or–
winning director Laurent Cantet’s Return to Ithaca
74 BoxOffice ® OCTOBER 2016

with Cantet in attendance for a Q&A and master class, and a live
score with Fritz Lang’s sci-fi masterpiece Metropolis, among many
other things.
We are the only cinema in town that presents National Theatre
Live, the best of British theater on the screen. We have a 70-millimeter
projector, bring in new talent from around the world, and
have a very successful late-night series that shows films mainly on 35
millimeter.
HISTORY
Our cinema is a nonprofit 501(c)(3) and a private public partnership
with the City of Coral Gables and was founded by industry
veteran and Magna-Tech Electronic president and CEO Steven
Krams in 2007. The doors opened on October 15, 2010. From the
early stages board members were a key to getting it off the ground.
The board of directors oversees our nonprofit organization, with
chairman Gustavo Pupo-Mayo at the head. The executive director
and president is Steven Krams. Ben Delgado and Javier Chavez are
the co-directors who run the theater on a daily basis. The director of
programming is Nat Chediak, founder of the Miami Film Festival.
COMMUNITY
Our audience, like many I have found in my research, is an older
demographic with most patrons between 55 and 75 and a stronger
showing from women. However, we extend our reach across ages,
socioeconomic backgrounds, cultures, genders, and orientations.
With such a wide array of programming, we are able to have a little
something for everyone. Monthly family screenings, at a dramatically
discounted rate, allow families to come together and enjoy the magic
of cinema. Our late-night program offers younger audiences a place
to enjoy films as well. Through our filmmaking initiative, the Miami
Film Development Project, we are also able to reach out into the
community in a very direct way and provide a space for education
and opportunities for creation.
We work very well with the Centro Cultural Español (CCE)
locally and have been able to fly in directors, actors, and producers
with their help as well as put on special talks and performances at
their space. In August of 2016 we flew in Jonás Trueba, the leading
voice in Spanish Indie Cinema and son of Oscar-winning director
Fernando Trueba, along with his producer Javier Lafuente, and one
of the film’s composers Miren Iza for a full retrospective of his work
and the U.S. premieres of all the films. We were also able to put on
a master class and concert to go along with the program. This, however,
is just one example of our grassroots efforts. We work closely
with many of the consulates, as well as special interest groups and
universities.
CONCESSIONS
Popcorn and soda are probably the biggest, as one would imagine.
Our stand also serves beer and wine, and both of those items are
incredibly popular, the former especially with a younger crowd. We
also work with local businesses on many of our concessions items.
MEMBERSHIP PROGRAM
We have a robust membership program that provides members
with a discounted rate on top of other perks and special events. We
find that our members are our most loyal patrons and want to support
us in more ways than just their attendance. n
OCTOBER 2016 BoxOffice ® 75

CONVENTION
RECAP
A NEW WAY OF
DOING BUSINESS
MILLENNIALS, DIGITAL TICKETING WERE THIS YEAR'S
TRENDING TOPICS AT THE GENEVA CONVENTION
by Daniel Loria
n We’ve all heard the warnings. The latest
technology always seems to be lurking
around the corner, poised to become
the next “cinema killer.” Exhibition has
proved to be resilient, however, weathering
innovations like radio, television, home
video, cable, video games, streaming, and
the countless others that have emerged over
the years. Despite the foreboding, younger
generations continue attending the cinema.
At a certain point you have to wonder, why
doesn’t the conversation instead focus on
exhibition’s ability to adapt and adopt the
latest innovations?
This year’s edition of the Geneva Convention,
which took place from September
13 to 15 at the Grand Geneva Resort & Spa,
sought to tackle that question beyond the
scope of its regional association with NATO
of Wisconsin and Upper Michigan. A mix of
international panelists gave the Midwestern
event a cosmopolitan vibe, bringing insights
from different parts of the world to the talks
and presentations held in Lake Geneva,
Wisconsin. Although the week’s conversations
ranged in topic, the theme consistently
came back to the influence and impact of
millennials on the exhibition business—as
well as the growing shift in how consumers
are purchasing their tickets.
Despite the abundance of entertainment
options at their fingertips, millennials are
still loyal moviegoers—an assertion echoed
by NATO Data and Research Manager Phil
Contrino during one of the event’s sessions.
Exhibitors’ interaction with this generation,
however, isn’t limited to the ticket counter
and concessions stand. As millennials grow
their ranks in the professional world, theater
managers are faced with new challenges of
how to manage a generation imbued with an
entrepreneurial spirit and differing priorities.
76 BoxOffice ® OCTOBER 2016

PHOTOS COURTESY OF BILL FRANTZ PHOTOGRAPHY
Author and speaker Lisa Orrell, who specializes
in managing millennials in the workplace,
focused her presentation on how to address
this generational gap in the current labor force.
According to Orrell’s presentation, a
typical large company in the United States
will see 30 to 40 percent of its staff reach
retirement age within the next 15 years. This
shift will mean that by 2025, 75 percent of
U.S. workers will be millennials—and most
of them are transitioning to leadership roles
sooner and younger than the previous generation.
This might exacerbate the tense relationship
Orrell sees between Gen X managers
and millennial (Gen Y) employees, which she
says can mimic sibling dynamics due to their
relatively close ages.
She also addressed millennial’s high
turnover rates at businesses, especially when
conflicts arise. “What you put up with for
5 to 10 years, they’ll put up with for 5 to
10 weeks,” Orrell said. Millennials are not
afraid to leave companies and go out on
their own, but that entrepreneurial drive can
easily be managed by giving employees more
responsibilities. “Leadership doesn’t start
when you get a big raise and find yourself
in a corner-office situation,” said Orrell. She
asked attendees what they could do at their
organizations to make their employees feel
more entrepreneurial.
That is not to say that Gen Y is management
averse, but simply that they tend to
respond well to being granted responsibilities
and opportunities. “One of the biggest complaints
that I hear from them is the lack of
individual one-on-one time from managers,”
said Orrell. “They want to be heard.” In this
regard, Orrell believes that focusing on a
thorough employee training program can
go far toward establishing a high standard in
workplace culture. Furthermore, a mentor-
OCTOBER 2016 BoxOffice ® 77

GENEVA CONVENTION
George Rouman (center) and Chris Mortenson
(Right) look over the September issue of
Boxoffice Magazine.
ship program can prove to be highly valuable
in developing and retaining existing talent.
As this year’s box office results show, Gen
Y isn’t the only demographic helping push
box office sales. Entering October, three of
the top six highest-grossing films domestically
are animated titles (four if you include
Disney’s CGI-heavy Jungle Book), led by
Finding Dory with more than $483 million.
Family audiences are crucial for the industry,
a fact that Alamo Drafthouse is keenly aware
of according Henri Mazza, VP of special
events for the Austin-based circuit. During
a panel discussion on audience engagement,
Mazza shared Alamo’s positive experience in
implementing a family program across participating
locations—promoting a moviegoing
habit at an early age. France has gone a step
further with the concept, according to Julien
Marcel, CEO of Webedia Entertainment
and Boxoffice Media. Marcel cited the 2014
agreement by French exhibitors and distributors
to enact an optional discount-pricing
plan of €4 per ticket for children under the
age of 14, applicable for any show time on
any day of the week.
Midwestern audiences should be familiar
with value pricing if they’ve visited a Marcus
Theaters location in recent years. The
company has instituted a $5 Tuesday offer,
which includes a discounted admission and,
for loyalty program members, a complimentary
popcorn. Tanya Easterman, senior
relationship manager at the U.K.’s Cinema
First, an organization dedicated to promoting
cinema attendance, recounted her own
experience developing value-pricing models
Julien Marcel
Boxoffice Media CEO
through commercial partnerships during her
time at ODEON Cinemas. More recently,
Easterman and Cinema First have been busy
launching Meerkat Movies in conjunction
with comparethemarket.com, an aggregator
site for the U.K.’s insurance market. Customers
who purchase an insurance product
through the website receive a 2 for 1 voucher
for any Tuesday or Wednesday at participating
cinemas. The promotion has already
saved U.K. moviegoers £27 million since its
launch and currently accounts for 3 percent
of the market’s total admissions.
While value pricing has certainly gained
traction in North America, unlimited subscription
models have yet to be adopted by
exhibitors themselves. In both France and the
U.K., unlimited models tied to a loyalty program
have proven to be fruitful for exhibitors
such as UGC and Cineworld. In the United
States, however, only Moviepass, a third-party
service that isn’t exclusively affiliated with
any single circuit, has embraced the concept.
The company changed its pricing scheme
over the summer, with offers ranging from a
monthly fee of $15 to $21 for the ability to
watch up to two films to unlimited viewing
options ranging from $40 to $50. The shift
78 BoxOffice ® OCTOBER 2016

GENEVA CONVENTION
From L to R: Paul Rogers, Steve Marcus,
Gerise LaSpisa, and Chris Moretenson
to include a lower price tier, targeting people who aren’t looking to go
to the cinema more than twice a month, is an interesting development
as the company looks to expand its subscriber base amid a rapidly
changing ticketing culture in North America.
Boxoffice has been tracking these changes in consumer culture
throughout 2016, as mobile technology transforms digital ticketing.
We reinforced that notion in Geneva, where Boxoffice held a special
panel presentation on ticketing’s new frontier. Drawing on a statistic
included in his CinemaCon 2016 presentation, Julien Marcel reminded
Geneva attendees how digital ticketing in
China went from 0 to 80 percent of the box
office in only a matter of years. Marcel estimates
there are up to 20 different third-party
ticketing companies working in China today.
In comparison, he mentioned that digital
ticketing represents roughly 15 percent of
overall box office in North America.
The Chinese model, however, is not
immune to scrutiny, as fellow panelist and
Celluloid Junkie co-founder, J. Sperling
Reich, pointed out. “How much of that
growth is coming from an inflated market?”
he questioned, noting that digital ticketing
is a loss driver for many Chinese third-party
companies, who offer tickets to consumers at
a deep discount in order to gain an advantage
in market share. The race-to-the-bottom
approach is a risky tactic, one that won’t leave
much competition when a sizable market share is achieved by one or
more players. It has created an odd divide in the Chinese exhibition
market, as Marcel puts it, “causing exhibitors to rent seats to third-party
ticketing companies instead of selling tickets to customers.”
Fortunately, third-party ticketing stands on much firmer ground
in North America. Traditionally dominated by two players, Fandango
and Movietickets.com, companies like Moviepass, DealFlicks,
and Atom Tickets have now joined the fray to give consumers more
options. “Different third parties bring innovations,” explained Atom
Tickets’ business development lead, Max
Julien Marcel
Boxoffice Media CEO
Variety - The Children's Charity makes its
presence felt at the trade show floor.
Lynn, at Boxoffice’s Geneva panel. He was
addressing the growing trend of exhibitors
offering their own digital-ticketing capability
through their respective websites. “Just like
the airline industry, some people like to buy
their tickets on Delta and others prefer to buy
on Expedia.”
Leon Newnham, president of Vista Entertainment
Solutions USA, echoed that sentiment
on the panel. While acknowledging the
value of offering ticketing through their own
site, Newnham says there is a greater value
in offering ticketing on as many platforms as
possible. “Not all exhibitors have the budget
to do everything on their own website,” he
said. “Third parties allow exhibitors to benefit
from their innovations.” A good example
would be the scannerless mobile tickets
80 BoxOffice ® OCTOBER 2016

Marcus Theatres CEO, Rolando Rodriguez,
addresses the room.
currently offered by both Fandango and Movietickets.com, allowing
employees to sight-check a consumer’s admission without having to
resort to a pricy scanning device.
The New York Times recently reported that Fandango does 70
percent of its ticket sales through their mobile app, representing a
gradual consumer shift that has been taking place over the last couple
of years. For Ged Tarpey, head of Media & Entertainment at Twitter,
that shift can help distinguish third parties from other services. According
to Tarpey, around 90 percent of Twitter’s traffic comes from
mobile, providing an ideal opportunity for
apps such as Atom to carve their own space
in the market. “That’s where the users are,
and that’s why Atom Tickets makes so much
sense to me.”
Atom isn’t alone in prioritizing its mobile
presence; Fandango recently launched the
capability to buy cinema tickets through its
service via Facebook—a development first
announced at CinemaCon this year. Exhibitors,
however, haven’t been as up-to-date on
this front. Peach Cinema chief marketing
officer Malcolm MacMillan shared his frustration
about exhibitors’ slow adoption rate
of mobile websites. “The biggest mistake we
see, regardless of the territory, is not having a
mobile-sponsored website,” said MacMillan.
“Seventy to 80 percent of your audience will
John Scaletta
find you through their phone’s browser. Your
website is there to sell tickets—you need to make sure your platform is
absolutely solid, works well, and is easy to use.”
That convenience and ease of use is proving to be a deciding
factor on which platforms consumers will choose to buy their tickets
in advance. In some cases, the convenience is so enticing that the
advance-purchasing window isn’t that wide, according to Vista’s Leon
Newnham. “Across the theaters that run Vista, we can see when
people buy their tickets and what size group they are. Most people
buy tickets about a day in advance, with the exception of tentpoles,
and most come in groups of two. What we’ve
seen that has surprised us is a trend of people
buying their tickets online minutes before
a show time. You have to ask yourself, why
might that be? I suppose they walk into the
movie theater without a ticket, see a line at
the box office, and instead decide to buy
their tickets on their phones despite the
added convenience fee.”
Whether it’s as consumers or employees,
catering to millennials in the industry remains
a top concern. Improving the cinema experience
by focusing on ease and convenience,
however, is proving to be a cross-generational
standard that exhibitors are meeting through
the help of technology. Innovations will continue
to come—and when they do, exhibitors
should be ready and informed as to how they
can use them to their advantage. n
OCTOBER 2016 BoxOffice ® 81

COMING SOON IN 3D
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
FANTASTIC BEASTS AND WHERE
TO FIND THEM
NOVEMBER 18 · WARNER BROS.
CAST Eddie Redmayne, Katherine Waterson
DIR David Yates / GENRE Adv/Fan
SPECS 3D/IMAX/Dolby Atmos
MOANA
NOVEMBER 23 · DISNEY
VOICE CAST Auli’i Cravalho, Dwayne Johnson
DIR Ron Clements, John Musker
GENRE Ani/Mus/Fam
SPECS 3D/Dolby Digital
ROGUE ONE: A STAR WARS STORY
DECEMBER 16 · DISNEY
CAST Felicity Jones,Diego Luna
DIR Gareth Edwards
GENRE Act/Adv/SF
SPECS 3D/IMAX/Dolby Digital
PASSENGERS
DECEMBER 21 · SONY
CAST Chris Pratt, Jennifer Lawrence
DIR Morten Tyldum
GENRE SF/Adv/Rom
SPECS 3D/Dolby Atmos
SING
DECEMBER 21 · UNIVERSAL
VOICE CAST John C. Reilly, Matthew McConaughey
DIR Garth Jennings
GENRE Ani/Com/Mus
SPECS 3D/Dolby Digital
MONSTER TRUCKS
JANUARY 13 · PARAMOUNT
CAST Lucas Till, Jane Levy
DIR Chris Wedge
GENRE Ani/Act/Com
SPECS 3D/Dolby Atmos
82 BoxOffice ® OCTOBER 2016

ALSO UPCOMING IN 3D
2017
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 WARNER BROS. KONG: SKULL ISLAND
MAR 17 DISNEY BEAUTY AND THE BEAST
MAR 24 WARNER BROS. KING ARTHUR: LEGEND OF THE SWORD
MAR 31 PARAMOUNT/DREAMWORKS GHOST IN THE SHELL
MAR 31 FOX/DREAMWORKS ANIMATION THE BOSS BABY
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: NUTTY BY NATURE
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
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 10 SONY/COLUMBIA THE STAR
NOV 22 DISNEY COCO
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 16 WARNER BROS. TOMB RAIDER
MAR 23 FOX ANUBIS
MAY 4 DISNEY AVENGERS: INFINITY WAR PART I
MAY 18 WARNER BROS. THE LEGO MOVIE SEQUEL
MAY 18 FOX/DREAMWORKS ANIMATION HOW TO TRAIN YOUR DRAGON 3
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 UNTITLED AVENGERS
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
OCTOBER 2016 BoxOffice ® 83

Interview with Trolls director Mike Mitchell
and co-director Walt Dohrn
by Jesse Rifkin
After decades as one of the most popular toys in the world, Troll dolls come to the big
screen on November 4 with DreamWorks’ animated film Trolls, starring the voices
of Justin Timberlake, Anna Kendrick, Zooey Deschanel, James Corden, and Russell
Brand. Boxoffice recently spoke with director Mike Mitchell and co-director Walt
Dohrn, who worked together on the Shrek film franchise and the television show
SpongeBob SquarePants, about Trolls and, among other things, how a Harvard study
on happiness—and Steven Spielberg’s grandchildren—shaped their film’s tone.
Mike, you’re listed as director. Walt, you’re listed as codirector.
How did you divide up the responsibilities? What
did each of you take on with this movie?
Walt Dohrn: I was essentially Mike’s pet. [Laughs.]
Mike Mitchell: That’s not true! [Laughs.] Last time I worked with
Walt, when I was at DreamWorks, was it 10 years before this? I don’t
even remember how far back the last Shrek film was. [Shrek Forever
After was released in 2010.] Walt was not only a valuable storyboard
artist, but we don’t always have the actors available, and Walt is a
tremendous voice talent. So he would do all the voices in the scratch
booth. He has great comic timing; he’s a comic magician. When I
came back to DreamWorks, it was clear that Walt needed to be directing
feature films. So that’s why I was so happy to work with Walt.
Having him as my co-director made everything so much smoother.
84 BoxOffice ® OCTOBER 2016

Some people aren’t even single threats.
Mitchell: I’m barely a half threat, myself.
Justin Timberlake has the lead role. And his soundtrack
song “Can’t Stop the Feeling!” reached No. 1 on the
Billboard Hot 100. Was it difficult getting him on board to
contribute songs?
Mitchell: It wasn’t difficult at all. Walt and I gave him a pitch for
the film and told him what we were doing. He’s a very funny guy as
well and has a great sense of humor. We already had this kind of ’70s
disco party tone going through the film, and he was looking forward
to really tapping into that. He helped us, producing the film. He gave
the film energy once he joined it, because he found a cohesiveness to
all these songs from a whole bunch of different generations. He gave
it this party vibe, so they all feel like they fit together.
Timberlake, more than anybody else—except maybe Bruno
Mars—really fuses musical styles from the last 40 or 50
years. Troll dolls themselves have been popular for 50
years—were you trying to strike a similar tone with the
film?
Dohrn: I’m just thinking back and remembering the first time we
screened the movie. In the rough demos it already had some sounds
from the ’70s, because [Timberlake] immediately connected to the
movie sounds that he wanted to contribute.
Mitchell: It really has his thumbprint—his musical sensibilities.
It kind of had that even before we pitched it to him. I think that’s the
reason he agreed, because he knew he could own it and really take it
to the next level.
Dohrn: That’s so nice of you, Mike.
Mitchell: Not to mention you voiced many voices in the film.
Walt is Smidge, he’s Fuzzbert. There’s a character called Cloud Guy,
who’s a puff of smoke, and sleep-deprived college kids go nutty for
him. That’s Walt Dohrn.
Dohrn: You’re not too shabby yourself there.
Mitchell: Here’s how Walt and I work. Most animation directors
are behind a thick plate of bulletproof glass, in a dark room. The
actor is in another booth, recording. They only hear you if you press
your button and it’s like the voice of God going, [lowers voice] “OK,
let’s try it again, Justin.” And there’s just nothing creative about it. So
what Walt and I like to do is we are not in that booth; we leave that
to the technicians. We go into the room with the actor and all three
of us just improv and play around and try stuff out. It’s great because
sometimes I leap in and do a voice to play around with the actors.
Walt can really judge what we’re doing. Or vice versa, Walt is doing
improv with Anna Kendrick or throwing lines back and forth with
Zooey Deschanel, which was awesome.
Everyone we cast, we got really lucky. They’re really good actors
and they all have a great sense of humor, which really helps too.
Walt and I are open to any idea they have—to make us look better.
On top of that, all these guys can sing really well. We called it the
triple threat. They can voice act, they can sing, they are funny, funny,
funny. They can be very real in a scene, heartfelt and believable. And
that’s not always a combo platter.
In the past few months, Boxoffice has interviewed Fergus
Reilly, director of Angry Birds, and Dave Green, director
of Out of the Shadows, the new Teenage Mutant Ninja
Turtles movie. They both talked about how they included
references and homages throughout their films to elements
of the preexisting properties. Did you do anything similar?
Mitchell: Yes, we have many. Can I start listing them? First is the
hair. We took that to the next level. These guys can grow their hair
any length, they can change the shape of their hair, they can change
the color of their hair, they can use it like a monkey’s tail, they can
whip it like Indiana Jones.
Do you include the song “Whip Your Hair” by Willow
Smith? That would be perfect.
Mitchell: No. That seems obvious, but I can’t listen to that song
anymore because I used it in another film I directed, the Chipmunks
film [2011’s Alvin and the Chipmunks: Chipwrecked]. I had to get
those songs surgically removed from my head, because they really get
sticky. My doctor advised me never to listen to that song or put it in
another film ever again.
I guess you had to settle for having original music [in this
film] from Justin Timberlake and Ariana Grande.
Mitchell: Yeah, bummer, right? [Laughs.]
Any other references to Troll dolls?
Mitchell: Walt and I did research on these Troll collectors, these
very odd—how would you describe them?
Dohrn: Lovely.
Mitchell: Lovely Troll doll people. And we noticed in all the
OCTOBER 2016 BoxOffice ® 85

collections, there’s
always a whole
bunch of little
stubby-toed naked
Trolls with the big
hair, but in every
collection there’s a
giraffe for some reason
with a Troll head
and this kind of ’70s
cap on his head. So Walt
and I said, “You know what,
for the fans we have to—for no
reason—put a giraffe in the group
of characters.” And that’s played by Ron
Funches. So we’ve got this weird Troll giraffe,
and nobody ever asks why he’s a giraffe and not a Troll. Because we
don’t even know.
There are probably like seven people who get that
reference.
Mitchell: I know! It really plays into the sequel, if we’re blessed
enough to do a sequel. There’s a whole revelation.
How much did you look to other animated films based on
toys for inspiration, like The Lego Movie?
Mitchell: Actually, those Lego guys [co-directors Phil Lord and
Christopher Miller] came in and we showed them the film. They’re
buddies of ours. They were very kind to come in and give us notes
early on, when it was all just storyboards. We also got our buddy
Genndy Tartakovsky, who’s a friend of ours and directed all the Hotel
Transylvania movies. We got Paul Tibbitt, who ran the SpongeBob
show for years and years, to come in. Teddy Newton, who worked
at Pixar, came in and gave us some notes. Animation isn’t a big community.
We’re kind of friends with everyone, so we pulled them all in
and they were very helpful.
Dohrn: Steven Spielberg watched the movie.
Mitchell: Steven Spielberg, that was helpful. He gave us notes.
I love how you guys mention Spielberg about sixth. What
did he contribute?
Mitchell: I’ll tell you what he contributed, which was super helpful.
One, he’s a master storyteller. He knows exactly what he’s doing.
But more important than that, every time he screened our film, he
treated it like movie night at his house. He had all of his grandchildren
and nieces and nephews, everyone came over. So he had a full
house of kids. He would give us his notes and then he would spend a
lot of time giving us their notes. He would just watch how they reacted
to things and analyze it. He’s a big fan of an audience reaction.
Dohrn: Jeffrey Katzenberg and Steven Spielberg [co-founders of
DreamWorks] both really care about the audience. Is it clear enough?
Is it funny enough? Is it connecting with them enough?
Mitchell: We like an audience!
I have to ask one question about the box office. You’re
going up against Doctor Strange, which is gaining a lot
86 BoxOffice ® OCTOBER 2016

of buzz and for which some box office analysts are now
predicting a potential $100 million opening weekend.
Mitchell: Of course, it’s Marvel! Why wouldn’t it perform that
well? Guardians of the Galaxy did quite well, didn’t it? And they
considered that to be not in the realm of known characters. Here’s
the thing—I love Marvel. They’re so good at what they do. The way
they make films is very similar to how we make animated films. It’s
strangely a very similar process, which is why I think those films are
so fantastic. That said, I really feel that film is on the darker side of
Marvel, while we’re just as colorful and happy as can be.
Dohrn: We’re offering up happiness, to make you feel good about
yourself and your experience going to the movies. I think that’s the
big difference. There’s room for both films.
Mitchell: I’m going to get real for a second here. We did one of
these fun and funny and amazing designs to create a whole world,
but also Walt did a bunch of research into happiness.
Dohrn: We looked a lot at that Harvard study on happiness that’s
been going on for decades, and we garnered a lot from that. Yes,
it’s good to laugh. But to make the laugh even funnier, it needs the
emotional resonance and balance.
And people could potentially use some happiness on your
opening weekend specifically, because your movie comes
out on Friday, November 4, and the presidential election is
on Tuesday, November 8.
Dohrn: No question. Our world today has a lot of turmoil going
on. The audience could use a little bit of happiness in their lives. n
DOHRN AND MITCHELL AT THE MOVIES
Dohrn: My favorite movie theater is the Cinerama
Dome in Hollywood, the Arclight. The history there,
not to mention the picture, the sound quality, the giant
space you’re in—it’s an incredible space. Growing up
we had a little bit of a run-down tiny theater. Every
couple of months they’d run an old Disney film. I remember
going there specifically for [1944’s] The Three
Caballeros, which is an amazing and beautiful film,
definitely a big influence.
Mitchell: Here are my two. It’s an old run-down
dollar theater in Oklahoma City that’s not around anymore,
unfortunately. I was so mad, because I wanted
to see Raiders of the Lost Ark, and instead my parents
took me to see a revival of Alfred Hitchcock’s Rear
Window. And it blew my mind. To this day, that’s one
of my favorite films.
You didn’t get to see Raiders, you merely ended up
being friends with Steven Spielberg 30 years later.
Mitchell: So I didn’t have to see his film. No big deal.
[Laughs.]
OCTOBER 2016 BoxOffice ® 87

FILM CAPSULES
BY KENNETH JAMES BACON
THE GIRL ON
THE TRAIN
UNIVERSAL / OCT. 7
n Novelist Paula Hawkins took a risk when she took six months off to write The Girl on the Train. Up till then
she’d had no financial success with her writing. The gamble paid off: the dark thriller, her first, hit the New York
Times bestseller list where it sat on top for 13 weeks. This adaptation, by award-winning screenwriter Erin Cressida
Wilson, stars Emily Blunt as an alcoholic woman who rides the train into the city each day (even though she
has lost her job) and fantasizes about the lives of the people she sees during her daily journey.
CAST EMILY BLUNT, REBECCA FERGUSON, HALEY BENNETT, JUSTIN THEROUX, LUKE EVANS, ALLISON JANNEY
DIRECTOR TATE TAYLOR GENRE MYSTERY, THRILLER RATING R FOR VIOLENCE, SEXUAL CONTENT, LANGUAGE
AND NUDITY RUNNING TIME 112 MIN.
PICTURED: HALEY BENNETT
88 BoxOffice ® OCTOBER 2016

FRIEND
REQUEST
FREESTYLE RELEASING / OCT 7
n College student Laura receives a Facebook friend
request from Marina, a girl she barely knows. When
Marina kills herself on her web cam, her spirit begins
to wreak havoc on Laura’s life.
CAST ALYCIA DEBNAM-CAREY, WILLIAM MOSELEY,
CONNOR PAOLO DIRECTOR SIMON VERHOEVEN
GENRE HORROR, THRILLER RATING R FOR HORROR
VIOLENCE, DISTURBING IMAGES, AND LANGUAGE
RUNNING TIME 92 MIN.
PICTURED: ALYCIA DEBNAM-CAREY
THE BIRTH OF A NATION
FOX SEARCHLIGHT / OCT. 7
n Oscar is sniffing around this critically acclaimed picture about the
1831 Virginia slave rebellion led by Nat Turner. Star Nate Parker
also wrote, directed, and produced the passion project. Controversy
surrounds the film as rape allegations from 1999 have been trailing
Parker as he hits the festival circuit (the accuser committed suicide in
2012). Fox Searchlight paid $17.5 million for the worldwide rights,
the highest ever paid for a film out of the Sundance Film Festival.
CAST NATE PARKER, ARMIE HAMMER, MARK BOONE JUNIOR
DIRECTOR NATE PARKER GENRE BIOGRAPHY, DRAMA RATING R FOR
DISTURBING VIOLENT CONTENT AND SOME BRIEF NUDITY RUNNING
TIME 120 MIN.
PICTURED: NATE PARKER (CENTER)
OCTOBER 2016 BoxOffice ® 89

ON SCREEN > WIDE RELEASES
MIDDLE SCHOOL
THE WORST YEARS OF MY LIFE
CBS FILMS•LIONSGATE / OCT. 7
n This family comedy is based on a popular series of books by
James Patterson, better known for his crime thrillers featuring police
psychologist Alex Cross. When young Rafe Khatchadorian (Griffin
Gluck) concludes that the teachers at his new school are worse than
the bullies, he decides to stage an insurrection—he will attempt
to break every rule in the student handbook, thus collecting more
demerits than any student in school history.
CAST LAUREN GRAHAM, GRIFFIN GLUCK, ROB RIGGLE, THOMAS
BARBUSCA, ISABELA MONER DIRECTOR STEVE CARR GENRE
COMEDY RATING PG FOR RUDE HUMOR THROUGHOUT, LANGUAGE
AND THEMATIC ELEMENTS RUNNING TIME 92
PICTURED: MADELEINE STACK, LAUREN GRAHAM, AND GRIFFIN
GLUCK
MAX STEEL
OPEN ROAD / OCT. 14
n Fifty years ago, during the Vietnam War, Hasbro began marketing an
Army doll for boys: G.I. Joe. Fearing that the word “doll” would impact
sales they coined the term “action figure,” a moniker that has stuck. Max
Steel is a Mattel action figure that has had his own animated show and
now a live-action movie. Teenager Max McGrath and his alien companion,
Steel, combine forces to become a superhero. Together—as Max
Steel—they fight for truth, justice, and the … oh, that’s another guy.
CAST BEN WINCHELL, JOSH BRENER, MARIA BELLO DIRECTOR
STEWART HENDLER GENRE ACTION, ADVENTURE, SCI-FI RATING PG-
13 FOR SOME SCI-FI ACTION VIOLENCE RUNNING TIME TBD
PICTURED: BEN WINCHELL
90 BoxOffice ® SEPTEMBER OCTOBER 2016 2016

EVENT CINEMA
CALENDAR
FATHOM EVENTS fathomevents.com • 855-473-4612
YOUNG FRANKENSTEIN Wed, 10/5/16 Comedy
TO JOEY, WITH LOVE Thurs, 10/6/16 Documentary
THE MET LIVE IN HD: TRISTANE UND ISOLDE Sat, 10/8/16 & Wed, 10/12/16 Opera
ROOSTER TEETH: LET'S PLAY LIVE Sat, 10/8/16 Gaming
BATMAN: RETURN OF THE CAPED CRUSADERS Mon, 10/10/16 Action
PRICELESS PREMIERE WITH FOR KING & COUNTRY Thurs, 10/13/16 Inspirational
YO-KAI WATCH: THE MOVIE EVENT Sat, 10/15/16 Anime
BOLSHOI BALLET: THE GOLDEN AGE Sun, 10/16/16 Ballet
TAXI DRIVER 40TH ANIVERSARY Sun, 10/16/16 and Wed, 10/19/16 Drama
KIRK CAMERON'S REVIVE US Tues, 10/18/16 & Mon, 10/24/16 Inspirational
ROB ZOMBIE’S 31 Thurs, 10/20/16 Horror
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: FRANKENSTEIN Tues, 10/25/16 Theatre
RIFFTRAX LIVE: CARNIVAL OF SOULS Thurs, 10/27/16 & Mon, 10/31/16 Comedy
NEWTOWN Wed, 11/2/16 Documentary
BOLSHOI BALLET: THE BRIGHT STREAM Sun, 11/6/16 Ballet
STEPHANIE MILLER'S SEXY LIBERAL COMEDY TOUR Mon, 11/7/16 Comedy
NT LIVE: HAMLET Tues, 11/15/16 Theatre
TCM BIG SCREEN CLASSICS: BREAKFAST AT TIFFANY'S Sun, 11/27/16 & Wed, 11/30/16 Romantic Comedy
THE MET LIVE IN HD: THE MAGIC FLUTE Sat, 12/3/16 Opera
THE MET LIVE IN HD: L'AMOUR DE LOIN Sat, 12/10/16 & Wed, 12/21/16 Opera
TCM BIG SCREEN CLASSICS: FROM HERE TO ETERNITY Sun, 12/11/16 & Wed, 12/14/16 Romance
GEORGE TAKEI'S ALLEGIANCE: THE BROADWAY MUSICAL ON THE BIG SCREEN Tues, 12/13/16 Musical
BOLSHOI BALLET: THE NUTCRACKER Sun, 12/18/16 Ballet
THE MET LIVE IN HD: NABUCCO Sat, 1/7/17 & Wed, 1/11/17 Opera
THE BOWDEN DYNASTY: A STORY OF FAITH, FAMILY & FOOTBALL Sun, 1/8/17 Documentary
THE MET LIVE IN HD: ROMEO ET JULIETTE Sat, 1/21/17 & Wed, 1/25/17 Opera
BOLSHOI BALLET: THE SLEEPING BEAUTY Sun, 1/22/17 Ballet
BOLSHOI BALLET: SWAN LAKE Sun, 2/5/17 Ballet
THE MET LIVE IN HD: RUSALKA Sat, 2/25/2017 & Wed, 3/1/17 Opera
THE MET LIVE IN HD: LA TRAVIATA Sat, 3/11/2017 & Wed, 3/15/17 Opera
BOLSHOI BALLET: A CONTEMPORARY EVENING Sun, 3/19/17 Ballet
MET LIVE IN HD: IDOMENEO Sat, 3/25/17 & Wed, 3/29/17 Opera
FACING DARKNESS Thurs, 3/30/17 Inspirational
BOLSHOI BALLET: A HERO OF OUR TIME Sun, 4/9/17 Ballet
THE MET LIVE IN HD: EUGENE ONEGIN Sat, 4/22/17 & Wed, 4/26/17 Opera
THE MET LIVE IN HD: DER ROSENKAVALIER Sat, 5/13/2017 & Wed, 5/17/17 Opera
ROYAL OPERA HOUSE roh.org.uk/cinemas • cinema@roh.org.uk
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
IL TROVATORE Tues, 1/31/17 Opera
WOOLF WORKS Wed, 2/8/17 Ballet
THE SLEEPING BEAUTY Tue, 2/28/17 Ballet
MADAMA BUTTERFLY Thurs, 3/30/17 Opera
JEWELS Tue, 4/11/17 Ballet
THE DREAM / SYMPHONIC VARIATIONS / MARGUERITE AND ARMAND Wed, 6/7/17 Ballet
OTELLO Wed, 6/28/17 Opera
SPECTICAST specticast.com • 866-996-2842
JOHN CARPENTER'S HALLOWEEN Sat, 10/1/16 Horror
HALLOWEEN 4: THE RETURN OF MICHAEL MYERS Sat, 10/1/16 Horror
HALLOWEEN 5: THE REVENGE OF MICHAEL MYERS Sat, 10/1/16 Horror
STAGE RUSSIA - THE CHERRY ORCHARD Thurs, 10/27/16 Theatre
ANNA KARENINA Sat, 10/8/16 Theatre
THE BLACK MONK Thu, 1/19/17 Theatre
THREE COMRADES Thu, 3/2/17 Theatre
OCTOBER 2016 BoxOffice ® 91

ON SCREEN > WIDE RELEASES
THE ACCOUNTANT
WARNER BROS.
OCT. 14
n J.K. Simmons leaves his
Farmers Insurance gig (and Oscar)
behind to join Ben Affleck
in this crime drama about a
math whiz (Affleck) who hires
himself out to criminal organizations
to uncook the books. A
Treasury agent (Simmons) is out
to get him.
CAST ANNA KENDRICK, BEN
AFFLECK, JON BERNTHAL
DIRECTOR GAVIN O’CONNOR
GENRE CRIME, DRAMA,
THRILLER RATING R FOR
STRONG VIOLENCE AND
LANGUAGE THROUGHOUT
RUNNING TIME 128 MIN.
PICTURED: ANNA KENDRICK
AND BEN AFFLECK
92 BoxOffice ® OCTOBER 2016

OCTOBER 2016 BoxOffice ® 93

ON SCREEN > WIDE RELEASES
KEVIN HART: WHAT NOW?
UNIVERSAL / OCT. 14
n Comedian Kevin Hart plays to 53,000 in the home of the
Philadelphia Eagles in this concert film that includes some framing
material featuring Halle Berry and Don Cheadle. Hart is so popular
that it was revealed in the infamous Sony e-mail leak that the studio
paid him $2 million to simply tweet about their films. He has 30
million followers.
CAST KEVIN HART, HALLE BERRY, DON CHEADLE DIRECTORS LESLIE
SMALL, TIM STORY GENRE DOCUMENTARY, COMEDY RATING R FOR
SOME SEXUAL MATERIAL, AND LANGUAGE THROUGHOUT RUNNING
TIME 96 MIN.
PICTURED: KEVIN HART
JACK
REACHER
NEVER GO BACK
PARAMOUNT / OCT. 21
n When Tom Cruise was cast as Lee Child’s popular
character, fans of the books were aghast. In Child’s
books, Reacher is a hulking 6' 5" with a 50" chest. Mr.
Cruise is somewhat smaller than that. But the film was
a $200 million hit. In this follow-up, Cruise is joined
by Cobie Smulders (agent Maria Hill in the Marvel
movies) as Reacher attempts to clear his name for an
old murder rap.
CAST TOM CRUISE, COBIE SMULDERS, ROBERT KNEP-
PER DIRECTOR EDWARD ZWICK GENRE ACTION, AD-
VENTURE, CRIME RATING PG-13 FOR SOME PERIL AND
BRIEF STRONG LANGUAGE RUNNING TIME 118 MIN.
PICTURED: TOM CRUISE
94 BoxOffice ® OCTOBER 2016

OUIJA:
ORIGIN OF
EVIL
UNIVERSAL / OCT. 21
n 2014’s Ouija was a solid $100 million hit for
Universal so certainly a sequel was in order. Instead,
the producers decided on a prequel, as this follow-up
is set 50 years ago in Los Angeles. With a fresh cast,
including the now 45-year-old star of E.T., Henry
Thomas, the movie concerns a family of scam artists
who use faux séances as a way of making ends meet.
When a Ouija board comes into their home, their
young daughter becomes possessed.
CAST ELIZABETH REASER, DOUG JONES, HENRY
THOMAS DIRECTOR MIKE FLANAGAN GENRE HORROR,
THRILLER RATING PG-13 FOR DISTURBING IMAGES,
TERROR AND THEMATIC ELEMENTS RUNNING TIME
TBD
PICTURED: ELIZABETH REASER, LULU WILSON, AND
HENRY THOMAS
Theatre Architects & Engineers
ParadigmAE.com | 616•785•5656
OCTOBER 2016 BoxOffice ® 95

ON SCREEN > WIDE RELEASES
TYLER PERRY’S
BOO! A MADEA
HALLOWEEN
LIONSGATE / OCT. 21
n In 2009, director Spike Lee called Tyler Perry’s
character, Madea, “coonery buffoonery.” Perry struck
back: “Spike needs to shut the hell up!” Audiences
have spoken—eight movies and $350 million later,
Medea returns in this horror comedy inspired by a
joke in Chris Rock’s film Top Five. In that 2014 film,
Chris Rock’s character, a famous actor, is upset that
people aren’t at his movie, that they are instead at
something called Tyler Perry’s Boo! A Madea Halloween.
Lionsgate called Perry—”let’s do it.” And here we are.
In this outing, Madea is charged with keeping an eye
on her grandniece Tiffany (singer Diamond White)
and a group of teens set on having a Halloween bash,
but ghosts, ghouls, and goblins get in the way.
CAST BELLA THORNE, BROCK O’HURN, TYLER
PERRY DIRECTOR TYLER PERRY GENRE COMEDY,
DRAMA, HORROR RATING PG-13 FOR DRUG USE AND
REFERENCES, SUGGESTIVE CONTENT, LANGUAGE,
SOME HORROR IMAGES, AND THEMATIC MATERIAL
RUNNING TIME TBD
PICTURED: CASSI DAVIS AND TYLER PERRY
96 BoxOffice ® OCTOBER 2016

OCTOBER 2016 BoxOffice ® 97

KEEPING UP WITH
THE JONESES
FOX / OCT. 21
n Before Tom Hanks became two-time Oscar winner Tom Hanks, he
starred in the 1989 cult classic The ’Burbs. Hanks and Carrie Fisher
played a suburban couple who, along with neighbors Bruce Dern
and the late Rick Ducommun, suspect that the new neighbors in the
cul-de-sac are up to no good. They are. Nearly 30 years later, Superbad
director Greg Mottola revisits that basic premise in Keeping Up with
the Joneses. Zach Galifianakis and Isla Fisher play the Gaffneys, a normal
suburban couple with normal suburban problems (they have sex
quickly in case the kids walk in). Jon Hamm and Gal Gadot also play
a normal suburban couple—normal except that they are two of
the best-looking people on the planet. They also turn out to be international
spies, and the Gaffneys become embroiled, entangled, and
otherwise ensnared in the duo’s adventures.
CAST JON HAMM, GAL GADOT, ISLA FISHER, ZACH GALIFIANAKIS
DIRECTOR GREG MOTTOLA GENRE ACTION, COMEDY RATING PG-13
FOR SEXUAL CONTENT, ACTION/VIOLENCE, AND BRIEF STRONG
LANGUAGE RUNNING TIME TBD
PICTURED: JON HAMM AND GAL GADOT
98 BoxOffice ® OCTOBER 2016

INFERNO
PARAMOUNT / OCT. 28
n Writer Dan Brown has written
five Robert Langdon novels (a sixth,
Origin, is due next year). The Internet
will tell you that he’s now worth $140
million. That’s a lot of creepy, conspiracy-tinged,
Freemasonry-ish, Eye
of Providence–imprinted dollar bills.
Inferno is the third film in the series
(they skipped The Lost Symbol for
some reason. Or no reason at all. It is a
riddle, wrapped in a mystery, inside a
Starbucks cup). Tom Hanks returns as
Harvard symbologist Robert Langdon
and is joined by Felicity Jones—soon
to appear in Rogue One—as he tries to
regain lost memories while also trying
to solve a riddle as mysterious as the
reasons they didn’t make The Lost
Symbol.
CAST TOM HANKS, FELICITY JONES,
BEN FOSTER DIRECTOR RON HOWARD
GENRE MYSTERY, THRILLER RATING
PG-13 FOR SEQUENCES OF ACTION
AND VIOLENCE, DISTURBING IMAGES,
SOME LANGUAGE, THEMATIC
ELEMENTS, AND BRIEF SENSUALITY
RUNNING TIME 121 MIN.
PICTURED: TOM HANKS
OCTOBER 2016 BoxOffice ® 99

ON SCREEN > LIMITED RELEASES
CERTAIN WOMEN
IFC•SUNDANCE SELECTS / OCT. 14
n In a rare instance of critical consensus, Certain Women holds a
100% score at Rotten Tomatoes. Writer/director Kelly Reichardt,
whose 2010 frontier film Meek’s Cutoff was an indie favorite, weaves
together a story of three women in contemporary Montana.
CAST KRISTEN STEWART, MICHELLE WILLIAMS, LAURA DERN
DIRECTOR KELLY REICHARDT GENRE DRAMA RATING R FOR SOME
LANGUAGE RUNNING TIME 147 MIN.
DESIERTO
STX ENTERTAINMENT / OCT. 14
n Mozart in the Jungle star Gael García Bernal plays Moises, a Mexican
migrant worker who becomes the target of a gun-toting border
vigilante when he tries to cross unarmed into the United States with
other laborers.
CAST GAEL GARCÍA BERNAL, JEFFREY DEAN MORGAN DIRECTOR
JONÁS CUARÓN GENRE DRAMA, THRILLER RATING R FOR STRONG
VIOLENCE AND LANGUAGE RUNNING TIME 94 MIN.
LA LEYENDA DEL
CHUPACABRAS
LIONSGATE•PANTELION / OCT. 14
n The latest in a series of Leyenda (Legends) films, this animated
horror comedy from Mexico features a flying monster that terrorizes
the inmates and guards in a prison.
PICTURED: MALCOLM MCDOWELL
IN ROB ZOMBIE’S HORROR FILM, 31
VOICE CAST BENNY EMMANUEL DIRECTOR ALBERTO RODRIGUEZ
GENRE ANIMATION RATING PG RUNNING TIME TBD
100 BoxOffice ® OCTOBER 2016

PRICELESS
ROADSIDE ATTRACTIONS / OCT. 14
n An aimless young man who has lost his wife and daughter agrees
to drive a box truck cross country. No questions asked. Cash. What
he discovers is not what he’s transporting, but whom he’s transporting.
CAST AMBER MIDTHUNDER, DAVID KOECHNER, JIM PARRACK
DIRECTOR BEN SMALLBONE GENRE DRAMA, ROMANCE RATING
PG-13 FOR MATURE THEMATIC MATERIAL INVOLVING HUMAN
TRAFFICKING, AND SOME VIOLENCE RUNNING TIME TBD
31
SABAN FILMS•LIONSGATE / OCT. 21
n Malcolm McDowell stars as Father Napoleon-Horatio-Silas
Murder. Yes, that’s his name. Father Murder, along with two others,
captures carnies and forces them to play a torturous game called 31.
CAST MALCOLM MCDOWELL, RICHARD BRAKE, JEFF DANIEL
PHILLIPS DIRECTOR ROB ZOMBIE GENRE HORROR, THRILLER RATING
R FOR STRONG BLOODY HORROR VIOLENCE, PERVASIVE LANGUAGE,
SEXUAL CONTENT AND DRUG USE RUNNING TIME 102 MIN.
AMERICAN PASTORAL
LIONSGATE / OCT. 21
n Making his directorial debut, actor Ewan McGregor has adapted
Philip Roth’s 1997 Pulitzer Prize–winning novel to the screen and stars
as successful Jewish businessman Seymour “Swede” Levov, whose life
unravels after his daughter takes part in a violent anti-war protest.
WE ARE X
DRAFTHOUSE FILMS / OCT. 21
n The Japanese heavy metal band We Are X is profiled in this British
documentary that focuses on band founder Yoshiki. Though the
group disbanded 20 years ago, they reformed after a lengthy hiatus to
eventually play Madison Square Garden.
CAST JENNIFER CONNELLY, EWAN MCGREGOR DIRECTOR EWAN
MCGREGOR GENRE CRIME, DRAMA RATING R FOR SOME STRONG
SEXUAL MATERIAL, LANGUAGE AND BRIEF VIOLENT IMAGES
RUNNING TIME 126 MIN.
CAST YOSHIKI, TOSHI, PATA DIRECTOR STEPHEN KIJAK GENRE
DOCUMENTARY, MUSIC RATING R FOR SOME LANGUAGE RUNNING
TIME 93 MIN.
MOONLIGHT
A24 / OCT. 21
n Universally acclaimed (and perhaps Oscar-bound), Moonlight
chronicles a young man’s difficult journey from boy to man. Three
actors share the central role.
CAST TREVANTE RHODES, ASHTON SANDERS, ALEX HIBBERT,
NAOMIE HARRIS DIRECTOR BARRY JENKINS GENRE DRAMA RATING
R RUNNING TIME 110 MIN.
THE EAGLE HUNTRESS
SONY PICTURES CLASSICS / OCT. 28
n The Force Awakens star Daisy Ridley narrates this documentary
about a Kazakh girl, Aisholpan, and her quest to become a rare
breed: a female eagle hunter. The film covers her training and culminates
in her entry into the Golden Eagle Festival competition.
NARRATOR DAISY RIDLEY DIRECTOR OTTO BELL GENRE
DOCUMENTARY RATING G RUNNING TIME 87 MIN.
OCTOBER 2016 BoxOffice ® 101

BOOKING
GUIDE
Compiled by Diogo Busato
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
A24 646-568-6015
OASIS: SUPERSONIC
Wed, 10/26/16 LTD.
MOONLIGHT Fri, 10/21/16 NY/LA
Noel Gallagher, Liam
Gallagher
Naomie Harris, André
Holland
Mat Whitecross R Doc/Mus
Barry Jenkins R Dra
20TH CENTURY WOMEN Sun, 12/25/16, LTD. Annette Bening, Elle Fanning Mike Mills R Com/Dra
DISNEY 818-560-1000 Ask for Distribution
Benedict Cumberbatch,
DOCTOR STRANGE
Fri, 11/4/16 WIDE
Scott Derrickson PG-13 Act/Adv 3D/IMAX
Chiwetel Ejiofor
MOANA
ROGUE ONE: A STAR WARS
STORY
Wed, 11/23/16 WIDE
Auli’i Cravalho, Dwayne
Johnson
Ron Clements, John
Musker
PG
Ani/Mus/
Fam
Fri, 12/16/16 WIDE Felicity Jones, Diego Luna Gareth Edwards NR Act/Adv/SF
BEAUTY AND THE BEAST Fri, 3/17/17 WIDE Emma Watson, Dan Stevens Bill Condon PG-13
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
Mus/Rom/
Fan
Fri, 5/5/17 WIDE Chris Pratt, Zoe Saldana James Gunn NR Act/Adv/SF
Fri, 5/26/17 WIDE Johnny Depp, Orlando Bloom
Joachim Rønning,
Espen Sandberg
CARS 3 Fri, 6/16/17 WIDE Owen Wilson Brian Fee NR
UNTITLED DISNEY LIVE
ACTION FAIRY TALE 1
THOR: RAGNAROK
COCO
STAR WARS: EPISODE VII
BLACK PANTHER
NR
Act/Adv
Ani/Adv/
Fam
Fri, 7/28/17 WIDE NR Fan
Fri, 11/3/17 WIDE
Fri, 11/22/17 WIDE
Fri, 12/15/17 WIDE
Fri, 2/16/18 WIDE
Tom Hiddleston, Chris
Hemsworth, Idris Elba
Daisy Ridley, John Boyega,
Oscar Isaac
Chadwick Boseman, Lupita
Nyong’o
John C. Reilly, Sarah
WRECK-IT RALPH SEQUEL
Fri, 3/9/18 WIDE
Silverman
EUROPACORP FILMS, USA 310-205-0255 Ask for Distribution
3D/Dolby Dig
3D/IMAX/Dolby
Dig
3D/IMAX
3D/IMAX/Dolby
Dig
3D/IMAX/Dolby
Dig
Taika Waititi NR Act/Adv 3D/IMAX
Lee Unkrich, Adrian
Molina
NR
Ani
Rian Johnson NR Act/Adv/SF
Ryan Coogler NR Act/Adv/SF
Phil Johnston, Rich
Moore
SHUT IN Fri, 11/11/16 WIDE Naomi Watts, Oliver Platt Farren Blackburn PG-13 Thr
MISS SLOANE
Fri, 12/9/16 WIDE
Jessica Chastain, Mark
Strong
John Madden R Dra
THE LAKE
Fri, 1/27/17 WIDE
VALERIAN AND THE CITY
Fri, 7/21/17 WIDE
OF A THOUSAND PLANETS
FOCUS FEATURES 424-214-6360
Sullivan Stapleton, J.K.
Simmons
Dane DeHaan, Cara
Delevingne
NR
Ani/Adv/
Fam
Steven Quale PG-13 Act/Thr
Luc Besson NR Act/Adv/SF
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 R Dra/Thr
A MONSTER CALLS Fri, 12/23/16 LTD
Lewis MacDougall, Liam
Neeson
J.A. Bayona PG-13 Dra/Fan
THE BOOK OF HENRY Fri, 6/16/17 LTD. Naomi Watts, Lee Pace Colin Trevorrow PG-13 Dra
VICTORIA AND ABDUL Fri, 9/22/17 LTD. Judi Dench, Ali Fazal Stephen Frears NR Dra
DARKEST HOUR Fri, 11/24/17 WIDE Gary Oldman, Lily James Joe Wright NR Bio
3D
3D/IMAX/Dolby
Dig
102 BoxOffice ® OCTOBER 2016

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
FOX 310-369-1000 / 212-556-2400
KEEPING UP WITH THE
Fri, 10/21/16 WIDE Gal Gadot, Isla Fisher Greg Mottola PG-13 Com
JONESES
TROLLS
Fri, 11/4/16 WIDE
Anna Kendrick, Justin
Timberlake
Mike Mitchell
PG
Ani/Com/
Fam
3D/Dolby Dig
RULES DON’T APPLY
Wed, 11/23/16 WIDE
Warren Betty, Alec Baldwin,
Lily Collins
Warren Betty
NR
Rom/Com/
Dra
ASSASSIN’S CREED
Wed, 12/21/16 WIDE
Michael Fassbender, Marion
Cotillard
Justin Kurzel NR Act/Adv Dolby Dig
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
THE BOSS BABY Fri, 3/31/17 WIDE Alec Baldwin, Kevin Spacey Tom McGrath NR
James Mangold NR Act/Adv IMAX
MOTHER/DAUGHTER Fri, 5/12/17 WIDE Amy Schumer, Goldie Hawn Jonathan Levine NR Com
DIARY OF A WIMPY KID:
THE LONG HAUL
Fri, 5/19/17 WIDE
Alicia Silverstone, Tom
Everett Scott
Ani/Com/
Fam
David Bowers NR Com/Fam
CAPTAIN UNDERPANTS Fri, 6/2/17 WIDE Ed Helms, Kevin Hart David Soren NR
Ani/Com/
Fam
3D/Dolby Dig
3D
OCTOBER 2016 BoxOffice ® 103

BOOKING GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
KINGSMAN: THE GOLDEN
CIRCLE
WAR FOR THE PLANET OF
THE APES
ALIEN: COVENANT
UNTITLED FOX / MARVEL
FILM
THE MOUNTAIN BETWEEN
US
Fri, 6/16/17 WIDE
Fri, 7/14/17 WIDE
Fri, 8/4/17 WIDE
Fri, 10/6/17 WIDE
Fri, 10/20/17 WIDE
Taron Egerton, Julianne
Moore
Andy Serkis, Woody
Harrelson
Michael Fassbender,
Katherine Waterston
Charlie Hunnam, Rosamund
Pike
Matthew Vaughn NR Act/Thr
Matt Reeves NR Act/SF
Ridley Scott NR SF/Thr
NR
Hany Abu-Assad NR Dra/Rom
RED SPARROW Fri, 11/10/17 WIDE Jennifer Lawrence Francis Lawrence NR Thr
MURDER ON THE ORIENT
EXPRESS
Fri, 11/22/17 WIDE Kenneth Branagh NR Dra/Mys
FERDINAND Fri, 12/22/17 WIDE Carlos Saldanha NR Ani/Fam 3D
THE GREATEST SHOWMAN
ON EARTH
MAZE RUNNER: THE DEATH
CURE
Mon, 12/25/17 WIDE Hugh Jackman Michael Gracey NR Mus/Dra
Fri, 1/12/18 WIDE
Dylan O’Brien, Kaya
Scodelario
Wes Ball NR SF/Thr IMAX
THE PREDATOR Fri, 2/9/18 WIDE Shane Black NR Act/SF/Hor
UNTITLED FOX / MARVEL
FILM 2
Fri, 3/2/18 WIDE NR Act/SF
FOX SEARCHLIGHT 212-556-2400
THE BIRTH OF A NATION Fri, 10/7/16 WIDE Nate Parker, Armie Hammer Nate Parker R Dra
JACKIE Fri, 12/2/16 LTD
Natalie Portman, Greta
Gerwig
Pablo Larrain NR Bio/Dra
TABLE 19
Fri, 1/20/17 WIDE
Anna Kendrick, Craig
Robinson
Jeffrey Blitz PG-13 Com/Dra
WILSON Fri, 3/3/17 LTD Woody Harrelson, Judy Greer Craig Johnson NR Com
GIFTED Wed, 4/12/17 LTD Chris Evans, Mckenna Grace Marc Webb NR Dra
LIONSGATE 310-309-8400
THE GREAT GILLY HOPKINS Fri, 10/7/16 LTD Sophie Nélisse, Kathy Bates Steven Herek PG Com/Fam
MIDDLE SCHOOL: THE
WORST YEARS OF MY LIFE
Fri, 10/7/16 WIDE Griffin Gluck, Lauren Graham Steve Carr PG Com/Fam
LA LEYENDA DEL
CHUPACABRAS
AMERICAN PASTORAL
BOO! A MADEA
HALLOWEEN
THE WHOLE TRUTH
UNTITLED LIONSGATE
HORROR FILM
HACKSAW RIDGE
Fri, 10/14/16 LTD
Fri, 10/21/16 LTD.
Eduardo España, Benny
Mendoza
Ewan McGregor, Jennifer
Connelly
Alberto Rodriguez
PG
Ani/Com/
Fam
Ewan McGregor R Dra
Fri, 10/21/16 WIDE Tyler Perry, Bella Thorne Tyler Perry PG-13 Com/Hor
Fri, 10/21/16 LTD.
Keanu Reeves, Renée
Zellweger
Courtney Hunt R Cri/Thr
Fri, 10/28/16 WIDE NR Hor
Fri, 11/4/16 WIDE
Andrew Garfield, Sam
Worthington
Mel Gibson NR Act/Dra/War
MAN DOWN Fri, 12/2/16 LTD. Shia LaBeouf, Kate Mara Dito Montiel R Dra/Thr
LA LA LAND Fri, 12/9/16 LTD. Ryan Gosling, Emma Stone Damien Chazelle PG-13 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
ROCK DOG Fri, 2/24/17 WIDE Luke Wilson, Eddie Izzard Ash Brannon NR Ani/Fam
THE SHACK
Fri, 3/3/17 WIDE
Sam Worthington, Octavia
Spencer
Stuart Hazeldine NR Dra
104 BoxOffice ® OCTOBER 2016

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
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 HITMAN’S
BODYGUARD
Fri, 8/18/17 WIDE
Ryan Reynolds, Samuel L.
Jackson
Patrick Hughes NR Act/Com
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
THE COMMUTER Fri, 10/13/17 WIDE Liam Neeson, Vera Farmiga Jaume Collet-Serra NR Act
Michael Spierig, Peter
UNTITLED SAW FILM
Fri, 10/27/17 WIDE
NR Hor
Spierig
OPEN ROAD FILMS 310-696-7504
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
JACK REACHER:
NEVER GO BACK
Wed, 10/21/16 WIDE Tom Cruise, Cobie Smulders Edward Zwick NR Act/Cri/Thr
IMAX/Dolby
Atmos
SEATING
CONCEPTS
Thanking all our partners
for continuing the journey with us
Kimberly Browning +619 260 3882 (Corporate)
Marixa Flores +619 260 3884 (Corporate)
Yar Sinitsov +31 652 648 615 (Europe)
4229 Ponderosa Ave. Suite B
San Diego CA 92123
www.seatingconcepts.com
OCTOBER 2016 BoxOffice ® 105

BOOKING GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
SILENCE Fri, 10/23/16 LTD. Adam Driver, Liam Neeson Martin Scorsese NR His/Dra
ARRIVAL
Fri, 11/11/16 WIDE
Amy Adams and Jeremy
Renner
Denis Villeneuve NR SF
ALLIED Wed, 11/23/16 WIDE Brad Pitt, Marion Cotillard Robert Zemeckis NR Dra/Rom/Thr
OFFICE CHRISTMAS PARTY
Fri, 12/9/16 WIDE
FENCES Fri, 12/16/16 NY/LA
Jennifer Aniston, Jason
Bateman
Denzel Washington, Viola
Davis
Josh Gordon, Will
Speck
NR
Com
Denzel Washington NR Dra
MONSTER TRUCKS Fri, 1/13/17 WIDE Jane Levy, Lucas Till Chris Wedge NR
XXX 3: THE RETURN OF
XANDER CAGE
Ani/Adv/
Fam
Fri, 1/20/17 WIDE Vin Diesel, Samuel L. Jackson D.J. Caruso NR Act/Adv/Thr
RINGS Fri, 2/3/17 WIDE Matilda Lutz, Alex Roe F. Javier Gutiérrez NR Hor
SAME KIND OF DIFFERENT
AS ME
GOD PARTICLE
GHOST IN THE SHELL
Fri, 2/3/17 WIDE
Fri, 2/24/17 WIDE
Fri, 3/31/17 WIDE
Djimon Hounsou, Greg
Kinnear
David Oyelowo, Gugu
Mbatha-Raw
Scarlett Johansson, Pilou
Asbæk
Michael Carney NR Dra
3D/Dolby Atmos
Julius Onah NR SF/Thr IMAX
Rupert Sanders NR Act/Thr/SF 3D/IMAX
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
FRIDAY THE 13TH Fri, 10/13/17 WIDE NR Hor
GNOMEO & JULIET:
SHERLOCK GNOMES
Fri, 1/12/18 WIDE James McAvoy, Emily Blunt John Stevenson NR
RELATIVITY STUDIOS 310-724-7700 Ask for Distribution
KIDNAP
Fri, 12/2/16 WIDE
Halle Berry, Dana Gourrier,
Christopher Berry
Luis Prieto
R
SONY 212-833-8500
INFERNO Fri, 10/28/16 WIDE Tom Hanks, Felicity Jones Ron Howard PG-13 Thr
BILLY LYNN’S LONG
HALFTIME WALK
PASSENGERS
UNDERWORLD: BLOOD
WARS
RESIDENT EVIL: THE FINAL
CHAPTER
Fri, 11/11/16 WIDE Joe Alwyn, Garrett Hedlund Ang Lee NR
Wed, 12/21/16 WIDE
T2: TRAINSPOTTING Fri, 2/3/17 WIDE
THE DARK TOWER
Chris Pratt, Jennifer
Lawrence
Ani/Com/
Fam
Com/Dra/
War
IMAX / Dolby
Atmos
3D/Dolby Atmos
Morten Tyldum NR SF/Adv/Rom 3D/Dolby Atmos
Fri, 1/6/17 WIDE Kate Beckinsale, Theo James Anna Foerster NR Act/Hor
Fri, 1/27/17 WIDE Milla Jovovich, Ali Larter Paul W.S. Anderson NR Act/Hor 3D
Fri, 2/17/17 WIDE
Ewan McGregor, Robert
Carlyle, Jonny Lee Miller
Idris Elba, Matthew
McConaughey
Danny Boyle NR Dra
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
SMURFS: THE LOST
VILLAGE
Fri, 4/7/17 WIDE Demi Lovato, Mandy Patinkin Kelly Asbury NR
BARBIE Fri, 5/12/17 WIDE NR Com
LIFE
ROCK THAT BODY
SPIDER-MAN:
HOMECOMING
Fri, 5/26/17 WIDE
Fri, 6/23/17 WIDE
Ryan Reynolds, Jake
Gyllenhaal
Scarlett Johanson, Kate
McKinnon
Ani/Com/
Fam
Daniel Espinosa NR SF/Thr
Lucia Aniello NR Com/Dra
Fri, 7/7/17 WIDE Tom Holland, Marisa Tomei Jon Watts NR Act/Adv
3D
3D/IMAX/Dolby
Atmos
106 BoxOffice ® OCTOBER 2016

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
JUMANJI Fri, 7/28/17 WIDE Dwayne Johnson, Jack Black Jake Kasdan NR
EMOJIMOVIE: EXPRESS
YOURSELF
UNTITLED SONY EVENT
FILM
Adv/Fan/
Fam
Fri, 8/11/17 WIDE Tony Leondis NR Ani 3D
Fri, 9/15/17 WIDE
THE EQUALIZER 2 Fri, 9/29/17 WIDE Denzel Washington NR Act/Thr
THE STAR Fri, 12/22/17 WIDE Timothy Reckart NR Ani
BAD BOYS FOR LIFE Fri, 1/12/18 WIDE Will Smith, Martin Lawrence Joe Carnahan NR Act/Thr
PETER RABBIT Fri, 3/23/18 WIDE Will Gluck
Rose Byrne, James
Corden
NR
NR
Fam/Ani
Ani/Com/
HOTEL TRANSYLVANIA 3 Fri, 9/21/18 WIDE Adam Sandler, Selena Gomez Genndy Tartakovsky NR
Fam
SONY PICTURES CLASSICS Tom Prassis 212-833-4981
THE EAGLE HUNTRESS Fri, 10/28/16 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
JULIETA
Wed, 12/21/16 EXCL
NY/LA
Emma Suárez, Adriana
Ugarte
Pedro Almodóvar R Dra/Rom
TONI ERDMANN
Sun, 12/25/16 EXCL
NY/LA
Peter Simonischek, Sandra
Hüller
Maren Ade R Dra
THE RED TURTLE
Fri, 1/20/17 EXCL NY/LA
Michael Dudok de
Wit
PG
Ani/Fan
STADIUM
SAVERS
LTD
OCTOBER 2016 BoxOffice ® 107

BOOKING GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
STX ENTERTAINMENT 310-742-2300
DESIERTO
THE EDGE OF SEVENTEEN
THE SPACE BETWEEN US
THE BYE BYE MAN
UNIVERSAL -777-1000
THE GIRL ON THE TRAIN
Fri, 10/14/16 LTD.
Fri, 11/18/16 WIDE
Fri, 12/16/16 WIDE
Fri, 1/13/17 WIDE
Fri, 10/7/16 WIDE
Gael García Bernal, Jeffrey
Dean Morgan
Hailee Steinfeld, Haley Lu
Richardson
Asa Butterfield, Britt
Robertson
Douglas Smith, Cressida
Bonas
Emily Blunt, Rebecca
Ferguson
Jonás Cuarón R Dra/Thr
Kelly Fremon Craig NR Com/Dra
Peter Chelsom PG-13 Adv/SF/Rom
Stacy Title R Hor/Thr
Tate Taylor R Thr
KEVIN HART: WHAT NOW? Fri, 10/14/16 WIDE Kevin Hart Leslie Small R
OUIJA: ORIGIN OF EVIL
Fri, 10/21/16 WIDE
Annalise Basso, Henry
Thomas
Com/Con/
Doc
Mike Flanagan PG-13 Hor/Thr
ALMOST CHRISTMAS Fri, 11/11/16 WIDE Kimberly Elise, Mo’Nique David E. Talbert PG-13 Com
SING
SPLIT
A DOG’S PURPOSE
FIFTY SHADES DARKER
Wed, 12/21/16 WIDE
Fri, 1/20/17 WIDE
Fri, 1/27/17 WIDE
Fri, 2/10/17 WIDE
Matthew McConaughey,
Reese Witherspoon
James McAvoy, Anya
Taylor-Joy
Dennis Quaid, Britt
Robertson
Dakota Johnson, Jamie
Dornan
Garth Jennings
PG
Ani/Com/
Fam
M. Night Shyamalan NR Hor/Thr
Lasse Hallström
NR
Com/Dra/
Fam
James Foley NR Dra/Rom
3D/Dolby Dig
THE GREAT WALL Fri, 2/17/17 WIDE Matt Damon, Andy Lau Zhang Yimou NR Act/Adv/Thr 3D
GET OUT
Fri, 2/24/17 WIDE
Daniel Kaluuya, Allison
Williams
Jordan Peele NR Hor
FAST 8 Fri, 4/14/17 WIDE Vin Diesel, Dwayne Johnson F. Gary Gray NR Act/Cri IMAX
UNTITLED 2017
BLUMHOUSE HORROR
PROJECT 2
Fri, 4/28/17 WIDE NR Hor
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
GIRL TRIP Fri, 8/11/17 WIDE Regina Hall Malcolm D. Lee NR Com
AMERICAN MADE
THE SNOWMAN
Fri, 9/29/17 WIDE
Fri, 10/13/17 WIDE
Tom Cruise, Domhnall
Gleeson
Michael Fassbender, Rebecca
Ferguson
Ani/Com/
Fam
Doug Liman NR Cri/Thr
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
UNTITLED 2018
BLUMHOUSE HORROR
PROJECT 1
Fri, 1/5/18 WIDE NR Hor
PACIFIC RIM 2 Fri, 2/23/18 WIDE NR SF/Act
WARNER BROS. 818-977-1850
THE ACCOUNTANT Fri, 10/14/16 WIDE Ben Affleck, Anna Kendrick Gavin O’Connor R Act/Thr
FANTASTIC BEASTS AND
WHERE TO FIND THEM
Fri, 11/18/16 WIDE
Eddie Redmayne, Katherine
Waterston
David Yates PG-13 Adv/Fan
COLLATERAL BEAUTY Fri, 12/16/16 WIDE Will Smith, Keira Knightley David Frankel NR Dra
3D/IMAX/Dolby
Atmos
108 BoxOffice ® OCTOBER 2016

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
LIVE BY NIGHT Fri, 1/13/17 WIDE Ben Affleck, Sienna Miller Ben Affleck R Cri/Dra
BASTARDS Fri, 1/27/17 WIDE Ed Helms, Owen Wilson Lawrence Sher R Com
THE LEGO BATMAN MOVIE Fri, 2/10/17 WIDE Will Arnett, Zach Galifianakis Chris McKay NR
FIST FIGHT Fri, 2/17/17 WIDE Ice Cube, Charlie Day Richie Keen NR Com
Ani/Adv/
Fam
KONG: SKULL ISLAND Fri, 3/10/17 WIDE Tom Hiddleston, Brie Larson Jordan Vogt-Roberts NR Act/Adv
KING ARTHUR: LEGEND OF
THE SWORD
GOING IN STYLE
ANNABELLE 2
Fri, 3/24/17 WIDE
Fri, 4/7/17 WIDE
Fri, 5/19/17 WIDE
Charlie Hunnam, Astrid
Bergès-Frisbey
Morgan Freeman, Michael
Caine
Stephanie Sigman, Alicia
Vela-Bailey
3D/IMAX/Dolby
Atmos
3D/IMAX/Dolby
Dig
Guy Ritchie NR Act/Adv 3D/IMAX
Zach Braff PG-13 Com/Cri
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 Finn Wolfhard, Bill Skarsgård Andrés Muschietti NR Hor/Thr
THE LEGO NINJAGO MOVIE Fri, 9/22/17 WIDE Dave Franco, Michael Peña Charlie Bean NR
UNTITLED BLADE RUNNER
SEQUEL
Ani/Adv/
Fam
Fri, 10/6/17 WIDE Ryan Gosling, Harrison Ford Denis Villeneuve NR SF/Thr
3D/IMAX
GEOSTORM Fri, 10/20/17 WIDE Gerard Butler, Abbie Cornish Dean Devlin NR Act/Thr/SF 3D/IMAX
OCTOBER 2016 BoxOffice ® 109

BOOKING GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
JUSTICE LEAGUE PART ONE Fri, 11/17/17 WIDE Ben Affleck, Gal Gadot Zack Snyder NR Act/Adv
UNTITLED WARNER BROS.
PG-13 COMEDY
Fri, 12/22/17 WIDE PG-13 Com
UNTITLED WARNER
ANIMATION GROUP
Fri, 2/9/18 WIDE NR Ani
MEG Fri, 3/2/18 WIDE Jason Statham, Bingbing Fan Jon Turteltaub NR Act/Hor/SF
TOMB RAIDER Fri, 3/16/18 WIDE Alicia Vikander Roar Uthaug NR Act/Adv 3D
UNTITLED FANTASTIC
BEASTS SEQUEL
Fri, 11/16/18 WIDE NR Adv/Fan
WEINSTEIN CO./DIMENSION 646-862-3400
LION Fri, 11/25/16 LTD. Dev Patel, Rooney Mara Garth Davis NR Dra
GOLD
SUN, 12/25/16 WIDE
Bryce Dallas Howard,
Matthew McConaughey
Stephen Gaghan NR Adv/Dra/Thr
AMITYVILLE: THE
AWAKENING
Fri, 1/6/17 WIDE
Jennifer Jason Leigh, Bella
Thorne
Franck Khalfoun PG-13 Hor/Thr
THE FOUNDER Fri, 1/20/17 WIDE Michael Keaton, Laura Dern John Lee Hancock PG-13 Dra Dolby Dig
TULIP FEVER
Fri, 2/24/17 MOD.
Alicia Vikander, Dane
DeHaan
Justin Chadwick NR Dra/Rom
WAR WITH GRANDPA Fri, 4/21/17 WIDE Robert De Niro Tim Hill NR Fam/Com
THE SIX BILLION DOLLAR
MAN
Fri, 12/22/17 WIDE
Mark Wahlberg
Peter Berg, Damián
Szifrón
NR
Act/SF
Everything, But the Key...
New & Used Digital Projectors
Turn Key Packages To Get Your Theater Started
Guaranteed Lowest Prices
100% Customer Satisfaction Guarantee
Stetson Snell
stetsonsnell@enparaudio.com
Office: 505-615-2913
Fax: 575-578-4820
“Quality is to a product, what character is to a man.” - Steve Lentz
110 BoxOffice ® OCTOBER 2016

1 BETTER
PG 71
AMERICAN CINEMA EQUIPMENT
PG 30
ARTS ALLIANCE MEDIA
PG 17
BRIGHT STAR SYSTEMS
PG 112
CARDINAL SOUND
PG 112
CHRISTIE
INSIDE FRONT COVER
CJ 4DPLEX
PG 16
C. CRETORS & COMPANY
PG 45
CY YOUNG INDUSTRIES
PG 112
DIAMOND TICKETING SYSTEMS
PG 109
DOLPHIN SEATING
PG 79
ENPAR AUDIO
PG 110
FANDANGO
PG 4
GDC TECHNOLOGY
PG 2
GOLD MEDAL PRODUCTS
PG 65
HARKNESS SCREENS
PG 9, 11
IRWIN SEATING
PG 23
J&J SNACK FOODS
PG 27
LIGHTSPEED DESIGN
PG 112
MAGNA-TECH ELECTRONIC CO.
PG 49
MARS
PG 1
MEDIAMATION
PG 18
MOC INSURANCE SERVICES
PG 5
NATIONAL CINEMEDIA
PG 13
NATO
PG 41
NEC DISPLAY SOLUTIONS
PG 38
ODELL’S
PG 61
OMNITERM
PG 86
OSRAM
PG 31
AD INDEX
PACKAGING CONCEPTS INC.
PG 73
PALLISER FURNITURE
PG 35
PARADIGM ELECTRONICS
PG 95
PARAMOUNT PICTURES
PG 51
PROMOTION IN MOTION
PG 33, 53
QSC AUDIO
PG 19
READY THEATER SYSTEMS
PG 98
REALD
PG 82–83
RETRIEVER SOFTWARE
PG 103
REYNOLDS & REYNOLDS
PG 39
SCREENVISION
PG 55, BACK COVER
SEATING CONCEPTS
PG 105
SENSIBLE CINEMA
PG 112
SONIC EQUIPMENT
PG 67
SPOTLIGHT CINEMA NETWORKS
PG 67
STADIUM SAVERS
PG 107
ST. JUDE CHILDREN’S RESEARCH HOSPITAL
PG 56
TELESCOPIC SEATING
PG 43
TIVOLI LIGHTING
PG 25
USHIO
PG 63
USL, INC.
PG 29
VARIETY - THE CHILDREN’S CHARITY
INSIDE BACK COVER
VIP SEATING
PG 6–7
WEBEDIA
PG 47
WHITE CASTLE
PG 87
WILL ROGERS MOTION PICTURE PIONEERS
FOUNDATION
PG 59
CEO
Julien Marcel
VP CREATIVE SERVICES
Kenneth James Bacon
VP CONTENT STRATEGY
Daniel Loria
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CORPORATE
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BOXOFFICE ® (ISSN 0006-8527), Volume 152, Number 10, October 2016. BOXOFFICE ® is published monthly by BoxOffice
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OCTOBER 2016 BoxOffice ® 111

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.
COLLECTOR WANTS TO BUY: We pay top money
for any 1920-1980 theater equipment. We’ll buy all
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.
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. MO-
BILIARIO 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.
The three-screen Stavros Niarchos Foundation
Parkway Film Center in Baltimore is seeking an
OPERATIONS DIRECTOR to oversee all aspects
of running the theater and concessions. The Film
Center, a partnership among the Maryland Film
Festival, Johns Hopkins University and MICA will
open in spring of 2017 and offer a broad range of
the world’s best art-house, independent, documentary,
and classic cinema. The full job description
and application instructions are found at mdfilmfest.com/about-the-festival/jobs.php.
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.
112 BoxOffice ® OCTOBER 2016